Léon Gaucherel, “Where the Hell Does Love Go to Nest!”, 1873, after Charles-Edouard de Beaumont

Léon Gaucherel (1816­–1886)

“Where the Hell Does Love Go to Nest!” (aka “Où diable l'amour va-t-il de nicher!”; “Notre-Dame de Paris Gargouille et Amour”), 1873, after a painting by Charles-Edouard de Beaumont (aka Édouard de Beaumont) (1821–1888) that was based on a photograph by Charles Nègre (1820–1880), printed by Charles Delâtre (fl.c1872–1876) and published in Paris in August 24, 1873, as an illustration, plate 22, to the article, “Paris en Voyage", on page 44 of “Paris à l'Eau Forte” (see https://www.princeton.edu/~graphicarts/2012/07/du_diable_lamour_ya-t-il_se_ni.html & https://app.smartify.org/ro/objects/ou-diable-l-amour-va-t-il-se-nicher).

Note that the gargoyle on the left is the famous “Vampire” featured in Charles Meryon’s (1821–1868), “Le Stryge”, 1853 (https://www.artgallery.nsw.gov.au/collection/works/7009/). Although I may be wrong, I suspect that these gargoyles may have held a special significance for Gaucherel, as they were fairly recent additions to the cathedral during the time when (I understand) he worked on its restoration. Interestingly, the restoration of Notre-Dame was completed only three years before this print was executed.

Etching with drypoint on cream laid paper with full margins as published.

Size: (sheet) 27.9 x 18.6 cm; (plate) 18.1 x 12.3 cm; (image borderline) 16.6 x 11 cm.

Inscribed in plate above the image borderline: (right) “A 6.”.

Inscribed in plate within the image borderline: (lower right following the balustrade edge) “E Beaumont […]”.

Inscribed in plate below the image borderline: (left) “Imp: C Delatre”; (left-of-centre) “Ou diable l'amour va-t-il de nicher[n?]!”; (right) “Leon’ Gaucherel [deL?]”.

Condition: a strong and well-printed impression with full margins as published. The sheet is in very good (near pristine) condition with no tears, holes, abrasions or significant stains.

I am selling this curiously wonderful etching of love among the gargoyles of Notre-Dame, for a total cost of AU$254 (currently US$167.38/EUR151.97/GBP130.46 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. Note that payment is in Australian dollars (AU$254) as this is my currency.

If you are interested in purchasing this fascinating etching designed to invite contemplation about the significance of its title (scratched below the image), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Léon Gaucherel’s etching, “La Jeune Fille et la Mort”, 1880, after Sarah Bernhardt

Léon Gaucherel (1816­–1886)

“La Jeune Fille et la Mort” (The Maiden and Death), 1880, after the painting, “La mort glisse en son rêve, et, tout bas: Viens, dit-elle, l'amour c'est l'éphémère, et je suis l'immortelle” (Death slips into her dream, and, very low: Come, she said, love is ephemeral, and I am the immortal), exhibited in the Salon of 1880 (no. 269) by the actress, painter and sculptress, Sarah Bernhardt (aka Rosine Bernard) (1844–1923), printed in Paris by François Liénard (fl.c. 1860s–1880s) and published in the French periodical, “L’Art”, volume XXI, 1880.

Etching on cream laid paper (partial Arches watermark) with wide margins.

Size: (sheet) 42.6 x 27 cm; (plate) 33 x 17.9 cm; (image borderline) 29.5 x 14.6 cm.

Inscribed in plate within the image borderline: (upper left) “THE YOUNG GIRL”; (upper right) “AND DEATH”; (lower right) “SARAH BERNHARDT 1880”.

Lettered in plate: (upper centre) “SALON DE 1880.”; (lower left) “M^lle Sarah Bernhardt pinx./ L’Art.”; (lower centre) “LA JEUNE FILLE ET LA MORT”; (lower right) “L. Gaucherel, sc./ F. Liénard,Imp Paris.”

IFF 160 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris).

The British Museum offers the following description of this print: “Young woman and death, after Sarah Bernhard; a young woman seen standing full-length, facing front, holding a flower, and Death standing behind her, covered by a veil” (https://www.britishmuseum.org/collection/object/P_1881-0813-13).

Condition: a strong and well-printed impression with generously wide margins. Beyond a mark at upper left (above Death) and a soft fold on the lower left corner, the sheet is in very good (near pristine) condition with no tears, holes, abrasions, significant stains or foxing.

I am selling this curiously wonderful etching after the painting by the actress, Sarah Bernhardt, showing the bitter-sweet moment when a young actress is “showered” with flowers at the end of a performance, but with the sad realisation—expressed by her melancholic expression and (arguably) the symbolism of the ephemeral dragonfly flying/circling near her—that her moment of glory will pass in death—personified tapping on her shoulder—for a total cost of AU$254 (currently US$180.91/EUR160.41/GBP136.97 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 amazing etching, 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

Léon Gaucherel's engraving (with etching), “Statue Équestre du Colleoni”, 1877

Léon Gaucherel (1816–1886)

“Statue Équestre du Colleoni” (aka “Statue Équestre du Colleoni. Place de l'Hopital Civil, à Venise” [as inscribed on plate]), 1877, after the bronze equestrian statue of Bartolomeo Colleoni in the Santi Giovanni e Paolo Square, Venice, by Andrea del Verrocchio (1435 - 1488). This impression is printed by L Eudes (aka Eudes) (fl.1876–1888) before the later edition printed by François Liénard (fl.c.1860–80s) in “L’Art”, vol. VIII, 1877.

Engraving and etching on cream laid paper with full margins as published in the Eudes edition.

Size: (sheet) 42.2 x 29.3 cm; (plate) 34.6 x 24.5 cm; (image borderline) 31.4 x 21.8 cm.

Inscribed on plate with the artist’s signature within the image borderline: (lower edge at centre) “Léon Gaucherel”.

Lettered on plate below the image borderline: (left) “L.Gaucherel.del.et sc.”; (centre) “STATUE ÉQUESTRE DU COLLEONI./ Place de l'Hopital Civil, à Venise.”; (right) “Eudes. Imp.”

IFF 140 (Bibliothèque Nationale, Départment des Estampes 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe siècle”, Paris, Bibliothèque Nationale de France).

The British Museum offers a description of this print from the later “L’Art” edition:

https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3366744&partId=1&searchText=Gaucherel+colleoni&page=1

Condition: faultless impression with full margins (as published) in pristine condition (i.e. there are no tears, holes, folds, losses, abrasions, stains, foxing or signs of handling).

I am selling this outstanding engraving exhibiting the highest level of technical excellence and in pristine condition for AU$210 in total (currently US$145.92/EUR130.19/GBP110.92 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 acquiring this magnificent engraving—note the use of near right angle cross-hatching on the rump of the horse that subliminally helps to suggest the hard surface of the bronze (see my previous post)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.