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 (1736–1810), and the transfer of skills is clear. Borel is also well-connected to the artists of the Barbizon School (notably Charles 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 imbuing scenes with an emotional charge—in this print, for instance, the broken and tumbled rocks and the seaward leaning tree tenuously anchored to the hillside contrast with the vision of calm in the sea and sky beyond, suggesting (at least to my way of looking) a feeling of unease. In lots of ways, this perfect merging of reality with an emotional underpinning 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.

Paul Borel’s etching, “The Pilgrim Near the Tree”, c. 1880

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

“The Pilgrim Near the Tree” (aka “Le Pèlerin Près de l'Arbre”), c. 1880, a proof-state impression signed in ink by the artist with a hand-written dedication in ink on heavy wove paper.

Size: (sheet) 31.5 x 43.5 cm; (plate) 19.5 x 28.4 cm.

For those unfamiliar with this startlingly fine etcher (as exemplified in this wonderful etching), Paul Borel was introduced to etching by his cousin Jean Jacques de Boissieu (aka Jean Jacques de Boissieux) (1736–1810) and the outcome of this connection in terms of transferred 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 on the etching plate is also very apparent. What I find especially appealing about Borel’s etchings is the merging of informed observation of his chosen subject (e.g., the portrayed tree here looks solid and “real”) with the added dimension of revealing a personal mindset shaped by the artist’s religious convictions. What I mean by this is that the tree is like a symbol of life that the pilgrim contemplates and the far horizon is similarly more than just an atmospheric blurring of details: to my eyes the representation of far distance represents the transcendent future of the path on which the pilgrim travels. (My apologies if I am wrong in my reading of this print.) In lots of ways, this perfect merging of reality with personal response is the key that makes Borel a marvellous artist; an artist who (I think) compares well with Adolphe Appian (1818–1898) and even perhaps regarding this print, the great Caspar David Friedrich (1774–1840).

For a marvellous/must read account of Paul Borel, including the recent “discovery” of his work, see rhonestampe.jimdo.com: https://rhonestampe.jimdo.com/2020/04/11/d%C3%A9couvertes/#gsc.tab=0

Inscribed in plate along the lower edge at right: (difficult to decipher) “[B]o[r]el 188[0?] [there may be additional letters further to the lower right corner].

Hand-signed and inscribed with a dedication in ink below the platemark: (I have tried unsuccessfully to read the inscription beyond a few words).  

Condition: a richly inked, strong, and near faultless impression in a near pristine condition with no tears, holes, abrasions, stains or foxing.

I am selling this marvellous proof-state hand-signed etching—to my eyes a genuinely remarkable masterwork! …but I love visually arresting images like this! —for the total cost of AU$304 (currently US$203.19/EUR183.85/GBP161.84 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 superb etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Paul Borel’s etching, “Alpine Landscape Around Isère”, c1880

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

“Alpine Landscape Around Isère” (descriptive title only and forgive me if I am wrong about the location; the title proposed by the original dealer from whom I purchased this etching is “Paysage de Montagne” [Mountain Landscape]), c1880, a proof-state impression that is unsigned and before lettering with title and publication details, printed in cream chine collé on heavy wove paper.

Size: (sheet) 25.4 x 31.7 cm; (plate) 15.9 x 24 cm; (chine collé) 14.5 x 22.2 cm; (image borderline) 12.8 x 21.4 cm.

For those unfamiliar with this startlingly fine etcher (as exemplified in this wonderful etching), Paul Borel was introduced to etching by his cousin Jean Jacques de Boissieu (aka Jean Jacques de Boissieux) (1736–1810) and the outcome of this connection in terms of transferred 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 on the etching plate is also very apparent. What I find especially appealing about Borel’s etchings is the merging of informed observation of his chosen subject (e.g., his portrayed rocks look solid and “real” and the cascading of water is believable) with the added dimension of revealing a personal mindset—in this print, for instance, the formation of the rocks might be seen as nature’s claws and the pine trees on the right as expressions of upward moving transcendent energies. In lots of ways, this perfect merging of reality with personal response is the key that makes Borel a marvellous artist; an artist who (I think) compares well with Adolphe Appian (1818–1898).

Condition: a richly inked, strong, and near faultless impression in a near pristine condition.

I am selling this marvellous proof-state etching (unsigned and before lettering with title and publication details) that is so rare I have been unable to find another copy of it online, for the total cost of AU$269 (currently US$179.80/EUR162.68/GBP143.21 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 fine and luminous etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold