André-Charles Coppier's etching, “Les Baigneuses des Îles Borromées”, 1911

André-Charles Coppier (1867–1948; fl.1894–1911)

“Les Baigneuses des Îles Borromées” (aka “The Bathers of the Borromean Isles”), 1911, pencil-signed proof-state etching after Jean-Baptiste-Camille Corot’s (1796–1875) painting of the same composition (see URL below for image) (c1865–70) in the collection of the Sterling and Francine Clark Art Institute (Williamstown, Massachusetts).

The Clark Art Institute offers the following insight about Corot’s painting:

“The Borromean Islands, on Lake Maggiore in Northern Italy, are famous for their isolation and natural beauty. In Corot’s painting, nude bathers frolic in the water, the gray-green branches of tall trees shading their bodies from the warm, golden sunlight. The artist painted this scene more than twenty years after his last visit to Italy, presenting the traditional theme of the nude in a landscape as a nostalgic memory—more poetic fiction than realistic fact.”

(https://www.clarkart.edu/Collection/10219).

The Clark Art Institute also offers a marvellous essay (available online) by Richard Rand (2012), focused on Corot’s painting:  https://media.clarkart.edu/1955.537_EuroCat.pdf

Camille Corot, "The Bathers of the Borromean Isles," c. 1865-70

ClarkArtInstitute Published on Aug 7, 2009

Etching with light plate tone on buff-coloured fine wove (China) paper, a scratch-proof impression (i.e. there is lightly scratched/inscribed lettering) before the addition of publication details, signed by the artist in pencil and backed on a support sheet.

Size: (sheet) 81.1 x 57.5 cm; (plate) 77.5 x 54.3 cm; (image borderline) 71.4 x 50.5 cm.

Lettered on plate within the image borderline at lower left corner: “COROT”.

Inscribed/scratched on plate below the image borderline: (centre) “[…?] progres for M” (this reading is VERY tentative as the inscription is virtually indecipherable).

Hand-signed in pencil below the image borderline at lower right.

I have been unable to find another copy or any information about this exceptionally large etching, suggesting that this proof-state impression may never have been published and perhaps this impression may be one of very few copies extant—presuming that there are other copies.

Condition: richly inked, faultless museum-quality impression with generous margins and backed with a support sheet of fine archival/millennium quality washi paper. The sheet is in near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use).

I am selling this huge etching of the utmost rarity in faultless condition for AU$560 (currently US$385.04/EUR343.42/GBP305.76 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this eye-catching masterpiece of etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print is reserved pending confirmation of its purchase

Simon Vallée's engraving, “St Jean Baptiste”, c1735

Simon Vallée (aka Simon de La Vallée; Simon Valée) (1680–c1730)

“St Jean Baptiste”, c1735 (1729–40), after Raphael, from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (aka “Recueil Crozat”; “Cabinet Crozat”).

The Curator of the British Museum offers the following insight about this print:

“Engraved after the painting in the Musée du Louvre (Inv. 606). The attribution to Raphael is debated. While the design may be his, the execution is most likely the work of his workshop. See Dussler, 'Raphael: A Critical Catalogue', 1971, page 63 (design and execution: workshop of Raphael); and Jürg Meyer zur Capellen, 'Raphael: A Critical Catalogue of His Paintings', vol. II, 2005, cat. No.A12 (design: Raphael, execution: workshop).” (BM no. 1855,0609.93)

Engraving and etching on heavy laid paper backed with a support sheet.

Size: (sheet) 50.8 x 38.4 cm; (plate) 42.6 x 31 cm; (image borderline) 36.3 x 29.5 cm.

Lettered on plate below the image borderline: (centre) “St. Jean Baptiste / d'Après le Tableau de Raphaël, qui est dans le Cabinet du Roy. / haut de 4. pieds 4. pouces, large de 4. pieds 4. Pouces, peint sur toile, gravé par Simon Valée.”

Numbered on plate at lower right corner: “14”

The British Museum offers the following description of this print:

“St John the Baptist sits in the wilderness, wearing nothing but his animal skin; he sits astride a tree branch, holding a scroll in his right hand and pointing to his cross made from sticks, which has been tied to a branch; wilderness can be seen beyond; after Raphael.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3158430&partId=1&searchText=Simon+Vall%25u00e9e+John+the+Baptist&page=1)

Condition: Richly inked, faultless impression with generous margins and backed with a support sheet of fine archival/millennium quality washi paper. There are closed fractures/tears at the upper right in the margin which have been addressed by the sheet having been backed with a support sheet; otherwise the sheet is in excellent condition with no stains, creases, abrasions or foxing.

I am selling this superb, museum-quality masterwork of engraving from the early 1700s for AU$280 (currently US$192.52/EUR171.71/GBP152.88at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this gloriously fine impression, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Michel Dorigny's etching, “Four Amors with a Goat Picking Grapes”, c1630

(Attrib.) Michel Dorigny (1616–1665)

“Four Amors with a Goat Picking Grapes” (Rijksmuseum title), c1630 (1622–1652), from the series of 12 plates after Nicolas Chaperon (aka Nicolas Chapron) (1612–1654/5), “Recueil de diverses Bacchanales” (aka “Recueil de douze Bacchanales”), published by René Guérineau (c1605–1664).

The Curator of the British Museum advises that a “related drawing is in the Louvre (inv. 25199, recto)”. Regarding this series, the Curator explains that the print is from “a series of plates engraved by Chapron and Dorigny (among others) and representing dionysiac scenes; the plates described by Robert-Dumesnil (IV.254.12-17) are all anonymous and it is therefore difficult to attribute them with certitude. Him [Robert-Dumesnil] and P.J. Mariette attribute them to Dorigny” (BM no. 1974,0720.4).

Etching and engraving on laid paper trimmed around the platemark and backed with a support sheet.

Size: (sheet) 29.6 x 20.9 cm; (image borderline) 29 x 20.9 cm.

Lettered on plate below the image borderline: (left) “Chapperon inuentor et pinxit.”; (right) Guerineau excud Cum Priuilegio Regis.”

Robert-Dumesnil VI.254.13 (APF Robert-Dumesnil 1835–71, “Le peintre-graveur français, ou catalogue raisonné des estampes gravées par les peintres et les dessinateurs de l'école française: ouvrage faisant suite au peintre-graveur de Bartsch”, Paris, vol. 6, p. 254, cat.no. 13); IFF 13 (Département des Estampes 1930, “Inventaire du Fonds, Français: graveurs du XVIIe siècle”, Paris, Bibliothèque Nationale).

The British Museum offers the following description of this print:

“Boy, sitting on the back of a goat kept in leash by a young satyr, and stretching out his arm to pick up a bunch of grapes held by a putto in a tree”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1467448&partId=1&searchText=Michel+DORIGNY+&page=1)

See also the description offered by the Rijksmuseum:

http://hdl.handle.net/10934/RM0001.COLLECT.92243

Condition: well-printed impression trimmed along the image borderline and backed with a support sheet of fine archival/millennium quality washi paper. There are restorations around the tree foliage at the upper right and there are a few tears on the lower edge of the sheet which have been addressed by the sheet having been backed with a support sheet.

I am selling this strikingly beautiful bacchanalian scene executed with supreme confidence, for AU$300 (currently US$207.01/EUR183.70/GBP163.58 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this marvellous example of the Baroque period style, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

William Lee-Hankey’s aquatint, "The First Born”, 1905

William Lee-Hankey (1869–1952)

"The First Born”, 1905

Aquatint with muslin (textile) imprint on soft-ground etching, printed on cream wove (China) paper, hand-signed by the artist in pencil, proof before the numbered edition of 20 monochrome impressions and 55 colour impressions. (Technical information provided by the Elizabeth Lee-Harvey website—see URL further below).

Size: (sheet) 40.2 x 27.5 cm; (plate) 32.5 x 25.2 cm.

Signed in pencil below the image at right, “W.Lee Hankey sc. et imp.”, with hand-written pencil notes along the lower edge of the sheet, “The First Born”, and a collector’s inventory number.

Stamped in ink at the lower left edge of the sheet in the margin: “MADE IN ENGLAND.”

Hardie 17 (Martin Hardie 1921, “The Etched Work of W. Lee-Hankey, R.E. From 1904 to 1920”, London, L.H. Lefevre & Son).

The British Museum offers the following description of this print:

“A woman seated in a chair placed in a garden, holding a child who looks over her shoulder”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3344172&partId=1&searchText=William+Lee+Hankey+child&page=1)

See also the description of the exquisite colour version of this print at Elizabeth Harvey-Lee:

https://www.elizabethharvey-lee.com/monthly_selections/archive/monthly_current_01c.htm#14

Condition: well-printed, near faultless, signed, proof impression in near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use). There are hinge remnants of mounting (verso).

I am selling this extraordinarily beautiful aquatint of great delicacy, for the total cost of AU$420 (currently US$290.12/EUR256.84/GBP229.01 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this masterpiece of tonal nuance by one of the influential printmakers at the beginning of the 20^th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Jean François Ribault's engraving, “Paris et Oenone”, 1817

Jean François Ribault (1767–1820)

“Paris et Oenone”, 1817, after the design by the intermediary draughtsman, René Duchemin (1768–1859; fl.1789–1817), after the painting (1706) in the Galleria Sabauda (Turin) by Adriaen van der Werff (aka Adrien Vanderwerff) (1659–1722), from the series, “Musée Français”—prints reproducing paintings and sculptures in the French National Collection published by Robillard-Péronville and Laurent in four volumes titled, “Musée Français, recueil complet des tableaux, statues et bas-reliefs qui composent la collection nationale, avec l'explication des sujets et des discours historiques sur la peinture, la sculpture et la gravure” (French Museum, complete collection of paintings, statues and bas-reliefs that make up the national collection, with the explanation of historical subjects and discourses on painting, sculpture and engraving). For more detail about the series, see the explanatory note for BM no. 1875,0410.469 by the Curator of the British Museum.

Engraving and etching on laid paper backed with a support sheet.

Size: (sheet) 56.7 x 40.4 cm; (plate) 50.2 x 35.7 cm; (image borderline) 31.1 x 25.5 cm.

Lettered on plate below the image borderline: (left) "Peint par Vander Werff."; (centre) “Dessiné par Duchemin / PÂRIS ET ŒNONE.”; (right) "Gravé par J.F. Ribault".

The British Museum offers the following description of this print:

“Oenone and Paris; the naked nymph reclining next to Paris who holds a flute, a statue of a river-god in right background; after Adriaen van der Werff”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3334559&partId=1&searchText=Ribault+Paris+et+Oenone&page=1)

See also the description offered by The Harvard Museum:

https://www.harvardartmuseums.org/collections/object/241183?position=3

Condition: richly inked, near faultless impression with generous margins backed by a support sheet of fine archival/millennium quality washi paper. There is a repaired patch in the margin at upper right otherwise the sheet is in an excellent condition (i.e. there are no holes, abrasions, creases, stains or foxing).

I am selling this superbly executed engraving showing the mountain nymph, Oenone, skilfully seducing the shepherd, Paris—who I should add is destined to become her husband and (shockingly) destined to leave her for the more beautiful Helen of Troy—for the total cost of AU$198 (currently US$137.74/EUR121.48/GBP107.96) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this ravishingly beautiful engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold