Alexandre Calame, “At Meiringen (Canton of Berne, Switzerland)”, 1851

Alexandre Calame (aka Alexandre Calam; Alexandre Calamy) (1810–64)

“At Meiringen (Canton of Berne, Switzerland)”, 1851, plate 19 from the suite of fifty lithographs, “Oeuvres de A. Calame”, printed and published by François Delarue (fl.1850–60s) in Paris.

Lithograph on buff coloured chine-collé on heavy wove white paper with full margins as published.

Size: (sheet) 40 x 57 cm; (image) 21.6 x 27.8 cm

Signed in plate within the image borderline: (lower right corner) “Calame […]”.

Lettered in plate above the image borderline: (left) “OEUVRES DE A CALAME.”; (right) “N^o. 19.”

Lettered in plate below the image borderline: (left) “du Cabinet de M^r. Van Loo.”; (centre) “Imp. F^OIS. Delarue, Paris.”; (right) “F. DELARUE, Edit r. J.J. Rousseau […] Paris.”

The Fine Art Museums of San Franscisco offer a brief description of this print: https://www.famsf.org/artworks/at-meringen-canton-of-berne-suisse (inv. no. 1963.30.17531).

Condition: a strong impression with generously wide margins as published. There is a fine line created by a gap in the chine-collé, otherwise the sheet is in a near pristine condition for its large size and age, with no tears, holes, folds, abrasions or significant stains

I am offering this exceptionally beautiful lithograph by a prominent Swiss artist of the 19th century. To me, this work exemplifies the artist’s mastery of light, particularly the shimmering effects created as it filters through leaves, adding a poetic quality to the forest scene set in Meiringen, Switzerland. Priced at AU$233 (approximately US$152, EUR €131, or GBP £114), this price includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in owning this superb lithograph, please contact me at oz_jim@printsandprinciples.com. I will gladly provide a PayPal invoice for a secure and seamless purchase.

This print has been sold

Jules Laurens, “Chênes du Midi”, c.1852, after Alexandre Calame

Jules Laurens (aka Jules Joseph Auguste Laurens, 1825–1901)

“Chênes du Midi” (Oaks of the South) around 1852. This date is inferred from the inscribed address of the printer, François Delarue (fl. 1850s–1860s), who was active in Paris at 8 rue Larrey in 1852. The lithograph is based on a design by the Swiss landscape artist Alexandre Calame (also spelled Calam or Calamy, 1810–1864) and is plate 116 from the series “Leçons de Paysage” (Landscape Lessons), published by François Delarue & Fils. Notably, Delarue released “Leçons de Paysage” in two sets, issued in folios each comprising twelve plates, between approximately 1850 and 1863.

Lithograph on heavy wove paper.

Size: (sheet) 34.9 x 47.4 cm

Inscribed with signature in plate/stone: (lower left) “A Calame”.

Lettered in plate/stone along the lower edge: (left) “Paris, F^ois. DELARUE & FILS édit^rs. 68, r. JJ. Rousseau.”; (centre) “LEÇONS DE PAYSAGE/ lith. par Laurens, d’après A. Calame.”; (right) “CHÊNES DU MIDI/ Imp. F^ois. Delarue, 8, rue Larrey, Paris.”

Condition: a strong and well-printed impression. The plate number which should be at the upper edge of the sheet is lost, otherwise the sheet is in a near pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this large and magnificent study of two oak trees for the total cost of AU$224 (approximately US$148.33, EUR €125.77, or GBP £109.12). This price includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in purchasing large nature study designed for art students to copy and explore the expressive potential of a master's drawing, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that currently mail services from Australia to the USA have been suspended. Consequently, at the moment I am unable to accept purchases needing shipping to the United States.

Alexandre Calame’s two lithographs, “L'Étude du Paysage: No. 113” and “No. 154”, 1850

Alexandre Calame (aka Alexandre Calam; Alexandre Calamy) (1810–1864)

“L'Étude du Paysage: No. 113” and “L'Étude du Paysage: No. 154”, 1850, published and printed in a series of 272 lithographs, “L'Étude du Paysage”, by François Delarue (fl. 1850s–1860s) in Paris and also published in London by Moore, Mc Queen & Co (1816–1956), in the second of two volumes in “Collection de modèles élémentaires et gradués formant un cours complet autographié d'après nature” ([transl.] Collection of elementary and graduated models forming a complete autographed after nature course) in 1850 (see https://digi.ub.uni-heidelberg.de/diglit/calame1850).

Lithographs printed in black ink on heavy wove paper with full margins as published.

Size: (sheet) 26 x 34.9 cm.

Both sheets are signed in the stone by the artist and lettered with publication details: (upper left) “Autographié d'après nature.”; (lower left) “A Calame/ Paris, FRANÇOIS DELARUE, 18, rue J.J. Rousseau.”; (lower centre) “L'ÉTUDE DU PAYSAGE/ par A. Calame”; (lower right) “London, Moore, M^c. Queen & C^o., 25 Berners St. Oxf. S^t.”

Plate 113 is lettered in the stone: (upper right) “N^o.113”; (lower right) “Imp. F^ois Delarue, Paris”.

Plate 154 is lettered in the stone: (upper right) “N^o.154.”; (lower centre) “Imp. F^ois Delarue, 8 rue Larrey, Paris”.

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

I am selling these very beautiful lithograph landscapes—presumably from around Savoie (the Auvergne-Rhône-Alpes region) or possibly the Swiss Alps—designed as drawing models for students to hone their technical skills, for AU$210 in total for the pair (currently US$156.95/EUR134.96/GBP113.80 at the time of posting this print) 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 pair of sensitively rendered scenes where even the shadows are luminous, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Bernard-Romain Julien’s lithograph, “Etude aux deux crayons, No. 135”, c1850, after Achille Devéria

Bernard-Romain Julien (1802–1871)

“Etude aux deux crayons, N^o. 135”, c1850, after the design by Achille Devéria (aka Jacques Jean Marie Achille Devéria) (1800-1857), plate 135 in Julien’s drawing course, “Cours de Dessin”, published and printed in Paris by François Delarue (fl.c1850s–1860s) and by Ernest Gambart & Co (1814–1902) in London.

Crayon-manner lithograph printed in black and white ink on buff coloured wove paper backed with a support sheet

Size: (sheet) 48.2 x 31.2 cm.

Inscribed on plate: (lower left) “Julien / Paris (Mon. Aumont) FRANÇOIS DELARUE, Succ. Rue JJ. Rousseau 10.”; (lower centre) “Etude aux deux crayons, N^o. 135. / Lithographiée par Julien d’ après A. Devéria.”; (lower right) “Imp. de Fors Delarue, a Paris / London, E Gambart & C^o. 25 Berners S^t. Oxf. S^t.”.

Stamped in ink: (lower right) “V. A. CAMUS / PEINTRE / PROFESSEUR”

Condition: strong impression with signs of handling (viz. chips, tears and minor marks along the edges of the sheet) and a large collector’s stamp on the lower right and laid on a support sheet of archival (millennium quality) washi paper.

I am selling this large and sensitively executed crayon-manner lithograph by one of the most famous of 19^th century artists involved in creating academic studies for students to copy, for the total cost of AU$196 (currently US$149.04/EUR122.15/GBP109.87 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.

If you are interested in purchasing this marvellous 19^th century interpretation of a guardian angel protecting a child, 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 

 

Alexandre Calame’s lithograph, “A Brook near Geneva, Suisse”, 1851

Alexandre Calame (aka Alexandre Calam; Alexandre Calamy) (1810–64)

“A Brook near Geneva, Suisse”, 1851, from the suite of fifty lithographs, “Oeuvres de A. Calame”, printed by Jacomme & Cie (c.fl.1855) and published by François Delarue (fl.1850–60s).

Lithograph on buff coloured chine-collé on heavy wove white paper backed with a support sheet

Size: (sheet) 36.4 x 46 cm; (image) 21.4 x 32.9 cm

Signed on plate within the image borderline: (lower left) “A. Calame”

Lettered on plate above the image borderline: (left) “OEUVRES DE A CALAME”; (right) “No. 3.”

Lettered on plate below the image borderline: (left) “Esquisse peinte.”; (centre) “Imp. Lith de Jacomme & Cie. R de Lancry. 12.”; (right) ”F. DELARUE, Edit r. J.J. Rousseau, 10, Paris.”

The Fine Art Museums of San Franscisco offer a brief description of this print: https://art.famsf.org/alexandre-calame/brook-near-geneva-suisse-1851-fifty-lithographs-oeuvres-de-calame-19633017522

Condition: faultless impression with wide margins in near pristine condition (i.e. there are no tears, holes, folds, abrasions, significant stains or signs of handling). The sheet is backed on a support sheet of archival (millennium quality) washi paper.

I am selling this exceptionally beautiful lithograph by one of the major Swiss artists of the 19th century for AU$143 in total (currently US$105.82/EUR91.29/GBP81.14 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 masterpiece of lithography revealing Calame’s fascination with the sparkling effects of light and executed at the time when the French Impressionists were also exploring the effects of light, 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

I have discussed Calame’s prints a few times before and proposed that the artist leaned strongly towards images of the sublime in landscape. By this I mean that his compositions expressed his feeling of awe and wonderment with the forces of nature by using picarious viewpoints overlooking deep ravines, craggy rocks, surging water with stupendously high Apine mountains that subliminally make the viewer feel very small.

I could pretend that this very romantic scene showcases a continuation of such an interest in spiritual power shaping nature—and to a degree the artist’s deep reverence for nature is still evident—but I believe that this image is not so much about projecting feelings of awe. Instead, the underpinning focus is the effect of a very special light. This is not an everyday experience of daylight, but rather the effect of sunlight flickering as patches of pure bright light—viz. the white of the paper—peeping through gaps in the foliage and as reflected light illuminating rocks and the surface of water.