Léopold Flameng, “Ingres at the Age of 24”, 1869, after Jean Auguste Dominique Ingres

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

“Ingres at the Age of 24” (aka “Ingres à l'âge de 24 ans”), 1869, after the 1804 self-portrait in the Musée Condé, Chantilly, by Jean Auguste Dominique Ingres (1780–1867), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1 December 1871, between pages 478 and 179 (see https://gallica.bnf.fr/ark:/12148/bpt6k203093f/f564.double). 

Etching with pale plate tone on cream wove paper, trimmed around the platemark and backed with a support sheet.

Size: (sheet) 20.4 x 16.5cm; (soft platemark) 19.7 x 15.9 cm; (image borderline) 16.5 x 13.6cm.

Inscribed in plate within the image borderline: (upper left) “EFF. J.A. INGRES. P.^OR”; (lower left) “LÉOP. FLAMENG. DEL & SC 69”; (upper right) “F.^it P^ais 1804”.

Lettered in plate below the image borderline: (left) “Gazette des Beaux-Arts.”; (centre) “INGRES À L'ÂGE DE 24 ANS”; (right) “Imp. A. Salmon, Paris.”

Beraldi 350 (Henri Beraldi 1887, “Les Graveurs du dix-neuvième siècle”, vol. 6, Paris, L. Conquet, p. 127, cat. no. 350); IFF153 ((Jean Adhémar & Jacques Lethève 1953, “Inventaire du Fonds Français après 1800: Doré-Folk”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 7, p. 165, cat. no. 11 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489211f/f590]).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1983-U-2726.

Condition: a strong and well-printed impression with small margins around the image borderline and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions or stains.

I am selling this remarkably fine portrait of Ingres as a young man, for the total cost of AU$233 (approximately US$150.56, EUR 130.38 or GBP 113.40), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

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

Léopold Flameng, “The Blue Boy, par Gainsborough” (2nd copy)

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

“The Blue Boy, par Gainsborough” (as inscribed in plate), 1862, after Thomas Gainsborough’s (1727–1788) famous portrait (c.1770) in the Huntington Library, San Marino (California), first published in “La Gazette des Beaux Arts”, 1862, vol. 13, and printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) between pages 112 and 113 (see https://archive.org/details/gazettedesbeauxa13pari/page/112/). The plate was republished in c.1890 by Imprimerie Charaire et Cie and printed by Chardon-Wittmann (fl.c.1884–1890) in Paris, in Teodor de Wyzewa’s “Les Chefs-D'Oeuvre de l'Art au XIXe siècle”, p. 120 (see https://archive.org/details/leschefsdoeuvred04michuoft/page/120/). This impression is from the earlier edition.

The fame of Gainsborough’s painting, reputed to be a portrait of Jonathan Buttall (1752–1805) dressed in a manner similar to Van Dyck's portrait of Charles II as a boy in “The Children of King Charles I of England”, 1637, rests to a large part on it representing a rebuttal of advice (shown below) advocated by his rival Sir Joshua Reynolds (1723–1792)—founder and first president of the Royal Academy of Arts:

“It ought, in my opinion, to be indispensably observed, that the masses of light in a picture be always of a warm, mellow colour, yellow, red, or a yellowish white, and that the blue, the grey, or the green colours be kept almost entirely out of these masses, and be used only to support or set off these warm colours; and for this purpose, a small proportion of cold colour will be sufficient. Let this conduct be reversed; let the light be cold, and the surrounding colour warm, as we often see in the works of the Roman and Florentine painters, and it will be out of the power of art, even in the hands of Rubens and Titian, to make a picture splendid and harmonious” (see Ronald Sutherland Gower 1903, “Thomas Gainsborough”, G. Bell and Sons. pp. 77–78).

Etching on buff coloured chine collé (China) on heavy wove paper with margins as published.

Size: (sheet) 24.7 x 15 cm; (plate) 22.2 x 11.9 cm; (chine collé) 19.8 x 11.9 cm.

Inscribed on plate within the image borderline: (lower right) “FLAMENG. S.”

Lettered in plate along the lower edge: (left) “Gazette des Beaux-Arts.”; (centre) “THE BLUE BOY, PAR GAINSBOROUGH”; (right) " Imp. A. Delâtre Paris.”

Beraldi 102 (Henri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”, vol. 11, p. 162, cat. no. 102); IFF 104 (“Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes”, Paris, 1930).

The British Museum offers a description of this print before lettering with publication details: https://www.britishmuseum.org/collection/object/P_1895-1015-100.

Condition: richly inked and well-printed impression with small margins and laid upon an archival support sheet of millennium quality washi paper providing wide margins. Beyond a closed tear in the margin at lower left, the sheet is in an excellent condition with no holes, folds, abrasions or stains.

I am selling this etching of Gainsborough’s famous portrait by one of the major printmakers of the 19th century, for the total cost of AU$233 (approximately US$152.56, EUR 130.39 or GBP 112.57), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this superb etching showing great insight about using line to connote space—note, for example, how Flameng has shaded the boy’s further back leg with horizontal strokes to set it slightly more into the distance and in shadow—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Léopold Flameng, “Étude”, 1903

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

“Étude” (Study), 1903, printed by Charles Wittmann (1876–1953) and published in Paris in the art periodical, “Revue de l’Art ancient et moderne”, p. 460.

Etching with plate tone on buff coloured laid paper (“CH WITTMANN” watermark) with full margins as published.

Size: (sheet) 29.3 x 21.7 cm; (plate) 25 x 18.8 cm; (image borderline) 19.6 x 14.7 cm.

Inscribed in plate below the image borderline: (left) “Revue de l’Art ancient et moderne”; (centre) “L. Flameng inc. & sc./ Étude”; (right) “Imp. Ch. Wittmann”.

IFF 308 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Français après 1800: Doré–Folk””, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 7, p. 589, cat. no. 308 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489211f/f601]).

Condition: a strong and well-printed, faultless impression with full margins as published. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this absolutely glorious etched study of a seated lady epitomising the fashion and spirit of La Belle Époque, for AU$276 (equivalent to approximately US$176.78, EUR 158.30, or GBP 133.07 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$276).

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

Frédéric Laguillermie, “Chardin and Madame Chardin”, 1864, after Chardin

Frédéric Laguillermie (aka Frédéric Auguste Laguillermie; Frédéric Auguste La Guillermie) (1841–1934)

“Chardin and Madame Chardin”, 1864, after Jean Siméon Chardin’s (1699–1779) pastel portraits, “Self Portrait with Eyeshade” (https://www.artic.edu/artworks/102131/self-portrait-with-a-visor) and “Portrait of Madame Chardin” (https://www.artic.edu/artworks/88557/portrait-of-madame-chardin)—note that Chardin portrays himself wearing glasses and a visor as, like Edgar Degas, he suffered an eye condition in his later life (amaurosis?) possibly arising from his use of oil solvents and lead pigments leading him to transition to using pastels—printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris in the art periodical, “La Gazette des Beaux- Arts”, 1^st January, 1864, facing page 158 (see  https://gallica.bnf.fr/ark:/12148/bpt6k203080z/f166.double).   

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

Size: (sheet) 18.3 x 25.9; (chine collé) 14.9 x 22.9 cm.

Lettered in plate below the image borderlines: (left) Chardin pinx^t./ CHARDIN./ Gazette des Beaux-Arts.”; (right) “F. La Guillermie sculp^t./ M^ME CHARDIN./ Imp. Delâtre, à Paris.”

Condition: a strong and well-printed impression with a small margin around the chine collé and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond a thin patch on the forehead of Madame Chardin, the sheet is in an excellent condition with no tears, holes, folds or significant stains.

I am selling this beautiful double portrait that not only skilfully translates the subtleties of Chardin’s pastel studies into a loose network of line, but, more amazing, captures the living spirit of the portrayed subjects—for example, note how this brilliant etcher (a student of the great Léopold Flameng [1831–1911]) uses variation in the size and shape of the smallest of small white highlights on Madame Chardin’s eyes (viz. a square and a horizonal stroke) to invite the viewer to believe that she is using her left eye to contemplate the world—for AU$198 in total (currently US$136.27/EUR121.69/GBP101.71 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$198) as this is my currency.

If you are interested in purchasing this pair of portraits, 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

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.