Ferdinand Gaillard, “Horace Vernet”, 1863, after Paul Delaroche

Ferdinand Gaillard (also known as Claude Ferdinand Gaillard) (1834–1887)
“Horace Vernet”, 1863

Technical Details & Condition:

This is an exquisite etching (possibly with engraving) on wove paper, based on a drawing of the renowned artist Horace Vernet (also known as Émile Jean Horace Vernet) (1789–1863). Horace Vernet was the son of the painter Carle Vernet and the grandson of Claude Joseph Vernet. The work was created by Paul Delaroche (also known as Hippolyte Delaroche) (1797–1856). For further context, see https://www.musee-orsay.fr/fr/oeuvres/portrait-dhorace-vernet-dessin-de-paul-delaroche-61521.

This finely executed etching was printed by Chardon aîné (active in the 1850s–1860s) and published in Paris within the art periodical Gazette des Beaux-Arts, on 1 October 1863, spanning pages 320 to 321.

The print is in its final state—state iv (of iv)—after passing through three previous states. The initial state was solely executed in etching; the second featured an incomplete cravat and a half-modelled face possibly with engraving; the third achieved the desired effect with a darker background on the left. The fourth state, as shown here, includes the publication details. It’s worth noting that Beraldi (1887) describes four states, while Jean Adhémar & Jacques Lethève (IFF, 1954) suggest there are two.

The impression is strong, though the inscribed artist’s details are faint. The sheet is in near-pristine condition—free of tears, holes, folds, abrasions, or stains. The image is trimmed within the plate mark, and the sheet has been backed with archival-quality washi paper for support and broad margins.

Dimensions:

• Sheet: 25.3 x 17.4 cm

Plate lettering below the image:

• Left: “Gazette des Beaux-Arts”

• Left-of-centre (faint): “Pl Delaroche Del^t”

• Centre: “Horace Vernet”

• Right-of-centre (faint): “F. Galliard sculp^t”

• Right: “Imp. Chardon aîné, 30 r. Hautefeuille Paris.”

References:

• Beraldi 9 (Henri Beraldi, Les Graveurs du Dix-Neuvième Siècle: DORÉ –GAVARD, 1887, vol. VI, Paris, Librairie L. Conquet, p. 198, cat. no. 9) — https://archive.org/details/lesgraveursdu19e06berauoft/page/198/mode/2up
• IFF 24 (Jean Adhémar & Jacques Lethève, Inventaire du Fonds, Français: Graveurs du XVIIe Siècle, 1954, Paris, Bibliothèque Nationale, Département des Estampes, vol. 8, p. 315, cat. no. 24) — https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f327.item

Price & Shipping:

AU$242 (approximately US$162.48 / €138.01 / £120.33), inclusive of worldwide express shipping. Please note that import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this technically outstanding and visually stunning etching by one of the most skilled 19th-century engravers—a true masterwork—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Ferdinand Gaillard, “Monseigneur Pie, Évêque de Poitiers”, 1879

Ferdinand Gaillard (aka Claude Ferdinand Gaillard) (1834-87)

“Monseigneur Pie, Évêque de Poitiers” (Monsignor Pie, Bishop of Poitiers), 1879, engraving printed by Charles Chardon aîné (fl.1850–1880) and published in Paris in the art periodical, “La Gazette des Beaux-Arts” (1^st March 1879), as an insert between pages 226 and 227.

Engraving on chine collé (China) paper removed from its original backing and laid onto a support sheet providing wide margins.

Size: (chine collé sheet) 22.4 x 15.9 cm; (image borderline) 19.3 x 14.3 cm.

Lettered in plate below the image borderline: (left [partially trimmed]) “Gazette des Beaux-Arts”; (centre) “MONSEIGNEUR PIE/ ÉVÊQUE DE POITIERS”; (right) “Dessiné et Gravé par GAILLARD/ Imp.Ch. Chardon ainé”.

Beraldi 40 (Henri Beraldi 1887, “Les Graveurs du Dix-Neuvième Siècle: DORÉ –GAVARD”, vol. VI, Paris, Librairie L. Conquet, p. 207, cat. no. 4 [see https://archive.org/details/lesgraveursdu19e06berauoft/page/206/mode/2up]); IFF 66 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds, Français: Graveurs du XVIIe Siècle”, Paris, Bibliothèque Nationale, Département des Estampes, vol. 8, p. 318, cat. no. 66 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f330]).

See also the description of this print offered by the British Museum: (https://www.britishmuseum.org/collection/object/P_2006-U-1329 [BM inv. 1981,U.438]).

Condition: a strong and well-printed (near faultless) impression with small margins and laid upon a sheet of millennium quality washi paper providing wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions or stains.

I am selling this technically outstanding and very beautiful engraving by one of the most skilful of the 19^th century master engravers, for a total cost of AU$242 (currently US$152.99/ EUR 146.29/ GBP 121.84 at the time of posting this listing) including Express Mail (EMS) postage and handling to any location worldwide. Please note that import duties or taxes may apply in certain countries and are not included in the price. Payment is requested in Australian dollars (AU$242).

If you are interested in purchasing this breathtakingly fine engraved portrait of Cardinal Louis Edouard Pie (aka Bishop Poitiers) (1815–1880) in the year that he was made Cardinal (1879), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Achille Jacquet, “La Sainte Famille”, 1876, after Michelangelo (2nd copy)

Achille Jacquet (1846–1908)

“La Sainte Famille” (aka “The Holy Family”; “Doni Tondo”; “Doni Madonna”), 1876, after Michelangelo’s 1506 painting, “Doni Tondo”, in the Uffizi Gallery in Florence, printed by Charles Chardon aîné (fl. mid-1800s) and published in Paris in 1876 between pages 143 and 145 in the Gazette des Beaux Arts, vol. 38 (see https://archive.org/details/gazettedesbeauxa38pari/page/n146/mode/2up).

Interestingly, the Gazette des Beaux Arts advises that this engraving “[transl.] … is the first reproduction with a burin that has been made of this famous work”—Michelangelo’s “Doni Tondo” (p. 145).

Engraving with etching on chine collé on wove paper, trimmed with a small margin around the chine collé and backed with a support sheet.

Size: (sheet) 24 x 16.6 cm; (chine collé) 21 x 15.6 cm; (image borderline dia.) 14.3 cm.

Lettered in plate below the image borderline: (left) “MICHEL ANGE PINX./ Gazette des Beaux-Arts.”; (centre) “LA SAINTE FAMILLE/ MUSÉE DES OFFICES.”; (right) “ACHILLE JACQUET SC./ Imp Ch.Chardon ainé, Paris”.

Beraldi 5 (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Guérin–Lacoste”, vol. VIII, Paris, Librairie L. Conquet, p. 218, cat. no. 5 [https://archive.org/details/lesgraveursdu19e08berauoft/page/218/mode/2up]).

Condition: a well-printed impression in excellent condition with no tears, holes, folds, significant stains. The sheet is trimmed with a small margin around the chine collé and laid upon a support of archival (millennium quality) washi paper.

I am selling this marvellous jewel of nineteenth century engraving published as the first copy every made of Michelangelo’s famous tondo painting of the Holy Family, for the total cost of AU$223 (currently/approximately US$149.61/EUR137.65/GBP114.63 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$223) as this is my currency.

If you are interested in purchasing this exceptionally beautiful and rare engraving—mindful that it is not held in any of the major museum repositories—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second copy of this engraving that I have listed. The previous copy has been sold.

This print has been sold

Ferdinand Gaillard, “Crepuscule”, 1876, after Michelangelo (3rd copy)

Ferdinand Gaillard (aka Claude Ferdinand Gaillard) (1834-87)

“Crepuscule” (aka “Dusk”; “La Vierge de la Maison d'Orléans” [British Museum title]), 1876, after Michelangelo’s marble sculpture, “Dusk”, from the “Tomb of Lorenzo di Piero de’ Medici” in the Medici Chapel (Florence). This is an impression before the addition of lettered publication details for “La Gazette des Beaux-Arts”, 1876, and the printer’s note for Charles Chardon aîné (fl.1850s). Interestingly, the “Inventaire du Fonds, Français” (IFF) advises that only two impressions were made of this state (before the addition of the publication details); see (cat. no. 51) https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f329.

Engraving on buff-coloured chine collé (China) paper on thick white wove paper, with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 22.3 x 28 cm; (platemarks) 17.5 x 24 cm; (chine collé) 16.1 x 22.4 cm.

Inscribed in plate: (lower right) “Gaillard d’après Michel Ange”.

State iv (of v) showing the addition of the artist’s name after Michelangelo, but before the addition of publication details of state v.

Beraldi 32 (Henri Beraldi 1887, “Les Graveurs du Dix-Neuvième Siècle: DORÉ –GAVARD”, vol. VI, Paris, Librairie L. Conquet, p. 202, cat. no. 32 [see https://archive.org/details/lesgraveursdu19e06berauoft/page/202/mode/2up]); IFF 51 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds, Français: Graveurs du XVIIe Siècle”, Paris, Bibliothèque Nationale, Département des Estampes, vol. 8, p. 317, cat. no. 51).

The British Museum offers the following description of this print: “Dusk as a nude bearded man reclining on a curved pediment; after the statue designed by Michelangelo for the tomb of Lorenzo de' Medici in San Lorenzo, Florence; published in 'La Gazette des Beaux-Arts', January 1876/ Engraving on chine collé” (https://www.britishmuseum.org/collection/object/P_2006-U-1329).

Condition: an incredibly delicate impression—so finely executed that, without examining the print with the aid of a jeweller’s loupe, I struggle to see how it was engraved—with small margins and laid upon a sheet of millennium quality washi paper providing wide margins. Beyond minor surface grubbiness and a few nicks, the sheet is in a very good condition with no tears or significant stains.

I am selling this technically superb engraving that is one of the only two impressions from the rare 4^th state, by (arguably) the most skilful (or at least one of the most skilful) of the 19^th century master engravers, for a total cost of $282 (currently US$191.98/EUR173.20/GBP145.64 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$282) as this is my currency.

If you are interested in purchasing this engraved translation of Michelangelo’s famous sculpture into line, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the third impression of this print that I have posted. The previous impressions have been sold.

This print has been sold

Ferdinand Gaillard’s engraving, “Léon XIII”, 1880

Ferdinand Gaillard (aka Claude-Ferdinand Gaillard) (1834–1887)

“Léon XIII”, 1880, engraving of Pope Leo XIII (aka Gioacchino Vincenzo Pecci) (1810-1903), printed by Charles Chardon aîné (fl. mid-1800s; Charles Chardon [1832–1896]) and published in Paris in the art periodical, “Gazette des Beaux Arts” (1^st September, 1880), inserted between pages 210 and 215.

The Curator of the British Museum advises: “The print was exhibited at the Paris Salon in 1880 (no.7010)” (https://www.britishmuseum.org/collection/object/P_1981-U-435).

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

Size: (sheet) 24.9 x 17.2 cm; (plate) 23.7 x 16.8 cm; (chine collé) 22.3 x 15.3 cm; (image borderline) 17.3 x 13 cm.

Lettered in plate below the image borderline: (left) “F. GAILLARD del. et sc./ Gazette des Beaux Arts”; (centre) “LÉON XIII”; (right) “Salon de 1880/ Imp. Ch. Chardon aîné”.

Final state as published in the Gazette des Beaux-Arts. According to Beraldi (1887), the final state is state vi (of vi) but this must be a state after the sixth as the lettering does not match Beraldi’s description (see p. 204).

Beraldi 39 (Henri Beraldi 1887, “Les Graveurs du dix-neuvième siècle”, Paris, Librairie L. Conquet, vol. 6, pp. 204–07, cat. no. 39; see: https://archive.org/details/lesgraveursdu19e06berauoft/page/204/mode/2up); IFF 68.

For a superb analysis of Gaillard’s contribution and historical context, see Stephen Bann’s article, “Photography by Other Means? The Engravings of Ferdinand Gaillard” in “The Art Bulletin”, vol. 88, No. 1 (Mar., 2006), pp. 119–138 (https://www.jstor.org/stable/25067228).

Condition: a strong and well-printed (near faultless) impression trimmed with a small margin around the platemark and laid upon an archival support sheet of millennium quality washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, stains or foxing.

I am selling this exceptionally fine and very beautiful engraving by one of most famous of the nineteenth century engravers who is described by Félix Bracquemond as the “continuer and renovator of burin engraving” (see Bann [2006], p. 124), for the total cost of AU$208 (currently US$139.03/EUR125.79/GBP110.73 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 remarkable print by an engraver with skills that (arguably) will never be surpassed—note the finely rendered, near microscopic, details that are inscribed solely by hand—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.