Jean-Honoré Fragonard’s etching, “Saint Luke”, c1764 (2nd copy)

Jean-Honoré Fragonard (1732–1806)

“Saint Luke”, c1764, after a pendentive design in the Cathedral of Naples/Church of the Holy Apostles by Giovanni Lanfranco (1582–1647)

Etching on laid paper

Size: (sheet) 12.1 x 9 cm; (image borderline) 10.8 x 7.9 cm

Inscribed below the image borderline at left: "Lanfranc a naple aux St. Apotre".

State i (of ii) a lifetime impression before the addition of the plate number.

Wildenstein 17, I; Baudicour 20; IFF 16 I.

The British Museum offers the following description of this print:

“St Luke, sitting and leaning on the portrait of Virgin Mary, looking at a book presented by three cherubs on the left; on the right, another cherub holding palette and brushes. c.1761/65” (https://www.britishmuseum.org/collection/object/P_1882-0311-1152)

See also the descriptions of this print at the Metropolitan Museum of Art and at Cleveland Museum: https://www.metmuseum.org/art/collection/search/369291; http://www.clevelandart.org/art/1926.282.

Condition: a well-printed impression—perhaps slightly over-wiped on the lower angels’ legs—trimmed around the platemark with small margins around the borderline. Beyond traces of mounting glue verso, the sheet is in an excellent condition for its considerable age with no tears, holes, folds, significant stains or foxing.

I am selling this small but magnificent first state (lifetime) impression by one of most famous of the French Rococo artists, for the total cost of AU$456 (currently US$318.84/EUR311.76/GBP261.70 at the time of this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this original Fragonard—as opposed to a print after Fragonard and mindful that prints of this rarity and quality are seldom seen on the market place—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second impression of this print that I have listed. The previous impression has been sold.

This print has been sold

Woodcut from the circle of the Venetian printer, Paolo Balleonio, “Double-Headed Eagle”, c1716

Unidentified printmaker from the circle of the Venetian printer, Paolo Balleonio (fl.1716)

Note that the Venetian publisher, Paolo Baglioni (fl. c1629–late 1600s), used a variation of the double-headed eagle emblem as his printer’s device (see https://marques.crai.ub.edu/en/printer/a11608511  and https://archive.org/details/bub_gb_LwePqEImq2MC/page/n5/mode/2up).

“Double-Headed Eagle” (aka “Aigle à Deux Têtes”; “Aigle Bicéphale”), c1716, title page emblem woodcut featured in two publications:

- Cardinal Giovanni Battista de Luca's “Theatrum Veritatis & Justitiæ”, book 6, printed by Paolo Balleonio and published in Venice by Typographia Balleoniana (c1702–c1860) in 1726 (see https://www.britishmuseum.org/collection/object/P_1928-1210-287);

- Prospero Fagnani’s (1598–1678) “Repertorium seu Index generalis rerum ac verborum in commentarios Prosperi Fagnani super quinque libros Decretalium: alphabetica serie digestus, & iuxta materiarum varietatem subdistinctus” (A repertory or general index of things and words in the commentaries of Prosperus Fagnani on the five books of the Decretals: arranged in alphabetical order, and subdivided according to the variety of materials), published in Venice by Typographia Balleoniana in 1742 (see https://archive.org/details/bub_gb_qApnAAAAcAAJ/mode/1up).

Woodcut (the British Museum describes it as an engraving [see inv. no. 1928,1210.287]) on laid paper trimmed around the image borderline and backed with a support sheet.

Size: (sheet) 10.7 x 14.5 cm.

The British Museum offers the following description of this print: “… image of coat of arms, featuring double-headed eagle surmounted by crown, framed by acanthus leaves, laurel and oak branches, on which birds are sitting; two eagles in the front. Engraving and letterpress” (BM inv. no. 1928,1210.287).

Condition: a strong and well-printed impression with no tears, holes, folds, abrasions, stains or foxing, laid upon a support of millennium quality washi paper to provide generous margins.

I am selling this visually arresting emblem print for the total cost of AU$217 (currently US$151.66/EUR148.30/GBP124.51 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this finely executed woodcut—note that although the British Museum describes this print as an engraving (see (BM inv. no. 1928,1210.287), I believe it is a woodcut—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

Henri Guérard’s etching of Manet’s painting, “A Bar at the Folies-Bergère”, 1884 (2nd impression)

Henri Guérard (aka Henri Charles Guérard; Henri-Charles Guérard) (1846–97)

“Un Bar aux Folies-Bergère” (aka “A Bar at the Folies-Bergère”), 1884, after Édouard Manet’s (1832–1883) famous painting executed in 1882 and in the collection of the Courtauld Gallery (since 1934), printed by L Eudes (fl.1876–1888) and published in the “Gazette des Beaux-Arts”, 1884.

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

Size: (sheet) 18.2 x 22 cm; (plate) 16.8 x 21.2 cm; (image borderline) 14 x 18.9 cm.

Inscribed in plate within the image borderline: (lower left) “H. GUERARD dapres MANET.”

Lettered in plate below the image borderline: (left) “Manet pinx./ Gazette des Beaux-Arts.”; (centre) “UN BAR AUX FOLIES-BERGÈRE”; (right) “H. Guerard sc./ Imp. Eudes.”

Condition: a strong and well-printed impression with small margins laid upon a support of millennium quality washi paper to provide generous margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this etched translation of Manet’s final great masterpiece for the total cost of AU$230 (currently US$160.75/EUR157.18/GBP131.97 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this amazing translation of Manet’s colour, tone and brushstrokes into etched lines—note how Guérard found equivalent lines to represent the difference between the barmaid and her reflection with all its visual ambiguities in the mirror behind her and, even more fascinating, how Guérard was able to portray the haze of cigarette smoke as a reflection—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

Note that this is the second copy of this print that I have listed. The previous copy has been sold.

Woodcut from the circle of Anton Woensam, “Lutetia”, c1561

Circle of Anton Woensam (aka Anton von Worms) (c1493/1496–c1541)

Note that this attribution is based on Anton Woensam’s woodcuts illustrating the works of St Augustine (see BM inv. no. 1900,1019.74), but there are stylistic and date discrepancies suggesting that this woodcut is unlikely to have executed by the hand of Anton Woensam.

“Lutetia”— the Gallo-Roman town that became the city of Paris, c1561 (dated in text), title-page with woodcut to volume 4 of the complete works of Aurelius Augustinus Hipponensis (aka Augustine of Hippo; Saint Augustine) (354–430 AD), published in Paris in 1561 (as lettered on page):

“S. Avrelii Avgvstini Hipponensis Episcopi, Opvs Complectens Reliqva […] Per Theologos Lovanienses ab innummeris mendis repurgatum. Tomvs Quartvs Cvm Appendice eiusdem Tomi. Parisiis M. DC. LI. Cvm Privilegio Regis.” ([transl.] "St. Aurelius Augustinus, Bishop of Hippo, Complete Remains of the Opus [...] Purged by the Louvain Theologians from innumerable errors. Volume four with an appendix to the same volume. Paris. 1561 with royal privilege.”)

Woodcut with letterpress text printed in black and red (recto and verso) on fine laid paper with margins (as published), backed with a support sheet.

Size: (sheet) 41.5 x 27 cm.

Condition: a strong and well-printed impression with verso letterpress text visible through the thin paper. Beyond minor chipping along the binding edge and a closed tear on the lower edge, the sheet is in a very good condition for its age with no stains or foxing and has been laid upon a support of millennium quality washi paper.

I am selling this stunning woodcut of an early French ship—note the fleur-de-lis patterned sails, the Royal coat-of-arms of France on the port side and the former name for the city of Paris lettered in the distance (“Lutetia”)—for AU$232 (currently US$162.89/ EUR159/GBP133.13 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 magnificently bold and very beautiful woodcut title-page, 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 

Antoine Valérie Bertrand’s etching, “Sainte Famille”, 1893, after Andrea Mantegna

A Bertrand (possibly Antoine Valérie Bertrand [1823–c1908])

“Sainte Famille”, 1893, after Andrea Mantegna’s (c1431–1506) painting, “The Holy Family with Saint John the Baptist”, c1500, in the National Gallery, London (inv. no. NG5641) (see https://www.nationalgallery.org.uk/paintings/andrea-mantegna-the-holy-family-with-saint-john-the-baptist), printed by Eudes & Chassepot (fl. c1891–1895) and published in Paris as an illustration to the periodical, “Gazette des Beaux-Arts”, 1893, vol. 9, opposite p. 226.

Etching on wove paper backed with a support sheet.

Size: (support sheet) 41.3 x 32 cm; (sheet) 27.2 x 18 cm; (image borderline) 18 x 12.8 cm.

Lettered in plate below the image borderline: (left) “Mantegna pinx./Gazette des Beaux-Arts.”; (centre) “SAINTE FAMILLE/ Collection de M. Louis Mond.”; (right) A. Bertrand, sculp./ Eudes & Chassepot. Imp.”

Condition: a strong and well-printed impression with small margins and laid upon a sheet of millennium quality washi paper providing wide margins. Beyond glue marks from the original binding, the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this sensitive translation of Mantegna’s painting into etched lines and dots for AU$190 (currently US$133.03/ EUR130.36/GBP109.17 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.

If you are interested in purchasing beautiful and very fine etching—interesting to note that Bertrand has not attempted to adopt the famous “return stroke” employed by Mantegna in his prints (see https://www.printsandprinciples.com/2017/06/photogravure-of-engraving-by.html) —please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.