Eugène Burnand, “The Last Judgement”, c.1908

Eugène Burnand (1850–1921)

“Le Jugement Dernier” (The Last Judgement), c.1908, artist’s proof with a pencil-signed dedication to the painter Lucien Monrod (aka Lucien Hector Monrod) (1867–1957), before lettering for publication in Paris in 1908 by Berger-Levraultas as Plate X facing page 140, from the series “Les Paraboles” (The Parables) illustrating a verse from the “Parable of the Sheep and the Goats”: “J'étais en prison, et vous ne m'avez pas visité” (I was in prison, and you did not visit me [Matthew 25:43]).

Archive.org offers an online view of the publication in which this print features: https://archive.org/details/lesparaboles00burn/page/140/mode/2up.

Lithograph printed in black on heavy wove paper with a pencil-signed inscription at lower right.

Regarding the development of the prints illustrating “Les Paraboles”, Dr Douglas Jenkinson offers the following interesting explanation: “There were 84 pictures in all and he used a unique personal method to produce them. The foundation or base consisted of a Conté crayon drawing with strongly applied charcoal. He then went over this framework with a colour wash, with Indian ink, with gouache and then heightened the whole with red chalk and some added tones of red or yellow coloured pencils. Only a small number were printed in colour” (https://www.eugene-burnand.com/Parables/Parables.htm).

For a marvellous book on Burnand’s exquisite portrait drawings and other works, see Shirley Darlington 2016, “Eugene Burnand: In Search of the Swiss Artist {1850–1921)”, London Unicorn Press (ISBN 9781910500507).

Size: (sheet) 35.9 x 24.1 cm; (image borderline) 29.7 x 19.3 cm.

Inscribed in pencil with a dedication and signed by the artist: (lower right) “A mon cher confrère Lucien Monod/ en reconnaissant souvenir/ Eug. Burnand” (To my dear colleague Lucien Monod/ in grateful memory/ Eug. Burnand).

Proof state before lettering for publication.

Condition: a strong and well-printed impression. There is significant pale foxing, otherwise the sheet is in a good condition with no tears or holes.

I am selling this exceptionally rare lithograph with a pencil inscription by the artist for the total price of AU$257 (approximately US$170.96, EUR 145.72, or GBP 126.02), which includes worldwide express shipping. Please be aware that any applicable import duties are the buyer’s responsibility.

If you are interested in purchasing this outstanding lithograph of the utmost rarity, 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

Eugène Burnand’s drypoint, “Putti Making an Etching”, 1878

Eugène Burnand (1850–1921)

“Putti Making an Etching”, 1878, frontispiece to “L'Illustration Nouvelle par une Societe de Peintres-Graveurs a L'eau-Forte” of 1879 (Part Two: Eleventh Year, Eleventh Volume), published by Alfred Cadart (aka A. Veuve Cadart; Vve A. Cadart) (1828–1875) (by descent of the firm to Cadart’s widow) in Paris (see BnF cat. ref.: https://catalogue.bnf.fr/ark:/12148/cb426741474).

Drypoint with pale plate tone on cream laid paper.

Size: (sheet) 31 x 22.8 cm; (plate) 27.7 x 19.7 cm; (image borderline) 25.6 x 17.8 cm.

Inscribed on plate within the image borderline: (upper left) “I'Illustration/ Nouvelle./ 11 eme ANNÉE/ 1879.”; (lower left) “EUG. BURNAND. 78- inv x sc.”

Lettered on plate below the image borderline: (centre) “Vve A. Cadart, Edit. Imp. 56, Bard Haussmann, Paris.”

The Rijksmuseum offers a description (no ill.) of this print:

http://hdl.handle.net/10934/RM0001.collect.89541.

Condition: Richly inked and well-printed impression in excellent condition (i.e. there are no tears, folds, abrasions, stains or foxing). There are remnants of mounting verso.

I am selling this historically significant print exemplifying the re-emergence of etching as the purportedly preferred technique of illustration in the second half of the 19^th century during what is now termed the etching revival period showing putti acting out the various stages of executing an etching (viz. rolling the etching ground upon the plate; smoking the plate, inscribing the design; etching the plate in a bath of acid; printing the plate in a press; examining the printed outcome) for the total cost of AU$262 (currently US$168.28/EUR153.22/GBP134.69 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 amazing drypoint that is seldom seen on the art market and surprisingly difficult to find in museum collections, 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