Anne Philiberte Coulet, “The Florentine Fishermen”, 1766, after Joseph Vernet

Anne Philiberte Coulet (1736–after 1787)

“The Florentine Fishermen” (aka “Les Pecheurs Florentins”), 1766, after Joseph Vernet’s (aka Claude Joseph Vernet) (1714–1789) painting of the same composition, published in Paris by Louis-Simon Lempereur (1728–1807) with publication details inscribed by Jeanne Louise Coulet (fl.1770–1775?). The portrayed scene is—surprising for me—set on a beach in Tuscany (see the description of this print [cat. no. 5] offered by the IFF [https://gallica.bnf.fr/ark:/12148/bpt6k4227534h/f287.item.r=Inventaire%20du%20fonds%20fran%C3%A7ais,%20graveurs%20du%20XVIIIe%20si%C3%A8cle]) and is the counterpart of the etching of Neapolitan fishermen, “Les Pecheurs Napolitains” (see https://philamuseum.org/collection/object/1270).

Etching with engraving, trimmed around the platemark and backed with a support sheet.

Size: (sheet) 50 x 36.5cm: (plate) 49.5 x 36.4cm; (image borderline) 44.9 x 33.8cm.

Lettered in plate below the image borderline: (left) “J. Vernet Pinx.”; (centre) “LES PECHEURS FLORENTINS./ Gravés par Anne Philberte Coulet, d'après le Tableau original de Joseph Vernet,/ haut d'un Pied neuf Pouces et demi sur un Pied cinq Pouces et demi de large. Tiré du Cabinet de Monsieur de Billy.”; (right) “A. Ph. Coulet Sculp./ Jeanne Louise Coulet scri”.

IFF 5 (Marcel Roux 1946, “Inventaire du Fonds Français, Graveurs du XVIIIe Siècle: COCHIN FILS (Charles-Nicolas)–DAMBUN”, vol. 5, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 285, cat. no. 5); Arlaud 104 Ingersoll-Smouse 529; Arlaud 1976, 32.105 (Pierre Arlaud 1990, “Catalogue Raisonné des Estampes Gravées d'après Joseph Vernet”, Avignon).

The Metropolitan Museum of Art and the Royal Academy  of Arts offer descriptions of this print:  https://www.metmuseum.org/art/collection/search/418158; https://www.royalacademy.org.uk/art-artists/work-of-art/les-pecheurs-florentins.

Condition: a strong and well-printed impression with a replenished chips in the margin, otherwise, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains, trimmed close to the platemark and backed with a support sheet of archival (millennium quality) washi paper.

I am selling this large and visually arresting etching executed by one of the very few female printmakers of the eighteenth century, for AU $294 in total (currently US $184.04/ EUR 176.20/ GBP 146.26 at the time of posting 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. Note that payment is in Australian dollars (AU $294) as this is my currency.

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

Augustin Massé, “A View of Venice”, c.1886, after Félix Ziem

Augustin Massé (aka Pierre Augustin Massé) (fl.1880–1894)

“A View of Venice”, c.1886, a rare pencil-signed proof before lettering for publication, after Félix Ziem’s (aka Felix Francois Georges Philibert Ziem) (1821–1911) painting, “Venise, vue du palais des Doges” in the collection of the Musée d'Orsay, Paris (see https://www.musee-orsay.fr/fr/oeuvres/venise-vue-du-palais-des-doges-71099), with a hand inscribed dedication by Augustin Massé to his teacher and friend, Émile Boilvin (1845–1899).

Etching on fine laid paper with wide margins inscribed with the artist’s signature and dedication to Émile Boilvin.

Size: (sheet) 33 x 38.5cm: (plate) 23 x 28.7cm; (image borderline) 17.6 x 24.6cm.

Inscribed in plate within the image borderline along the lower edge: (left) “PA Massé”; (right) “Ziem”.

Inscribed in pencil below the image borderline: (right) "A mon maitre et ami Boilvin/ Aug. Massé” (To my teacher/master and friend Boilvin/ Aug[ustin] Massé).

The British Museum holds a similar etching executed by Alfred Brunet-Debaines (aka Alfred Louis Brunet-Debaines) (1845–1939) and offers the following description: “View of Venice, with gondola in the centre foreground, beyond at right a ship, and in the background the city, dominated by the campanile; after a painting by Ziem (Musée d'Orsay, Paris)/ 1887” (https://www.britishmuseum.org/collection/object/P_1887-0613-214 [BM inv.no. 1887,0613.214]). Interestingly, the British Museum also holds another etching of the same painting by Ziem by an unidentified printmaker: https://www.britishmuseum.org/collection/object/P_1922-0722-73 (BM inv.no. 1922,0722.73).

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

I am selling this exceptionally beautiful impression that is pencil-signed by the artist with a dedication to his teacher and friend, for AU$282 in total (currently US $176.32/ EUR 168.98/ GBP 140.28 at the time of posting 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. Note that payment is in Australian dollars (AU $282) as this is my currency.

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

Stefano della Bella, “Ornamental vertical panel with camel heads”, c.1653

Stefano della Bella (1610–1664)

“Ornamental vertical panel featuring foliage, fruit and camel heads” (descriptive title only), c.1653, from the series of twelve plates (including the title plate listed previously), “Ornamenti o grottesche” (Ornaments and grotesques).

Etching on fine laid paper trimmed around the platemark and backed with a support sheet.

Size: (sheet) 16.2 x 6.3 cm.

De Vesme/Massar 1971 1007 (Alexandre de Vesme, revised by Phyllis Dearborn Massar 1971, “Stefano della Bella: Catalogue Raisonné”, New York, Collectors Editions, [text] p. 155, cat. no, 1007, [ill.] p.219).

The British Museum offers the following description of this print:

“Ornament panel with intertwined foliage and bunches of fruit culminating in two camel heads facing each other at top. c.1653/ Etching” (https://www.britishmuseum.org/collection/object/P_1862-1011-322 [BM inv.no. 1862,1011.322).

Condition: a strong and well-printed impression with a replenished upper-left corner, otherwise in very good condition with no tears, holes, folds, abrasions or stains, trimmed close to the platemark and backed with a support sheet of archival (millennium quality) washi paper.

I am selling this remarkably fine small ornamental panel for AU$269 in total (currently US $168.19/ EUR 161.19/ GBP 133.82 at the time of posting 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. Note that payment is in Australian dollars (AU $269) as this is my currency.

If you are interested in purchasing this exquisite 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

Bolognino Zaltieri, “Sirens”, c.1571

Bolognino Zaltieri (fl.1555–1576)

“Sirens”, c.1571 (see https://www.christies.com/en/lot/lot-5698355), printed by Guichard Lullieron (fr.1574–1607) and published by Stephanum Michaelem in Lugduni (now Lyon, France), in the 1581 Latin edition translated by Antoine du Verdier of Vincenzo Cartari’s (1520/31–1569/71) “Imagines deorum, qui ab antiquis colebantur: in quibus simulacra, ritus, caerimoniae, magnaq[ue] ex parte veterum religio explicatur” (Images of the gods who were worshipped by the ancients: in which the images, rites, ceremonies, and great religion of the ancients are explained), as a woodcut illustration to page 167.

Archive.org offers an online view of this print in this publication; see https://archive.org/details/ARes63505/page/n177/mode/2up. Although this impression is from the Latin edition, the woodcut was also published in the same year (1581) in an Italian edition by Barthélemy Honorat (aka Bartholomeo Honorati) (c.1550–1589) on page 205; see https://archive.org/details/McGillLibrary-rbsc_imagini-antichi_BL720C21581a-16006/page/204/mode/2up.

Woodcut on laid paper, trimmed with a narrow margin and backed with a support sheet.

Size: (sheet) 13.5 x 10cm; (image borderline) 13.3 x 9.7cm.

Condition: a well-printed early impression (based on the line quality showing no sign of wear to the printing plate) in an excellent condition with no significant stains, trimmed around to the image borderline with a narrow margin and laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this remarkable woodcut showing a bevy of sirens from the legendary island of Anthemoessea (or Anthemusa) in the waters near Capri (Italy) making music to bewitch beguilable sailors to their doom—note the bones of soft-eyed sailors who succumbed to the sirens’ charms—for AU $253 in total (currently/approximately US $158.18/ EUR 151.60/ GBP 125.86 at the time of posting 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. Note that payment is in Australian dollars (AU $253) as this is my currency.

If you are interested in acquiring this finely executed woodcut from the late Renaissance period, 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

Augustin Hirschvogel, “The Temptation of Christ”, 1548

Augustin Hirschvogel (1503–1553)

“The Temptation of Christ” (TIB title), 1548 (date inscribed in plate), plate 23 (TIB) from the series of 104 plates published in Vienna in 1550 by Aegidius Adler (fl.mid-1500s) in “Vorredt und eingang der Concordantzen alt und news Testaments."

Etching on fine laid paper, trimmed with a narrow margin around the image borderline (with loss of the accompanying letterpress text [see https://www.nga.gov/collection/art-object-page.39380.html]) and backed with a support sheet.

Size: (sheet) 11.7 x 14.8cm; (image borderline) 11.5 x 14.5cm.

Inscribed in plate within the image borderline: (lower right corner) “1548”.

TIB 18.1.23 (Jane S Peters [ed.] 1982, “The Illustrated Bartsch: German Masters of the Sixteenth Century”, Abaris Books, New York, vol. 18, p. 117, cat. no. 1.23); Schwarz 22.

The British Museum offers the following description of this print: “Temptation of Christ; Christ at left, facing Satan in cloak and cane, seen from behind, smaller scene with Christ and Satan at cliff in background, accompanied by German biblical verse to Matthew 4 in letterpress; printed to face the antetype of Adam and Eve; illustration to Peter Perenyi and Augustin Hirschvogel, 'Vorredt und eingang der Concordantzen alt und news Testaments, durch Pereny Petri... Und nachuolgents durch Augustin Hirßfogel... erweytert' (Vienna, Aegidius Adler: 1550). 1548” (https://www.britishmuseum.org/collection/object/P_1926-0617-13-23 [BM inv.no. 1926,0617.13.23]).

The Curator of the British Museum advises that Adler’s publication features “[t]wo etchings to a page with German letterpress above and below with relevant biblical passages” (op. cit.). TIB notes that this print is paired with the etching “The Fall of Man” (TIB 18.1.22 [https://www.britishmuseum.org/collection/object/P_1926-0617-13-21])

Condition: a strong and well-printed lifetime impression (based on the line quality with no sign of wear to the printing plate), trimmed around to the image borderline and laid onto a support sheet of archival (millennium quality) washi paper. Beyond a few marks, the sheet is in a very good condition for its considerable age with no tears, folds or significant stains.

I am selling this very early and extremely rare etching illustrating an Old Testament scene from Matthew 4, for AU $310 in total (currently/approximately US $193.09/ EUR 186.25/ GBP 154.56 at the time of posting 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. Note that payment is in Australian dollars (AU$310) as this is my currency.

If you are interested in acquiring this Renaissance period print executed in Michelangelo’s lifetime by the artist who arguably popularised the great Albrecht Altdorfer’s somewhat panoramic approach to landscape, 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