Paul Sandby’s etching, “In the Meadows near Edinburgh”, 1751

Paul Sandby (1731–1809)

“In the Meadows near Edinburgh” (aka “The Meadows”; “The Promenade in the Park”), 1751, from the series, “Scottish Landscapes (second set, vertical), published in 1765 by Ryland and Bryer (fl.1765–1772) in a folio of one hundred of Sandby's etchings. “A Collection of Etchings” (see John Bonehill & Stephen Daniels [eds.] 2009, “Paul Sandby (1731–1809): Picturing Britain”, London, Royal Academy of Arts. p. 104).

Etching on buff (presumably laid) paper, trimmed close to the image borderline and backed with a support sheet to provide wider margins.

Size: (support sheet) 34.6 x 28.5 cm; (sheet) 22.3 x 17.4 cm; (image borderline) 21.5 x 16.9 cm.

Inscribed in plate outside the image borderline: (lower left) “Paul Sandby Fecit 1751”; lower right) “K”; (upper right [partly trimmed]) “4”.

Gunn 81 (Ann V Gunn 2016, “The Prints of Paul Sandby (1731–1809): A Catalogue Raisonnae”, Turnhout, Harvey Miller, Brepols, p. 137, cat. no. 81).

Gunn (2016) advises "The figures of the strolling man and woman are from a drawing in the Royal collections (RL 14470, Oppé 1947, no 223). They appear here reversed” (see BM Curator’s comment: https://www.britishmuseum.org/collection/object/P_2019-7015-600).

The British Museum offers the following description of this print: “View in the meadows in Edinburgh; a couple approaching along a path bordered by thick trees on the left, with other ladies and gentlemen further off on the path, which recedes into the sunlight, diagonally to right. 1751/ Etching” (https://www.britishmuseum.org/collection/object/P_1904-0819-500).

See also the description of this print (not illus.) offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.169971.  

Condition: a well-printed impression trimmed with a narrow margin around the image borderline (partly trimming the number “4” at upper right) and laid upon 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 exceptionally rare etching that is one of Sandby’s earliest prints executed at the age of 20, for the total cost of AU$326 (currently US$244.01/EUR220.43/GBP185.77 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 very beautiful etching exemplifying Sandby's early interest in subtle tonal nuances that he was later to advance with his celebrated explorations of aquatint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Pierre Brebiette’s etching, “Frieze with a Bacchanal and the Sacrifice of a Satyr”, c1620

Pierre Brebiette (c1598–1642)

“Frieze with a Bacchanal and the Sacrifice of a Satyr”, c1620 (1617–1625), plate 3 (possibly from the series, “Opera Diversa”, with the title plate by Pierre Brebiette [see https://www.britishmuseum.org/collection/object/P_1854-0614-397]),  published by François Langlois, il Ciartres (aka François Langlois; Ciartres) (1588–1647) with royal privilege (as inscribed in plate).

Etching on fine laid paper with small margins backed with a support sheet to provide wider margins.

Size: (support sheet) 26.9 x 38.3 cm; (sheet) 9.6 x 26.7 cm; (plate) 7.5 x 26.3 cm; (image borderline) 6.6 x 25.5 cm.

Inscribed in plate within the image borderline: (lower right) “roma/ P. Brebiette fecit”.

Lettered and numbered in plate below the image borderline: (left) “F. L. D. Ciartres excudit Cum Priuilegio.”; “3”.

IFF 163 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris). Note that the British Museum advises: “Brebiette etched a large number of frieze-like compositions; the IFF catalogue tries to group them together into 'sets' according to the subject or the dimensions (see Nos. 107 to 170), but this is an arbitrary cataloguing and it is unlikely that the plates were actually meant to be grouped together like this” (https://www.britishmuseum.org/collection/object/P_1854-0614-473).

The British Museum offers the following description of this print:

“Frieze-like composition with draped women dancing while a satyr lying on a pyre on the right is about to be sacrificed/ Etching” (https://www.britishmuseum.org/collection/object/P_R-8-59).

Condition: a strong and well-printed impression with small margins laid upon 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, stains or foxing.

I am selling this exemplary Baroque etching showing a frieze of mythological figures engaged in a bacchanal celebration including a satyr being sacrificed on a pyre, for the total cost of AU$256 (currently US$198.96/EUR178.03/GBP151.53 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 small frieze from the early 1600s exemplifying an interest of that time in mythological subjects underpinned with eroticism, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jean Léon Gérôme’s etching, “Tête de Négresse du Hedjaz”, 1860

Jean Léon Gérôme (1824–1904)

“Tête de Négresse du Hedjaz” (Head of a Negress of Hejaz), 1860, published in the “Gazette des Beaux-Arts” (vol. 5, 1860, p. 296 [facing page]).

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/gazettedesbeauxa05pari/page/296/mode/2up; see also the description of the print: https://archive.org/details/gazettedesbeauxa05pari/page/384/mode/2up.

Etching on buff chine collé (China) on wove paper with small margins (as published) backed with a support sheet to provide wider margins.

Size: (support sheet) 38.4 x 28,7 cm; (sheet) 26.7 x 17.2 cm; (plate) 21.4 x 15.8 cm: (chine collé) 19.8 x 14.5 cm.

Inscribed in plate: (upper left) “Negresse/ du/ Hedj[az]/ … [possibly poorly inscribed Arabic عبد من for “slave from”?]; (lower left) [signature] “J L Gerome/ Gazette des Beaux arts”.

Berald 2 (Henri Béraldi 1888, “Les graveurs du 19e siècles: guide de l'amateur d'estampes modernes: Gavarni–Guérard”, vol. 7, Paris, Librairie L. Gonquet, p. 103, cat. no. 2); IFF 1 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes).

The British Museum offers the following description of this print: “Portrait of a Black woman from Hijaz, bust-length, facing the viewer, a veil covering her head; published in 'La Gazette des Beaux Arts', 1860/ Etching on chine collé” (https://www.britishmuseum.org/collection/object/P_1870-0709-170).

See also the description of this print at the Yale University Art Gallery: https://artgallery.yale.edu/collections/objects/13672.

Condition: a well-printed impression in near faultless condition with small margins (as published) and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling. 

I am selling this original etching by a key Academician, a leading luminary of the Orientalist movement and arguably one of the most famous artists in the late nineteenth century (see Wikipedia for Jean-Léon Gérôme)—for AU$265 (currently US$199.44/EUR178.96/GBP151.66 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 very beautiful etching of an equally beautiful woman from Hejaz—the area sometimes call the “Western Province” of Saudi Arabia—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 

Cornelis Bloemaert’s engraving, “St Bonifacius”, c1626, after Abraham Bloemaert

Cornelis Bloemaert (1603–1692)

“St Bonifacius” —(aka St Boniface; St Winfred; St Winfrith) (675–c754) famous for felling a huge oak tree sacred to Thor, c1626, plate 2 from the series of twelve engravings, “Twelve Bishops and Prelates of Utrecht”—note that Cornelis engraved two of the plates and his brother, Frederik Bloemaert (c1616–1690), engraved the other ten in the series (Roethlisberger 431–442)—after the painting, “St. Boniface”, 1626, in the Roman Catholic Archbishop's Palace, Utrecht, by Cornelis’ father, Abraham Bloemaert (1564–1651), published by Cornelis Bloemaert.

Engraving on laid paper with small margins, backed with a support sheet.

Size: (sheet) 50.5 x 33.5 cm; (plate) 47.4 x 29.9 cm; (image borderline) 42.8 x 29.6 cm.

Lettered in plate above the image borderline: (centre) “Venite filij audite me, timorem Domini docebo vos. Psal. 33.”.

Inscribed in plate within the image borderline: (lower left) “Abrahamus Bloemaert pinxit Ultrajecti.”; (centre) “Corneli[us] Bloemaert fili[us] sculp: et excud:”; (right) “Cum privilegio Regis Christ.mi.”.

Lettered in plate below the image borderline: “Ipse est directus .../ S. BONIFACIUS quiet Winfridus Anglus .../ Consecratus Romæ .../ … D.D. Abrahamus Bloemaert.”.

Roethlisberger 432 (Marcel George Roethlisberger 1993, “Abraham Bloemaert and His Sons: Paintings and Prints,” vol. 1, Doornspijk, Davaco, pp. 284–85, cat. no. 432); FMH 95-2 (Frederik Muller 1863–82, “The Dutch History in Plates: Reasoned Description of Dutch History Plates, Pictures and Historical Maps”, vol. 1, Amsterdam, F Muller, p. 10, cat. no. 95/2); Hollstein Dutch 42 (F W H Hollstein 1950, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700: Berckheyde–Bodding”, vol. 2, Amsterdam, Menno Hertzberger, p. 73, cat. no. 42).

The British Museum offers the following description of this print: “Plate 2: St Boniface. The bishop, whole length, wearing a dalmatic and cope, holding a cross staff and a sword piercing a book, a gushing well at the bottom of his staff in lower left corner; after Abraham Bloemaert/ Engraving” (https://www.britishmuseum.org/collection/object/P_1877-0210-13).

See also the description of this print by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.466852.  

Roethlisberger (1993) offers the following insights about this engraving: “The print is a faithful reproduction, corresponding to the painting, in the same direction. The only bearded figure of the series. Boniface is represented as a bishop with dalmatic, cope (this time without a figurative border), miter, and cross, with the attribute of a sword pierced by a Bible with which he attempted to fend off his murderer. A well is gushing forth from the bottom of his cross” (p. 285).

Condition: a strong lifetime impression (based on the quality of line showing no sign of wear to the printing plate) with small margins and laid onto a support sheet of archival (millennium quality) washi paper. The lower left margin and a worm-hole have been replenished/restored, otherwise the sheet is in a good condition with no folds, significant stains or foxing.

I am selling this large and important masterwork of engraving—Roethlisberger (1993) describes the prints from the series of which this print is a part as “the finest and largest by the two brothers” aside from the engraving, “Ignatius” by Cornelis which is larger (see p. 282)—for AU$403 (currently US$301.69/EUR274.39/GBP230.34 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 very beautiful engraving—note the strong contrasts created by the depth of line in Cornelis’ style of engraving—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

Charles Émile Jacque’s etching, “Woman at the Well”, 1842

Charles Émile Jacque (1813–1894)

“Woman at the Well” (aka “Femme au Puits”; “Petite Femme Tenant un Seau au Bord d’un Puits”; “La Femme à la Cruche, Accoudée au Puits”), 1842, printed in Paris by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and later published by Marchant (aka Alliance des Arts) (fl.c1830–80). This impression is before the addition of the publisher’s details.

Etching with dot roulette printed in dark brown ink on cream chine collé (China) paper on wove paper.

Size: (sheet) 23.4 x 15.2 cm; (plate) 10 x 6.4 cm; (chine collé) 9.5 x 6 cm;  (image borderline) 8.3 x 5.2 cm.

Inscribed in plate below the image borderline (note that there may be errors in my reading of the text): (left) “66”; (centre) “CH. JACQUE 1842 X L.pe [?]”; (right) “Paris Imp.^c[?] Aug Delâtre Rue de Bievie 19".

Guiffrey 5 (J-J Guiffrey 1866, “L'Oeuvre de Charles Jacque: catalogue de ses eaux-fortes et pointes seches”, Paris, p. 34, cat. no. 5); IFF 11 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Français: Bibliothèque Nationale”, Paris, Département des Estampes, p. 100, cat. no. 11); Beraldi 5 (Henri Béraldi 1885–1892, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. VIII, Paris, Librairie L. Conquet, p. 177, cat. no. 5 [https://archive.org/details/lesgraveursdu19e08berauoft/page/177/mode/1up]).

The British Museum and the Metropolitan Museum of Art offer descriptions of this print:

https://www.britishmuseum.org/collection/object/P_1889-0608-5; https://www.metmuseum.org/art/collection/search/829488.

Condition: a strong and near faultless impression with margins (4.5 cm at sides) and in a very good condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this very early and graphically strong etching by one of the luminaries of the Barbizon School for AU$256 (currently US$192.45/EUR175.56/GBP146.19 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 very beautiful etching of rural life in France in the 19th century—note the soft blush of morning light cast on the young lady as she balances a pail on the edge of the well and the suggestion of what life must have been like based on the rustic charm of her surroundings—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.