Cornelis Galle I’s engraving, “Boar Hunt with Shotguns”, c1596, after Jan van der Straet

Cornelis Galle I (1576–1650)

“Boar Hunt with Shotguns” (aka “Aprorum Caedes”; “Slaughter of Wild Boars”), c1596, after the design by Jan van der Straet (aka Joannes Stradanus; Ioannes Stradanus) (1523–1605), plate 25 from the series of 104 plates, “Venationes Ferarum, Avium, Piscium”, published in Antwerp by Philips Galle (aka Philippe Galle; Philippus Gallaeus) (1537–1612).

Engraving on fine laid paper trimmed with a small margin around the platemark, backed with a support sheet.

Size: (sheet) 20.7 x 28.6 cm; (plate) 20 x 26.6 cm; (image borderline) 18.7 x 26.1 cm.

Inscribed in plate within the image borderline: (lower right on stone) “Ioan. Stradanus inuent/ Corn. Galle Sculp.”; (lower right on tree) “Phls Galle/ excud.”

Numbered and lettered in plate below the image borderline: (left) “25.”; (centre in two columns of two lines of Latin verse) “Explosis Apros vno simul impete stlopis;/ Corpora dum turpi in coeno setosa volutant;//Opprimere, et duris occidere glandibus, ars est:/ Hastis venari cum sit res plena pericli.” ([transl.] Shooting with the muskets in a single shot, while their bristling bodies roll in the dirty mud, oppressing and killing the boars with pitiless bullets is an art, a great danger to hunt them with spears.)

New Hollstein Dutch 481 (Marjolein Leesberg [comp.] 2008, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700: Cranach–Drusse”, vol. 6, Amsterdam, Sound and Vision, cat. no. 481).

The British Museum offers the following description of this print (from a different state): “Boar Hunt with Shotguns; in the foreground, to the right, four [huntsmen], concealed by a row of trees, aim their shotguns at sleeping wild boar in the left middle ground, unaware of the danger; two dead boar lie at the huntsmen's feet in the left foreground” (https://www.britishmuseum.org/collection/object/P_1957-0413-49).

Condition: a richly inked and near faultless impression with small margins laid onto a support of archival (millennium quality) washi paper. Beyond a restored tear in the margin at centre, the sheet is in an excellent condition with no holes, folds, abrasions, significant stains or foxing.

I am selling this magnificent engraving showing one of the earliest images of the recently developed multi-shot, breech-loading shotgun, the “Haile Shotte peics”, being used for hunting boars rather than birds, for the total cost of AU$320 (currently US$213.89/EUR193.53/GBP170.36 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 remarkable and possibly historically important engraving (in terms of the use of the Haille Shotte peics for hunting boars), 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

Leonor Fini’s drypoint, “Head of a Young Girl”, c1980

Leonor Fini (aka Léonor Fini; Eleonora Fini) (1907–1996)

“Head of a Young Girl” (Le Gazette Drouot title; see https://www.gazette-drouot.com/en/lots/20644078-leonor-fini-1907-1996-head---)—possibly a self-portrait, c1980, published in Paris in an edition of 12 impressions, hand-signed and numbered (VI/XII) in pencil by the artist.

Drypoint printed on chine collé (Japanese) on heavy cream wove paper with full margins and the “Fini Cat” blind-stamp at lower left as published.

Size: (sheet) 38 x 28.5 cm; (chine collé/platemark) 15.7 x 12.8 cm.

Hand-inscribed in pencil below the chine collé: (left) “VI/ XII”; (right) [artist’s signature] “Leonor Fini”.

Condition: a strong and near faultless impression hand-signed and numbered with generously wide margins. Beyond naturally occurring aberrations in the chine collé sheet and mounting tape on the edges (verso), the sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this exceptionally rare hand-signed and numbered impression—note that this is one of only twelve copies in the edition—by one of the most famous of the twentieth-century female artists famous for her contribution to the surrealist movement and her explorations of female identity, for a total cost of AU$402 (currently US$268.70/EUR243.12/GBP214.01 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 sensitively executed portrait—I assume that it is a self-portrait—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Agostino Veneziano’s engraving, “Man with a Flag”, c1525, after Raimondi

Agostino Veneziano (aka Agostino dei Musi) (1490–1540; [BM:] fl. 1509–1536)

“Man with a Flag” (TIB title) (aka “L’Homme au Drapeau” [Bartsch title]), c1525 (c1514–1536), engraving with Agostino Veneziano’s monogram (“^.A^.V^.”) on tablet at lower right, after an engraving possibly by Marcantonio Raimondi’s (aka Marcantonio) (1470/1482–1527/1534), “Man with a Flag” (TIB title) (aka “Naked man wearing an elaborate helmet viewed from behind holding a banner, a lion seated on the ground” [MET title]; see https://www.metmuseum.org/art/collection/search/342682), and possibly after the design by Raphael (aka Raffaello Santi; Raffaello Sanzio; Raffaello) (1483–1520) or Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (c1499–1546).

Engraving on laid paper, trimmed around the platemark with a small margin.

Size: (sheet) 26 x 19 cm; (plate) 24 x 18.2 cm.

Inscribed in plate: (on tablet at lower-right corner) “^.A^.V^.”.

TIB 27.482 (Konrad Oberhuber [ed.] 1978, “The Illustrated Bartsch: The Works of Marcantonio Raimondi and of His School”, vol. 27, New York, Abaris Books, p. 154, cat. no. 482); Bartsch XIV.357.482 (vol. 14, p. 357); Nagler 50.

The Rijksmuseum offers the following description of this print: (transl.) “A naked man plants a waving flag in the ground. A lion at his feet. In the background a landscape with buildings” (http://hdl.handle.net/10934/RM0001.COLLECT.157329).

See also the descriptions offered by the Metropolitan Museum of Art and The Philadelphia Museum of Art:  https://www.metmuseum.org/art/collection/search/342924; https://philamuseum.org/collection/object/29719.

Condition: strong and well-printed impression with small margins around the platemark. The sheet is in a superb (near pristine) condition for its considerable age with no tears, holes, folds, abrasions, stains or foxing.

I am selling this visually arresting early engraving, for a total cost of AU$597 (currently US$399.03/EUR361.05/GBP317.82 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 purchasing this marvellous image of a curiously naked (at least to my eyes) standard bearer planting his flag, 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 Varin’s engraving, “Without Bacchus and Ceres, Venus Freezes”, 1840, after Goltzius, Abraham Bloemaert and Jan Saenredam

Adolphe Varin (aka Pierre Adolphe Varin) (1821–1897)

“Without Bacchus and Ceres, Venus Freezes” (aka “Sine Cerere et Baccho friget Venus”), 1840, scratch-lettered impression (possibly before formal lettering), after designs by Hendrik Goltzius (aka Hendrick Goltzius) (1558–1617) and Abraham Bloemaert (aka Abraham Bloemaart, Abraham) (1564–1651) and after Jan Saenredam’s (c1565–1607) engraving (see https://www.britishmuseum.org/collection/object/P_1928-1212-116), published in Paris by Victor Jeanron (fl. c1840)—possibly the son of the famous painter and writer, Philippe-Auguste Jeanron (10 May 1809 – 8 April 1877).

Engraving on heavy wove paper, trimmed along (or slightly within) the platemark and backed with a support sheet.

Size: (sheet) 26.7 x 21.4 cm; (image borderline) 22.9 x 20 cm.

Scratch-inscribed in plate above the image borderline: (centre) “Goltius” (note that the letter, “z”, is not inscribed).

Scratch-inscribed in plate below the image borderline: (left) “varin adolphe s. 1840”; (left-of-centre) “d'apres Goltius.”; (right) “a Paris chez Victor Jeanron Rue Bleu 34”.

Although Aldophe Varin’s skills as a printmaker seem to have been overlooked by the gate-keepers of history, he was well-regarded by his contemporaries—which is hardly surprising given the quality of this reproductive engraving. Indeed, in the 1925 edition of “Bryan's Dictionary of Painters and Engravers”, vol. 5, Varin is described as “…one of the most industrious and conscientious of modem French etchers and engravers” (p. 265; see https://archive.org/details/bryansdictionary05bryauoft/page/265/mode/1up).

Condition: a strong and well-printed impression, trimmed around the platemark and laid upon an archival support sheet of millennium quality washi paper. There is a pale stain at the lower-left corner, otherwise the sheet is in a good condition with tears, folds, abrasions or foxing.

I am selling this magnificently executed engraving copying the great Goltzius’ design (as noted in the scratched lettering in the plate) and, more precisely, the famous engraving by Jan Saenredam designed by Abraham Bloemaert, for the total cost of AU$314 (currently US$209.88/EUR189.90/GBP167.16 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, 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 Guérin’s colour lithograph, “Sirène”, c1898

Charles Guérin (aka Charles-François-Prosper Guérin) (1875–1939)

“Sirène” (Siren/Mermaid), c1898 (BM: 1897–99), an original colour lithograph, printed and published in Paris by Ferdinand Champenois (aka Champenois & Cie; Imprimerie Champenois) (fl. 1859–1927), from the series, “L'Estampe Moderne” (Numéro 21, janvier 1899; see the marvellous article from “Adventures in the Print Trade” giving insights about the publication of the series: http://adventuresintheprinttrade.blogspot.com/2009/02/lestampe-moderne.html). Signed in the stone with the artist’s monogram at lower left. Note that the blindstamp (Lugt 2790) of the series featuring of a woman's head in a circle has been trimmed off.

The British Museum offers the following description of this print: “In the foreground, a smiling mermaid, three quarter length, facing front, resting against a large rock; in the background two birds, the sea, other rocks and the sky” (https://www.britishmuseum.org/collection/object/P_1900-0411-365).

Colour lithograph on heavy wove paper.

Size: (sheet) 35 x 29 cm; (image borderline) 18.2 x 24 cm.

Condition: a strong and well-printed impression trimmed with large margins, but with loss of the “L'Estampe Moderne” blindstamp. Beyond a soft fold at upper left the sheet is in a very good condition with no tears, holes, abrasions, stains or foxing.

I am selling this beautifully luminous original colour lithograph from the close of the 19^th century for the total cost of AU$247 (currently US$165.09/EUR149.38/GBP131.49 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 lithograph, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.