Charles Jacque’s sheet of two etchings

Charles Jacque (aka Charles Émile Jacque; Charles Jaque) (1813–1894)

Sheet of two etchings:

(upper) “Le Crépuscule” (Twilight), 1841, after Louis Marvy (aka Louis Maruy) (1815–1850);

(lower) “Le Vieux Pauvre” (The Old Poor) (aka “Cul-de-jatte”), 1861.

Soft-ground etchings with drypoint and roulette printed on the same sheet of fine wove paper with the blindstamp of the publisher, L Curmer (fl.1840s–1860s) and address in Paris.

Size: (sheet) 27.5 x 21.6 cm; (borderline of upper image) 4.7 x 13.5 cm; (borderline of lower image) 9.5 x 7 cm.

Lettered in plate above the upper image borderline: (centre) “CH. JACQUE.”

Lettered on plate below the upper image borderline: (left) “Louis Marvy inv.”; (right) “Ch. Jacque sculp.”

Lettered on plate below the lower image borderline: (centre) “Ch. Jacque inv. & sculp./ Le Vieux Pauvre.”

Guiffrey 273 & 275 (undescribed states) (J-J Guiffrey 1866, “L'Oeuvre de Charles Jacque: catalogue de ses eaux-fortes et pointes seches”, Paris, p. 117, cat. nos. 273 & 275); IFF 6 & 7 (Bibliothèque nationale, Département des estampes [verzamelaar] 1930–, “Inventaire du fonds français après 1800”, vol. 11, Paris, Bibliothèque Nationale, p. 99, cat. nos. 6 & 7).

Guiffrey (1866) offers the following descriptions of the upper and lower prints (transl):

(upper) “Along a river that flows to the left passes a road on which travels a heavy wagon. On the right, some trees & a smoking chimney. The sky is almost invaded by the night.”

(lower) “A long-bearded legless beggar, his head covered with a high hat, holds a basket with both hands. His staff is in front of him lying across.” (p. 117).

The British Museum offers the following description of this sheet of etchings: “Two individual scenes, printed on the same sheet; in the upper part, a landscape at dusk, after Marvy; in the lower part, an old beggar, sitting on the ground, holding a basket, a walking stick under his legs” (https://www.britishmuseum.org/collection/object/P_1865-1209-744).

See also the description of the upper print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.128700.

Condition: richly inked and well-printed impressions in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this pair of museum-quality impressions on a full sheet—these prints are usually (shamefully) separated—for AU$314 in total for both prints (currently US$209.40/EUR192.29/GBP162.15 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$314) as this is my currency.

If you are interested in purchasing this rare sheet of darkly glowing etchings, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed different impressions of the same prints previously (they are now sold).

Narcisse Diaz de la Peña’s lithograph, “Woman with Two Lovers and a Matchmaker”, 1844

Narcisse Diaz de la Peña (aka Narcisse Virgile Diaz de la Peña; Narcisse Virgile Diaz) (1807–1876)

“Woman with Two Lovers and a Matchmaker” (aka “Vrouw met twee minnaars en een koppelaarster”; “Les Fous Amoureux”), 1844, published in Paris by Leon Curmer (aka Henri-Leon Curmer) (1801–1870) in “Les Beaux-Arts”, vol. 3, 1844, and printed by Victor Jacques Bertauts (fl.1830s–1880).

Lithograph printed in black on warm gey chine collé on wove paper with the publisher’s blindstamp at lower right and backed with a support sheet.

Size: (sheet) 30.4 x 22.7 cm; (image borderline) 20.2 x 15.2 cm.

Signed in the stone within the image borderline: (lower left corner) “N. Diaz”.

Lettered in the stone above the image borderline: (centre); “DIAZ”.

Lettered in the stone below the image borderline: (left) “Diaz lith.”; (centre) “Les fous amoureux.”; (right) “Imp. Betauts.”

Blindstamped below the image borderline: (right) “L. CURMER/49/rue Richelieu” (not in Lugt).

IFF 2 (Département des Estampes 1930–, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale, vol., 6, p. 568, cat. no. 2); Beraldi [unnumbered] (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. 5, Paris, Conquet, p. 225).

The British Museum offers the following description of this print: “In the foreground, in a wooded scene, a man and woman seated, the man kissing her hand while she looks towards another figure (the same man?) just beyond, whose outstretched arm is restrained by an older woman wearing a cowl who holds a bleeding stump in her free hand./ Lithograph” (https://www.britishmuseum.org/collection/object/P_1886-1012-241).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.105489.

Condition: a strong and well-printed impression in excellent condition with no tears, holes, folds, abrasions, stains or foxing and laid onto a support of archival (millennium quality) washi paper.

I am selling this romantic lithograph showing a a moonlight tryst between two love-smitten young men and a young woman interrupted by a matchmaker who restrains the ardent advance of one of the men with her right hand while holding what the British Museum tells me is “a bleeding stump in her free hand” (see BM inv. no. 1886,1012.241)—a graphic warning that Goya would no doubt have loved if this detail were more easily seen—for AU$252 in total (currently US$179.45/EUR170.37/GBP143.09 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 wonderfully inventive lithograph of romance and symbolism by an artist closely connected to the Barbizon School—note that scene may well be set in the forest of Fontainebleau and the fractured glimpse of what is happening in the moonlight is arguably a step towards the Impressionists' fascination with effects of light—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Émile Jacque’s etchings, “Le Crépuscule” & “Le Vieux Pauvre”

Charles Émile Jacque (aka Charles Jacque; Charles Jaque) (1813–1894)

(upper) “Le Crépuscule” (Twilight), 1841, after Louis Marvy (aka Louis Maruy) (1815–1850);

(lower) “Le Vieux Pauvre” (The Old Poor) (aka “Cul-de-jatte”), 1861.

The British Museum offers the following description of this sheet of prints:

“Two individual scenes, printed on the same sheet; in the upper part, a landscape at dusk, after Marvy; in the lower part, an old beggar, sitting on the ground, holding a basket, a walking stick under his legs” (https://www.britishmuseum.org/collection/object/P_1865-1209-744).

Soft-ground etchings with drypoint and roulette printed on the same sheet of fine wove paper with the blindstamp of the publisher, L Curmer (fl. 1840s–60s) and address in Paris.

Size: (sheet) 30.7 x 23.2 cm; (plate) 26.2 x 20.6 cm; (borderline of upper image) 4.7 x 13.5 cm; (borderline of lower image) 9.5 x 7 cm.

Lettered on plate above the upper image borderline: (centre) “CH. JACQUE.”

Lettered on plate below the upper image borderline: (left) “Louis Marvy inv.”; (right) “Ch. Jacque sculp.”

Lettered on plate below the lower image borderline: (centre) “Ch. Jacque inv. & sculp./ Le Vieux Pauvre.”

Guiffrey 273 & 275 (undescribed states) (J-J Guiffrey 1866, “L'Oeuvre de Charles Jacque: catalogue de ses eaux-fortes et pointes seches”, Paris, p. 117, cat. nos. 273 & 275); IFF 6 & 7 (Bibliothèque nationale, Département des estampes [verzamelaar] 1930–, “Inventaire du fonds français après 1800”, vol. 11, Paris, Bibliothèque Nationale, p. 99, cat. nos. 6 & 7).

Guiffrey (1866) offers the following descriptions of the upper and lower prints (transl):

(upper) “Along a river that flows to the left passes a road on which travels a heavy wagon. On the right, some trees & a smoking chimney. The sky is almost invaded by the night.”

(lower) “A long-bearded legless beggar, his head covered with a high hat, holds a basket with both hands. His staff is in front of him lying across.” (p. 117)

See also the description of the upper print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.128700.

Condition: richly inked and well-printed impressions in near pristine condition with no tears, holes, folds, abrasions, losses, stains, foxing or signs of handling.

I am selling this pair of museum-quality impressions on a full sheet—these prints are usually (shamefully) separated—for AU$314 in total for both prints (currently US$239.40/EUR202.80/GBP172.84 at the time of 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 rare sheet of darkly glowing etchings, 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