Théophile Chauvel, “Le Bateau de Pêche”, 1879, after Troyon (2nd copy)

Théophile Chauvel (aka Théophile Narcisse Chauvel) (1831–1909)

“Le Bateau de Pêche” (The Fishing Boat), 1879, after a painting by Constant Troyon (1810–1865) formerly in the collection of John W Wilson (as shown in the plate), published in “L'Art” (1880) and printed by François Liénard (fl.c.1860s–1880s). The plate was reissued in the compilation catalogue of around sixty prints, "Tableaux de premier ordre anciens et modernes composant la galerie de M. John W. Wilson", executed by Chauvel and other artists, as reproductive prints showcasing Wilson’s collection of paintings for the auction sale of his collection in 1881 (see the British Museum’s curator comment about this publication: https://www.britishmuseum.org/collection/object/P_1877-1013-1767).

Etching on cream laid paper with full margins as published.

Size: (sheet) 43.1 x 30.2cm; (plate) 34.5 x 22.8cm; (image borderline) 31.9 x 18.7cm

Lettered on plate below the image borderline: (left) “C. Troyon. pinx./ L’Art.”; (centre) “LE BATEAU DE PÊCHE/ (Collection de Mr. John W. Wilson)”; (right) “Th.Chauvel. sc.”

IFF 62 (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: CABANE–CICÉRI”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 4, p. 424, cat. no. 62 [see https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f446 ]).

See the description of this print at the British Museum: https://www.britishmuseum.org/collection/object/P_1881-0813-59.

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

I am selling this graphically strong image of a sailboat set against moonlight (“contre-jour”), for AU $222 in total (currently US $136.32/ EUR 133.43/ GBP 112.31 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $222) as this is my currency.

If you are interested in purchasing this very poetic etching that I suspect Albert Pinkham Ryder would have loved if he had seen it, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second copy of this print that I have listed. The previous copy has been sold.

Charles Deblois, “The Retreat from Russia”, 1868, after John Gilbert

Charles Deblois (aka Charles Alphonse Deblois) (1822–c.1883)

“The Retreat from Russia” (aka “La Retraite de Russie”; “Russia’s Retreat”; “A Troop of Dragoons in a Storm”), 1868, after a painting by John Gilbert (aka Sir John Gilbert) (1817–1897), printed by Auguste Delâtre (1822–1907), published (based on advice from the seller from whom I purchased this print) in the art periodical, “L'Artiste”.

Note that George Pike Nicholls (fl.1841-1887) executed the wood-engraving, “A Troop of Dragoons in a Storm”, that is also after Gilbert’s painting; see https://www.britishmuseum.org/collection/object/P_1895-0617-769 (BM inv. 1895,0617.769).

Etching on wove paper trimmed with a small margin around the plate-mark and backed with a support sheet providing wide margins.

Size: (sheet) 17.6 x 22.3cm; (plate) 15.2 x 20.1cm; (image borderline) 11.2 x 16.1cm.

Inscribed in plate below the image borderline: (left) “John Gilbert juin 1868”; (right) Ch Deblois. [f?]ils s.c./ Imp Dela[t]re”.

Not described by IFF or Beraldi, nevertheless, the Museum of Art and History offers a description of this print: https://www.mahmah.ch/collection/oeuvres/la-retraite-de-la-russie/e-2020-1244.

Condition: a richly inked and well-printed (near faultless) impression with small margins in a near pristine condition with no tears, holes, folds or abrasions and laid onto a support sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this small dark nugget of an etching showing Napoleon’s retreating troops from Moscow in what must have been dreadful blizzard-like conditions during winter, for AU $206 in total (currently US $126.69/ EUR 123.63/ GBP 103.76 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $206) as this is my currency.

If you are interested in visually arresting image, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed a curiously interesting lithograph also depicting Napoleon’s retreat from Moscow, “Les Funérailles”, c.1898, by Adolphe Willette that is currently still available: https://www.printsandprinciples.com/2024/01/adolphe-willettes-lithograph-les.html?m=0.

Harmen Jansz. Muller, “Hirah the Adullamite with the Kid”, c.1566, after Maarten van Heemskerck (2nd copy)

Harmen Jansz. Muller (1540–1617)

“Hirah the Adullamite with the Kid” (aka “Hirah the Adullamite with the Kid, inquiring for the Harlot”; “Judah Orders Hira to Search for the Prostitute”; “Juda geeft Chira de opdracht om de prostituee te zoeken”), c.1566, after a drawing by Maarten van Heemskerck (aka Maarten van Veen; Martin Heemskerk) (1498–1574), plate 2 from the series of 4 engravings, “History of Judah and Tamar”, published by Claes Jansz. Visscher (II) (1586–1652) in Amsterdam between 1643 and 1646.

Engraving on fine laid paper with handwritten notes in brown ink by an old hand in the margin, backed with a support sheet.

Size: (sheet) 26.9 x 31.5cm; (plate) 21.1 x 26.5cm; (image borderline) 19.6 x 25.9cm.

Inscribed in plate within the image borderline: (lower right corner) “2/ MH [interlaced] eemskerck Inuen/ HMVL [interlaced] fe,”.

Lettered in plate below the image borderline: “HAVD MORA PROMISSIS STAT IVDAS MITTIT ET HOEDVM AT SCORTVM HOC HÆSISSE LOCO CVNCTI ORE NEGABA[N]T/ Gene. 38.20.”

State ii (of ii) with the addition of the plate number “2”.

New Hollstein (Muller) 6 (Ger Luijten & Christiaan Schuckman [eds.] 1999, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: The Muller Dynasty”, vol. 1, Rotterdam, Rijksprentenkabinet, p. 87, cat. no. 6); New Hollstein (Heemskerck) 40 (Ilja Veldman [comp.] 1993–94, “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Maarten van Heemskerck”, vol. 1, Roosendaal, Koninklijke Van Poll, p. 51, cat. no. 40).

The Rijksmuseum offers the following description of this print (state ii): (transl.) “Judah orders his friend Hira to give a billy goat as a payment to the prostitute while pointing out the departing Tamar. Hira holds the goat under his arm and will search for the prostitute, but not find her. At the bottom of the margin a reference in Latin to the Bible text in Gen. 38:20” (http://hdl.handle.net/10934/RM0001.COLLECT.552731).

See also the description of this print at the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/632500.

Condition: a well-printed impression showing no sign of wear to the printing plate with wide margins and handwritten notes by an old hand in brown ink in the margin. Beyond a replenished spot in the upper margin at right, the sheet is in a good condition with no and is laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this exceedingly rare print executed by the father of Jan Harmensz. Muller for AU $323 in total (currently US $202.34/ EUR 197.44/ GBP 165.71 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $323) as this is my currency.

If you are interested in purchasing this fascinating scene of a father-in-law (the figure pointing) who slept with his daughter-in-law (the young woman with a staff at left) after mistaking her for a prostitute—perfectly understandable as mistakes happen!—directing his friend to deliver a billy goat as payment for her services with the hope of having the security on her services returned (viz. his seal, its cord, and staff), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy. (My apologies if my account of the Biblical story of Judah and Tamar [Genesis 38] has too many inaccuracies.)

Note that this is the second impression of this print that I have listed. The previous copy has been sold.

This print has been sold

Maxime Lalanne, “Weymouth Bay”, 1873, after Constable

Maxime Lalanne (aka François Antoine Maxime Lalanne) (1827–1886)

“Weymouth Bay” (aka “Baie de Weymouth”; “Plage de Weymouth”), 1873, after John Constable’s (1776–1837) painting in the Musee du Louvre, Paris (see https://digital.nga.gov.au/archive/exhibition/constable/detail.cfm%3Firn=145199&bioartistirn=18283&mystartrow=25&realstartrow=25&mnuid=2.html). Lalanne’s etching was exhibited in the Salon of 1874 (no. 3489) and published in London by Seeley & Co., and edited by Philip Gilbert Hamerton (1834–1894) as an insert between pages 160 and 161 to the article, “Examples of Modern Etching” in the art periodical “The Portfolio”, 1873, vol. 4.

Interestingly, there seems to be a controversy about the title of the Louvre’s painting that this etching translates into line, nevertheless the Louvre’s painting seems clearly to be the one that Hamerton (1873) describes on page 161, as “Osmington Shore, near Weymouth”.

Note that Lalanne made another etching of Constable’s painting (see https://www.britishmuseum.org/collection/object/P_1905-1021-15) but the present etching is the one published in “The Portfolio” in 1873.

Etching on laid paper, trimmed with a narrow margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 12.9 x 17.5cm; (image borderline) 12.7 x 17.4cm.

Inscribed in plate: (lower right corner) “Lalanne sc./ d'ap Constable”.

State iv (of iv) as published in “The Portfolio” (1873).

Villet 95 (Jeffrey M. Villet 2010, “The Complete Prints of Maxime Lalanne”, Washington, D.C., art@mone fine prints, n. p., cat. no. 95 IV).

The British Museum offers the following description of this print: “View of Weymouth Bay, Dorset, beneath a stormy sky, with at centre towards foreground two figures at edge of water towards foreground; after Constable (Reynolds 19.9)” (https://www.britishmuseum.org/collection/object/P_1878-0511-90).

Condition: a richly inked and well-printed (near faultless) impression trimmed close to the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. Note that there are a few minor marks on the washi paper support.

I am selling this marvellous etching featuring light piercing through in an otherwise solid blanket of storm clouds passing over Weymouth Bay on the south coast of England, in Dorset, for AU $192 in total (currently US $118.99/ EUR 115.60/ GBP 96.80 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $192) as this is my currency.

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

Auguste Lepère, “La France”, 1912, after Rodin

Auguste Lepère (aka Auguste Louis Lepère) (1849–1918)

“La France”, 1912, wood-engraving  printed from two plates in an edition of 130 impressions (this is copy number 104) after Auguste Rodin’s (aka Pierre Auguste Rodin) (1840–1917) high-relief monument to the explorer, Samuel Champlain (1574–1635)—interestingly, the sculpture was modelled on the superb sculptress and Rodin’s muse, Camille Claudel (1864–1943)—on the exterior wall of the lighthouse at Crown Point (aka Chimney Point), New York (see Janet Biehl [2023], “The Rodin Sculpture at Crown Point” [https://www.aflcr.org/the-rodin-sculpture-at-crown-point/]), pencil signed at lower-right and numbered (104/130) at lower-left.

Wood engraving printed in pale tan (olive-brown) and dark tan on tissue-thin China paper (papier serpente) and backed with a support sheet

Size: (sheet) 30.6 x 23cm; (image borderline) 15.1 x 11.5cm.

Lettered in plate: (left) “A^.Lepère/ d’après”; (lower left of centre) “A/ RODIN”; (upper centre) “LEXX JVILLET MDCIX LE FRANCAIS S. CHAMPLAIN/ A DECOVVERT LE LAC OVI PORTE SON NOM/ LE III MAI MIMXII/ LES ETATS DE/ NEW YORK ET/ DEVERMONT/ ELEVANT CE/ MONVMENT/ VNE DE-/ LEGATION FRANCAISE/ A SCELLE/ CETTEFIGVRE/ DE LA/ FRANCE”.

Pencil inscribed below the image borderline: (left) “104/130”; (right) [signature of the artist; compare with: https://www.invaluable.com/auction-lot/auguste-lepere-1849-1918-signed-wood-engraving-%20%20%20%201317-c-b8a499e91c].

Texier-Bernier 526 (GM Texier-Bernier 1931, “Auguste Lepere: Peintre et Graveur”, Paris, cat. no. 526).

See also the description of this print offered by the Art Institute of Chicago: https://www.artic.edu/artworks/33307/france.

Condition: a strong and near faultless impression with wide margins laid upon an archival support of millennium quality washi paper. Beyond a small tear to the lower right corner of the margin, the sheet is in an excellent condition with no holes, folds, abrasions or stains.

I am selling this remarkable pencil signed wood-engraving printed from two printing blocks after an almost forgotten sculpture by Rodin attached to a former lighthouse in New York—surprisingly, the sculpture was so forgotten that as late as 2006 even “the Rodin Museum in Paris had been unaware of it” (see Janet Biehl [2023], op. cit.)—for AU $279 in total (currently US $172.88/ EUR 167.74/ GBP 140.69 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU $279) as this is my currency.

If you are interested in purchasing this very beautiful wood-engraving that I understand (and may be very wrong) showing the personification of France as a liberty leading woman, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.