Eugène Gaujean, “The Birth of Venus”, 1886, after Botticelli

Eugène Gaujean (1850–1900)

“The Birth of Venus” (aka “La Naissance de Vénus”), 1886, after the famous painting by Sandro Botticelli (aka, Sandro di Mariano Filepepe Botticelli; Alessandro Filipepe) (c.1444/5–1510) in the Uffizi Gallery in Florence, Italy (see https://en.wikipedia.org/wiki/The_Birth_of_Venus), printed by A Clément (fl.c.1886-1892) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, in September 1886 between pages 186 and 187.

Etching on wove paper trimmed around the platemark and backed with a support sheet.

Size: (sheet) 18.9 x 26.8cm; (plate) 18.5 x 26.7cm; (image borderline) 15.1 x 24cm.

Lettered in plate below the image borderline: (left) “Sandro Botticelli pinx./ Gazette des Beaux-Arts.”; (centre) “LA NAISSANCE DE VÉNUS/ Musée des Offices, à Florence.)”; (right) “E. Gaujean sc./ Imp. A. Clément_Paris”.

Beraldi 27 (Henri Beraldi 1887, “Les Graveurs du dix-neuvième siècle”, vol. 6, Paris, L Conquet, p. 245, cat. no. 27).

Condition: a strong and well-printed (near faultless) impression trimmed around the platemark and laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this jewel-like etching executed with amazing dexterity and precision “at the very time”, according to Henri Beraldi (1887) in translation, “when the public was showing an undeniable weariness with the loose etching that had been overused…” (p.243), for AU$227 (approximately US$147.08, EUR 18126.85, or GBP 110.80), including express mail shipping worldwide.  Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this exceptionally fine and very beautiful etching after Botticelli’s famous painting, 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

Eugène Gaujean, “Orphée”, 1877, after Gustave Moreau

Eugène Gaujean (1850–1900)

“Orphée”, 1877, etching after Gustave Moreau’s (1826–1898) painting, “Thracian Girl Carrying the Head of Orpheus on his Lyre”, 1865, in the Musée d’Orsay, Paris (see https://commons.wikimedia.org/wiki/File:Head_of_Orpheus.jpg). Proof impression before lettering with details showing Alfred Salmon (fl.1863–1894) as the printer and publication in Paris in the art periodical, “L'Art” (volume II, 1877).

Etching on heavy wove paper.

Size: (sheet) 32.8 x 22.4 cm; (platemark) 27.6 x 17.9 cm; (image borderline) 24.3 x 15.4 cm.

Inscribed in plate within the image borderline: (lower-left corner) “1865 Gustave Moreau”.

Lettered in plate below the image borderline: (left) “Gustave Moreau pinx./ L’Art.”; (centre) “ORPHÉE/ Musée du Luxembourg)”; (right) “Gaujean sc.”

Beraldi 3 (Henri Béraldi 1887, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: DORÉ–GAVARD”, vol. 6, Paris, Librairie L. Conquet, p. 244, cat. no. 3); IFF 5 (Jean Laren 1954, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 8, p. 452, cat. no. 5 [see https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f464).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1878-0511-361 (BM inv. no. 1878,0511.361).

Condition: a strong and faultless impression in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this visually stunning etching—a true feast of textures and the finest of details— for AU$239 (approximately US$155.23, EUR 136.21 or GBP 114.74), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this very beautiful etching showing a young woman on the shore of Lesbos carrying the severed head of Orpheus—the legendary poet and charmer of fierce beasts—on his lyre after meeting a grisly death “at the hands of Thracian Mænads” (see https://victorianweb.org/decadence/painting/moreau/10.html), 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

Eugène Gaujean, “La Vierge au Paradis”, 1897, after Ernest Hébert

Eugène Gaujean (1850–1900)

“La Vierge au Paradis” (The Virgin in Paradise), 1897, after a painting by the French Academic artist, Ernest Hébert (aka Antoine Auguste Ernest Hébert) (1817–1908), printed by Paul Moglia (aka Moglia & Cie) (fl.1863–1901) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1^st March, 1897, between pages 180 and 181.

Etching with roulette and drypoint on chine collé on heavy wove paper backed with a support sheet.

Size: (sheet) 27.6 x 17.6 cm; (plate) 23.9 x 15.9 cm; (chine collé) 22.6 x 14.6 cm; (image borderline) 20.5 x 11.4 cm.

Lettered in plate below the image borderline: (left) “E. Hébert pinx./ Gazette des Beaux-Arts.”; (centre) “LA VIERGE AU PARADIS”; (right) “E. Gaujean sculp./ Imp. P. Moglia, Paris”.

Condition: a strong and well-printed (near faultless) impression. The sheet is in an excellent (near pristine) condition with no tears, holes, abrasions or significant stains and is laid onto a support of millennium quality washi paper providing wide margins.

I am selling this remarkably fine etching that is (at least to my eyes) breathtaking in the sensitively of its execution, for AU$243 (equivalent to approximately US$154.99, EUR 136.01, or GBP 116.57 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 are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$243).

If you are interested in purchasing this simply stunning etching, exemplifying the use of what may be described as the fifty shades of grey in the rendering of the subtle tones of the background foliage, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Eugène Gaujean, “L'Apparition”, 1878, after Gustave Moreau

Eugène Gaujean (1850–1900)

“L'Apparition”, 1878, etching after Gustave Moreau’s (1826–1898) painting in the Musée Gustave Moreau, Paris, showing the decapitated head of the Baptist appearing to Salome, printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “L’Art”, 1878, volume 13.

Etching on laid paper with full margins as published.

Size: (sheet) 43.6 x 30 cm; (platemark) 33.4 x 23.3 cm; (image borderline) 29.7 x 20.3 cm.

Lettered in plate above the image borderline: (centre) “EXPOSITION UNIVERSELLE DE 1878”.

Lettered in plate below the image borderline: (left) “Gustave Moreau pinx./ L’Art.”; (centre) “L'APPARITION”; (right) “Gaujean sc./ Imp.A.Salmon.”

Beraldi 2 (Henri Béraldi 1887, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: DORÉ–GAVARD”, vol. 6, Paris, Librairie L. Conquet, p. 244, cat. no. 2); IFF 5 (Jean Laren 1954, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 8, p. 452, cat. no. 5).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1879-0510-120.

Condition: a strong and near faultless impression with generously wide margins as published. Beyond a flattened fold in the low left margin, the sheet is in an excellent condition with no tears, holes, abrasions or stains.

I am selling this visually stunning etching—a true feast of textures and the finest of details—for the total cost of AU$237 (currently US$159.40/EUR143.53/GBP121.15 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$237) as this is my currency.

If you are interested in purchasing this arresting and marvellous 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

Eugène Gaujean’s engraving, “Portrait du Sénateur Muffel de Nuremberg”, 1883, after Albrecht Dürer

Eugène Gaujean (1850–1900)

Portrait du Sénateur Muffel de Nuremberg” (aka “Portrait of Jacob Muffel at the age of 55”), 1883, after Albrecht Dürer’s (1471–1528) “Portrait of Jakob Muffel”, 1526, in the Gemäldegalerie, Berlin, printed by Alfred Salmon (1863–1894), published as insert between pages 222 and 223 in “La Gazette des Beaux-Arts” in 1883 (see https://archive.org/details/gazettedesbeauxa52pari/page/222/mode/2up).

During my research about this print, I found the following description of Dürer's painting when it was originally auctioned in 1867 for seventy-five thousand francs from the Galerie de Pommersfelden: (transl.) “The great painter [Albrecht Dürer] has put in this powerful head, in this concentrated physiognomy, an extraordinary character. Fixed, penetrating eyes stop and command. This Senator Muffel — if it is Senator Muffel? — must have had influence on his fellow citizens” (Paul Eudel 1884, “L'Hôtel Drouot et la Curiosité”, p. 184 [https://archive.org/details/lhteldrouoten02eudegoog/page/n218/mode/2up]).

Interestingly, Paul Lefort’s commentary text accompanying Gaujean’s reproductive engraving of Dürer painting in “La Gazettte des Beaux-Arts” (1883) is surprisingly critical (in my reading): (transl.) “[Gaujean’s engraving] precisely represents the mayor Muffel. Comparing it with the painting, it seems to our colleague that it was executed from this drawing [Dürer 1517 drawn version of the portrait in the Dumesnil collection} rather than from nature, and this conjecture, perhaps a little subtle, he bases it on what the execution, moreover very neat, presents a little dryness. But isn't this a fault that one can generally blame Durer's painting?” (p. 220; see https://archive.org/details/gazettedesbeauxa52pari/page/220/mode/1up).

Engraving (with etching?) on laid paper (with partial watermark) backed with a support sheet.

Size: (sheet) 28.1 x 19.7 cm; (plate) 24.5 x 18.4 cm; (image borderline) 20.3 x 15.5 cm.

Lettered on plate as lettered on Durer’s painting at upper left: “ALTATIS.SVAE.ANNO.LV/. SALVTIS.VERO.MDXXVI/ [Albrecht Dürer’s monogram: AD]”

Lettered on plate below the image borderline: (left) “A. DÜRER PINX./ Gazette des Beaux-Arts.”; (centre) “PORTRAIT DU SÉNATEUR MUFFEL DE NUREMBERG/ (Collection de M. B. Narischkine).”; (right) GAUJEAN SC./ Imp. A. Salmon, Paris.”

The Rijksmuseum and the Luther College Fine Arts Collection offer descriptions of this print: http://hdl.handle.net/10934/RM0001.COLLECT.115576;  https://fac.luther.edu/search/index.php/Detail/objects/1637.

Condition: a near faultless impression with full margins as published laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a near pristine condition with no tears, holes, folds, losses, abrasions, stains, foxing or signs of handling.

I am selling this superb engraving translating the colour, tone and fine details of Albrecht Dürer’s painting of Jacob Muffel (1509–1569) into engraved line—note the engraver’s skill in reproducing the sheen of Muffel’s silk collar with fine parallel groupings of stokes compared to the soft texture of the fur rendered with omnidirectional longer strokes—for the total cost of AU$247 (currently US$188.78/EUR158.97/GBP136.95 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 remarkable masterwork of engraving exemplifying the highest level of technical skill, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.