Jules Laurens, “Head of Jesus”, circa 1869–1870, after Da Vinci

Jules Laurens (also known as Jules Joseph Augustin Laurens) (1825–1901)

“Head of Jesus”— a study in reverse after the depiction of Christ in Leonardo da Vinci’s The Last Supper, circa 1869–1870 (https://en.wikipedia.org/wiki/The_Last_Supper_%28Leonardo%29)

Technical Details & Condition:

Crayon-manner lithograph printed in black on heavy pale grey wove paper.

The lithograph was produced under the artistic direction of Sébastien Cornu (also known as Sébastien-Melchior Cornu) (1804–1870)—an academic painter and art educator involved in designing curricula for art institutions and French schools. It was printed in Paris by Lemercier & Cie (active 1827–1899) and published by August-Jean Morel (1820–1869).

The impression is crisp, strong and well-printed. Aside from a minor dot in the upper right, the sheet is in excellent condition with no tears, holes, folds, abrasions or significant stains.

Dimensions:

• Sheet: 49 x 32.3 cm

In-Plate Lettering:

• Upper left: “COURS ÉLÉMENTAIRE”
• Upper right: “PL_15”
• Lower left: “Sébast. Cornu direx^t.”
• Lower centre: “A. Morel Edit, 13, rue Bonaparte / Imp. Lemercier & C^ie, Paris”
• Lower right: “Laurens Lith”

Reference:

• IFF 63 (Jacques Lethève & Françoise Gardey, “Inventaire du Fonds Français après 1800: LAURENCE–LÉPAGNEZ”, 1965, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 13, p. 24, cat. no. 63)— View entry on BnF Gallica: https://gallica.bnf.fr/ark:/12148/bpt6k54892331/f36.image

Price & Shipping:

AU$229 (approx. US$163.44 / €140.39 / £121.48), including worldwide express shipping. Import duties and taxes (if applicable) are the buyer’s responsibility.

To acquire this finely executed study of a head—based on the head of Christ depicted in Leonardo’s The Last Supper—please contact oz_jim@printsandprinciples.com. I’m happy to provide a secure PayPal invoice for a smooth, protected transaction.

Jules Laurens, “Chênes du Midi”, c.1852, after Alexandre Calame

Jules Laurens (aka Jules Joseph Auguste Laurens, 1825–1901)

“Chênes du Midi” (Oaks of the South) around 1852. This date is inferred from the inscribed address of the printer, François Delarue (fl. 1850s–1860s), who was active in Paris at 8 rue Larrey in 1852. The lithograph is based on a design by the Swiss landscape artist Alexandre Calame (also spelled Calam or Calamy, 1810–1864) and is plate 116 from the series “Leçons de Paysage” (Landscape Lessons), published by François Delarue & Fils. Notably, Delarue released “Leçons de Paysage” in two sets, issued in folios each comprising twelve plates, between approximately 1850 and 1863.

Lithograph on heavy wove paper.

Size: (sheet) 34.9 x 47.4 cm

Inscribed with signature in plate/stone: (lower left) “A Calame”.

Lettered in plate/stone along the lower edge: (left) “Paris, F^ois. DELARUE & FILS édit^rs. 68, r. JJ. Rousseau.”; (centre) “LEÇONS DE PAYSAGE/ lith. par Laurens, d’après A. Calame.”; (right) “CHÊNES DU MIDI/ Imp. F^ois. Delarue, 8, rue Larrey, Paris.”

Condition: a strong and well-printed impression. The plate number which should be at the upper edge of the sheet is lost, otherwise the sheet is in a near pristine condition with no tears, holes, folds, stains or signs of handling.

I am selling this large and magnificent study of two oak trees for the total cost of AU$224 (approximately US$148.33, EUR €125.77, or GBP £109.12). This price includes worldwide express shipping. Please note that any applicable import duties are the buyer’s responsibility.

If you are interested in purchasing large nature study designed for art students to copy and explore the expressive potential of a master's drawing, 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.

Jules Laurens’ etching, “Sous les Murs de Téhéran (Perse)”, 1863

 

Jules Laurens (aka Jules Joseph Augustin Laurens) (1825–1901)

“Sous les Murs de Téhéran (Perse)” (aka “Under the Walls of Tehran [Persia]”), 1863. I understand from the British Museum’s description of the frontispiece to the same publication in which this print features (see inv. no. 1864,1008.270) and to Léon-Honoré Labande’s (1910) account of Jules Laurens in “Jules Laurens: Ouvrage Illustré d'Après les Œuvres de l'Artiste” (p. 244), that this print was executed for the Société des Aquafortistes, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published by Cadart & Luquet (fl. 1863–1867) in Paris in 1863 as plate 51 to the first volume of “Eaux-Fortes Modernes: Originales et Inédites”. Note that Laurens made the frontispiece etching to the second volume of “Eaux-Fortes Modernes”, published in 1864, with the numbering of the plates in the 1864 volume continuing from the first volume (1863) and commencing with plate 61 onwards.

Labande (1910) offers the following description of this print (in transl.): “Under the walls of Tehran (Persia) (no. 51). The subject represents the stopping of a caravan near old half-torn towers; the camels have been unloaded, a traveler keeps watch while the others rest” (p. 244 [https://archive.org/details/juleslaurensouvr00laba/page/244/mode/2up]).

Etching with pale plate-tone printed in a warm-black ink on heavy wove paper trimmed with a small margin around the platemark and backed with a support sheet (with margins).

Size: (support sheet) 42.6 x 49.9 cm; (sheet) 25.6 x 33.9 cm; (plate) 23.8 x 32.8 cm; (image borderline) 22.3 x 31.7 cm.

Inscribed in plate within the image borderline: (upper right corner) “51.”; (lower left corner) “LAUREN [reversed ‘S’]”.

Lettered in plate below the image borderline: (left) “Jules Laurens sculp^t.”; (left of centre) “Paris, Publie par A. Cadart & F. Chevalier, Éditeurs, Rue Richelieu, 66.”; (centre) “SOUS LES MURS DE TÉHÉRAN (Perse).”; (right) "Imp. Delâtre, Rue S^t. Jacques, 303, Paris." 

State i (of i)

Beraldi 6 (4–17) (Henri Béraldi 1889, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Laemlein–Mécou”, vol. IX, Paris, Librairie L. Conquet, p. 61, cat. nos. 4–17).

See also the marvellous description and insights about this print offered by Art of the Print: http://www.artoftheprint.com/artistpages/laurens_jules_joseph_augustin_souslesmursdeteheran.htm.

Condition: a richly inked and very strong impression showing use of retroussage (i.e., a technique employed when wiping the still wet plate to allow ink to “spill” over the lines), trimmed with small margins and laid upon an archival support sheet of millennium quality washi paper. The sheet is in a good condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this remarkable etching of a seldom portrayed scene in nineteenth century printmaking featuring a caravan of dromedary camels camped outside the crumbling walls of Tehran—my eye loves the somewhat stretched portrayal of the sleeping dog with large droopy ears shown in the foreground, but I wonder if such a dog (or any dogs) would accompany a caravan—for the total cost of AU$286 (currently US$206.71/EUR182.08/GBP151.72 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 rare and historically significant record of the artist’s own experience of camel caravan life in Iran, 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 

Jules Laurens’ lithograph, “L'Ange du Soir”, 1855, after Alexandre Cabanel

Jules Laurens (aka Jules Joseph Augustin Laurens) (1825–1901)

“The Angel of the Evening” (aka “L'Ange du Soir”; “L'Ange du Soir Veillant Sur Une Ville”; “The Evening Angel Watching Over a City”), 1855, lithograph after Alexandre Cabanel’s (1823–1889) painting of the same title executed in 1848 (Musée Fabre, Montpellier), printed by Lemercier (aka Lemercier & Cie) (fl.1827–1899) and published by Hippolyte Peyrol (fl.c.1852–1879) in Paris as plate 25 in an album of 30 lithographs showcasing the collection of Alfred Bruyas (1821–1877) (aka La Galerie Bruyas).

Lithograph printed in black ink on buff-coloured chine collé on heavy wove paper backed with a support sheet.

Size: (sheet) 39.4 x 35.6 cm; (image borderline) 19.1 x 23.2 cm.

Lettered and numbered in the stone above the image borderline: (centre) “GALERIE BRUYAS”; (right) “25”.

Lettered in the stone below the image borderline: (left) “A. Cabanel pinx/ L'Ange du Soir”; (centre) “Imp. Lemercier, Paris”; (right) “J. Laurems lith./ Paris, H. Peyrol Edit 24 r Hautefeuille”.

Léon-Honoré Labande (1910) in “Jules Laurens: Ouvrage Illustré d'Après les Œuvres de l'Artiste” (Paris, H. Champion) offers the following description of this print:

(Transl.) “The Evening Angel, with large folded wings, seated on a hillock overlooking the sea and the distant city. The original painting is by Cabanel; lithography, by expressing all the drawing qualities found there, unfortunately could not remove the dryness of the lines.” (p. 228 [https://archive.org/details/juleslaurensouvr00laba/page/228/mode/1up]).

Beraldi (not described) (Henri Beraldi 1885–92, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 9, Paris, L Conquet, pp. 59–61; see https://archive.org/details/lesgraveursdu19e09berauoft/page/n67/mode/2up).

Condition: well-printed impression with wide margins laid onto a support sheet of archival (millennium quality) washi paper. Beyond a few dot restorations, the sheet is in a marvellous condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this poetically luminous and romantic lithograph in reverse after the painting of the same composition by Lauren’s close friend, Alexandre Cabanel, for a total cost of AU$248 (currently US$191.63/EUR157.10/GBP135.06 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 exceptionally beautiful lithograph in near pristine condition, 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