Theodoor Galle, “The Seven Deadly Sins”, 1601

Theodoor Galle (aka Théodore Galle, Theodor Galle; Dirck Galle) (1571–1633)

“The Seven Deadly Sins” (aka “Septem Peccata Capitalia”), 1601, plate 26 (from a series of one hundred numbered plates), facing page 74 (see  https://archive.org/details/veridicvschristi00davi/page/74/mode/2up) to Jan David’s (1545?–1613) “Veridicvs Christianvs” (A true Christian), published in Antwerp in 1601 by John Moretus (1589–1610) and the (widow Jeanne Rivière’s) Plantin Press (Ex officina Plantiniana, apud Ioannem Moretum)—interestingly, I understand that Theodoor Galle’s marriage to John Moretus’ eldest daughter, Catharina, caused concern in public life at the time of publication as Theodoor’s father, the famous printmaker and publisher, Philip Galle, was viewed by some as having aligned himself to Protestant causes during the period of the Calvinist government in Antwerp (1577–1585) (see Leon Voet’s “The Golden Compasses”, p.194 https://www.dbnl.org/tekst/voet004gold01_01/voet004gold01_01_0005.php).  

Engraving on laid paper trimmed around the borderline with letterpress text verso and backed with a support sheet.

Size: (sheet) 15.8 x 8.8cm; (image borderline) 11.3 x 8.8cm.

Lettered and numbered in plate: (above the image borderline) “SEPTEM PECCATA CAPITALIA.// 26.”; (within the image borderline) “A” to “D”; (below the image borderline in three text boxes of two lines in Latin [roman letter], Dutch [civilité] and French [italic]) “Crimina cur censes quædam Capitalia dici?/ Cetera Lernæâ velut hinc ceruice resultant.”

For those wishing to appreciate the flavour of the accompanying Latin text for this engraving, the following translation is the beginning of the chapter explaining (in part) the letter “A” elements in the image: (my apologies if there are errors in my reading and translation) “There were only seven nations and kingdoms to be feared in the Old Testament, which tried to prevent the children of Israel from entering the land of the Promised Land: thus there are seven different types of sinners, those children of God contend to ward off those who live in the promised land, that is to say, the Kingdom of Heaven.” (“Que madmodum septem erant in veteris Testamenti temoire Gentes & Regna ,quae siliis Israel ingressum in Piomissionis terram prohibere conabantur: ita suntseptem piaecipua peccatorum genera, auae silios Dei ab introitu in promissam terram viuentium, hoc eit, Regnum caelorum arcere contendunt.”)

Condition: a strong impression and well-printed impression trimmed around the borderline in an excellent condition with no tears, holes, folds or significant stains and laid upon a support sheet of archival/millennium quality washi paper providing wide margins.

I am selling this superb impression of a small but visually arresting engraving featuring the seven–headed monster of the seven deadly sins, for the total cost of AU$265 (currently US$172.35/ EUR165.37/ GBP137.48 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. Note that payment is in Australian dollars (AU$265) as this is my currency.

If you are interested in purchasing this interesting personification of the seven sins, 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

Alfred Louis Brunet-Debaines, “St. Denis”, 1885, after Turner

Alfred Louis Brunet-Debaines (1845–1939)

“St. Denis”, 1885, mezzotint after Joseph Mallord William Turner’s (1775–1851) watercolour (c.1833), in the collection of the Tate Gallery, London, showing the suburb of Saint-Denis in Paris with the Basilica of Saint-Denis seen across the River Seine on a moonlit night, published in London by Seeley & Co. (fl.1839–early 1900s) in 1885.

Regarding the painting, the Tate Gallery offers the following insights: “Although St Denis is ostensibly the subject of this image, the ancient cathedral is relegated to the distance, and even the activities of the people in the foreground are of secondary interest to the enveloping coolness of the moonlight. In much the same way that many of Turner's later paintings present forms outlined by the strong sunlight at the centre of his image, he is here exploiting the subdued silhouettes created by a full moon” (https://www.tate.org.uk/art/artworks/turner-st-denis-d24686).

Note that Samuel Fisher (1806-1851) also executed an etching with engraving after Turner’s watercolour (see https://www.britishmuseum.org/collection/object/P_1849-0512-715), published in “Wanderings by the Seine” in 1835. Comparison of Fisher and Brunet-Debaines’ prints with Turner’s watercolour reveals very different readings of the scene. Arguably Fisher’s etching (with engraving) is sharper in focus giving the scene the clarity of an icy night under the full moon, whereas Brunet-Debaines’ mezzotint presents the same scene with a softness of mist and a hint of ethereal mystery—of course, these ways of reading the prints is a personal response only.

Mezzotint printed in a warm black ink on wove paper (with watermark) with full margins.

Size: (sheet) 20.5 x 32cm; (plate) 15.8 x 20.8cm; (image borderline) 13 x 18cm.

Condition: a strong impression with generously wide margins. Beyond a few spots of retouching, the sheet is otherwise in an excellent condition with no tears, holes, folds, stains or signs of handling.

I am selling this richly glowing mezzotint showing a full moon illuminating the distant Basilica of Saint-Denis in Paris after Turner’s watercolour of the same scene, for the total cost of AU$187 (currently US$121.52/ EUR116.04/ GBP96.62 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. Note that payment is in Australian dollars (AU$187) as this is my currency.

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

Eugène Abot, “An Athlete Strangling a Python”, 1877, after Frederic Leighton

Eugène Abot (aka Eugène Michel Joseph Abot) (1836–1894)

“An Athlete Strangling a Python”,1877, after Frederic Leighton (aka Baron Leighton of Stretton; Sir Frederic Leighton) (1830–1896), printed by Alfred Salmon (fl.1863–1894) and published in Paris in 1877 in the French art review, “L’Art.”

Etching with plate-tone on laid paper with full margins as published.

Size: (sheet) 43 x 29.5cm; (plate) 24.3 x 17.3cm; (image borderline) 18.9 x 13.3cm.

Inscribed in plate within the image borderline: (lower right) “Eug. Abot aqua f”.

Lettered in plate below the image borderline: (left) “F. Leighton, R.A sculp./ L’Art.”; (centre) “AN ATHLETE STRANGLING A PYTHON/ Royal Academy of Arts.”; (right) “E. Abot aquaf./ Imp. A. Salmon.”

Beraldi 1 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Abbema-Bechatte”, vol. I, Paris, Librairie L. Conquet, p. 9, cat. no. 1); IFF (p. 21) (Jean Laren 1930, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 1, p. 21 [see https://gallica.bnf.fr/ark:/12148/bpt6k54886103/f25]).

The British Museum offers the following description of this print: “A statue of an athlete seen in profile, turned to the left, strangling a python; the python is wrapped around his leg and torso; his right arm is outstretched; the figure stands on a low platform; published in the journal 'L'Art'; after Frederic Leighton” (https://www.britishmuseum.org/collection/object/P_1878-0511-318 [BM inv. no. 1878,0511.318]).

Condition: a strong and well-printed impression showing no sign of wear to the printing plate with generously wide margins (as published) in a pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this sensitively executed and anatomically knowledgeable etching after Frederic Leighton’s famous sculpture for the total cost of AU$192 (currently US$125.25/ EUR118.65/ GBP98.94 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. Note that payment is in Australian dollars (AU$192) as this is my currency.

If you are interested in purchasing this very beautiful etching that is so fine that the details can only be fully appreciated when greatly magnified (as shown in the scans), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Anthonie Waterloo, “Path by a Large Oak”, c.1645

Anthonie Waterloo (aka Anthoni Waterloo; Antoni Waterlo) (1609–1690)

“Path by a Large Oak” (aka “Le chemin près du grand chêne”; “Grote eik naast een pad”), c.1645 ([Rijksmuseum dates] 1630–1663), from a series of six landscapes, “Forest scenes, series B” (aka “Bosgezichten, serie B”; “Six Landscapes”).

This impression is from the Pierre-François Basan (1723–1797) edition of eighty-eight Waterloo prints published in Paris c.1785 (1784–1786) with the paper of this sheet watermarked with the year 1779 (or possibly 1772)—interestingly, the chain-line separation (30mm) and the lettering of the watermark lies outside the three paper types often used by Basan, as described by Morse (1992) (see pp. xvii–xviii).

Etching with drypoint on fine laid paper (partial watermark dated 177[2/9?]) with wide margins.

Size: (sheet) 20.3 x 20.7cm; (plate) 13.2 x 14.6cm.

Inscribed in plate: (upper left): “A.W.f”; (upper right) “2”.

State iii (of iii) with “Regular cross-hatching added on the lower section of the stump at the left …” (Morse [1992], p. 86).

TIB 0201.066 S3 (Peter Morse [ed.] 1992, “The Illustrated Bartsch: Antoni Waterloo”, vol. 2, Commentary, Part 1, New York, Abaris Books, pp. 84–6, cat. no. [0201.066 S3); Hollstein Dutch 66 (Christiaan Schuckman 1997, “Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Antoni Waterloo,” vol. 50, Rotterdam, Sound and Vision, p. 156, cat. no. 66).

The British Museum and the Rijksmuseum offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_Sheepshanks-1658 (BM inv. no. Sheepshanks.1658);  http://hdl.handle.net/10934/RM0001.COLLECT.193760.

Condition: a strong impression showing no sign of wear to the printing plate with wide margins. Beyond minor imperfections intrinsic to the paper and a faint pencil notation by a previous collector in the right margin, the sheet is in a near pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this superb impression of a beautiful etching (with drypoint) by the largely self-taught landscape artist of the Dutch Golden Age, Anthonie Waterloo, showing in great clarity travellers on a country road, for the total cost of AU$288 (currently US$187.84/ EUR177.43/ GBP147.81 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. Note that payment is in Australian dollars (AU$288) as this is my currency.

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

Salvator Rosa’s etching, “Three Soldiers in Conversation”, c.1656/7

Salvator Rosa (1615–1673)

“Three Soldiers in Conversation”, c.1656/7, from the series, “Figurine”. This is the only print in the series that is not signed in the plate with the artist’s monogram and is based on a brown ink and wash drawing in the reverse direction in the collection of Principe Urbano Barberini in Rome (see Wallace [1997], p. 187, 52a).

Etching with drypoint on laid paper (with partial watermark) with wide margins. Based on the deckle edges of the sheet and the placement of the image, this is possibly the full sheet when published.

Size: (sheet) 25.3 x 20.2cm; (plate) 14.3 x 19.1cm.

State ii (of ii) Note that there is only one impression known of the first state.

TIB 4512.072 [B.55 [284]) S2 (Paolo Bellini & Richard W Wallace [eds.] 1990, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 45 [Commentary], New York, Abaris Books, pp. 400–01, cat. no. [4512].072); Wallace 52 (Richard W Wallace 1979, “The Etchings of Salvator Rosa”, Princeton, Princeton University Press, pp. 186–87, cat. no. 52/II).

The British Museum offers the following description of this print: “Figurine; three warriors at a low wall, one seated on a rock and seen from behind, the other two facing front behind the wall. c.1656-1657/ Etching with drypoint” (https://www.britishmuseum.org/collection/object/P_W-7-80 [BM inv. no. W,7.80]).

Condition: a richly inked and strong impression with signs of wear to the printing plate. The sheet has wide margins around the platemark and is in an excellent condition (even a near pristine condition for its considerable age) with no tears, holes, folds, abrasions, stains or signs of significant handling.

I am selling this marvellous etching (with drypoint) by Salvator Rosa—note how the artist has used the angle of the foreground soldier’s leg and sword to link the two background figures in a flowing rhythm to bind and balance the composition—for the total cost of AU$328 (currently US$213.55/ EUR201.67/ GBP168.53 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. Note that payment is in Australian dollars (AU$328) as this is my currency.

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