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Giovanni Battista Piranesi618ip手机免费版

“View of the bridge known as Ponte Molle618ip安卓下载(aka “XXXIX. Scenographia Pontis hodie Mollis ...”), 1762, lifetime impression from the the early Roman edition, plate XXXIX (39) from the series, “Il Campo Marzio dell' Antica Roma, Opera di G.B. Piranesi socio della reale società degli antiquari di Londra” (The Campus Martius of Ancient Rome, the Work of G.B. Piranesi, Fellow of the Royal Society of Antiquaries, London).”  

Etching on coeval laid paper (3 cm chainlines, but without showing the watermark, “double circle and lily with letters CB”) with full margins as published.

Size: (sheet) 37.3 x 54.8 cm; (plate) 23.8 x 35.7; (image borderline) 22.2 x 35.1 cm.

Numbered on plate within the image borderline: (upper right corner) “ Tab. XXXIX.”

Lettered on plate below the image borderline: (left) “Vide indicem ruinar. num. 3.”; (centre) “Scenographia Pontis hodie Mollis, ostendens quod remanserat antiqui operis cum a Nicolao V. Pont. Max. restitutus fuit. A. Tiberis fluvius.”; (right) “Piranesi F.”

Wilton Ely II.655.600 (John Wilton-Ely 1994, “Giovanni Battista Piranesi, The Complete Etchings”, vol. 2, San Francisco, Alan Wofsy, p. 655, cat. no. 600); Taschen/Ficacci 522 (Luigi Ficacci 2011, “ Piranesi: The Complete Etchings”, vol. 2, Cologne, Taschen, p. 417, cat. no. 522); Focillon 469; Giesecke 28, 118; Hind 85.

The Metropolitan Museum of Art offers a description of this print:

http://www.metmuseum.org/art/collection/search/90080757?rpp=20&pg=1&ft=View+of+the+bridge+known+as+Ponte+Molle++Tab+XXXIX&pos=1.

Condition: a richly inked and well-printed lifetime impression. Beyond a pin hole in the upper-right corner of the margin and remnants of mounting verso, the sheet is in almost pristine condition with no tears, folds, abrasions, stains, foxing or signs of handling.

I am selling this exceptionally beautiful and rare etching by one of the most important printmakers of the 18^th century, for AU$714 (currently US$521.70/EUR440/GBP392.58 at the time of 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.

If you are interested in purchasing this masterwork of etching—note how the well-lit areas of the bridge are rendered with short fine lines spaced far apart while the deep shadows are rendered with long thick lines close together—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

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Charles Meryon (1821–1868)

“François Viète” (Seigneur de la Bigotière [1540–1603], known by mathematicians as the 618代理软件官网), 1861, after a drawing by Jean Rabel (aka Joannes Rabellius) (c1520–1603), published by Benjamin Fillon (aka Benjamin Fillion) (1819–1881) and 618代理软件官网(1824–1900) in “Poitou et Vendée, études historiques et artistiques” (Vol II) and printed by Abraham Beillet (aka Beillet & Forestier) (fl.1850–1876), from the second last state before the plate was destroyed.

Regarding this portrait of François Viète, the British Museum points out that he is wearing a Renaissance costume and is gesturing towards a scroll held in his left-hand inscribed "A+B+C"—presumably referring to Viète’s mathematical studies (see http://www.britishmuseum.org/collection/object/P_1865-0114-134).

Etching with pale plate tone on laid paper (partial watermark “AM”) with wide margins.

Size: (sheet) 29.8 x 21.4 cm; (plate) 19 x 11 cm; (plate tone/image borderline) 18 x 10.2 cm.

Lettered on plate along the lower edge: (left) “A. Beillet. Imp"; (left of centre) “FRANÇOIS”; (centre) [Meryon’s ligature monogram “CM”]; (right of centre) “VIÈTE”.

State viii (of ix) before the addition of the words “d’après Rabel 1861” and the flattening of the borderline at top.

Delteil&Wright 79 (8^th state) (Loys Delteil & Harold JL Wright 1989, “Catalogue Raisonné of the Etchings of Charles Meryon”, San Francisco, Alan Wofsy Fine Arts, [n.p.] cat. no. 79).

Delteil & Wright (1989) in the description of this plate, offer Meryon’s personal account about his execution of this print:

"The full-length portrait from which I copied this etching, forms part of the frontispiece to a mathematical work by Viète which is in the Imperial Library. I have considerably enlarged it and, in so doing, had perforce to depart from the original a little. ... As to the author's general observations on my methods of working, and the qualities of my work which have been occasioned by the appearance of this portrait, I must hasten to qualify them somewhat. I use the burin much more frequently than formerly, but still with considerable hesitation as it is a very difficult tool to work with, and one needs much practice, if one is to become skilful with it, and I cannot say that I have had much. I took it up rather late and never had the advantage of that almost indispensable instruction in the use of it which is best undertaken when one is young and should be sought from a master of the art" (Meryon, My observations...) (see cat. no. 79 [n.p.]).

Condition: a superb impression retaining the guide-lines for the lettering and with wide margins. Beyond a small spot of thinness on the right edge of the margin (only visible if the sheet is held to the light) and a few faint marks on the lower edge, the sheet is in near pristine condition for its age with no tears, holes, folds, losses, stains, foxing or signs of handling.

I am selling this exceptionally rare treasure of an etching by arguably one of the most famous printmakers of the 19^th century, for AU$374 (currently US$273.57/EUR230.26/GBP206 at the time of 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.

If you are interested in purchasing this sensitively executed etching of the “Father of Algebra”, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Marie Rosalie Bertaud’s etching, “Orage Impétueux”, c1770, after Joseph Vernet

Marie Rosalie Bertaud (aka Me Re Bertaud) (1738–after 1800)

(For information about this artist see http://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00018002.)

“Orage Impétueux” (plate title) (aka “Impetuous Storm” [Met title]), c1770, after Claude Joseph Vernet (1714–1789), published in Paris by François Joullain (aka François Joulain; François Joulin) (1697–1778) in 1770 (see details at WorldCat: http://www.worldcat.org/title/orage-impetueux-pk-p-126893/oclc/884903026).

Etching with engraving on laid paper trimmed along (or slightly within) the image borderline with loss of the text lines below the image and backed with a support sheet.

Size: (sheet) 30.3 x 43 cm.

Arlaud 1976, 20.64 (Docteur Pierre Arlaud, 1990, “Catalogue Raisonné des Estampes Gravées d'après Joseph Vernet”, Avignon, p. 20, cat. no. 64)

The Metropolitan Museum of Art offers a description of this print:

http://www.metmuseum.org/art/collection/search/811953?searchField=All&sortBy=Relevance&ft=Joseph+Vernet&offset=0&rpp=80&pos=27.  

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

I am selling this large and superbly executed etching (with engraving) by an historically overlooked printmaker (Marie Rosalie Bertaud) and one of the remarkably few female artists of the 18^th century, for AU$284 (currently US$206.32/EUR174.40/GBP155.78 at the time of 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.

If you are interested in purchasing this startlingly dramatic scene after one of the great painters of shipwrecks (Claude Joseph Vernet), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Duvent’s drypoint, “Venise au Rialto”, c1904

Charles Duvent (aka Charles Jules Duvent; Charles-Jules-Valère Duvent; Charles-Jules-Walère Duvent) (1867–1940)

"Venise au Rialto", c1904, after a fragment of a painting by Charles Duvent shown in the Salon of 1904, printed by 618ip免费版(aka Alfred Louis Porcabeuf) (fl.1895–1946?) and published in “La Gazette des Beaux Arts” (insert between pp. 166–167 [see http://gallica.bnf.fr/ark:/12148/bpt6k2031643/f183.item]) in August, 1904, in Paris.

See the very brief discussion of Duvent’s painting that this print translates on p. 39 where the treatment of the painting is described as having breadth and beauty: “M. Charles Duvent avec plus de largeur consacre au Pont du Rialto un tableau d'une belle ordonnance” (http://gallica.bnf.fr/ark:/12148/bpt6k2031643/f42.item).

Drypoint with plate tone on cream laid paper with full margins as published, backed with a support sheet.

Size: (sheet) 26.9 x 18.4 cm; (plate) 21.3 x 14.7 cm; (image borderline) 19.5 x 14.7 cm.

Lettered on plate below the image borderline: (left) “Gazette des Beaux-Arts”; (centre) “Ch. Duvent pinx. et sc./ VENISE AU RIALTO (FRAGMENT)/ (Société des Artistes français _ Salon of 1904.); (right) “Imp. A. Porcabeuf, Paris”.

Condition: a richly inked and well-printed impression with full margins as published and laid onto a support of archival (millennium quality) washi paper. Beyond a dot in the lower left margin the sheet is in near pristine condition with no tears, holes, folds, losses, abrasions, significant stains, foxing or signs of handling.

I am selling this superbly executed drypoint that to my eyes unambiguously expresses what the portrayed figures are thinking—note for instance how the woman on the left seems to be looking inquisitively at the viewer and the aura of resolute confidence exhibited by the slightly smiling lady in the foreground with her clenched fist—for AU$227 (currently US$165.94/EUR139.77/GBP125.06 at the time of 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.

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Agostino Carracci’s engravings, “St Matthew”, “St Andrew” and “St John”, 1583

Agostino Carracci (1557–1602)

“Saint Matthew”, “Saint Andrew” and “Saint John” (aka “Matteüs, Andreas en Johannes”), 1583, from the series of 15 engravings, “Christ, the Virgin, John the Baptist, and the Twelve Apostles” (TIB 48–62), published by 618代理软件官网 (aka Oratio Bertelli) (fl. 1570–1592) presumably in Venice.

The Curator of the British Museum explains the format of the prints in this series: “The fifteen prints in this series were made on five plates, each with three figures, but as each has its own border around the image it seems probable that they were intended to be separated” (提取免费IP - 小二免费IP代理:2021-9-20 · 每日免费代理IP查看更多>> 1 2021年9月20日16时 最新国内免费http代理ip 2 2021年8月28日14时 最新国内免费http代理ip 3 2021年8月28日12时 最新国内免费http代理ip 4 2021年8月28日10时 最新国内免费http代理ip 5 2021年8月27日14时 最新国内免费http代理ip). This rare set of engravings is from an uncut impression of the whole plate.

Engraving on laid paper trimmed unevenly around the platemark with a narrow margin and backed with a support sheet

Size: (unevenly cut sheet) 11.3 x 19.9 cm; (borderline of left image) 10.8 x 6.3 cm.

Inscribed on plate on along the lower edge of the right image (“Saint John”): (left) “Oratio Bertelli. Form.”; (right of centre) “1583”.

State i (of i).

TIB 57 (68); 52 (68); 54 (68) (Diane deGrazia Bohlin [ed.] 1980, “The Illustrated Bartsch: Italian Masters of the Sixteenth Century”, vol. 39, New York, Abaris Books, pp. 100–03); Bohlin 115; 116; 117 (Diane deGrazia Bohlin 1979, “Prints and related drawings by the Carracci family, a catalogue raisonné”, Washington, National Gallery of Art, pp. 216–17).

The British Museum offers the following description of this plate:

“St Matthew, St Andrew, St John; three individual prints of apostles printed together on one plate; St Matthew standing reading a book and holding a purse, St Andrew carrying a cross, St John drinking from a chalice from which a serpent emerges. 1583
(http://www.britishmuseum.org/collection/object/P_U-2-82).

See also the description offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.collect.90819.

Condition: well-printed impressions showing no (or minimal) wear to the printing plate, trimmed unevenly around the platemark and laid onto a support of archival (millennium quality) washi paper. The sheet has no significant stains, holes, folds or foxing, but there are restorations (e.g. the upper right edge and the left edge have closed fractures/tears and the lower left corner is abraded).

I am selling this exceptionally rare set of engravings taken from a single printing plate—mindful that the print was arguably designed to be trimmed to separate the image of each saint—for AU$400 (currently US$293.27/EUR246.88/GBP221.39 at the time of 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.

If you are interested in purchasing this relatively small set of very beautiful engravings by one of the major old master printmakers of the 1500s, 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