Théophile Chauvel, “Clair de Lune”, 1873, after John Crome the Younger

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

“Clair de Lune” (Moonlight), 1873, after a painting by John Crome the Younger (aka John Barney Crome; John Berney Crome) (1768-1821), printed by François Liénard (fl.c.1860s–1880s) and published in Paris by Jules Alexandre Saturnin Claye (aka Jules Claye) (1806–1886) between pages 16 and 17 in “Collection de M. John W. Wilson: exposée dans la Galerie du Cercle Artistique et Littéraire de Bruxelles: Et Littéraire de Bruxelles, Au Profit Des Pauvres de Cette Ville” (Collection of Mr. John W. Wilson exhibited in the gallery of the Artistic and Literary Circle of Brussels, for the benefit of the poor of that city).

Archive.org offers an online view of this print and its context in the publication: https://archive.org/details/collectiondemjoh00gale/page/n41/mode/2up. The accompanying text facing the print gives the following description: (transl.) “In the foreground, on the left, are the crenelated wall and a tower of a ruined castle. To the right, water, a willow, and other trees. The rising moon pierces this clump of trees with its rays.”

Note: The IFF (Inventaire du Fonds Français) (1949) advises that John Crome the Elder (aka “Old Crome”) (1768–1821) made the painting on which this etching is based (see cat. no. 26, p. 421 [https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f443.item]. Nevertheless, I am mindful that reference to John Crome the Younger (John Barney Crome) is inscribed in plate as the painter and that after looking through Norman L. Goldberg’s [1978] catalogue of works by John Crome the Elder that this painting is not described.

Etching on laid paper with full margins as published.

Size: (sheet) 35.3 x 26.2 cm; (plate) 22.8 x 17.7 cm; (image borderline) 18.5 x 15.7 cm.

Lettered in plate below the image borderline: (left) “John Barney Crome pinx.”; (centre) “CLAIR DE LUNE/ F^çois Liénard,Imp.Paris.”; (right) “Th.Chauvel, sc.”

IFF 26 (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: CABANE–CICÉRI”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 4, p. 423, cat. no. 26 [see https://gallica.bnf.fr/ark:/12148/bpt6k5510949t/f443.item]).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1877-1013-1817.

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this superb and densely worked etching, for AU$238 approximately (US$155.30, EUR 132.75, or GBP 115.15), with worldwide express shipping included. Please note that any applicable import duties are the buyer’s responsibility.

If you're interested in purchasing this evocative etching, which depicts a softly glowing scene of moonlight illuminating castle ruins and, upon close inspection, a worker carrying a bundle of timber, please contact me at oz_jim@printsandprinciples.com. I will gladly send you a PayPal invoice to streamline the payment process.

Charles Waltner, “Tête de Bélier Mort”, 1873, after Constant Troyon (2nd copy)

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“Tête de Bélier Mort” (Dead Ram's Head), 1873, from the series of sixty-eight plates, “Tableaux de premier ordre anciens et modernes composant la galerie de M. John W. Wilson” (Ancient and modern first-rate paintings composing the gallery of Mr. John W. Wilson), after the painting of the same composition by Constant Troyon (1810–1865), printed by François Liénard (fl. c.1860s–1880s) and published in Paris by Jules Claye (aka Jules Alexandre Saturnin Claye) (1806–1886) in 1873.

I understand that the artworks from the former John W Wilson’s collection (which this etching and the others in the series reproduce) were exhibited in the Wilson’s gallery to showcase (transl.) “the artistic and literary Circle of Brussels. For the benefit of the poor of this city” (see Lambertus Vincentius Ledeboer 1878 “Catalogue raisonné de la bibliothèque de M. Lambertus Vincentius Ledeboer Bzn”, Rotterdam, Van Hengel & Eeltjes, pp. 139–40; https://archive.org/details/catalogueraison00ledegoog/page/n155/mode/2up).  

Etching with drypoint on cream laid paper with full margins as published.

Size: (sheet) 35.1 x 26 cm; (plate) 23.2 x 17.8 cm; (image borderline) 16.7 x 13.7 cm.

Inscribed in plate within the image borderline: (lower left corner) “Waltner 1873/ C. T.”

Lettered in plate below the image borderline: (left) “C.Troyon, pinx.”; (centre) “TÊTE DE BÉLIER MORT./ F^çois Liénard,Imp.Paris”; (right) “'Ch.Waltner, sc.”

Beraldi 42 (Henri Béraldi 1892, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Saint-Marcel–Zwinger”, vol. XII, Paris, Librairie L. Conquet, p. 262, cat. no. 42 [https://archive.org/details/lesgraveursdu19e12berauoft/page/262/mode/2up]).

The British Museum and the Philadelphia Museum of Art offer descriptions of this print: https://www.britishmuseum.org/collection/object/P_1877-1013-1879; https://www.philamuseum.org/collection/object/7460.

Condition: a strong and well-printed impression with wide margins in a near pristine condition with no tears, holes, folds, abrasions, losses, stains or signs of handling.

I am selling this visually arresting and symbolically potent etching projecting (for me) meanings including sacrifice—in the sense of the biblical reference to Abraham's sacrifice of a ram in place of his son—to feelings of respect for the animal’s fearless male determination, for AU$234 (equivalent to approximately US$151.76, EUR 133.33, or GBP 111.89 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, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$234).

If you are interested in purchasing this superbly executed and pictorially challenging etching, 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 impression of this print that I have listed (the previous copy has been sold).

This print has been sold

Charles Waltner’s etching, “Tête de Bélier Mort”, 1873, after Constant Troyon

Charles Waltner (aka Charles Albert Waltner) (1846–1925)

“Tête de Bélier Mort” (Dead Ram's Head), 1873, from the series of 68 plates, “Tableaux de premier ordre anciens et modernes composant la galerie de M. John W. Wilson” (Ancient and modern first-rate paintings composing the gallery of Mr. John W. Wilson), after the painting of the same composition by Constant Troyon (1810–1865), printed by François Liénard (fl. c1860s–1880s) and published in Paris by Jules Claye (aka Jules Alexandre Saturnin Claye) (1806–1886) in 1873.

I understand that the artworks from the former John W Wilson’s collection (which this etching and the others in the series reproduce in 68 plates) were exhibited in the Wilson’s gallery to showcase (in transl.) “the artistic and literary Circle of Brussels. For the benefit of the poor of this city” (see Lambertus Vincentius Ledeboer 1878 “Catalogue raisonné de la bibliothèque de M. Lambertus Vincentius Ledeboer Bzn”, Rotterdam, Van Hengel & Eeltjes, pp. 139–40; https://archive.org/details/catalogueraison00ledegoog/page/n155/mode/2up).  

Etching with drypoint on cream laid paper with a small margin around the platemark.

Size: (sheet) 28.5 x 20.5 cm; (plate) 23.5 x 18 cm; (image borderline) 16.8 x 13.8 cm.

Inscribed in plate within the image borderline: (lower left corner) “Waltner 1873/ C. T.”

Lettered in plate below the image borderline: (left) “C.Troyon, pinx.”; (centre) “TÊTE DE BÉLIER MORT.”; (right) “'Ch.Waltner, sc.”

Beraldi 42 (Henri Béraldi 1892, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Saint-Marcel–Zwinger”, vol. XII, Paris, Librairie L. Conquet, p. 262, cat. no. 42 [https://archive.org/details/lesgraveursdu19e12berauoft/page/262/mode/2up]).

The British Museum offers the following description of this print: “Ram's head on a tray, after Troyon Etching” (https://www.britishmuseum.org/collection/object/P_1877-1013-1879).

See also the description of this print offered by the Philadelphia Museum of Art:  https://www.philamuseum.org/collection/object/7460.

Condition: a strong and well-printed impression in pristine condition (i.e., there are no tears, holes, folds, abrasions, losses, stains, foxing or signs of handling).

I am selling this visually arresting and symbolically potent etching projecting (for me) meanings including sacrifice—in the sense of the biblical reference to Abraham's sacrifice of a ram in place of his son—to feelings of respect for the animal’s fearless male determination, for the total cost of AU$224 (currently US$161.19/EUR141.38/GBP118.19 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 superbly executed and pictorially challenging 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