Anders Zorn, “Lavards Anders”, 1919

Anders Zorn (also known as Anders Leonard Zorn) (1860–1920)

“Lavards Anders” (also known as “Dalecarlian Peasant [Lavards Anders])”— portrait of a peasant from Dalecarlia, Zorn's native provincial region in Sweden, 1919

Commentary on the Subject:

The Museum of New Zealand (Te Papa Tongarewa) offers a compelling insight into this portrait: “This small but powerful etching is both a portrait and a 'type': meet Lavards Anders, a peasant of Delacarlia, the provincial region of Sweden where Anders Zorn grew up - in poverty - and returned to - in triumph and fame. The peasant is elderly; we sense that he has seen much and has suffered not a little. In another guise or mood, his splendid mutton-chop whiskers and fur hat would look endearing, even comical. Not so here: he stares balefully straight at Zorn - and at us. Zorn is depicting death. Within a year, he himself would die prematurely, overweight, and allegedly alcoholic and syphilitic. The considerably older peasant will outlive him, and he knows it. There is no room for symbolist ethereality, charm or beauty in this etching, which shows no diminution in Zorn's powers” (https://collections.tepapa.govt.nz/object/36798).

Technical Details & Condition:

An etching printed on fine buff-coloured laid paper, signed in pencil by the artist at the lower right. The impression is strong, crisp, and evenly printed. Aside from minor toning around the image, the sheet remains in excellent condition—free of tears, holes, abrasions, or significant stains.

Dimensions:

• Sheet: 37.5 x 26.2 cm
• Platemark: 15.4 x 11.4 cm

In-Plate Lettering:

• Upper-left: “LAV[A]RDS ANDERS”
• Lower-left: [Artist’s monogram] “Zorn”

References:

• Asplund 283; Hjert & Hjert 168; Lidbeck ZG 283
• Museum of New Zealand (Te Papa Tongarewa): Registration Number 1952-0003-182
• Art Institute of Chicago: Reference Number 1971.908 (https://www.artic.edu/artworks/37857/dalecarlian-peasant-lavards-anders)

Price & Shipping:

AU$662 (approx. US$459.05 / €402.45 / £343.03), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare pencil-signed etching, please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

This print has been sold

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.