Gallery of prints for sale

Wednesday, 13 November 2024

Baron Dominique Vivant Denon, “St. Jerome in the Desert”, 1791, after Titian

Baron Dominique Vivant Denon (aka Vivant De Non; Vivant Denon) (1747–1825)

“St. Jerome in the Desert” (TIB title) (aka “Saint Jérôme dans le Desert”; “Landscape with the Penitent Jerome and Three Resting Lions”), 1791, after Titian (aka Tiziano Vecellio) (1489/90–1576), published as plate 17 in a series of prints illustrating the collection of Baron Dominique Vivant Denon (“Tiré du Cabinet de Mr Denon”).

Etching with drypoint printed in a warm black ink on heavy wove paper with wide margins.

Size: (sheet) 51 x 73cm; (plate) 40.6 x 55.6cm; (image borderline) 38 x 53.5cm.

Inscribed in plate: (upper right) “17.”; (lower right) “Denon [with the artist’s monogram]”.

TIB 12101.303 (Petra ten-Doesschate Chu 1985, “The Illustrated Bartsch: Dominique Vivant Denon: French Masters of the Nineteenth Century”, Vol. 121 [Part 1], New York, Abaris Books, p. 243, cat. no. [12101].303).

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins. Beyond minor fractures/tears to the outer edge of the margins, the sheet is in an excellent condition with no significant stains.

I am selling this very beautiful, huge and marvellously rich impression for the total cost of AU$304 (currently US$196.78/ EUR186.43/ GBP155.12 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$304) as this is my currency.

If you are interested in this bold interpretation of Titian’s composition, 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










Tuesday, 12 November 2024

Charles Louis Kratke, “The Cottage”, c.1880, after Constable

Charles Louis Kratke (aka Charles Louis Kratké) (1848–1921)

“The Cottage”, c.1880, after John Constable’s (1776–1837) painting in the Musée du Louvre (as inscribed in the plate).

Interestingly, Alfred Louis Brunet-Debaines (1845–1939) also made an etching of the same painting by Constable in 1873; see https://www.nwmissouri.edu/archives/art/deluce-family/collected-works/dc198.htm.

Etching printed in burnt umber ink on heavy wove paper, trimmed with a small margin within the platemark.

Size: (sheet) 56.5 x 42.5cm; (image borderline) 49.3 x 40cm.

Lettered in plate below the image borderline: (centre) “THE COTTAGE/ Etched by L. Kratke after the picture by John Constable/ in the Musée du Louvre”.

Condition: a richly inked and near faultless impression trimmed within the platemark with small margins around the image borderline. The sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this huge and superb etching translating the colours, tones and textures of Constable's painting into an insightfully orchestrated web of lines, for the total cost of AU$302 (currently US$197.43/ EUR185.83/ GBP154.88 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 richly worked and very beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.












Crispijn de Passe II, “Pope Paul V”, 1611, after Crispijn de Passe I

Crispijn de Passe II (aka Crispin van de Passe; Crispin de Passe) (c.1594–1670)

“Pope Paul V” (aka “Paus Paulus V”; “Pontificia Sedes, qvæ Romanæ svccessit Monarchiæ” [The Pontifical Sees, which the Roman Empire passed to the Monarchy]; “Sanctissimvs” [The Most Holy]), 1611, plate 1 from the series of four engravings, “Wereldheersers” (World Rulers) after the design by the engraver’s father, Crispijn de Passe I (1564–1637), who also published this print, with eight lines of verse (ode) by Guilhelm Salsman (1608–1658) in the writing edge and a biblical reference from Mathew 10:16 ([transl.] “be wise as serpents, and innocent as doves”) at lower right within the image borderline.

Engraving on laid paper.

Size: (sheet) 25.5 x 29cm; (plate) 18.3 x 22.5cm; (image borderline) 16.7 x 22.2cm.

Lettered in plate: (upper edge at centre) “PONTIFICIA SEDES, QVÆ ROMANÆ SVCCESSIT MONARCHIÆ.”; (upper left) “SANCTISSIMVS”; (within the image borderline at lower left) “I/ Prudentes sicut’ serpentes, et simplices simplices sicut columbæ Matt[h?]/ 10”; (below the image borderline): “Pavle Pater Patrum, tua dextra dirigit axem/ …// …/ …//…/ …/ …/ Sic non as tus erit, non tibi fas tus erit./ Crispinus Passae, sen: Inue: et excu: Junior Sculp. Æta: 17// Guil: Sal”.

Franks 430 (Daniel Franken & Simon Laschitzer 1975, “L'oeuvre gravé des Van de Passe”, vol. 19, Amsterdam, p. 66, cat. no. 430); Hollstein Dutch 17 (Jan Verbeek & Ilja M. Veldman [comp.] 1994, “Dutch and Flemish Etchings, Engravings, and Woodcuts 1450–1700: De Passe (continued)”, vol. 16, Amsterdam, Van Gendt & Co, p. 96, cat. no. 17).

The Rijksmuseum offers the following description of this print: (transl.) “Pope Paul V on a throne under a canopy. In his left hand he holds a cross staff and with his right hand he makes a gesture of blessing. Next to him is his coat of arms. At his feet lie two snakes and two doves. On the left in the foreground lies the she-wolf suckling the twins Romulus and Remus. In the background the festive entry of Pope Paul V. Bottom left a Bible quotation from Matt. 10 in Latin. In the margin an eight-line ode, in four columns, in Latin. First print from a series of four with world rulers” (http://hdl.handle.net/10934/RM0001.COLLECT.160841).

Sometimes the task of recording inscribed texts on prints is more difficult than it is rewarding. This time I was pleased that I took the trouble to decipher the publication details. Here the details not only give the original designer and publisher (Crispijn de Passe the Elder), but, unusually, the inscription also advises that the engraver (Crispijn de Passe the Younger) was 17 when he executed the plate. For me, this insight about the engraver opened my eyes to what must have been (and is!) an amazing feat of dedicated focus and skill. In particular, I am astounded by engraver’s fine rendering of the Damask patterned weave of the Pope’s chasuble capturing its detail with the subtlest of nuance from lit areas to shadow.

Condition: a strong and well-printed impression with generous margins. Beyond minor grubbiness and a few marks in the margins, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this technically advanced engraving executed by the son of Crispijn de Passe the Elder when he was only 17—to my mind an amazing feat of burin control—for AU$288 in total (currently US$188.63/ EUR177.44/ GBP147.30 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$288) as this is my currency.

If you are interested in acquiring this rare and historically significant portrait of Pope Paul V (1550–1621) executed during the Pope’s lifetime, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.











Sunday, 10 November 2024

Max Liebermann, “Self-Portrait”, 1913

Max Liebermann (1847–1935)

“Self-Portrait” (aka “Selbstbildnis”), 1913, an original drypoint in pristine condition with full margins as published in Berlin by Bruno Cassirer (1872–1941) (Verlag Bruno Cassirer).

Interestingly, in 1917 (four years after this etching was executed), Reinhold Hoberg (1859–1932) made a woodcut after Liebermann’s etching (with variations to the design); see Schiefler 1923 [1991, 4th rev. ed.], p. 162, cat. no. XVI [illus. p. 181]), published in the calendar, “Kunst und Leben” (Art and Life). See also the Cleveland Museum of Art which holds an impression of this woodcut signed by Liebermann (I understand that some impressions feature the dual signatures of Hoberg and Liebermann): https://www.clevelandart.org/art/1923.807.

Drypoint printed on fine laid paper with partial watermark and margins as published.

Size: (sheet) 29.1 x 21.8cm; (plate) 23.3 x 17.3cm. 

Lettered in plate: (lower right edge) “'VERLAG BRUNO CASSIRER, BERLIN”.

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

Schiefler 150 (Gustav Schiefler 1923 [1991, 4th rev. ed.], “Max Liebermann: The Graphic Work, 1876–1923”, San Francisco, Alan Wofsy Fine Arts, p. 97, cat. no. 150 [illus. p. 287]).

Condition: a strong and well-printed impression in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this bold self-portrait by a significant painter and printmaker who was actively engaged in the dissemination of Impressionist theory in Germany as well as being an important collector of works by the French Impressionists, for AU$464 in total (currently US$305.96 / EUR285.37/ GBP236.81 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$464) as this is my currency.

If you are interested in acquiring this remarkable drypoint—note the confidence and unhesitating flow of the deeply incised strokes—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 








Saturday, 9 November 2024

Rhys Jenkins, “Le Mont Saint-Michel”, 1920

Rhys Jenkins (Welsh, early 20th century [see biographical details about this artist offered by Invaluable Auctions: https://www.invaluable.com/artist/jenkins-rhys-rmv4f34cm4/#ARTIST_DETAIL_INFO])
“Le Mont Saint-Michel”, 1920, pencil-signed by the artist.

Etching with plate-tone printed in brown ink on heavy wove paper, signed in pencil by the artist at lower right and backed with a support sheet.

Size: (sheet) 20.8 x 32.5cm; (plate with the upper edge curved) 16.6 x 28.6cm.

Condition: a richly inked and well-printed impression in an excellent condition with no tears, holes or significant stains, laid onto a sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this strong etching of the famous abbey of Mont Saint Michel portrayed in a burst of sunlight piercing through clouds for AU$234 in total (currently US$154.09 / EUR143.69/ GBP119.25 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$234) as this is my currency.

If you are interested in acquiring this marvellous etching with a strong romantic leaning that seems inevitably evoked by such an amazing island crowned by the abbey, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.