Rodolphe Piguet, “L’attente”, 1904

Rodolphe Piguet (1840–1915)
“L’attente” (The Wait), 1904

Technical Details & Condition:
This original drypoint with dot roulette, executed with plate tone in brown ink on cream laid paper, retains full margins as published. The impression is notably strong and crisply rendered, with the sheet in pristine condition—free from tears, holes, folds, abrasions, stains, or signs of handling.

Printed by Louis Fort (fl. c. 1904–1905) and published in Paris by Gauthier-Villars, this work appears as an original drypoint facing page 272 within the art periodical “Revue de l'Art ancien et moderne”, volume XVI (July–December 1904). For an online view of this publication and the print in its original context, see: https://archive.org/details/larevuedelartanc16pariuoft/page/n491/mode/2up.

Dimensions:
• Sheet: 29.2 x 21.8 cm
• Platemark: 25 x 17.2 cm
• Image borderline: 22.5 x 16.3 cm

Plate Lettering:
• Within the image borderline at lower left: Monogram of Rodolphe Piguet's initials, “RP” (ligature)
• Lower left: “Revue de l'Art ancien et moderne”
• Lower centre: “L’ATTENTE/ Pointe-sèche originale de M. Rodolphe Piguet.”
• Lower right: “Imp. L. Fort, Paris.”

Price & Shipping:

AU$227 (approximately US$150.71 / €128.89 / £112.75), inclusive of worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this evocative drypoint—an intimate portrayal of the myriad intangible feelings that arise in moments of quiet waiting—I invite you to contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

From a personal perspective, the imagery hints that the knot-like bun of the woman’s hair and the fruit-bowl styled hat resting on her head may serve as visual metaphors for her inner turmoil—juxtaposing her outward appearance of patience with the fleeting, often unseen depths of her emotional state.

George Henri Lavalley, “Pandore”, 1900, after Jules Élie Delaunay

George Henri Lavalley (1869–1902)

“Pandore”, 1900, after Jules Élie Delaunay’s (1828–1891) painting, “Nude with Flowers”, 1873 (see https://www.artnet.com/artists/jules-elie-delaunay/nude-with-flowers-A30XBF86Ojk75PMIxY5g1g2), an original engraving printed by Louis Fort (fl. 1905) and published in Paris by Gauthier-Villars as an illustration to the art periodical, “La Revue de l'Art ancien et moderne”, vol. 8, July 1900, facing page 12.

Archive.org offers an online view of this engraving in its context in the publication and the index reference shown on page 426: https://archive.org/details/larevuedelartanc08pariuoft/page/12/mode/2up and (index ref.) https://archive.org/details/larevuedelartanc08pariuoft/page/426/mode/1up.

Engraving on cream laid paper with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 28.6 x 16.7cm: (plate) 27.1 x 16 cm; (image borderline) 24 x 14cm.

Inscribed in plate within the image borderline with signature and date as shown in the original painting: (lower left) “1873 Delaunay”.

Lettered in plate below the image borderline: (left) “Delaunay pinx./ Revue de l'Art ancien et moderne”; (centre) “PANDORE/ (Collection de M. A. Fouques Duparc); (right) “Lavalley sculp./ Imp. L. Fort”.

Condition: a strong, well-printed and near faultless impression in a pristine condition with no tears, holes, folds, abrasions or stains, laid upon an archival support sheet of millennium quality washi paper.

I am selling this remarkable engraving executed with exceptional sensitivity—note how the engraver has translated into line the subtle textures of the foreground grass shown in the oil painting—for AU $255 in total (currently US $162.31/ EUR 154.52/ GBP 128.59 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 $255) as this is my currency.

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

Daniel Vierge’s drypoint, “Gil Blas”

Daniel Vierge (aka Daniel Urrabieta Ortíz y Vierge) (1851–1904)

“Gil Blas” (aka “Gil Blas de Santillane”; “Le Sage”; “Friar’s Head”), 1900, an original drypoint printed by Louis Fort (fl. 1905) and published in Paris by Gauthier-Villars in Paris as an illustration to the art periodical, “La Revue de l'Art ancien et moderne”, vol. 8, 1900, p. 311. Archive.org offers an online view of this etching in its context in the publication and the index reference: https://archive.org/details/larevuedelartanc08pariuoft/page/310/mode/2up;  https://archive.org/details/larevuedelartanc08pariuoft/page/429/mode/1up. 

Drypoint with plate tone on cream wove paper backed with a support sheet providing wide margins.

Size: (sheet) 27.5 x 21 cm: (plate) 19.8 x 15.9 cm; (image borderline) 16.5 x 13.6 cm.

Inscribed in plate with the artist’s monogram: (middle left) “VIERGE”.

Lettered in plate below the image borderline: (left) “D. Vierge. Inv. et fec/ Revue de l'Art ancien et moderne.”; (centre) “Gil Blas”; (right) “Imp. L. Fort”.

Condition: a strong, well-printed and near faultless impression in pristine condition laid upon an archival support sheet of millennium quality washi paper.

I am selling this seemingly simple drypoint by one of the best-known and revered of the 19^th century illustrators—an artist famous for his skill in creating wood engravings that were crystal clear resulting from using virtually no cross-hatching that could “clog” printed impressions, but here, in this late drypoint, he demonstrates how to achieve dense blacks (see the mouth) and luminous whites (see the beard)—for AU$216 in total (currently US$144.37/EUR130.63/GBP114.99 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this study of a head that is alive with character and worthy of close examination—note, for example, how Vierge has created a very subtle lightening to the inner shadow of the friar’s hood to create its hollowed form—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Daniel Mordant’s engraving (with etching), “L'Espérance”, 1897, after George Frederick Watts

Daniel Mordant (aka Daniel Charles Marie Mordant) (1854–1914)

“L'Espérance” (aka “Hope”; “The Audacity of Hope”), 1897, engraving with etching after George Frederick Watts’ (1817–1904) painting, “Hope”, executed in 1886 in the collection of the Tate Gallery (inv. no. N01640) showing “… blind Hope seated on a globe and playing on a lyre which has all its strings broken except one” (https://www.tate.org.uk/art/artworks/watts-hope-n01640). This impression with the original tissue-guard intact was printed by Louis Fort (fl. 1905) and published in Paris by Gauthier-Villars, bound between pages 132 and 133 in the art periodical, “Revue de l'Art ancien et modern”, vol., 4, 1897 (see https://archive.org/details/larevuedelartanc04pariuoft/page/141/mode/2up).

Note that I have previously listed a proof impression of this print (now sold): https://www.printsandprinciples.com/2021/05/daniel-charles-marie-mordants-engraving.html.

Engraving with etching printed on cream wove paper with full margins and attached tissue-guard as published.

Size: (sheet) 29 x 21.3 cm; (plate [soft impression]) 22? x 16.8? cm; (image borderline) 17.7 x 13.8 cm.

Lettered in plate below the image borderline: “Watts pinx./ Revue de l’Art ancient et moderne”; (centre) “L'Espérance”/ (Tate gallery); (right) “Mordant sc./ Imp, L. Fort”.

Condition: a well-printed impression on cream wove paper with the original tissue guard still attached. The sheet is in a near pristine condition.

I am selling this very beautiful engraving (with etching) executed in the most delicate of strokes after Watts’ famous allegorical painting showing the personification of hope (aka the Roman deity, Spes; the Greek deity, Elpis) as a blind young woman seated on a mist shrouded globe as she lightly strums on the last unbroken string of her lyre, for AU$322 (currently US$215.22/EUR194.74/GBP171.42 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 superb translation of Watt’s painting into an amazingly fine engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Evert van Muyden’s etching, “Combat de Tigres”, c1912

Evert van Muyden (aka Évert Louis van Muyden) (1853–1922)

“Combat de Tigres”, c1912, printed by Louis Fort (fl. early 1900s) and published in Paris by Gauthier-Villars in the periodical, “Revue de l'Art Ancien et Moderne”, vol. 31, May, 1912, as an inserted original etching facing page 366 (see this print in its context in the publication: https://archive.org/details/larevuedelartanc31pariuoft/page/n433/mode/2up).

Etching with drypoint printed in a dark brown ink on cream wove paper backed with a support sheet providing wide margins

Size: (support sheet) 38.2 x 41.3 cm; (sheet) 22.2 x 26.2 cm; (plate) 18 x 23.6 cm; (image borderline) 17.3 x 3 cm.

Inscribed in plate: (lower left) “E. VAN MUYDEN”.

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

I am selling this visually arresting etching executed with great vitality, for the total cost of AU$247 (currently US$168.89/EUR158.77/GBP141.44 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 amazing etching where every feature in the background adds to the tension of the tigers fighting—note, for example, how the bamboo thicket on the right provides the suggestion of resistance to the thrust of the sloping ground and the angle of the leaning trees on the left—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