Henri Guérard, “Aube”, 1875

Henri Guérard (also known as Henri-Charles Guérard) (1846–1897)

“Aube” (or “Dawn”), 1875

Technical Details & Condition:

Etching with plate tone on laid (Holland) paper, issued prior to lettering, with full margins. This print is plate 4 from a series of ten etchings illustrating Victor Hugo's renowned collection of poems condemning Napoleon III and the Second Republic, “Les Châtiments” (also known as “The Castigations” or “The Punishments”). It was printed by Charles Delâtre (active 1872–1876) and published in Paris in 1875 as part of a portfolio titled: “Series of ten etchings by Henry Guérard on Holland paper for the illustration of Victor Hugo's Les Châtiments, Paris, Librairie Nouvelle.”

The prints in this series are extremely rare, and their numbering is discontinuous; see commentary by Paris Musées Collections: https://www.parismuseescollections.paris.fr/fr/maison-de-victor-hugo/oeuvres/iv-aube-les-chatiments-iv-x#infos-secondaires-detail.

This particular etching illustrates a few verses from the poem “Aube” (Dawn): “Sur l'horizon lugubre apparaît le matin / Face rose qui rit avec des dents de perles / Le boeuf rêve et mugit, les bouvreuils et les merles / Et les geais querelleurs sifflent, et dans les bois / On entend s'éveiller confusément les voix ; / Les moutons hors de l'ombre, à travers les bourrées, / Font bondir au soleil leurs toisons éclairées.” (Translation: “On the gloomy horizon appears the morning / A rosy face that laughs with pearly teeth / The ox dreams and lows, the bullfinches and blackbirds / And the quarrelsome jays hiss, and in the woods / One hears voices awakening confusedly; / The sheep out of the shadows, through the thickets, / Make their illuminated fleeces leap in the sun.”)

The impression is strong and well-printed — near faultless. The sheet is in pristine condition, free of tears, holes, folds, stains, or signs of handling.

Dimensions:

• Sheet: 27.3 x 17.5 cm
• Platemark: 14.9 x 10.6 cm
• Image Borderline: 13 x 9.4 cm

In-Plate Lettering:

• Lower left within the image borderline: “H.GUERARD – 1875”
• Lower centre below the image borderline: “IV”
• Lower right below the image borderline: “IMP. CH DELATRE”

References:

• Beraldi 556–565 (Henri Beraldi, Les Graveurs du XIX^e Siècle: GAVARNI–GUÉRARD, 1888, vol. VII, Paris, Librairie L. Conquet, p. 273, cat. nos. 556–565)
• British Museum: https://www.britishmuseum.org/collection/object/P_1900-1231-6052

Price & Shipping:

AU$276 (approximately US$197.36 / €168.31 / £145.89), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

I am offering this freely inscribed etching of a flock of sheep, reminiscent of the work of Charles Jacque and the Barbizon School. For purchase inquiries, please contact me at oz_jim@printsandprinciples.com, and I will send a PayPal invoice for easy payment.

Henri Guérard, “Monument to General Cavaignac”, after François Rude

Henri Guérard (aka Henri Charles Guérard) (1846–1897)

“Monument to General Cavaignac” (aka “Monument du Général Cavaignac”; “A Godefroy Cavaignac”)—aka Godefroi Cavaignac; Jacques Louis Éléonore Godefroy Cavaignac (1800–1845), a French republican journalist, 1888, etching after the monument for General Cavaignac by François Rude (1784–1855), in the Montmartre Cemetery, Paris (see https://www.ststephensphl.org/news/godefroy-cavaignac/11-2021), printed by Paul Moglia (fl.1863–1901) and published in the art periodical “Gazette des Beaux-Arts” on 1^st August, 1888, between pages 114 and 115.

The British Museum offers the following biographical details about Godefroy Cavaignac: “Republican journalist and activist; took an active role in the revolution of July 1830 but opposed the July monarchy; involved in uprising on 15 April 1834, hid during the subsequent repression and escaped arrest; fled to England in July 1835; returned to France in 1840” (https://www.britishmuseum.org/collection/term/BIOG222765).

Drypoint with roulette and aquatint printed in a warm black ink on wove paper trimmed with a small margin around the platemark and backed with a support sheet.

Size: (sheet) 19.9 x 26.5 cm; (platemark) 16.2 x 24.5 cm; (image borderline) 22.6 x 13.7 cm.

Inscribed in plate within the image borderline: (following the lettering on the tomb at centre) “A/ GODEFROY CAVAIGNAC”.

Lettered in plate below the image borderline: (left) “H.Guérard sc./ Gazette des Beaux-Arts.”; (centre) “MONUMENT DU GÉNÉRAL CAVAIGNAC, PAR FRANÇOIS RUDE.”; (right) “Imp. Paul Moglia.”

IFF 63-2 (Jean Adhémar & Jacques Lethève 1955, “Inventaire du Fonds Français après 1800: Gavarret–Guillard”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 9, p. 458, cat. no. 63 [see https://gallica.bnf.fr/ark:/12148/bpt6k54892064/f470]); Claudie Bertin 581.

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

I am selling this startling minimal and very beautiful etching, for AU $277 in total (currently US $171.58/ EUR 167/ GBP 141.02 at the time of posting this print) 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 $277) as this is my currency.

If you are interested in purchasing this visually arresting portrayal of a sculptured monument by François Rude, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Henri Guérard’s drypoint and aquatint, “Le Printemps”, 1886, after Botticelli

Henri Guérard (aka Henri Charles Guérard) (1846–1897)

“Le Printemps”, (publ.) 1886, after a fragment of Sandro Botticelli’s (aka Sandro di Mariano Filepepe Botticelli; Alessandro Filipepe) (c.1444/5–1510) famous painting, “Primavera” (c.1470s–80s) in the collection of the Uffizi Gallery, Florence (see https://en.wikipedia.org/wiki/Primavera_(Botticelli)), printed by L. Eudes (fl.1876–1888) and published in Paris in the art periodical “Gazette des Beaux-Arts” in the December 1886 edition between pages 474 and 475.

Drypoint, aquatint and engraving printed in bistre coloured ink on laid paper, trimmed with small margins around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 18 x 20.6 cm; (plate) 16 x 19.7 cm; (image borderline) 13.2 x 17.8 cm.

Lettered in plate below the image borderline: (left) “Sandro Botticelli. pinx./ Gazette des Beaux-Arts.”; (centre) “LE PRINTEMPS/ (Fragment du tableau de l’Académie de Florence.)”; (right) “H. Guérard sc./ Imp. Eudes.”

Pierre Sanchez & Xavier Seydoux 1998, “Les Estampes de la Gazette des Beaux-Arts 1859–1933”, Paris, l’Echelle de Jacob, p. 108, cat. 186-15; Claudie Bertin 526; IFF 48-4; H. Béraldi 478;

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

I am selling this gloriously glowing and sensitively executed drypoint (with aquatint and engraving) for AU$255 (currently US$170.44/EUR154.22/GBP135.75 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 marvellous study of a fragment of Botticelli’s “Primavera” showing the mythological figures, the Three Graces— Aglaea (“Shining”), Euphrosyne (“Joy”) and Thalia (“Blooming”)—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

Henri Guérard’s drypoint, “Vase à anse en verre de Venise”, 1888

Henri Guérard (aka Henri Charles Guérard) (1846–1897)

“Vase à anse en verre de Venise” [BnF title] (Venetian glass vase with handle), 1888, this may be a proof-state impression as there are no lettered details regarding the title or the publisher. Note that there is an earlier state of this print before it was developed with tone (as shown here): see http://catalogue.bnf.fr/ark:/12148/cb44236213b.  

Drypoint (and aquatint?) with pale plate-tone on laid paper with wide margins.

Size: (sheet) 41.4 x 29.2 cm; (plate) 22.8 x 16.9 cm; (image borderline) 19.9 x 14.3 cm.

Inscribed in plate within the image borderline: (lower left behind ewer base) “– H. GUERARD. SC–”.

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this outstanding drypoint—in my opinion a true masterwork of drypoint showing the utmost sensitivity in the rendering of this exquisite glass ewer—for AU$294 (currently US$196.51/EUR177.80/GBP156.52 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 fascinating study of the pattern of shadow and reflection (and all the other variables that come into play in capturing the transparency of glass), 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

Henri Guérard’s mezzotint with etching, “Sibylla Delphica”, 1887, after Edward Burne-Jones

Henri Guérard (aka Henri-Charles Guérard) (1846–1897)

“Sibylla Delphica”, 1887, after the painting of the same title (1868) (see https://commons.wikimedia.org/wiki/File:Edward_Burne-Jones_-_Sibylla_Delphica,_1868.jpg) in the Manchester Art Gallery by Edward Burne-Jones (aka Edward Coley Burne-Jones) (1833–1898), printed by L Eudes (fl.1876–1889), published in Paris as an illustration to the art periodical, “Gazette des Beaux-Arts”, 1887, vol. 36 (Vingt-neuvième année - Deuxième période Volume trente-sixième), opposite page 194 (see https://archive.org/details/gazettedesbeauxa61pari/page/194/mode/2up).

Etching with mezzotint printed in a warm black ink on laid paper backed with a support sheet. Note that the British Museum proposes that this print may be an aquatint, but based on the fine rocker-like score marks on the face and hands I am swayed to believe it is a mezzotint—I may be wrong!

Size: (sheet) 28.1 x 16.7 cm; (plate) 23.7 x 11.4 cm; (image borderline) 20.8 x 8.2 cm.

Lettered in plate below the image borderline: (left) “Burne-Jones pinx./ Gazette des Beaux-Arts.”; (centre) “SIBYLLA DELPHICA.”; (right) “H. Guérard sc./ Imp. Etudes.”

Beraldi 487 (Henri Béraldi 1888, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. VII, Paris, Librairie L Conquet, p. 272, cat. no. 487); IFF 57 (Département des Estampes 1930–, “Inventaire du Fonds Francais Après 1800”, Paris, Bibliothèque Nationale de France, cat. no. 57).

The British Museum offers the following description of this print: “The Delphic Sibyl, after Edward Burne-Jones, full-length, standing by the tripod, holding bay leaves … plate published in 'La Gazette des Beaux-Arts', 1887, volume II, page 194. 1887 Etching (with aquatint?)” (https://www.britishmuseum.org/collection/object/P_1922-0718-39).

Condition: a strong and well-printed impression with a good margin around the platemark and laid upon an archival support sheet of millennium quality washi paper. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this small and exceptionally beautiful mezzotint after Edward Burne-Jones’ painting of the Delphic Sibyl—a prophetic figure of Ancient Greece famous for foreshadowing the coming of Christ and, interestingly, features in Michelangelo’s Sistine Chapel ceiling—for the total cost of AU$202 (currently US$129.5/EUR132.12/GBP115.87 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 sensitively executed mezzotint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.