Gallery of prints for sale

Wednesday 24 July 2024

Eugène Bléry, “Bunch of Poppies, Convolvulus, Corncockles and Other Wildflowers”, c1850

Eugène Bléry (aka Alexandre Stanislas Eugène Bléry) (1805–1887)

“Bunch of Poppies, Convolvulus, Corncockles and Other Wildflowers”, c1850, plate 7 from the series, ‘’Suite de 16 planches de fleurs et plantes dans leur habitat’’ (Suite of 16 plates of flowers and plants in their habitat), 1848–50, printed by Lemercier & Cie (fl.1827–99) and published in Paris by Dessaigne (fl.1845–57).

Lithograph printed on heavy wove paper with wide margins as published.

Size: (sheet) 55.5 x 36 cm; (image borderline) 36 x 25.2 cm.

Inscribed in plate/stone within the image borderline: “(left) “EBléry del. Lith”.

Lettered in plate/stone below the image borderline: (centre) “Imp. Lemencier, r. de Seine 57 à Paris./ 7./ Paris. Dessaigne, éditeur 19 Rue de Clery.”

IFF 206 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris); Beraldi not described (Henri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1859-0709-1994.

Condition: a near faultless impression in a near pristine condition with no tears, holes, folds, losses, abrasions, stains, foxing or signs of handling with generously wide margins as published.

I am selling this large and exceptionally beautiful original lithograph in a near pristine condition, designed and executed by a seminal figure of the 19th century etching revival movement and, interestingly, taught the great Charles Méryon, for AU$220 in total (currently US$144,02/EUR132.83/GBP111.74 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$220) as this is my currency.

If you are interested in purchasing this very luminous lithograph exemplifying the drawing skills of one of the great 19th century masters of printmaking, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Philibert Louis Debucourt, “Étude d'après Rembrandt”, 1813, after Rembrandt

Philibert Louis Debucourt (1755–1832)

“Étude d'après Rembrandt” (Study after Rembrandt) (aka “Bust of a Man with Plumed Cap”; “Tronie of a Man with a Feathered Beret [see https://rkd.nl/images/186430]), 1813.

I understand that the collector, writer and historian, Marcel Guérin (aka Marcel Louis Guérin) (1873–1948), was instrumental in the publication of this etching and the original Rembrandt painting that Debucourt translated into this print was held by the Musée-Napoléon (as inscribed in the plate), but it is now in the collection of the Mauritshuis art museum; see: https://www.mauritshuis.nl/en/our-collection/artworks/149-tronie-of-a-man-with-a-feathered-beret/.

Soft-ground etching with dot roulette in the crayon manner (possibly with aquatint as Maurice Fenaille’s 1899 catalogue of Debucourt’s work advises: “Aquatinte à la manière du crayon” [p. 173]), trimmed within the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 28.5 x 20.5 cm.

Lettered in plate below the image borderline: (left) “Dessiné et Gravé oar O,L.Debucourt.”; (centre) “Étude d'après Rembrandt,/ Tireé du Musée-Napoléon”.

State ii (of ii) with the addition of the title and publication details.

Fenaille 315 (Maurice Fenaille 1899, “L'œuvre gravé de P.-L. Debucourt (1755-1832)”, Paris, Morgand [E. Rahir et cie, succ.], p. 173, cat. no. 315 [see: https://archive.org/details/luvregravedeplde00fena/page/172/mode/2up]).

Condition: a very strong (near faultless) impression with no tears, holds, folds, abrasion or significant stains, trimmed within the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this marvellous and eye-catching portrait study after Rembrandt that (to my eyes) is vibrant with life, for AU$227 in total (currently US$149.78/EUR138.09/GBP116.25 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$227) as this is my currency.

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










Tuesday 23 July 2024

Comte de Caylus, “L'Empereur Henry IV aux pieds du Pape Grégoire VII”, 1742, after Federico Zuccaro

Anne Claude Philippe de Tubières, Comte de Caylus (aka Caylus; Anne Claude de Caylus; Anne Claude de Pestels; Anne Claude Philippe de Thubiéres) (1692–1765)

“L'Empereur Henry IV aux pieds du Pape Grégoire VII”, 1742, published in 1763, plate 90 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing now in the Cabinet des Dessins, Louvre (https://collections.louvre.fr/en/ark:/53355/cl020101701 [inv. 4452, recto]) by Federico Zuccaro (aka Federico Zuccari; Federigo Zuccaro; Federico Zucchero) (c1542–1609) that the Curator of the BM advises is “a study for the decoration of the Sala Regia, Palazzi Vaticani, Rome” (see BM inv. no. 1855,0609.170).

Etching and aquatint, imitating the chiaroscuro woodcut by Nicolas Lesueur (aka Nicolas Le Sueur) (1690–1764) (see https://gallica.bnf.fr/ark:/12148/btv1b6956097d.item) printed in two shades of brown (Raw Sienna) ink on heavy wove paper trimmed around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 45.5 x 22.2 cm; (image borderline) 40.8 x 21 cm.

Lettered in plate below the image borderline: (centre) “L'Empereur Henry IV. aux pieds du Pape Gregoire VII./ Dessein de Frederic Zuccari, qui est dans le Cabinet de Mr. Crozat/ Gravé à l’eau forte par Mr. le C… de C.., et en bois sous sa conduit par Nicolas le Sueur.”

IFF 503 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes).

The British Museum offers the following description of this print: “Emperor Henry VI submitting to pope Gregory VII in Canossa; the Emperor, dressed as a penitent, kneels before the pope, who sits on an elevated throne at left; many attendants observe; on the right, a window opening onto a scene showing Gregory III being threatened by soldiers; after a drawing by Federico Zuccaro. 1742” (https://www.britishmuseum.org/collection/object/P_1855-0609-170).

Condition: a strong and well-printed impression. The sheet has no tears, holes, folds, abrasions or significant stains and is trimmed around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this large curiosity of a print employing etching and aquatint designed to look like a chiaroscuro woodcut (i.e., a woodcut involving more than one tone of a colour) for AU$282 in total (currently US$186.96/EUR171.74/GBP144.73 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$282) as this is my currency.

If you are interested in purchasing this lifetime impression (based on the quality of line showing minimal signs of wear to the printing plate) of a technically fascinating print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Sunday 21 July 2024

Charles Jacque’s sheet of two etchings

Charles Jacque (aka Charles Émile Jacque; Charles Jaque) (1813–1894)

Sheet of two etchings:

(upper) “Le Crépuscule” (Twilight), 1841, after Louis Marvy (aka Louis Maruy) (1815–1850);

(lower) “Le Vieux Pauvre” (The Old Poor) (aka “Cul-de-jatte”), 1861.

Soft-ground etchings with drypoint and roulette printed on the same sheet of fine wove paper with the blindstamp of the publisher, L Curmer (fl.1840s–1860s) and address in Paris.

Size: (sheet) 27.5 x 21.6 cm; (borderline of upper image) 4.7 x 13.5 cm; (borderline of lower image) 9.5 x 7 cm.

Lettered in plate above the upper image borderline: (centre) “CH. JACQUE.”

Lettered on plate below the upper image borderline: (left) “Louis Marvy inv.”; (right) “Ch. Jacque sculp.”

Lettered on plate below the lower image borderline: (centre) “Ch. Jacque inv. & sculp./ Le Vieux Pauvre.”

Guiffrey 273 & 275 (undescribed states) (J-J Guiffrey 1866, “L'Oeuvre de Charles Jacque: catalogue de ses eaux-fortes et pointes seches”, Paris, p. 117, cat. nos. 273 & 275); IFF 6 & 7 (Bibliothèque nationale, Département des estampes [verzamelaar] 1930–, “Inventaire du fonds français après 1800”, vol. 11, Paris, Bibliothèque Nationale, p. 99, cat. nos. 6 & 7).

Guiffrey (1866) offers the following descriptions of the upper and lower prints (transl):

(upper) “Along a river that flows to the left passes a road on which travels a heavy wagon. On the right, some trees & a smoking chimney. The sky is almost invaded by the night.”

(lower) “A long-bearded legless beggar, his head covered with a high hat, holds a basket with both hands. His staff is in front of him lying across.” (p. 117).

The British Museum offers the following description of this sheet of etchings: “Two individual scenes, printed on the same sheet; in the upper part, a landscape at dusk, after Marvy; in the lower part, an old beggar, sitting on the ground, holding a basket, a walking stick under his legs” (https://www.britishmuseum.org/collection/object/P_1865-1209-744).

See also the description of the upper print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.128700.

Condition: richly inked and well-printed impressions in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this pair of museum-quality impressions on a full sheet—these prints are usually (shamefully) separated—for AU$314 in total for both prints (currently US$209.40/EUR192.29/GBP162.15 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$314) as this is my currency.

If you are interested in purchasing this rare sheet of darkly glowing etchings, 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 different impressions of the same prints previously (they are now sold).










Saturday 20 July 2024

Joseph Pennell’s etching, “St Paul's Seen from the River”, 1905

Joseph Pennell (1857–1926)

“St Paul's Seen from the River” (aka “St. Paul’s over Temple Stairs”; “Le débarcadère du Temple à Londres”), 1905, a strong impression from the reduced plate published in “La Gazette des Beaux-Arts, vol. 36, 1st July, 1906, between pages 60 and 61 as an illustration to Paul Jamot’s article, “Les Salons de 1906” (pp. 45–69). Archive.org offers and online view of this print in its context in the publication: https://archive.org/details/gazette-des-beaux-arts_1906_36/page/60/mode/2up.

Etching with plate-tone printed in a brown ink on wove paper, trimmed with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 17.9 x 21.4 cm; (plate) 16 x 20.5 cm.

State ii (of ii) with the plate reduced for publication.

Wuerth 380 (Louis A. Wuerth 1988, “Catalogue of the Etchings of Joseph Pennell”, San Francisco, Alan Wofsy Fine Arts, p. 131, cat. no. 380).

The Rijksmuseum offers the following description of this print: (Transl.) “St Paul's seen from the river, with steps leading down to the water” (http://hdl.handle.net/10934/RM0001.COLLECT.214387).

Condition: a richly inked and well-printed impression with vignette-like darkening in the wiping of the plate towards the edges and use of retroussage—a technique employed when wiping the etching plate—to soften/blur the lines. The sheet is trimmed with a small margin around the plate mark and laid onto a support of archival (millennium quality) washi paper providing wide margins. The sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this freely drawn etching showing a view of London at the turn of the twentieth century with St Paul’s Cathedral in the distance and the River Thames in the foreground, for the total cost of AU$252 (currently US$168.47/EUR154.76/GBP130.45 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$252) as this is my currency.

If you are interested in purchasing this wonderfully atmospheric etching by one of the great supporters of James McNeill Whistler, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.