Karl Bodmer, “Intérieur de Forêt”, 1851

Karl Bodmer (1809–1893)

“Intérieur de Forêt” (Forest Interior), 1851 (published 1853)

Technical Details & Condition:

Lithograph on chine collé (China paper) on heavy wove paper, with full margins as issued. This lithograph is based on a painting by the artist (Karl Bodmer) and was printed in Paris by Victor Jacques Bertauts (1810–1881), renowned for his skill in tonal printing (https://www.britishmuseum.org/collection/term/BIOG19418).

It is plate 65 from the second of three volumes of “Les Artistes Anciens et Modernes”, which contains a total of 144 plates. The print bears the publisher’s blind-stamp below the image: “Les Artistes / Anciens / Et Modernes.” Additionally, this impression has a small, pale tan collector’s mark (not listed in Lugt) beneath the blind-stamp. 

The impression is richly inked, strong, and well-preserved. The sheet shows minor surface marks in the margins and a pencil inscription from a previous collector in the lower margin. Aside from these minor issues, the sheet is in very good condition, with no tears, holes, folds, or significant stains. 

Dimensions:

• Sheet: 44.6 x 31.4 cm
• Platemark: 31.5 x 20.2 cm

Plate lettering below the image borderline:

• Left: “K. Bodmer, pinx. et lith./ Intérieur de Forêt.”
• Right: “Imp. Bertauts, Paris.”

References:

•  IFF 21 (Jean Laren & Jean Adhémar, “Inventaire du Fonds Français après 1800: BOCQVIN–BYON”, 1942, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 20, cat. no. 21 [https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f29.item])
• Delteil 87 (Loys Delteil in “L'Artiste; Revue de l'Art Contemporaine,” vol. 8, 1894, Paris, p. 141, cat. no. 87 [https://archive.org/details/lartisterevuedel89pariuoft/page/141/mode/1up])
• British Museum: https://www.britishmuseum.org/collection/object/P_1936-0302-15-18

Price & Shipping:

AU$258 (approximately US$180.17 / €157.72 / £136.25), including worldwide express shipping.
Please note: Import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this dramatic lithograph depicting a hunter and his dog stalking a group of deer—note how Bodmer captures the scene’s tension through spotlighting and the looming trees—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

Jules Léopold Boilly, “Le Repentir”, 1857, after Pierre Paul Prud'hon

Jules Léopold Boilly (aka Jules Boilly; Julien Boilly) (1796–1874)

“Le Repentir” (aka “Repentance”; “Berouw” [Rijksmuseum title]), 1857, after a drawing by Pierre Paul Prud'hon (aka Pierre Paul Prudhon) (1758–1823), printed in Paris by Bertauts (fl.1830s–1880) and published in “L’Artiste”.

Lithograph printed with blue plate tone on heavy wove paper with a flattened centre fold and backed with a support sheet.

Size: (sheet) 44.5 x 28.2 cm; (image borderline) 32.3 x 16.5 cm.

Lettered in plate above the image borderline: (centre) “L’ARTISTE”.

Lettered in plate below the image borderline: (left) “DESSIN DE PRUD’HON”; (centre) “IMP. BERTAUTS, PARIS./ LE REPENTIR.”; (right) “LIT PAR JUL BOILLY.”

IFF 48 (Jean Laren & Jean Adhémar 1942, “Inventaire du Fonds Français après 1800: BOCQVIN–BYON”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 52, cat. no. 48 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f61])

See also the description of this print printed in brown ink from an edition printed by Joseph Rose Lemercier and published by Sieurin: https://id.rijksmuseum.nl/200306991.

Condition: a strong and well-printed impression with wide margins, backed with an archival support sheet reinforcing the flattened centrefold of publication. The sheet is in excellent condition, free from tears, holes, or significant stains.

Price & Shipping: AU$231 (approx. US$150.51 / €129.39 / £113.05), including worldwide express shipping. Import duties are the buyer’s responsibility.

This exceptional lithograph captures the poignancy and delicate beauty of Prud'hon's original composition, brilliantly rendered through Boilly’s masterful use of line and tone. Although somewhat theatrical, the expressive posture and subtle details evoke a profound sense of remorse and introspection.

If you wish to purchase this remarkable neo-classical study, please contact me at oz_jim@printsandprinciples.com. I’ll gladly provide a PayPal invoice for a smooth, secure transaction.

This print has been sold

Eugène Le Roux, “Course de Chevaux”, c.1849–62, after Théodore Géricault

Eugène Le Roux (aka Eugène Leroux) (1811–1863)

“Course de Chevaux” (“Horse Race”) (aka “Entrance to the Arena”; “Course de Chevaux Libres à Rome”; “Free Horse Racing in Rome”), c.1848, plate 30 from the series of 144 plates (Volume 1 , 1ère Année, 2ème livraison [Plates 1–72]), “Les Artistes Anciens et Modernes”, printed by Bertauts (fl.1830s–1880) in Paris, after Théodore Géricault’s (aka Jean Louis André Théodore Géricault) (1791–1824) painting, “Course de Chevaux Libres à Rome”, in the Musée du Louvre, Paris (https://collections.louvre.fr/en/ark:/53355/cl010059217 [R.F. 2042]).

Palais des Beaux Arts de Lille offers the following description of one of Géricault’s studies for the painting, “Course de Chevaux Libres à Rome”: (transl.) “It's February in Rome, in the middle of Carnival. Today marks the traditional free-range horse race, the highlight of the festivities. Grooms come to show off their finest stallions, watched by the city's notables. The horses are let loose along the Corso, Rome's main thoroughfare, which then takes on the appearance of an arena” (https://pba.lille.fr/Collections/Chefs-d-OEuvre/Peintures-XVI-sup-e-sup-XXI-sup-e-sup-siecles/Course-de-chevaux-libres-a-Rome).

Lithograph on buff chine collé on heavy wove paper with wide margins as published and blind-stamped with the mark of “Les Artistes Anciens et Modernes” (Lugt 36a) below the image borderline at centre.

Size: (sheet) 31.5 x 44.8 cm; (chine collé) 19 x 25.5cm.

Numbered in plate above the image borderline: (upper right) “30”.

Lettered in plate below the image borderline: (left) “Géricault, pinx.”; (centre) “Imp. Bertauts, Paris.”; (right) “E. Le Roux, lith/ Collection de M^r. Marcille.”

Blind stamped: (in oval at lower centre) “LES ARTISTES/ ANCIENS/ ET MODERNES”.

The British Museum offers the following description of this print: “Plate 30: in the foreground, Roman slaves restraining horses before their release into the hippodrome, with classical buildings and crowds visible in the background; after Théodore Géricault
Lithograph on buff chine collé” (https://www.britishmuseum.org/collection/object/P_1936-0302-14-31).

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

I am selling this dramatic and romantic lithograph showing stallions being restrained before being freed into the Via del Corso—a central thoroughfare in Rome connecting Piazza del Popolo and Piazza Venezia—that I understand had been configured at the time into an arena during the February Carnival, for the total cost of AU$244 (approximately US$160.60, EUR 136.27 or GBP 116.80), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this beautifully executed lithograph after Géricault, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Adolphe Mouilleron’s (folly) lithograph, “Charles V Picking up Titian’s Brush”, c1843, after Robert-Fleury

Adolphe Mouilleron (1820–1881)

A printer’s folly lithograph printed by Victor Jacques Bertauts (fl.1830s–1880)—a unique proof of superimposed mirror impressions— “Charles V Picking up Titian’s Brush” (“Charles Quint ramassant le pinceau du Titien”), c1843, after Joseph Nicolas Robert-Fleury’s (1797–1890) painting exhibited in the Salon of 1843. The published version of this lithograph (without the superimposition) is from the series, “Album of the Salon of 1843”, showing the main works exhibited at the Louvre, published in 1843 by Pierre Joseph Challamel (aka Challamel & Cie) (1813–1849?) in Paris.

Note that there is a caricature lithograph of the same subject lettered with the title: “Le Titien mérite bien d'être servi par César, même quand César est abymé de rhumatisme” (Titian well deserves to be served by Caesar, even when Caesar is damaged by rheumatism).

Superimposed two reversed impressions of a crayon-manner lithograph on wove paper trimmed around the (superimposed) image borderline and backed with a support sheet.

Size: (support sheet) 43 x 30 cm; (image borderline) 25.5 x 14.1 cm.

Condition: a well-printed (folly) impression trimmed around the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this playfully composed “folly” lithograph showing mirror images of King Charles V picking up Titian’s dropped paint brush—a sign of the King’s respect for the great painter even though the King was suffering rheumatism—for the total cost of AU$208 (currently US$141.82/EUR134.66/GBP115.53 at the time of 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 curiously wonderful and unique lithograph, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.