Paul Sandby, “Classical Landscape with Ruins,” c. 1750

Paul Sandby (1731–1809)
“Classical Landscape with Ruins,” circa 1750 (1740–1765)

Plate 4 from a series of oval landscape etchings by the renowned "father of English watercolour" and pioneer of aquatint, Paul Sandby (see https://www.royalacademy.org.uk/art-artists/name/paul-sandby-ra#).
Note that Plate 6 in this series (Gunn 19) is inscribed with the name of the celebrated Italian Baroque painter, printmaker, and set designer, Marco Ricci (aka Marco Rizzi), as the designer.

Medium & Condition:
Etching printed on fine laid paper, trimmed with a narrow margin around the plate mark and backed with a support sheet.
The print is in excellent condition—free of tears, holes, folds, abrasions, or significant stains—though it bears some writing visible only when held to the light. The backing sheet is made of millennium-quality archival washi paper, ensuring stability and ease of display.

Dimensions:

• Sheet size: 10.9 x 14.8 cm
• Plate mark: 10.4 x 14.3 cm

Plate lettering:

• Upper right: “4”
• Lower left: “P Sandby Fec.”

Reference:
Gunn 17 (Ann V Gunn, 2015, The Prints of Paul Sandby (1731–1809): A Catalogue Raisonné).

The British Museum describes this print as:
"Landscape; a ruin with large rounded arches, running from the right foreground away to left, with a couple under an arch in the extreme right, a couple with a child walking across the uneven countryside into the foreground and two figures talking further off to left, with mountains in the background; in an oval."
(https://www.britishmuseum.org/collection/object/P_1904-0819-443)

Price & Shipping:
AU$198 (approximately US$128.60 / €110.95 / £97.83), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this striking and modestly sized etching—offering a glimpse into Sandby’s mastery of landscape—please contact me at oz_jim@printsandprinciples.com. I’ll be happy to send a PayPal invoice to make your purchase easy.

Anthonie Waterloo, “The Trimmed Groves”, c. 1650

Anthonie Waterloo (aka Anthoni Waterloo; Antoni Waterlo) (1609–1690)

“The Trimmed Groves” (also known as “Les parties de bois nouvellement coupées” or “Grote bomen aan weerszijden van een pad”), circa 1650 (1640–1663).
Plate 2 from the series “Six Large Landscapes” (also called “Large Landscapes, Series A”), originally published by Anthonie Waterloo and later issued in Paris around 1785 (1784–1786) by Pierre-François Basan (1723–1797).

Etching on fine laid paper, complete with full margins, as issued.

Dimensions:

• Sheet size: 25.8 x 39.3 cm
• Plate mark: 22.4 x 29.2 cm
• Image border: 21.4 x 28.6 cm

Plate lettering:
Below the image, within the plate:

• Left: “2”
• Right: “Antoni Waterlo fe.”

State:
State xi (of xi), with strong horizontal shading added on the hummock at the lower right.

Reference:
TIB 0201.108 S6 (Peter Morse [ed.], 1992, “The Illustrated Bartsch: Antoni Waterloo,” Vol. 2, Commentary, Part 1, New York: Abaris Books, pp. 124–127)

For further details, see the descriptions provided by the British Museum (https://www.britishmuseum.org/collection/object/P_F-3-16) and the Rijksmuseum (https://id.rijksmuseum.nl/200272983).

Condition:
A richly inked, well-printed impression with one small printer's crease. The sheet is in excellent condition—near-pristine, free of tears, holes, folds, abrasions, or stains.

Price & Shipping:
AU$288 (approx. US$186.79 / €161.09 / £142.03), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this outstanding impression of one of Waterloo’s larger etchings, please contact me at oz_jim@printsandprinciples.com. I’ll be happy to send a PayPal invoice to make your purchase easy.

Giovanni Battista Piranesi, “Urns, stelae, and cinerary vases of marble …,” 1756

Giovanni Battista Piranesi (1720–1778)

“Urns, stelae, and cinerary vases of marble at the Villa Corsini, outside Porta San Pancrazio” (also known as “Urne, cippi, et vasi cenerari di marmo nella Villa Corsini fuori di Porta S. Pancrazio”), 1756.

Plate LVII (57) from the second of four volumes in the series “Le Antichità Romane”, published in Rome. 

This etching was printed from two plates—an upper image plate and a text plate—on heavy laid paper, dated to the early 1760s. It features a watermark with a fleur-de-lys within a double circle, possibly surmounted by the letter “B” (see Wilton-Ely, p. 1161, cat. no. 33). The centrefold from publication, has been flattened and reinforced on the verso with a strip of archival washi paper for stability.

Size: 

- Sheet: 52.19 x 75.9 cm

- Plate mark (image): 40 x 62.1 cm

- Plate mark (text): 5 x 63 cm

Plate lettering:

Within the image borderline, in the plate: 

- Upper left: “Tom. II.”

- Centre: “URNE, CIPPI, ET VASI CENERAR[I] DI MARMO NELLA VILLA CORSI[N]I FUORI DI PORTA S. PANCRAZIO”

- Upper right: “LVII”

Below the image borderline, in seven lines of Italian:

- “Tutti questi sepolcrali Monumenti … come abbiamo indicato altrove. Piranesi Architetto dis. ed Inc.”

Reference:

Wilton-Ely 414 (John Wilton-Ely, Giovanni Battista Piranesi: The Complete Etchings, vol. I, San Francisco, Alan Wofsy, 1994, p. 466, cat. no. 414).

Condition:

A richly inked, well-printed impression with wide margins, as published. The large sheet is in excellent (near-pristine) condition, with the centrefold flattened and reinforced on the verso with a strip of archival washi paper for added stability.

Price & Shipping:

AU$664 (approx. US$433.48 / €373.27 / £329.59), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this breathtakingly strong and impressive etching by Piranesi, please contact me at oz_jim@printsandprinciples.com. I will be happy to send a PayPal invoice to facilitate an easy purchase.

This print has been sold

Jacques Firmin Beauvarlet, “Resting Cupid”, c. 1770, after Charles-André van Loo

Jacques Firmin Beauvarlet (1731–1797)— leader of the “Abbeville” school of engravers

“Resting Cupid” (aka “Amor steht an einen Felsen gelehnt”; “L'Amour debout”), c. 1770 (1746–1797), after Charles-André van Loo (aka Carle Vanloo; Carle Van Loo; Charles Wanloo) (1705–1765).

Note that Robert Strange (aka Sir Robert Strange) (1721–1792) executed a very similar plate; see: https://www.britishmuseum.org/collection/object/P_1842-0806-334.

Etching with engraving on heavy laid paper with narrow margins.

Size: (sheet) 39 x 27.4cm; (platemark); 38.6 x 27.1cm; (image borderline) 32.5 x 24.5cm.

Lettered in plate below the image borderline: (left) “Carolus Vanloo Èques pinxit.”; (centre) “Qu'il est malin! qui'il a d'appas!/ Ah! que n'inspire t'il des flames éternelles!// Les Roses naissent sous ses pas;/ Quel dommage qu'il ait des aîles./ [How clever he is! How charming he is!/ Ah! Why doesn't he inspire eternal flames!// Roses bloom beneath his feet;/ What a pity he has wings] Pesselier./ Gravé d'après le Tableau de Carle Vanloo Ecuier, tiré du Cabinet de son Altesse/ Royale Mgr le Prince Henry de Prusse, Frere du Roy.” [Engraved from the painting by Carle Vanloo Ecuier, taken from the Cabinet of His Royal Highness Prince Henry of Prussia, Brother of the King.]; (right) Beauvarlet sculpsit.”

IFF 131

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1877-0811-1231.  

Condition: a well-printed impression trimmed with a narrow/thread margin around the platemark. Beyond a closed tear in the upper margin and upper right, the sheet is in a very good condition for its age with no holes, folds or significant stains.

Price & Shipping: AU$327 (approx. US$213.82/ €183.93/ £162.32), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in purchasing this finely executed engraving, please contact me directly at oz_jim@printsandprinciples.com. I will happily send you a PayPal invoice to make the payment process easy.