Théophile Chauvel, “À Samois près Valvins”, 1874

Théophile Chauvel (aka Théophile Narcisse Chauvel) (1831–1909)

Authorship Discrepancies:

Note that Henri Beraldi (1886), in his catalogue raisonné of Chauvel’s prints, lists this print as by Théophile Chauvel (see p. 148, cat. no. 33). In the lettered and published state of this print, the artist is shown as Théophile Chauvel. The British Museum catalogues this print as by C. Chauvel (1875–1907; active 1882–1907 according to Engen) and describes it as: “Plate 7: landscape with trees against hedgerow(?), shepherdess seen with sheep in a field to the right; from a volume of four years of 'L'Eau-Forte'. c.1875” (https://www.britishmuseum.org/collection/object/P_1915-0105-14-38).

“À Samois près Valvins” (In Samois near Valvins), 1874

Commentary on the Title & Subject:

Beraldi (1886) provides an amusing anecdote regarding the title (translated): “Here, it's obvious the reader will raise an objection. Samois, they'll say, is located near the Fontainebleau Forest. Now, it's generally accepted that olive trees don't grow in the Fontainebleau Forest! Answer: This landscape is a view of the area around Montpellier. But a landscape worthy of respect could only have been painted in the Fontainebleau Forest or other such locations, which Montpellier is not. That's why Cadart insisted on naming this print: ‘At Samois near Valvins’.” (p. 148)

Technical Details & Condition:

Etching with drypoint on fine Japanese washi paper, professionally mounted to a secondary support sheet. This is an early proof state before the addition of lettering, in the fifth and final published state by Alfred Cadart’s widow (Vve Cadart), in “L'Eau-Forte en 1875” as plate number 7.

Archive.org provides access to this publication, which features the context of this print and Philippe Burty’s accompanying discussion: https://gallica.bnf.fr/ark:/12148/btv1b8527610g/f23.item.

The impression is strong, crisp, and evenly printed—a faultless artist’s proof. The sheet remains in near-pristine condition, free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 25.4 x 20.2 cm
• Platemark: 22 x 15.8 cm
• Image borderline: 20.4 x 14.8 cm

In-Plate Lettering:

• Lower-left corner: “Ch. Chauvel 74”— interestingly, Beraldi (1886) only records the inscription as “Chauvel 74,” omitting the “Ch.” prefix.

References:

• Beraldi 33 (Henri Beraldi, “Les Graveurs Du Xixe Siecle:  Brascassat–Chéret”, vol. 4, 1886, Paris, Librairie L. Conquet, p. 148, cat. no. 33)
• IFF 28 (Jean Adhémar “Inventaire du Fonds Français après 1800: CABANE–CICÉRI”, vol. 4, 1949, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 421, cat. no. 28)
• British Museum: Museum Number 1915,0105.14.38

Price & Shipping:

AU$243 (approx. US$169.01 / €148 / £126.11), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this exceptionally fine proof impression of a poetically beautiful scene—depicting silhouetted trees, a shepherdess, and her flock in the distance—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

Giovita Garavaglia, “Saint Mary Magdalene with the Ointment Jar”, 1832, after Carlo Dolci

Giovita Garavaglia (also known as Giovanni Battista Garavaglia) (1790–1835)

“Saint Mary Magdalene with the Ointment Jar”, or, as titled in the plate, “EGO DILECTO MEO” (translation: “I belong to my beloved”—a quotation from “Song of Solomon” [6:2]), 1832

Technical Details & Condition:

Engraving on heavy wove paper with full, wide margins as issued. The engraving is based on an intermediary design by Cesare Ferreri (1802–1859), after a painting by Carlo Dolci (1616–1686). It was printed and published in Florence by Luigi Bardi (active 1814–1843). This impression is from state five, the final published state.

The print is dedicated to Prince Frederick Augustus of Saxony (later King Frederick Augustus II), who served as Prince Co-Regent (Correggente del Regno) alongside his elderly uncle, King Anthony, from 1830 until he ascended the throne in 1836. The heraldic emblem in the centre of the in-plate text features the Royal Coat of Arms of the Kingdom of Saxony (specifically the Wappen des Königreichs Sachsen), surmounted by a royal crown. It displays the traditional horizontal black and gold stripes (barry of ten, sable and or), overlaid with a green, crown-like diagonal band (a crancelin, or crown of rue) running from top-left to bottom-right.

The impression is crisp, evenly printed—a superb, faultless example. Aside from minor handling marks, the sheet remains in excellent condition for its large size, free of tears, holes, or significant stains.

Dimensions:

• Sheet: 54.1 x 38.4 cm
• Platemark: 41.4 x 29.2 cm
• Image borderline: 21.5 x 17.1 cm

In-Plate Lettering below the image:

• Left: “Carlo Dolci dip. / Luigi Bardi impresse.” (Carlo Dolci painted / Printed by Luigi Bardi)
• Centre: “Cesare Ferreri disegnò. / EGO DILECTO MEO. / A Sua Altezza Reale / Federigo [Royal Coat of Arms of the Kingdom of Saxony] Augusto / Principe di Safsonia Correggente del Regno. / Firenze presso Luigi Bardi Calcografo” (Cesare Ferreri drew [the intermediary copy] / To His Royal Highness Frederick Augustus, Prince Co-Regent of Saxony / Florence at the print shop of Luigi Bardi)
• Right: “Giovita Garavaglia incise 1832. / Luigi Bardi D: D: D:” (Giovita Garavaglia engraved, 1832 / Dedicated, Devoted, and Offered by Luigi Bardi)

References:

• AHK 13.V (Aloys Apell, “Handbuch für Kupferstichsammler, oder Lexikon der vorzüglichsten Kupferstecher des 19. Jahrhunderts”, Leipzig, Alexander Danz, 1880, p. 159, cat. no. 13 [V])
• British Museum: Museum No. 1879,0809.571 (https://www.britishmuseum.org/collection/object/P_1879-0809-571)

Price & Shipping:

AU$272 (approx. US$189.18 / €165.66 / £141.20), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this faultless impression of an exceptionally fine engraving—note the dazzling control of the engraver’s burin that was necessary to render the ointment jar and to differentiate between the lustre of the pearls of the brooch and the clarity of the cut jewel they frame—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

Roelant Roghman, “Deer in the Hague Forest”, c. 1640–1652

Roelant Roghman (aka Roeland Roghman) (1627–1692)

“Deer in the Hague Forest” (Dutch: “Herten in het Haagse Bos”), circa 1640–1652

Technical Details & Condition:

Etching on fine buff-coloured laid paper with wide margins. This is the final plate (Plate 6) in the series of six plates, “The Woods of the Hague” (Dutch: “Gezichten in het Haagse Bos”), published in Amsterdam by Pieter Nolpe.

The impression is from the third and final state (of three), showing the plate number “6” inscribed twice. It is richly inked, crisp, and evenly printed—a faultless impression. The sheet remains in near-pristine condition for its age, free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 25 x 39 cm
• Platemark: 20.6 x 26.4 cm
• Image borderline: 20.3 x 26.1 cm

In-Plate numbering:

• Lower left corner: “6”
• Lower edge at right-of-centre: “6”

Reference:

• TIB 5.6 (40) (Walter L Strauss & Franklin Robinson [Eds.], “The Illustrated Bartsch”, 1979, vol. 5, p. 66, cat. no. 6 [40])
• Hollstein Dutch 38.III (Dieuwke de Hoop Scheffer (comp.), “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700”, 1978, Amsterdam, Van Gendt & Co., p. 88, cat. no. 38. III)
• British Museum: Museum No. 1882,0114.38 (https://www.britishmuseum.org/collection/object/P_1882-0114-38)
• Rijksmuseum: Object No. RP-P-H-R-94 (https://id.rijksmuseum.nl/200401536)

Price & Shipping:

AU$338 (approx. US$235.02 / €205.38 / £174.98), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

This superbly rich impression captures a rare view of the town forest near The Hague—created during the Dutch Golden Age, a period renowned for its remarkable achievements in art, science, and culture. Roghman was a close friend of Rembrandt, and this etching exemplifies the masterful landscape tradition of that era. To acquire this marvellous example of Dutch Golden Age etching, please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

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