Antoinette Bouzonnet Stella’s etching, “Plate 14: Entry of Emperor Sigismund into Mantua”, 1675

Antoinette Bouzonnet Stella (1641–1676)

“Plate 14: Entry of Emperor Sigismund into Mantua”, 1675, plate 14 from the series of twenty-five etchings, “Palazzo del T” (BM title), after the drawing design by Antoinette’s brother, Antoine Bouzonnet Stella (1637–1682), published in Paris in 1675 by Antoinette’s sister, Claudine Bouzonnet Stella (aka Claudine Bouzonnet; Claudia Bouzonnet-Stella) (1636–1697) and with royal privilege, after the fresco frieze (c1530s) by Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (c1499–1546) in the Palazzo del Te, Mantua, showing the triumphal entry of Emperor Sigismund (aka Sigismondo Augusto) into Mantua in 1432.

Etching on laid paper with wide margins (as published) with three binding holes in the margin at left.

Size: (sheet) 34 x 52.9 cm; (plate) 16.5 x 32.7 cm; (image borderline) 16.2 x 32.1 cm.

Numbered in plate within the image borderline: (lower right corner) “14”.

The British Museum offers the following description of this print: “Plate 14: Roman cavalrymen going to the right, with a horse stumbling and falling on the ground at right; after the frieze representing the triumph of Sigismund executed by Giulio Romano in the Palazzo del Te, Mantua. 1675” (https://www.britishmuseum.org/collection/object/P_1860-0114-72).

Condition: a richly inked and well-printed impression showing no signs of wear to the printing plate and with generously wide margins. Beyond minor marks in the margins, the sheet is in an excellent condition for its age with no tears, holes (beyond the three binding holes of publication), significant stains or foxing.

I am selling this superbly preserved etching executed by one of the few historically documented female printmakers from the late Renaissance period for a total cost of AU$264 (currently US$176.46/EUR159.66/GBP140.54 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 visually arresting etching exemplifying the period style of Mannerism, 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 

Sébastien Bourdon’s etching, “Flight into Egypt” c.1645

Sébastien Bourdon (1616–1671)

“Flight into Egypt”, c.1645 (1640–1650), published in Paris by Pierre Ferdinand (1617–1665) and also by Pierre Mariette I (c.1603–1657). This is a nineteenth-century impression with the details of the former publishers erased.

Etching on wove paper with margins.

Size: (sheet) 32.2 x 24.3 cm; (plate) 22.6 x 19.2 cm; (image borderline) 22.2 x 18.8 cm.

inscribed in plate: (on rock ledge) “S. Bourdon In. et fecit”.

State iii (of iii) with the publication details of former states erased.

IFF 17 (Département des Estampes 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe Siècle”, vol., 2, Paris, Bibliothèque Nationale, p. 68, cat. no. 17); LeBlanc 17 (Charles Le Blanc 1851, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 1, Paris, P Jannet, p. 495, cat. no. 17).

See also the descriptions of this print offered by the British Museum and the Rijksmuseum:  https://www.britishmuseum.org/collection/object/P_1834-0804-285; http://hdl.handle.net/10934/RM0001.COLLECT.86629.  

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions, significant stains (there are faded number notations on the lower right corner) or foxing.

I am selling this sensitively executed and very beautiful etching, for the total cost of AU$288 (currently US$192.50/EUR174.17/GBP153.32 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 etching of the Holy Family, 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

Paolo Mercuri’s etching with engraving, “The Execution of Lady Jane Grey”, c.1858, after Paul Delaroche

Paolo Mercuri (aka Paul Mercury) (1804–1884)

“The Execution of Lady Jane Grey” (aka “Jane Gray”), c.1858 (date based on my earlier listing of another impression of this print [now sold] inscribed with this date), after Paul Delaroche’s (aka Hippolyte Delaroche) (1797–1856) painting (1833) in the National Gallery, London (see https://en.wikipedia.org/wiki/The_Execution_of_Lady_Jane_Grey), printed in Paris by Goupil & Cie (fl.1827–1919) with the inscribed note: “Tiré de la Galerie du Prince Anatole Demidoff” (From the Gallery of Prince Anatole Demidoff [Count Anatole Nikolaievich Demidov, 1^st Prince of San Donato, 1812–1870]).

Etching with engraving on heavy wove paper with wide margins.

Size: (sheet) 53.9 x 58.1 cm; (plate) 43.4 x 48.4 cm; (image borderline) 29 x 35.1 cm.

Lettered in plate below the image borderline: (left) “Peint par Paul De la Roche”; (centre) “Tiré de la Galerie du Prince Anatole Demidoff/ JANE GRAY/Imprimé par GOUPIL & C^IE. À PARIS”; (right) “Gravé par P. Mercury”.

The Rijksmuseum offers the following description of this print (before lettering): (transl.) “Lady Jane Gray is kneeling on a cushion. She is blindfolded and fumbles forward with her hands. In front of her is a chopping block. A man in a rich fur-trimmed cloak bends over her. Next to [them] is the executioner with an axe ready. In the background two crying women” (http://hdl.handle.net/10934/RM0001.COLLECT.339926).

Condition: a strong and near faultless impression with generously wide margins. Beyond minor surface marks and chips, the sheet is in an excellent condition for its size and age.

I am selling this large and finely executed etching (with engraving)—a true masterwork of nineteenth century reproductive printmaking—for the total cost of AU$306 (currently US$204.53/EUR185.06/GBP162.90 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 magnificent and historically important etching with 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

Adolphe Appian’s etching, “Ville au bord de la Mer”, c.1880

Adolphe Appian (1818–1898)

“Ville au bord de la Mer” (City by the Sea) (aka “Sea Shore” [Jennings’ title])—showing the seaside town of Collioure on the Mediterranean coast of southern France, c.1880, printed in Lyon by the brothers (?) of Jean-Marie Fugère (1818–1882) and published by the Société des Amis des Arts de Lyon.

Etching on buff chine collé on heavy wove paper with margins.

Size: (sheet) 31.7 x 39.4 cm; (plate) 21.9 x 29.7 cm; (chine collé) 20.2 x 28.3 cm; (image borderline) 17.9 x 25.4 cm.

Inscribed in plate: (upper left corner) “APPIAN”.

Lettered in plate below the image borderline: (centre) “Société des Amis des Arts de Lyon”; (right) “LYON, Imp. Fugère F^res

State ii (of ii) with the addition of publication details.

Curtis & Prouté 46 ii (Atherton Cutiis & Paul Prouté 1968, “Adolphe Appian son Oeuvre Gravé et Lithographié”, Paris, Paul Prouté, [n.p.] cat. no. 46 ii); Jennings 41 (Herbert H Jennings 1925, Adolphe Appian (essay) in “Print Collector’s Quarterly,” vol. 12, no. 1, p. 116, cat. no. 41 [see https://digi.ub.uni-heidelberg.de/diglit/print_collectors_quarterly1925/0134/scroll]).

In Hamerton’s 1876 edition of “Etching and Etchers”, Hamerton offers the following interesting insights about Appian’s prints: “…his [Appian’s] work is that each plate, however large or however small it may be, is conceived from the first as a whole, and the first conception is never departed from for the disproportionate realisation of some obtrusive detail.” Going further, “…Appian sees always in masses, and gives quite as much detail as is consistent with the preservation of the mass” (pp. 202–03).

Condition: a richly inked, strong and well-printed impression with generous margins. The sheet is in a near pristine condition with no tears, holes, folds, losses, abrasions, significant stains or foxing.

I am selling this quietly poetic etching showing an endless moment cast in a blanket of silvery morning light, for the total cost of AU$315 (currently US$210.55/EUR190.50/GBP167.70 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 etching executed by an artist with a strong personal vision (as exemplified by this print) and 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.

Claude Lorrain’s etching, “L’Enlèvement d’Europe”, 1634

Claude Lorrain (aka Claude Gellée; Le Lorrain; Claudio di Lorena) (1600–1682)

“L’Enlèvement d’Europe” (aka “The Rape of Europa”; “Coast Scene with Europa and the Bull”), 1634, printed from the original plate and published in 1816 by J. McCreery in the “200 Etchings” folio.

Etching on wove paper, trimmed with a narrow margin around the image borderline and with a section of an engraving from the 1784 Paris edition of “Stirpes Novae” shown verso (documented as a feature of the McCreery impressions; see Mannocci [1988] p. 28).

Size: (sheet) 20 x 26.1 cm; (image borderline) 19.6 x 25.6 cm.

Inscribed in plate: (on stone at lower right) “CLAUDIO GILLE/ I.N.V. F. Romae 1634.”

State vii (of vii) as published in the 1816 edition of 200 Etchings with the inscription, “42 p 4” from state vi erased.

Mannocci 14 (Lino Mannocci 1988, “The Etchings of Claude Lorrain”, New Haven, Yale University Press, pp. 105–111, cat. no. 14, seventh state); Blum 9; Robert-Dumesnil 22; Duplessis 22; Russell 21.

The British Museum offers the following description of this print: “The rape of Europa; Europa on the bull, surrounded by women, a group of women picking flowers on the right, antique temple in ruins and tower on the left and fleet in the background. 1634” (https://www.britishmuseum.org/collection/object/P_1849-1003-145).

Regarding the plate for these studies (and the others printed by McCreery, Andrew Brink (2013) in “Ink and Light: The Influence of Claude Lorrain’s Etching on England” (McGill Queen’s University Press) offers the following insight: “The plates of Claude’s etchings disappeared without trace as mysteriously as they had first come to London” (p. 74). From my very unreliable memory, I recall being told in a chat with a “knowledgeable friend” who was told by another “knowledgeable friend” that the plates were discovered as wrecked ballast on a ship, but this information may be far from the truth.

Condition: a strong and well-printed impression, showing minor signs of wear to the printing plate, trimmed with a narrow margin around the image borderline in an excellent/near pristine condition with no tears, folds, holes, abrasions, significant stains, foxing or signs of handling. Note that the verso shows a section of an engraving from the 1784 Paris edition of “Stirpes Novae” (documented as a feature of the McCreery impressions).

I am selling this amazing etching described by H. Diane Russell (1982) in “Claude Lorrain 1600–1652” (Nat. Gallery of Art Washington, exh. cat.) as “technical perfection” in which Claude has “successfully translated the properties of … [his painting upon which this etching is based] into etching, articulating the large volumetric forms, the ample space, and the luminous and atmospheric effects that permeate and unite the image” (pp. 338–39), for the total cost of AU$398 (currently US$264.69/EUR239.49/GBP210.82 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 superb and large (or at least largish) etching by one of the most famous of all landscape artists, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.