Dominique Jouvet-Magron, “La Vieille Dame”, 1910

Dominique Jouvet-Magron (aka Mme. Jouvet-Magron) (fl.1907–1935)

“La Vieille Dame” (The Old Lady), 1910, published in Paris in the art periodical, “La Revue de l'Art Ancien et Moderne”, vol. XXIX (29), January–June, 1911, between pages 124 and 125. See this print in its context in the publication (“La Revue de l'Art Ancien et Moderne”): https://archive.org/details/larevuedelartanc29pariuoft/page/124/mode/2up).

Etching with plate tone printed in a warm-black ink on heavy cream wove paper.

Size: (sheet) 28.5 x 21.2 cm; (platemark) 19.8 x 14.8 cm; (image borderline) 19 x 14.3 cm.

Inscribed in plate: (upper left) “Dominique/ Jouvet-Magron”.

Clement-Janin and G. Desdevises du Dezert 8 (“Catalogue of the Etchings of Dominique Jouvet-Magron”, in “The Print Connoisseur”, vol. 3, no. 2 (April, 1923), p.95, cat. 8: see https://babel.hathitrust.org/cgi/pt?id=njp.32101067019859&seq=153).

Clement-Janin and G. Desdevises du Dezert (1923) discuss the work of Dominique Jouvet-Magron in “The Print Connoisseur”, vol. 3, no. 2 (April, 1923), pp. 91–98; see this publication on-line compiled by David Patrick and offered by Hathi Trust  https://babel.hathitrust.org/cgi/pt?id=njp.32101067019859&seq=149.

See also the discussion by Émile Dacier (1911) on the facing page to the publication of this etching in “La Revue de l'Art Ancien et Moderne”. In this discussion, Dacier draws attention to Jouvet-Magron’s ability to (in translation) “scrutinize the physiognomy of the old edifices [the portrayed old lady], to dig into the shadow of their wrinkles and to emphasize with light that which makes their nobility and their beauty”. Dacier also addresses the “clear influence of Rembrandt” and comments that such influences in Jouvet-Magron’s hands have (in my words) honed her craft and “becomes more subtle from year to year” and declares: “I do not know of a woman in France, at the present time, who handles etching with more decision and who uses its resources with as much diversity” (p. 124).

Condition: a strong and well-printed impression (near faultless) in a near pristine condition.

I am selling this exceptionally beautiful, well-crafted and sympathetic portrayal of an elderly woman, for AU $237 (currently US $145.59/ EUR 142.03/ GBP 118.43 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 $237) as this is my currency.

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

Michele Lucchese, “The Martyrdom of Saint Laurence”, 1525–1537, after Marcantonio Raimondi and Baccio Bandinelli

Michele Lucchese (aka Michele Crecchi Lucchesi; Michele Greco; Michele Grech) (fl.1534–64) see also the discussion about this engraver in M. Bury’s (2001) “The Print in Italy 1550–1625”, London, British Museum, p. 228.

“The Martyrdom of Saint Laurence”, 1539, after Marcantonio Raimondi’s (1470/82–1527/34) engraving (1490–152) shown in the same direction (see https://id.rijksmuseum.nl/200307840), after a drawing by Baccio Bandinelli (1493–1560), initially published in Rome by Antoine Lafréry (aka Antonio Lafreri) (c.1512–1577). This impression was published by Giovanni Giacomo de Rossi (1627–1691) and the Wellcome Collection holds an impression published in 1774 by Carlo Losi (c.1757–[after]1805) (see https://wellcomecollection.org/works/z8xs6a4d).

Engraving on laid paper trimmed along the image borderline and backed with a support sheet providing wide margins

Size: (sheet) 27.6 x 35.5 cm.

Inscribed in plate along lower edge: (left) “M.L cu privilegio”; (on tablet) “BACCIVS/ BRANDIN/ […?] INV/ […?]; (centre) Ant. Lafrerj. Rom; (right) “Gio Bat.de Rossi [….?] Petri de Nobilibus Formis”

TIB 26.104C (Konrad Oberhuber [ed.] 1978, “The illustrated Bartsch: The Works of Marcantonio Raimondi and of his School”, vol. 26, New York, Abaris Books, p. 136, cat. no. 104C).

Condition: a slightly silvery impression with signs of wear to the printing plate (notably at upper right), trimmed along the image borderline and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in a good condition with no tears, folds or significant stains.

I am selling this exceptionally rare, delicately beautiful and large Renaissance period engraving showing the martyrdom by fire grill of Saint Laurence (aka St Lawrence)—one of the seven deacons of Rome martyred in 258 AD during the persecution of Christians by Emperor Valerian—watched by the Roman prefect and two floors of spectators, for AU $603 (currently US $374.70/ EUR 361.58/ GBP 302.20 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 $603) as this is my currency. 

If you are interested in purchasing this superb engraving that is seldom seen on the art market, 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

William Pickett, “Llyn Ogween”, 1805, after Philip James de Loutherbourg

William Pickett (fl.c.1792–1820)

“Llyn Ogween”—aka Llyn Ogwen in north-west Wales, 1805, plate 16, aquatint and etching printed in sepia from the series, “Picturesque Scenery of England and Wales”, after a drawing by Philip James de Loutherbourg (aka Philipp Jakob Loutherbourg; Philippe Jacques de Loutherbourg) (1740–1812), published in London by Robert Bowyer (1758–1834); see an explanation about the publication of the series offered by the Curator of the British Museum: https://www.britishmuseum.org/collection/object/P_1914-1117-44-2.  

Spirit aquatint with etching (and mezzotint rocker?) printed in sepia coloured ink, trimmed around the image borderline (with loss of the writing edge) and backed with a support sheet providing wide margins.

Size: (sheet) 23.7 x 32.9 cm.

The British Museum offers the following description of this print as a hand-coloured impression by John Heaviside Clark (1771–1863): “Plate 16: view of the lake with two men working at a bank in the right foreground; a group of two men and a woman with two horses on the left, pointing and looking towards the workmen; large rocks in the centre and at extreme left; mountains in the background; after Loutherbourg; early state, published. 1805” (https://www.britishmuseum.org/collection/object/P_1864-0309-202).

Condition: a strong and well-printed impression showing no sign of wear to the printing plate, trimmed around the image borderline and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds or stains.

I am selling this large and very beautiful spirit aquatint—note that the technique employed was used by Paul Sandby in which resin dissolved in spirits of wine (a form of ethanol) is spread onto the printing plate and allowed to dry to form a granular base in preparation for etching (see details in the scans)—for AU $282 (currently US $175.23/ EUR 169.10/ GBP 141.40 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 $282) as this is my currency.

If you are interested in purchasing this magically luminous view of Llyn Ogwen where the legendary Lady of the Lake caught the sword, Excalibur, thrown by Sir Bedivere and King Arthur had his last battle, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jan van de Velde II, “Figures on a Country Road Near a Farm”, 1616

Jan van de Velde II (c.1593–1641)

“Figures on a Country Road Near a Farm” (aka “Figuren op een landweg bij een boerderij”), 1616, plate 2 (as numbered at lower right corner) from part 4 (as numbered in the upper right corner) of the series, “Sixty Landscapes”—a series of sixty etchings grouped in five parts of twelve prints—printed in Amsterdam by Claes Jansz. Visscher (aka Nicolaes Jansz. Visscher; Piscator) 1587–1652), as inscribed in the title plate to the series (see https://id.rijksmuseum.nl/200393054).

Etching on fine laid paper, trimmed around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 12.3 x 19 cm.

Numbered in plate: (upper right corner) “4”; (lower right corner) “2”.

Hollstein 269 (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. 269); Franken & Van der Kellen 308 (Daniel Franken & Johan Philip van der Kellen 1883, “L'oeuvre gravé de Jan van de Velde II”, Amsterdam, p.122, cat. no. 308).

See also the descriptions of this print offered by the Rijksmuseum and the British Museum: https://id.rijksmuseum.nl/200392999; https://www.britishmuseum.org/collection/object/P_Sheepshanks-5961.

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

I am selling this superb etching from the early 1600s showing what is still an everyday scene of travellers asking for directions—note, however, that the depiction of the culvert in the foreground along with the huge boulder at left might also be seen by viewers from Van de Velde’s time as visual reminders (“telling signs”) of the natural forces of the divine underpinning everyday life—for AU $374 (currently US $233.05/ EUR 223.96/ GBP 18748 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 $374) 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

Crispijn de Passe I, “The Abduction of Proserpina”, 1602

Crispijn de Passe I (aka Crispin van de Passe; Crispin de Passe) (1564–1637)

“The Abduction of Proserpina” (aka “The Rape of Proserpina”; “Roof van Proserpina”), 1602, plate 5 from a series of 134 prints after Ovid's "Metamorphoses", with Latin verses by the German poet, Johannes Posthius (1537–1597), published by Crispijn de Passe I (as inscribed in the plate).

Engraving on fine laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 8.6 x 13 cm; (image borderline) 7.5 x 12.8 cm.

Lettered in plate within the image borderline: (lower edge at left): “Ouid. Metam. 5. […] 1602.”

Lettered in plate below the image borderline: (two columns of two lines from left) “Infernas vehitur Proserpina rapta sub vmbras;/ Raptorem Cyane sed prohibere cupit.// Ille hortatus equos, penetrat vi flumina Nymphae,/  Atque suas sedes virgine laetus adit.”; (centre) Crispian van de Passe inuent. excudit.”

Franks 1338-51 (Daniel Franken & Simon Laschitzer 1975, “L'oeuvre gravé des Van de Passe”, vol. 19, Amsterdam); Hollstein Dutch 852 (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, cat. no. 852).

The Rijksmuseum offers the following description of this print: (transl.) “Pluto sits in his chariot and carries off Proserpina, the daughter of Ceres, to the underworld. Her friends and Minerva watch in horror from the shore. The nymph Cyane, saddened because she could not stop Pluto, cries and dissolves in the water. In the margin a four-line caption, in two columns, in Latin” (https://id.rijksmuseum.nl/200384262).

Condition: a strong and well-printed (near faultless) impression trimmed along the platemark and laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or stains.

I am selling this small and very finely executed engraving for AU $298 in total (currently US $185.60/ EUR 178.03/ GBP 148.97 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 $298) as this is my currency.

If you are interested in acquiring this truly beautiful engraving, 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