Eugène André Champollion’s etching, “Moroccans Playing with a Vulture”, 1877, after Mariano Fortuny

 

Eugène André Champollion (1848–1901)

“Moroccans Playing with a Vulture” (aka “Marocains Jouant avec un Vautour”), 1877, after Mariano Fortuny’s (aka Mariano José María Bernardo Fortuny y Carbo; Mariano José María Bernardo Fortuny y Marsal) (1838–1874) painting exhibited in the Salon of 1877 and in the collection of Mr. de Fontagud Gargollo (as inscribed in the published state of this print). This impression is before the lettered state with publication details for “L'Art” (1877, vol., 10, p. 282) and inscribed with Alfred Salmon (aka Alfred Fortuné Salmon) as the printer (fl.1863–1894).

Etching on cream laid paper with partial watermark and wide margins.

Size: (sheet) 29.6 x 39.2 cm; (plate) 24 x 31.5 cm; (image borderline) 20.8 x 28.9 cm.

Inscribed in plate within the image borderline along the lower edge: (left) “E. Champollion aqua f.”; (right) Fortuny/ 1[8?] 68”.

Lettered in plate below the image borderline: (left) “Fortuny del.”; (centre) “MAROCAINS JOUANT AVEC UN VAUTOUR.”; (right) “E. Champollion sc.”

Beraldi 1 (Henri Beraldi 1886, “Les Graveurs du Dix-Neuvième Siècle: Brascassat - Chéret”, vol. 4, Paris, Librairie L. Conquet, p. 83, cat. no. 1 [Planches Publiees dans “L'Art”]; IFF 6. 

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1878-0511-339

Condition: a strong impression with wide margins in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this insightfully executed etching capturing the almost Impressionistic style of paint handling for which Fortuny is known—note, for example, how the figures are represented with tiny “broken” touches of tone as if the light was bouncing on the surface of their forms rather than portraying the same subject with the more academic approach of rendering forms with blended tonal gradations—for the total cost of AU$233 (currently US$155.55/EUR142.90/GBP125.78 at the time of this listing) including Express Mail (EMS) 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 etching worthy of close study, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Claude Mellan’s engraving, “Council with the Holy Spirit above the Gospel, Surrounded by Clergy”, 1665

Claude Mellan (1598–1688)

“Council with the Holy Spirit above the Gospel, Surrounded by Clergy (aka “Concilie met de Heilige Geest boven het Evangelie, Omringd door geestelijken”; “Un Concile”), 1665, following the artist’s own design.

Engraving on laid paper, trimmed with a small margin around the image borderline on the top and sides, but within the borderline on the lower edge with loss of publication details and lower right corner (now replenished) and backed with a support sheet.

Size: (unevenly trimmed sheet) 28.6 x 45.5 cm.

State iii (of iii) showing a fragment of the banderole added in the third state; compare the impressions of the third state and second states held by the Rijksmuseum:  (state iii) http://hdl.handle.net/10934/RM0001.COLLECT.722392; (state ii) http://hdl.handle.net/10934/RM0001.COLLECT.152753.   

IFF 120-3(3)  (Département des Estampes 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe Siècle”, vol., 17, Paris, Bibliothèque Nationale , p. 89, cat. no. 120); Montaiglon 111 (Anatole de Montaiglon 1856. “Catalogue Raisonné de l'Oeuvre de Claude Mellan d'Abbeville”, Abbeville, P Briex, p. 126, cat. no. 111; see https://archive.org/details/catalogueraisonn00mont_0/page/126/mode/2up).

Anatole de Montaiglon (1856) offers the following description of this print: (transl.) “A Council. The book of the Gospels is open on a table placed in the centre of the composition; beside it, a standing clerk reads a paper, and above it hovers the Holy Spirit; on both sides are ranged bishops and seated or standing figures; in the centre of the foreground, a man, kneeling on the right, offers a book to a bishop seated on the left” (p. 126).

Condition: a well-printed impression, trimmed along the platemark on the top and sides but within the image on the lower edge with loss of the publication details. There are significant restorations and replenished areas—notably the lower right corner. Beyond these important condition issues, the sheet is in an otherwise good condition with no significant stains and has been laid onto a support of archival (millennium quality) washi paper.

I am selling this large and very rare engraving by the artist famous for his technical masterpiece of engraving inscribed with a single spiralling line, “Sudarium of Saint Veronica” (aka “Veil of St Veronica”), for the total cost of AU$514 (currently US$344.04/EUR317.07/GBP279.06 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 amazing engraving—a true tour de force of printmaking—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

Gijsbert van Veen’s engraving, “Times are Changing and We are Changing with Them”, c1607/12

Gijsbert van Veen (aka Gysbrecht van Veen; Gijsbert Vaenius; Gisbert Venius) (1558–1628), possibly designed in collaboration with his brother, Otto van Veen’s (aka Otho Venius; Octaviovan Veen; Otho Vaenius) (1556–1629)—the teacher of Rubens

“Times are Changing and We are Changing with Them” (aka “Tempora mutantur, et nos mutamur in illis”), c1607/12, published in Antwerp by Prostant apud Philippum Lisaert in 1612, as an illustration shown facing page 176 in Otto van Veen’s “Quinti Horatii Flacci Emblemata, Imaginibus in Æs Incisis, Notisque, Illustrata” (The emblems of Quintus Horatius Flaccus, illustrated with images engraved on them, and noted) with accompanying lines from Horace’s (aka Quintus Horatius Flaccus) (65–8 BCE) “Odes”, Book III.

Engraving on fine laid paper trimmed around the image borderline (or slightly within) and backed with a support sheet.

Size: (support sheet) 31.3 x 25.2 cm; (sheet) 18.1 x 14.8 cm.

The following translation of the accompanying text for this illustration may help to give the flavour of the writing (my apologies for errors in the translation): “Time makes everything worse, bringing new vices, emerging from the open wood of Pandora, with all evils. Our fathers passed their ancestors into malice, and we, worse than them, will leave nephews behind us, who owe us vice.” (p. 176).

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/quintihoratiifla00veen/page/177/mode/2up.

See also this engraving and accompanying text offered by De Digitale Bibliotheek voor de Nederlandse Letteren (DBNL): https://www.dbnl.org/tekst/vaen001quin01_01/vaen001quin01_01_0088.php.

Note that this impression is from a Latin edition that is different from the publication showcased by Archive.org (based on looking at the layout when the print is held to the light).

Condition: a well-printed impression, trimmed around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a very good condition for its age, with no tears, holes, folds, abrasions, stains or foxing.

I am selling this marvellous emblem print with Father Time (aka Chronos) carrying his scythe—his famous leveller of men—flying over ancient ruins bringing with him what I assume may be allegorical putti figures of the vices, for the total cost of AU$237 (currently US$158.24/EUR146.06/GBP128.37 at the time of this listing) including Express Mail (EMS) 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 visual reminder of the constancy of vices with changing times, 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

Léon Jean Baptiste Sabatier’s lithograph, “Appearance of the Aurora Borealis in the East at Bossekop (Finland) on January 19th, 1939 at 9.27 PM”, 1839, after Louis Victor Bevalet

Léon Jean Baptiste Sabatier ([fl.c1827]–1887)

“Appearance of the Aurora Borealis in the East at Bossekop (Finland) on January 19th, 1939 at 9.27 PM”, 1839, Plate K, lithograph illustration on page 72 to Joseph Paul Gaimard’s (1793–1858) “Voyages en Scandinavie, en Laponie, au Spitzberg, et aux Iles Féroé pendant les années 1838-1840 sur la Corvette La Recherche” (‎Travels in Scandinavia, Lapland, Spitsbergen, and the Faroe Islands during the years 1838–1840 on the Corvette La Recherche), 26 vols., (see a description of this publication offered by Jeff Webber Rare Books: https://www.weberrarebooks.com/product/139823). This lithograph was executed by Léon Jean Baptiste Sabatier (possibly with assistance from the London-based lithographer, Rudolph Ackermann [1764–1834]) after a drawing by Louis Victor Bevalet (aka Louis Bévalet) (1808–1887), printed by Lemercier (fl.1827–1899) and published in Paris by Arthus-Bertrand (fl. 1769–).

Lithograph printed from two colours on wove paper.

Size: (sheet) 34.3 x 52.8 cm; (image borderline) 22 x 42.5 cm.

Lettered in plate above the image borderline: (left) “VOYAGES EN SCANDINAVIE, EN LAPONIE, etc.”; (right) “ATLAS DE PHYSIQUE./ K”.

Lettered in plate below the image borderline: (left) “Dessiné par Bevalet./ Paris_Arthus-Bertrand éditeur.”; (centre) “Imp. par Lemercier, à Paris./ APPARENCE DE L’AURORE BORÉALE DANS L'EST./ à Bossekop, (Finmark), le 19 Janvier 1839, à 9^h. 27^m. du soir.”; (right) “Lith. Par Sabatier./ Londres. Ackermann et C^o. 96 Strand.”

Condition: a well-printed (near faultless) impression in near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this strong and exceptionally beautiful lithograph of The Northern Lights—adding another dimension to this marvellous image, Asgeir Brekke (a leading researcher on the Lights) advises that the original drawings for the series of lithographs were "dashed off with frostbitten nails in the winter's night" (see Jeff Webber Rare Books op. cit.)—for the total cost of AU$269 (currently US$179.51/EUR165.99/GBP145.99 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 large and spectacular lithograph in simply amazing condition for its age, 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

Adolphe Appian’s etching, “Le Village de Chanaz (Savoie)”, 1866

Adolphe Appian (1818–1898)

“Le Village de Chanaz (Savoie)”, 1866, plate 229, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907). This is proof of the second state (Prouté 19) before the addition of the publication details for Cadart & Luce (fl.1867–1870/1) who published the print in “Eaux-Fortes Modernes”, vol. 4 (1866); “L’Eau-Forte depuis 10 ans” (1873) and “L’Eau-Forte depuis 12 ans” (1874) for the Société des Aquafortistes (Society of Etchers).

Etching with pale plate tone printed in a warm black ink on laid paper with wide margins.

Size: (sheet) 29.8 x 42.1 cm; (plate) 15.9 x 23.8 cm; (image borderline) 10.6 x 18.3 cm.

Numbered in plate above the image borderline: “229.”

Inscribed in plate within the image borderline: (lower left) “Appian 1866”.

Lettered in plate below the image borderline: (left) “A. Appian sculp.”; (centre) “LE VILLAGE DE CHANAZ (Savoie)”; (right) “Imp. Delâtre, Rue S^t. Jacques, 303, Paris.”

State ii (of iii) proof before the addition of publication details for Cadart et Lauquet and later erasure of the plate number in the third state.

Curtis & Prouté 9 ii (Atherton Cutiis & Paul Prouté 1968, “Adolphe Appian son Oeuvre Gravé et Lithographié”, Paris, Paul Prouté, [n.p.] cat. no. 9 ii); Jennings 17 (Herbert H Jennings 1925, Adolphe Appian [essay] in “Print Collector’s Quarterly,” vol. 12, no. 1, p. 114, cat. no. 22 [scroll to page 114: https://digi.ub.uni-heidelberg.de/diglit/print_collectors_quarterly1925/0134/scroll]).

The British Museum offers the following description of this print: “Plate 229: view of fortifying walls on rocky hillside, beside river; from the fourth volume of prints produced by the Société des Aquafortistes. 1866 Etching” (https://www.britishmuseum.org/collection/object/P_1866-1110-1411).

Condition: a richly inked and well-printed (faultless) impression with generously wide margins. Beyond minor surface marks and more notable marks verso, the sheet is in an excellent (near pristine) condition with no tears, holes, or folds.

I am selling this strong and poetically moody etching (at least to my eyes) featuring birds on the banks of what I believe is the Savière canal—a canal connecting the Rhône to Lac du Bourget in Southeast France—for the total cost of AU$312 (currently US$207.34/EUR192.64GBP169.37 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 especially fine etching executed by an artist with a strong personal vision and a close connection with the Barbizon School, 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