William Henry Simmons, “The Return (First Class)”, 1857, after Abraham Solomon

William Henry Simmons (1811–1882)

“The Return (First Class)”, 1857, engraving after Abraham Solomon’s (1823–1862) painting, “First Class - The Meeting. ‘And at first meeting loved.’”, 1855, in the collection of the Yale Centre for British Art (https://useum.org/artwork/First-Class-The-Meeting-And-at-first-meeting-loved-Abraham-Solomon-1855), printed by McQueen & Co (aka William Benjamin McQueen) (fl. 1816–1956) and published in London in 1857 by E. Gambart & Co (aka Jean Joseph Ernest Theodore Gambart [1814–1902]).

Based on the description of this print offered by Antipodean Books, Maps and Prints, I understand that the engraving was initially published and sold with the related engraving, “The Departure - Second Class”, in an edition of 225 pairs (see https://www.antipodean.com/pages/books/17454/abraham-solomon/the-departure-second-class-the-return-first-class).

Engraving with mixed techniques (viz. stipple, etching, aquatint and others) on heavy wove paper backed with a support sheet.

Size: (sheet) 55.7 x 72.1 cm; (image borderline) 47.9 x 68.1 cm.

Lettered in plate below the image borderline: (left) “PAINTED BY A. SOLOMON.”; (centre) “LONDON; PUBLISHED 4^TH. APRIL 1857, BY E. GAMBART & C^O. 25 BERNERS STREET/ THE RETURN/ (First Class)”; (right) “ENGRAVED BY W. H. SIMMONS.”

The British Museum offers the following description of this print: “A railway carriage, where a young woman sitting by the window on the left is making lace and listening to a young man wearing military uniform, who sits on the right, leaning inwards and talking with animation to her and an elderly man, who holds a paper and leans forward, smiling; after Solomon.” In the description details, the Curator of the British Museum offers an insight from the Lennox-Boyd database: “… Solomon exhibited an earlier version at the Royal Academy in 1854, which showed the young man flirting with the girl while her father slept, and Solomon altered it in response to criticism for immorality; the paintings were entitled 'First Class - The Meeting', and 'Second Class - The Parting / Thus part we, rich in sorrow, parting poor'; the prints seem to suggest a closer relation between the two pictures than the original paintings” (https://www.britishmuseum.org/collection/object/P_2010-7081-6688).

Condition: a strong and well-printed impression laid onto a support of archival (millennium quality) washi paper. There is scattered pale foxing, otherwise, the huge sheet has no tears, holes or folds.

I am selling this famous and immense 19th century masterwork of engraving capturing the underlying nervous energy and polite social manners of the time—for example the etiquette of removing one’s gloves before contacting another’s hand is fixed in my mind ever since I was introduced to the custom by my father when I was required to read a nineteenth century publication on etiquette to equip me for my future life—for AU$569 in total (currently US$375.90/EUR346.24/GBP297.06 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 exceptionally rare and important engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Edwin Landseer’s etching, “The Frog,” 1822

Edwin Landseer (aka [Sir] Edwin Henry Landseer) (1802–1873)

“The Frog” (aka “Dogs Worrying a Frog” [Algernon Graves’ title]), 1822, proof before lettering and dry stamped with the E Gambart & Co seal in the margin at lower centre, later published as plate 6 in a folio of 17 prints, “Etchings by Edwin Landseer,” by Ernest Gambart & Co (1814–1902) in London in 1848.

Etching on cream chine collé (China paper) on heavy wove paper with wide margins, blind stamped by the publisher.

Size: (sheet) 43.6 x 60cm; (plate) 16.4 x 22.6 cm; (chine collé) 16 x 22.3 cm.

Inscribed on plate: (lower-right corner) “EL/ 1822”.

Graves 57 (Algernon Graves 1874/1900, “Catalogue of an exhibition of the engraved works of the late Sir Edwin Landseer, comprising several private etchings by Her Majesty the Queen, H.R.H. the Prince Consort, and by the Duchess of Bedford, now on view at Messrs. Henry Graves & Co.'s Galleries,” London, Henry Graves & Co., p. 6, cat. no. 57; see https://archive.org/details/catalogueofexhib00grav/page/6/mode/2up).

The British Museum offers the following description of this print:

“Two dogs playing with a frog they have discovered by a stream”

(https://www.britishmuseum.org/collection/object/P_1876-1014-340).

Condition: strong and well-printed impression. Beyond a spot verso (not visible recto) and a minor bump on the lower-right corner, the sheet is in a near pristine condition with no tears, holes, folds, losses, abrasions, significant stains, or foxing.

I am selling this exceptionally rare proof state etching (before lettering and numbering for publication) executed by the hand of one of the most famous of the English animaliers—especially well remembered for his lion sculptures at the base of Nelson's Column in Trafalgar Square—for AU$389 (currently US$296.74/EUR247.34/GBP216.99 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 genuine Landseer etching (as opposed to the large number of prints after Landseer’s designs), 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

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 

 

Edwin Landseer’s etching, “The Eagle,” 1825

 

Edwin Landseer (aka [Sir] Edwin Henry Landseer) (1802–1873)

“The Eagle” (aka “The Eagle and Dead Red Deer” [Algernon Graves’ title [1874/1900]), 1825, plate 16 from the folio/series “Etchings by Edwin Landseer,” published by E. Gambart & Co (Ernest Gambart [1814–1902]) in London in 1848.

Etching on heavy wove paper with wide margins (as published), blind stamped by the publisher and backed with a support sheet.

Size: (sheet) 34.5 x 50.9 cm; (plate) 17.5 x 29 cm.

Numbered and lettered on plate: (upper right corner) “No. 16”; (lower left corner) “London Published.22^nd, March 1848; by E.Gambart & Co, 25 Berners Street, Oxford Str[ee]t”; (within the hatched strokes of the image at lower left) “EL/ 1825”; (lower right corner) “The Eagle”.

Graves 93 (Algernon Graves 1874/1900, “Catalogue of an exhibition of the engraved works of the late Sir Edwin Landseer, comprising several private etchings by Her Majesty the Queen, H.R.H. the Prince Consort, and by the Duchess of Bedford, now on view at Messrs. Henry Graves & Co.'s Galleries,”  London, Henry Graves & Co., p. 8, cat. no. 93; see https://archive.org/details/catalogueofexhib00grav/page/8/mode/2up).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1876-1014-337.

Condition: well-printed, strong impression with the publisher’s (Gambart) blind stamp in the lower margin, laid onto a support sheet of archival (millennium quality) washi paper. There is a closed tear in the upper margin and several marks (e.g. a 1 cm horizontal line/mark in the upper margin), otherwise the sheet is in a good condition with no holes, folds, losses, abrasions, significant stains or foxing.

I am selling this rare etching executed by the hand of one of the most famous of the English animaliers—especially well remembered for his lion sculptures at the base of Nelson's Column in Trafalgar Square—for AU$320 (currently US$232.10/EUR196.52/GBP175.94 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 genuine Landseer etching (as opposed to the large number of prints after Landseer’s designs), 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

Edwin Landseer’s etching, “The Traveller’s Rest”, 1825

Edwin Landseer (aka Sir Edwin Henry Landseer) (1802–1873)

“The Traveller’s Rest”, 1825, published in 1848 in London by Ernest Gambart & Co. (1814–1902) as plate 8 in the limited-edition folio, “Etchings by Edwin Landseer: 1822–1848”, printed from the original plates by Gambart with Landseer's permission with the publisher’s blind stamp.

Note: The Wellcome Collection describes this etching as being after Landseer, but this attribution is incorrect as shown by the catalogue entry for this print in the Algernon Graves’s (1900) catalogue of Landseer’s prints, p. 8, cat. no. 96, that this etching is by the hand of Landseer: https://archive.org/details/catalogueofexhib00grav/page/8/mode/2up.

Regarding the publication of this and the other plates executed by the hand of Landseer, Emma Chambers (2018) in “An Indolent and Blundering Art?: The Etching Revival and the Redefinition of Etching in England” (Abingdon, Routledge) cites a comment by the collector, John Sheepshanks, to Gott (4 December 1826, Gott Papers, Brotherton Library, Leeds University, 6/115): “I am trying hard to prevail upon Landseer to publish his own etchings, & hope to succeed …” (chapter 4, f.n. 18). Fortunately, Sheepshanks prevailed in his mission as Chambers points out: “Sheepshanks owned Landseer's etching plates; a few impressions of these were taken in the 1820s, and the etchings were eventually published in an edition of 375 by Gambart in 1848” (ibid).

Etching with drypoint on chine collé (China) on wove paper with the publisher’s (Ernest Gambart & Co.) blindstamp in the margin, backed by a support sheet.

Size: (sheet) 25.5 x 23.4 cm; (plate) 8.4 x 12.3 cm; (chine collé) 8.2 x 12.2 cm.

Inscribed on plate: (upper right corner) “No. 8”; (lower right) “The Traveller’s rest”.

Blindstamp in lower margin: (centre) “E. GAMBART & Co./ LONDON”.

Graves 1900 96 (Algernon Graves 1900, “Catalogue of an exhibition of the engraved works of the late Sir Edwin Landseer …”, [exhib. cat.], London, Graves [Messrs. Henry] & Co., p. 8, cat. no. 96).

Condition: superbly printed impression in near pristine condition (i.e. there are no tears, holes, folds, losses, abrasions, stains or signs of use) laid upon a support sheet of archival (millennium quality) washi paper.

I am selling this exceptionally rare etching—note that even the British Museum does not hold a copy of this etching—executed by the hand of one of the best known of the 19^th century English artists for AU$280 in total (currently US$178.02/EUR162.39/GBP141.54 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 sensitively rendered study of a Scottish highlander in traditional tartan regalia resting beside his hound, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.