Charles Joshua Chaplin’s etching, “Novembre”, 1856

Charles Joshua Chaplin (1825–1891) —not to be confused with the almost legendary silent film actor, Charlie Chaplin (Sir Charles Spencer Chaplin KBE).

“Novembre” (aka “November, Aunay”; “Novembre à Aunay”), 1856, lettered below the image with four lines of Robert Burns’ (1759–1796) “The Gloomy Night is Gath'ring Fast” (1786).

Etching printed in brown ink on buff coloured chine collé (China) on wove paper with wide margins.

Size: (sheet) 29.7 x 43.3 cm; (plate) 19 x 26.2 cm; (chine collé) 17.3 x 25.1 cm; (image borderline) 14.9 x 24.2 cm.

Inscribed and lettered on plate below the image borderline: (left) “Ch. Chaplin”; (centre) “NOVEMBRE./ The gloomy night is gath'ring fast,/ Loud roars the wild inconstant blast// Yon murky cloud is foul with rain./ I see it driving o'er the plain./ BURNS”; (right) “Aunay Nov. 1856”.

Béraldi 13 (Henri Béraldi 1885–1892, “Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes”, vol. 4, Paris, Librairie L Conquet, p. 89, cat. no. 13); IFF 6 (Département des Estampes 1930–, “Inventaire du Fonds Francais Après 1800”, vol. 4, Paris, Bibliothèque Nationale de France, p. 286, cat. no. 6).

The British Museum offers the following description of this print:

“Landscape of a field in tempestuous weather, where silhouettes of windmills are seen beyond at right; a flock of sheep and a herder in the right foreground. 1856
Etching on chine collé” (https://www.britishmuseum.org/collection/object/P_1874-1114-99).

See also the description of this print offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/725315.

Condition: a well-printed, near faultless impression with generous margins. The sheet has a few minor marks in the margin otherwise the sheet is in remarkably good condition for its considerable age with no tears, holes, folds, abrasions, losses, significant stains or foxing.

I am selling this poetically evocative etching featuring a shepherd tending sheep in the foreground and distant windmills silhouetted against the softly fading light of twilight, for the total cost of AU$283 (currently US$220.40/EUR181.70/GBP158.06 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 etching of great simplicity and beauty, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Giacomo Laurenziani’s etching, “Phalaris Ordering Perillus to Enter the Bronze Bull”, 1634, after Polidoro da Caravaggio

Giacomo Laurenziani (aka Giacomo Laurentiani; Giacomo Lorenziani; Giacommo Laurenziani) (1598–1650)

“Phalaris Ordering Perillus to Enter the Bronze Bull” (aka “Perillus inventor mandante Phalaride primus expertus est”), 1634, after the painting by Polidoro da Caravaggio (aka Polidoro Caldara; Polidoro da Caravagio) (c1499–1543) on a house fascade in the Via dei Coronari, Rome, published by Giovanni Giacomo de' Rossi (aka Giovanni Giacomo de' Rossi; Giovanni Jacomo de' Rossi; Jo Jacobus de Rubeis) (1627–1691) in Rome. Note that the British Museum does not hold a copy of this print, but the musuem holds an etching in reverse by an unidentified printmaker after the same composition: https://www.britishmuseum.org/collection/object/P_1873-1213-510.

The scene shows the Sicilian tyrant, Phalaris (fl.c.570 BC–549 BC)—"notorious for his cruel punishments” (according to the BM)—ordering Perillus—the inventor of the torture device of the bronze bull he is entering—to have the first experience of being roasted alive inside the bull to demonstrate how his screams from inside the hollow device would sound like a bull bellowing. The claim that the victim’s cries would replicate the sound of a bellowing bull was explained to me when I visited the cavern in which I understand the bronze bull was once installed. At the time I remember my brain overloading with the thought of the reverberating sound inside the cavern along with picturing the belching smoke and steam emitted through the bull’s nostrils… horrible!

Etching on laid paper trimmed close to the platemark and backed with a support sheet.

Size: (sheet) 25.5 x 24.3 cm; (image borderline) 25.5 x 23.2 cm.

Lettered on plate below the image borderline: (centre) “Perillus inuentor, mandante Phalaride primus expertus est. / Polidorus de Carauagio Prinxit./ Iacobus Laurentianus delineauit et Sculpsit. 1634./ Gio Jacomo Rossi le Stampa alla Pace”; (right) Romæ Superior. Licentia.”

The Casanatense Library and the Central Institute for Graphics offer descriptions of this print: https://casanatense.contentdm.oclc.org/digital/collection/stampe/id/1263/; https://www.calcografica.it/matrici/inventario.php?id=M-224; along with an image and description of the original printing plate: http://calcografica.ing.beniculturali.it/index.php?page=default&id=6&lang=it&item_id=307370&schemaType=MI&schemaVersion=2.00.

Condition: a superb, richly inked and well-printed lifetime impression (based on the quality of the line showing no sign of wear to the printing plate), trimmed close to the platemark and laid upon an archival support sheet of millennium quality washi paper. The sheet has restoration for thinning along the edges, otherwise it is in excellent condition with no significant stains or foxing.

I am selling this very rare etching—mindful that neither the British Museum nor the Rijksmuseum hold a copy of this print—of the visually arresting scene of pending torture in Sicily, for the total cost of AU$283 (currently US$220.40/EUR181.70/GBP158.06 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 superb impression of an etching that is very seldom seen on the art market, 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

Jan Saenredam’s engraving, “Woman of Canaan”, c1595, after Goltzius

Jan Saenredam (c1565–1607)

“Woman of Canaan” (TIB title) (aka “The Woman of Cana” [BM title]; “La Chananéene”; “De Kananese vrouw”), c1595, Plate 4 from the series of six engravings, “Famous Women of the New Testament Saved by Christ”, after the design by Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617).

Engraving on laid paper trimmed around the image borderline with loss to the lower writing edge and backed with a support sheet.

Size: (sheet) 17.3 x 13.5 cm.

Inscribed on plate: (upper right corner) “[ligature initials] HGoltzius Inuventor/ I. Saenredam Sculpt.”

Numbered on plate: (lower left corner) “4”.

TIB 4 (3). 48 (237) (Walter L Strauss [ed.] 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, New York, Abaris Books, p. 364, cat. no. 48 [237]); Hollstein Dutch 38 (George Shepard Keyes [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Jan Saenredam to Roelandt Savery”, vol. 23, Amsterdam, Van Gendt & Co, p. 34, cat. no. 38).

The British Museum offers the following description of this print:

“Plate 4: Woman of Cana, half-length to right, with her hand on her chest and imploring; two small lap dogs at right; after Hendrick Goltzius” (https://www.britishmuseum.org/collection/object/P_1856-0815-62).

See also the description of this print offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.169309.

For those interested in the Biblical story behind this print, see Matthew 15: 21–28; Mark 7: 24–30. Note that in the background is shown the Canaanite woman kneeling before Christ asking for him to heal her daughter. The dogs in the foreground allude to Christ’s analogy regarding dogs and bread.

Condition: a well-printed lifetime impression (based on the quality of line showing no sign of wear to the printing plate), trimmed around the image borderline (with loss of the writing edge) and laid upon an archival support sheet of millennium quality washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this small masterpiece of engraving exemplifying the period style of Mannerism, for the total cost of AU$438 (currently US$339.03/EUR280.78/GBP244.44 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 exceptionally fine engraving executed by one of the most famous of the old master printmakers, 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

Jan Saenredam’s engraving, “The Samaritan Woman at the Well”, c1595, after Goltzius

Jan Saenredam (c1565–1607)

“The Samaritan Woman at the Well” (aka “La Samaritaine”; “De Samaritaanse vrouw”), c1595, Plate 2 from the series of six engravings, “Famous Women of the New Testament Saved by Christ”, after the design by Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617).

Engraving on laid paper trimmed close to the platemark with loss to the lower edge and backed with a support sheet.

Size: (sheet) 18.6 x 13.6 cm; (image borderline) 17.2 x 13.5 cm.

Inscribed on plate within the image borderline: (lower left corner) “2”; (lower right) “[ligature initials] HGoltzius Inuvent. […] I. Saenredam Sculpt.”

Lettered on plate below the image borderline: (centre) “Quæ solita est viles e fonte hauvive liquores/ Nunc vivas Christi numine promif aquas.”; (lower right corner) “Balthasarus. Schonęus”.

State i (of iv) before the alteration of the plate number from “2” to “1” in state ii (see a state ii impression held by the NGV: https://www.ngv.vic.gov.au/explore/collection/work/36379/).

TIB 4 (3). 46 (237) (Walter L Strauss [ed.] 1980, “The Illustrated Bartsch: Netherlandish Artists”, vol. 4, New York, Abaris Books, p. 362, cat. no. 46 [237]); Hollstein Dutch 36-1(3) (George Shepard Keyes [comp.] 1980, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Jan Saenredam to Roelandt Savery”, vol. 23, Amsterdam, Van Gendt & Co, p. 33, cat. no. 36).

The Rijksmuseum offers the following description of this print:

(Transl.) “The Samaritan woman at the well, a water pitcher in her hand. In the background the meeting between Christ and the Samaritan woman at the well. The print has a Latin caption and is part of a series of famous women from the New Testament” (http://hdl.handle.net/10934/RM0001.COLLECT.169305).

See also the excellent description of this print (from the same first state as this impression) along with other prints from the same series offered by Spaightwoodgalleries: http://www.spaightwoodgalleries.com/Pages/Saenredam.html.

For those interested in the Biblical story behind this print, see “The Gospel According to John”, 4:4-42: https://www.biblegateway.com/passage/?search=John%204%3A4-42&version=NIV.

Condition: a well-printed lifetime (first state) impression, trimmed close to the platemark with a small loss to the lower writing edge and laid upon an archival support sheet of millennium quality washi paper. There is a restored and replenished area at the upper right, otherwise, the sheet is in a good condition with no significant stains or foxing.

I am selling this small masterpiece of engraving exemplifying the period style of Mannerism, for the total cost of AU$438 (currently US$339.56/EUR280.61/GBP244,64 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 exceptionally fine engraving executed by one of the most famous of the old master printmakers—note the delicacy of the engraver’s touch to render the silken fabric billowing behind the woman at the well—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, “Frontispiece: The Fountain”, 1652

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

“Frontispiece: The Fountain”, (aka “Titelprent met muur en fontein”; “Title Print with Wall and Fountain”), 1652, plate 1 from the series of 8 prints, “Animals” (Dieren), published by Karel Dujardin in Amsterdam (as inscribed on plate).

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

Size: (sheet) 27.4 x 21.1 cm; (plate) 15.2 x 13.7 cm.

Inscribed on plate: (centre on wall): “K.DV. JAR DIN fe/ et. Excud. 1652/. A.D.”; (lower right corner) “1”.

State iv (of iv) with the addition of the plate number (“1”) at lower right corner.

TIB 1.1 (165) (Leonard J Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, New York, Abaris Books, p. 171, cat. no. 1 [165]).; Hollstein Dutch 1-4 (4)

The British Museum offers the following description of this print:

“Frontispiece with fountain, a high wall flanked by foliage from which protrudes a pipe with water flowing into a square pool, water flows from an overflow pipe into a smaller pool in front; fourth state with number” (https://www.britishmuseum.org/collection/object/P_Sheepshanks-810).

See also the description of this print at the Rijksmuseum and the Metropolitan Museum of Art: http://hdl.handle.net/10934/RM0001.COLLECT.38277; https://www.metmuseum.org/art/collection/search/414196.  

Condition: a well-printed impression with wide margins laid upon an archival support sheet of millennium quality washi paper. There are chipped edges to the sheet and a flattened printer’s crease and to the left margin, otherwise, the sheet is in a good condition with no significant stains or foxing.

I am selling this frontispiece etching to the series of eight prints, “Animals”, for the total cost of AU$262 (currently US$202.51/EUR168.33/GBP146.16 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 curiously minimal and marvellous image that I see as metaphorically “speaking to” the world of farm animals—but without actually showing any! — please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.