Paul Huet, “Bois de la Haye”, 1867

Paul Huet (aka Paul Hüet) (1803–1869)

“Bois de la Haye” [Woods near The Hague], 1867, after a painting (1864–65) of the same title by the artist, printed by Alfred Salmon (fl.1863–94) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1^st October 1867, between pages 338 and 339.

Etching on buff coloured chine collé on wove paper, trimmed within the platemark on the top and sides with wide margins around the image borderline.

Size: (sheet) 16.9 x 21.6cm; (chine collé/image borderline) 10.2 x 14.7cm.

State v (of v) published state.

Inscribed below the borderline: (left) “PAUL HUET PINX. ET SCULP. / Gazette des Beaux-Arts”; (centre) “BOIS DE LA HAYE.”; (right) “Imp. A. Salmon, Paris.”

Delteil 17; Beraldi 69; IFF 104.

See description of this print at Yale University Art Gallery and Art Link to the World: http://artgallery.yale.edu/collections/objects/13730; http://www.artlinktotheworld.com/id19.html.

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

I am selling this small treasure of an etching for the total cost of AU$249 (approximately US$162.77, EUR 139.43, or GBP 120.86), this includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this very beautiful print—in fact it’s one of my favourite prints! —please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that currently mail services from Australia to the USA have been suspended. Consequently, at the moment I am unable to accept purchases needing shipping to the United States.

Paul Huet, “Les Ormeaux”, 1829

Paul Huet (aka Paul Hüet) (1803–1869)

“Les Ormeaux” (aka. “Young Elm Trees”), 1829, plate 5 from the series of 12 lithographs, “Paysages”, published in Paris and London in 1830 with the blindstamp of the publisher/printer, Charles Motte (aka Charles Étienne Pierre Motte) (1784–1836).

Interestingly, Henri Beraldi (1889) in his catalogue raisonné for Paul Heut cites the famous art critic Philippe Burty’s (1830–1890) advice that “each [plate in the series] is more beautiful than the last …” and adds Burty’s assessment that: “Paul Huet gave a very particular character of strength and eloquence, colour and poetry to his lithographs. … For a long time they [the series] lingered in boxes on the quays. … [but] today they are almost impossible to find and amateurs are fighting over them.” (Henri Beraldi 1889, p. 131).

Lithograph on buff coloured chine collé on wove paper backed with a support sheet.

Size: (sheet) 28.6 x 23.4cm; (chine collé) 23.3 x 18.7cm; (image borderline) 16.7 x 14cm.

Inscribed in plate/stone above the image borderline: (left) “A”; (right) “5”.

Lettered in plate/stone below the image borderline: (left) “Huet del^t”; (centre) “LES ORMEAUX./ à Paris rue des marais n^o 13 Faub Saint Germain./ Pub in 1830 by C. MOTTE, London 19 Bedford Street, Convent Garden.”; (right) Lithog de C. Motte”.

State ii (of iii) —before Chales Motte’s name is replaced with the printer, Caboche.

Delteil 46 (Loys Delteil 1911, “Le Peintre-Graveur Illustré: Paul Huet”, vol 7, Paris, n.p., cat. no. 46); Beraldi 6–18 (Henri Beraldi 1889, “Les Graveurs du XIX^e Siècle”, Paris, Librairie L. Conquet, vol. 8, p. 131, cat. nos. 6–18 [plate 5]).

See also the descriptions of this print offered by the Cleveland Museum of Art and the British Museum: https://www.clevelandart.org/art/1940.1126;  https://www.britishmuseum.org/collection/object/P_1999-0926-24.

Condition: a strong and well-printed impression with the blindstamp of the publisher at lower left. Beyond faint age toning to the edges of the sheet, the sheet is in a near pristine condition with no tears, holes, folds, abrasions or stains and has been laid onto archival (millennium-quality) washi paper that provides generous margins.

I am selling this masterwork of lithography—note the artist’s skill in employing the full range of tones from pure white to velvety blacks— for the total cost of AU$273 (approximately US$178.62, EUR 152.77, or GBP 132.29), this includes worldwide express postage and handling. Please note that any applicable import duties or taxes imposed by the destination country are the responsibility of the buyer.

If you are interested in purchasing this very beautiful 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

Charles Courtry, “Forest with Cows near a Stream”, c.1870, after Paul Huet

Charles Courtry (aka Charles Jean Louis Courtry) (1846–1897)

“Forest with Cows near a Stream” (descriptive title only), c.1870, etching after a painting by Paul Huet (1803–1869).

Etching on laid paper backed with a support sheet.

Size: (sheet) 17 x 21.2cm; (plate) 12.7 x 17.2cm; (image borderline) 9.5 x 14.7cm.

Inscribed in plate below the image borderline (left) “PAUL HUET PINX”; (right) “CH. COURTRY. Sc”.

Beraldi 82–201 (Henri Béraldi 1886, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: CHERRIER–DIEN”, vol. 5, Paris, Librairie L. Conquet, p. 66 [mentioned with Huet’s name, but without catalogue number, in a diverse group of prints reproducing old and modern paintings in catalogues published by “Durand-Ruel, Francis Petit, Haro, Sedelmeyer, etc.], cat. nos. 82–201).

Condition: a strong and well-printed impression laid upon a support of archival (millennium quality) washi paper providing wide margins. 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 insightfully executed etching that not only captures the sparkling effects of  light on foliage, but also explores the open spaces between trees as a flow of rhythms represented with curved aligned strokes as if the spaces were chiselled—from my way of looking, this interest in light and space pre-empts the Impressionists’ fascination with the effects of light and how to portray the intangible optical experience—for AU$192 in total (currently US$123.58/ EUR117.40/ GBP97.23 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$192) as this is my currency.

If you are interested in purchasing this marvellous etching that I would describe as a true printer’s print because it is so interesting in all its subtleties, 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

Paul Huet’s etching, “Les Baigneuses”, 1866

Paul Huet (1803–1869)

“Les Baigneuses” (aka “Les Baigneuses, soirée d'été”), 1867, an etching based on the artist's painting exhibited in the Salon of 1867. I understand that in 1911 this print was lettered with publication details for the “Revue de l’Art Ancien & Moderne” (1911) with Charles Wittmann (1876–1953) as the printer of that edition.

Etching with drypoint on cream wove paper.

Size: (sheet) 22.2 x 30.2 cm; (plate) 16.7 x 24 cm; (image borderline) 15 x 23.1 cm.

Inscribed in plate: (upper right corner) “PAUL HUET/ 1867”.

State iii (of iv) —note that the description of the states offered by Delteil (1911) does not describe the third state but gives two different descriptions for the fourth state. The present impression matches the state before the bather lying in the corner, on the right, is erased (“la baigneuse couchée dans le coin, à droite, est efface”) which I interpret to be the third state.

Delteil 34 (Loys Delteil 1911, “Le Peintre-Graveur Illustré: Paul Huet”, vol 7, Paris, n.p., cat. no. 34); Beraldi 85 (Henri Beraldi 1889, “Les Graveurs du XIX^e Siècle”, Paris, Librairie L. Conquet, vol. 8, p. 136, cat. no. 85).

The British Museum offers the following description of this print: “Landscape with women bathing and playing at water's edge beneath willows, another [relaxing] in shade at [right]. 1867” (https://www.britishmuseum.org/collection/object/P_1872-0113-474).

Condition: a richly inked and well-printed impression with full margins (as published?) in a near pristine condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very beautiful etching seemingly filled with sparkling light—exemplifying the fascination at the time (especially with the Impressionists) with representing the effects of light—for the total cost of AU$266 (currently US$177.90/EUR162.39/GBP139.51 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 etching executed with great delicacy, 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 

Paul Huet’s lithograph, “Environs de Rouen”, 1832

Paul Huet (1803–1869)

“Environs de Rouen”, 1832, plate 5 from the series of 6 plates, “'Six Marines Lithographiées d'après Nature by Paul Huet en 1832”, published in “L’Artiste” (1832) and printed by Bertauts (fl. 1830s–1880) in Paris.

Lithograph printed from two plates (black and buff coloured) on wove paper with small margins and backed with a support sheet.

Size: (sheet) 30.8 x 21 cm; (image borderline) 22.8 x 16.5 cm.

Lettered in plate/stone above the image borderline: (centre) “L’ARTISTE”.

Lettered in plate/stone below the image borderline: (left) “P Huet del.”; (centre) “ENVIRONS DE ROUEN”; (right) “Imp Bertauts. r[ue] Cadet, Paris”.

State ii (of iii) before the erasure of “L’Artiste” and its replacement in state iii with “Souvenirs d'Artistes” (see Deleil [1911]) 

Delteil 68 ii (Loys Delteil 1911, “Le Peintre-Graveur Illustré (XIXe et XXe siècles): Paul Huet”, vol. 7, Paris, cat. no. 68 ii); IFF 67 (Inventaire du Fonds Français: Bibliothèque Nationale, Départment des Estampes. Bibliothèque nationale de France, Paris, 1930–, cat. no. 67); Beraldi 68.

The British Museum offers the following description of this print: “In the foreground, a boat with a mast and sails, partly unfurled, some men aboard, one of them handing over a package to (or receiving it from) another man in a small boat alongside the main vessel; other boats, and two men seated on a wall nearby; published in "L'Artiste". 1832 Lithograph with one tint-stone” (https://www.britishmuseum.org/collection/object/P_1988-0514-49).

Condition: a well printed impression with small margins and laid onto a support of archival (millennium quality) washi paper. Beyond a few spots, the sheet is in a very good condition for its age with no tears, holes, folds, abrasions or significant stains.

I am selling this very rare and beautiful lithograph that (to my eyes) seems to glow with the soft golden light of early morning, for AU$253 (currently US$188.76/EUR171.22/GBP142.56 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.

If you are interested in purchasing this small masterwork executed by one of my personal favourite nineteenth century French artists, 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