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

School of Marcantonio Raimondi, “St Mark”, c.1519, after Agostino Veneziano

Unidentified printmaker from the School of Marcantonio Raimondi (1470/1482–1527/1534)

“St Mark”, c.1519 (1518–1520), engraving in reverse after Agostino Veneziano (aka Agostino dei Musi) (fl.1509–36) and after Giulio Romano (1499–1546), from the series, “The Evangelists”.

Engraving on laid paper trimmed along the platemark.

Size: (sheet) 25.1 x 18.3 cm; (image borderline) 24.6 x 17.5 cm.

Inscribed in plate: (on cloud at left) “A^.V^.”.

TIB 26.94A-1 (Konrad Oberhuber [ed.] 1978, “The Illustrated Bartsch: The Works of Marcantonio Raimondi and of His School”, vol. 26, New York, Abaris Books, p. 126, cat. no. 94A-1); Bartsch XIV.83.94.

The British Museum offers the following description of this print: “St Mark, sitting within a penumbra of light, on the back of a winged lion atop a cloud, reading a scroll; after Giulio Romano” (https://www.britishmuseum.org/collection/object/P_1873-0809-732 [inv. 1873,0809.732]).  

Condition: a strong and well-printed impression, trimmed along the platemark with a narrow margin around the image borderline. Beyond a few minor spots of foxing, the sheet is in an excellent condition for its considerable age with no tears, holes, folds, abrasions or significant stains.

I am selling this Renaissance period engraving that is in the reverse direction to Agostino Veneziano’s engraving and, in turn, after the original design by Giulio Romano, for AU $502 in total (currently US $313.20/ EUR 300.17/ GBP 251.68 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 $502) as this is my currency.

If you are interested in purchasing this superb engraving from the School of Marcantonio Raimondi, 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

Frédéric Laguillermie, “Le Lac de Némi”, 1873, after Camille Corot

Frédéric Laguillermie (aka Frédéric Auguste Laguillermie) (1841–1934)

“Le Lac de Némi” (Lake Nemi), 1873, etching, plate 136, after Camille Corot’s (aka Jean Baptiste Camille Corot) (1796–1875) painting, “Souvenir of the Environs of Lake Nemi”,1865, in the collection of the Art Institute of Chicago, printed in Paris by Alfred Salmon (fl.1863–1894) and published by the Durand-Ruel Gallery (see IFF 41).

Note that Eugène Louis Pirodon (1824–c.1908) executed a lithograph in the reverse direction to Corot’s painting; see https://www.britishmuseum.org/collection/object/P_1889-0608-493.

The Art Institute of Chicago offers the following description of Corot’s painting, Souvenir of the Environs of Lake Nemi”,1865: “This scene is imbued with a sense of quiet and stillness, broken only by the lone female bather pulling herself out of the water by a branch. Although the setting is a real hillside lake he visited in northern Italy, Camille Corot painted the view from memory, having returned to Paris in 1843 from the last of three trips to the region. Thus, rather than presenting an accurate record of the location, the painting is a picturesque souvenir, with the topography transformed as much by the artist’s silvery-gray and deep-green palette as by his fond reminiscences” (https://www.artic.edu/artworks/59002/souvenir-of-the-environs-of-lake-nemi (inv. 1979.1280).

Etching on buff-coloured laid paper.

Size: (sheet) 19.8 x 29.4 cm; (plate [soft]) 12.8 x 16.3 cm; (image borderline) 10.1 x 13.8 cm.

Numbered in plate above the image borderline: (right) “136”.

Inscribed in plate below the image borderline: (left) “Corot pinx^t”; (right) “Laguillermie sculp^t”.

IFF 41 (Jacques Lethève & Françoise Gardey 1963, “Inventaire du Fonds Français après 1800: KA–LAURENCE”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 12, p. 219, cat. no. 41 [plate 136]; see https://gallica.bnf.fr/ark:/12148/bpt6k5488490f/f242).

Condition: a strong and well-printed impression (near faultless) with wide margins in a pristine condition with no tears, holes, folds, abrasions, losses, stains or signs of handling.

I am selling this small and very beautiful etching for the total cost of AU $247 (currently US $154.55/ EUR 148.01/ GBP 124.23 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 $247) as this is my currency.

If you are interested in purchasing this finely executed translation of Corot’s painting into an intricate web of lines, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Raoul Dufy, “Shoot first, gentlemen of France!”, 1915

Raoul Dufy (1877–1953) 

“Shoot first, gentlemen of France!” (“Tirez les premiers, messieurs les Français!”), 1915, woodcut with the artist’s monogram at lower left and letterpress text above and below the image borderline, published in Paris by Paul Iribe (1883–1935) spread over two-pages with a centrefold (now flattened) in issue 10 (published, 23^rd February 1915) of the weekly satirical review, “Le Mot” (“The Word”); see this print in its context in “Le Mot” offered by Gallica (BnF): https://gallica.bnf.fr/ark:/12148/bpt6k891011s/f4.double.

Woodcut with letterpress text in the margins on fine wove paper (newsprint) with flattened centrefold and backed with a support sheet.

Size: (sheet) 56.5 x 43.8 cm; (image borderline) 48 x 38 cm.

Letterpress lettering: (above the image borderline at left) “Image de DUFY.”; (below the image borderline at left) “— Tirez les premiers, messieurs les Français!”.

Condition: a strong and well-printed impression with age-darkening to the newsprint paper. The sheet has replenished losses along the centrefold and has been laid onto a sheet of archival (millennium quality) washi paper to flatten the centrefold.

I am selling this impressively large original woodcut by Raoul Dufy, signed in the plate with the artist’s monogram, for the total cost of AU $249 (currently US $156.81/ EUR 149.75/ GBP 125.89 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 $249) as this is my currency.

If you are interested in purchasing this amazingly bold print showing collegiality between the French and Scottish troops during WW1, 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