Samuel Cousins, “Pomona”, 1882, after John Everett Millais

Samuel Cousins (1801–1887)

“Pomona”, 1882, after the painting of the same name by John Everett Millais (1829–1896) (see https://www.wikiart.org/en/john-everett-millais/pomona)

Technical Details & Condition:

This print employs mixed intaglio techniques—mezzotint, etching, engraving, aquatint (?) and stipple engraving—on cream chine collé on wove paper. It is hand-signed in pencil by both John Everett Millais, the artist of the original painting, and Samuel Cousins, the printmaker. Additionally, it bears the dry stamp of the Printsellers’ Association at the lower left. 

Published in London by Arthur Tooth (active 1868–1976) and The Fine Art Society (est. 1876), this impression is a first-state proof, showing the publication details inscribed in tiny lettering above the image border, prior to the second-state lettering—see a previously listed second-state impression that has now sold: https://www.printsandprinciples.com/2017/03/samuel-cousins-etching-with-other.html. 

This is a strong, crisp, and well-printed impression. The sheet has been professionally backed with archival-quality washi paper to support a small, closed tear in the lower left margin. Aside from the tear and some minor marks, the sheet is in good condition with no holes, folds, or significant stains. 

Dimensions:

• Sheet: 55 x 41
• Plate: 54.6 x [51.5?] cm
• Chine collé: 52.6 x 38.8 cm
• Image borderline: 45.5 x 33.2 cm

In-Plate Lettering:

• Above the image borderline at centre: “London, Published Oct, 2^nd, 1882 by Arthur Tooth & Sons. 5 & 6, Haymarket. S. W. & The Fine Art Society New Bond Street, Copyright Registered Entered according to Act of Congress in the Year 1882 by Mess^rs Knoedler & C^o. in the Office of the Librarian of Congress at Washington.”

References:

• Whitman 220 (Alfred Whitman 1904, “Nineteenth Century Mezzotiners: Samuel Cousins”, London, George Bell & Sons)
• British Museum: https://www.britishmuseum.org/collection/object/P_1952-0211-5

Price & Shipping:
AU$688 (approximately US$484.64 / €420.62 / £363.60), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare, pencil-signed masterwork of nineteenth-century printmaking—a first-state proof of exceptional rarity—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth, protected transaction.

Samuel Cousins’ etching (with other intaglio processes), “Pomona”, 1882, after John Everett Millais

Hand-signed by John Everett Millais (1829–96) and Samuel Cousins (1801–87)

_______

Samuel Cousins (1801–87)

“Pomona”, 1882, after the painting of the same name by John Everett Millais (1829–96) (see https://www.wikiart.org/en/john-everett-millais/pomona), published by Arthur Tooth (fl.1868–1976) and The Fine Art Society (est. 1876)

Mixed intaglio methods (viz. mezzotint, etching, engraving, aquatint [?] and stipple engraving) on cream chine collé on wove paper with wide margins, hand-signed in pencil by Millais and Cousins and dry stamped by the Printsellers’ Association.

Size: (sheet) 65 x 51.5 cm; (plate) 54.3 x 40.3 cm; (chine collé) 52.5 x 38.2 cm; (image borderline) 45.3 x 33 cm

State: proof impression of state ii (of ii?) (Note: the first state has the following line of text above the image borderline that has been partly erased in this impression: "London, Published Oct. 2nd. 1882 by Arthur Tooth & Sons 5 & 6, Haymarket S.W. & The Fine Art Society, New Bond Street, Copyright Registered, Entered according to Act of Congress in the Year 1882 by Messrs. Knoedler & Co. in the Office of the Librarian of Congress at Washington.")

Signed below the image by both the painter and the engraver; lettered below the image "Painted by J.E. Millais, R.A. / London, Published Oct. 2nd. 1882 by Arthur Tooth & Sons 5 & 6, Haymarket S.W. & The Fine Art Society, New Bond Street, Copyright Registered, Entered according to Act of Congress in the Year 1882 by Messrs. Knoedler & Co. in the Office of the Librarian of Congress at Washington. / Engraved by S. Cousins, R.A."; with a Printsellers' Association stamp (Lugt 2050), with the code "OIW".

Whitman 1904 220.ii (Alfred Whitman 1904, “Nineteenth Century Mezzotiners: Samuel Cousins”, London, George Bell & Sons)

The British Museum offers the following description of this print:

“A little girl standing in profile beside an apple barrow, holding an apple in one hand, gathering her apron in the other, turning her head to look slightly towards the viewer, in an orchard; after Millais; artist's proof. 1882 Mixed method on chine collé” (http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1608612&partId=1&searchText=Samuel+Cousins+POMONA&page=1)

The curator of the BM offers the following reference: “Regarding the publication by Arthur Tooth of Samuel Cousin's Pomona see The Academy 12 August 1882, p.125 and 23 December 1882, p.458.” (op. cit.)

Condition: proof impression hand signed in pencil by Millais and Cousins with generous margins in excellent condition (i.e. there are no tears, abrasions, folds, stains or foxing evident on the front but there are marks/spots/age-toning from the storage of the print evident on the back of the sheet). The top edge of the print shows signs of where the print was once mounted.

I am selling this pencil signed print of the utmost rarity for the total cost of AU$648 (currently US$488.62/EUR459.17/GBP403.32 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this masterpiece of nineteenth century printmaking, 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

This is a very important print that is hand-signed by one of the luminaries of the Pre-Raphaelite movement— John Everett Millais—and also signed by one of the leading reproductive engravers of the Victorian era— Samuel Cousins. Not only does this very large print exemplify the highest order of discipline and technical skills that only the top nineteenth century printmakers were able to attain, but it also showcases an amazing selection of successfully employed different intaglio processes (viz. mezzotint, etching, engraving and stipple engraving, aquatint [?] and there are very probably many other processes that I have overlooked).