Gallery of prints for sale

Monday 18 March 2024

Paul Borel, “Sanary”, 1898

Paul Borel (aka André Marie Paul Borel) (1828–1913)

“Sanary” (aka “Sanary, Pilgrim at Rest”), 1898, a proof-state impression, signed, titled and dated in the plate before lettering for publication.

Etching with plate tone on buff coloured laid paper.

Size: (sheet) 30.5 x 40.7 cm; (plate) 24.9 x 34.8 cm.

Inscribed in plate: (lower left corner) “P Borel 1898/ Sanary var”.

Condition: a richly inked, strong, and near faultless impression. Beyond a few minor marks in the margin, the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

The Museum of Modern and Contemporary Art of Saint-Étienne Métropole offer a brief description of this print: https://www.navigart.fr/MAMC-saint-etienne-collections/artwork/andre-marie-paul-borel-sanary-pelerins-au-repos-240000000005711.

I understand that the title of this etching, “Sanary”, is the popular name for the seaside region, Sanary-sur-Mer, in the Provence-Alpes-Côte d'Azur region of Southeastern France.

Regarding the figure at left—a resting pilgrim holding his staff—note that I have previously listed a related etching by Paul Borel also featuring a pilgrim: “The Pilgrim Near the Tree”, c.1880 (https://www.printsandprinciples.com/2023/10/paul-borels-etching-pilgrim-near-tree-c.html). Both of these prints are underpinned by the artist’s deep religious faith which led him to paint murals about the life of Abbot Vianney at the Curé of Ars and to decorate the Chapelle de Saint-Thomas d'Aquin in Oullins (https://www.wikiwand.com/fr/Paul_Borel#Media/Fichier:Peintures_murales_de_la_chapelle_de_Saint_Thomas_d'Aquin.jpg)—a mammoth twenty-year project.

For those unfamiliar with this startlingly fine etcher (as exemplified by this wonderful print), Paul Borel was introduced to etching by his cousin, Jean Jacques de Boissieu (aka Jean Jacques de Boissieux) (1736–1810), and the transfer of skills is clear. Borel is also well-connected to the artists of the Barbizon School (notably Charles Daubigny [aka Charles François Daubigny] [1817–1878]) and the shared joy of working directly from nature is also very apparent. What I find especially appealing about Borel’s etchings is the merging of close observation of his chosen subject (e.g., his rendering of trees and rocks look believably solid and “real”) with the added dimension of revealing a personal mindset—in this print, for instance, the broken and tumbled rocks and the seaward leaning tree tenuously anchored to the hillside contrast with the pictorially calm of the sea and sky beyond, suggesting (at least to my way of looking) an uneasy and troubled mindset. In lots of ways, this perfect merging of reality with an emotional response is the key that makes Borel a marvellous artist; an artist who (I think) compares well with Adolphe Appian (1818–1898).

I am selling this marvellous proof-state impression of an exceptionally rare etching for the total cost of AU$277 (currently US$181.89/EUR167/GBP142.83 at the time of this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this remarkably strong and extraordinarily beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Saturday 16 March 2024

Monogrammist JVL, “John the Baptist”, c.1650

Monogrammist JVL (17th century) as identified in the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.345201.

Interestingly, the painter/draughtsman, Jacob van Loo (1614–1670) uses the initials of the monogrammist, “J.V.L.”, to sign his work (see https://www.sothebys.com/en/auctions/ecatalogue/2017/master-paintings-and-sculpture-day-sale-n09813/lot.143.html), but (at least to my knowledge) he is not an engraver—and this print is executed by a skilled master of engraving. Certainly, this print is not after the design of Jacob van Loo as the initials are followed by the letter “S”, that is an abbreviation of “Sculpsit” (transl. “He engraved it”), signifying that print is by the hand of the monogrammist. I am aware, however, of one other engraver with the initials, J.V.L., and that is the somewhat obscure artist, Jan van Lerberghe (c.1755–c.1810). From a personal standpoint, I doubt that the monogrammist is Jan van Lerberghe as the style of this print leans more to the Baroque period than the late 1700s when Van Lerberghe was active.

“John the Baptist” (aka “Johannes de Doper”; “John the Baptist with a Cross and Banderole in his Hand”), c.1650 (Rijksmuseum dates of attribution: 1600–1700).

Engraving on laid paper trimmed with a narrow margin around the image borderline and backed with a support sheet.

Size: (sheet) 20 x 15.3 cm; (image borderline) 18.7 x 14.5 cm.

Inscribed in plate below the hand of John the Baptiste: “J.V.L.  S”.

Condition: a richly inked and well-printed impression with a narrow margin around the image borderline in an excellent condition with no tears, holes, folds, abrasions or significant stains. The print is laid onto a support sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this exceptionally rare engraving executed with great skill and refinement, for the total price of AU$294 in total (currently US$192.95/EUR177.09/GBP151.48 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this engraving of great beauty, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Friday 15 March 2024

Edmond Yon, “Near the Coast at Cayeux-Sur-Mer”, 1885

Edmond Yon (aka Edmond Charles Joseph Yon) (1836–1897)

“Near the Coast at Cayeux-Sur-Mer” (Picard coast, France), 1885, illustration facing page 37 to Philip Gilbert Hamerton’s (1834–1894) “Landscape”, published in 1885 by Seeley & Co. (fl.1839–early 1900s) in London.

Etching, drypoint and dot-roulette on fine wove paper with full margins as published.

Size: (sheet) 21.3 x 31.1 cm; (plate) 16.2 x 24.3 cm; (image borderline) 14 x 21.7 cm.

Inscribed in plate below the image borderline: (left) “Edmond Yon P[inx]t & Sc[ulp]t”.

Condition: a richly inked and well-printed (near flawless) impression in a pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this superb etching with velvety rich touches of drypoint showing a herdsman leading a cow through marshlands—possibly at the estuary of the River Somme in Baie de Somme in which the town of Cayeux-sur-Mer (mentioned in the title) is located—for AU$187 in total (currently US$122.63/EUR112.65/GBP96.25 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.

If you are interested in purchasing this marvellous etching by a true master of the craft—note how the artist has created the effect of a “splash” of light falling on the reeds in the front of the herdsman and used the silhouette shapes of leaves in the foreground to give spatial depth to the scene—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.










Thursday 14 March 2024

François Bonvin, “Les Instruments de L'Eau-Forte”, 1861 (2nd impression)

François Bonvin (1817–1887)

“Les Instruments de L'Eau-Forte” (aka “Etching Tools” [MET title]), 1861, proof impression before the addition of publication details (compare with the proof impression held by the MET: https://www.metmuseum.org/art/collection/search/697981), plate 1 (frontispiece) to the series of six plates, “Six eaux-fortes, dessinées et gravées par F. Bonvin, Peintre” (aka “Première suite d'eaux-fortes”), printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published by Alfred Cadart (1828–1875) in Paris.

Etching on laid paper with partial “Arches” watermark.

Size: (sheet) 43.6 x 30.8 cm; (plate) 22.5 x 14.7 cm; (image borderline) 21.8 x 14.3 cm.

Beraldi 2.1 (Henri Béraldi 1885, “Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes: BELLANGÉ–BOVINET”, vol. II, Paris, Librairie L. Conquet, cat. no. 2.1, p. 164 [https://archive.org/details/lesgraveursdu19e02berauoft/page/164/mode/2up]); IFF 6 (Inventaire du Fonds Français: Bibliothèque Nationale, Départment des Estampes. Bibliothèque nationale de France, Paris, vol. 3, p. 136, cat. no. 6.1 ([see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f145.double]).

See also the description of this print offered by the Musees Paris (The Museums of the City of Paris): https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/les-instruments-a-l-eau-forte#infos-principales.

Condition: a richly inked and well-printed impression in near pristine condition with no tears, holes, folds, abrasions, significant stains or signs of handling and generously wide margins.

I am selling this masterwork of etching showing a still-life arrangement of the implements used in etching—viz. paper in the foreground with a dabber resting on it; Tarlatan on the far left; bottles of acid, turpentine and oil with a funnel placed in one of them; prepared ground and ink on a sheet of glass; etching needles with possibly long tapers on the left—for AU$391 in total (currently US$256.77/EUR236/GBP201.56 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.

If you are interested in purchasing this remarkably fine etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second impression of this etching I have listed (the previous copy has been sold).

This print has been sold










Jacques Beltrand, “La Cathédrale d'Amiens”, 1913

Jacques Beltrand (1874–1977)

“La Cathédrale d'Amiens”, 1913, a chiaroscuro colour woodcut on fine laid Japanese paper with a small margin around the image borderline printed in a transition of burnt umber and sanguine with the addition of pale ochre and backed with a support sheet. This is an unsigned proof with minor restorations (see upper cloud at centre).

Size: (sheet) 27 x 18.1 cm; (image borderline) 24.8 x 15.7 cm.

IFF 42 (Jean Laren 1937, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 2, p. 160, cat. no. 42 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488531x/f169]).

The National Gallery of Australia offer a brief description of this print (not reproduced): https://searchthecollection.nga.gov.au/object/99564.

Condition: a strong and well-printed impression with no significant stains. There are minor restorations to small breaks in the tissue-thin paper and the print has been laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this very beautiful colour woodcut of the Amiens Cathedral (aka Cathédrale Notre-Dame d'Amiens; Cathedral Basilica of Our Lady of Amiens) in the city of Amiens located in the Somme River valley north of Paris, France, for AU$215 in total (currently US$142.37/EUR130.14/GBP111.17 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this eye-catching woodcut, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.