Figures & Fauna

This gallery of prints focuses on images of people and animals that have not been discussed in the blog posts. To revert back to the blog, please click “home” shown above or at the bottom of this listing of prints.
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Daniel Urrabieta y Vierge (1851–1904)
Une Fausse Note [one false music note], 1890
Etching with roulette and aquatint on cream wove paper
(sheet) 31.1 x 22.8 cm; (plate) 24.7 x 19.8 cm; (image) 22.1 x 18 cm
Inscribed (above image at upper-left) “L’Eau-forte”; (above image at upper-right) “Pl. 40”; (below image at lower-left) "Daniel Vierge del et sc."; (below image at centre) “Une fausse note”; (below image at lower-right) “Imprimé par L’Atelier d’Art”; and signed (within the image at lower-right) "VIERGE”

Condition: Near pristine condition (i.e. there are no stains, tears, folds or foxing). There is are pencil notes from a previous collector at the lower edge of the sheet. I am selling this visually expressive etching of a musical misadventure for a total cost of $78 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.  









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Jean-Honoré Fragonard (1732–1806) after Giovanni Lanfranco (1582–1647)
Saint Mark, c. 1761–65
Etching on laid paper
(sheet) 21 x 12.9 cm; (plate) 11.8 x 9.2 cm; (image) 11.1 x 8 cm
Inscribed (lower-left within the image): 'lanfranc aux s.ts Apôtres à Naples' and at right: 'frago.'
State ii (of ii)
See description of this print at Metropolitan Museum of Art online (http://www.metmuseum.org/collection/the-collection-online/search/399388) and Philadelphia Museum of Art (http://www.philamuseum.org/collections/permanent/3006.html?mulR=365003066%7C4)
Baudicour 167.19; Widenstein 141
Condition: Excellent, rare, wide-margined impression on laid paper without watermark. The sheet is in superb condition (for its age) but with two pinholes near the top edge of the sheet and with small remnants of mounting tape at the corners (verso). I am selling this very rare etching with wide margins for a total cost of $342 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.  


This print has been sold






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Jean-Honoré Fragonard (1732–1806) after Giovanni Lanfranco (1582–1647)
Saint Luke, 1763/64 (Plate 4)
Etching on laid paper
(sheet) 12.1 x 9.2 cm
Inscribed at lower left, below image, "Lanfranc a naple aux St. Apotre," and at lower right, just inside the border line, the traces of a largely burnished out signature, "frago."
State i (of ii)
See description of this print at Metropolitan Museum of Art
Wildenstein 17, I; Baud. 20

Condition: Marvellous early impression with margins around the borderline (i.e. within or on the platemark). Minimally shop-soiled, slightly browned, with a diagonal crease, a pinhole (upper-centre edge) and traces of mounting (verso). I am selling this extremely rare etching for a total cost of $332 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.  








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Laurent Fauchier (1643–72) after Guido Reni (1575–1642)
Hercules Slaying the Nine-Headed Hydra, c. 1660
Etching laid paper with watermark
Inscribed (upper centre edge) “Idem Hercvles Hydram Debellans”; (upper right corner) “34”; (lower centre edge) “Ex Pictura Moderna Regia Galloruni”; (fecit note within the image lower-right) “Faucher f.”
(sheet) 32.3 x 22.3 cm
Pepper 68­­­–71 (Reni)

Condition: superb rich impression with fine margin around the platemark. Minimally shop-soiled and foxed, slightly browned, with minimal worm holes, kinks, slight printer’s creases, verso traces of mounting. I am selling this rare etching for a total cost of $186 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.  











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Émile Lequex (1871–1935) after Eugène Carrière (1849–1906)
Mère et Enfant, 1907
Printed by Chardon-Wittmann and published in Revue de LÁrt ancient et Moderne
Etching with plate tone on fine laid paper
(sheet) 29.2 x 22 cm; (plate) 25.8 x 19.8 cm; (image) 21.1x 16.7 cm
See description of this pint at Idbury Prints: http://idburyprints.com/index.php?page=artist_promo_view.php&pid=6162&page1=&aid=821&ar_name= (viewed 2 August 2015)

Condition: technically brilliant impression (in terms of the delicate manipulation of plate tone) with two tiny marks at the lower edge of the sheet otherwise in near pristine condition. I am selling this beautifully delicate etching for a total cost of $83 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.













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Jules Laurens (1825–1901) after Narcisse Diaz de la Pena (1807–76),
Le Moine [The Monk], mid-1800s
Plate 11 from Galerie Bruyas, published by H Peyrol, Paris
Lithograph in two colours (cream and black) on heavy wove paper
(sheet) 49 x 39 cm; (image) 27 x 17.2 cm
This lithograph is based on the drawing by Diaz de la Pena. The subject may have its origin in either Matthew G Lewis’ (1796) famous gothic novel, The Monk, featuring Father Ambrosio and Antonia or from Victor Hugo's (1831) novel The Hunchback of Notre-Dame, featuring the Archdeacon of Notre Dame, Claude Frollo and Esmeralda.
According footnote 6 in the annotation to Van Gogh’s letter to his brother Theo (Paris, 2 Sept. 1875) (see http://vangoghletters.org/vg/letters/let042/letter.html [viewed 11 July 2015]):
The lithograph Le moine (The monk) by Jules Joseph Augustin Laurens was made after Narcisse Virgile Diaz’s sketch The monk, also called Claude Frollo and Esmeralda (Montpellier, Musée Fabre). The depiction is based on Victor Hugo, Notre-Dame de Paris, book 8, chapter 4 ‘Lasciate ogni speranza’. Laurens’s lithograph is part of the collection ‘Galerie Bruyas’ (no. 11). (Paris, BNF, Cabinet des Estampes). Ill. 1733 [1733]. Cf. Marilyn Ruth Brown, The image of the ‘bohémien’ from Diaz to Manet and Van Gogh. Diss. Yale University 1978, pp. 280-281.

Condition: strong impression in excellent condition (i.e. no folds, foxing, stains or tears). I am selling this original lithograph for a total cost of $116 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.   



















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Honoré Daumier (1808–1879)
Page 99 from Actualités, published in le Charivari, 30 April, 1870
"- M'sieu l'maire quoi donc que c'est qu'un bibiscite?"
"- C'est un mot latin qui veut dire oui."
Original lithograph printed on wove newprint with text verso (as published)
(sheet) 42.2 x 29 cm; (image) 24.4 x 20.7 cm
Delteil No. 3780

Condition: marvellous crisp impression of the whole page with minor signs of aging, handling and marks. As is the case with all original pages from the newspaper, the text shows through because the paper is thin. With this example, however, the evidence of text on the back is minimal. I am selling this original lithograph by Daumier for a total cost of $64 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.  













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Copy in reverse after the etching by Giovanni Benedetto Castiglione (1609–64), Bearded Old Man Wearing a Turban Ornamented with a Small Plume (Bartsch 46:40), from Small Studies of Heads in Oriental Headdress. (see The British Museum for description of Castiglione’s print: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1447494&partId=1&searchText=Castiglione&page=2 [viewed 22 June 2015])
Etching on wove paper trimmed within the plate-mark
(sheet) 9.3 x 7.8 cm

Condition: strong impression (copy in reverse of Castiglione’s portrait), trimmed within the plate-mark. There is a tiny patch of glued paper in the shadow area of the turban and the back of the sheet shows staining from previous mounting. This staining is not visible recto and apart from this issue the print is in good condition. I am selling this copy in reverse for a total cost of $82 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.













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13 engravings after Salvator Rosa (1615–1673) in reverse by an unidentified artist (see FAMSF: https://art.famsf.org/anonymous/man-staff-seen-behind-copy-reverse-after-etching-salvator-rosa-series-figurine-19633037435 [viewed 17 May 2015])
Plates: 1d; 2d; 2b; 3e; 4d; 5b; 6b; 6d; 7b; 7d; 9d; 10b; 12d (c. 1656–57)
from the series after Salvator Rosa: Figurine
I propose that these prints were engraved copies of Rosa’s Figurine series executed by Frederick de Wit (active c. mid-seventeenth century) as they are engravings and are inscribed variously with letters on the lower-right (see Richard Wallace 1979, The Etchings of Salvator Rosa, Princeton University Press, Princeton, p. 330 cat. 131).
Engravings on fine laid paper after etchings and drypoints by Salvator Rosa
(sheets varying slightly in size) 18 x 12.5 cm; (plate) 15.5 x 10 cm
Inscribed with the plate number at lower-left corner and with the folio letter at lower-right corner. Plate 1d inscribed within the plate image “S. Rosa Inv.”
Wallace 131

Condition: well-inked crisp impressions with small margins (approx. 1 cm). Some of the prints have light staining and there are occasional minor spots and edge tears. I am selling these thirteen engravings for a total cost of $143 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.








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Bernard-Romain Julien (1802–71)
Ecstasy of St Francis of Assisi, 19th century
Lithograph on heavy wove paper
51.9 x 41.7 cm
Condition: strong impression but with tears to edges and lower-left corner (repaired verso with archival tape), minor marks and general dustiness. I am selling this large print for a total cost of $104 AUD including postage and handling to anywhere in the world. As this is a large print it will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.

This print has been sold






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Bernard-Romain Julien (1802–71)
Cours Elementaire, Plate Number 50
Lithograph on wove paper
36.1 x 27.5 cm

Condition: good condition but with light handling marks, age toning to edges and a few scattered spots.
I am selling this and the three other Julien lithographs shown below (i.e. Number 50, Number 51, Number 128 and Number 142) for the total amount of $225 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button shown below.

These prints have been sold




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Bernard-Romain Julien (1802–71)
Cours Elementaire, Plate Number 142
Lithograph on wove paper
35.9 x 27.7 cm
Condition: good condition but with light handling marks, age toning to edges, a few scattered spots and two closed tears at the top edge.
I am selling this and the three other Julien lithographs shown above and below (i.e. Number 50, Number 51, Number 128 and Number 142) for the total amount of $225 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button shown above (see Julien’s lithograph Number 50).





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Bernard-Romain Julien (1802–71)
Cours Elementaire, Plate Number 142
Lithograph on wove paper
34.8 x 26.3 cm
Condition: good condition but with light handling marks, age toning to edges, a few scattered spots and a closed tear (8mm) at the top edge.

I am selling this and the three other Julien lithographs shown above and below (i.e. Number 50, Number 51, Number 128 and Number 142) for the total amount of $225 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button shown above (see Julien’s lithograph Number 50).







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Bernard-Romain Julien (1802–71)
Cours Elementaire, Plate Number 128
Lithograph on wove paper
36.1 x 28 cm
Condition: fair/good condition but with handling marks, age toning to edges and scattered spots.

I am selling this and the three other Julien lithographs shown above and below (i.e. Number 50, Number 51, Number 128 and Number 142) for the total amount of $225 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button above (see Julien’s lithograph Number 50).







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Bernard-Romain Julien (1802–71)
Cours Elementaire, Plate Number 45
Lithograph on wove paper
27.6 x 36.1 cm
Condition: good condition but with light handling marks and age toning to edges.

I am selling this and the three other Julien lithographs shown below (i.e. Number 11, Number 34, Number 38 and Number 45) for the total amount of $215 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button shown below.
These prints have been sold


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Bernard-Romain Julien (1802–71)
Cours Elementaire, Plate Number 34
Lithograph on wove paper
27.3 x 35.8 cm
Condition: good condition but with a 1.5 cm (crayon?) mark at the top edge, handling marks and age toning to edges.
I am selling this and the three other Julien lithographs shown above and below (i.e. Number 11, Number 34, Number 38 and Number 45) for the total amount of $215 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button shown above (see Julien’s lithograph Number 45).




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Bernard-Romain Julien (1802–71)
Cours Elementaire, Plate Number 38
Lithograph on wove paper
26.3 x 35.2 cm
Condition: a few dot stains, handling marks and age toning to edges.

I am selling this and the three other Julien lithographs shown above and below (i.e. Number 11, Number 34, Number 38 and Number 45) for the total amount of $215 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button shown above (see Julien’s lithograph Number 45).




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Bernard-Romain Julien (1802–71)
Etudes D’Après L’Antique, Plate Number 11
Lithograph on wove paper
(sheet) 43.4 x 31.2 cm (image) 39.4 x 27.3 cm
Condition:  fair condition. The print is dusty with a 2 cm closed tear on the right edge, a 5 cm charcoal/crayon line at the lower edge, and handling marks.
I am selling this and the three other Julien lithographs shown above (i.e. Number 11, Number 34, Number 38 and Number 45) for the total amount of $215 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you are interested or click the “Buy Now” button shown above (see Julien’s lithograph Number 45).

  

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Käthe Kollwitz (1867–1945)
Sturm [Riot], 1897
Plate 5 of the series, The Revolt of the Weavers
This print is from the von der Becke (Munich) edition published with the authenticating two-line drystamp “A.V. D. BECKE / MUENCHEN 22” on the lower-right corner and the original wide margins.
Etching on thick cream wove paper
(sheet) 37.5 x 50 cm; (plate, including the wide bevel) 24.2 x 30 cm; 
(image) 23 x 29.6 cm
Klipstein 33 Vb
(see also a description of this print at Spaightwood Galleries: http://www.spaightwoodgalleries.com/Pages/Kollwitz2_Weavers.html [viewed 16 October 2014])
The British Museum offers the following curator’s comment regarding this print:
The series is related to Gerhart Hauptmann's controversial play 'Die Weber', published in 1892, which recounts the uprising of impoverished Silesian weavers in 1844. Kollwitz's attendance at the first performance of 'Die Weber' in February 1893 inspired her to create the series, which parallels but does not directly illustrate the play. … It is not easy to determine how the stippled effect seen on this and many following plates was produced. Kollwitz in the course of her career developed perhaps a greater range of tonal devices than had ever before been used by a single printmaker. At this early stage in her career she probably used a simple device like pressing sand or sandpaper into the ground on the plate. Later she pressed the weave of textiles or the textures of heavily grained papers directly into the ground in conjunction with soft-ground etching (cf. 1949,0411.3928). This technique is described by Hermann Struck in his treatise 'Die Kunst des Radierens', Berlin 1908, p. 119. (see http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=684917&partId=1&people=121788&peoA=121788-1-9&page=1
[viewed 16 October 2014]).
Condition: Marvellous impression in near pristine condition (there is a small speck of yellow beneath the publisher’s drystamp). I am selling this etching for a total cost of $538 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button below.









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Käthe Kollwitz (1867–1945)
Sitzender Mannlicher Akt [Seated Male Nude], 1891
This print is from the Von der Becke (Munich) edition published in 1945 with the authenticating two line blindstamp “A.V. D. BECKE / MUENCHEN 22” on the lower-right corner and the original wide margins.
Etching and drypoint on thick cream wove paper
(sheet) 35 x 26 cm; (plate) 15.6 x 12.8 cm
Klipstein IId (of II); Knesebeck 4
(see also a description of this print at Spaightwood Galleries: http://www.spaightwoodgalleries.com/Pages/Kollwitz8_Men.html [viewed 19 August 2014])

Condition: Superb impression in pristine condition. I am selling this etching for a total cost of $367 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button below.












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Agostino Carracci (1557–1602)
The Mystic Marriage of St Catherine (after Paolo Veronese [Paolo Caliari]), 1585
Engraving on fine laid paper with “Crowned Arms” watermark
State III ( of VI) with the signature, but before the editor’s address.
(sheet) 29 x 21 cm
Bartsch 39.97-II (of II); Bartsch Comm. 126 S3 (of 6);
Bohlin 133; Calvesi/Casale 118; Ostrow 34
Diane DeGrazia Bohlin (1979) in Prints and Related Drawings by the Carracci Family: a Catalogue Raisonné notes that the verso of the extant plate has the engraving for Various Studies, Bohlin cat. no. 134. Bohlin also offers the following interesting insights about the engraved marks shown on the verso of the printing plate:
The print, known only in impressions from the Calcografia Nazionale in Rome, is indicative of the artist’s working method; he tried the burin on the plate and made various studies before doing a complete design on the other side of the plate. The practice was common during the period and can also be seen in Annibale’s prints (Annibale, cat. nos 5-10) when the plates are extant. (p. 234)
(See Metropolitan Museum of Art: http://www.metmuseum.org/toah/works-of-art/53.600.2105 and Harvard Art Museums: http://www.harvardartmuseums.org/art/235513 [viewed 18 June 2014])
Condition: Excellent and rare lifetime impression, but with thin areas and surface dustiness, otherwise in good condition. I am selling this engraving for a total cost of $435 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button below.

This print has been sold






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Bernard Picart (1673–1733)
Plate 8 [head of a woman with cloth hat, looking to right, after Raphael], 1725
The British Museum curator offers the following information: “From 'Impostures innocentes, ou Recueil d'estampes d'après divers peintres illustres', a set reproducing works by Raphael, G. Romano, Parmigianino, L. Carracci, G. Reni, S. Rosa, Ch. Le Brun, Rembrandt... The set was published in Amsterdam in 1734 and was probably executed in the last years of Picart's life (plate 42 is dated 1724; plate L is dated 1730).” (see BM number 1868,0612.1397)
Etching in brown ink with plate tone on wove paper watermarked “1822”
(sheet) 42.8 x 26 cm; (plate) 21.9 x 15.1 cm
Inscribed: (upper-right corner) “8”; (lower edge) “par B. Picart en 1725 d'aprés le dessein de Raphaël, qui êst au Cabinet de Mr. Vilenboek” 

Condition: Marvellous impression, generous margins but with scattered light foxing. I am selling this print along with the print shown below (Picart, Plate 7) for a total cost of $110 AUD for both prints including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button below.

These prints have been sold
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Bernard Picart (1673–1733)
Plate 7 [head of a woman with cloth wrapped around her hair, looking downwards, to left, after Raphael], 1725
From the series, Impostures Innocentes

Etching in brown ink with plate tone on wove paper watermarked “1822”

(sheet) 42.8 x 28 cm; (plate) 21.8 x 15 cm
Inscribed: (upper-right corner) “7”; (lower edge) “par B. Picart en 1725 d'aprés le dessein de Raphaël, qui êst au Cabinet de Mr. Vilenboek” 

Condition: As is the case with the print above, this is a strong impression with generous margins but there is scattered light foxing. There is a closed 1.5 cm tear at the lower margin edge but this is far from the image.  I am selling this print along with the print shown above (Picart, Plate 8) for a total cost of $110 AUD for both prints including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button above.






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Giovanni Battista Piranesi (1720-88)
Sigre. Nicola Zabbaglia Ingegnere della Reverenda Fabbrica di S. Pietro [Caricature of Nicola Zabaglia after a Drawing by Pier Leone Ghezzi], 1764
From the series: Raccolta di alcuni disegni del Barbieri da Cento detto il Guercino
(sheet) 31.5 x 21.5 cm; (plate) 29.7 x 19.8 cm
Etching on heavy, laid, 18th century paper with 2.8 cm chainlines and watermarked: "AMG SERARFNI FABRIANO"
The British Museum provides the following description of this print:

Caricature of Nicola Zabbaglia of the Fabbrica of St Peter's in Rome, standing by a table scratching his head, after Ghezzi. 1764
Etching in black and brown. (
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3151667&partId=1&people=163118&peoA=163118-1-7&page=1 [Viewed 14 May 2014])

The curator of the British Museum also offers the following insights about it:
From a series of prints after drawings by Guercino and other masters titled 'Raccolta di alcuni disegni del Barbieri da Cento detto il Guercino' issued in 1764 … and gathered by Piranesi who etched four plates for it, this being one of them. This appears to be the only satirical print ever made by Piranesi.
Another impression in the Gabinetto Comunale in Roma (A. Lo Bianco, 'Pier Leone Ghezzi : Settecento alla moda', Venice, 1999, cat. 64) does not have Piranesi's name on it, which suggests that the plate may have been retouched.

The etching is certainly based on a Ghezzi drawing. The closest yet found is in a bound volume with 72 other drawings in the Museo Civico di Fossombrone (see B. Molajoli, ''Un volume di disegni di Pier Leone Ghezzi'', Rassegna Marchigiana per le arti figurative, le bellezze naturali, la musica, no. XII,1931, pp. 294-302). Both Focillon and Wilton-Ely have failed to realize that sitter in question is Zabbaglia himself. (Ibid.)
Taschen 607; Focillon 986; Wilton-Ely 1018

Condition: Marvellously crisp and rich early impression with light plate tone especially towards the right side of the image. The print has small margins (approximately 1 cm) and is in very good condition for its age (i.e. there are no tears, bumps or significant marks). There is a red collector’s stamp lower-right that I have not identified.
I am selling this print for $217 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy it Now” button below.






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Louis Charles Ruotte (1754–1806)
Study of Ears (after a drawing by Lemire), c. 1800
Roulette stipple engraving on heavy laid paper with 4 cm chainlines
Inscribed: (lower-left) “Déoisée à la Direction Impériale”;
(lower-centre) “IV me. FEUILLE / Etude d'Oreilles Dessinées par Lemire ainé Professeur a l'Ecole / Impériale Polytechnique et Gravées par Ruotte”
(lower-right) “A Paris chez Jean, Rue St. Jean de Beauvais, No. 10.”
(sheet) 34.5 x 50.5 cm; (plate) 25.5 x 38 cm
See another example of Louise Charles Ruotte’s stipple engraving, La Cananéenne, in the British Museum online: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3098664&partId=1&people=109094&peoA=109094-2-60&page=1 and other examples of his prints also at the British Museum: http://www.britishmuseum.org/research/collection_online/search.aspx?people=109094&peoA=109094-2-60 (viewed 14 April 2014)
Regarding the collaboration between Lemire and Ruotte, Darcy Grimaldo Grigsby (2002) in Extremities: Painting Empire in Post-Revolutionary France offers a fascinating insight into the artists’ mindsets and the period in which they worked by focusing on their print, Portrait of a Negress:
As the race’s portrait is progressively assembled, the individual’s particularity is progressively depleted. Her mouth, once négresse, is not her own but theirs; and her nose and her hair and her breast. The very title Portrait of a Negress therefore exercises a form of mastery or subordination: the sitter is robbed, like a slave, of her person’s property as were other vivid and singular black women who, for instance, modelled in the early 1800s at the Ecole Impériale Polytechnique for personifications of the “negro” continent: “Africa. Drawn from nature by Lemire the elder, Professor of Drawing at the Ecole Impériale Polytechique.” (Grigsby 2002, p.60)
Condition: Strong impression in good condition. There is minor chipping, signs of bumps and small tears to the edges. I am selling this print for a total cost of $106 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button below.








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Bernard-Romain Julien (1802–71)
Etude aux deux Crayons No. 132 (after Henri Decaisne [1799–1852])
Inscribed: (lower-left) “Paris (Mon. Aumont) FRANÇOIS DELARUE succ. Rue JJ. Rousseau 10.”; (lower-centre) “Etude au Crayon No. 132. / Lithographiée par Julien d’apres Decaisne.”; (lower-right) “Imp. Teimcreier[ ?]. r de Seine 5y Paris. / London. E. Gambart & Co 25 Berners St. Oxf. St.”
Lithograph in two colours (black and white) on heavy wove grey paper
45 x 31.5 cm
Condition: Strong impression.  There is a 2cm closed tear on the upper-right edge, pin holes and the sheet is grubby; otherwise in good condition without foxing or stains. I am selling this print for a total cost of $138 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button below.








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Auguste Rodin (1840–1917)
Victor Hugo, de Trois Quarts (Victor Hugo, Three-Quarters View), 1885
Drypoint on creme wove paper
state vi (of viii)
22.1 x 15 cm (plate); 25.6 x 20.6 cm (sheet)
Thorson: VIII

Condition: Superb impression but there is a rim of mat burn (not unattractive) from past mounting that frames the image. This is the second impression of Rodin's Victor Hugo that I am offering for sale and the same image in pristine condition is available from the post: “Haptic and Visual” (http://www.printsandprinciples.com/2012/08/rodin-julien-haptic-visual.html). 
I am selling this print for the total amount of $397 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have questions or click the “Buy Now” button below. (Note that the price of this print is substantially lower than the impression shown in “Haptic and Visual” due to the rim of mat burn.)

This print has been sold



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Alphonse Legros (1837–1911)
Extase Poetique [Poetic Ecstasy], 1876
Printed by A. Cadart and published by the Gazette des Beaux-Arts, 1876
Drypoint (etching) on cream laid paper
State VI (of VI?)
Inscribed: (lower left) “A. Legros.sculp.” / “Gazette des Beaux-Arts.”;
(lower centre) “EXTASE POÉTIQUE.”; (lower right) “Imp. Vve A.Cadart, Paris.”
(sheet) 26.5 x 17.2 cm; (plate) 21 x 15.3 cm
Dodgson (Legros) 36 VI/VI (?)

Condition: marvellous crisp and delicate impression without foxing or stains. As shown in the image of the whole sheet below the side margins are not large and there is seems to be a sealed tear (perhaps a crinkle) descending from the top edge of the sheet and ending before the plate mark. I am selling this print for a total cost of $173 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.







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Engraving by Abraham Blooteling (1640–1690) and Pieter Stevens van Gunst (1659–1724) after an illustration by Gerard de Lairesse (1640/41–1711) published in Govard Bidloo's (1649–1713) famous anatomical atlas, Anatomia humani corporis (Utrecht, van Poolsum, 1734 edition) (see video further below)
Table 104: Shank Bones, 1690
copper engraving on cream laid paper with 2.5 cm chain-lines and a watermark featuring a crowned coat of arms
 (sheet) 48.9 x 30.9; (plate) 44 x 27.5 cm
Description of this print from the original text: “the Fore-part of the Right Tibia, or Major Focile of the Leg.”
Arguably, this is one of the finest engravings of bones.

Condition: Sharp impression with a few spots and surface dustiness appropriate to the age of the print otherwise it is in very good condition. I am selling this rare and extraordinarily fine engraving for a total cost of $458 AUD including postage and handling to anywhere in the world. This is a large print and will be shipped in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.








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Félix Bracquemond (1833–1914)
Une Surprise (formerly titled, Canards Supris [Surprised Ducks]), 1882
The plate has been reduced in size for Revue de L’Art Ancient et Moderne and published with the new title Une Surprise
(See Metropolitan Museum of Art for the original plate size before the plate was cut: http://www.metmuseum.org/collections/search-the-collections/365106)
Inscribed  (lower right) “Bracquemond inv et fec.” / “Revue de L’Art ancient et moderne”; (lower centre) “UNE SURPRISE” ; (lower right) “Imp. L. Fort”
engraving and drypoint on cream wove paper
(sheet) 30.3 x 22.7 cm; (plate) 25.7 x 20 cm; (image) 23.2 x 17.7 cm
Béraldi 778 undescribed state, B. N. Inv. 394 xi/xi

Condition: rich and finely inked impression on paper that is in good condition with minor age toning at the peripheral edges. I am selling this print for a total cost of $137 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any questions or click the “Buy Now” button below.








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Bernard-Romain Julien (1802–71)
Etude au Crayon Blanc No 29 (after Cassaert)
Inscribed: (lower left) “Imp. d’Aubert & Cie.”;
(lower centre) “ÉTUDE AU CRAYON BLANC No 29. / Lithographiée par Julien d’apres Cassaert.”;
(lower right) “Chez Aubert & Cie. Pl. de la Bourse”.
Lithograph in two colours (tan and black) on heavy wove paper
48 x 31.5 cm
Condition: strong impression and the paper is in good condition without foxing or stains. There is a 3.5 cm closed (repaired) tear at the top edge of the sheet, a pin hole towards the lower left edge, light surface dustiness  and the upper corners are bumped. I am selling this print for a total cost of $138 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.






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Bernard-Romain Julien (1802–71)
Etude au Crayon Blanc No 23
Inscribed: (lower left) “Chez Aubert & Cie. Pl. de la Bourse.”;
(lower centre) “ÉTUDE AU CRAYON BLANC No 23. / Lithographiée par Julien.”;
(lower right) “ Imp. d’Aubert & Cie.”
Lithograph in two colours (tan and black) on heavy wove paper
48.5 x 31.5 cm
Condition: strong impression and the paper is in good condition. There is a spot towards the upper-left edge, a pin hole towards the lower-left edge, a pencil (?) mark lower-centre edge, light surface dustiness  and the upper corners are bumped. I am selling this print for a total cost of $138 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below.





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