Leopold Flameng, “Portrait of Jean-Baptiste Greuze”, 1862, after Greuze

Léopold Flameng (aka Léopold Joseph Flameng) (1831–1911)

“Portrait of Jean-Baptiste Greuze” (aka “J. B. Greuze (Peint par Lui-Mème)”—after a self-portrait (c.1760) of the painter and draughtsman, Jean Baptiste Greuze (1725-1805), previously in the collection of M. Lacaze (as inscribed in the plate) and now in the Louvre collection (see https://collections.louvre.fr/en/ark:/53355/cl010059521), 1862, printed by Drouard (as lettered in the plate or possibly a typographical error for the printery, Imprimerie Drouart [fl.1824–1861)]?), published in Paris in the art periodical, “La Gazette des Beaux-Arts” in 1862 (2^nd vol.), page 402.

Etching on chine collé on wove paper trimmed with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 22.4 x 16.7 cm; (plate) 17.5 x 13.3 cm; (image borderline) 12.2 x 9.4 cm.

Lettered in plate below the image borderline: (left) “LEOPOLD FLAMENG AQUA F. ET DEL./ Gazette des Beaux-Arts”; (centre) “J. B. GREUZE/ PEINT PAR LUI-MÈME”; (RIGHT) “IMP DROUARD/ Cabinet de M. Lacaze”.

Hippert & Linnig 159 (T Hippert & J Linnig 1879, “Le peintre-graveur hollandais et belge du 19me siècle”, vol. 1, Brussels, p. 300, cat. no. 159); Beraldi 342 (Henri Béraldi 1887, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: DORÉ–GAVARD”, vol. VI, Paris, Librairie L. Conquet, p. 127, cat. no. 342).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.110321.

Condition: a strong and well-printed (near faultless) impression laid onto a sheet 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 significant stains.

I am selling this superbly executed—to my eyes, a true masterwork—translation of Greuze’s self-portrait in an exquisitely fine web of crossed hatched lines, for the total cost of AU$239 (currently US$159.14/EUR144/GBP121.45 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$239) as this is my currency.

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

Alphonse Leroy’s aquatint, “L’Extrême-Onction”, c.1858, after Poussin

Alphonse Leroy (aka Alphonse Alexandre Leroy) (1820–1902)

“L’Extrême-Onction” (aka “The Extreme Unction”—a Roman Catholic ritual also called “The Last Rites” or “The Sacrament of Anointing of the Sick” usually administered to the dying), c.1858 (1857–1859), from the series, “Collection de Dessins Originaux de Grands Maîtres Gravés en Fac-simile par Alphonse Leroy” (aka “Leroy's Facsimiles”), after a drawing (1644) executed in pen and brown wash by Nicolas Poussin (1594–1665) in the collection of the Musée du Louver (inv. no. 32429)—I understand that this Poussin’s drawing was a preparatory study for a painting “[transl.] intended for Paul Fréart de Chantelou for whom Poussin painted the second series of the Sacraments” (see Guermonprez & Lothe [2007], p. 129)—printed by Drouart (aka Imprimerie Drouart) (fl.1824–1861) and published in Paris by Alphonse Leroy (see detailed information about the publication of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1859-0212-20-39).

Aquatint with crayon-manner dot roulette, printed in sepia coloured ink on fine wove paper with the blindstamp of the Chaleographie du Louvre at lower centre and a collector’s ink stamp (not in Lugt) on the lower right corner of the image.

Size: (sheet) 48.4 x 62.8 cm; (plate) 29 x 38 cm; (image borderline) 21.9 x 33 cm

Lettered in plate below the image borderline: (left) “DESSINÉ PAR NICOLAS POUSSIN.”; (centre) “Imp. de Drouart, 11, Rue de Fouarre.”; (right) “GRAVÉ PAR ALPHONSE LEROY.”

State ii (of ii)

Guermonprez & Lothe 18 (Paul Guermonprez & José Lothe 2007, “Alphonse Leroy Graveur 1820–1902”, Paris, Editions Héritage Architectural, p. 129, cat. no. 18).

Condition: a strong, well-printed and near faultless impression with generously wide margins in near pristine condition with no tears, holes, folds, abrasions, significant stains or foxing. There is an ink stamp by a previous collector (unidentified and not in Lugt) on the lower right corner of the image.

I am selling this immense and marvellously preserved aquatint replicating the subtleties of Poussin’s pen and wash ink drawing showing sixteen men and women surrounding a dying man to whom a priest is administering the sacrament of Extreme Unction—to my eyes this print is a tour de force accomplishment in the very demanding medium of aquatint—for the total cost of AU$305 (currently US$203.86/EUR184.45/GBP162.37 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 delicately executed and very luminous aquatint that is seldom seen on the art market, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Alphonse Leroy’s stipple engraving, “Studies of the Christ Child for 'Madonna and St. Anne'”, 1870, after Leonardo

Alphonse Alexandre Leroy (1821–c.1880)

“Studies of the Christ Child for 'Madonna and St. Anne'”, 1870, after the sanguine chalk study (c.1501) by Leonardo da Vinci (1452-1518) in the collection of the Galleria dell’Accademia in Venice. This engraving was published by the Chalcography du Louvre who hold the original plate and printed by Drouart (fl.1824–1861/70).

Stipple engraving printed in sanguine coloured ink on chine collé (India) on wove paper backed with a support sheet.

Size: (sheet) 31.1 x 23 cm; (plate) 28.2 x 20.1 cm; (inner image borderline) 21 x 14.9 cm.

Lettered on plate below the image borderline: (left) “DESSINÉ PAS LÉONARD DE VINCI.”; (CENTRE) “Imp. de Drouart  11, rue du Fouarre”; (right) “GRAVE PAR ALPHONSE LEROY.”

The Ateliers d’Art des Musées Nationaux (The Chalcographie du Louvre) offer a description of this print:

https://ateliersartmuseesnationaux.fr/en/engraving/KM000011?guid=5e97cbb806b82;

https://www.boutiquesdemusees.fr/en/red-chalk/child-study-leonardo-da-vinci/13313.html?r=L2VuL2NhZGVhdXgvNjgtZW5ncmF2aW5ncy8zLw%253D%253D#.

Condition: an excellent impression trimmed with a small margin around the platemark and laid upon a support sheet of archival (millennium quality) washi paper to stabilise nicks and tears to the margin.

I am selling this exquisite stipple engraving designed to mimic the coarse chalk lines of Leonardo’s original drawing—note that the engraver has been creatively selective in his choice of studies copied from Leonardo’s page (e.g. the detail of the leg on the lower left was not in the original drawing, the detail of the Virgin’s torso on the right has been omitted and the compositionally important “blank” area below the studies has been removed)—for AU$255 in total (currently US$160.60/EUR147.32/GBP128.42 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 engraved translation of Leonardo’s chalk studies for the oil painting, “Madonna and Saint Anne”, c.1503, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.