Alfred Louis Brunet-Debaines’ etching, “Old Paris: Notre Dame”, c.1880

Alfred Louis Brunet-Debaines (1845–1939)

“Old Paris: Notre Dame”, c.1880, showing a view from the L'Hôtel de Ville de Marseille (The Marseille Town Hall) at the Old Docks ("le quai du Port") as it existed in the 1800s before it was dynamited in 1943 and looking across the Seine to Notre Dame in the distance (my apologies if I have errors in this description), published in London by J.S. Virtue & Co. Ltd.

Etching with pale plate tone printed in a warm black ink on heavy wove paper with wide margins around the image borderline.

Size: (sheet) 31.9 x 23 cm; (image borderline) 22.3 x 15.8 cm.

Inscribed in plate within the image borderline: (lower left corner) “A Brunet-Debaines.”

Lettered in plate below the image borderline: (centre) “OLD PARIS – NOTRE DAME./ DRAWN AND ETCHED BY A. BRUENT-DEBAINES./ LONDON: J. S. VIRTUE & C^O. LIMITED.”

See a brief description of this print offered by the Cleveland Museum of Art: https://www.clevelandart.org/art/1923.922.

Condition: a strong and well-printed (near faultless) impression in pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this remarkably strong etching of Paris looking across the Seine to Notre Dame in the distance, for AU$197 (currently US$131.67/EUR119.14/GBP104.88 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 near faultless impression of a superb etching in pristine/museum quality condition, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Cousen’s engraving, “Bacchus and Ariadne”, 1859-61, after Turner

Charles Cousen (c1819–1889)

“Bacchus and Ariadne”, 1859-61, after Joseph Mallord William Turner’s (1775–1851) famous painting in the Tate Gallery (see https://www.tate.org.uk/art/artworks/turner-bacchus-and-ariadne-n00525), from the series, “The Turner Gallery” (1859–1861), published as an illustration to “The Art Journal” of 1860 by Virtue & Co (1820s–1908) in London and in 1879 (as is the case with this impression) in New York by D. Appleton & Co (1831–) in “The Turner Gallery; a series of one hundred and twenty engravings from the works of the late J.M.W. Turner, R.A.”, vol. 1 (see: https://archive.org/details/gri_33125008236784/page/n83/mode/2up).

Engraving and etching on heavy wove paper trimmed within the platemark and backed with a support sheet providing wide margins.

Size: (support sheet) 44 x 38.3 cm; (sheet) 29.1 x 24.2 cm; (dia. image borderline) 21.7 cm.

Lettered in plate below the image borderline: (left) “J. M. W. TURNER, R. A, PINX^T.”; (centre) “BACCHUS AND ARIADNE./ D. D. APPLETON & C^O. NEW YORK.”; (right) “C. COUSEN, SCULP^T.”

Rawlinson 741 (W.G. Rawlinson 1913, “The Engraved Work of J. M. W. Turner, R.A.”, vol. 1, London, Macmillan, p. cviii, cat. no. 741 and vol. 2, p. 359).

The British Museum offers the following description of this print in the edition published by Virtue & Co: “Classical landscape in a circle, with Bacchus on bank at left in a crowd of revellers with cloak swirling around him, Araidne below with putti at her feet, the sun setting over the water at right, a temple on the hill at left; after JMW Turner (Butlin & Joll 382); later edition, illustration to the Art Journal of 1860” (https://www.britishmuseum.org/collection/object/P_1872-1012-2400).

Condition: a richly inked and well-printed (near faultless) impression, trimmed within the platemark and laid onto a support of archival (millennium quality) washi paper providing larger margins. The sheet is in a near pristine condition with no tears, folds, abrasions, stains or foxing.

I am selling this stunningly strong engraving after Turner, showing a thickset Ariadne averting her gaze in an unsubtle way from the amorous advance of Bacchus as he leaps from his chariot, for AU$212 (currently US$146.38/EUR135.61/GBP118.69 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 very beautiful engraving after Turner’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

Paul Rajon’s etching, “After the Masquerade”, c.1884, after Gérôme

Paul Rajon (aka Paul Adolphe Rajon) (1843–1888)

“After the Masquerade”, c.1884, after Jean-Léon Gérôme’s (1824–1904) painting, “Suite d'un bal masqué”, 1857, in the Musée Condé in Chantilly (France), published in “The Art Journal”, vol. 46, p. 333, by J S Virtue & Co (1820s–1908) in 1884 in London.

Archive.org offers this volume for online viewing and free-of-charge dowloading (see page 333 for this print in its context):

https://archive.org/details/gri_33125006187682/page/n405/mode/2up/search/Rajon.

Etching on cream coloured wove paper with full margins (as published).

Size: (sheet) 24.2 x 33.8 cm; (image borderline) 15.7 x 22.6 cm; note that the plate is larger than the published page).

Inscribed on plate within the image borderline: (lower left) “JL GEROME PINXT”; (lower right) “Rajon scl”.

Lettered on plate below the image borderline: (left) “PAINTED BY J. L. GERÔME. H.R.A.”; (centre) “AFTER THE MASQUERADE./ LONDON: J. S. VIRTUE & Co. LIMITED.”; (right) “ETCHED BY PAUL RAJON”.

 Beraldi 7 (Henri Beraldi 1885–92, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 11, Paris, L Conquet, p, 158, cat. no. 7).

The Walters Art Museum offers the following description of Gérôme’s painting—mindful that Gérôme made copies of the original painting in the Musée Condé:

 “In this painting, showing the outcome of a duel after a costume ball, Gérôme replicates, with slight variations, a composition he had executed for the Duc d'Aumale in 1857. It is dawn on a wintry day in the Bois de Boulogne, Paris, and Pierrot succumbs in the arms of the Duc de Guise. A Venetian doge examines Pierrot's wound while Domino clasps his head in despair. To the right, the victorious American Indian departs, accompanied by Harlequin” (https://art.thewalters.org/detail/12697/the-duel-after-the-masquerade/).

See also the description of this print from a different edition offered by the British Museum:

https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3485267&page=1&partId=1&searchText=paris%20wounded.

Condition: well-printed, near faultless impression with full margins as published. The sheet is in near pristine condition for its considerable age (i.e. there are no tears, holes, losses, creases, abrasions, stains, foxing or signs of use).

I am selling this sensitively executed original etching often reproduced in books as it exemplifies the leaning to romantic images in the 19^th century by showing the grim aftermath of a duel following what must have been an altercation with bruised pride at masquerade ball, for the total cost of AU$190 (currently US$110.22/EUR102.95/GBP94.64 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 visually arresting scene that (to my eyes) captures perfectly the silvery dull light of a winter’s dawn in the Bois de Boulogne—a large park in the 16th arrondissement of Paris—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.