Kono Bairei’s woodblock diptychs, “Mynah Bird” & “Goering's Cymbidium and Silver Pheasants”, 1881

Kono Naotoyo Bairei (幸野楳嶺) (aka Choando; Hoppo; Kakurokuen; Kinsen Charryo; Koun Shinsho; Kumo no Ie; Musei Shioku; Nyoi Shansho; Rokuryu; Sanshu Kashitsu; Seika Zembo; Seiryukan; Shijun; Shumpuro; Zaigoan) (1844–1895)

(upper diptych) “Mynah Bird” (aka “Kiukuhan”), 1881, 24.9 x 30.7 cm (sheet)

(lower diptych) “Goering's Cymbidium and Silver Pheasants” (aka “Shirakiji [White pheasant]), 1881, 24.9 x 30.9 cm (sheet)

Two joined double-panel/page polychrome woodblock prints (i.e. four plates in total), 1881, published in Tokyo between 1881 and 1884 in “Bairei Hyakuchô Gafu: Chi” (Bairei's Album Of One Hundred Birds [& Flowers]: Ground/Earth) (楳嶺百鳥畫譜), vol. 2 (see the full set of plates and descriptions featured in vol. 2 at the Art Gallery of New South Wales (Australia): https://www.artgallery.nsw.gov.au/collection/works/254.1989.a-z/).

Four woodblock panels printed in three colours abutted and glued as two diptychs backed on separate support sheets of archival (millennium quality) washi paper. Each disptych is stamped with Bairei’s red-cinnabar Hanko seal and descriptive text. Note that where any printed text would have been concealed by the joining process, the text has been repositioned so that it may be seen. Note also that there are minor restored (infilled) holes on both sheets.

I am selling this pair of original polychrome woodblock printed dipytchs (four prints in total) for a total cost of AU$400 (currently US$304.34/EUR259.61/GBP221.56 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing these masterworks of colour woodblock printing from the late 1800s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Rodolphe Piguet’s drypoint, “Seated Woman with a Bouquet on her Lap”, 1887

Rodolphe Piguet (aka Rodolphe Piquet; Rodolphe Eugène Piguet) (1840-1915)

“Seated Woman with a Bouquet on her Lap” (descriptive title only), 1887, signed and dated on the plate.

Drypoint on laid paper.

Size: (sheet) 24.3 x 18 cm; (plate) 11.9 x 8.00 cm.

Inscribed on plate: (lower left) “R Piguet/ 1887”.

Condition: a richly inked and well-printed impression with wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling (recto), but verso has a pencil inscription and finger marks.

I am selling this small and exceptionally beautiful drypoint by an artist known for the technical brilliance of his drypoint prints for a total cost of AU$216 (currently US$165.25/EUR140.39/GBP119.99 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. 

If you are interested in purchasing this small masterwork of drypoint capturing in the space of a coffee bean the pensive expression of an elegant young lady as her mindset drifts upon receiving what I assume is a bouquet of flowers on her lap—note the artist’s technical wizardry in suggesting the silky sheen of the lady’s gown … and her amazing wasp waist!—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Wenceslaus Hollar’s etching, “A Female with Hair Tied Back and a Bald Male Facing Each Other”, 1645, after Leonardo da Vinci

Wenceslaus Hollar (aka Václav Hollar; Wenzel Hollar) (1607–1677)

“A Female with Hair Tied Back and a Bald Male Facing Each Other”, 1645, after drawings by Leonardo da Vinci (1452–1519),  plate 3b from the series of fourteen etched plates (including the title plate) after studies of heads and grotesques by Leonardo (New Hollstein [Hollar] 737–750), “Varie Figuræ et Probæ”, published in Antwerp.

Etching on watermarked laid paper with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 10.8 x 15.3 cm; (plate) 9.5 x 14.1 cm.

Inscribed on plate: (upper centre) Leonardö da Vinci inu:/ W. Hollar fecit. 1645”; (lower right corner) “3 b”.

State iii (of iii) with the addition of the plate number.

Pennington 1596 ii (Richard Pennington 1982, “A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar, 1607–1677”, Cambridge, Cambridge University Press, p. 275, cat. no. 1596 ii); New Hollstein (Hollar Part III) 744 III/III.

The British Museum offers the following description of this print:

“Bust-length image of a young woman in profile to right, wearing a turban at an angle and low-cut bodice, facing a bald old man, wearing a jacket with narrow collar; after Leonardo da Vinci; third state. 1645” (https://www.britishmuseum.org/collection/object/P_1875-0710-726).

See also the description of this print offered by the Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/360763.  

Condition: a near faultless, well-printed impression with a small margin laid onto a support of archival (millennium quality) washi paper. Beyond a fracture/mark in the upper margin, the sheet is in an excellent condition for its considerable age with no holes, folds, abrasions, significant stains or foxing.

I am selling this exceptionally beautiful and rare etching from a series that Richard T Godfrey [1994] in “Wenceslaus Hollar: A Bohemian Artist in England” proposes “exerted [an] enormous influence on the development of the caricature in England in the eighteenth century” (p. 100), for the total cost of AU$423 (currently US$323.22/EUR274.12/GBP234.54 at the time of posting this print) including Express Mail (EMS) postage and handling to anywhere in the world {but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this small but important etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold 

Karel Dujardin’s etching, “Two Sheep and a Goat”, 1652

Karel Dujardin (aka Karel Du Jardin; Carel Dujardin; Carel du Jardin; Bokkebaart) (1626–1678)

“Two Sheep and a Goat” (aka “La chèvre et les deux moutons” [Bartsch title]; “Geit en twee schapen”), 1652 (Rijksmuseum date) or 1653 (BM date), plate 7 from the series of 8 prints, “Animals” (Dieren).

Etching on laid paper (coronet watermark) trimmed around the platemark and backed with a support sheet.

Size: (sheet) 14.9 x 13.9 cm; (image borderline) 14.2 x 13.2 cm.

Inscribed on plate: (lower left) “K.D.I f / 16[…]”; (lower right corner) “7”.

State iii (of iii) with the addition of the plate number at lower right.

Note that the Rijksmusuem advises that the date is “1652” and the BM proposes “1653”. I have difficulty in deciphering either date from the strokes.

TIB 1.7 (168) (Leonard J Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, New York, Abaris Books, p. 177, cat. 7–und. II [168]).; Hollstein Dutch 7-3(3)

The British Museum offers the following description of this print:

“A goat and two sheep resting, the central sheep seen from the rear, the goat at right and facing the viewer, a fence in background, a seated shepherd in left background; third state with number” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-827).

See also the Rijksmuseum’s description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.38291.

Condition: a well-printed impression but with a few wiped marks above the trees at right, trimmed close to the platemark with a small margin around the image borderline. There are faint stains at the upper corners, otherwise, the impression is in a very good condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this sensitively executed etching revealing in the complex arrangement of tiny dots and horizontal lines rendering the faintest suggestion of clouds, the dexterity of Dujardin’s delicate touch with the etching needle—note also how skilful Dujardin is in suggesting the most subtle hint of reflected light on the goat’s side—for the total cost of AU$288 (currently US$220.22/EUR186.68/GBP159.66 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this sun-drenched rural scene from the 17^th century—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Antonio Tempesta’s etching, “Cerialis Driving the Dutch into the Rhine”, 1612

Antonio Tempesta (1555? –1630)

“Cerialis Driving the Dutch into the Rhine” (aka “Cerialis drijft de Bataven in de Rijn”; “Cerialis drives the Batavians into the Rhine”), 1612, plate 30 from the series, “The Batavian Revolt” (aka “The War of the Romans Against the Batavians”), possibly based on a lost preparatory drawing by Otto van Veen (aka Venius) (1556–1629)—the teacher of Rubens.

Etching on laid paper, trimmed around the platemark on three sides and slightly within on the right side, backed with a support sheet.

Size: (sheet) 16.9 x 21 cm; (image borderline) 14.8 x 20.7 cm.

Inscribed on plate within the image borderline with Antonio Tempesta’s ligature monogram (“AT”) under the foot of the archer on the far-left side.

Lettered on plate below the image borderline: (left in four lines of Dutch text) “Des anderen daeghs is den slagh aenghegaen, neffens den Ryn: hier hadde/ Civilis bycans de victorie: maer Cerialis door aduys van eenen overlooper/ schickt ruyters van achter dor t’verdroncken landt, daer den grondt hart/ was; ende wint den slagh, dryuende de Hollanders in den Ryn.”; (centre) “30”; (right in four lines of Latin text) “Postridie iterum acriter ad Rhenum pugnatur; victoria penes/ Civilem stetisset, ni perfuga Batavus Cerialem adijsset,/ terga hostium promittens, se per extrema paludism eques mittere-/ tur, qui deinde circumfusus hosti Batavos in Rhenum compulit.”

Eckhard Leuschner (2007) in his commentary on this print (TIB vol, 35, Part 2 [Commentary], p. 146) offers the following insight regarding the context of this illustration:

“Illustrates Tacitus, Histories, V, 18: Due to the treachery of a Batavian deserter, the Dutch troops are defeated by Cerialis and driven into the Rhine. A picture by Otto van Veen, titularly on the same subject, but composed very differently, is in the Rijksmuseum, Amsterdam (A 431).”

State i (of ii) “without text on the verso” (TIB 3501.526 S1 12)

TIB 3501.526 S1 12 (B 589) (Eckhard Leuschner 2007, “The Illustrated Bartsch: Antonio Tempesta", vol. 35. Part 2 [Commentary], New York, Abaris Books, p. 146, cat. no. [3501] .526 S1 122); TIB (Buffa 1984) 35.589 (145) (Sebastian Buffa [ed.] 1984, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century: Antonio Tempesta”, vol. 35, New York, Abaris Books, p. 318, cat. no. 589 [145]).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.439313.

Condition: a richly inked and well-printed impression showing a few areas of wear to the printing plate, trimmed with a narrow margin around the image borderline and laid onto a support of archival (millennium quality) washi paper. The sheet is in an excellent condition for its considerable age with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this strong impression of a rare print exemplifying the Baroque period style, for the total cost of AU$304 (currently US$232.26/EUR196.91/GBP168.41 at the time of posting this print) including Express Mail (EMS) postage and handling to anywhere in the world {but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this relatively small etching showing a grand scale battle scene, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold