Emile Lequeux, “Baiser Maternel”, 1907, after Eugène Carrière

Emile Lequeux (aka Emile L'Equeux) (1871–[after]1935)

“Baiser Maternel” (Mother's kiss), 1907, drypoint after Eugène Carrière’s (1849–1906) painting inscribed in the plate as being in the apartment of Madame Chausson, printed by A. Routy (fl.c.1907) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1^st April, 1907, between pages 266 and 267.  

Drypoint printed on buff coloured wove (washi) paper with narrow margins around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 27.6 x 14.3 cm; (plate) 26.3 x 13.7 cm; (image borderline) 22.1 x 10.9 cm.

Lettered in plate below the image borderline: (left) “Carrière pinx// Gazette des Beaux-Arts”; (centre) “Baiser Maternel/ (Appartient à Madame Chausson)”; (right) E. Lequeux sc./ Imp. A. Routy”.

IFF 5 ( “Inventaire du Fonds Français”, Paris, Bibliothèque Nationale de France, Département des Estampes).

Condition: a well-printed impression, trimmed with a small margin around the platemark and laid upon a support sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent condition with no tears, holes, folds or significant stains—note that there is a dot of white ink in the margin of the support sheet.

I am selling this poetically beautiful drypoint of exceptional delicacy—“like breath on glass”— for AU$228 (equivalent to approximately US$147.98, EUR 130.28, or GBP 110.81 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, if any, 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$228).

If you are interested in purchasing this smoke-like apparition of motherly love, 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

Eugène Carrière’s etching, “Réalitiés Ayant la Magie du Rêve”, 1888

Eugène Carrière (aka Eugène Anatole Carrière) (1849–1906)

“Réalitiés Ayant la Magie du Rêve” (Realities having the magic of dreams), 1888, an original etching (with drypoint) by Eugène Carrière, printed by F Bizolier (fl.1860–88) and published in 1888 by Alphonse Lemerre (1838-1912) in Paris in Jean Dolent’s “Amoureux d'Art”.

Etching and drypoint on cream laid paper, trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 11.2 x 11.2 cm; (plate); 8.6 x 13.9 cm; (image borderline) 7.7 x 13.1 cm.

Signed in plate within the image borderline: (upper right) “Eugène Carrière”.

Lettered in plate below the image borderline: (left) “Imp. Bizolier.”; (centre) “RÉALITIÉS AYANT LA MAGIE DU RÊVE”.

State iv (of iv) with addition of lettered publication details and title.

Delteil 1 iv (Loys Delteil 1913, “Le Peintre-Graveur Illustré: Eugène Carrière”, vol. 8, Paris, Loys Delteil, n.p., cat. no. 2, 4 État).

See also the description of this print offered by the RISD Museum: https://risdmuseum.org/art-design/collection/realities-ayant-la-magie-du-reve-19862257.

Condition: a richly inked and well-printed impression with a small margin around the platemark and laid onto a sheet of archival (millennium quality) washi paper. The sheet is in a near pristine (museum quality) condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this original etching by Eugène Carrière showing an intimate portrayal of a mother breast-feeding her child for AU$377 in total (currently US$266.85/EUR232.90/GBP197.32 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 very beautiful etching—note how the artist uses gentle exploratory marks to establish the contours of the figures’ forms, as if he were rendering them by a sense of touch—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

Eugène Carrière’s lithograph, “Homage to Tolstoy (Consolation)”, 1901

Eugène Carrière (1849–1906)

“Homage to Tolstoy (Consolation)” (aka “Hommage a Tolstoï” [Delteil title]; “Consolation”), 1901, proof on Japon paper, hand-signed in pencil by the artist. The Curator of the British Museum advises that this lithograph was published “in reproduction by 'La Plume' in 'L'Hommage à Tolstoy' (October 1901)” (see BM inv. no. 1913,0722.3). Loys Delteil in his catalogue raisonné of  Carrière’s prints quotes the following text accompanying the reproduction of this print in “La Plume”: (transl.) “Admirations seems to be to be the most passionate form of recognition. I deeply admire Tolstoy and am happy to say so. May 5, 1901. Eugène Carrière” (n.p., cat. no. 42). Delteil also advises that the stone (i.e., the printing plate for this lithograph) exists and is in the collection of Jean-René Carrière.

Lithograph printed in black ink on fine buff Japon paper with small margins, hand-signed by the artist in pencil at lower right, “Eugène Carrière”.

Size; (sheet) 27 x 18.7 cm; (image borderline) 23.1 x 15.4 cm.

State i (of i) artist’s proof hand-signed in pencil at lower right.

Delteil 42 (Loys Delteil 1913, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]”, vol. 8, Paris, Delteil, n.p, cat. no. 42).

The British Museum offers the following description of this print:

“Two women, one comforting the other. 1901 Lithograph, printed on oriental paper” (https://www.britishmuseum.org/collection/object/P_1913-0722-3).

See also the descriptions of this print at the Yale University Art Gallery and Kröller Müller: https://artgallery.yale.edu/collections/objects/12573; https://krollermuller.nl/en/eugene-carriere-homage-to-tolstoy-consolation.  

Condition:  a well-printed impression with small margins. Beyond remnants of mounting verso the sheet is in near pristine condition.

I am selling this exceptionally rare pencil-signed proof impression of a hauntingly beautiful lithograph—note the dream-like effect created by Carrière’s famous use of sandpaper on the stone to literally scrape the image out of the surrounding darkness (see https://www.brooklynmuseum.org/opencollection/objects/48591)—for the total cost of AU$376 (currently US$266.03/EUR237.13/GBP198.05 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 ultra rare lithograph, 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 

Timothy Cole’s wood engraving, “Intimacy”, 1910, after Eugène Carrière

Timothy Cole (1852–1931)

“Intimacy”, 1910, artist’s proof wood engraving after Eugène Carrière’s (1849–1906) oil painting, of the same name (aka “The Big Sister”), c1889. See Carrière’s painting at the Musee d'Orsay: http://www.musee-orsay.fr/en/collections/works-in-focus/painting.html?no_cache=1&zoom=1&tx_damzoom_pi1%5BshowUid%5D=1846

Wood engraving on tissue thin wove (Japan) paper signed by the artist in pencil and laid upon a support sheet of washi paper.

Size: (sheet) 26.3 x 20.8 cm; (plate/imageborderline) 19.3 x 13.5 cm

Inscribed on the plate within the image borderline: (lower left) “Eugène Carrière”; (lower right) “T. COLE Sc. 1910”

Hand signed in pencil by the artist in the margin at lower right.

Condition: exceptionally well-printed artist’s proof impression hand signed in pencil and laid upon a support sheet. There is a restored (closed) tear at the right and a few other almost invisible restorations at the outer edge, otherwise the print is in near pristine condition.

I am selling this very rare proof impression by one of the most famous of the reproductive wood engravers of the late 19^th and early 20^th centuries for the total cost of ... [deleted] including postage and handling to anywhere in the world.

If you are interested in purchasing this small masterpiece of wood engraving, 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

Interestingly, Carrière’s oil painting, “Intimacy” (aka “The Big Sister”), c1889, that Cole’s wood engraving reproduces was a milestone work in the Carrière’s oeuvre. According to the Musee d'Orsay, critics applauded the exhibition of the painting in the 1889 Paris Salon as demonstrating that Carrière was THE “painter of domestic life and mother and child figures”. There is more to this image, however, than showing a tender moment between the artist’s wife and daughters—Elise and Nelly. The image is poetic magic in its focus on the connection between the figures and reflects the interest of the Symbolist movement of the time, in the sense of capturing by metaphor “absolute truths” (https://en.wikipedia.org/wiki/Symbolism_(arts)).

Regarding Cole’s translation of Carrière’s painting into code of exceptionally fine horizontally engraved lines and subtle rhythms of white dots, the delicacy of his translation is almost unbelievable in terms of representing the lightly applied brushstrokes and tones of the painting’s grisaille colouring. Of course, Cole was the master of this very demanding medium of wood engraving and he is one of the most famous of the reproductive printmakers for his interpretation of early masters in line and dot. What makes this hand-signed artist’s proof worthy of extra attention is that Cole has managed to show in a very convincing way the blended modelling of an almost ethereal subject portrayed by a 19^th century master; a level of skill that is far removed from the crisp silhouette edges and sharp tonal contrast of many of the earlier artists Carrière is famous for reproducing. This is a masterwork of wood engraving!