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Sartoni
Antique Prints
167 Latrobe Terrace
Paddington Queensland 4064
Australia
About
Sartoni Antique Prints was established by Jader Sartoni in Paris in 2004, continuing his family's presence as book and print dealers in both Paris and Italy from early 1920s. Situated near Hotel Drouot auction house, the Sartoni Print Gallery housed an extensive collection of old master prints, maps, drawings - extending to Japanese prints and tribal art, and welcomed clients ranging from private collectors, museums, decorators and fellow dealers worldwide.
Sartoni Prints has participated annually in international Map fairs in Milan and Rome, MABP in Maastricht, and several other specialised salons in Paris and Italy.
Now based in Brisbane, Australia, Sartoni Prints continues to maintain a presence in Europe, while expanding in the local region.
Sartoni Antique Prints
JACQUES CALLOT
“LE SIÈGE DE BREDA”
1628
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
1628
For more information, including additional photos, please contact sartoniprints@yahoo.it
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TSUKIOKA YOSHITOSHI
(Edo 1839- Ryōgoku 1892)
“UESUGI KENSHIN NYUDO TERUTORA”
[UESUGI NO TERUTORA RIDING INTO BATTLE]
1883
TECHNIQUE: Woodblock printed in colours
€1050,-
DESCRIPTION:
From the series “Yoshitoshi Musha Burui”
(Yoshitoshi’s Courageous Warriors).
Fantastic portrait of Kenshin, seen riding nobly into battle on horseback, surrounded by billowing plumes of smoke.
Kenshin’s face is seen in profile, accentuated by a white cloth executed in Yoshitoshi’s inimitable style, his steed valiant and unafraid.
Kenshin (1530-78) is best known as the opponent of Takeda Shingen, whom
he fought against in battles for seventeen years over the possession of Shinano province.
According to legend, the long conflict between them was fought in a courteous and chivalrous manner,
and when Kenshin heard of Shingen’s death in 1573, he was reported to have said:
“I have lost my good enemy and have now no one to compete with on equal terms”.
This subject is consider the best design in the series.
NOTE:
Signature: Taiso Yoshitoshi ga.
Publisher: Kobayashi Tetsujiro.
First edition: Three-colour cartouche; Two red seals and publisher address in blue at bottom left.
SIZE: 330mm(H) x 228mm(L) [image/woodblock]
CONDITION:
Excellent impression and colours, laid back on cardboard.
Little portion of paper miss at lower right corner (few mm).
Traces of detachment at all sides over the large margins, slightly effecting the publisher’s address in blue at bottom left.
Mounted on a black passpartout.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
[UESUGI NO TERUTORA RIDING INTO BATTLE]
1883
TECHNIQUE: Woodblock printed in colours
€1050,-
DESCRIPTION:
From the series “Yoshitoshi Musha Burui”
(Yoshitoshi’s Courageous Warriors).
Fantastic portrait of Kenshin, seen riding nobly into battle on horseback, surrounded by billowing plumes of smoke.
Kenshin’s face is seen in profile, accentuated by a white cloth executed in Yoshitoshi’s inimitable style, his steed valiant and unafraid.
Kenshin (1530-78) is best known as the opponent of Takeda Shingen, whom
he fought against in battles for seventeen years over the possession of Shinano province.
According to legend, the long conflict between them was fought in a courteous and chivalrous manner,
and when Kenshin heard of Shingen’s death in 1573, he was reported to have said:
“I have lost my good enemy and have now no one to compete with on equal terms”.
This subject is consider the best design in the series.
NOTE:
Signature: Taiso Yoshitoshi ga.
Publisher: Kobayashi Tetsujiro.
First edition: Three-colour cartouche; Two red seals and publisher address in blue at bottom left.
SIZE: 330mm(H) x 228mm(L) [image/woodblock]
CONDITION:
Excellent impression and colours, laid back on cardboard.
Little portion of paper miss at lower right corner (few mm).
Traces of detachment at all sides over the large margins, slightly effecting the publisher’s address in blue at bottom left.
Mounted on a black passpartout.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
REMBRANDT HARMENSZOON VAN RIJN [REMBRANDT]
(Leyden 1606-Amsterdam1669)
Dutch school
TITLE: “The Flute-player” (het Uylenspiegeltje)
ERA: 1642
TECHNIQUE: Etching and drypoint
DESCRIPTION:
A young couple resting beside a stream, the man playing flute
with an owl perched on his shoulder, the girl making a flower garland at left.
Shepherds do more than their fair share of walking, but their lives also provide ample opportunity for relaxation.
It represents an amorous situation and Rembrandt played a transparent game with ancient ambiguities
and innuendos surrounding the flute and garland; the owl is a symbol of wickedness.
This print was formerly called “het Uylenspiegeltje” (the scoundrel), and not without reason.
Rembrandt concealed all kinds of erotic double entendres in this scene of a shepherd couple beside the water.
The man furtively peeks under the woman’s skirt and happens to point with his flute (a phallic symbol) in the same direction.
The woman is weaving a wreath of flowers, an allusion to female genitalia.
SIZE: 122mm by 151mm [sheet]
€21800,-
NOTE:
Fourth state of four, without the face among the branches.
Barstch 188, Hollstein Dutch 144, New Hollstein 211.
CONDITION:
Very good impression on 17th century laid paper.
Trimmed outside the copperplate, 4mm margins on left, lower and right side, 2mm margin upper side.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
TITLE: “The Flute-player” (het Uylenspiegeltje)
ERA: 1642
TECHNIQUE: Etching and drypoint
DESCRIPTION:
A young couple resting beside a stream, the man playing flute
with an owl perched on his shoulder, the girl making a flower garland at left.
Shepherds do more than their fair share of walking, but their lives also provide ample opportunity for relaxation.
It represents an amorous situation and Rembrandt played a transparent game with ancient ambiguities
and innuendos surrounding the flute and garland; the owl is a symbol of wickedness.
This print was formerly called “het Uylenspiegeltje” (the scoundrel), and not without reason.
Rembrandt concealed all kinds of erotic double entendres in this scene of a shepherd couple beside the water.
The man furtively peeks under the woman’s skirt and happens to point with his flute (a phallic symbol) in the same direction.
The woman is weaving a wreath of flowers, an allusion to female genitalia.
SIZE: 122mm by 151mm [sheet]
€21800,-
NOTE:
Fourth state of four, without the face among the branches.
Barstch 188, Hollstein Dutch 144, New Hollstein 211.
CONDITION:
Very good impression on 17th century laid paper.
Trimmed outside the copperplate, 4mm margins on left, lower and right side, 2mm margin upper side.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“PANORAMA DE ROME”,
pris du clocher du Capitole.
c.1750
Technique: Etching
€410,-
DESCRIPTION:
An unusual circular panoramic view of Roma as seen from the bell tower of the Senatorial Palace on the Capitoline Hill.
191 buildings throughout Rome are illustrated as they would be viewed from the bell tower,
including parts of the Palazzo Senatorio and the Piazza del Campidoglio,
which are the largest illustrations on the right side of the cercle.
Basilicas, Cathedrals and Churches appear alongside anciens ruins including the Colosseum (143),
Colonna di Trajano (99), Basilica di San Pietro and The Vatican.
SIZE: 322mm(H) x 410mm(L) [copperplate]
350mm(H) x 460mm(L) [sheet]
CONDITION:
Excellent impression on thin laid paper with watermark:
“Crown and Letter”.
Restored portions of paper at centre of both side margins,
not effecting the printed part.
In very good condition.
NOTE:
Etching on copperplate printed on thin laid paper
with watermark : “Crown and letter”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
Technique: Etching
€410,-
DESCRIPTION:
An unusual circular panoramic view of Roma as seen from the bell tower of the Senatorial Palace on the Capitoline Hill.
191 buildings throughout Rome are illustrated as they would be viewed from the bell tower,
including parts of the Palazzo Senatorio and the Piazza del Campidoglio,
which are the largest illustrations on the right side of the cercle.
Basilicas, Cathedrals and Churches appear alongside anciens ruins including the Colosseum (143),
Colonna di Trajano (99), Basilica di San Pietro and The Vatican.
SIZE: 322mm(H) x 410mm(L) [copperplate]
350mm(H) x 460mm(L) [sheet]
CONDITION:
Excellent impression on thin laid paper with watermark:
“Crown and Letter”.
Restored portions of paper at centre of both side margins,
not effecting the printed part.
In very good condition.
NOTE:
Etching on copperplate printed on thin laid paper
with watermark : “Crown and letter”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
MADAGASCAR / MOZAMBICO
"ANTHROPOLOGY & SKULLS"
de la Tribu des BETIMSARAS, Île Madagascar. [femme]
de la Tribu des MAKOUAS, Côte Inhambane. [homme]
de la Tribu des MAKOUAS, Côte Inhambane. [femme]
"VOYAGE AU PÔLE SUD ET DANS L'OCEANIE"
sur les corvettes L'Astrolabe et La Zélée exécuté par ordre du Roi pendant les Années 1837-1838-1839-1840
sous le commandement de M. Dumont-d’Urville; First Edition.
"ANTHROPOLOGIE" Plate 43
TH. MULLER (Lithographed by)
after the original skulls photographed by BISSON.
under the direction of Mr. le Dr. DUMOUTIER.
c. 1842
TECHNIQUE: Lithography
€470,-
DESCRIPTION:
Superb and rare lithograph depicting three front images of skulls and the same in profile.
Skulls found in Madagascar and Mozambique.
Taken after the originals skulls photographed by Bisson.
Ultimately realised in the publication, Voyage au Pôle Sud et dans L’Océanie, the lithograph depicts skulls of indigenous from Madagascar and Monzambico,
produced by Pierre-Marie Alexandre Dumoutier (1797-1871), an anatomist and phrenologist who travelled with the expedition.
Dumoutier was commissioned by Dumont d’Urville to collect casts of the indigenous populations of each site visited over the course of the voyage.
The life casts were used to substantiate Dumont d’Urville’s belief in a stratified racial hierarchy among the inhabitants of the South Pacific region.
A pseudo-science popular in the 19th Century, phrenology involves the study of the shape and measurements of the skull to predict and determine variations in human temperament.
Predicated on the belief that the relative size of different areas in the brain dictated personality and character, phrenological research
was often enlisted to support prejudicial racial profiling and endorse colonialist imperatives.
In Dumoutier’s skulls, the figure becomes a specimen to be studied.
As art historian Stacy Kamehiro notes, while Dumoutier was convinced that all humans shared a common origin and cerebral physiology,
his work in the South Pacific was used as evidence to support the argument that each race displayed fundamentally different origins and characteristics.
This position is articulated in the text written by the entomologist Émile Blanchard (1819-1900) that accompanied the published lithographs.
Photography was seen to satisfy the same agenda.
The invention of photography occurred after Dumont d’Urville had set off.
Upon his return, he organised to have his research materials photographed.
NOTE:
This rare lithograph test, a first in terms of use of photography in Anthropology, was made from a daguerreotype by the Bisson brothers
and is an early attempt to reproduce for publication the material collected during French explorer Jules Sébastien César Dumont d’Urville’s
1837-1840 voyage through the Pacific and the Antarctic circle on board the ‘Astrolabe’ and the ‘Zélée’.
SIZE: 358mm(H) x 550mm(L) [sheet]
CONDITION:
In perfect condition,
Full editorial margins.
This lithograph was issued for the subscribers and never bound in the volume.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
de la Tribu des BETIMSARAS, Île Madagascar. [femme]
de la Tribu des MAKOUAS, Côte Inhambane. [homme]
de la Tribu des MAKOUAS, Côte Inhambane. [femme]
"VOYAGE AU PÔLE SUD ET DANS L'OCEANIE"
sur les corvettes L'Astrolabe et La Zélée exécuté par ordre du Roi pendant les Années 1837-1838-1839-1840
sous le commandement de M. Dumont-d’Urville; First Edition.
"ANTHROPOLOGIE" Plate 43
TH. MULLER (Lithographed by)
after the original skulls photographed by BISSON.
under the direction of Mr. le Dr. DUMOUTIER.
c. 1842
TECHNIQUE: Lithography
€470,-
DESCRIPTION:
Superb and rare lithograph depicting three front images of skulls and the same in profile.
Skulls found in Madagascar and Mozambique.
Taken after the originals skulls photographed by Bisson.
Ultimately realised in the publication, Voyage au Pôle Sud et dans L’Océanie, the lithograph depicts skulls of indigenous from Madagascar and Monzambico,
produced by Pierre-Marie Alexandre Dumoutier (1797-1871), an anatomist and phrenologist who travelled with the expedition.
Dumoutier was commissioned by Dumont d’Urville to collect casts of the indigenous populations of each site visited over the course of the voyage.
The life casts were used to substantiate Dumont d’Urville’s belief in a stratified racial hierarchy among the inhabitants of the South Pacific region.
A pseudo-science popular in the 19th Century, phrenology involves the study of the shape and measurements of the skull to predict and determine variations in human temperament.
Predicated on the belief that the relative size of different areas in the brain dictated personality and character, phrenological research
was often enlisted to support prejudicial racial profiling and endorse colonialist imperatives.
In Dumoutier’s skulls, the figure becomes a specimen to be studied.
As art historian Stacy Kamehiro notes, while Dumoutier was convinced that all humans shared a common origin and cerebral physiology,
his work in the South Pacific was used as evidence to support the argument that each race displayed fundamentally different origins and characteristics.
This position is articulated in the text written by the entomologist Émile Blanchard (1819-1900) that accompanied the published lithographs.
Photography was seen to satisfy the same agenda.
The invention of photography occurred after Dumont d’Urville had set off.
Upon his return, he organised to have his research materials photographed.
NOTE:
This rare lithograph test, a first in terms of use of photography in Anthropology, was made from a daguerreotype by the Bisson brothers
and is an early attempt to reproduce for publication the material collected during French explorer Jules Sébastien César Dumont d’Urville’s
1837-1840 voyage through the Pacific and the Antarctic circle on board the ‘Astrolabe’ and the ‘Zélée’.
SIZE: 358mm(H) x 550mm(L) [sheet]
CONDITION:
In perfect condition,
Full editorial margins.
This lithograph was issued for the subscribers and never bound in the volume.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JEAN HOUËL
(Rouen 28 June 1735- France 14 November 1813)
French School
"SALAISON D'ANCHOIX"
Sicily.
From the famous "VOYAGE PITTORESQUE DES ÎLES DE SICILE, DE MALTE ET DE LIPARI"
Published in Paris in 1782
Plate n:25
ENGRAVING TECHNIQUE: Aquatint on copperplate
DESCRIPTION:
Very nice aquatint depicting people at work salting anchovies.
Drawn and etched by Jean-Pierre Houël.
NOTE:
Aquatint on copperplate.
Printed in sanguine ink on strong laid paper.
Drawn and etched by Jean-Pierre Houël, painter of the French King and the Beaux-Arts de Paris.
Excellent impression, strong sanguine ink, full margins.
Size:
260mm x 380mm [copperplate]
350mm x 540mm [sheet]
CONDITION:
In excellent condition.
Excellent impression, full large margins.
€215,-
JEAN-PIERRE-LOUIS-LAURENT HOUËL
(Rouen 28 June 1735- 14 November 1813)
Was a French painter, engraver and draftsman.
During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.
He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.
Here he was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting.
In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Chaâteau de Chanteloup.
The following year his influential patrons secured a place for him at the French Academy in Rome.
Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.
He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787).
Houël's main intention was to illustrate local topography, but his delicate applications of watercolour also magnificently captured the effects of light and atmosphere.
To help finance these projects, he sold his preliminary drawings in Paris in 1780.
Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.
In his later years Houël published two illustrated treatises on elephants.
Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
"SALAISON D'ANCHOIX"
Sicily.
From the famous "VOYAGE PITTORESQUE DES ÎLES DE SICILE, DE MALTE ET DE LIPARI"
Published in Paris in 1782
Plate n:25
ENGRAVING TECHNIQUE: Aquatint on copperplate
DESCRIPTION:
Very nice aquatint depicting people at work salting anchovies.
Drawn and etched by Jean-Pierre Houël.
NOTE:
Aquatint on copperplate.
Printed in sanguine ink on strong laid paper.
Drawn and etched by Jean-Pierre Houël, painter of the French King and the Beaux-Arts de Paris.
Excellent impression, strong sanguine ink, full margins.
Size:
260mm x 380mm [copperplate]
350mm x 540mm [sheet]
CONDITION:
In excellent condition.
Excellent impression, full large margins.
€215,-
JEAN-PIERRE-LOUIS-LAURENT HOUËL
(Rouen 28 June 1735- 14 November 1813)
Was a French painter, engraver and draftsman.
During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.
He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.
Here he was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting.
In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Chaâteau de Chanteloup.
The following year his influential patrons secured a place for him at the French Academy in Rome.
Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.
He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787).
Houël's main intention was to illustrate local topography, but his delicate applications of watercolour also magnificently captured the effects of light and atmosphere.
To help finance these projects, he sold his preliminary drawings in Paris in 1780.
Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.
In his later years Houël published two illustrated treatises on elephants.
Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JACQUES CALLOT
(Nancy c.1592-1635)
French school
“LA FIERA DELL'IMPRUNETA” (The Fair at Impruneta)
[Florence version]
1620
ENGRAVING TECHNIQUE: Etching
€2575,-
DESCRIPTION:
The highly detailed scene represents the annual outdoor fair held in the Tuscan town of Impruneta, near Florence.
The scene takes place in front of the Church of Saint Mary of Impruneta, where yearly on the 18th of October,
a Fair took place to commemorate the discovery of the miracles of the Madonna, believed painted by Saint Luke Evangelist.
Jacques Callot filled the panoramic composition with more than 1300 human figures and animals,
most of them in very small dimensions, but all acting clearly and very defined.
Most of them are engaged in, or observing, largely secular activities taking place in front of the church.
While gypsies and peasants are shown pick-pocketing and fighting, people of all social classes are drawn
to numerous entertainment options, including snake charmers (lower right corner) and punishment of a criminal by torture (upper left).
NOTE:
First plate (Firenze);
Sixth and final state; vi/vi.
Lieure 361
SIZE: 436mm(H) x 678mm(L) [copperplate]
470mm(H) x 710mm(L) [sheet]
CONDITION:
Excellent impression on laid paper with unidentified watermark: “Half Moon”(?).
Traces of restoration visible at verso (mainly at top right, between the big tree and the Church, top corners reinforced.
(please ask for detailed photos).
Otherwise in very good condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“LA FIERA DELL'IMPRUNETA” (The Fair at Impruneta)
[Florence version]
1620
ENGRAVING TECHNIQUE: Etching
€2575,-
DESCRIPTION:
The highly detailed scene represents the annual outdoor fair held in the Tuscan town of Impruneta, near Florence.
The scene takes place in front of the Church of Saint Mary of Impruneta, where yearly on the 18th of October,
a Fair took place to commemorate the discovery of the miracles of the Madonna, believed painted by Saint Luke Evangelist.
Jacques Callot filled the panoramic composition with more than 1300 human figures and animals,
most of them in very small dimensions, but all acting clearly and very defined.
Most of them are engaged in, or observing, largely secular activities taking place in front of the church.
While gypsies and peasants are shown pick-pocketing and fighting, people of all social classes are drawn
to numerous entertainment options, including snake charmers (lower right corner) and punishment of a criminal by torture (upper left).
NOTE:
First plate (Firenze);
Sixth and final state; vi/vi.
Lieure 361
SIZE: 436mm(H) x 678mm(L) [copperplate]
470mm(H) x 710mm(L) [sheet]
CONDITION:
Excellent impression on laid paper with unidentified watermark: “Half Moon”(?).
Traces of restoration visible at verso (mainly at top right, between the big tree and the Church, top corners reinforced.
(please ask for detailed photos).
Otherwise in very good condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JASPAR ISAAC
(Antwerp c.1583/85-Paris 1654)
French school
“PHARMACY INTERIOR”
1608
TECHNIQUE: Burin engraving
DESCRIPTION:
Early depiction of a Pharmacy interior by Jaspar Isaac.
Engraved title-page for the first edition of:
“Institutionum Pharmaceuticarum…” by Jean de Renou;
Published in Paris, by de la Noue, in 1608.
SIZE: 198mm(H) x 138mm(L) [sheet]
€2575,-
CONDITION:
Superb impression on very thin laid paper.
Text support lines still visible.
Collection stamp: P. Demany on reverse lower right.
Mounted on a passe-partout at right margin.
In perfect condition.
NOTE: Very early proof, text support lines still visible.
Collection stamp: P. Démany on reverse lower right.
Purchased by a parisian collector in a gallery in Paris,
Hand-annotations lower right of the passe-partout:
“Superb éprouve, une des premières tirée.
Les lignes de portée du texte très visibles qui disparaissent au bout de 10 à 15 éprouves.
De toute Rareté. Collection P. Demany”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“PHARMACY INTERIOR”
1608
TECHNIQUE: Burin engraving
DESCRIPTION:
Early depiction of a Pharmacy interior by Jaspar Isaac.
Engraved title-page for the first edition of:
“Institutionum Pharmaceuticarum…” by Jean de Renou;
Published in Paris, by de la Noue, in 1608.
SIZE: 198mm(H) x 138mm(L) [sheet]
€2575,-
CONDITION:
Superb impression on very thin laid paper.
Text support lines still visible.
Collection stamp: P. Demany on reverse lower right.
Mounted on a passe-partout at right margin.
In perfect condition.
NOTE: Very early proof, text support lines still visible.
Collection stamp: P. Démany on reverse lower right.
Purchased by a parisian collector in a gallery in Paris,
Hand-annotations lower right of the passe-partout:
“Superb éprouve, une des premières tirée.
Les lignes de portée du texte très visibles qui disparaissent au bout de 10 à 15 éprouves.
De toute Rareté. Collection P. Demany”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“AMÉRIQUE DU NORD”
1854
Cartographer:
ADOLPHE HIPPOLYTE DUFOUR
(Paris 1795- Costantina 1865)
Technique:
ENGRAVING [Engraved by Flahaut]
€2575,-
DESCRIPTION:
Rare wall map of North America, which appeared in Andriveau-Goujon's Atlas Choix.
Very unusual treatment of the Transmississippi West, including a misshaped Texas,
Ozark District, Mandan District, Osage District, Massive Nebraska Territory.
Early primitive attempt to depict Washington and Oregon Territiories, and a host of other fascination details.
A highly detailed and scarce map.
Text by Warin; engraved by Flahaut, contemporary hand colouring.
Laid back on canvas and divided into 21 foldable quadrants; with the original very elegant marbled hardcover.
NOTE:
Published by Andriveau-Goujon, Paris, 1854;
SIZE:
940mm(H) x 680mm(L) [map size]
230mm(H) x 145mmL) [hardcover]
CONDITION:
Map in perfect condition;
Hardcover slightly worn on angles.
GENUINE ANTIQUE DATED 1854 - GUARANTEED OVER 170 YEARS OLD
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
Cartographer:
ADOLPHE HIPPOLYTE DUFOUR
(Paris 1795- Costantina 1865)
Technique:
ENGRAVING [Engraved by Flahaut]
€2575,-
DESCRIPTION:
Rare wall map of North America, which appeared in Andriveau-Goujon's Atlas Choix.
Very unusual treatment of the Transmississippi West, including a misshaped Texas,
Ozark District, Mandan District, Osage District, Massive Nebraska Territory.
Early primitive attempt to depict Washington and Oregon Territiories, and a host of other fascination details.
A highly detailed and scarce map.
Text by Warin; engraved by Flahaut, contemporary hand colouring.
Laid back on canvas and divided into 21 foldable quadrants; with the original very elegant marbled hardcover.
NOTE:
Published by Andriveau-Goujon, Paris, 1854;
SIZE:
940mm(H) x 680mm(L) [map size]
230mm(H) x 145mmL) [hardcover]
CONDITION:
Map in perfect condition;
Hardcover slightly worn on angles.
GENUINE ANTIQUE DATED 1854 - GUARANTEED OVER 170 YEARS OLD
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
ALPHONSE LEGROS [attributed to]
(Dijon 1837- Watford 1911)
French/British artist
Untitled:
“PORTRAIT OF A GENTLEMAN”
ERA:
c.1880
TECHNIQUE:
Black pencil on blue paper
€1480,-
DESCRIPTION:
Black pencil on thick blue paper.
Nicely executed portrait of a unidentified gentleman.
Profile bust lightly turning to the left looking towards the viewer.
SIZE:
270mm(H) x 200mm(L) [sheet]
CONDITION:
Black pencil on thick blue paper.
Mounted at the corners on a white paper sheet.
Two small round spots: one below the portrait and a tiny one at left.
Otherwise in excellent condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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“PORTRAIT OF A GENTLEMAN”
ERA:
c.1880
TECHNIQUE:
Black pencil on blue paper
€1480,-
DESCRIPTION:
Black pencil on thick blue paper.
Nicely executed portrait of a unidentified gentleman.
Profile bust lightly turning to the left looking towards the viewer.
SIZE:
270mm(H) x 200mm(L) [sheet]
CONDITION:
Black pencil on thick blue paper.
Mounted at the corners on a white paper sheet.
Two small round spots: one below the portrait and a tiny one at left.
Otherwise in excellent condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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JACQUES CALLOT
“LE SIÈGE DE BREDA”
1628
For more information, including additional photos, please contact sartoniprints@yahoo.it
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1628
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TSUKIOKA YOSHITOSHI
(Edo 1839- Ryōgoku 1892)
“UESUGI KENSHIN NYUDO TERUTORA”
[UESUGI NO TERUTORA RIDING INTO BATTLE]
1883
TECHNIQUE: Woodblock printed in colours
€1050,-
DESCRIPTION:
From the series “Yoshitoshi Musha Burui”
(Yoshitoshi’s Courageous Warriors).
Fantastic portrait of Kenshin, seen riding nobly into battle on horseback, surrounded by billowing plumes of smoke.
Kenshin’s face is seen in profile, accentuated by a white cloth executed in Yoshitoshi’s inimitable style, his steed valiant and unafraid.
Kenshin (1530-78) is best known as the opponent of Takeda Shingen, whom
he fought against in battles for seventeen years over the possession of Shinano province.
According to legend, the long conflict between them was fought in a courteous and chivalrous manner,
and when Kenshin heard of Shingen’s death in 1573, he was reported to have said:
“I have lost my good enemy and have now no one to compete with on equal terms”.
This subject is consider the best design in the series.
NOTE:
Signature: Taiso Yoshitoshi ga.
Publisher: Kobayashi Tetsujiro.
First edition: Three-colour cartouche; Two red seals and publisher address in blue at bottom left.
SIZE: 330mm(H) x 228mm(L) [image/woodblock]
CONDITION:
Excellent impression and colours, laid back on cardboard.
Little portion of paper miss at lower right corner (few mm).
Traces of detachment at all sides over the large margins, slightly effecting the publisher’s address in blue at bottom left.
Mounted on a black passpartout.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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[UESUGI NO TERUTORA RIDING INTO BATTLE]
1883
TECHNIQUE: Woodblock printed in colours
€1050,-
DESCRIPTION:
From the series “Yoshitoshi Musha Burui”
(Yoshitoshi’s Courageous Warriors).
Fantastic portrait of Kenshin, seen riding nobly into battle on horseback, surrounded by billowing plumes of smoke.
Kenshin’s face is seen in profile, accentuated by a white cloth executed in Yoshitoshi’s inimitable style, his steed valiant and unafraid.
Kenshin (1530-78) is best known as the opponent of Takeda Shingen, whom
he fought against in battles for seventeen years over the possession of Shinano province.
According to legend, the long conflict between them was fought in a courteous and chivalrous manner,
and when Kenshin heard of Shingen’s death in 1573, he was reported to have said:
“I have lost my good enemy and have now no one to compete with on equal terms”.
This subject is consider the best design in the series.
NOTE:
Signature: Taiso Yoshitoshi ga.
Publisher: Kobayashi Tetsujiro.
First edition: Three-colour cartouche; Two red seals and publisher address in blue at bottom left.
SIZE: 330mm(H) x 228mm(L) [image/woodblock]
CONDITION:
Excellent impression and colours, laid back on cardboard.
Little portion of paper miss at lower right corner (few mm).
Traces of detachment at all sides over the large margins, slightly effecting the publisher’s address in blue at bottom left.
Mounted on a black passpartout.
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REMBRANDT HARMENSZOON VAN RIJN [REMBRANDT]
(Leyden 1606-Amsterdam1669)
Dutch school
TITLE: “The Flute-player” (het Uylenspiegeltje)
ERA: 1642
TECHNIQUE: Etching and drypoint
DESCRIPTION:
A young couple resting beside a stream, the man playing flute
with an owl perched on his shoulder, the girl making a flower garland at left.
Shepherds do more than their fair share of walking, but their lives also provide ample opportunity for relaxation.
It represents an amorous situation and Rembrandt played a transparent game with ancient ambiguities
and innuendos surrounding the flute and garland; the owl is a symbol of wickedness.
This print was formerly called “het Uylenspiegeltje” (the scoundrel), and not without reason.
Rembrandt concealed all kinds of erotic double entendres in this scene of a shepherd couple beside the water.
The man furtively peeks under the woman’s skirt and happens to point with his flute (a phallic symbol) in the same direction.
The woman is weaving a wreath of flowers, an allusion to female genitalia.
SIZE: 122mm by 151mm [sheet]
€21800,-
NOTE:
Fourth state of four, without the face among the branches.
Barstch 188, Hollstein Dutch 144, New Hollstein 211.
CONDITION:
Very good impression on 17th century laid paper.
Trimmed outside the copperplate, 4mm margins on left, lower and right side, 2mm margin upper side.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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TITLE: “The Flute-player” (het Uylenspiegeltje)
ERA: 1642
TECHNIQUE: Etching and drypoint
DESCRIPTION:
A young couple resting beside a stream, the man playing flute
with an owl perched on his shoulder, the girl making a flower garland at left.
Shepherds do more than their fair share of walking, but their lives also provide ample opportunity for relaxation.
It represents an amorous situation and Rembrandt played a transparent game with ancient ambiguities
and innuendos surrounding the flute and garland; the owl is a symbol of wickedness.
This print was formerly called “het Uylenspiegeltje” (the scoundrel), and not without reason.
Rembrandt concealed all kinds of erotic double entendres in this scene of a shepherd couple beside the water.
The man furtively peeks under the woman’s skirt and happens to point with his flute (a phallic symbol) in the same direction.
The woman is weaving a wreath of flowers, an allusion to female genitalia.
SIZE: 122mm by 151mm [sheet]
€21800,-
NOTE:
Fourth state of four, without the face among the branches.
Barstch 188, Hollstein Dutch 144, New Hollstein 211.
CONDITION:
Very good impression on 17th century laid paper.
Trimmed outside the copperplate, 4mm margins on left, lower and right side, 2mm margin upper side.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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“PANORAMA DE ROME”,
pris du clocher du Capitole.
c.1750
Technique: Etching
€410,-
DESCRIPTION:
An unusual circular panoramic view of Roma as seen from the bell tower of the Senatorial Palace on the Capitoline Hill.
191 buildings throughout Rome are illustrated as they would be viewed from the bell tower,
including parts of the Palazzo Senatorio and the Piazza del Campidoglio,
which are the largest illustrations on the right side of the cercle.
Basilicas, Cathedrals and Churches appear alongside anciens ruins including the Colosseum (143),
Colonna di Trajano (99), Basilica di San Pietro and The Vatican.
SIZE: 322mm(H) x 410mm(L) [copperplate]
350mm(H) x 460mm(L) [sheet]
CONDITION:
Excellent impression on thin laid paper with watermark:
“Crown and Letter”.
Restored portions of paper at centre of both side margins,
not effecting the printed part.
In very good condition.
NOTE:
Etching on copperplate printed on thin laid paper
with watermark : “Crown and letter”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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Technique: Etching
€410,-
DESCRIPTION:
An unusual circular panoramic view of Roma as seen from the bell tower of the Senatorial Palace on the Capitoline Hill.
191 buildings throughout Rome are illustrated as they would be viewed from the bell tower,
including parts of the Palazzo Senatorio and the Piazza del Campidoglio,
which are the largest illustrations on the right side of the cercle.
Basilicas, Cathedrals and Churches appear alongside anciens ruins including the Colosseum (143),
Colonna di Trajano (99), Basilica di San Pietro and The Vatican.
SIZE: 322mm(H) x 410mm(L) [copperplate]
350mm(H) x 460mm(L) [sheet]
CONDITION:
Excellent impression on thin laid paper with watermark:
“Crown and Letter”.
Restored portions of paper at centre of both side margins,
not effecting the printed part.
In very good condition.
NOTE:
Etching on copperplate printed on thin laid paper
with watermark : “Crown and letter”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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MADAGASCAR / MOZAMBICO
"ANTHROPOLOGY & SKULLS"
de la Tribu des BETIMSARAS, Île Madagascar. [femme]
de la Tribu des MAKOUAS, Côte Inhambane. [homme]
de la Tribu des MAKOUAS, Côte Inhambane. [femme]
"VOYAGE AU PÔLE SUD ET DANS L'OCEANIE"
sur les corvettes L'Astrolabe et La Zélée exécuté par ordre du Roi pendant les Années 1837-1838-1839-1840
sous le commandement de M. Dumont-d’Urville; First Edition.
"ANTHROPOLOGIE" Plate 43
TH. MULLER (Lithographed by)
after the original skulls photographed by BISSON.
under the direction of Mr. le Dr. DUMOUTIER.
c. 1842
TECHNIQUE: Lithography
€470,-
DESCRIPTION:
Superb and rare lithograph depicting three front images of skulls and the same in profile.
Skulls found in Madagascar and Mozambique.
Taken after the originals skulls photographed by Bisson.
Ultimately realised in the publication, Voyage au Pôle Sud et dans L’Océanie, the lithograph depicts skulls of indigenous from Madagascar and Monzambico,
produced by Pierre-Marie Alexandre Dumoutier (1797-1871), an anatomist and phrenologist who travelled with the expedition.
Dumoutier was commissioned by Dumont d’Urville to collect casts of the indigenous populations of each site visited over the course of the voyage.
The life casts were used to substantiate Dumont d’Urville’s belief in a stratified racial hierarchy among the inhabitants of the South Pacific region.
A pseudo-science popular in the 19th Century, phrenology involves the study of the shape and measurements of the skull to predict and determine variations in human temperament.
Predicated on the belief that the relative size of different areas in the brain dictated personality and character, phrenological research
was often enlisted to support prejudicial racial profiling and endorse colonialist imperatives.
In Dumoutier’s skulls, the figure becomes a specimen to be studied.
As art historian Stacy Kamehiro notes, while Dumoutier was convinced that all humans shared a common origin and cerebral physiology,
his work in the South Pacific was used as evidence to support the argument that each race displayed fundamentally different origins and characteristics.
This position is articulated in the text written by the entomologist Émile Blanchard (1819-1900) that accompanied the published lithographs.
Photography was seen to satisfy the same agenda.
The invention of photography occurred after Dumont d’Urville had set off.
Upon his return, he organised to have his research materials photographed.
NOTE:
This rare lithograph test, a first in terms of use of photography in Anthropology, was made from a daguerreotype by the Bisson brothers
and is an early attempt to reproduce for publication the material collected during French explorer Jules Sébastien César Dumont d’Urville’s
1837-1840 voyage through the Pacific and the Antarctic circle on board the ‘Astrolabe’ and the ‘Zélée’.
SIZE: 358mm(H) x 550mm(L) [sheet]
CONDITION:
In perfect condition,
Full editorial margins.
This lithograph was issued for the subscribers and never bound in the volume.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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de la Tribu des BETIMSARAS, Île Madagascar. [femme]
de la Tribu des MAKOUAS, Côte Inhambane. [homme]
de la Tribu des MAKOUAS, Côte Inhambane. [femme]
"VOYAGE AU PÔLE SUD ET DANS L'OCEANIE"
sur les corvettes L'Astrolabe et La Zélée exécuté par ordre du Roi pendant les Années 1837-1838-1839-1840
sous le commandement de M. Dumont-d’Urville; First Edition.
"ANTHROPOLOGIE" Plate 43
TH. MULLER (Lithographed by)
after the original skulls photographed by BISSON.
under the direction of Mr. le Dr. DUMOUTIER.
c. 1842
TECHNIQUE: Lithography
€470,-
DESCRIPTION:
Superb and rare lithograph depicting three front images of skulls and the same in profile.
Skulls found in Madagascar and Mozambique.
Taken after the originals skulls photographed by Bisson.
Ultimately realised in the publication, Voyage au Pôle Sud et dans L’Océanie, the lithograph depicts skulls of indigenous from Madagascar and Monzambico,
produced by Pierre-Marie Alexandre Dumoutier (1797-1871), an anatomist and phrenologist who travelled with the expedition.
Dumoutier was commissioned by Dumont d’Urville to collect casts of the indigenous populations of each site visited over the course of the voyage.
The life casts were used to substantiate Dumont d’Urville’s belief in a stratified racial hierarchy among the inhabitants of the South Pacific region.
A pseudo-science popular in the 19th Century, phrenology involves the study of the shape and measurements of the skull to predict and determine variations in human temperament.
Predicated on the belief that the relative size of different areas in the brain dictated personality and character, phrenological research
was often enlisted to support prejudicial racial profiling and endorse colonialist imperatives.
In Dumoutier’s skulls, the figure becomes a specimen to be studied.
As art historian Stacy Kamehiro notes, while Dumoutier was convinced that all humans shared a common origin and cerebral physiology,
his work in the South Pacific was used as evidence to support the argument that each race displayed fundamentally different origins and characteristics.
This position is articulated in the text written by the entomologist Émile Blanchard (1819-1900) that accompanied the published lithographs.
Photography was seen to satisfy the same agenda.
The invention of photography occurred after Dumont d’Urville had set off.
Upon his return, he organised to have his research materials photographed.
NOTE:
This rare lithograph test, a first in terms of use of photography in Anthropology, was made from a daguerreotype by the Bisson brothers
and is an early attempt to reproduce for publication the material collected during French explorer Jules Sébastien César Dumont d’Urville’s
1837-1840 voyage through the Pacific and the Antarctic circle on board the ‘Astrolabe’ and the ‘Zélée’.
SIZE: 358mm(H) x 550mm(L) [sheet]
CONDITION:
In perfect condition,
Full editorial margins.
This lithograph was issued for the subscribers and never bound in the volume.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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JEAN HOUËL
(Rouen 28 June 1735- France 14 November 1813)
French School
"SALAISON D'ANCHOIX"
Sicily.
From the famous "VOYAGE PITTORESQUE DES ÎLES DE SICILE, DE MALTE ET DE LIPARI"
Published in Paris in 1782
Plate n:25
ENGRAVING TECHNIQUE: Aquatint on copperplate
DESCRIPTION:
Very nice aquatint depicting people at work salting anchovies.
Drawn and etched by Jean-Pierre Houël.
NOTE:
Aquatint on copperplate.
Printed in sanguine ink on strong laid paper.
Drawn and etched by Jean-Pierre Houël, painter of the French King and the Beaux-Arts de Paris.
Excellent impression, strong sanguine ink, full margins.
Size:
260mm x 380mm [copperplate]
350mm x 540mm [sheet]
CONDITION:
In excellent condition.
Excellent impression, full large margins.
€215,-
JEAN-PIERRE-LOUIS-LAURENT HOUËL
(Rouen 28 June 1735- 14 November 1813)
Was a French painter, engraver and draftsman.
During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.
He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.
Here he was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting.
In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Chaâteau de Chanteloup.
The following year his influential patrons secured a place for him at the French Academy in Rome.
Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.
He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787).
Houël's main intention was to illustrate local topography, but his delicate applications of watercolour also magnificently captured the effects of light and atmosphere.
To help finance these projects, he sold his preliminary drawings in Paris in 1780.
Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.
In his later years Houël published two illustrated treatises on elephants.
Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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"SALAISON D'ANCHOIX"
Sicily.
From the famous "VOYAGE PITTORESQUE DES ÎLES DE SICILE, DE MALTE ET DE LIPARI"
Published in Paris in 1782
Plate n:25
ENGRAVING TECHNIQUE: Aquatint on copperplate
DESCRIPTION:
Very nice aquatint depicting people at work salting anchovies.
Drawn and etched by Jean-Pierre Houël.
NOTE:
Aquatint on copperplate.
Printed in sanguine ink on strong laid paper.
Drawn and etched by Jean-Pierre Houël, painter of the French King and the Beaux-Arts de Paris.
Excellent impression, strong sanguine ink, full margins.
Size:
260mm x 380mm [copperplate]
350mm x 540mm [sheet]
CONDITION:
In excellent condition.
Excellent impression, full large margins.
€215,-
JEAN-PIERRE-LOUIS-LAURENT HOUËL
(Rouen 28 June 1735- 14 November 1813)
Was a French painter, engraver and draftsman.
During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.
He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.
Here he was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting.
In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Chaâteau de Chanteloup.
The following year his influential patrons secured a place for him at the French Academy in Rome.
Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.
He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787).
Houël's main intention was to illustrate local topography, but his delicate applications of watercolour also magnificently captured the effects of light and atmosphere.
To help finance these projects, he sold his preliminary drawings in Paris in 1780.
Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.
In his later years Houël published two illustrated treatises on elephants.
Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JACQUES CALLOT
(Nancy c.1592-1635)
French school
“LA FIERA DELL'IMPRUNETA” (The Fair at Impruneta)
[Florence version]
1620
ENGRAVING TECHNIQUE: Etching
€2575,-
DESCRIPTION:
The highly detailed scene represents the annual outdoor fair held in the Tuscan town of Impruneta, near Florence.
The scene takes place in front of the Church of Saint Mary of Impruneta, where yearly on the 18th of October,
a Fair took place to commemorate the discovery of the miracles of the Madonna, believed painted by Saint Luke Evangelist.
Jacques Callot filled the panoramic composition with more than 1300 human figures and animals,
most of them in very small dimensions, but all acting clearly and very defined.
Most of them are engaged in, or observing, largely secular activities taking place in front of the church.
While gypsies and peasants are shown pick-pocketing and fighting, people of all social classes are drawn
to numerous entertainment options, including snake charmers (lower right corner) and punishment of a criminal by torture (upper left).
NOTE:
First plate (Firenze);
Sixth and final state; vi/vi.
Lieure 361
SIZE: 436mm(H) x 678mm(L) [copperplate]
470mm(H) x 710mm(L) [sheet]
CONDITION:
Excellent impression on laid paper with unidentified watermark: “Half Moon”(?).
Traces of restoration visible at verso (mainly at top right, between the big tree and the Church, top corners reinforced.
(please ask for detailed photos).
Otherwise in very good condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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“LA FIERA DELL'IMPRUNETA” (The Fair at Impruneta)
[Florence version]
1620
ENGRAVING TECHNIQUE: Etching
€2575,-
DESCRIPTION:
The highly detailed scene represents the annual outdoor fair held in the Tuscan town of Impruneta, near Florence.
The scene takes place in front of the Church of Saint Mary of Impruneta, where yearly on the 18th of October,
a Fair took place to commemorate the discovery of the miracles of the Madonna, believed painted by Saint Luke Evangelist.
Jacques Callot filled the panoramic composition with more than 1300 human figures and animals,
most of them in very small dimensions, but all acting clearly and very defined.
Most of them are engaged in, or observing, largely secular activities taking place in front of the church.
While gypsies and peasants are shown pick-pocketing and fighting, people of all social classes are drawn
to numerous entertainment options, including snake charmers (lower right corner) and punishment of a criminal by torture (upper left).
NOTE:
First plate (Firenze);
Sixth and final state; vi/vi.
Lieure 361
SIZE: 436mm(H) x 678mm(L) [copperplate]
470mm(H) x 710mm(L) [sheet]
CONDITION:
Excellent impression on laid paper with unidentified watermark: “Half Moon”(?).
Traces of restoration visible at verso (mainly at top right, between the big tree and the Church, top corners reinforced.
(please ask for detailed photos).
Otherwise in very good condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JASPAR ISAAC
(Antwerp c.1583/85-Paris 1654)
French school
“PHARMACY INTERIOR”
1608
TECHNIQUE: Burin engraving
DESCRIPTION:
Early depiction of a Pharmacy interior by Jaspar Isaac.
Engraved title-page for the first edition of:
“Institutionum Pharmaceuticarum…” by Jean de Renou;
Published in Paris, by de la Noue, in 1608.
SIZE: 198mm(H) x 138mm(L) [sheet]
€2575,-
CONDITION:
Superb impression on very thin laid paper.
Text support lines still visible.
Collection stamp: P. Demany on reverse lower right.
Mounted on a passe-partout at right margin.
In perfect condition.
NOTE: Very early proof, text support lines still visible.
Collection stamp: P. Démany on reverse lower right.
Purchased by a parisian collector in a gallery in Paris,
Hand-annotations lower right of the passe-partout:
“Superb éprouve, une des premières tirée.
Les lignes de portée du texte très visibles qui disparaissent au bout de 10 à 15 éprouves.
De toute Rareté. Collection P. Demany”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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“PHARMACY INTERIOR”
1608
TECHNIQUE: Burin engraving
DESCRIPTION:
Early depiction of a Pharmacy interior by Jaspar Isaac.
Engraved title-page for the first edition of:
“Institutionum Pharmaceuticarum…” by Jean de Renou;
Published in Paris, by de la Noue, in 1608.
SIZE: 198mm(H) x 138mm(L) [sheet]
€2575,-
CONDITION:
Superb impression on very thin laid paper.
Text support lines still visible.
Collection stamp: P. Demany on reverse lower right.
Mounted on a passe-partout at right margin.
In perfect condition.
NOTE: Very early proof, text support lines still visible.
Collection stamp: P. Démany on reverse lower right.
Purchased by a parisian collector in a gallery in Paris,
Hand-annotations lower right of the passe-partout:
“Superb éprouve, une des premières tirée.
Les lignes de portée du texte très visibles qui disparaissent au bout de 10 à 15 éprouves.
De toute Rareté. Collection P. Demany”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“AMÉRIQUE DU NORD”
1854
Cartographer:
ADOLPHE HIPPOLYTE DUFOUR
(Paris 1795- Costantina 1865)
Technique:
ENGRAVING [Engraved by Flahaut]
€2575,-
DESCRIPTION:
Rare wall map of North America, which appeared in Andriveau-Goujon's Atlas Choix.
Very unusual treatment of the Transmississippi West, including a misshaped Texas,
Ozark District, Mandan District, Osage District, Massive Nebraska Territory.
Early primitive attempt to depict Washington and Oregon Territiories, and a host of other fascination details.
A highly detailed and scarce map.
Text by Warin; engraved by Flahaut, contemporary hand colouring.
Laid back on canvas and divided into 21 foldable quadrants; with the original very elegant marbled hardcover.
NOTE:
Published by Andriveau-Goujon, Paris, 1854;
SIZE:
940mm(H) x 680mm(L) [map size]
230mm(H) x 145mmL) [hardcover]
CONDITION:
Map in perfect condition;
Hardcover slightly worn on angles.
GENUINE ANTIQUE DATED 1854 - GUARANTEED OVER 170 YEARS OLD
For more information, including additional photos, please contact sartoniprints@yahoo.it
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Cartographer:
ADOLPHE HIPPOLYTE DUFOUR
(Paris 1795- Costantina 1865)
Technique:
ENGRAVING [Engraved by Flahaut]
€2575,-
DESCRIPTION:
Rare wall map of North America, which appeared in Andriveau-Goujon's Atlas Choix.
Very unusual treatment of the Transmississippi West, including a misshaped Texas,
Ozark District, Mandan District, Osage District, Massive Nebraska Territory.
Early primitive attempt to depict Washington and Oregon Territiories, and a host of other fascination details.
A highly detailed and scarce map.
Text by Warin; engraved by Flahaut, contemporary hand colouring.
Laid back on canvas and divided into 21 foldable quadrants; with the original very elegant marbled hardcover.
NOTE:
Published by Andriveau-Goujon, Paris, 1854;
SIZE:
940mm(H) x 680mm(L) [map size]
230mm(H) x 145mmL) [hardcover]
CONDITION:
Map in perfect condition;
Hardcover slightly worn on angles.
GENUINE ANTIQUE DATED 1854 - GUARANTEED OVER 170 YEARS OLD
For more information, including additional photos, please contact sartoniprints@yahoo.it
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ALPHONSE LEGROS [attributed to]
(Dijon 1837- Watford 1911)
French/British artist
Untitled:
“PORTRAIT OF A GENTLEMAN”
ERA:
c.1880
TECHNIQUE:
Black pencil on blue paper
€1480,-
DESCRIPTION:
Black pencil on thick blue paper.
Nicely executed portrait of a unidentified gentleman.
Profile bust lightly turning to the left looking towards the viewer.
SIZE:
270mm(H) x 200mm(L) [sheet]
CONDITION:
Black pencil on thick blue paper.
Mounted at the corners on a white paper sheet.
Two small round spots: one below the portrait and a tiny one at left.
Otherwise in excellent condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“PORTRAIT OF A GENTLEMAN”
ERA:
c.1880
TECHNIQUE:
Black pencil on blue paper
€1480,-
DESCRIPTION:
Black pencil on thick blue paper.
Nicely executed portrait of a unidentified gentleman.
Profile bust lightly turning to the left looking towards the viewer.
SIZE:
270mm(H) x 200mm(L) [sheet]
CONDITION:
Black pencil on thick blue paper.
Mounted at the corners on a white paper sheet.
Two small round spots: one below the portrait and a tiny one at left.
Otherwise in excellent condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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JACQUES CALLOT
“LE SIÈGE DE BREDA”
1628
For more information, including additional photos, please contact sartoniprints@yahoo.it
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1628
For more information, including additional photos, please contact sartoniprints@yahoo.it
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TSUKIOKA YOSHITOSHI
(Edo 1839- Ryōgoku 1892)
“UESUGI KENSHIN NYUDO TERUTORA”
[UESUGI NO TERUTORA RIDING INTO BATTLE]
1883
TECHNIQUE: Woodblock printed in colours
€1050,-
DESCRIPTION:
From the series “Yoshitoshi Musha Burui”
(Yoshitoshi’s Courageous Warriors).
Fantastic portrait of Kenshin, seen riding nobly into battle on horseback, surrounded by billowing plumes of smoke.
Kenshin’s face is seen in profile, accentuated by a white cloth executed in Yoshitoshi’s inimitable style, his steed valiant and unafraid.
Kenshin (1530-78) is best known as the opponent of Takeda Shingen, whom
he fought against in battles for seventeen years over the possession of Shinano province.
According to legend, the long conflict between them was fought in a courteous and chivalrous manner,
and when Kenshin heard of Shingen’s death in 1573, he was reported to have said:
“I have lost my good enemy and have now no one to compete with on equal terms”.
This subject is consider the best design in the series.
NOTE:
Signature: Taiso Yoshitoshi ga.
Publisher: Kobayashi Tetsujiro.
First edition: Three-colour cartouche; Two red seals and publisher address in blue at bottom left.
SIZE: 330mm(H) x 228mm(L) [image/woodblock]
CONDITION:
Excellent impression and colours, laid back on cardboard.
Little portion of paper miss at lower right corner (few mm).
Traces of detachment at all sides over the large margins, slightly effecting the publisher’s address in blue at bottom left.
Mounted on a black passpartout.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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[UESUGI NO TERUTORA RIDING INTO BATTLE]
1883
TECHNIQUE: Woodblock printed in colours
€1050,-
DESCRIPTION:
From the series “Yoshitoshi Musha Burui”
(Yoshitoshi’s Courageous Warriors).
Fantastic portrait of Kenshin, seen riding nobly into battle on horseback, surrounded by billowing plumes of smoke.
Kenshin’s face is seen in profile, accentuated by a white cloth executed in Yoshitoshi’s inimitable style, his steed valiant and unafraid.
Kenshin (1530-78) is best known as the opponent of Takeda Shingen, whom
he fought against in battles for seventeen years over the possession of Shinano province.
According to legend, the long conflict between them was fought in a courteous and chivalrous manner,
and when Kenshin heard of Shingen’s death in 1573, he was reported to have said:
“I have lost my good enemy and have now no one to compete with on equal terms”.
This subject is consider the best design in the series.
NOTE:
Signature: Taiso Yoshitoshi ga.
Publisher: Kobayashi Tetsujiro.
First edition: Three-colour cartouche; Two red seals and publisher address in blue at bottom left.
SIZE: 330mm(H) x 228mm(L) [image/woodblock]
CONDITION:
Excellent impression and colours, laid back on cardboard.
Little portion of paper miss at lower right corner (few mm).
Traces of detachment at all sides over the large margins, slightly effecting the publisher’s address in blue at bottom left.
Mounted on a black passpartout.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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REMBRANDT HARMENSZOON VAN RIJN [REMBRANDT]
(Leyden 1606-Amsterdam1669)
Dutch school
TITLE: “The Flute-player” (het Uylenspiegeltje)
ERA: 1642
TECHNIQUE: Etching and drypoint
DESCRIPTION:
A young couple resting beside a stream, the man playing flute
with an owl perched on his shoulder, the girl making a flower garland at left.
Shepherds do more than their fair share of walking, but their lives also provide ample opportunity for relaxation.
It represents an amorous situation and Rembrandt played a transparent game with ancient ambiguities
and innuendos surrounding the flute and garland; the owl is a symbol of wickedness.
This print was formerly called “het Uylenspiegeltje” (the scoundrel), and not without reason.
Rembrandt concealed all kinds of erotic double entendres in this scene of a shepherd couple beside the water.
The man furtively peeks under the woman’s skirt and happens to point with his flute (a phallic symbol) in the same direction.
The woman is weaving a wreath of flowers, an allusion to female genitalia.
SIZE: 122mm by 151mm [sheet]
€21800,-
NOTE:
Fourth state of four, without the face among the branches.
Barstch 188, Hollstein Dutch 144, New Hollstein 211.
CONDITION:
Very good impression on 17th century laid paper.
Trimmed outside the copperplate, 4mm margins on left, lower and right side, 2mm margin upper side.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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TITLE: “The Flute-player” (het Uylenspiegeltje)
ERA: 1642
TECHNIQUE: Etching and drypoint
DESCRIPTION:
A young couple resting beside a stream, the man playing flute
with an owl perched on his shoulder, the girl making a flower garland at left.
Shepherds do more than their fair share of walking, but their lives also provide ample opportunity for relaxation.
It represents an amorous situation and Rembrandt played a transparent game with ancient ambiguities
and innuendos surrounding the flute and garland; the owl is a symbol of wickedness.
This print was formerly called “het Uylenspiegeltje” (the scoundrel), and not without reason.
Rembrandt concealed all kinds of erotic double entendres in this scene of a shepherd couple beside the water.
The man furtively peeks under the woman’s skirt and happens to point with his flute (a phallic symbol) in the same direction.
The woman is weaving a wreath of flowers, an allusion to female genitalia.
SIZE: 122mm by 151mm [sheet]
€21800,-
NOTE:
Fourth state of four, without the face among the branches.
Barstch 188, Hollstein Dutch 144, New Hollstein 211.
CONDITION:
Very good impression on 17th century laid paper.
Trimmed outside the copperplate, 4mm margins on left, lower and right side, 2mm margin upper side.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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“PANORAMA DE ROME”,
pris du clocher du Capitole.
c.1750
Technique: Etching
€410,-
DESCRIPTION:
An unusual circular panoramic view of Roma as seen from the bell tower of the Senatorial Palace on the Capitoline Hill.
191 buildings throughout Rome are illustrated as they would be viewed from the bell tower,
including parts of the Palazzo Senatorio and the Piazza del Campidoglio,
which are the largest illustrations on the right side of the cercle.
Basilicas, Cathedrals and Churches appear alongside anciens ruins including the Colosseum (143),
Colonna di Trajano (99), Basilica di San Pietro and The Vatican.
SIZE: 322mm(H) x 410mm(L) [copperplate]
350mm(H) x 460mm(L) [sheet]
CONDITION:
Excellent impression on thin laid paper with watermark:
“Crown and Letter”.
Restored portions of paper at centre of both side margins,
not effecting the printed part.
In very good condition.
NOTE:
Etching on copperplate printed on thin laid paper
with watermark : “Crown and letter”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
Technique: Etching
€410,-
DESCRIPTION:
An unusual circular panoramic view of Roma as seen from the bell tower of the Senatorial Palace on the Capitoline Hill.
191 buildings throughout Rome are illustrated as they would be viewed from the bell tower,
including parts of the Palazzo Senatorio and the Piazza del Campidoglio,
which are the largest illustrations on the right side of the cercle.
Basilicas, Cathedrals and Churches appear alongside anciens ruins including the Colosseum (143),
Colonna di Trajano (99), Basilica di San Pietro and The Vatican.
SIZE: 322mm(H) x 410mm(L) [copperplate]
350mm(H) x 460mm(L) [sheet]
CONDITION:
Excellent impression on thin laid paper with watermark:
“Crown and Letter”.
Restored portions of paper at centre of both side margins,
not effecting the printed part.
In very good condition.
NOTE:
Etching on copperplate printed on thin laid paper
with watermark : “Crown and letter”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
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MADAGASCAR / MOZAMBICO
"ANTHROPOLOGY & SKULLS"
de la Tribu des BETIMSARAS, Île Madagascar. [femme]
de la Tribu des MAKOUAS, Côte Inhambane. [homme]
de la Tribu des MAKOUAS, Côte Inhambane. [femme]
"VOYAGE AU PÔLE SUD ET DANS L'OCEANIE"
sur les corvettes L'Astrolabe et La Zélée exécuté par ordre du Roi pendant les Années 1837-1838-1839-1840
sous le commandement de M. Dumont-d’Urville; First Edition.
"ANTHROPOLOGIE" Plate 43
TH. MULLER (Lithographed by)
after the original skulls photographed by BISSON.
under the direction of Mr. le Dr. DUMOUTIER.
c. 1842
TECHNIQUE: Lithography
€470,-
DESCRIPTION:
Superb and rare lithograph depicting three front images of skulls and the same in profile.
Skulls found in Madagascar and Mozambique.
Taken after the originals skulls photographed by Bisson.
Ultimately realised in the publication, Voyage au Pôle Sud et dans L’Océanie, the lithograph depicts skulls of indigenous from Madagascar and Monzambico,
produced by Pierre-Marie Alexandre Dumoutier (1797-1871), an anatomist and phrenologist who travelled with the expedition.
Dumoutier was commissioned by Dumont d’Urville to collect casts of the indigenous populations of each site visited over the course of the voyage.
The life casts were used to substantiate Dumont d’Urville’s belief in a stratified racial hierarchy among the inhabitants of the South Pacific region.
A pseudo-science popular in the 19th Century, phrenology involves the study of the shape and measurements of the skull to predict and determine variations in human temperament.
Predicated on the belief that the relative size of different areas in the brain dictated personality and character, phrenological research
was often enlisted to support prejudicial racial profiling and endorse colonialist imperatives.
In Dumoutier’s skulls, the figure becomes a specimen to be studied.
As art historian Stacy Kamehiro notes, while Dumoutier was convinced that all humans shared a common origin and cerebral physiology,
his work in the South Pacific was used as evidence to support the argument that each race displayed fundamentally different origins and characteristics.
This position is articulated in the text written by the entomologist Émile Blanchard (1819-1900) that accompanied the published lithographs.
Photography was seen to satisfy the same agenda.
The invention of photography occurred after Dumont d’Urville had set off.
Upon his return, he organised to have his research materials photographed.
NOTE:
This rare lithograph test, a first in terms of use of photography in Anthropology, was made from a daguerreotype by the Bisson brothers
and is an early attempt to reproduce for publication the material collected during French explorer Jules Sébastien César Dumont d’Urville’s
1837-1840 voyage through the Pacific and the Antarctic circle on board the ‘Astrolabe’ and the ‘Zélée’.
SIZE: 358mm(H) x 550mm(L) [sheet]
CONDITION:
In perfect condition,
Full editorial margins.
This lithograph was issued for the subscribers and never bound in the volume.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
de la Tribu des BETIMSARAS, Île Madagascar. [femme]
de la Tribu des MAKOUAS, Côte Inhambane. [homme]
de la Tribu des MAKOUAS, Côte Inhambane. [femme]
"VOYAGE AU PÔLE SUD ET DANS L'OCEANIE"
sur les corvettes L'Astrolabe et La Zélée exécuté par ordre du Roi pendant les Années 1837-1838-1839-1840
sous le commandement de M. Dumont-d’Urville; First Edition.
"ANTHROPOLOGIE" Plate 43
TH. MULLER (Lithographed by)
after the original skulls photographed by BISSON.
under the direction of Mr. le Dr. DUMOUTIER.
c. 1842
TECHNIQUE: Lithography
€470,-
DESCRIPTION:
Superb and rare lithograph depicting three front images of skulls and the same in profile.
Skulls found in Madagascar and Mozambique.
Taken after the originals skulls photographed by Bisson.
Ultimately realised in the publication, Voyage au Pôle Sud et dans L’Océanie, the lithograph depicts skulls of indigenous from Madagascar and Monzambico,
produced by Pierre-Marie Alexandre Dumoutier (1797-1871), an anatomist and phrenologist who travelled with the expedition.
Dumoutier was commissioned by Dumont d’Urville to collect casts of the indigenous populations of each site visited over the course of the voyage.
The life casts were used to substantiate Dumont d’Urville’s belief in a stratified racial hierarchy among the inhabitants of the South Pacific region.
A pseudo-science popular in the 19th Century, phrenology involves the study of the shape and measurements of the skull to predict and determine variations in human temperament.
Predicated on the belief that the relative size of different areas in the brain dictated personality and character, phrenological research
was often enlisted to support prejudicial racial profiling and endorse colonialist imperatives.
In Dumoutier’s skulls, the figure becomes a specimen to be studied.
As art historian Stacy Kamehiro notes, while Dumoutier was convinced that all humans shared a common origin and cerebral physiology,
his work in the South Pacific was used as evidence to support the argument that each race displayed fundamentally different origins and characteristics.
This position is articulated in the text written by the entomologist Émile Blanchard (1819-1900) that accompanied the published lithographs.
Photography was seen to satisfy the same agenda.
The invention of photography occurred after Dumont d’Urville had set off.
Upon his return, he organised to have his research materials photographed.
NOTE:
This rare lithograph test, a first in terms of use of photography in Anthropology, was made from a daguerreotype by the Bisson brothers
and is an early attempt to reproduce for publication the material collected during French explorer Jules Sébastien César Dumont d’Urville’s
1837-1840 voyage through the Pacific and the Antarctic circle on board the ‘Astrolabe’ and the ‘Zélée’.
SIZE: 358mm(H) x 550mm(L) [sheet]
CONDITION:
In perfect condition,
Full editorial margins.
This lithograph was issued for the subscribers and never bound in the volume.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JEAN HOUËL
(Rouen 28 June 1735- France 14 November 1813)
French School
"SALAISON D'ANCHOIX"
Sicily.
From the famous "VOYAGE PITTORESQUE DES ÎLES DE SICILE, DE MALTE ET DE LIPARI"
Published in Paris in 1782
Plate n:25
ENGRAVING TECHNIQUE: Aquatint on copperplate
DESCRIPTION:
Very nice aquatint depicting people at work salting anchovies.
Drawn and etched by Jean-Pierre Houël.
NOTE:
Aquatint on copperplate.
Printed in sanguine ink on strong laid paper.
Drawn and etched by Jean-Pierre Houël, painter of the French King and the Beaux-Arts de Paris.
Excellent impression, strong sanguine ink, full margins.
Size:
260mm x 380mm [copperplate]
350mm x 540mm [sheet]
CONDITION:
In excellent condition.
Excellent impression, full large margins.
€215,-
JEAN-PIERRE-LOUIS-LAURENT HOUËL
(Rouen 28 June 1735- 14 November 1813)
Was a French painter, engraver and draftsman.
During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.
He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.
Here he was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting.
In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Chaâteau de Chanteloup.
The following year his influential patrons secured a place for him at the French Academy in Rome.
Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.
He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787).
Houël's main intention was to illustrate local topography, but his delicate applications of watercolour also magnificently captured the effects of light and atmosphere.
To help finance these projects, he sold his preliminary drawings in Paris in 1780.
Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.
In his later years Houël published two illustrated treatises on elephants.
Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
"SALAISON D'ANCHOIX"
Sicily.
From the famous "VOYAGE PITTORESQUE DES ÎLES DE SICILE, DE MALTE ET DE LIPARI"
Published in Paris in 1782
Plate n:25
ENGRAVING TECHNIQUE: Aquatint on copperplate
DESCRIPTION:
Very nice aquatint depicting people at work salting anchovies.
Drawn and etched by Jean-Pierre Houël.
NOTE:
Aquatint on copperplate.
Printed in sanguine ink on strong laid paper.
Drawn and etched by Jean-Pierre Houël, painter of the French King and the Beaux-Arts de Paris.
Excellent impression, strong sanguine ink, full margins.
Size:
260mm x 380mm [copperplate]
350mm x 540mm [sheet]
CONDITION:
In excellent condition.
Excellent impression, full large margins.
€215,-
JEAN-PIERRE-LOUIS-LAURENT HOUËL
(Rouen 28 June 1735- 14 November 1813)
Was a French painter, engraver and draftsman.
During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.
He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.
Here he was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting.
In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Chaâteau de Chanteloup.
The following year his influential patrons secured a place for him at the French Academy in Rome.
Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.
He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787).
Houël's main intention was to illustrate local topography, but his delicate applications of watercolour also magnificently captured the effects of light and atmosphere.
To help finance these projects, he sold his preliminary drawings in Paris in 1780.
Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.
In his later years Houël published two illustrated treatises on elephants.
Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JACQUES CALLOT
(Nancy c.1592-1635)
French school
“LA FIERA DELL'IMPRUNETA” (The Fair at Impruneta)
[Florence version]
1620
ENGRAVING TECHNIQUE: Etching
€2575,-
DESCRIPTION:
The highly detailed scene represents the annual outdoor fair held in the Tuscan town of Impruneta, near Florence.
The scene takes place in front of the Church of Saint Mary of Impruneta, where yearly on the 18th of October,
a Fair took place to commemorate the discovery of the miracles of the Madonna, believed painted by Saint Luke Evangelist.
Jacques Callot filled the panoramic composition with more than 1300 human figures and animals,
most of them in very small dimensions, but all acting clearly and very defined.
Most of them are engaged in, or observing, largely secular activities taking place in front of the church.
While gypsies and peasants are shown pick-pocketing and fighting, people of all social classes are drawn
to numerous entertainment options, including snake charmers (lower right corner) and punishment of a criminal by torture (upper left).
NOTE:
First plate (Firenze);
Sixth and final state; vi/vi.
Lieure 361
SIZE: 436mm(H) x 678mm(L) [copperplate]
470mm(H) x 710mm(L) [sheet]
CONDITION:
Excellent impression on laid paper with unidentified watermark: “Half Moon”(?).
Traces of restoration visible at verso (mainly at top right, between the big tree and the Church, top corners reinforced.
(please ask for detailed photos).
Otherwise in very good condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“LA FIERA DELL'IMPRUNETA” (The Fair at Impruneta)
[Florence version]
1620
ENGRAVING TECHNIQUE: Etching
€2575,-
DESCRIPTION:
The highly detailed scene represents the annual outdoor fair held in the Tuscan town of Impruneta, near Florence.
The scene takes place in front of the Church of Saint Mary of Impruneta, where yearly on the 18th of October,
a Fair took place to commemorate the discovery of the miracles of the Madonna, believed painted by Saint Luke Evangelist.
Jacques Callot filled the panoramic composition with more than 1300 human figures and animals,
most of them in very small dimensions, but all acting clearly and very defined.
Most of them are engaged in, or observing, largely secular activities taking place in front of the church.
While gypsies and peasants are shown pick-pocketing and fighting, people of all social classes are drawn
to numerous entertainment options, including snake charmers (lower right corner) and punishment of a criminal by torture (upper left).
NOTE:
First plate (Firenze);
Sixth and final state; vi/vi.
Lieure 361
SIZE: 436mm(H) x 678mm(L) [copperplate]
470mm(H) x 710mm(L) [sheet]
CONDITION:
Excellent impression on laid paper with unidentified watermark: “Half Moon”(?).
Traces of restoration visible at verso (mainly at top right, between the big tree and the Church, top corners reinforced.
(please ask for detailed photos).
Otherwise in very good condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
JASPAR ISAAC
(Antwerp c.1583/85-Paris 1654)
French school
“PHARMACY INTERIOR”
1608
TECHNIQUE: Burin engraving
DESCRIPTION:
Early depiction of a Pharmacy interior by Jaspar Isaac.
Engraved title-page for the first edition of:
“Institutionum Pharmaceuticarum…” by Jean de Renou;
Published in Paris, by de la Noue, in 1608.
SIZE: 198mm(H) x 138mm(L) [sheet]
€2575,-
CONDITION:
Superb impression on very thin laid paper.
Text support lines still visible.
Collection stamp: P. Demany on reverse lower right.
Mounted on a passe-partout at right margin.
In perfect condition.
NOTE: Very early proof, text support lines still visible.
Collection stamp: P. Démany on reverse lower right.
Purchased by a parisian collector in a gallery in Paris,
Hand-annotations lower right of the passe-partout:
“Superb éprouve, une des premières tirée.
Les lignes de portée du texte très visibles qui disparaissent au bout de 10 à 15 éprouves.
De toute Rareté. Collection P. Demany”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“PHARMACY INTERIOR”
1608
TECHNIQUE: Burin engraving
DESCRIPTION:
Early depiction of a Pharmacy interior by Jaspar Isaac.
Engraved title-page for the first edition of:
“Institutionum Pharmaceuticarum…” by Jean de Renou;
Published in Paris, by de la Noue, in 1608.
SIZE: 198mm(H) x 138mm(L) [sheet]
€2575,-
CONDITION:
Superb impression on very thin laid paper.
Text support lines still visible.
Collection stamp: P. Demany on reverse lower right.
Mounted on a passe-partout at right margin.
In perfect condition.
NOTE: Very early proof, text support lines still visible.
Collection stamp: P. Démany on reverse lower right.
Purchased by a parisian collector in a gallery in Paris,
Hand-annotations lower right of the passe-partout:
“Superb éprouve, une des premières tirée.
Les lignes de portée du texte très visibles qui disparaissent au bout de 10 à 15 éprouves.
De toute Rareté. Collection P. Demany”.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“AMÉRIQUE DU NORD”
1854
Cartographer:
ADOLPHE HIPPOLYTE DUFOUR
(Paris 1795- Costantina 1865)
Technique:
ENGRAVING [Engraved by Flahaut]
€2575,-
DESCRIPTION:
Rare wall map of North America, which appeared in Andriveau-Goujon's Atlas Choix.
Very unusual treatment of the Transmississippi West, including a misshaped Texas,
Ozark District, Mandan District, Osage District, Massive Nebraska Territory.
Early primitive attempt to depict Washington and Oregon Territiories, and a host of other fascination details.
A highly detailed and scarce map.
Text by Warin; engraved by Flahaut, contemporary hand colouring.
Laid back on canvas and divided into 21 foldable quadrants; with the original very elegant marbled hardcover.
NOTE:
Published by Andriveau-Goujon, Paris, 1854;
SIZE:
940mm(H) x 680mm(L) [map size]
230mm(H) x 145mmL) [hardcover]
CONDITION:
Map in perfect condition;
Hardcover slightly worn on angles.
GENUINE ANTIQUE DATED 1854 - GUARANTEED OVER 170 YEARS OLD
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
Cartographer:
ADOLPHE HIPPOLYTE DUFOUR
(Paris 1795- Costantina 1865)
Technique:
ENGRAVING [Engraved by Flahaut]
€2575,-
DESCRIPTION:
Rare wall map of North America, which appeared in Andriveau-Goujon's Atlas Choix.
Very unusual treatment of the Transmississippi West, including a misshaped Texas,
Ozark District, Mandan District, Osage District, Massive Nebraska Territory.
Early primitive attempt to depict Washington and Oregon Territiories, and a host of other fascination details.
A highly detailed and scarce map.
Text by Warin; engraved by Flahaut, contemporary hand colouring.
Laid back on canvas and divided into 21 foldable quadrants; with the original very elegant marbled hardcover.
NOTE:
Published by Andriveau-Goujon, Paris, 1854;
SIZE:
940mm(H) x 680mm(L) [map size]
230mm(H) x 145mmL) [hardcover]
CONDITION:
Map in perfect condition;
Hardcover slightly worn on angles.
GENUINE ANTIQUE DATED 1854 - GUARANTEED OVER 170 YEARS OLD
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
ALPHONSE LEGROS [attributed to]
(Dijon 1837- Watford 1911)
French/British artist
Untitled:
“PORTRAIT OF A GENTLEMAN”
ERA:
c.1880
TECHNIQUE:
Black pencil on blue paper
€1480,-
DESCRIPTION:
Black pencil on thick blue paper.
Nicely executed portrait of a unidentified gentleman.
Profile bust lightly turning to the left looking towards the viewer.
SIZE:
270mm(H) x 200mm(L) [sheet]
CONDITION:
Black pencil on thick blue paper.
Mounted at the corners on a white paper sheet.
Two small round spots: one below the portrait and a tiny one at left.
Otherwise in excellent condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
“PORTRAIT OF A GENTLEMAN”
ERA:
c.1880
TECHNIQUE:
Black pencil on blue paper
€1480,-
DESCRIPTION:
Black pencil on thick blue paper.
Nicely executed portrait of a unidentified gentleman.
Profile bust lightly turning to the left looking towards the viewer.
SIZE:
270mm(H) x 200mm(L) [sheet]
CONDITION:
Black pencil on thick blue paper.
Mounted at the corners on a white paper sheet.
Two small round spots: one below the portrait and a tiny one at left.
Otherwise in excellent condition.
For more information, including additional photos, please contact sartoniprints@yahoo.it
https://sartoniantiqueprints.com
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