Carl Wilhelm Kolbe, “Le Bosquet”, 1811, after Salomon Gessner

Carl Wilhelm Kolbe (the elder) (1759–1835)

“Le Bosquet” (aka “The Grove”; “The Forest”; “Wooded Landscape with Dancing Nymph and Satyr”), 1811, after a gouache painting by Salomon Gessner (1730–1788). I understand that the print is from a series of twenty-five engravings with etching by Carl Wilhelm Kolbe after drawings and gouaches by Salomon Gessner, initially printed and published by Heinrich Gessner (1768–1813) in Zurich in 1805 in the folio, “Tableaux en gouache, demi-gouache et dessins au lavis de Salomon Gessner”, and later published in 1811 in, “Collection des tableaux en gouache et des dessins de Salomon Gessner” (see https://id.rijksmuseum.nl/200474585; see also the explanatory note by the Rijksmuseum regarding this print: https://id.rijksmuseum.nl/200475172).

Etching on wove paper with wide margins as published.

Size: (sheet) 59.8 x 43.1 cm; (platemark) 46.9 x 37.9 cm; (image borderline) 40 x 30 cm.

Lettered in plate below the image borderline: (left) “Peint par Salomon Gessner.”; (centre) “LE BOSQUET/ tableau en gouache tire du cabinet de Madame Usteri née Lavater à Zuric.”; (right) “Gravé par Guil. Kolbe.”

State iii (of iii)

Martens 296 (Ulf Martens 1978, “Der Zeichner und Radierer Carl Wilhelm Kolbe”, Berlin, Gebr. Mann, cat. no. 296).

See also the descriptions of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1994-1106-1-14.

Condition: a richly inked, near-flawless impression with generously wide margins. Aside from a few minor margin marks and pale foxing to the extremities, the sheet is in an excellent condition for its large size and age, free from any tears, holes, folds, or significant stains.

I am offering this superb impression of a large, romantic etching that depicts an idyllic Arcadian scene with mythological figures playing music and a tender love-tussle between a maiden and a satyr. Priced at AU$318 (approximately US$209.76, EUR €178.59, or GBP £155.68), this price includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you're interested in acquiring this beautifully detailed etching, please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice for a smooth and secure purchase.

Heinrich Wolff, “Anatomy Lecture”, 1905

Heinrich Wolff (1875–1940)
“Anatomy Lecture” (descriptive title only), 1905

In one of the few reproductions of this print that I have encountered, the scene is attributed to depict the seminal figure of modern medicine and bacteriology, Robert Koch (aka Heinrich Hermann Robert Koch) (1843–1910). Koch, renowned for his ground-breaking work in microbiology (see https://en.wikipedia.org/wiki/Robert_Koch). However, there is a compelling possibility that the lecturer, characterised by his large beard, may instead be Rudolf Ludwig Carl Virchow (1821–1902), widely regarded as “the father of modern pathology” (https://en.wikipedia.org/wiki/Rudolf_Virchow).

A notable feature of the image is what appears to be an X-ray illumination behind the lecturer. If this interpretation is accurate, it would suggest that neither Koch nor Virchow is the individual depicted, since the discovery of X-rays by Wilhelm Röntgen in 1895 would place the scene in a timeframe later than either of these figures were actively delivering lectures. This temporal discrepancy raises questions about the identity of the portrayed figure and the context of the scene.

The print itself is a large etching executed with aquatint and mezzotint techniques, and it exists as an early artist’s proof printed on fine wove paper. On the reverse side of the sheet is an engraving titled “Portrait,” dated circa 1804–1811, by Jean Massard (Jean Baptiste Massard, 1740–1822). This engraving depicts a studio copy of a self-portrait by Rembrandt (Rembrandt Harmensz van Rijn, 1606–1669). For further details, see the British Museum’s description of Massard’s print: https://www.britishmuseum.org/collection/object/P_1859-0806-472.

Size: (sheet) 59 x 40.5 cm; (plate) 46.7 x 33.9 cm; (image) 46 x 33.2 cm

Condition: a well-printed, near faultless, impression with an equally fine impression verso. There is a restored closed tear in the margin at upper left (with washi paper repair verso), otherwise the sheet is in a very good condition with no holes, folds or significant stains.

I am selling this remarkable proof-state impression of a medical lecture set in the early twentieth century with a patient being discussed as she lies in bed and what may be an illuminated X-ray in the background for the total cost of AU$402 (approximately US$265.75, EUR €225.6, or GBP £196.76). This price includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in purchasing this outstanding artist’s proof with an additional engraving (with etching) printed on the back of the sheet, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jules Laurens, “Chênes du Midi”, c.1852, after Alexandre Calame

Jules Laurens (aka Jules Joseph Auguste Laurens, 1825–1901)

“Chênes du Midi” (Oaks of the South) around 1852. This date is inferred from the inscribed address of the printer, François Delarue (fl. 1850s–1860s), who was active in Paris at 8 rue Larrey in 1852. The lithograph is based on a design by the Swiss landscape artist Alexandre Calame (also spelled Calam or Calamy, 1810–1864) and is plate 116 from the series “Leçons de Paysage” (Landscape Lessons), published by François Delarue & Fils. Notably, Delarue released “Leçons de Paysage” in two sets, issued in folios each comprising twelve plates, between approximately 1850 and 1863.

Lithograph on heavy wove paper.

Size: (sheet) 34.9 x 47.4 cm

Inscribed with signature in plate/stone: (lower left) “A Calame”.

Lettered in plate/stone along the lower edge: (left) “Paris, F^ois. DELARUE & FILS édit^rs. 68, r. JJ. Rousseau.”; (centre) “LEÇONS DE PAYSAGE/ lith. par Laurens, d’après A. Calame.”; (right) “CHÊNES DU MIDI/ Imp. F^ois. Delarue, 8, rue Larrey, Paris.”

Condition: a strong and well-printed impression. The plate number which should be at the upper edge of the sheet is lost, otherwise the sheet is in a near pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this large and magnificent study of two oak trees for the total cost of AU$224 (approximately US$148.33, EUR €125.77, or GBP £109.12). This price includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in purchasing large nature study designed for art students to copy and explore the expressive potential of a master's drawing, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that currently mail services from Australia to the USA have been suspended. Consequently, at the moment I am unable to accept purchases needing shipping to the United States.

Samuel Palmer, “The Willow”, 1850

Samuel Palmer (1805–81)

“The Willow”, 1850, executed on the artist’s admission to the Etching Club in 1850 and published in London by Seeley & Co in 1892 on page 2 of “The Life and Letters of Samuel Palmer”, written by the son of Samuel Palmer, Alfred Herbert Palmer (1853-1932).

Etching on wove paper with full margins as published.

Size: (sheet) 22.7 x 15 cm; (plate) 11.5 x 7.8 cm; (image) 9 x 6.7 cm

Inscribed in the plate (lower left): “S. Palmer 1850”.

The British Museum offer the following description of this print from the later 1926 edition of 75 impressions: “Tree on the edge of a stream in which two cows stand. 1850 Etching” (https://www.britishmuseum.org/collection/object/P_1926-0903-10).

State ii (of iii) before the addition of “a small engraved triangle below the lower left-hand corner of the frame line” (Lister 1969, p. 99).

Lister 1.ii (Raymond Lister 1969, “Samuel Palmer and his Etchings”, New York, Watson-Guptill publications, p. 99, cat. no. 1 [state ii]).

Condition: a richly inked and well-printed (near faultless) impression with full margins as published. There is an area of thinness to the lower margin of the sheet (visible when held to the light), otherwise the print is in a near pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this original Samuel Palmer etching for the total cost of AU$710 (approximately US$474.12, EUR €399.92, or GBP £347.52). This price includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in purchasing this print by one of Britain’s most famous artists, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This is the second copy of this print I have listed. The previous copy has been sold.

Note that currently mail services from Australia to the USA have been suspended. Consequently, at the moment I am unable to accept purchases needing shipping to the United States.