Théophile Chauvel, “À Samois près Valvins”, 1874

Théophile Chauvel (aka Théophile Narcisse Chauvel) (1831–1909)

Authorship Discrepancies:

Note that Henri Beraldi (1886), in his catalogue raisonné of Chauvel’s prints, lists this print as by Théophile Chauvel (see p. 148, cat. no. 33). In the lettered and published state of this print, the artist is shown as Théophile Chauvel. The British Museum catalogues this print as by C. Chauvel (1875–1907; active 1882–1907 according to Engen) and describes it as: “Plate 7: landscape with trees against hedgerow(?), shepherdess seen with sheep in a field to the right; from a volume of four years of 'L'Eau-Forte'. c.1875” (https://www.britishmuseum.org/collection/object/P_1915-0105-14-38).

“À Samois près Valvins” (In Samois near Valvins), 1874

Commentary on the Title & Subject:

Beraldi (1886) provides an amusing anecdote regarding the title (translated): “Here, it's obvious the reader will raise an objection. Samois, they'll say, is located near the Fontainebleau Forest. Now, it's generally accepted that olive trees don't grow in the Fontainebleau Forest! Answer: This landscape is a view of the area around Montpellier. But a landscape worthy of respect could only have been painted in the Fontainebleau Forest or other such locations, which Montpellier is not. That's why Cadart insisted on naming this print: ‘At Samois near Valvins’.” (p. 148)

Technical Details & Condition:

Etching with drypoint on fine Japanese washi paper, professionally mounted to a secondary support sheet. This is an early proof state before the addition of lettering, in the fifth and final published state by Alfred Cadart’s widow (Vve Cadart), in “L'Eau-Forte en 1875” as plate number 7.

Archive.org provides access to this publication, which features the context of this print and Philippe Burty’s accompanying discussion: https://gallica.bnf.fr/ark:/12148/btv1b8527610g/f23.item.

The impression is strong, crisp, and evenly printed—a faultless artist’s proof. The sheet remains in near-pristine condition, free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 25.4 x 20.2 cm
• Platemark: 22 x 15.8 cm
• Image borderline: 20.4 x 14.8 cm

In-Plate Lettering:

• Lower-left corner: “Ch. Chauvel 74”— interestingly, Beraldi (1886) only records the inscription as “Chauvel 74,” omitting the “Ch.” prefix.

References:

• Beraldi 33 (Henri Beraldi, “Les Graveurs Du Xixe Siecle:  Brascassat–Chéret”, vol. 4, 1886, Paris, Librairie L. Conquet, p. 148, cat. no. 33)
• IFF 28 (Jean Adhémar “Inventaire du Fonds Français après 1800: CABANE–CICÉRI”, vol. 4, 1949, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 421, cat. no. 28)
• British Museum: Museum Number 1915,0105.14.38

Price & Shipping:

AU$243 (approx. US$169.01 / €148 / £126.11), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this exceptionally fine proof impression of a poetically beautiful scene—depicting silhouetted trees, a shepherdess, and her flock in the distance—please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless and protected transaction.

Théophile Chauvel, “Tronc d'Arbre” (2nd copy), 1877, after Narcisse Diaz de la Peña

Théophile Chauvel (also known as Théophile-Narcisse Chauvel) (1831–1909)

“Tronc d'Arbre” (Tree Trunk), 1877—this is the second copy of this etching that I have listed (the previous copy has been sold)

Technical Details & Condition:

Etching on laid paper with with wide margins as issued. This work is based on a painting by Narcisse Diaz de la Peña (also known as Narcisse Virgile Diaz de la Peña) (1807–1876). It was printed in Paris by François Liénard (fl. c. 1860s–1880s) and published in the French art periodical L'Art. The impression is from the final published state (state vi).

This is a richly inked, well-printed (near faultless) impression with generous margins. Aside from a thin spot in the margin at the lower right—an imperfection in the paper—the sheet is in near pristine condition, free of tears, holes, folds, abrasions, stains, or signs of handling.

Dimensions:

• Sheet: 42.3 x 29.5 cm
• Platemark: 28.7 x 22 cm
• Image borderline: 25.9 x 18.8 cm

In-Plate Lettering (below the image borderline):

• Left: “N. Dias, pinx. / L'Art.”
• Centre: “TRONC D'ARBRE.”
• Right: “Th. Chauvel sc. / F^çois Liénard,Imp,Paris.”

References

• IFF 54 (Jean Adhémar, Inventaire du Fonds Français après 1800: CABANE–CICÉRI, vol. 4, 1949, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 423, cat. no. 54). See: https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f445.item
• Delteil 54 (p. 50)
• British Museum: https://www.britishmuseum.org/collection/object/P_1878-0511-283

Price & Shipping:

AU$238 (approximately US$170.40 / €144.70 / £126.02), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you’re interested in acquiring this superb and densely worked etching—particularly notable for the subtle variations of tone used to capture the pocket of filtered light falling softly on the central tree, which seems to glow in the forest darkness—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

Théophile Chauvel, “Falaises de Dieppe”, 1877, after Jean Baptiste Antoine Guillemet

Théophile Chauvel (1831–1909)

“Falaises de Dieppe” (Cliffs of Dieppe), 1877

Technical Details & Condition:

Etching on fine buff laid paper with full margins as issued. This etching was printed in Paris by François Liénard (fl. c. 1860s–1880s) and published in the French art periodical L'Art in 1877. The design of the etching is after a painting by Jean Baptiste Antoine Guillemet (1841–1918), exhibited at the Salon of 1877.

This is a strong, well-printed impression (nearly faultless). The sheet is in near-pristine condition, free of tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 28.8 x 43.1 cm
• Platemark: 21.8 x 29 cm
• Image borderline: 18.1 x 25 cm

In-Plate Lettering:

• Above image at centre: “Solon de 1877”
• Below image at left: “A.Guillemet,pinx. / L'Art.”
• Below image at centre: “FALAISES DE DIEPPE”
• Below image at right: “Th. Chauvel sc. / 'F^çois Liénard,Imp,Paris”

References

• IFF 53 ((Jean Adhémar, Inventaire du Fonds Français après 1800: CABANE–CICÉRI, 1949, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 4, p. 423, cat. no. 53) See: https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f445.item
• Beraldi 52 (Henri Beraldi, Les Graveurs du Dix-Neuvième Siècle: BRASCASSAT– CHÉRET, 1886, vol. IV, Paris, Librairie L. Conquet, p. 152, cat. no. 52)
• British Museum: https://www.britishmuseum.org/collection/object/P_1862-0809-150

Price & Shipping:

AU$238 (approximately US$170.60 / €144.98 / £126.22), including worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this remarkably sensitive depiction of the ephemeral and ever-changing clouds contrasted against the tactile solidity of the cliffs of Dieppe—note how Chauvel masterfully contrasts horizontal hatched strokes, capturing the subtle surface textures of the cliffs against the rhythmic upward flow of strokes depicting the sky—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth and safe transaction.

This print has been sold