Franz Joachim Beich’s etching, “Two Goats on the Shore of a Lake”, c1720

Franz Joachim Beich (aka Joachim Franz Beich) (1665–1748)

“Two Goats on the Shore of a Lake”, c1720 (1714–1724), plate 3 from a series of six landscape etchings in the manner of Salvator Rosa (1615–1673), published in Augsburg by Jeremias Wolff (1663–1724).

Etching on laid paper trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 23.4 x 14.8 cm; (image borderline) 23.1 x 14.5 cm.

Inscribed in plate at lower right corner with ligature monogram of the artist’s initials within the image borderline.

State i? (of iv) before the addition of the plate number or lettering below the image borderline of state ii. Note that although the margin below the borderline is extremely narrow, there is no evidence of fragments of ascending strokes in the lettering.

Nagler/Meyer 1 (Julius Meyer 1872–85, “Allgemeines Künstler-Lexicon” [2nd revised edition of Nagler's Artist Lexicon], vol. 3, p. 338, cat. no. 1); Andresen 1 (Andreas Andresen 1864–78, “Der Deutsche Peintre-Graveur ... von dem letzten Drittel des 16 Jahrhunderts bis zum Schluss des 18 Jahrhunderts”, Leipzig, cat. no. 1).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_Sheepshanks-7286.
See also the description offered by the Rijksmuseum (not reproduced): http://hdl.handle.net/10934/RM0001.COLLECT.76526.

Condition: a richly inked impression, trimmed with a narrow margin around the image borderline and laid upon a support sheet of archival (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 beautifully romantic etching with its stylistic lean towards the Baroque Italianate landscapes of Salvator Rosa, for the total cost of AU$243 (currently US$182.89/EUR158.14/GBP133.54 at the time of posting this print) including 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 marvellous landscape executed with great spirit, 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 

Claude Lorrain’s etching, “Le Naufrage”, c1640

Claude Lorrain (aka Claude Gellée, Claude; Claude Le Lorrain; Claudio di Lorena) (1600–1682)

“Le Naufrage” (aka “The Shipwreck”], c1640 (1638–41). This impression is from McCreery’s 1816 edition of “200 Etchings” printed from the original plate.

Lino Mannocci (1988) in “The Etchings of Claude Lorrain” advises that there is a related pen and ink drawing by Lorrain, “A Storm of the Coast”, after a now lost painting by Lorrain dated 1638–9 (based on an inscription on the drawing) (p. 216). Interestingly, the lost painting was executed for Paolo Giordano Orsini, Duke of Bracciano and this etching may have been commissioned before the painting to illustrate the Duke of Bracciano’s motto: “contra ventos et undas” (against winds and waves) (see Mannocci op.cit.).

The idea that this etching served as a visual metaphor for the Duke’s motto (in terms of finding success by stalwart perseverance through adversity), is crystalised in Andrew Brink’s (2013) description of Lorrain’s shipwreck scenes in “Ink and Light: The Influence of Claude Lorrain’s Etchings on England”: “… a sense of desperate peril as if life had descended into primal chaos, yet with the promise of the sun’s orb appearing on the horizon. … [in short] “disaster yet with light over the horizon” (p. 86)

Etching printed in a dark brown ink on cream wove paper, trimmed along the platemark with fragmentary text (verso) from the 1784 Paris edition of “Stirpes Novae” as is discussed by Mannocci (1988) p. 28 and by H Diane Russell (1982) in “Claude Lorrain 1600–1682”, p. 300.

Size: (sheet) 13.1 x 18.4 cm; (image borderline) 12.4 x 17.8 cm

Numbered in plate outside the image borderline: (lower left) “3”. There is also the barely visible and almost illegible traces of the inscriptions: (within the image borderline at lower centre) “CL inv.”; (below the image borderline right of centre): “N 44 10”.

State v (of v)

Mannocci 35; Blum 12; Robert-Dumesnil 7; Knab 128; Duplessis 7; Russell 44.

The Fine Art Museums of San Francisco offer the following description of this print: “In open water 2 ships pounded by waves; large sail ship on rocks at high point of land with crumbling tower; men on shore working at salvage” (https://art.famsf.org/claude-lorrain/le-naufrage-shipwreck-19668051).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_M-12-30.

Condition: a richly inked, strong impression, trimmed around the platemark with no tears, holes, folds, abrasions, foxing or significant stains—there is a small mark at lower left corner—foxing. The verso of the sheet has a section of a print (“Stirpes Novae”) as documented in McCreery’s 1816 edition of “200 Etchings”.

I am selling this original etching from the 1816 edition by McCreery, executed by the one of the most famous artists of the 17^th century, for a total cost of AU$388 (currently US$291.97/EUR252.53/GBP213.31 at the time of this listing) including 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 one of Claude Lorrain’s most famous etchings—note that this print is reproduced on the dust jacket of Andrew Brink’s (2013) “Ink and Light: The Influence of Claude Lorrain’s Etchings on England”— 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 

Ferdinand Roybet’s etching, “Le Repos”, 1865

Ferdinand Roybet (aka Ferdinand V L Roybet) (1840–1920)

“Le Repos”, 1865, Plate 214 from the series, “Eaux-Fortes Modernes”, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris by Cadart & Luquet (fl. 1863–1867) in the fourth volume of sixty prints (beginning at plate 181 following on from the previous volume), “Eaux-Fortes Modernes: Originales et Inédites” (September 1865–August 1866), produced by the Société des Aquafortistes (Society of Etchers).

Etching with plate tone on watermarked handmade paper with full margins as published.

Size: (sheet) 31.3 x 42.9 cm; (plate) 24.1 x 32 cm; (image borderline) 18.3 x 26.6 cm.

Inscribed in plate within the image borderline: (lower left corner) “65 F. Roybet”.

Numbered in plate above the image borderline: (upper right) “214.”

Lettered in plate below the image borderline: (left) “F.Roybet sculp.”; (centre) “LE REPOS./ Paris, Publié par CADART & LUQUET, Editeurs, 79, Rue Richelieu.”; (right) “Imp. Delâtre, Rue S^t. Jacques, 303, Paris.”

Beraldi 5 (Henri Beraldi 1891, “Les Graveurs du XIXe Siècke; guide de l'amateur d'estampes modernes”, vol. 11 [XI], Paris, L Conquet, p. 274, cat. no. 5, Faneuses [Haymakers] 1865).

The British Museum offers the following description of this print: “Plate 214: agricultural workers resting in field, in shade of haystack, figure on cart seen beyond to left” (https://www.britishmuseum.org/collection/object/P_1866-1110-1395).

Condition: a strong and well-printed (near faultless) impression with generously wide margins in almost pristine condition (i.e., there are no tears, holes, folds, abrasions, significant stains, foxing or signs of handling).

I am selling this superb etching showing a family of haymakers resting in shade to escape the heat of the midday sun—note how the artist has created a transition in his use of line to express the searing heat of the day leading from multi-directional strokes rendering the dark foreground, vertical and horizontally crossed lines in the middle distance and aligned vertical marks to suggest far distance—for AU$256 in total (currently US$193.31/EUR165.47/GBP140.17 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that this large sheet will be rolled in a tube for shipping.

If you are interested in purchasing this remarkably beautiful etching executed in the spirit of the Barbizon School, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Engraving from the circle of Hieronymus Cock, “David Talks to Soldiers about Goliath”, c1556, after Maarten van Heemskerck

Unidentified engraver from the circle of Hieronymus Cock (aka Jérome Cock) (c1517/18-1570)

“David Talks to Soldiers about Goliath” (aka “David spreekt met soldaten over Goliat”), c1556, plate 4 from the series of ten plates (New Hollstein 94–103), “Story of David and Saul” (aka “Verhaal van David en Saul”), after a related drawing in the École des Beaux-Arts, Paris (inv. M 1703) by Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574), initially published in Antwerp by Hieronymus Cock and later by Theodoor Galle (aka Theodor Galle; Dirck Galle) (1571–1633).

Engraving on laid paper with a small margin around the platemark.

Size: (sheet) 22.2 x 28.5 cm; (plate) 20.4 x 25.3 cm; (image borderline) 19.7 x 24.9 cm.

Numbered in plate within the image borderline: (lower left corner) “.4.”.

Lettered in plate below the image borderline: “Annūciata sunt verba que locutus est Dauid in conspectu Regis . i. Re . i7 .” (Transl. “The words that David spoke were announced in the presence of the King”).

New Hollstein Dutch 97 (Ilja Veldman [comp.] 1993/4, “The new Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Maarten van Heemskerck”, vol. 1, Roosendaal, Koninklijke Van Poll, p. 93, cat. no. 97); Riggs 137 (Timothy A[llan] Riggs 1976, “Hieronymus Cock (1510–1570): Printmaker and Publisher in Antwerp at the Sign of the Four Winds”, Ann Arbor, p. 344, cat. no. 137).

The Rijksmuseum offers the following description of this print:

(Transl.) “David visits the camp where his brothers are encamped and asks the soldiers what happens to the person who defeats the Philistine Goliath in the background, after which they tell him about the rewards. One of the soldiers he is talking to may be his brother Eliab. Behind this scene is Saul. In the margin a one-line caption in Latin from 1 Sam. (Incorrectly indicated as 1 Kings on the print)” (http://hdl.handle.net/10934/RM0001.COLLECT.223115).

See also the description offered by the British Museum:  https://www.britishmuseum.org/collection/object/P_1949-0709-68.

Condition: a strong early/lifetime impression still retaining the scratched guide lines for the lettering, with small margins in museum quality/near pristine condition (i.e., there are no tears, holes, folds, abrasions, stains, foxing or signs of handling) for its considerable age.  

I am selling this finely executed engraving showing David at right holding his sheep herding crook while discussing a plan to battle with the imposingly gigantic and rather skimpily clad (in my opinion) Goliath in the far distance, for AU$289 in total (currently US$217.36/EUR187.14/GBP157.93 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that this large sheet will be rolled in a tube for shipping.

If you are interested in purchasing this superb example of the period style known as Mannerism—note the grand gestures, the exaggerated movements and the compaction/crowding of figures in the scene as well as the theatrical lighting—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 

Utagawa Kunisada’s woodblock volume from “Nise Murasaki inaka Genj”, c1829

Utagawa Kunisada (aka Utagawa Toyokuni III [三代目歌川豊国]) (1786–1865)

“Nise Murasaki inaka Genj”, c1829, a volume/chapter of woodblock prints from a sequence of 38 volumes to Ryūtei Tanehiko’s (aka Ryuutei Tanehiko [柳亭種彦]) (1783–1842) gōkan ehon (a picture-book of bound volumes), “Nise Murasaki inaka Genj” (aka “A Fraudulent Murasaki’s Rustic Genji”; “A Country Genji by a Fake/an Imitation Murasaki”), published by Senkakudō between 1829 and 1842; see the description of this publication offered by the Metropolitan Museum of Art and  Wikipedia: https://www.metmuseum.org/art/collection/search/812249; https://en.m.wikipedia.org/wiki/Nise_Murasaki_Inaka_Genji.

The series of volumes (of which this sequence of woodblocks is a part) is an interpretation of the early 11th century classic text by Murasaki Shikibu, "The Tale of Genji”—arguably the world’s first novel.

Woodblock printed pages laid upon a support sheet in sequence from upper–right to lower-left.

Size: (support sheet) 99.8 x 60.2 cm; (individual sheets) 17.6 x 23 cm.

Condition: the sheets are age-toned with wormholes and show significant signs of handling.

I am selling this rare (possibly unique) volume of woodblock printed pages fully laid out so that the sequence of images may be viewed as a composite whole, for AU$330 in total (currently US$248.34/EUR213.95/GBP180.24 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that this large sheet will be rolled in a tube for shipping.

If you are interested in purchasing this amazing composite sheet of woodblock prints from the same volume, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

(Images digitally abutted)

(Images digitally abutted)