Félix Bracquemond, “Jacob Meyer-Heine”, 1872

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)
“Jacob Meyer-Heine” (also known as “Dernière Réflexion” [Final Thought]), 1872

Technical Details & Condition:

Etching on buff laid paper trimmed with a small margin around the plate mark at the top and sides, with a more generous margin below.
Published in Paris by the widow of Alfred Cardart (Vve A.Cadart) in “L'Eau Forte en 1876.”
State iii (of iii), with the addition of the title (“Dernière Réflexion”) and publication details.
The impression is richly inked and well-printed (near flawless). The sheet is in excellent condition, free of tears, holes, folds, and stains. To ensure stability and wider margins, the sheet has been laid on archival quality washi paper.

Dimensions:
• Sheet: 25 x 25.7 cm
• Plate mark: 21.9 x 24.5 cm
• Image borderline: 21.2 x 24.1 cm

Plate Lettering:
• Lower left corner: “Bracquemond. del. et sculp.”
• Upper right corner: “13. Bracquemond (signature)”
• Lower right corner: “DERNIÈRE RÉFLÉXION / Vve A.Cadart, 56, Bd Haussmann, Paris”

References:
• Beraldi 80 (Henri Béraldi 1888, Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRACQUEMOND, vol. 3, Paris, Librairie L. Conquet, pp. 39–40, cat. no. 80 [state 3])
• IFF 322 (Jean Laren & Jean Adhémar 1942, Inventaire du Fonds Français après 1800: BOCQVIN–BYON, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 378, cat. no. 322 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f387])
• See also the descriptions of this print offered by the British Museum (https://www.britishmuseum.org/collection/object/P_1915-0105-14-86) and the National Gallery of Art (https://www.nga.gov/artworks/226572-jacob-meyer-heine).

Price & Shipping:
AU$286 (approximately US$186.96 / €161.11 / £141.01), including worldwide express shipping.
Please note: Import duties and taxes are the buyer’s responsibility.

If you're interested in acquiring this confidently inscribed portrait that Beraldi (1888) advises was drawn from life (“gravé d'après nature” [p. 40]) of Jacob Meyer-Heine (1805–1879)—the head enameller at the Sèvres porcelain factory—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Félix Bracquemond, “La Récolte des Pommes de Terre”, 1868, after Jules Breton

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)

“La Récolte des Pommes de Terre” (aka “The Potato Harvest”), 1868, after Jules Breton’s (aka Jules Adolphe Aimé Louis Breton) (1827–1906) painting shown in the Salon of 1868 (see https://www.artrenewal.org/artworks/the-potato-harvest/jules-adolphe-breton/3172), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts” (1^st August, 1868) between pages 10 and 11.

Etching and drypoint with pale plate tone on laid paper with a small margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 19.1 x 14.8 cm; (image borderline) 16.3 x 13.3 cm.

Lettered in plate below the image borderline: (left) “JULES BRETON PINX./ Gazette des Beaux-Arts.”; (centre) “LA RÉCOLTE DES POMMES DE TERRE.”; (right) “BRACQUEMOND SCULP./ Imp. A. Salmon_Paris.”

State iii (of iii) with the addition of publication details.

Beraldi 290 (Henri Béraldi 1888, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRACQUEMOND”, vol. 3, Paris, Librairie L. Conquet, pp. 102–03, cat. no. 290 [state 3]); IFF 245 (Jean Laren & Jean Adhémar 1942, “Inventaire du Fonds Français après 1800: BOCQVIN–BYON”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 372–73, cat. no. 245 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f381.item]).

The British Museum offers the following description of this print: “Two peasant women in a field; the woman at right stands holding a sack, into which the other woman, at left, pours potatoes from her woven basket, while kneeling on the ground; in the immediate foreground, pebbles at left and a spade a right; after Jules Breton … 1868/ Etching with drypoint” (https://www.britishmuseum.org/collection/object/P_1924-1126-24

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

I am selling this elegantly simple and powerful image by one of the major printmakers of 19^th century France, for AU$207 (equivalent to approximately US$132, EUR 125.48, or GBP 104.15 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$207).

If you are interested in purchasing this sensitively executed and exceptionally beautiful 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

Félix Bracquemond, “La Toilette”, 1873, after Corot

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)

“La Toilette” (The Bath), 1873, after Jean-Baptiste-Camille Corot’s (1796–1875) painting, “Landscape with Figures” (aka “La Toilette”) (1859) in a private collection (see https://commons.wikimedia.org/wiki/File:Corot_-_La_Toilette,_1859.jpg), published with the cover sheet showing this etching (with drypoint) as plate XXXII (32) in “Galerie Durand-Ruel”.

Etching with drypoint printed with pale plate tone on fine cream laid paper with full margins as published along with the original cover sheet.

Size: (sheet) 29.4 x 19.3 cm; (platemark [soft]) 17.9? x 10.3? cm; (image borderline) 15 x 7.7 cm.

Numbered in plate above the image borderline: (right) “32”.

State iii (of iii) as published under number 32 of the Durand-Ruel Gallery (see Beraldi, vol III, p. 108).

IFF 345 (Jean Laren 1942, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, pp. 379-80, cat. no. 345, no. 32 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f388.item]): Beraldi 337.III (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRACQUEMOND”, vol. III, Paris, Librairie L. Conquet, p. 108, cat. no. 337.III).

The British Museum offers the following description of this print: “In a wood, at the foot of tall trees, a woman stands, dressing a young woman who has just bathed; both women sit before a small river; both women are engaged with arranging the naked woman's hair; beyond at right, a third woman leaning against a tree, reading; after Corot. 1873/ Etching and drypoint” (https://www.britishmuseum.org/collection/object/P_1924-1126-84).

Condition: a strong and well-printed (faultless) impression with full margins as published and the original cover sheet. Both sheets are in a pristine condition with no tears, holes, folds, significant stains or signs of handling.

I am selling this superb etching showing Bracquemond’s translation of Corot’s painting into line for AU$248 in total (currently/approximately US$164.79/ EUR152.11/ GBP130.81 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. Note that payment is in Australian dollars (AU$248) as this is my currency.

If you are interested in purchasing this small but dazzlingly beautiful etching with its original cover sheet in a pristine condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Maxime Lalanne, “Le Matin”, 1882, after Théodore Rousseau

Maxime Lalanne (aka François Antoine Maxime Lalanne) (1827–1886)

“Le Matin” (title as inscribed in plate) (aka “Morning”; “La Mare” [Beraldi’s title]), 1882, after a painting by Théodore Rousseau (aka, Pierre Etienne Théodore Rousseau) (1812–1867), printed by Abraham Beillet (fl.1850–76/83) and published in the “Gazette des Beaux-Arts” in August 1883 as an insert between pages 118 and 119.

Interestingly, ten years before Lalanne executed “Le Matin”, Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914) etched, “Bouquet d'Arbres près d'un cours d'Eau” (Bouquet of Trees near a Stream) (1872), that is also a translation of Rousseau's painting into line, but in the reverse direction to Lalanne's print: see https://www.britishmuseum.org/collection/object/P_1916-0411-23.

Etching on cream laid paper (watermarked “MBM” [Arches]) with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 18.1 x 25.4 cm; (plate) 16 x 24 cm; (image borderline) 12.4 x 18.9 cm.

Lettered in plate above the image borderline: (centre) “EXPOSITION DES CEMT CHEFS – D’ŒUVRE.”

Inscribed in plate within the image borderline: (lower left) “TH ROUSSEAU”; (lower right) “[signature] M Lalanne”.

Lettered in plate below the image borderline: (left) Th. Rousseau pinx./ Gazette des Beaux-Arts.”; (centre) “LE MATIN./ (Collection de M^me la Baronne N. de Rothschild.}; (right) “M. Lalanne sc./ Beillet imp.”

State iii (of iii) final published state with height of plate reduced.

Villet 156 (Jeffrey M. Villet 2010, “The Complete Prints of Maxime Lalanne”, Washington, D.C., art@mone fine prints, n.p., cat. no. 156).

Condition: a strong and well-printed impression with a small margin around the platemark. Beyond a few surface marks, the sheet is in a very good condition and has been laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this marvellous etching that (to my eyes) sparkles with morning light, for AU$187 in total (currently US $120.62/EUR 112.96/GBP 97.46 at the time of this listing) including Express (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 very beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Félix Bracquemond’s etching, “The Sands of Tombelaine and Mont St. Michel”, 1887

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)

“The Sands of Tombelaine and Mont St. Michel” (aka “Les Grèves de Tombelaine et du Mont Saint-Michel”), 1887, impression from the final lettered state published in 1895 in Paris by Georges Petit (1856–1920) in Rene Maizeroy’s (1856–1918) “La Mer”.

Etching on heavy wove paper with full margins as published.

Size: (sheet) 31.5 x 44.3 cm; (plate [faint]) 21.3 x 28.1 cm; (image borderline) 16 x 23.6 cm.

Lettered in plate below the image borderline: “Bracquemond inv & sc.”

Beraldi 781; IFF 409

The British Museum offers the following description of this print from an earlier state: “Landscape of the sea with a rock beyond at left and Mont Saint-Michel in the far distance; the beach in the left foreground with sticks in the sand; a flock of birds in flight at left towards Mont Saint-Michel; dramatic clouds in the sky; intended for the unpublished album 'La Mer'. Etching” (https://www.britishmuseum.org/collection/object/P_1926-0710-113).

Condition: a strong impression with generously wide margins in a near pristine condition with no tears, holes, folds or significant stains.

I am selling this very poetic portrayal of the mystical tidal island of Mont-Saint-Michel with its awe-inspiring abbey by one of the most famous printmakers of the nineteenth century, for the total cost of AU$298 (currently US$196.16/EUR180.88/GBP154.53 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 showing the deceptively inviting tidal path leading to Mont-Saint-Michel—mindful that this dangerous walkway that was upgraded to a causeway in 1879, has now been made safe by a connecting bridge in 2014—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