Eugène Pirodon, “Soleil Couchant”, 1873, after Jules Dupré

Eugène Pirodon (also known as Eugène Louis Pirodon) (1824–1917)

“Soleil Couchant” (Sunset), 1873

Technical Details & Condition:

Etching on buff-coloured laid paper with wide margins. This etching is based on a painting by Jules Dupré (also known as Jules Louis Dupré) (1811–1889) and was printed in Paris by François Liénard (active circa 1860s–1880s). 

The original canvas was once part of the renowned 1840s Parisian collection of Daniel Wilson, before being acquired by the legendary dealer Paul Durand-Ruel in March 1873. It was later purchased by the prominent European collector John Waterloo Wilson, who commissioned Eugène Pirodon to create this etching specifically to record the masterpiece for his landmark 1873 collection catalogue: “Collection de M. John W. Wilson: Exposée dans la Galerie du Cercle Artistique et Littéraire de Bruxelles,” published in 1873.

The impression is richly inked, with strong contrasts and evenly printed—a nearly faultless impression. The sheet is in near-pristine condition, free of tears, holes, folds, abrasions, stains, or handling marks.

Dimensions:

• Sheet: 26.2 x 34 cm
• Platemark: 21.5 x 27.6 cm
• Image borderline: 14.6 x 24.2 cm

In-Plate Lettering below the image:

• Left: “Jules Dupré, pinx.”
• Centre: “SOLEIL COUCHANT. / F^çois Liénard, Imp. Paris.”
• Right: “Eug. Pirodon, sc.”

Reference:

• British Museum: Museum No. 1877,1013.1806 (https://www.britishmuseum.org/collection/object/P_1877-1013-1806)
• Exhibition Catalogue: “Collection de M. John W. Wilson: Exposée dans la Galerie du Cercle Artistique et Littéraire de Bruxelles,” Paris, 1873, p. 149
• Scholarly Article: Andrew Watson, “An Englishman in Paris: John Waterloo Wilson’s Remarkable Collection of French Nineteenth-Century Art,” Cahiers Bruxellois, 2016, Note 19 (https://shs.cairn.info/revue-cahiers-bruxellois-2016-1-page-83?lang=fr)

Price & Shipping:

AU$236 (approximately US$163.85 / €143.5 / £122.70), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this poetically storm-threatened sunset scene in marshland, featuring a lone fisherman, please contact oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Henri Lefort’s etching, “Low Tide”, 1895, after Jules Dupré

Henri Lefort (aka Henri Émile Lefort) (1852–1916)

“Low Tide” (“Marée Basse” [Beraldi title]) (aka “Le Soir à Marée Basse”), 1875, after the painting of the same composition by Jules Dupré (aka Jules Louis Dupré) (1811–1889), published in 1895 in Paris by Georges Petit as an original etching to René Mazeroy’s “La Mer.”

Etching on cream wove paper, backed with a support sheet.

Size: (sheet) 26.8 x 37.1 cm; (plate) 22.6 x 28 cm; (image borderline) 17.5 x 23.8 cm.

Inscribed in plate within the image borderline: (lower left corner) “Jules Dupré”.

Lettered in plate below the image borderline: (left) “J Dupré pinx^t.”; (right) Lefort sculp^t.”

Beraldi 2 (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. IX, Paris, Librairie L Conquet, p. 85, cat. no. 2 [Planches pour Publication d’Art]).

Condition: a richly inked and well-printed (near faultless) impression with margins and laid onto a sheet of archival (millennium quality) washi paper. The sheet is in a very good condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this poetically beautifully etching executed in a cross-hatched web of exceptionally fine lines showing two sailboats stranded at low tide and silhouetted against a sunset with the sun peeping through billowing clouds, for AU$198 (currently US$144.24/EUR127/GBP106.87 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 amazingly fine etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jules Dupré's lithograph, “Bank of the Somme (Picardy)”, 1836

Jules Dupré (1811–1889)

“Bank of the Somme (Picardy)” (aka “Bords de la Somme [Picardie]”), 1836, published in “L’Artiste” in Paris (1836, series 1, vol. XII, p. 120), printed by Benard et Frey.

Lithograph on wove paper, signed with the artist’s initials on the plate, trimmed with small margins around the image borderline and retaining the lettered title and publication details, backed on a support sheet.

Size: (support sheet) 27.7 x 34.3 cm; (sheet) 17 x 23.5 cm; (image borderline) 13.7 x 21.3 cm

Inscribed on plate within the image borderline: (lower left corner) “J.D”

Lettered on plate above the image borderline: (centre) “L’ARTISTE”

Lettered on plate below the image borderline: (left) “Jules Dupré”; (centre) “Bords de la Somme, / (Picardie)”; (right) “Lith. de Benard et Frey.”

State i (of ii) before the change of the publication to, “Souvenirs d’artistes”, printed above the image borderline at left, and the addition of, “Jules Dupré del., et lith., Imp. Bertauts, Paris.", below the borderline at right.

Melot 1981 Du 6.1 (Michel Melot 1981, “Graphic Art of the Pre-Impressionists”, New York, Abrams, p. 285); Delteil 1906 no. 6, State i/ii (Loys Delteil 1906–1926, “Le peintre-graveur illustre.” 31 vols. Paris); Hédiard 1903 6 (Germain Hédiard n.d. “Les Maȉtres de la Lithographie”).; Aubrun 1974 7 (Marie-Madeleine Aubrun 1974, “Jules Dupré, 1811–1889, catalogue raisonné de l’oeuvre peint, dessiné et grave”, Paris, L Laget)

An excellent description of this print is offered by “Art of the Print”:

http://www.artoftheprint.com/artistpages/dupres_jules_bordsdelasommepicardie.htm

See the brief description of this print at the National Gallery of Art, Washington: https://www.nga.gov/collection/art-object-page.58109.html

Condition: faultless impression in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing). The sheet is trimmed with small margins around the text and image borderline and is backed with a support sheet of archival (millennium quality) washi paper.

I am selling this first state, rare lithograph—mindful that Dupre executed only ten litho plates in total—for AU$169 (currently US$124.41/EUR107.15/GBP95.62 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 19^th century romanticism—a poetic vision of landscape with clear links to Constable—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

When I look at this deeply poetic landscape by Dupré, I am reminded of Constable’s images of landscape that are full of light and air. Certainly, Dupré’s trees have room for the birds to fly through like Constable’s trees, but I also see the way that light seems to flicker in the foliage of Dupré’s trees in a similar way to Constable’s touches of white designed to replicate the glistening effect of water droplets on leaves.

There are, of course, significant differences of mindset separating Dupré’s and Constable’s visions of landscape. Dupré’s landscapes were more mindscapes—concoctions evolved from thinking and conceptualised experiences. By contrast, Constable’s landscapes were rooted in sensory personal experiences of working outdoors with an interest in keeping the spirit of the experienced moment alive.