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

Charles Courtry, “Cossack Horses in Snowy Weather”, 1868, after Aldolf Schreyer

Charles Courtry (also known as Charles Jean Louis Courtry) (1846–1897)

“Cossack Horses in Snowy Weather” (also known as “Chevaux Cosaques par un Temps de Neige” and “Cossack Horses Resting after a Hard March through the Snow”), 1868

Technical Details & Condition:

Etching on wove paper, trimmed slightly within the platemark. The sheet has been professionally laid upon a backing sheet of archival-quality washi paper to provide structural support and a clean false margin for conservation presentation.

This is a rare first state (of two) proof impression before lettering for publication in around 1882 in the Spanish magazine “La Ilustración Artística”. The impression is strong, crisp and evenly printed—almost faultless. The composition is based on a painting by the 19th-century German artist Adolf Schreyer (1828–1899). Although Schreyer’s original canvas is unrecorded online, a closely related winter work by the artist—depicting a huddling team of horses hitched to a wagon beside thatched farm structures during a heavy blizzard—is available to view digitally via The Walters Art Museum: https://art.thewalters.org/object/37.88/.

Aside from a faint closed tear in the margin (almost invisible) the sheet remains in an excellent condition with holes, folds, or stains.

Dimensions:

• Sheet: 17.6 x 24.2 cm
• Image borderline: 12.1 x 19.5 cm

Catalogue Reference:

• IFF 8 (Jean Adhémar, “Inventaire du Fonds Français après 1800: Cidoine–Daumier”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, 1949, p. 273, cat. no. 8 — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f285.image

Price & Shipping:

 AU$213 (approximately US$149.42 / €132.98 / £111.46), 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 and rare proof-state etching before lettering for publication, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Jacques Callot, “Mors Beatae Virginis Mariae”, c. 1633/4

Jacques Callot (1592–1635)

“Mors Beatae Virginis Mariae” (The Death of the Virgin), c. 1633/4

Contextual Commentary:

This original small 17th-century etching is plate 10 from the celebrated series of fourteen etchings, “Vita et historia beatae Mariae virginis matris Dei” (Life and story of the Blessed Virgin Mary, mother of God), published in Paris by Israël Henriet (c. 1590–1661).

The impression is from the second state (of two), featuring the addition of the plate number and publication lettering.

Technical Details & Condition:

Etching on laid paper with thread margins around the upper and side edges of the image borderline and retaining the full lower writing edge. The impression is slightly silvery, crisp, and evenly printed. Aside from age toning to the sheet, it remains in excellent antique condition with no tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 6.9 x 4.5 cm
• Image borderline: 6.4 x 4.4 cm

In-Plate Lettering (below the image borderline):

• Centre: “Mors Beatæ Virginis Mariæ / Callot fe. Israel excud.”
• Right: “10”

References:

• Lieure 1367 (Jules Lieure, “Jacques Callot: Catalogue Raisonné de l’Œuvre Gravé”, 1989, San Francisco, Alan Wofsy, vol. 1, p. 81, cat. no. 1367)
• Meaume 86 (Édouard Meaume, “Recherches sur la vie et les ouvrages de Jacques Callot: suite au peintre-graveur français de M. Robert-Dumesnil”, 1860, vol. 1, Paris, J. Renouard, p. 72, cat. no. 86) — available digitally via the Internet Archive: https://archive.org/details/gri_33125001461884/page/72/mode/2up
• The British Museum: Museum Number 1861,0713.154 — https://www.britishmuseum.org/collection/object/P_1861-0713-154

Price & Shipping:

 AU$328 (approximately US$230.37 / €205.17 / £172.22), 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 remarkable jewel of Baroque printmaking, please contact me at oz_jim@printsandprinciples.com. This work is a masterclass in disciplined precision, showcasing Callot’s innovative use of the échoppe—a specialised etching needle he developed to recreate the swelling lines characteristic of traditional engraving. It also beautifully demonstrates his mastery of the "stopping out" technique, which dynamically balances rich, dark lines in the foreground against delicate tones in the distance.

I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold