Adolphe Crauk, “The Nativity”, c1900, after Hans Memling

Adolphe Crauk (1865–1945)

“The Nativity”, c1900, a rare pencil-signed proof with a remarque of a sheep, after the left panel of Hans Memling’s (aka Johannes Memmelinc; Jan van Mimnelinghe) (c1433–1494) “Triptych with the Adoration of the Magi” (Drieluik met de Aanbidding der Wijzen), 1479, in the collection of the Musea Brugge (see: https://collectie.museabrugge.be/en/collection/work/id/O_SJ0173_I & https://www.meisterdrucke.ie/fine-art-prints/Hans-Memling/762858/The-Nativity.html). 

Etching and engraving on buff coloured chine collé with a remarque on heavy wove paper, hand-signed in pencil with wide margins.

Size: (sheet) 59.5 x 39.9 cm; (platemark) 50.6 x 29 cm; (chine collé) 48 x 27.8 cm; (image borderline) 38.3 x 19.5 cm.

Inscribed in pencil below the image borderline at lower right: “A. Crauk”.

Condition: a strong and well-printed impression wide margins. There is a restored tear in the margin at lower left and a few scratches/abrasions that have been replenished, otherwise the sheet is in a good condition with no significant stains.

I am selling this large and exquisite engraving by a somewhat forgotten artist—note that not even the British Museum, Rijksmuseum or the MET hold a print by this superb printmaker—for the total cost of AU$282 (currently US$190.82/EUR172.64/GBP145.33 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 extraordinarily subtle and technically amazing engraving—to my eyes, a true tour de force of engraving! —please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Ferdinand Kobell, “Wooden Bridge Over a Rocky Gorge”, 1778.

Ferdinand Kobell (1740–1799)

“Wooden Bridge Over a Rocky Gorge” (aka “Holzbrücke über einer Felsenschlucht”), 1778, the first plate in a suite of 6 etchings (Stengel 214–219), “Les Ponts” (“The Bridges”). The British Museum offers a view of the second plate from this series: https://www.britishmuseum.org/collection/object/P_1879-1011-1257.

Etching with drypoint (regarding the use of drypoint in this print, see Stengel [1882], p. 147) on laid paper trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 15.1 x 22 cm; (plate/image borderline) 13.2 x 20.2 cm.

Inscribed in plate: (lower right on plank) “fer. Kobell/ 1778.”

Stengel 214 (Etienne Baron de Stengel 1822, “Catalogue Raisonné des Estampes de F. Kobell”, Nuremberg, Riegel & Wiesner, pp. 146–47, cat. no. 214).

Condition: a richly inked lifetime impression (based on the quality of line showing no sign of wear to the printing plate) with a small margin (approx. 1 cm) around the platemark and laid onto a support sheet of millennium quality washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this outstanding etching that almost sparkles with crystal clear light and air for the total cost of AU$302 (currently US$204.36/EUR184.88/GBP155.68 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$302) as this is my currency.

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

Ferdinand Gaillard, “Crepuscule”, 1876, after Michelangelo (3rd copy)

Ferdinand Gaillard (aka Claude Ferdinand Gaillard) (1834-87)

“Crepuscule” (aka “Dusk”; “La Vierge de la Maison d'Orléans” [British Museum title]), 1876, after Michelangelo’s marble sculpture, “Dusk”, from the “Tomb of Lorenzo di Piero de’ Medici” in the Medici Chapel (Florence). This is an impression before the addition of lettered publication details for “La Gazette des Beaux-Arts”, 1876, and the printer’s note for Charles Chardon aîné (fl.1850s). Interestingly, the “Inventaire du Fonds, Français” (IFF) advises that only two impressions were made of this state (before the addition of the publication details); see (cat. no. 51) https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f329.

Engraving on buff-coloured chine collé (China) paper on thick white wove paper, with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 22.3 x 28 cm; (platemarks) 17.5 x 24 cm; (chine collé) 16.1 x 22.4 cm.

Inscribed in plate: (lower right) “Gaillard d’après Michel Ange”.

State iv (of v) showing the addition of the artist’s name after Michelangelo, but before the addition of publication details of state v.

Beraldi 32 (Henri Beraldi 1887, “Les Graveurs du Dix-Neuvième Siècle: DORÉ –GAVARD”, vol. VI, Paris, Librairie L. Conquet, p. 202, cat. no. 32 [see https://archive.org/details/lesgraveursdu19e06berauoft/page/202/mode/2up]); IFF 51 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds, Français: Graveurs du XVIIe Siècle”, Paris, Bibliothèque Nationale, Département des Estampes, vol. 8, p. 317, cat. no. 51).

The British Museum offers the following description of this print: “Dusk as a nude bearded man reclining on a curved pediment; after the statue designed by Michelangelo for the tomb of Lorenzo de' Medici in San Lorenzo, Florence; published in 'La Gazette des Beaux-Arts', January 1876/ Engraving on chine collé” (https://www.britishmuseum.org/collection/object/P_2006-U-1329).

Condition: an incredibly delicate impression—so finely executed that, without examining the print with the aid of a jeweller’s loupe, I struggle to see how it was engraved—with small margins and laid upon a sheet of millennium quality washi paper providing wide margins. Beyond minor surface grubbiness and a few nicks, the sheet is in a very good condition with no tears or significant stains.

I am selling this technically superb engraving that is one of the only two impressions from the rare 4^th state, by (arguably) the most skilful (or at least one of the most skilful) of the 19^th century master engravers, for a total cost of $282 (currently US$191.98/EUR173.20/GBP145.64 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 engraved translation of Michelangelo’s famous sculpture into line, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the third impression of this print that I have posted. The previous impressions have been sold.

This print has been sold

Gabriel Perelle, “Circular Landscape with Trees and Two Figures on the Left and Herdsmen on the Right”, c.1650

Gabriel Perelle (aka Gabriel Perrelle) (1604–1677) / Nicolas Perelle (1631–c1695) / Adam Perelle (1640–1695)

Note that the attribution of this print to Gabriel Perelle, rather than to his sons (Nicolas and Adam), follows the British Museum convention in that prints inscribed with the name, “Perelle,” are catalogued under the father’s name, “Gabriel Perelle” (see https://www.britishmuseum.org/collection/term/BIOG41615).

“Circular Landscape with Trees and Two Figures on the Left and Herdsmen on the Right” (descriptive title only), c.1650 (1620–1666), published in Paris by Jean Leblond I (c.1590/1594–1666) with royal privilege.

The British Museum offers the following description of this print (no illustration): “Landscape with trees in the left foreground, beyond two figures, a man riding a donkey and some farm animals walking on a road, to the left, in the distance some mountains; within circle/ Etching” (https://www.britishmuseum.org/collection/object/P_X-9-147).  

Etching on fine laid paper trimmed along/slightly within the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.6 x 20.7 cm; (image borderline) dia. 20.4 cm.

Lettered in plate below the image borderline: (left) “Perelle Inuent et fecit”; (right) “Le Blond Auec priuilege”.

Condition: a richly inked and well-printed impression trimmed with a narrow margin around the circular image borderline and laid upon a sheet of millennium quality washi paper providing wide margins. Beyond faint darkening at the corners (possibly traces of glue verso), the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very strong (even magnificent!) impression of one of the larger Perelle circular/tondo etchings showing (from my way of looking at the image) contrast between the diminutive size of men with the grandeur of trees and the surrounding natural setting, for AU$279 (currently US$189.86/EUR170.74/GBP143.69 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$279) as this is my currency.

If you are interested in purchasing this large and superb etching rendered with the finest of details and capturing the crystal-clear light of the rural landscape in the 17th century, 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

Pierre-François Basan, “The Storm”, c.1780, after Joseph Vernet

Pierre-François Basan (1723–1797)

“The Storm” (aka “L’Orage”; “Thunderstorm” [Hermitage title]; “L'Orage Impétueux” [LeBlanc title]; “Le Coup de Vent”), c.1780 (1773–1788), after Joseph Vernet’s (aka Claude-Joseph Vernet) (1714–1789) painting executed in c1773 and in the collection of the Hermitage Museum, Saint Petersburg (see https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.+paintings/37283), initially published in Paris by Basan et Poignant (Pierre-François Basan and his son Etienne-Léon Poignant [fl.1773–1791]). This impression was published in Paris by Pierre Jean (fl.1784–1820).

Etching on laid paper with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 27 x 29.9 cm; (platemark) 24.4 x 27.5 cm; (image borderline) 20 x 25.9 cm.

Lettered in plate below the image borderline: (left) “Jos. Vernet pinx.”; (centre) “L’ORAGE/ A Paris chez Jean rue Jean de Beauvais, no. 32.”

LeBlanc 487 (Charles Le Blanc 1854–88, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 1, Paris, Emile Bouillon, p. 191, cat. no. 487 [see https://archive.org/details/manueldelamateur01lebl/page/190/mode/2up]).

See also the description of this print offered by the Herzog Anton Ulrich-Museum: http://www.virtuelles-kupferstichkabinett.de/de/detail-view.

Condition: a well-printed impression with a small margin around the platemark (approx. 1 cm) and laid onto a support of archival (millennium quality) washi paper. The sheet is in a very good condition with no tears, holes, folds, abrasions, or significant stains.

I am selling this finely executed engraving of an approaching rainstorm from the late 1700s—note how the artist has changed the tone of the circling birds from black when they are silhouetted against the lighter areas of the sky to sparkling white when the birds are in stark contrast with the dark storm clouds—for the total cost of AU$240 (currently US$163.09/EUR146.27/GBP123.30 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$240) as this is my currency.

If you are interested in purchasing this curious scene of fisher folk that are seemingly unmoved and unhurried about a pending storm, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.