Charles Paul Alphonse Bellay’s engraving, “Christ a la Monnaie”, 1885, after Titian

Charles Paul Alphonse Bellay (1826–1900)

“Christ a la Monnaie” (aka “Christ has the Coin”; “Christ with the Denarius”), 1885, plate 53 after Titian’s (aka Tiziano; Tiziano Vecellio) (1489/90–1576) painting of the same title (1514-15) (first version) in Gemäldegalerie Alte Meister in Dresden, printed by Charles Chardon (1832–1896) and published by the Société Française de Gravure (aka Société des Graveurs au Burin) (fl.1868–)—a society that the BM advises was founded by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members (see https://www.britishmuseum.org/collection/term/BIOG183625).

Engraving on cream chine collé on heavy wove paper with wide margins.

Size: (sheet) 63.4 x 48.7 cm; (plate) 41 x 29.6 cm; (chine collé) 38.7 x 27.3 cm; (image borderline) 18.8 x 21.7 cm.

Lettered in plate below the image borderline: (left) “TITIEN PINX^T.”; (centre) “SOCIÉTÉ FRANÇAISE DE GRAVURE/ [stamped in ink] 53/ Imp. Ch. Chardon”; (right) “CH. BELLAY SCULP^T.”

Beraldi 22 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Bellangé – Bovinet”, vol. 2, Paris, Librairie L. Conquet, p. 26, cat. no. 22).

Condition: a richly inked and near faultless impression with generously wide margins. The front side of the sheet (recto) is in near pristine condition with no tears, holes, folds, abrasions, significant stains or signs of handling, but the back of the sheet (verso) shows faint spots of foxing.

I am selling this huge and exceptionally rare engraving exemplifying the discipline and skill of a master engraver for AU$304 in total (currently US$209.633/EUR209.08/GBP179.44 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 masterwork of engraving—note that the portrayed event in which Christ advises regarding the paying of taxes that one should “render unto Caesar the things that are Caesar’s, and unto God the things that are God’s” had added meaning for Duke Alfonzo who commissioned Titian to paint the scene as the Duke had been excommunicated by the Papacy because he wasn’t prepared to fund the Papacy’s war interests—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 François Sergent-Marceau’s colour aquatint. “Mr Necker”, after Joseph Siffred Duplessis

Antoine François Sergent-Marceau (aka Antoine Louis François Sergent) (1751–1847)

The British Museum offers the following biographical details about this artist: “Colour aquatinter, pupil of Augustin de Saint-Aubin; major figure in Terror during French Revolution. B. Antoine-Louis Sergent, he married the sister of General François Séverin Marceau and after Marceau's heroic death in 1798 took the name as Sergent-Marceau” (https://www.britishmuseum.org/collection/term/BIOG45898).

“Mr Necker”—portrait of Louis XVI’s Finance Minister, Jacques Necker (1752–1804), whose dismissal on 11 July 1789 paved the way to the storming of the Bastille, 1789, after a painting of the same composition by Joseph Siffred Duplessis (aka Joseph Siffrein Duplessis) (1725–1802) and after the intermediary design by Augustin de Saint-Aubin (1736–1807) (see https://www.britishmuseum.org/collection/object/P_1868-0822-7378), printed by Chappuy (fl.1789), published in Paris by Augustin de Saint-Aubin and Antoine François Sergent-Marceau.

Colour aquatint and etching printed on cream wove paper trimmed with a small margin around the image borderline and backed with a support sheet.

Size: (support sheet) 43.3 x 34.2 cm; (sheet) 23 x 16.8 cm; (image borderline) 20.4 x 14.2 cm.

Lettered in plate below the image borderline: (centre) “Gravé d’après le Tableau Original de M. Duplessis Peintre du Roi, sous la direction de M.de S^t.Aubin, Graveur du Roi, par An.Fs.Sergent/ 1789/ A Paris chez M.de S^t.Aubin, rue des Prouvaires, N^o.54, Et chez M^r. Sergent rue Mauconseil, N^o.62.”; (right) “Imprimé par Chappuy”.

LeBlanc 10 (Charles Le Blanc 1888, “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. 492, cat. no. 10); Nagler Künstlerlexikon 2 (Georg Kaspar Nagler 1840, “Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Kupferstecher, Formschneider, Lithographen: Sole, G.G.–Surugue, L”, vol. 16, München, Fleischmann, p.282, cat. no. 2).

The Rijksmuseum offers a description of this print: http://hdl.handle.net/10934/RM0001.COLLECT.175086

Condition: a strong and well-printed impression, trimmed with a small margin around the image borderline and laid onto a support of archival (millennium quality) washi paper providing larger margins. The margin corners have been restored/replenished and there is scattered light foxing, otherwise sheet is in a good condition with no tears holes, folds, or significant stains.

I am selling this amazing portrait of a key figure leading up to the storming of the Bastille and ultimately the French Revolution, executed in glowing colour aquatint by another noteworthy artist during the terror of the French Revolution, for AU$232 in total (currently US$161.13/EUR160.57/GBP137.14 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 very rare aquatint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jan Collaert I’s engraving, “Birth of the Son of the Shunammite Woman,” c1579

Jan Collaert I (aka Hans Collaert) (c1525/30–1580)

“Birth of the Son of the Shunammite Woman” (aka “Geboorte van de zoon van de Sunnemitische vrouw”), c1579 (published 1643), plate 2 from the series of 6 plates (Hollstein 122–127 [de Vos]), “The Story of Elisha,” after the design by Maarten de Vos (aka Maarten de Vos; Maerten de Vos) (1532–1603), published in Amsterdam by Volcxken Diericx (Volcxken Dierickx; Volcxken Diericx) (fl.1570–1600). Note that this print was later published by Claes Jansz. Visscher (aka Nicolaes Jansz.Visscher; Piscator) (1587–1652) in 1643 (possibly in “Thesaurus Sacrarum Historiarum Veteris Testament”). This impression is from the initial edition by Volcxken Diericx.

Engraving on laid paper with small margins.

Size: (sheet) 23 x 30.8 cm; (plate) 21.1 x 28.7 cm; (image borderline) 18.9 x 28.2 cm.

Inscribed on plate within the image borderline along the lower edge: (left) “M.de vos. inue. […] Aux.4.vents”.

Numbered and lettered on plate below the image borderline: (left) “2”; (centre in two columns of two lines) “Cijnthea iamq[ue] suos novies contraxerat orbes,/ Signaq[ue] per totidem Phebus deduxerat ignes.// Ipsa tumescebant crescents pondera ventris,/ Letaq[ue] promissum est enixa puerpera natum.”

State iii? (of iv) before the addition of publication details for Claes Jansz. Visscher in the final state

Hollstein 123 (Christiaan Schuckman [comp.] 1996, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Maarten de Vos,” vol. 44, Rotterdam, Sound and Vision Rijksprentenkabinet, cat. no. 123); New Hollstein (The Collaert Dynasty) 60 (Ann Diels & Marjolein Leesberg [comp.] 2005–2006, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: The Collaert Dynasty,” vol. 8, Ouderkerk aan den Ijssel, Sound and Vision, cat. no. 60); Riggs 196 (Timothy A. Riggs 1977, “Hieronymus Cock: Printmaker and Publisher,” New York, Garland Publishing).

The British Museum offers the following description of this print: “A son born to the Shunammite woman; the Shunammite woman seen resting in a chair after giving birth; various nurses attending her as the baby, seen in the foreground, is washed in a bowl; behind, to left, the Shunammite woman showing her baby the family's fields; plate 2; [...] after Maarten de Vos” (https://www.britishmuseum.org/collection/object/P_1937-0915-86).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.97252.

Condition: a well-printed and very strong impression with small margins. Beyond a flattened centrefold and remnants of mounting hinges verso, the sheet is in an excellent condition for its considerable age with no tears, holes, losses, abrasions, significant stains or foxing.

I am selling this event-filled engraving exemplifying the Flemish Mannerist leaning towards lively rhythms, theatrical gestures and spatial ambiguity for AU$289 (currently US$198.26/EUR199.33/GBP169.76 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 engraving of fascinating complexity, 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 Daubigny’s etching, “Le Buisson”, 1855, after Jacob van Ruisdael

Charles Daubigny (aka Charles François Daubigny) (1817–1878)

“Le Buisson” (aka “The Scrub”; “The Thicket”), 1855, after Jacob van Ruisdael 's (aka Jacob van Ruysdael; Jacob Isaaksz van Ruisdael; Jacob de Goyer) (1628/9–1682) painting, 1647/53, “Dune Landscape near Haarlem” (aka "Le Buisson ou Chemin dans les dunes harlemoises"), in the Musée du Louvre, Paris (inv. no. 1819) (see: https://en.wikipedia.org/wiki/Dune_Landscape_near_Haarlem), commissioned and published by the Chalcographie du Louvre.

Etching and drypoint printed in brown (bistre) ink on heavy cream wove paper, blind-stamped with the Chalcographie du Louvre seal.

Size: (sheet) 51 x 54.8 cm; (plate) 42.9 x 47.8 cm; (image borderline) 32.8 x 39.7 cm.

Lettered in plate below the image borderline: (left) “J.Ruisdael pinxit.”; (centre) “LE BUISSON.”; “C. Daubigny sculp 1855/ CHALCOGRAPHIE DU MUSÉE DU LOUVRE.”

Blind-stamped on lower margin with the seal of “Chalcographie du Louvre, Musées Nationaux”.

State v (of v) with the addition of the title and publication details of the Chalcographie.

Melot D87 S5 (Michel Melot 1978, “Graphic Art of the Pre-Impressionists”, New York, Harry N. Abrams, p, 278, cat. no. D 87 [5]); Delteil 87 (“Le Peintre-Graveur Illustré (XIXe et XXe siècles”).

Michel Melot (1978) offers the following insights about the background events in Daubigny’s life leading up to the execution of this plate:

“The Comte de Nieuwerkerke, Director-General of Museums, assigned Daubigny to translate the “Thicket” of Ruysdael, which no engraver had as yet taken on. Daubigny acquitted himself of this delicate task very honourably. He rendered the masterpiece of the Master of Haarlem not as a clever manipulator of cross-hatchings but as a painter interpreting another painter and penetrating directly into the feeling of the model. He attained the power of effect of the original and at the same time expressed its austere melancholy. Following the example of the masters of the great periods of engraving, Daubigny executed his plate with a great simplicity of means. He made use of scarcely anything more than etching and drypoint. He made little or no use of the burin. He rigorously ruled out the use of roulettes and other mechanical means. He made up for them by energetic and repeated [acid] baths; his work owes its frankness and vigour to those audacities in acid-biting, but the drawing was to some extent made heavier, and the plate lost by this a little of the spirit and finesse that distinguish the ‘first state’ of pure etching so sought after by print lovers” (p. 278; see also the original text written that Melot translated written by Comte de Nieuwerkerke’s secretary, Frédéric Henriet, in 1875 in “C. Daubigny et son oeuvre gravé, eaux fortes et bois inédits”, Paris, A. Lévy, pp. 60–61: https://archive.org/details/cdaubignyetsonu00henrgoog/page/n80/mode/2up).

The Metropolitan Museum of Art offers a description of this print: https://www.metmuseum.org/art/collection/search/336989.

Condition: a richly inked and well-printed impression with generous margins as published in near pristine condition.

I am selling this large and richly worked etching executed by one of the luminaries of the Barbizon School after a painting by one of the major landscape artists of the 1600s, for the total cost of AU$289 (currently US$199.21/EUR199.71/GBP169.82 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 superb etching which is one of Daubigny’s major commissioned works by the Louvre—interestingly, the print was commissioned by the director of the Louvre at a time when artists’ reproductive rights were being challenged by a proposed law in 1841 designed to prevent “the government of conducting itself like an owner and publisher with money taken from the Civil List” (see Frédéric Henriet [1875] p. 60)—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

Circle of Etienne Dupérac’s etching, “Hercules Temple at the Forum Boarium”, 1568

Unidentified printmaker, but possibly by, or from the circle of, Etienne Dupérac (aka Stefano Dupeyrac) (c1535–1604)—mindful that Etienne Dupérac executed the title plate for the series in which this plate features.

“Hercules Temple at the Forum Boarium”, 1568, from the series of 173(?) plates, “Speculum Romanae Magnificentiae” (“Mirror of Roman Splendour”), published in Rome by Antoine Lafréry (aka Antonio Lafreri) (1512–1577) (see the title page and the BM’s discussion about the series: https://www.britishmuseum.org/collection/object/P_1947-0319-26; see also Peter Parshall’s 2006 article, “Antonio Lafreri's Mirror of Roman Magnificence”, in “Print Quarterly”, vol. 22, London, pp. 3–28).

Etching and engraving with pale plate-tone on fine laid paper with watermark, trimmed with a small margin around the platemark.

Size: (sheet) 42.9 x 24.7 cm; (plate) 42 x 23.9 cm.

Lettered in plate: (left) “Questo e il tempio di Hercole/ minore, nel foro Boario e/ d’ordine corinthio mol/ to ben lauorato et/ bene inteso si” ([transl.] “This is the temple of Hercules minor, in the forum Boarium and of Corinthian order very well honoured and well understood it is”); (centre) “MINORIS^.TEMPLI^.HERCVLIS^.VEL^.VT^.ALIIS^.PLACET^.PORTVMNI^.IN^.FORO/ BOARIO^.GRAPHICA^.DELINEATIO^.ROMAE^.ANNO DLXVIII [/] Cána”; (right) “Cána [/] come se ne uede fin al presente/ bona parte in piedi, et/ nouamente posto in luce l’anno, 1568, in Roma” ([transl.] “as we see up to the present bona part standing, and newly brought to light in the year, 1568, in Rome”).

Huelsen 158 (Christian Huelsen 1921, “Das Speculum Romanae Magnificentiae des Antonio Lafreri”); Ref: Ludwig Bertalot et al, 1921, “Collectanea variae doctrinae Leoni S. Olschki bibliopolae florentino sexagenario”, Monachii, Jacques Rosenthal, p. 169, cat. no. 158.

The Rijksmuseum offers the following description of this print: (transl.) “Front view of the Temple of Hercules (to scale) on the Forum Boarium in Rome. Below is a map of the temple. Text in Latin and Italian on either side of the map” (http://hdl.handle.net/10934/RM0001.COLLECT.536484).

Condition: a strong impression with a printer’s crease at upper right toned to be virtually invisible. The sheet is trimmed with a small (approx.5 mm) margin around the platemark. The sheet is in an excellent condition with no tears, holes, abrasions, losses, significant stains or foxing.

I am selling this historically important and beautiful Renaissance period architectural plan and elevation view of the Temple of Hercules Victor in Rome, for the total cost of AU$364 (currently US$250.91/EUR251.54/GBP213.89 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 rare 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