Frédéric Laguillermie, “Chardin and Madame Chardin”, 1864, after Chardin

Frédéric Laguillermie (aka Frédéric Auguste Laguillermie; Frédéric Auguste La Guillermie) (1841–1934)

“Chardin and Madame Chardin”, 1864, after Jean Siméon Chardin’s (1699–1779) pastel portraits, “Self Portrait with Eyeshade” (https://www.artic.edu/artworks/102131/self-portrait-with-a-visor) and “Portrait of Madame Chardin” (https://www.artic.edu/artworks/88557/portrait-of-madame-chardin)—note that Chardin portrays himself wearing glasses and a visor as, like Edgar Degas, he suffered an eye condition in his later life (amaurosis?) possibly arising from his use of oil solvents and lead pigments leading him to transition to using pastels—printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris in the art periodical, “La Gazette des Beaux- Arts”, 1^st January, 1864, facing page 158 (see  https://gallica.bnf.fr/ark:/12148/bpt6k203080z/f166.double).   

Etching on cream chine collé on heavy wove paper trimmed with a small margin around the chine collé and backed with a support sheet providing wide margins.

Size: (sheet) 18.3 x 25.9; (chine collé) 14.9 x 22.9 cm.

Lettered in plate below the image borderlines: (left) Chardin pinx^t./ CHARDIN./ Gazette des Beaux-Arts.”; (right) “F. La Guillermie sculp^t./ M^ME CHARDIN./ Imp. Delâtre, à Paris.”

Condition: a strong and well-printed impression with a small margin around the chine collé and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond a thin patch on the forehead of Madame Chardin, the sheet is in an excellent condition with no tears, holes, folds or significant stains.

I am selling this beautiful double portrait that not only skilfully translates the subtleties of Chardin’s pastel studies into a loose network of line, but, more amazing, captures the living spirit of the portrayed subjects—for example, note how this brilliant etcher (a student of the great Léopold Flameng [1831–1911]) uses variation in the size and shape of the smallest of small white highlights on Madame Chardin’s eyes (viz. a square and a horizonal stroke) to invite the viewer to believe that she is using her left eye to contemplate the world—for AU$198 in total (currently US$136.27/EUR121.69/GBP101.71 at the time of posting 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$198) as this is my currency.

If you are interested in purchasing this pair of portraits, 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

Proof and lettered states of Jules de Goncourt’s etching, “Portrait de Chardin”, 1876, after Maurice Quentin de La Tour

Jules de Goncourt (aka Jules Alfred de Goncourt) (1830–1870)

“Portrait de Chardin”, 1876, proof and lettered states of the same portrait of the famous painter, Jean Siméon Chardin (aka Jean Baptiste Siméon Chardin) (1699–1779), by the pastellist Maurice Quentin de La Tour (aka Maurice Quentin Delatour) (1704–1788), printed by François Liénard (fl. c1860s–1880s) and published in Paris for the periodical “L’Art”.

(left) Proof state etching on Japan paper before lettering. A strongly inked and well-printed impression on tissue-thin paper in pristine condition. Size: (sheet) 41.5 x 29.6 cm; (plate) 31.9 x 24.4 cm. Inscribed in plate: (upper left) “J.G.12.”

(right) Lettered state etching on cream laid paper as published in “L’Art”. A near faultless impression in almost pristine condition. Size: (sheet) 41.3 x 28.7 cm; (plate) 31.7 x 24.2 cm; (image borderline) 28.6 x 22 cm.

Inscribed in plate within the image borderline: (upper left) “J.G.12.”

Lettered in plate above the image borderline: (centre) Exposition de dessins de Maitres Anciens, a l’Ecole des Beaux-Arts”.

Lettered in plate below the image borderline: (left) “La Tour del./ L’Art.”; (centre) “PORTRAIT DE CHARDIN/ (Collection de Mr. Eudoxe Marcille)”; (right) J. de Goncourt sc/ F.s Liénard Imp. Paris”.

Burty 14 (Philippe Burty 1876, “Eaux-fortes de Jules de Goncourt”, Paris, Librairie de L’Art, p. 4, cat. no. 14 [Masque de Chardin]; see https://archive.org/details/gri_33125008529303/page/n33/mode/2up and illustration https://archive.org/details/gri_33125008529303/page/n63/mode/2up).

See also the description of this print in its lettered state offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1880-0214-214.

I am selling this remarkable pair of etchings showing different states (i.e. stages) in the execution of a portrait of the famous still-life painter, Chardin, for the total cost of AU$500 for the pair (currently US$374/EUR315.95/GBP270.23 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 these fascinating etchings offering an insight into how an artist has refined an image for publication, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

These prints have been sold

Auguste Brouet’s etching and aquatint, “The Grace”, c1875, after Jean-Baptiste-Siméon Chardin

Auguste Brouet (1872–1941)

"The Grace" (aka “Saying Grace”; “The Prayer Before the Meal”; “Le Bénédicité”), c1875 (note that this is a tentative date based on the period when Brouet was making large reproductive etchings printed in colour—which this plate was later editioned), after Jean-Baptiste Siméon Chardin’s (1699–1779) famous painting(s) (c1740)—there are a few variants painted by Chardin (see https://en.wikipedia.org/wiki/Saying_Grace_(Chardin)). This is a trial-proof signed in pencil before lettering for publication—possibly in Munich by Bischoff & Höfle (fl. 1900–1909)—and its later printing in colour. According to the very interesting website, “Auguste Brouet - Le Journal”, there were trial proofs from Eugène Delâtre's stock (C. Collin, April 2007 catalog)”, but this impression does not bear the red mark of Eugène Delâtre (see http://rep.auguste-brouet.org/index.php?pages/LEs-eaux-fortes-en-couleur-de-reproduction).

Etching and aquatint, trial proof before lettering, printed in brown (umber) ink on laid paper, hand signed in pencil by the artist on lower right margin.

Size: (sheet) 55.7 x 48.8 cm; (plate) 51.9 x 42.7 cm; (image borderline) 48.5 x 40.5 cm.

Condition: strong impression (trial proof) with small margins in near faultless condition (i.e. there are no tears, holes, folds, abrasions, losses, stains, foxing or significant signs of handling) apart from pencil notations by a previous collector at the lower edge of the sheet (recto and verso).

I am selling this large and rare etching with aquatint—note that I have been unable to find this print in any of the major museums—after one of the most famous paintings by Chardin for AU$498 (currently US$355.66/EUR299.68/GBP272.79 at the time of posting 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 stunning museum-quality, pencil signed, artist’s proof before the later edition when the plate was printed in colour, 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