Charles Courtry, “L'Ecureuse”, 1876, after Jean Siméon Chardin

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“L'Ecureuse” (aka “The Scullery Maid”; “The Cookmaid”), 1876, after Jean Siméon Chardin’s (aka Jean-Baptiste-Siméon Chardin) (1699–1779) painting, “The Scullery Maid”, c.1738 (see https://www.nga.gov/collection/art-object-page.110960.html), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts” (1st March, 1876) between pages 430 and 431.

Etching on fine laid paper with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.5 x 16.2 cm; (plate, soft impression) 16.8 x 13.4 cm; (image borderline) 13.3 x 11 cm.

Lettered in plate below the image borderline: (left) “CHARDIN PINX./ Gazette des Beaux-Arts.”; (centre) “L'ECUREUSE.”; (right) “CH. COURTRY SCULP./ Imp. A. Salmon, Paris.”

IFF 72 (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: Cidoine–Daumier”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, p. 280, cat. no. 72 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f292.image]).

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

I am selling this finely executed etching after Jean Siméon Chardin’s famous painting, for AU$207 (equivalent to approximately US$132.68, EUR 116.95, or GBP 99.81 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 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$207).

If you are interested in purchasing this exceptionally beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Courtry, “Landscape with Two Cows and a Calf”, 1875, after Emile van Marcke de Lummen

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Landscape with Two Cows and a Calf”, 1875, a proof-state impression before the completion of the tonal rendering (see  https://www.britishmuseum.org/collection/object/P_1881-1112-141) and lettering for publication by Goupil (fl.1827–1919), signed in pencil by Charles Courtry after Emile van Marcke de Lummen’s (1827–1890) painting.

Note that the British Museum proposes the title, “Le Gué de Mouthiers” [The Mouthiers Ford]) (see inv. no. 1881,1112.141) following Henri Béraldi’s (1889) title of catalogue number 28 (vol. 5, p. 63), but Jean Adhémar (1949) (see IFF, number 101, vol. 5, p. 283) advises that the date of the print is 1880. This date of 1880 is different to the date, “[18]75”, inscribed in the plate. Consequently, this title may refer to a different print.

Etching with plate tone on laid paper, pencil-signed, proof-state impression with wide margins.

Size: (sheet) 44.4 x 58.9 cm; (platemark) 35.6 x 47.9 cm; (image borderline) 28.4 x 40.1 cm.

Inscribed (scratch lettering) in plate below the image borderline: (left) “EM. VAN MARCKE PINX”; (right) “CH. COURTRY SC 75” Impression signed by Courtry, in pencil.

Pencil signed by Charles Courtry at lower right.

Beraldi 28(?) (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: CHERRIER–DIEN”, vol. 5, Paris, Librairie L. Conquet, p. 63, cat. no. 28; see https://archive.org/details/lesgraveursdu19e05berauoft/page/62/mode/2up): IFF 110 (?) (Jean Adhémar 1949, “Inventaire du Fonds Français après 1800: CIDOINE–DAUMIER”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, p. 283, cat. no. 110 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f295.image]).

The British Museum offers the following description of this print (from a later state): “Landscape with two cows and a calf in the foreground, beyond a country woman opening a gate (?) and in the background, on the opposite bank of a stream, more cows, after Van Marcke; proof before letter, signed by printmaker. 1875 Etching” (https://www.britishmuseum.org/collection/object/P_1881-1112-141).

Condition: a strong and well-printed (near faultless) impression in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this exceptionally rare, pencil-signed proof-state etching—for the total cost of AU $310 (currently US $195.72/ EUR 186.52/ GBP 156.76 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 $310) as this is my currency.

If you are interested in purchasing this huge and dazzlingly luminous proof-state etching before it was completely re-etched with the final state of tonal rendering, 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

Charles Courtry, “Forest with Cows near a Stream”, c.1870, after Paul Huet

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Forest with Cows near a Stream” (descriptive title only), c.1870, etching after a painting by Paul Huet (1803–1869).

Etching on laid paper backed with a support sheet.

Size: (sheet) 17 x 21.2cm; (plate) 12.7 x 17.2cm; (image borderline) 9.5 x 14.7cm.

Inscribed in plate below the image borderline (left) “PAUL HUET PINX”; (right) “CH. COURTRY. Sc”.

Beraldi 82–201 (Henri Béraldi 1886, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: CHERRIER–DIEN”, vol. 5, Paris, Librairie L. Conquet, p. 66 [mentioned with Huet’s name, but without catalogue number, in a diverse group of prints reproducing old and modern paintings in catalogues published by “Durand-Ruel, Francis Petit, Haro, Sedelmeyer, etc.], cat. nos. 82–201).

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

I am selling this small and insightfully executed etching that not only captures the sparkling effects of  light on foliage, but also explores the open spaces between trees as a flow of rhythms represented with curved aligned strokes as if the spaces were chiselled—from my way of looking, this interest in light and space pre-empts the Impressionists’ fascination with the effects of light and how to portray the intangible optical experience—for AU$192 in total (currently US$123.58/ EUR117.40/ GBP97.23 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$192) as this is my currency.

If you are interested in purchasing this marvellous etching that I would describe as a true printer’s print because it is so interesting in all its subtleties, 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

Charles Courtry’s etching with drypoint, “Les Glaneuses”, 1876, after Millet

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Les Glaneuses” (Beraldi title) (aka “The Gleaners”), 1876, after Jean François Millet (1814–1875), plate 54 from the series, “Album Boetzel”.

Etching and drypoint with pale plate tone on fine laid paper.

Size: (sheet) 27.8 x 18.8 cm; (plate [faint]) 21.5 x 16.6 cm; (image borderline) 18.1 x 14.1 cm.

Numbered in plate above the image borderline: (right) “54”.

Inscribed in plate below the image borderline: (left) “J F MILLET Pinx”; (right) “CH. COURTRY. SC.”

Beraldi 23 (Henri Beraldi 1886, “Les Graveurs du XIXe Siècle: Cherrier–Dien”, vol. 5, Paris, Librairie L. Conquet, p. 63, cat. no. 23); IFF 75 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes).

The British Museum offers the following description of this print: “The gleaners, after Millet; two peasant women picking up the grain in the foreground, another standing at right, men loading a cart with hay in the background; plate No 54 in the Album Boetzel year 6, 1876” (https://www.britishmuseum.org/collection/object/P_1876-1111-564).

What I find interesting about Courtry’s adaptation of Millet’s famous etching, “The Gleaners”, c.1855–56 (see https://www.metmuseum.org/art/collection/search/370558), is not just the change in the portrayed spatial depth, with the haystacks in Coutry’s etching having been moved forward, but that Courtry has also captured one of the truly subtle attributes of Millet’s approach to drawing. By this I mean that instead of creating flowing curves when drawing outlines and laying down hatching strokes, Courtry, like Millet, creates the illusion of curves out of a sequence of straight lines. To me this is a hallmark of a great artist who understands that the visual strength in a curve is underpinned by straight lines.

Condition: a richly inked and well-printed impression. Beyond a few marks at upper left (recto) and a stain at upper right (verso), the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very strong etching after Millet’s famous, even iconic, etching, “The Gleaners” (c.1855–56), for the total cost of AU$239 (currently US$155.97/EUR144.59/GBP123.52 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this superb etching (with drypoint), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Courtry’s etching, “Tigre Surpris par un Serpent”, 1873, after Delacroix

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Tigre Surpris par un Serpent” (aka “Tigre Combattant un Serpent” [Beraldi title]), 1873, after Eugène Delacroix’s (aka Ferdinand Victor Eugène Delacroix) (1798–1863) painting of the same composition, from the series “Tableaux de premier ordre anciens et modernes composant la galerie de M. John W. Wilson”, described by the Curator of the British Museum as being “of around 60 plates reproducing the paintings formerly in the collection of the British collection of John W Wilson … [accompanying] the catalogue of his sale of 199 paintings” (see https://www.britishmuseum.org/collection/object/P_1877-1013-1767), printed by François Liénard (fl. c1860s–1880s) and published in the periodical, “L'Art” in Paris.

Etching on buff laid paper, trimmed with a small margin around the image and text (with loss of the printer’s details) and backed with a support sheet providing wide margins.

Size: (sheet) 15.9 x 19.4 cm; (image borderline) 13.6 x 17.1 cm.

Lettered in plate below the image borderline: (left) Eug. Delacroix”, pinx.”; (centre) “TIGRE SURPRIS PAR UN SERPENT”; (right) “Ch. Courtry, sc.”.

Beraldi 4 (Henri Beraldi 1886, “Les Graveurs du XIXe Siècle: Cherrier–Dien”, vol. 5, Paris, Librairie L. Conquet, p. 62, cat. no. 4 [Tigre combattant un serpent]); IFF 40 (Département des Estampes 1930, “Inventaire du Fonds Français: graveurs du XIXe siècle”, Paris, Bibliothèque Nationale, cat. no. 40).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1877-1013-1801.

Condition: a richly inked and well-printed impression with small margins around the image borderline, with loss of the printer’s details. The trimmed sheet is in a near pristine condition and laid upon an archival support sheet of millennium quality washi paper providing wide margins.

I am selling this etching of a very dramatic scene after Delacroix’s painting showing a tiger surprised by a snake, for AU$197 in total (currently US$131.67/EUR119.14/GBP104.88 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 small gem exemplifying the spirit of Romanticism, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.