Félix Augustin Milius’s etching with engraving, “Le Moulin à Eau”, 1884, after Hobbema

Félix Augustin Milius (aka Félix Augustin Millius) (1843–1894)

“Le Moulin à Eau” (The Watermill)—a water mill on the Singraven estate, in Overijissel (the Netherlands), 1884, after Meindert Hobbema’s (aka Meindert Lubbertsz Hobima; Meyndert Hobbema) (1638–1709) painting (late 1660s) in the collection of the Musée du Louvre (see https://collections.louvre.fr/ark:/53355/cl010066254), published by the Chalcographie du Louvre (fl.1797–).

Etching with engraving printed in a warm black ink on heavy cream wove paper with wide margins.

Size: (sheet) 67.3 x 55.7 cm; (plate [soft]) 47.4(?) x 56.3(?) cm x (image borderline) 45.6 x 36.4 cm.

Lettered in plate below the image borderline: (left) “PEINT PAR HOBBEMA (MEYNDERT)”; (centre) “LE MOULIN A EAU/ CHALCOGRAPHIE DU LOUVRE”; (right) “GRAVÉ PAR MILIUS (F.A.) 1884”.

The Musée du Louvre offers a description of this print: https://collections.louvre.fr/ark:/53355/cl020531966.

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins in near pristine condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this early impression of a very beautiful etching—note that it does not bear the usual blindstamp of the Chalcographie du Louvre who published and possibly commissioned the print as a visual record of Hobbema’s painting in the Louvre’s collection—for AU$308 in total (currently US$205.87/EUR186.27/GBP163.97 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this huge etching in museum quality/near pristine condition, 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

Girard Audran’s etching, “Cupid with the Thunderbolts of Jupiter”, c.1670, after Raphael

Girard Audran (aka Gérard Audran) (1640–1703)

“Cupid with the Thunderbolts of Jupiter”, c.1670 (1662–1690), plate 2 from the series of fourteen plates (Robert-Dumesnil 105–118), “Angels of the Farnesina Ceiling” (aka “Angles du plafond de la Farnesine, à Rome”), after a lunette from the ceiling of the Psyche loggia (Loggia di Psiche) in the Villa Farnesina in Rome, designed by Raphael (aka Raffaello Santi; Raffaello Sanzio; Raffaello) (1483–1520). Early impression before the addition of the text line: “Raphael Inventor G. Audran delineavit et sculpsit Romae superiorum licentia cum privilegio Regis”.

Etching printed in a warm black ink on laid paper (with watermark), trimmed slightly within the triangular plate, but retaining the complete image borderline.

Size: (sheet) 22 x 28.7 cm.

Robert-Dumesnil 106 (A.-P.-F. Robert-Dumesnil 1865, “Le Peintre-Graveur Français …”, vol. 9, p. 298, cat. no. 106; see https://archive.org/details/bnf-bpt6k65575421/page/n319/mode/2up); IFF 114 ((Département des Estampes 1930, “Inventaire du Fonds Français: graveurs du XVIIe siècle”, Paris, Bibliothèque Nationale, cat. no. 114); LeBlanc 164–177 (Charles Le Blanc, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 1, Paris, p. 164, cat. nos. 164–177).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1917-1208-868.

Condition: a well-printed impression trimmed within the platemark on the top and lower edges. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this unusual and beautiful etching, that is shaped according to Raphael’s lunette ceiling painting in the Villa Farnesina (Rome), for AU$256 in total (currently US$171.11/EUR154.82/GBP136.29 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this interesting triangular shaped etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

(Copy after?) Adriaen van Ostade’s etching, “Peasant Wearing a Cap”, c.1650-52

(Copy after?) Adriaen van Ostade (aka Adriaen Jansz. van Ostade) (1610–1685)

“Peasant Wearing a Cap” (TIB title) (aka “Bust of a Laughing Peasant” [Godefroy title], “Paysan avec une Petite Togue Noire”; “Lachender Bauern mit Mütze), c.1650–52. I propose that this may be a copy in the same direction and with the same dimensions as the original plate based on the “K” shape fold in the figure’s garment (and other minor details). If this is the case, this impression was published in a collected edition of Van Ostade’s prints by the artist’s widow, Jean.

Etching on fine laid paper trimmed with a narrow margin around the platemark.

Size: (sheet) 3.7 x 3.3 cm; (plate) 3.5 x 3.1 cm; (image borderline) 3 x 2.8 cm.

Inscribed in plate with the artist’s monogram: (right) "AO".

(Copy of) state iv (of iv) with the addition of the borderline and the artist’s monogram of state iii and the four extra lines on the nape of the figure’s neck.

Refences for Van Ostade’s original plate: TIB 1.1 (Leonard J Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, Abaris Books, New York, p. 327, cat. no. 1); Godefroy 1 (Louis Godefroy 1990, “The Complete Etchings of Adriaen Van Ostade”, San Francisco, Alan Wofsy, pp. 40–41, cat. 1).

See also the descriptions of Van Ostade’s original plate offered by the British Museum and the Rijksmuseum: https://www.britishmuseum.org/collection/object/P_Sheepshanks-1396; http://hdl.handle.net/10934/RM0001.COLLECT.38801.

Condition: a strong and well-printed impression, trimmed close to the platemark, in an excellent condition with no tears, holes, folds, abrasions, significant stains (but the whole sheet is slightly toned by its age) or foxing.

I am selling this curiously interesting deceptive copy of Van Ostade’s etching, that was possibly executed for, and published by, the artist’s widow, for AU$327 in total (currently US$218.57/EUR197.76/GBP174.08 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this tiny etching—it’s only a smidgen larger than a thumb print! —showing a happy peasant wearing a light-coloured skullcap under a dark cap/hat, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Hubert von Herkomer’s etching with drypoint, “The Swing”, 1878

Hubert von Herkomer (aka Sir Hubert von Herkomer) (1849–1914)

“The Swing” (aka “Femme se Balançant”), 1878, printed and published in Paris by Goupil & Cie (fl.1827–1919).

Etching and drypoint with plate tone printed on laid paper (“Van Gelder” watermark) with wide margins.

Size (sheet) 64.7 cm: (plate) 38 x 30.5 cm; (image borderline) 37 x 29.5 cm.

Inscribed in plate below the image borderline (please be mindful that there may be errors in my reading of the inscription): (lower left corner) “The Swing/ Imprimé et publié par Goupil et C^ie Paris// H.H. 78/ Op:16”.

Henri Beraldi (1889) in “Les Graveurs du XIX Siecle: GUÉRIN – LACOSTE” (Paris, Librairie L. Conquet, vol. 8) lists this print as one of Von Herkomer’s eleven important etchings (p. 109).

Hubert von Herkomer offers the following description of this print: “Also a portrait. The figure is burin work (with the feeling of a wood-draughtsman), and the rest is all ‘‘chance work”—relying on the accidents of biting in with acids through imperfect grounds” (Hubert von Herkomer’s (1882), “Descriptive catalogue of the portraits, etchings and engravings by Hubert von Herkomer”, exh. cat. [Nov. 25, 1882], New York, M. Knoedler's Gallery, p.11, cat. no. 9; see https://archive.org/details/frick-31072000213902/page/n13/mode/2up).

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

I am selling this large etching and drypoint of a young woman on a swing—a subject famously explored in Pierre-Auguste Renoir’s painting, “La Balançoire”, executed two years before this print—for a total cost of AU$283 (currently US$189.16/EUR171.15/GBP150.66 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 extraordinarily fine etching exemplifying what the artist describes as the “etching fever” that took hold of him in the Spring of 1878 (see Herkomer’s catalogue [1882] entry for cat. no. 1, p. 10), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Virgil Solis' double-sided woodcuts: “St Matthew" & “St Mark”, 1560

Virgil Solis (1514–1562)

Double-sided woodcut: (Recto) “St Matthew the Evangelist (Matt. 1)”; (Verso) “St Mark the Evangelist (Mark 1)”;  (TIB titles), 1560 (and 1562 with the strapwork border as shown here), from the series of 220 woodcuts in woodcut borders by Vigil Solis, published in 1562 by Sigmund Feierabend (1528–1590) in Frankfurt and printed by Johann Rasch (fl.1556–1562) and David Zöpfel (aka David Zephelius) (fl.c.1555–1563), as illustrations to “Biblische Figuren des Alten Testaments / Biblische Figuren des Neuwen Testaments”.

Archive.org offers an online view of these prints in their context in the publication: https://archive.org/details/VirgilSolisBible1562/page/n117/mode/2up.    

Regarding the publication in which these prints feature, the Curator of the British Museum advises: “The first edition was published in 1560. [This print with its strapwork frame features in] the second, enlarged edition, with 74 new images and woodcut borders from the 1561 Bible. The New Testament part is wrongly dated 1552 on the title-page” (https://www.britishmuseum.org/collection/object/P_1870-0625-191-411). Note that the title page to the edition of shown by Archive.org shows the date “MDLXII” (1562): https://archive.org/details/VirgilSolisBible1562/page/n115/mode/2up. 

Woodcuts printed on both sides of laid paper trimmed with a small margin around the strapwork borderline and backed with a support sheet with a window so that each side of the sheet may be seen.

Size: (sheet) 14.2 x 16.9 cm.

“St Matthew the Evangelist (Matt. 1)” lettered with the artist's initials at lower left, "V", and at lower right, "S"; and showing the initials of the publisher on tablet at lower centre, "S.F.".  

“St Mark the Evangelist (Mark 1)” lettered with the artist's monogram at lower right, "VS".

TIB 19 (Part 1) 1.103 and 1.104 (Jane S Peters & Walter L Strauss [eds.] 1987, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, vol. 19 [Part 1], p. 336).

Condition: strong and well-printed impressions showing very few signs of wear to the printing plate, trimmed around the strapwork borderline(s) with small margins and laid onto a support of archival (millennium quality) washi paper that is window-cut allowing both sides of the sheet to be seen. The sheet is in an excellent condition with no tears, holes, folds or significant stains.

I am selling this superb double-sided leaf of woodcuts for a total cost of AU$227 (currently US$151.73/EUR137.28/GBP120.85 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 but visually arresting double-sided leaf of woodcuts, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This sheet of prints has been sold

Xavier de Dananche’s etching, “À Neuville (Ain)”, 1871

Xavier de Dananche (1828–1894)

“À Neuville (Ain)”—I assume (and may be wrong) the portrayed scene shows the Ain River running through the village of Neuville-sur-Ain (eastern France) with its stone bridge (Pont de Neuville-sur-Ain) in the distance, 1871, plate number 236, printed and published in Paris by Alfred Cadart (1828–1875).

Etching with plate tone printed in a warm black ink on laid paper (partial watermark) with wide margins as published.

Size: (slightly irregular sheet) 33 x 49 cm; (plate) 20.4 x 32.3 cm; (image borderline) 16.9 x 30.4 cm.

Inscribed in plate within the image borderline: (lower right) (signature) “Xavier de Dananche”.

Numbered in plate above the image borderline: (right) “236.”

Lettered below the image borderline: (left) “Xavier de Dananche, del. et sc.”; (centre) “À NEUVILLE (AIN)”; (right) A.CADART, Edit.Imp.Rue N^ve des Mathurins, 58, Paris.”

Condition: a richly inked impression with generous margins. Beyond a minor darkening on the lower right corner, the sheet is in an in excellent condition with no tears, holes, folds, losses, abrasions, significant stains or foxing.

I am selling this darkly luminous and poetically beautiful etching executed in the spirit of the Barbizon School by a pupil of the legendary Corot for AU$247 in total (currently US$165.09/EUR149.38/GBP131.49 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 marvellous etching showing the first glimmer of early morning light catching the loading of a barrel onto a barge—a subject that must have been both an adventurous choice (in the sense that it is all about a specific moment that is “frozen” like a photograph where the barge is not quite secured in place for the delivery of the barrel) and one that reflects the late 19^th century fascination with the effects of light—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