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Spring Online Edition, May 14 - 28, 2021

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Jan Johnson, Old Master & Modern Prints, Inc.

+1 450-658-2752

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Jan Johnson established her company in London after six years in the Old Master Print Department of the distinguished firm P & D Colnaghi. In 1982 she moved the business to Montreal, Quebec, and then in2008 to the historic town of Chambly. Besides mounting many exhibitions in Canada over the years, the company has participated in numerous print fairs in the United States and is a founding member of the IFPDA. In her own right, Jan Johnson has published scholarly work, taught university courses, and been an invited curator.

Our prints have found a home in many of the world’s great museums and we prize our relationships with private collectors.

Image:

Imaginary View of Padua, Antonio Canal (Canaletto), detail

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The prints in my presentation indicate the very wide range of subject matter and style Old Master Prints embrace, here including animal, ornamental, mythological, religious, genre, portraiture and landscape. With thirteen prints from the 16th Century represented, my predilection for that period will be evident. I am especially drawn to the prints of the School of Fontainebleau, though opportunities to acquire them are infrequent. The Jean Mignon subject from the Trojan War is an outstanding example in the still-new medium of etching. Another incunable within a different technique is the delightful small spaniel by Dutch artist Jan Verkolje executed in mezzotint not long after the 17th Century invention of the medium and doubtless representing a beloved household pet. A shimmering view of Padua as it appeared in Canaletto’s mind’s eye and a misty canal in Venice by Canadian Clarence Gagnon compliment each other across two centuries. A number of prints display contrasting approaches to representing religious tradition: the six scenes by Mauperché, from the parable of the Prodigal Son, tell the story in lyrical landscapes with a classical feel; Ghisi’s Visitation takes place in a busy, crowded public setting that allows the artist to display his skills; while Lorrain, Alberti and the engraver from Raimondi’s circle rely on allegory, and Durer’s St. George has an almost fairy tale quality. Among the landscapes, both Claude and Kolbe, one hundred and fifty years apart, demonstrate the lasting appeal of an Arcadian vision.

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Jan Johnson, Director

Jean Mignon

Cassandra stopping Deiphobus from killing their brother Paris, from The Trojan War, after Luca Penni

ca. 1544-45

321 x 440-445mm

Etching

Fürst zu Fürstenberg; Dr. Eric Stanley

Bartsch 46; Zerner 43; Jenkins Pt II, p. 308, JM 43 A fine, early impression, trimmed between platemark and borderline. An interesting feature of this impression is that two pages of Gothic type in brown ink have offset onto the verso, raising the question of whether book-printing was taking place in the same Fontainebleau workshop as the engraving was proofed in. Rare.

Price on Request

Marcantonio Raimondi, school of

Theology and Metaphysics, after Raphael

ca. 1520-25

349 x 290-293mm

Engraving

Pierre Mariette II (1634-1716), Lugt 2096 & 1790 ; Joseph-Guillaume-Jean Camberlyn (1783-1861) Lugt 514

Bartsch XV, pt VI (sujets de fantaisie), 6 A very fine impression with many polish marks and burr in the borderline, printing through to the verso as is characteristic of early impressions from this school.

$11,500

Claude Gellé, called Claude le Lorrain

Le Bouvier (The Herdsman)

1636

147 x 206mm

Etching and roulette

Kennedy Galleries ; P & D Colnaghi

Russell 27; Mannocci 18, third state B of six, with the number 4 in the left margin as in A, but with a few short, curved scratches in the top right corner of the sky. According to both Russell and Mannocci, this is a life-time state. States I and II are of the utmost rarity. A fine, nuanced impression with small margins on three sides, trimmed on the platemark at left. Generally considered Claude’s masterpiece in etching, this plate is one of the most important and influential landscape prints of the 17th Century.

$12,000

Clarence Gagnon

Canal San Pietro, Venice

ca. 1905

200 x 265mm

Etching and drypoint

Grandbois and Tovell 41. Signed in pencil, 11 impressions known. A fine impression printed on japan paper, with margins all round. Gagnon was one of Quebec’s most prominent early 20th Century painters, and also won early renown for his small but exquisite body of etchings.

$2,730

The Battle of the Milvian Bridge, Marco Angolo del Moro, detail

Jan Verkolje

A Spaniel leaping to the left

1684

127 x 156 mm

Mezzotint

Hollstein 19, second state of two with the artist’s inscription and date A fine impression with thread margins all round. Jan Verkolje was a painter who trained under Jan Lievens, as well as making a small body of mezzotint engravings during the first decades after the invention of the technique around 1642. Of the utmost rarity.

$3,800

L’Âne et les deux voleurs, Honoré Daumier, detail

Jean Mignon

Cassandra stopping Deiphobus from killing their brother Paris, from The Trojan War, after Luca Penni

321 x 440-445mm

Etching

Bartsch 46; Zerner 43; Jenkins Pt II, p. 308, JM 43 A fine, early impression, trimmed between platemark and borderline. An interesting feature of this impression is that two pages of Gothic type in brown ink have offset onto the verso, raising the question of whether book-printing was taking place in the same Fontainebleau workshop as the engraving was proofed in. Rare.

Price on Request

Marcantonio Raimondi, school of

Theology and Metaphysics, after Raphael

349 x 290-293mm

Engraving

Bartsch XV, pt VI (sujets de fantaisie), 6 A very fine impression with many polish marks and burr in the borderline, printing through to the verso as is characteristic of early impressions from this school.

$11,500

Claude Gellé, called Claude le Lorrain

Le Bouvier (The Herdsman)

147 x 206mm

Etching and roulette

Russell 27; Mannocci 18, third state B of six, with the number 4 in the left margin as in A, but with a few short, curved scratches in the top right corner of the sky. According to both Russell and Mannocci, this is a life-time state. States I and II are of the utmost rarity. A fine, nuanced impression with small margins on three sides, trimmed on the platemark at left. Generally considered Claude’s masterpiece in etching, this plate is one of the most important and influential landscape prints of the 17th Century.

$12,000

Clarence Gagnon

Canal San Pietro, Venice

200 x 265mm

Etching and drypoint

Grandbois and Tovell 41. Signed in pencil, 11 impressions known. A fine impression printed on japan paper, with margins all round. Gagnon was one of Quebec’s most prominent early 20th Century painters, and also won early renown for his small but exquisite body of etchings.

$2,730

Jan Verkolje

A Spaniel leaping to the