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

Adolphe Martial Potémont’s etching, “La Glaneuse”, 1877, after Jules Breton

Adolphe Martial Potémont (aka Adolphe Martial; Adolphe Théodore Jules Martial Potémont) (1828–1883)

“La Glaneuse” (The Gleaner), 1877, after a painting by Jules Breton (aka Jules Adolphe Aimé Louis Breton) (1827–1906) exhibited in the Salon of 1877, printed in Paris by Abraham Beillet (aka Beillet & Forestier) (fl.1850–1877) and published in the art periodical, “L'Art” in 1877, facing page 282 (see https://gallica.bnf.fr/ark:/12148/bpt6k1055732g/f334.double).

Etching on cream laid paper.

Size: (sheet) 36 x 22 cm; (plate) 30.9 x 17.7 cm; (image borderline) 24.2 x 13 cm

Lettered in plate: (above the image borderline) “Salon de 1877.”; (below the image at left) “Jules Breton,pinx./ L'Art.”; (below the image at centre) “[artist’s monogram]/ LA GLANEUSE.”; (below the image at right) “A.P.Martial, sc/ Imp.A.Beillet,Paris”.

Beraldi 26 (Henri Béraldi 1891, “Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes: PILLEMENT - SAINT-ÈVRE”, vol. 11, Paris, Librairie L. Conquet, p. 36, cat. no. 26 [Reproductions diverses]). See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1878-0511-341.

Condition: a strong and well-printed impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this graphically striking etching of a barefoot young woman carrying a sheath of wheat with fellow farm-workers shown in the distance, for AU$203 in total (currently US$132.39/EUR121.91/GBP104.19 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 iconic image from nineteenth century France casting an aura of nobility over peasant workers, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Léon Le Goaebe de Bellée’s etching, “Matin d'Octobre”, 1866

Léon Le Goaebe de Bellée (aka Léon Le Gæësbe de Bellée) (1846–1891)

"Matin d'Octobre" (October Morning), 1866, frontis illustration to the poem, "Matin d'Octobre", dedicated to Jules Breton (aka Jules Adolphe Aimé Louis Breton) (1827–1906),  by Camille-André Lemoyne (1822–1907), printed by Auguste Delâtre (1822–1907) and published by Firmin Didot Frères Fils (1790–1876) in “Les Charmeuses”, 1866, Paris.

Etching with drypoint and plate tone on laid paper backed with a support sheet

Size: (sheet) 24.3 x 16.3 cm; (plate) 16.3 x 11.2 cm; (image borderline) 15.4 x 11.2 cm

There are no inscriptions or lettered publication details suggesting that this impression is a proof state, but I have not seen the original publication to confirm whether lettered text was added for publication.

Condition: faultless impression in pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of handling) backed with a support sheet of archival (millennium quality) washi paper.

I am selling this delicate and poetically intimate nature study by one of the peripheral artist of the Barbizon School (in the sense that he made studies like this in the forest of Fontainebleau and published his prints in Frédérick Henriet’s (1876) “Le Paysagiste aux champs, croquis d'après nature”) for AU$148 (currently US$108.97/EUR93.60/GBP83.65 at the time of posting this print) 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 delicate etching revealing the artist’s close observation of tangled weedy scrub at the edge of a steam, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

As a fontis illustration for Camille-André Lemoyne’s poem, “Matin d'Octobre" dedicated to the 19^th century French Realist painter of countryside, Jules Breton, I thought I would extract a few critical lines from Lemoyne’s poem that might help to contextualise this nature study. (Note: for those who may be appalled to read my “butchering” of Lemoyne’s poem in an English translation, the full text in French is available at Poésie Française et Francophone d’Hier & d’Aujourdhui: https://www.poemes.co/matin-d039octobre.html)

“The sun rose red like an orb on a forest pond …comes up lighting the mist, and … gives golden leaves. And on the green carpets of the big clearing … the fine grass that grows … on the cool edge of the ponds … A little girl (she is seven or eight years old) …leading her red cow, She already knows the fine grass that grows lively and drunken, in the fall, on the cool edge of the ponds.”