Alphonse Leroy, “Head of a Young Boy”, c1858, after Annibale Carracci

Alphonse Leroy (aka Alphonse Alexandre Leroy) (1820–1902)

“Head of a Young Boy” (“Tête d’enfant”), c1858, after the chalk study “Buste d'enfant, la tête tournée de trois quarts vers la gauche”, 1585/1592, in the collection of the Musée du Louvre (inv. no. 7376 [see https://collections.louvre.fr/ark:/53355/cl020004301]) by Annibale Carracci (aka Annibal Carrache) (1560–1609), plate 15 (XV) from the series of 31 plates commissioned under the patronage of Count Alfred Émilien O'Hara van Nieuwerkerke (1811–1892) after old master drawings transcribed as engravings to be used as drawing lesson studies (“Cours de Dessin”) in “Collection de dessins originaux de grands maîtres gravés en fac-simile par Alphonse Leroy; avec texte explicatif par MM. F. Reiset et F. Villot, conservateurs du Musée Imperial du Louvre”, printed by L Eudes (fl.1876–1888) and published in 1857–1859 (for plates 1–20) and 1860 (for plates 21 to 31) by Dusacq & Cie (fl.1864–1869) in Paris.

Crayon-manner engraving with aquatint and plate tone, printed in a sepia-coloured ink on chine collé (China paper) on light blue wove paper.

Size: (sheet) 50.3 x 36.1 cm; (platemark) 43.5 X 29.8 cm; (chine collé) 41.6 x 28 cm; (image borderline) 33 x 25.2 cm.

Lettered and numbered in plate above the image borderline: (centre) “COURS DE DESSIN/ FAC-SIMILE DES GRANDS MAÎTRES.”; (right) “Pl. XV”.

Lettered in plate below the image borderline: (left) “Dessiné par Annibal Carrache.”; (left of centre) “Carrache (Annibal), Peintre Bolonais, né en 1560, mort en 1618.”; (centre) “Imp^e. Eudes, Paris./ DUSACO & C^ie, 14,Boul^t Poissonnière, Paris”; (right) Gravè par Alphonse Leroy.”

Guermonprez & Lothe 58 (Paul Guermonprez & José Lothe 2007, “Alphonse Leroy Graveur 1820–1902”, Paris, Héritage Architecturel, p. 153, cat. no. 58).

Condition: a well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this large crayon-manner engraving (with aquatint) designed as a drawing lesson study, for AU$245 (currently US$164.92/EUR148.30/GBP125.13 at the time of posting this print) 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$245) as this is my currency.

If you are interested in purchasing this exceptionally beautiful engraving after a study by Annibale Carracci, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Armand Cassagne, “The Seine Valley from the Forest of Fontainebleau”, late 1800s

Armand Cassagne (aka Armand-Théophile Cassagne) (1823–1907) —a French painter with close associations with the Barbizon School, famous as a watercolourist, lithographer and writer (see https://en.wikipedia.org/wiki/Armand_Cassagne).

Note that many moons ago I listed a very strong lithograph by this artist, “Étude de Saule”, that is currently still available: https://www.printsandprinciples.com/2016/05/armand-theophile-cassagne-18231907.html. 

For those wishing to find an ideal book on perspective with superb illustrations, see  Armand Cassagne’s “Traité pratique de perspective appliquée au dessin artistique et industriel” ("Treatise on Perspective, Applied to Artistic and Industrial Design"), 1873 (see: https://archive.org/details/traitpratiquedep00cass/page/n7/mode/2up).

Equally worthwhile is Amand Cassagne’s book on Watercolour, “Traité d'aquarelle : renfermant un grand nombre de types, dessins, sépias et aquarelles, paysages, fleurs et fruits, figures”, 1886 (see: https://archive.org/details/traitedaquarelle00cass_0/page/n5/mode/2up).

For those interested in Cassagne’s approach to watercolour, I understand that he first paints the sky to capture the colours of the time of day he is portraying. He then progresses from the background to the foreground to keep the bias of local colours accurate (see p. 277 in his watercolour treatise [https://archive.org/details/traitedaquarelle00cass_0/page/276/mode/2up]).

“The Seine Valley from the Forest of Fontainebleau”, late 1800s, watercolour on laid paper backed with a support sheet of millennium quality washi paper providing wide margins.

Size: (irregular sheet) 24.5/25.2 x 42 cm.

Signed at lower-right corner: “Armand Cassagne”.

Condition: Beyond a restored cut on the lower edge at left, the sheet is in an excellent condition for its size and age with no holes, folds, abrasions or significant stains.

I am selling this exceptionally beautiful watercolour by a well-documented artist associated with the Barbizon School and an influential writer on the art of watercolour and the principles of perspective, for the total cost of AU$614 (currently US$412.59/EUR372.24/GBP313.89 at the time of 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$614) as this is my currency.

If you are interested in purchasing this large and magnificent watercolour capturing the colours of early morning at the famous Fontainebleau Forest—note the exquisite glint of light reflected from the distant view of the Seine at lower centre—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This watercolour has been sold

Adolphe Martial Potémont, “Soldiers, a Deserter and Ruins”, 1870/1

Adolphe Martial (aka Adolphe Martial Potémont;; Adolphe Théodore Jules Martial Potémont) (1828–1883)

“Soldiers, a Deserter and Ruins” (“Soldaten, ein Deserteur und Ruinen”), 1870/1, plate 3 from the series of 13 plates (including the title plate [see https://www.britishmuseum.org/collection/object/P_1982-U-1254]), “Paris During the Siege” (“Paris Pendant le Siège”), published in 1871 in Paris by Cadart & Luce (fl.1867–1871) in “Paris pendant le siège, Notes et eaux fortes”, in 1871.

Etching with pale plate tone on fine laid paper with wide margins.

Size: (sheet) 47.7 x 30.3 cm; (platemark) 23.8 x 16 cm; (image borderline) 23 x 15.3 cm.

Numbered and inscribed in plate: (upper right corner) “3”; (upper left) “Le siege de Paris”; (upper right) “Notes et eaux-fortes – A. Martial”; (centre) “Nouvelles du 19 Septembre [… dated entries of text from 19^th September when General Ducrot with four divisions tries to stop the Prussian troops to 25^th September when the governor of Paris declares that it is necessary to suppress any manifestation that everyone is in combat or ready to fight] - PARIS PENDANT LE SIÈGE –“.

State i (of i)

Beraldi 11 (Henri Béraldi 1891, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: PILLEMENT– SAINT-ÈVRE”, vol. XI, Paris, Librairie L. Conquet, p. 35, cat. no. 11 [“Paris Pendant le Siège”]).

The British Museum offers the following description of this print: “Plate 3, with etched text giving an account of the siege of Paris from 19 to 24 September 1870, and in the upper part and on left and right some sketches representing soldiers, one of whom, a deserter, seen from behind, with the label 'lâche' ('coward') [stuck] to his back; at the bottom a soldier standing in a street, contemplating the ruins of a house destroyed during the war. 1870/71” (https://www.britishmuseum.org/collection/object/P_1873-0510-3200),

Etching, printed on thin paper See also the description of this print offered by Kunsthalle Bremen: https://onlinekatalog.kunsthalle-bremen.de/DE-MUS-027614/object/92116.

Condition: a strong and well-printed impression with full and generously wide margins as published. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this creatively inventive etching formatted as a trompe l'oeil layering of hand-inscribed diary pages with fragmented images relating to the written notes, for AU$227 in total (currently/approximately US$152.09/ EUR137.63/ GBP116.05 at the time of 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 this amazing etching documenting in a unique way an historically important episode in French history, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

 

Pietro del Po, “Temperance”, c.1660, after Domenichino

Pietro del Po (aka Pietro del Pò) (1616–1692)

“Temperance” (aka “La Tempérance”; “Voluptatum Victrix Temperantia vel feros animos moderator”), c.1660 (1647–1688), the final plate from the series of four plates, “The Cardinal Virtues” (TIB 24–27), after the design by Domenichino (aka Domenico Zampieri) (1581–1641) for one of the pendentive frescoes of the cupola of San Carlo ai Catinari (aka Santi Biagio e Carlo ai Catinari [Saints Blaise and Charles at the Bowl-Makers]) in Rome, published in Rome by Giovanni Giacomo de' Rossi (aka Giovanni Jacomo de' Rossi; Jo Jacobus de Rubeis) (1627–1691). I understand that there are several preparatory drawings for this print by Del Po at Windsor Castle; see J. Pope-Hennessy 1948, “The Drawings of Domenichino in the Collection of His Majesty the King at Windsor Castle, London”, p. 80, nos. 869–877.

Etching and engraving on heavy laid paper with a small margin around the irregularly shaped platemark and with the centrefold of publication.

Size: (sheet) 77 x 53.5 cm; (irregularly shaped platemark) 67 x 52.1 cm.

Lettered above the image borderline: (left) “Domin Zamperius Bonon ^. Pinx ^. Romæ in Divi/ Caroli ad Catinarios.”; (centre) “VOLVPTATVM ^. VICTRIX . TEMPERANTIA ^. VE . FEROS ^. ANIMOS ^. MODERATVR./ In chamo, et fraæno maxillas corum constringe. ps. 3і./ Io ^. Iacobus de Rubeis Formis Romæ ad Temptū Pacis cū Priu. S. Pont^.”; (right) “Petrus del' Pò delin ^. et sculp.”

State i (of i)

TIB 4510.027 (Paolo Bellini & Richad W. Wallace [eds.] 1990, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol. 45 [Commentary], New York, Abaris Books, p. 245, cat. no. [4510].027]).

The British Museum offers the following description of this print (not reproduced): “Female personification of Temperance, with a camel and a unicorn, one of the Four Cardinal Virtues frescoed in the pendentives of C.Carlo ai Catinari in Rome, after Domenichino/ Etching and engraving” (https://www.britishmuseum.org/collection/object/P_1869-0410-2177).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.65748.

Condition: a strong and well-printed lifetime impression (based on the quality of line showing no sign of wear to the printing plate). There is a restored tear in the margin at lower left and minor surface marks, otherwise the sheet is in a good condition with no significant stains.

I am selling this huge and simply magnificent etching (with engraving) showing a female personification of Temperance (Temperantia) holding palm branch and horse bridle flanked by putti with the interesting inclusion of a camel and a unicorn, for the total cost of AU$640 (currently US$431.49/EUR390.09/GBP328.79 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$640) as this is my currency.

If you are interested in purchasing this spectacular masterwork rarely seen on the art market, 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

Simon Charles Miger, “Studies of Twenty-Two Antique Heads”, 1779, after Jacques François Amand

Simon Charles Miger (1736–1820)

“Studies of Twenty-Two Antique Heads”, 1779, the final plate from the series of four plates, “Études de Têtes d’Après l’Antique” (Studies of Heads after the Antique), after the design by Jacques François Amand (1730–1769), possibly published in Paris by Paul André Basset (fl.1785–1819), as the publication details for the first plate in the series has this publisher’s address (see https://philamuseum.org/collection/object/6468).

Interestingly, this print was exhibited in the Paris Salon of 1779 as cat. no. 269.

Engraving on laid paper with full margins and with the two binding holes in the margin at left as published.

Size: (sheet) 29.5 x 43 cm; (platemark) 14.8 x 23.5 cm; (image borderline) 13 x 16.7 cm.

Inscribed in plate below the image borderline: (left) “Amand del Romæ.”; (right) “Miger Sc.”

Émile Bellier de La Chavignerie 10 (Émile Bellier de La Chavignerie 1856, “Biographie et catalogue de l'oeuvre du graveur Miger”, Paris, J.B. Dumoulin, p. 66, cat. no. 10 [see https://archive.org/details/biographieetcat00chavgoog/page/n80/mode/2up]).

See also the description of this print offered by the Philadelphia Museum of Art: https://philamuseum.org/collection/object/6464.

Condition: a strong and well-printed impression with wide margins and the two binding holes of publication in the left margin. Beyond minor surface marks appropriate to the size and considerable age of the print, the sheet is in a good condition with no significant stains.

I am selling this finely executed sheet of profile portrait studies from antique sculptures, for the total cost of AU$259 (currently US$175.57/EUR158.65/GBP133.59 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$259) as this is my currency.

If you are interested in purchasing this wonderfully preserved impression of a seldom seen sheet of engraved studies, 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