Józa Úprka’s etching, “Pfingstreiter”, 1903

Józa Úprka (1861–1940)—The British Museum offers biographical details regarding this artist; see: https://www.britishmuseum.org/collection/term/BIOG52120

“Pfingstreiter”—in translation, the “Whitsun Rider”, or King’s Rider, in the Moravian Slovakia (south-eastern Czech Republic) folk tradition (see https://www.gonomad.com/142751-moravias-ride-of-the-kings), 1903, printed by the K. K. Hof- und Staatsdruckerei (K. K. Hof and State Printing Shop) (fl. 1847–1916) and published in Vienna by the Gesellschaft für Vervielfältigende Kunst (Society for Reproducing Arts) (fl. 1871–1934) (see the interesting information about this publisher offered by Art of the Print: http://www.artoftheprint.com/artistpages/uprka_joza_phingstreiter.htm).

The British Museum offers the following description of this print: “Participant in Moravian festival, on horseback holding banner. 1903 Etching, with surface tone” (https://www.britishmuseum.org/collection/object/P_1985-1109-119).

Etching with plate tone printed in brown ink on cream wove paper with full margins (as published) and backed with a support sheet.

Size: (sheet) 39.3 x 28.6 cm; (plate) 15.4 x 20.4 cm; (image borderline) 14.3 x 19.2 cm.

Lettered along the lower edge of the sheet: (left) “JÓZA UPRKA, »PFINGSTREITER«. ORIGINALRADIERUNG.”; (centre) “DRUCK DER K. K. HOF- UND STAATSDRUCKEREI, WIEN.”; (left) “VERLAG DER GESELLSCHAFT FÜR VERVIELFÄLTIGENDE KUNST, WIEN.”

Condition: a strong and well-printed impression with generously wide margins (as published) laid onto a support of archival (millennium quality) washi paper. There are several fractures to the edges of the sheet (now supported), otherwise the sheet is in an excellent condition with no significant tears, holes, folds, abrasions, stains or foxing.

I am selling this rarely seen etching on the art market for AU$256 in total (currently US$185.92/EUR165.63/GBP138.54 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 etching capturing a fleeting moment in the charge of a King’s Rider in a folklore event—note the way the artist’s has suggested the speed of the horse’s advance by adding a touch of ambiguity to the rendering of its hooves and how the spicks and specks of foul-biting in the background adds to the effect of a frozen moment—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Alexandre Calame’s lithograph, “Hillside Sloping to the Right with Three Trees”, c1862

Alexandre Calame (aka Alexandre Calam; Alexandre Calamy) (1810–1864)

“Hillside Sloping to the Right with Three Trees” (descriptive title only), c1862, signed in the plate at lower right. This may be a proof before later lettering with publication details as the size of the sheet and the portrayed subject is in accord with the folio of 272 lithographs, “L'Étude du Paysage” 1862–65), printed and published by François Delarue (fl. 1850s–1860s) in Paris and also published in London by Moore, Mc Queen & Co (1816–1956), in the second of two volumes in “Collection de modèles élémentaires et gradués formant un cours complet autographié d'après nature” (for example: https://collections.geneve.ch/mah/oeuvre/vue-dun-arbre/e-2015-0423-120). Note also that the attribution of the date of execution (c1862) meets with the stylistic change in the artist’s signature from his earlier signature style thirty years earlier (see for example: https://collections.geneve.ch/mah/oeuvre/arbres/e-2017-1008-024).

Lithograph (possibly a transfer lithograph) printed in black on heavy wove paper.

Size: (slightly irregular sheet) 40 x 31.5 cm.

Condition: a strong and well-printed impression laid onto a support of archival (millennium quality) washi paper. There are several fractures to the edges of the sheet (repaired and now supported), otherwise the sheet is in an excellent condition with no major tears, holes, folds, abrasions, stains or foxing.

I am selling this beautiful lithograph designed as drawing model for students to study and hone their technical skills, for AU$178 in total (currently US$126.11/EUR114.68/GBP95.74 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 sensitively rendered study of trees by one of the most famous of the Swiss landscape artists, 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 

Willem van Nieulandt II’s etching, “Satan Tempts Christ in the Desert”, c1617

Willem van Nieulandt II (aka Willem Adriaensz. van Nieulandt II; Guglielmo Terranova) (1584–1635)

“Satan Tempts Christ in the Desert” (aka “Satan Christum in Solitudine Tentat”; “Landschap met de verzoeking van Christus”; “Landscape with the Temptation of Christ”), c1617 (1606–1628), plate 3 in the series of four plates, “Italian Landscapes with Biblical Scenes” (aka “Italiaanse landschappen met Bijbelse voorstellingen”).

Etching on laid paper with small margins.

Size: (sheet) 27 x 34.4 cm; (plate) 23 x 32.4 cm; (image borderline) 22 x 31.8 cm.

Numbered and lettered in plate below the image borderline: (left) “3.”; (centre) “Satan Christum in Solitudine tentat”.

Hollstein Dutch 3 (FWH Hollstein 1956, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Meer–Ossenbeeck”, vol., 14, Amsterdam, Menno Hertzberger, p. 162, cat. no. 3); LeBlanc 3 (Ch. Leblanc 1854[–1889], “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire par J.Ch. Brunet”, vol., 3, Paris, p. 99, cat. no. 3).

The Rijksmuseum offers the following description of this print:

[Transl.] “In an Italian landscape in front of a tree, Christ is tempted by the devil to turn a stone into bread. In the background a river with two people in a rowboat and someone on the bank. In the right background a city” (http://hdl.handle.net/10934/RM0001.COLLECT.158110).

Condition: a strong and well-printed (faultless) impression with small margins. The sheet is in a near pristine condition for its considerable age with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this beautiful 17^th century etching that was designed for a suite of Italian scenes with biblical themes, but may be more connected to the Flemish landscapes of the artist’s teachers (Jacob Savery and Paul Bril)—note the eye-catching and symbolic juxtaposition of living and dead trees in the foreground and the tiny, but symbolically significant, arched gateway at far right leading into the substance of the scene—for the total cost of AU$302 (currently US$218.54/EUR193.89/GBP162.96 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.

If you are interested in purchasing this early landscape etching in a near pristine condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Waltner’s etching, “Aretino”, 1905, after Titian’s “A Man with a Quilted Sleeve”, c1509

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“Aretino” (aka “A Man with a Quilted Sleeve”), 1905, a bon à tirer proof (i.e. an “okay-to-print” proof by which a later edition of impressions should be matched/compared in terms of quality) on vellum (usually calf skin), signed and annotated in pencil by Charles Waltner, after Titian’s (1488/90–1576) famous portrait “A Man with a Quilted Sleeve”, c1509, in the National Gallery, London (see https://en.wikipedia.org/wiki/A_Man_with_a_Quilted_Sleeve).

The printer is Ch. Wittmann (fl. 1891–1907; active in Paris) and the dual publishers are L. H. Lefevre & Son in London and David Bendann in Baltimore and New York (as inscribed in the plate).

Note that Titian’s painting may not be a portrait of Pietro Aretino (1492–1556), as the identity of the sitter is uncertain. The title of this print is based on the published title, “Aretino” (see https://www.gettyimages.com.au/detail/news-photo/aretino-print-made-by-charles-waltner-18461925-french-news-photo/1314680203). For those unfamiliar with Pietro Aretino, he was an Italian writer and critic of great influence in his time and was arguably the model of St Bartholomew in Michelangelo’s “The Last Judgement”, portrayed holding what is (again arguably) Michelangelo’s flayed skin.

Etching with plate tone on vellum with wide margins, a bon à tirer proof hand-signed and annotated by the etcher.

Size: (sheet) 62 x 48 cm; (plate) 53.3 x 42.2 cm; (image borderline) 36 x 45.5 cm.

Lettered in plate: (above the image borderline at centre) “Entered according to Act of Congress in the year 1905 at the office of the Librarian of Congress at Washington U.S.A.”; (below the image borderline at centre) “Published 1905 by L. H. Lefevre & Son, 1^a King Street, S^t James’s London S.W. and in the United States of America by David Bendann, Baltimore & New York Printed by Ch. Wittmann, Paris”.

Inscribed in pencil below the image borderline: (right) “Bon à tirer/ Ch. Waltner”.

Condition: a richly inked and well-printed/faultless impression with generously wide margins. There are minor flaws, age toning and crinkling that are appropriate to natural skin (vellum).

I am selling this huge and exceptionally rare/unique “bon à tirer” (ok to print) hand-signed proof on genuine vellum for the total cost of AU$398 (currently US$288.01/EUR255.52/GBP214.77 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.

If you are interested in purchasing this breathtakingly fine 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

Francesco Bartolozzi’s engraving, “Proverb V: Warning Against Adultery”, 1764

Francesco Bartolozzi (1728–1815)

“Proverb V: Warning Against Adultery” (aka “Juvenis ascultans seni de divinis admonenti”; “My son attend unto my wisdom, and bow thine ear to my understanding”), 1764, published in London by John Boydell (1719–1804) as an illustration to Chapter 5 of “The Proverbs of Solomon”, regarding the perils of adultery:

“My son, pay attention to my wisdom;

Lend your ear to my understanding,

That you may preserve discretion,

And your lips may keep knowledge.

For the lips of an immoral woman drip honey,

And her mouth is smoother than oil;

But in the end she is bitter as wormwood,

Sharp as a two-edged sword … (https://biblia.com/books/nkjv/Pr5.1-3).

The British Museum advises that the two figures portrayed are after Camillo Procaccini’s (1561–1629) fresco, “Last Judgement”, in S. Prospero, Reggio Emilia (see https://www.britishmuseum.org/collection/object/P_1989-1209-21-88). Note, however, that the print is inscribed as being after the design of Pellegrino Tibaldi (aka Pellegrino De' Pellegrini) (1527–1596).

Engraving and etching printed in umber ink and trimmed around the image borderline with small marrgins.

Size: (sheet) 47.2 x 33.9 cm; (image borderline) 39.4 x 31.8 cm.

Lettered below the image borderline: (left) “Pellegrino Tibaldi del.”; (centre) “Juvenis auscultans Seni de divinis admonenti./ My Son attend unto my Wisdom, and bow thine ear to my Understanding. Proverbs Ch. V.”; (right) “F. Bartolozzi Londini sculpsit.”

State iii (of iii) with the addition of the title text.

Calabi & De Vesme 339

The British Museum offers the following description of this print: “An older man, seated on a cloud, head in profile to right, left arm raised, index finger pointing upwards, talking to a younger man, seated at his feet, his right arm resting on his left knee; in the background on the right, bust and heads of three male figures” (https://www.britishmuseum.org/collection/object/P_S-6-8).

Condition: a well-printed (almost faultless) impression trimmed with a small margin around the image borderline. The sheet is in superb/near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this large and sensitively executed engraving showcasing the amazing skill that made Francesco Bartolozzi famous—interestingly, this print heralds his later fame for using coloured ink (especially sanguine) and inventing the “crayon manner” in which stippling is employed to reproduce the coarse textures of chalk/crayon drawings—for AU$328 (currently US$236.11/EUR210.25/GBP175.81at 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.

If you are interested in purchasing this technically superb engraving in near pristine condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.