Jan van de Velde II, “Dawn”, c.1628, after Hendrik Goudt

Jan van de Velde II (c.1593–1641)

“Dawn”, c.1628 (1615–1641), plate 2 from the series of four plates, “The Times of the Day”, after a print by Hendrik Goudt (aka Hendrick Goudt) (1583–1648).

Etching with engraving on fine laid paper, trimmed with a small margin around platemark and backed with a support sheet providing wide margins.

Size: (sheet) 10.8 x 17.9cm: (plate) 9.3 x 16.6cm; (image borderline) 9 x 16.3cm.

Numbered in plate at the lower right corner: “2”.

State ii (of ii) with the addition of the plate number.

Hollstein 76 (Ger Luijten & Christiaan Schuckman [comp.] 1989, “Dutch and Flemish Etchings, Engravings and Woodcuts c.1450–1700: Jan van de Velde II to Dirk Vellert”, vol. 33, Roosendaal, Koninklijke Van Poll, cat. no. 76); Franken & Van der Kellen 192 (Daniel Franken & Johan Philip van der Kellen 1883, “L'oeuvre gravé de Jan van de Velde II”, Amsterdam, p.90, cat. no. 192).

The Rijksmuseum offers the following description of this print: (transl.) “Hilly landscape with shepherds at a campfire in the foreground on the right. Dawn in the background. Print from a series of four” (https://id.rijksmuseum.nl/200392703).

See also the description of this print offered by The British Museum: https://www.britishmuseum.org/collection/object/P_Sheepshanks-5823.

Condition: a well-printed impression, but not rich in contrast, with small margins around the platemark and laid upon an archival support sheet of millennium quality washi paper providing wide margins. There is a replenished loss on the borderline at upper left and minor stains, otherwise, the sheet is in a good condition for its considerable age with no tears or significant stains.

I am selling this early morning scene showing the sun beginning to touch distant trees and the light of shepherds’ campfires illuminating the foreground darkness—an extraordinarily poetic etching (with engraving) by one of the most celebrated Dutch artists of the early 1600s—for AU $381 (currently US $238.21/ EUR 228.94/ GBP 189.84 at the time of posting this print) 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 $381) as this is my currency.

If you are interested in purchasing this sensitively executed etching from the Dutch Golden Age, 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

Jean-Paul Alaux, “Darnetal Bell Tower”, 1822

Jean-Paul Alaux (aka Gentil Alaux; [Gentil] Alaux de Bordeaux) (1788–1858)

“Darnetal Bell Tower” (aka “Clocher de Darnethal” [as titled in the plate]; “Clocher de Darnetal” [as titled in the publication index, p. 187]), 1822, lithograph printed by Godefroy Engelmann I (1788–1839), after the drawing, “Clocher de Darnethal” [sic], 1822, by Jean-Paul Alaux (see https://gallica.bnf.fr/ark:/12148/btv1b7740634j.item), published in 1825 in Paris under the direction of Isidore Taylor (aka Baron Taylor; Isidore Justin Severin Taylor) (1789–1897), as plate 176 in “Voyages Pittoresques et Romantiques dans l'Ancienne France, Ancienne Normandie”, volume 2.

Archive.org offers a view of this print as published: https://archive.org/details/voyages-france-.-1825-ancienne-normandie/page/n307/mode/2up.

Lithograph on chine collé on wove paper backed with a support sheet.

Size: (sheet) 38 x 26.8cm: (chine collé) 34.9 x 26.8cm; (image borderline) 33 x 25.8cm.

Numbered in plate above the image borderline: (centre) “P. 176.”

Lettered in the plate below the image borderline: (left) “Gentil Alaux de Bordeaux 1822.”; (centre) “Clocher de Darnethal”; (right) “lith de G: Engelmann”.

Condition: a strong and well-printed impression trimmed with a small margin around the image borderline and laid upon a support sheet of archival (millennium quality) washi paper providing wide margins. Beyond marks in the margin at upper right, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large and poetic portrayal of a looming bell tower in Normandy gently fading into the evening darkness behind a brightly lit religious celebration taking place on the ground close by, for AU $218 in total (currently US $136.14/ EUR 130.85/ GBP 108.52 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 $218) as this is my currency.

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

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