Henri Guérard, “Aube”, 1875

Henri Guérard (also known as Henri-Charles Guérard) (1846–1897)

“Aube” (or “Dawn”), 1875

Technical Details & Condition:

Etching with plate tone on laid (Holland) paper, issued prior to lettering, with full margins. This print is plate 4 from a series of ten etchings illustrating Victor Hugo's renowned collection of poems condemning Napoleon III and the Second Republic, “Les Châtiments” (also known as “The Castigations” or “The Punishments”). It was printed by Charles Delâtre (active 1872–1876) and published in Paris in 1875 as part of a portfolio titled: “Series of ten etchings by Henry Guérard on Holland paper for the illustration of Victor Hugo's Les Châtiments, Paris, Librairie Nouvelle.”

The prints in this series are extremely rare, and their numbering is discontinuous; see commentary by Paris Musées Collections: https://www.parismuseescollections.paris.fr/fr/maison-de-victor-hugo/oeuvres/iv-aube-les-chatiments-iv-x#infos-secondaires-detail.

This particular etching illustrates a few verses from the poem “Aube” (Dawn): “Sur l'horizon lugubre apparaît le matin / Face rose qui rit avec des dents de perles / Le boeuf rêve et mugit, les bouvreuils et les merles / Et les geais querelleurs sifflent, et dans les bois / On entend s'éveiller confusément les voix ; / Les moutons hors de l'ombre, à travers les bourrées, / Font bondir au soleil leurs toisons éclairées.” (Translation: “On the gloomy horizon appears the morning / A rosy face that laughs with pearly teeth / The ox dreams and lows, the bullfinches and blackbirds / And the quarrelsome jays hiss, and in the woods / One hears voices awakening confusedly; / The sheep out of the shadows, through the thickets, / Make their illuminated fleeces leap in the sun.”)

The impression is strong and well-printed — near faultless. The sheet is in pristine condition, free of tears, holes, folds, stains, or signs of handling.

Dimensions:

• Sheet: 27.3 x 17.5 cm
• Platemark: 14.9 x 10.6 cm
• Image Borderline: 13 x 9.4 cm

In-Plate Lettering:

• Lower left within the image borderline: “H.GUERARD – 1875”
• Lower centre below the image borderline: “IV”
• Lower right below the image borderline: “IMP. CH DELATRE”

References:

• Beraldi 556–565 (Henri Beraldi, Les Graveurs du XIX^e Siècle: GAVARNI–GUÉRARD, 1888, vol. VII, Paris, Librairie L. Conquet, p. 273, cat. nos. 556–565)
• British Museum: https://www.britishmuseum.org/collection/object/P_1900-1231-6052

Price & Shipping:

AU$276 (approximately US$197.36 / €168.31 / £145.89), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

I am offering this freely inscribed etching of a flock of sheep, reminiscent of the work of Charles Jacque and the Barbizon School. For purchase inquiries, please contact me at oz_jim@printsandprinciples.com, and I will send a PayPal invoice for easy payment.

Léon Gaucherel, “Where the Hell Does Love Go to Nest!”, 1873, after Charles-Edouard de Beaumont

Léon Gaucherel (1816­–1886)

“Where the Hell Does Love Go to Nest!” (aka “Où diable l'amour va-t-il de nicher!”; “Notre-Dame de Paris Gargouille et Amour”), 1873, after a painting by Charles-Edouard de Beaumont (aka Édouard de Beaumont) (1821–1888) that was based on a photograph by Charles Nègre (1820–1880), printed by Charles Delâtre (fl.c1872–1876) and published in Paris in August 24, 1873, as an illustration, plate 22, to the article, “Paris en Voyage", on page 44 of “Paris à l'Eau Forte” (see https://www.princeton.edu/~graphicarts/2012/07/du_diable_lamour_ya-t-il_se_ni.html & https://app.smartify.org/ro/objects/ou-diable-l-amour-va-t-il-se-nicher).

Note that the gargoyle on the left is the famous “Vampire” featured in Charles Meryon’s (1821–1868), “Le Stryge”, 1853 (https://www.artgallery.nsw.gov.au/collection/works/7009/). Although I may be wrong, I suspect that these gargoyles may have held a special significance for Gaucherel, as they were fairly recent additions to the cathedral during the time when (I understand) he worked on its restoration. Interestingly, the restoration of Notre-Dame was completed only three years before this print was executed.

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

Size: (sheet) 27.9 x 18.6 cm; (plate) 18.1 x 12.3 cm; (image borderline) 16.6 x 11 cm.

Inscribed in plate above the image borderline: (right) “A 6.”.

Inscribed in plate within the image borderline: (lower right following the balustrade edge) “E Beaumont […]”.

Inscribed in plate below the image borderline: (left) “Imp: C Delatre”; (left-of-centre) “Ou diable l'amour va-t-il de nicher[n?]!”; (right) “Leon’ Gaucherel [deL?]”.

Condition: a strong and well-printed impression with full margins as published. The sheet is in very good (near pristine) condition with no tears, holes, abrasions or significant stains.

I am selling this curiously wonderful etching of love among the gargoyles of Notre-Dame, for a total cost of AU$254 (currently US$167.38/EUR151.97/GBP130.46 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$254) as this is my currency.

If you are interested in purchasing this fascinating etching designed to invite contemplation about the significance of its title (scratched below the image), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Meryon’s etching, “The Ewe with Two Lambs”, c1850, after Adriaen van de Velde

Charles Meryon (1821–1868)

“The Ewe with Two Lambs” (aka “La Brebis et les Deux Agneaux”), c1850, copy in reverse after the etching (1670) by Adriaen van de Velde (1636–1672) (Bartsch 14), printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris in “L’Artiste” (15^th December, 1861).

Etching printed in a warm black ink with pale plate tone on cream wove paper.

Size: (sheet) 11.2 x 13.5 cm; (plate) 7.8 x 10.5 cm; (image borderline) 6.6 x 9.3 cm.

Inscribed in plate: (in reverse within the image borderline at the lower left corner) “A.V.V.F. 1670”; (below the image borderline at left) “4”; (below the image borderline at right of centre) “Paris. Imp Del[âtre]”.

State ii (of ii) with the addition of the number “4”.

Delteil & Wright 8.ii (Loys Delteil & Harold JL Wright 1989, “Catalogue Raisonné of the Etchings of Charles Meryon”, San Francisco, Alan Wofsy Fine Arts, [n.p.] cat. no. 8); Schneiderman 8.ii; Bartsch 14.

Note that Delteil & Wright (1989) advise: “There is a copy of Meryon’s copy! It has no sky and has neither the letters ‘A.V.V.V’ nor the date 1670. It is quite common” ([n.p.] cat. no. 8).

The British Museum offers the following description of this print:

“Ewe and two lambs, one suckling, after Adriaen van de Velde (in reverse). 1850? Etching with surface tone, printed in dark brown ink” (https://www.britishmuseum.org/collection/object/P_1870-1210-690).  

Condition: a richly inked and strong impression with small margins. Beyond a light mark at the upper right margin edge, the sheet is in near pristine condition for its age with no tears, holes, folds, losses, significant stains, foxing or signs of handling.

I am selling this exceptionally rare tiny treasure of an etching by arguably one of the most famous printmakers of the 19^th century, for AU$363 (currently US$263.62/EUR227.26/GBP193.90 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 exquisite etching of a ewe and her babies, 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 

Henri Guérard’s etching, “The Executioner, Black Reaper, Standing in His Cart”, 1875

Henri Guérard (aka Henri Charles Guérard) (1846–1897)

“The Executioner, Black Reaper, Standing in His Cart” (aka “Aux Femmes”), 1875, plate eight from the series of ten etchings illustrating Victor Hugo's scathing condemnation of Louis-Napoléon's regime, “Les Châtiments” (The Punishments), published in 1875 by Librairie Nouvelle (fl.1851–1880) in Paris and printed by Charles Delâtre (fl.c.1872–1876) on “papier de Hollande”—a “luxury” Dutch laid paper. I understand that excerpts from “Les Châtiments” were printed on loose thin sheets and inserted between the prints (see https://www.britishmuseum.org/collection/object/P_1900-1231-6048).

The Curator of the British Museum advises that this print “… illustrates two verses from the poem 'Aux Femmes': 'Le bourreau, noir faucheur, debout dans sa charrette, / Revient de la moisson avec son panier plein' [The executioner, black reaper, standing in his cart, / Comes back from the harvest with his basket full]” (https://www.britishmuseum.org/collection/object/P_1900-1231-6055).

Etching with retroussage toning on cream laid paper with full margins as published.

Size: (sheet) 27.3 x 17.3 cm; (plate 14.6 x 10.3 cm; (image borderline) 13.3 x 9.4 cm.

Inscribed on plate: (lower left) [artist’s monogram]; (lower centre) “VIII”; (lower right on edge) “IMP. CH. DELÂTRE”.

Beraldi 556–565 (Henri Beraldi 1888, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 7, Paris, L Conquet, p. 273 [https://archive.org/details/lesgraveursdu19e07berauoft/page/272/mode/2up]).

Les Musées de la Ville de Paris offers the following insights about the series of etchings in which this print features:

(Transl.) “The engraver Henri Guérard, who was close to Manet, who considered him 'the only etcher' and his 'best shooter', made his debut in the entourage of Richard Lesclide, secretary of Victor Hugo, by collaborating in particular on its review 'Paris à l'eau-forte'. It was at Lesclide's request that Guérard produced at least two series of etchings for the in-8 publication of Victor Hugo's 'Châtiments' in the New Bookstore Edition, but also for 'napoléon le patit' and perhaps be for 'Story of a crime'. The engravings would have been censored. In fact, they are not announced by the Bibliography of France, nor even indicated in the Inventory of the French collection of the National Library. Only the series for 'Les Châtiments' seems to have been published in a portfolio under the title: 'Series of ten etchings by Henry Guérard on Dutch paper for the illustration of the Châtiments by Victor Hugo, Paris, Librairie Nouvelle', at price of 6 francs. Only some plates have a final letter with a number. The numbering is also discontinuous. The collection preserved by the museum is particularly valuable, given the reported rarity of these engravings. In fact, it retains compositions and variations not selected, as well as practice tests.” (https://www.parismuseescollections.paris.fr/fr/node/695172#infos-principales)

Condition: near faultless impression with full margins in near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of handling).

I am selling this exceptionally rare etching for AU$223 (currently US$159.93/EUR136.19/GBP123.69 at the time of posting this print) including Express Mail (EMS) 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 grimly superb etching of an executioner holding an axe on his horse-drawn cart, 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

Jean Louis Charbonnel’s etching, “Nude Girl Crying in a Landscape”, 1873

Jean Louis Charbonnel (1854–1885)

“Nude Girl Crying in a Landscape” (descriptive title only), 1873, proof impression from a suite of five etchings that I understand (from advice from the dealer from whom I purchased this print, but I am unable to confirm if the following information is correct) are loosely based around the Auvergne region (central France) and were to feature as illustrations for “Album du Journal Paris a l'Eau Forte Pour 1875”, published by Richard Lesclide (1825–1892) and printed by Charles Delâtre (fl.c1872–1876) (see https://www.metmuseum.org/art/collection/search/334979).

Etching on fine wove paper (China) trimmed close to the image borderline and backed with a support sheet.

Size: (sheet) 12.9 x 5.5 cm; (image borderline) 12.3 x 4.9 cm.

Inscribed on plate: (lower left) “J. C.”

Condition: near faultless delicate impression trimmed with a narrow margin around the image borderline. The sheet is in pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or blemishes), but, as the sheet is tissue thin, it has been laid onto a conservator’s support sheet.

I am selling this exceptionally sensitive etching for AU$186 in total (currently US$132.90/EUR112.85/GBP101.58 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 acquiring this delicate etching exemplifying the Romantic leanings of artists in France at the time, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.