Theodoor Galle’s engraving, “The King of England Hunting for Rabbits”, c.1600, after Jan van der Straet

Theodoor Galle (aka Theodorus Galle; Theodor Galle; Dirck Galle) (1571–1633)

“The King of England Hunting for Rabbits”, c.1600 (1596–1638 [pub. date]), plate 35 from the series of 104 plates, “Venationes Ferarum, Avium, Piscium”, after the design by Jan van der Straet (aka Joannes Stradanus; Ioannes Stradanus) (1523–1605), published in Antwerp by Philips Galle (aka Philippus Gallaeus; Philippe Galle) (1537–1612).

Note that the British Museum holds a copy of this print from a later state with an alteration to the plate number and offers the following description: “Plate numbered 38, The King of England Hunting for Rabbits; in the right foreground, the King, on horseback, bears dead rabbits suspended from the horse's reins, while a small dog tries to leap onto the saddle; two companions on horseback are seen beyond, to the right; to left, small dogs chase rabbits near a set of burrows; a town is seen in the distance” (https://www.britishmuseum.org/collection/object/P_1957-0413-67).

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

Size: (sheet) 21.2 x 27.8 cm; (plate) 20.4 x 26.6 cm; (image borderline) 18.4 x 26.4 cm.

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

Numbered and lettered in plate below the image borderline: (left) “35.”; (centre in two columns of two lines of Latin verse) “Callidus effossis latitare Cuniculus antris/ Et generare Solet. Verum persæpe Catelli// Anglorum celeres fallunt Pecus: ore prehendunt/ Illusum: prædam Venatori[que] minis Trant.”

State ii (of iii) before the change in the plate number.

New Hollstein Dutch 499 (Marjolein Leesberg [comp.] 2008, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700: Cranach–Drusse”, vol. 6, Amsterdam, Sound and Vision, cat. no. 499).

Condition: a strong and well-printed impression (near faultless) with small margins laid onto a support of archival (millennium quality) washi paper. There is a restored tear at lower centre, a hole near tree at right-of-centre and what may be a printer’s crease in the margin at right.

I am selling this remarkable early engraving, 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 historically interesting engraving showing how a royal hunting party for rabbits may have been conducted in England in the late 1500s—for an interesting account of hunting at this time, see Roger B. Manning’s (1994) “Unlawful Hunting in England, 1500–1640” (https://www.jstor.org/stable/3983583)— 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 Waltner’s drypoint, “Une Liseuse”, 1899

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“Une Liseuse” (The Reader) (MAH title) (aka “Lezende Dame in Chaise Longue in een Interieur” [Rijksmuseum title]; “Lady Reading on a Chaise Longue”), 1899 (date as inscribed on this impression by the artist), artist’s proof on parchment with remarque below the image at left, hand-signed and dated in ink by the artist before lettering, printing and publication by the Société des Amis de l'Eau-forte (1897–c.1930).

Etching (soft-ground?) and drypoint on parchment with a remarque, hand-signed and dated in ink.

Size: (sheet) 39.5 x 47.2 cm; (plate) 33.4 x 41.5 cm; (image borderline) 29.7 x 41 cm.

Signed and dated in ink below the image borderline at lower right: “Waltner 1899”.

State i (of ii) a lifetime proof-state impression before lettering for publication.

See the descriptions of this print offered by the Musée d'art et d'histoire and the Rijksmuseum: https://www.mahmah.ch/collection/oeuvres/une-liseuse/e-2019-1403-001; http://hdl.handle.net/10934/RM0001.COLLECT.193328.

Condition: a richly inked and well-printed impression with wide margins. There are marks in the margins, ripples and general darkening with dots of oxidation; otherwise, there are no tears, holes, folds or significant stains.

I am selling this large and magnificently rich impression that is a hand-signed artist’s proof by one of the major reproductive etchers of the nineteenth century and executed with the subtlest of touches, for the total cost of AU$335 (currently US$223.91/EUR202.60/GBP178.34 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 superb 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 

Stefano Mulinari’s etching and sulphur tint, “Awakening Soldiers at Christ's Tomb", c.1774, after Giulio Romano

Stefano Mulinari (c.1741–c.1796)

“Awakening Soldiers at Christ's Tomb” (descriptive title only), 1774 (pub. date, but may have been executed between 1766–74), plate 28 (“N.XXVIII”) from the series of 100 plates (the first 41 plates were executed by Muliari) “Disegni originali d'eccellenti pittori esistenti nella Real galleria di Firenze [graphic] : incisi ed imitati nella loro grandezza e colori” (Original drawings by excellent painters existing in the Royal Gallery of Florence [graphic]: engraved and imitated in their size and colours), after Giulio Romano (aka Giulio Giannuzzi; Giulio Pippi) (c.1499–1546), published in Florence.

Archive.org offers an online view of this print in its context in the publication: https://archive.org/details/gri_33125011208614/page/n117/mode/2up.

Etching and sulphur tint (viz. a process that is a precursor to aquatint where sulphur is either mixed with vegetable oil into a paste and spread over the plate to corrode it with fine pitting or sprinkled onto the plate and heated), printed in brown ink on laid paper, trimmed with a margin around the image borderline and text lines. The print is the upper half of a larger plate involving three images in total.

Size: (sheet) 30 x 40.9 cm; (image borderline) 25.7 x 39 cm.

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

Lettered in plate below the image borderline: (left) “Guilio Romano inv: e del:”; (right) “SM[ligature]ulinari inci:”.

Condition: a strong impression showing no sign of wear to the printing plate, trimmed with a small margin around the image borderline. There are a few scattered chalk lines (?) (see for example the sanguine line on the shoulder of the centre figure), otherwise the sheet is in a very good condition for its age with no tears, folds, holes, abrasions, significant stains (but there are marks verso) or foxing.

I am selling this strong impression glowing with the raw sienna colour of the printing ink and velvety texturing created by the early etching technique termed “sulphur tint”—a process predating aquatint where sulphur is used as the mordant to corrode the copper printing plate to form copper sulphide and fine pitting to the plate—for the total cost of AU$263 (currently US$175.79/EUR159.05/GBP140.01 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 rare sulphur tint print, 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 

Paul Borel’s etching, “The Pilgrim Near the Tree”, c. 1880

Paul Borel (aka André Marie Paul Borel) (1828–1913)

“The Pilgrim Near the Tree” (aka “Le Pèlerin Près de l'Arbre”), c. 1880, a proof-state impression signed in ink by the artist with a hand-written dedication in ink on heavy wove paper.

Size: (sheet) 31.5 x 43.5 cm; (plate) 19.5 x 28.4 cm.

For those unfamiliar with this startlingly fine etcher (as exemplified in this wonderful etching), Paul Borel was introduced to etching by his cousin Jean Jacques de Boissieu (aka Jean Jacques de Boissieux) (1736–1810) and the outcome of this connection in terms of transferred skills is clear. Borel is also well-connected to the artists of the Barbizon School (notably Charles Daubigny [aka Charles François Daubigny] [1817–1878]) and the shared joy of working directly on the etching plate is also very apparent. What I find especially appealing about Borel’s etchings is the merging of informed observation of his chosen subject (e.g., the portrayed tree here looks solid and “real”) with the added dimension of revealing a personal mindset shaped by the artist’s religious convictions. What I mean by this is that the tree is like a symbol of life that the pilgrim contemplates and the far horizon is similarly more than just an atmospheric blurring of details: to my eyes the representation of far distance represents the transcendent future of the path on which the pilgrim travels. (My apologies if I am wrong in my reading of this print.) In lots of ways, this perfect merging of reality with personal response is the key that makes Borel a marvellous artist; an artist who (I think) compares well with Adolphe Appian (1818–1898) and even perhaps regarding this print, the great Caspar David Friedrich (1774–1840).

For a marvellous/must read account of Paul Borel, including the recent “discovery” of his work, see rhonestampe.jimdo.com: https://rhonestampe.jimdo.com/2020/04/11/d%C3%A9couvertes/#gsc.tab=0

Inscribed in plate along the lower edge at right: (difficult to decipher) “[B]o[r]el 188[0?] [there may be additional letters further to the lower right corner].

Hand-signed and inscribed with a dedication in ink below the platemark: (I have tried unsuccessfully to read the inscription beyond a few words).  

Condition: a richly inked, strong, and near faultless impression in a near pristine condition with no tears, holes, abrasions, stains or foxing.

I am selling this marvellous proof-state hand-signed etching—to my eyes a genuinely remarkable masterwork! …but I love visually arresting images like this! —for the total cost of AU$304 (currently US$203.19/EUR183.85/GBP161.84 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, 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

Georg Christoph Eimmart II’s etching, “Im(peratoris) Titi Judaicus Triumphus”, c.1680

Georg Christoph Eimmart II (aka Georg Christoph Eimart II) (1638–1705)—pupil of Jacob von Sandrart and an illustrator for Von Sandrart.

Note that Sandrart.net (http://ta.sandrart.net/en/artwork/view/3732) showcases a variation of this print by Pietro Santi Bartoli (1635–1700) and a comparison of the two prints is interesting: https://arachne.dainst.org/entity/232770/image/232770 and https://www.worthpoint.com/worthopedia/1680-c-eimmart-master-engraving-titi-1935240718.

“Im(peratoris) Titi Judaicus Triumphus”, c.1680, after a relief on the Arch of Titus in Rome, illustration (plate “FF”) to Joachim von Sandrart’s (aka Jakob von Sandrart) (1630–1708) “L'Academia Todesca della Architectura, Scultura et Pittura, Oder Teutsche Academie der Edlen Bau-Bild- und Mahlerey-Künste …”, vol. 5, published in Nuremburg, inserted with other plates between pages 198 and 199. (BM offers details of this publication: https://www.britishmuseum.org/collection/object/P_1974-1207-30).

Etching on laid paper with wide margins laid onto a support sheet, inscribed below the platemark in brown ink by an old hand.

Size: (sheet trimmed slightly unevenly) 27.8 x 42.2 cm; (plate) 22 x 39.5 cm; (image borderline) 20.5 x 38.5 cm.

Numbered and lettered in plate: (upper left) “2” and “1”; (upper right) “3” and “F F.”; (below the image borderline at centre) “IM. TITI JUDAICUS TRIUMPHUS.”

Condition: a strong early impression (based on the quality of line showing no sign of wear to the printing plate) with reasonably wide margins and a flattened centrefold (as published) laid onto a support of archival (millennium quality) washi paper. The sheet has hand-written brown ink notations (faded) and pencil numbers in the margin by an old hand; otherwise, the sheet is in a good condition with no significant stains or foxing.  

I am selling this finely executed interpretation of a bas relief from the Arch of Titus in Rome showing the Goddess of Victory holding a laurel wreath over the head of Titus while a team of four horses bedecked with jewelled necklaces with suspended crescent moons pull the emperor’s chariot in a procession, for AU$262 (currently US$175.12/EUR158.45/GBP141.61 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 strong etching that was executed (perhaps interestingly) a few decades after Johannes (Jan) Vermeer put down his brushes after completing his “Girl with a Pearl Earring”, 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