Théodore Géricault & Eugène Lami, “Le Giaour”, 1823

Théodore Géricault (also known as Jean Louis André Théodore Géricault) (1791–1824) in collaboration with Eugène Lami (also known as Eugène Louis Lami, Eugène Lamy, and Eugène Lamie) (1800–1890)

“Le Giaour” (The Infidel), 1823

Technical Details & Condition:

Lithograph printed in black on heavy wove paper with wide margins. This print is from the celebrated series “Oeuvres de Lord Byron,” published in Paris by Gihaut Frères (active 1815–1871). This impression is from the third and final state (Delteil 95, III/III), following the erasure of the printer details for Villain (active 1822–1852).

The impression is strong, evenly inked, and well-pressed. The sheet is in pristine condition—entirely free of tears, pinholes, folds, abrasions, stains, or handling marks.

Narrative Subject:

The dramatic scene is based on Lord Byron's famous 1813 narrative Romantic poem, “The Giaour.” The Turkish leader, Hassan, is shown fallen in the foreground with his “back to earth, his face to heaven.” Above him on horseback, the vengeful anti-hero, the Giaour, brands his sabre and looks down upon his dying enemy “with brow / As dark as his that bled below.”

Dimensions:

• Sheet: 28.1 x 38.8 cm
• Image borderline: 15.3 x 21.1 cm

In-Plate / Stone Lettering:

• Above image (centre): “LE GIAOUR”
• Below image (left): “Géricault et Eug. Lami.1823.”
• Below the image (centre): “.... Cet ennemi est là qui le contemple..... son front est aussi sombre que celui qui est couvert / des ombres du trépas.......” (Translation: “...This enemy is there contemplating him... his brow is as dark as that which is covered by the shadows of death...”).
• Below the image (right): “chez Gihaut frères, éditeurs.”

References:

• Deteil 95 (Loÿs Delteil, Le Peintre-Graveur Illustré, Vol. 18 [Géricault], cat. no. 95)
• British Museum: https://www.britishmuseum.org/collection/object/P_1868-1114-313
• Yale University Art Gallery: https://artgallery.yale.edu/collections/objects/89632

Price & Shipping:

AU$363 (approximately US$255.17 / €221.08 / £190.76), including worldwide express shipping. Please note that import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this rare and important lithograph in pristine condition, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a smooth, protected transaction.

Auguste Lemoine, “Portrait of Théodore Géricault”, 1843, after Tony Toullion

Auguste Lemoine (also known as Auguste Charles Lemoine) (1822–1869)
“Portrait of Théodore Géricault”, 1843

Technical Details & Condition:

Lithograph on pale grey chine collé, on heavy wove paper, backed with a support sheet. It was printed in Paris by Lemercier & Cie (fl. 1827–1899) and is based on a painting by Tony Toullion (fl. 1844–1880), depicting the influential French Romantic painter Théodore Géricault (1791–1824). According to the IFF’s description (see catalogue no. 133: https://gallica.bnf.fr/ark:/12148/bpt6k54892331/f497), this print was published as plate 14 in the thirteenth volume of Victor Frond’s “Le Panthéon des Illustrations Françaises au XIXe siècle”. My apologies if I am incorrect in my understanding of the IFF description.

The lithograph is a faultless impression, and the sheet is in excellent condition, free from tears, holes, folds, abrasions, or significant stains.

Please be advised that I previously listed two other portraits of Théodore Géricault that are still available: a lithograph by Francisque Noël (fl. c. 1824–1825) and an engraving by Georges Gorvel (also known as Georges Émile Louis Eugène Gorvel) (1866–1938). For more details, see https://www.printsandprinciples.com/2024/11/portraits-of-theodore-gericault-by.html.

Dimensions:

• Sheet: 34 x 23.8 cm
• Chine collé (image borderline): 25.2 x 19.8 cm

Plate lettering below the image border:

• Left: “Tony Toullion pinx^t.”
• Centre: “Imp. Lemercier & C^e. Paris./ Géricault”
• Right: “Aug. Lemoine lith.” 

Reference:

• IFF 133 (Jacques Lethève & Françoise Gardey, Inventaire du Fonds Français après 1800: LAURENCE–LÉPAGNEZ, 1965, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 13, p. 485, cat. no. 133)

Price & Shipping:

AU$236 (approximately US$158.12 / €135.34 / £117.52), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this superb lithograph capturing the almost hypnotic gaze of the artist behind the iconic image of French Romanticism, “The Raft of the Medusa” (see https://en.wikipedia.org/wiki/The_Raft_of_the_Medusa), please contact me at oz_jim@printsandprinciples.com. I will gladly provide a PayPal invoice for a smooth and secure transaction.

Portraits of Théodore Géricault by Francisque Noël (lithograph) & Georges Gorvel (engraving) after Horace Vernet

A pair of portraits (viz. a lithograph and an engraving) of Théodore Géricault (aka Jean-Louis André Théodore Géricault) (1791–1824)

Francisque Noël (fl.c.1824–1825)

“Portrait of Géricault”, 1923, a rare proof-state lithograph before lettering for publication (see a lettered state impression held by the Art Gallery of NSW, Australia: https://www.artgallery.nsw.gov.au/collection/works/9.2009/) after a drawing by Vionet (possibly F Vionet [fl. early 1900s]; see Germain Bazin 1987, “Théodore Géricault, étude critique, documents et catalogue raisonné”, vol. 1, pp. 219–21), after the portrait of  Théodore Géricault (possibly executed in 1822 or 1823 [MET]) painted by Géricault’s friend and sometimes rival, Horace Vernet (aka Émile Jean-Horace Vernet) (1789–1863) (see https://www.metmuseum.org/art/collection/search/438033).

Lithograph on fine washi paper (possibly chine collé that has become separated from its original backing), proof-state impression before lettering with publication details), backed with a support sheet.

Size: (sheet) 21.1 x 15.3cm

Condition: an excellent and strong impression with a restored abrasion (almost invisible) in the background at right, laid onto a sheet of archival (millennium quality) washi paper providing wide margins.

Georges Gorvel (aka Georges Emile Louis Eugene Gorvel) (1866–1938)

“Portrait of Géricault” early 1900s (1923–1938), engraving after the lithograph by Francisque Noël (shown in this listing), after the drawing/intermediary design by Vionet, after  the portrait of Géricault by Horace Vernet.

Engraving on heavy buff coloured wove paper.

Size: (sheet) 25.7 x 20.5cm; (plate) 17.8 x 13.1cm; (image borderline) 15.9 x 12.4cm.

Inscribed in plate: (lower right) “G. Gorvel sc”.

Condition: a faultless impression in pristine condition.

__________

I am selling this pair of prints (lithograph and engraving) of Théodore Géricault for AU$350 in total for the pair (currently US$226.25/ EUR214.60/ GBP178.49 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$350) as this is my currency.

If you are interested in acquiring this superb pair of portraits of the great Romantic painter who executed “The Raft of the Medusa”—a painting that can never be erased from memory once it has been seen (see https://en.wikipedia.org/wiki/The_Raft_of_the_Medusa), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Théodore Gericault, Lesaint & Engelmann’s lithograph, “Church of St Nicolas, Rouen”, 1823

Théodore Gericault (1791-1824)—draughtsman of the portrayed horses;

Charles Louis Lesaint (1795-1843)—draughtsman of the architecture;

Godefroy Engelmann I (1788–1839)—printer.

“Church of St Nicolas, Rouen” (aka “L´Église de St. Nicolas” “Eglise St Nicolas, Rouen”), 1823, published in 1825 by l'Imprimerie de Pierre Didot l'Ainé in France as an illustration to Charles Nodier’s (1780–1844) et al., “Voyages Pittoresques et Romantiques dans l'Ancienne France: Ancienne Normandie”, vol. 2, following page 69; see https://archive.org/details/bnf-bpt6k1040443d/page/n215/mode/2up.

Lithograph on chine collé on wove paper.

Size: (sheet) 53 x 34.5 cm; (unevenly cut chine collé) 36.3 x 25.3 cm; (image borderline) 34.4 x 23.9 cm.

Lettered in plate above the image borderline: (centre) “P. 150.”

Lettered in plate below the image borderline: (left) “'Lesaint et Gericault. 1823.”; (centre) “Eglise S^t. Nicolas.”; (right) “Lith. de G: Engelmann.”

Clément 46 (Charles Clément 1879, “Géricault: étude biographique et critique, avec le Catalogue raisonné de l'oeuvre du maître”, Paris, Didier et cie, p. 302, cat. no. 46 [https://archive.org/details/gricaulttudebio00clgoog/page/n405/mode/2up]);  Delteil 93.

The British Museum offers the following description of this print: “View into a chapel, with in the foreground two horses unharnessed from a carriage from which men remove a coffin; light streaming in from the left, details of statuary and glass windows, other horses further back; published in 'Voyages pittoresques et romantiques dans l'ancienne France', (tome II: 'Normandie'). 1823” (https://www.britishmuseum.org/collection/object/P_1868-1114-279).

Condition: a strong and well-printed impression. The chine collé is irregularly cut (compare with similarly irregular chine collé sheet to be seen in the impression held be the MET [https://www.metmuseum.org/art/collection/search/399586]) with minor marks, otherwise, the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

Interestingly, I understand that the portrayed church, Saint-Nicolas in Rouen, was damaged during the French Revolution leading to its closure for thirty-two years before this print was executed. Sadly, the church was ultimately destroyed fourteen years after this print was published, but “the steeple was moved to Cottévrard, and the stained glass to York Minster in England” (see https://www.stnicholascenter.org/gazetteer/1867#:~:text=The%2012th%20century%20Church%20of,1791%20and%20destroyed%20in%201840). I suspect that the portrayed scene —and I may be very wrong! —shows the Church of St Nicolas in its deconsecrated state of closure. If this is true then the sight of workmen removing the coffins of those interred into a large mud wagon/stagecoach with the far end of the church being used as a holding stable for horses makes sense for me. Note also the stirrups and other tack hung on the stonework along with a wheel on the left and the light piercing through the gathered dust in the air, I believe, supports the idea that the church is no longer a holy sanctuary.  

I am selling this rare lithograph executed in part by the great Théodore Gericault (who drew the horses and the wagon bearing a coffin) and by Charles Louis Lesaint (who drew the architectural details and light streaming into the church), for the total cost of AU$332 (currently US$221.91/EUR200.78/GBP176.75 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 outstanding lithograph, 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