Johannes Visscher, “A Shepherdess at a Spring”, c. 1660, after Nicolaes Berchem

Johannes Visscher (also known as Jan de Visscher) (c. 1636–after 1692)

“A Shepherdess at a Spring” (also known as “Die Hirtinnen beim Brunnen” [Shepherdess at the Well]), c. 1660 (1653–1712)

Contextual Commentary:

This is the title plate to the four-part series “Pastoral Landscapes” (Hollstein 58–61). Although the partial loss of the writing edge makes the identification of the state problematic, this impression is from either the second state (of four)—with the addition of the inscription on the fountain, but before the plate was numbered in state three—or from the final state with the change of publisher from Frederick de Wit (1629/30–1706) to Justus Danckerts (1635–1701).

The composition is based on a drawing by Nicolaes Berchem (1620–1683), currently preserved in the Teylers Museum, Haarlem.

Technical Details & Condition:

Etching with engraving printed on buff-coloured laid paper, trimmed with a thread margin around the image borderline on the top and sides, with a 3 mm margin below the image. The sheet has been professionally mounted to a secondary sheet of archival-quality washi paper providing stable structural support and wide false margins for conservation presentation.

The impression is strong and clear with a greyish overall tone. Aside from a small, professionally replenished spot at upper centre, the sheet remains in very good condition with no significant staining.

Dimensions:

• Sheet: 27.3 x 20.9 cm
• Image borderline: 26.7 x 20.7 cm

In-Plate Lettering:

• On fountain stone at left: “CBerghem delin: / J. Vißcher fecit.”

References:

• Hollstein: Dutch 58.II (Christiaan Schuckman, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700”, Vol. XLI, 1992, p. 48, cat. no. 58.II)
• Albertina Museum: Object number H/I/64/88 — https://sammlungenonline.albertina.at/objects/489185/die-hirtinnen-beim-brunnen  
• British Museum: Museum number 1870,0709.252 — https://www.britishmuseum.org/collection/object/P_1870-0709-252

Price & Shipping:

AU$267 (approx. US$187.91 / €167.71 / £140.5), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this scene of 17th-century bucolic life, please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless, protected transaction.

Please note: To show the print's intricate details as clearly as possible, the scan contrast has been digitally enhanced. Consequently, the image tones may not be a perfectly faithful representation of the subtilties of the print.

Gustave Greux, “Clog Makers in the Quimerc'h Woods (Finistère)”, 1877, after Camille Bernier

Gustave Greux (also known as Gustave Marie Greux) (1838–1919)

“Clog Makers in the Quimerc'h Woods (Finistère)” (“Sabotiers dans le Bois de Quimerc’h [Finistère]”), 1877

Contextual Commentary:

This original etching with drypoint by Gustave Greux is based on Camille Bernier's (1823–1902) painting exhibited at the Paris Salon of 1877. The composition depicts Breton clog makers (sabotiers) crafting traditional wooden footwear directly within the Quimerc'h forest in Finistère, Brittany. Historically, the Quimerc'h woods—located near the present-day Cranou forest on the edge of the Monts d'Arrée—sheltered entire itinerant communities of forest artisans. These specialised craftsmen lived in temporary woodland settlements, using freshly felled beech and birch wood to carve the iconic botou-coad (wooden clogs).

This fine impression was printed in Paris by the master printer François Liénard (fl. c. 1860s–1880s) and was published in 1877 as a premium insert for the prestigious art periodical L'Art (Volume IX / Tomes II of that year).

Technical Details & Condition:

Etching with drypoint on buff-coloured laid paper with full margins as issued.

The impression is richly inked, crisp, and evenly printed — almost faultless! Note that the impression retains the very fine and faint scratched historic inscription below the image at centre: “G. Greux d’apres G. Bernier.”

The sheet is in pristine condition—completely free of tears, holes, folds, abrasions, handling marks, foxing, and stains.

Dimensions:

• Sheet: 29.0 x 43 cm
• Platemark: 20.8 x 28.7 cm
• Image borderline: 17.8 x 26.6 cm

In-Plate Lettering:

• Above image: (centre) “Salon de 1877.”
• Below image: (left) “C. Bernier. pinx. / L’Art.”; (centre) “SABOTIERS DANS LE BOIS DE QUIMERC’H (Finistère)”; (right) “G. Greux. sc. / F^çois Liénard. Imp. Paris.”
• Scratched inscription below image at centre: “G. Greux d’aprés G. Bernier.”

References:

• IFF 6 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: GAVARRET–GUILLARD”, vol. 9, 1955, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 376, cat. no. 11) — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k54892064/f388.item
• Pierre Sanchez & Xavier Seydoux, “Les Estampes de L’Art (1875–1907)”, 1999, Paris, L’Echelle de Jacob, p. 56
• British Museum: Museum number 1878,0511.320 — https://www.britishmuseum.org/collection/object/P_1878-0511-320

Price & Shipping:

AU$224 (approximately US$157.65 / €140.70 / £117.87), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this superb etching sparkling with tonal contrasts, please contact oz_jim@printsandprinciples.com. Secure payment is handled via PayPal invoice for a smooth, protected transaction.

Eugène Gaujean, “La Vierge, l'Enfant-Jésus et Sainte Anne”, 1884, after De Vinci

Eugène Gaujean (1850–1900)

“La Vierge, l'Enfant-Jésus et Sainte Anne” (The Virgin, the child Jesus and Saint Anne), 1884

Contextual Commentary:

This exquisite engraving (with etching) by Gaujean is after the famous painting by Leonardo da Vinci (1452–1519) in the collection of the Louvre (inv. 776). The etching was printed in Paris by A. Clément (fl. c. 1887–1892) and published in the art periodical, “Gazette des Beaux-Arts”, volume 36 (August 1887 issue), tipped between pages 94 and 95. The print serves to illustrate the article by François-Anatole Gruyer, “Léonard de Vinci au Musée du Louvre”.

This impression is from the second state (of two) with the addition of lettering for publication.

Note that I have previously listed an engraving executed in 1885 by Adolphe-Joseph Huot and Jean-Baptiste Danguin that is a different translation of Da Vinci’s painting; see https://www.printsandprinciples.com/2021/04/huot-danguins-engraving-virgin-and.html.

Technical Details & Condition:

Engraving with etching on buff-coloured chine collé on heavy wove paper.

The impression is richly inked, crisp, and evenly printed with slight misalignment of the inscribed text that was printed beyond the sheet of chine collé (possibly from historic reattachment). Aside from a few minor and very faint dot stains, the sheet remains in excellent condition with no tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 44.8 x 30.9 cm
• Platemark: 23.8 x 17.0 cm
• Chine collé: 22.6 x 16.3 cm
• Image borderline: 20.1 x 15 cm

In-Plate Lettering (below the image borderline):

• Left: “Léonardo de Vinci pinx. / Gazette des Beaux-Arts.”
• Centre: “LA VIERGE, L'ENFANT-JÉSUS ET SAINTE ANNE / (Musée du Louvre)”
• Right: “Gaujean sc. / Imp. A. Clément_Paris”

References:

• IFF 23 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: FOLLET–GAVARNI”, vol. 8, 1954, Paris, Bibliothèque Nationale de France, p. 453, cat. no. 23) — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f465.item
• Pierre Sanchez & Xavier Seydoux, “Les Estampes de la Gazette des Beaux-Arts (1859–1933)”, 1998, Paris, L’Echelle de Jacob, p. 110 (1887-10)
• British Museum: Museum Number 1933,0224.1 —  https://www.britishmuseum.org/collection/object/P_1933-0224-1

Price & Shipping:

 AU$261 (approximately US$183.29 / €163.44 / £136.91), inclusive of worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this superb engraved translation of Leonardo’s famous painting showing the Virgin seated on St Anne’s (her mother’s) lap coaxing baby Jesus away from grappling with a sacrificial lamb—the symbol for his passion—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold