Comte de Caylus & Nicolas Lesueur, “A Holy Abbot Restoring Sight to a Blind Man”, c.1729, after Giovanni Bonatti

Anne Claude Philippe de Tubières, Comte de Caylus (1692–1765) (etching component) in collaboration with Nicolas Lesueur (aka Nicolas Le Sueur) (1690–1764) (woodcut component)

“A Holy Abbot Restoring Sight to a Blind Man” (aka “Un Saint Abbé Rendant la Vûe à un Aveugle”), c.1729, plate 126 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing by Giovanni Bonatti (aka Joannes Bonatus; Giovannino del Pio) (1635–1681).

This is a rare early impression before the woodcut component was replaced with aquatint when published by François Basan (1723–97) in 1764. The British Museum holds a copy of the later state where aquatint was introduced in 1763 by Francois Philippe Charpentier (1734–1817)—a pioneer of early aquatint—with the intention of imitating Nicolas Lesueur’s woodcut component (as shown here); see https://www.britishmuseum.org/collection/object/P_1855-0609-207.

Regarding the publication of the series, “Recueil Crozat”, the Curator of the British Museum offers the following insights: “… a series of plates commissioned by Crozat [Pierre Crozat (1665–1740)] … reproducing famous paintings and drawings of the era; 140 plates were published in 1729. A second volume formed by 42 prints (instead of the 110 plates initially planned) was issued in 1740.

After Crozat's death, the plates were sold to a company of booksellers who commissioned Mariette to reorganize the 'Recueil'; Mariette divided the plates into two volumes, added some missing descriptions, and advertised the set to the public in 1742.

In 1764, Basan [François Basan] bought the plates and the text, and republished the 'Recueil', but replaced the woodcuts by intaglio prints. … where an attempt to imitate the effect of a chiaroscuro woodcut is made by using aquatint instead …” (https://www.britishmuseum.org/collection/object/P_1907-1121-14).

Etching and chiaroscuro woodcut printed in black (the etching component) and three tones of yellow-brown (the woodcut component) on heavy laid paper with wide margins.

Size: (sheet) 45.8 x 30.8 cm; (plate) 31.7 x 16 cm; (image borderline) 20.5 x 15 cm.

Lettered in plate below the image borderline: (centre) “Vn S^t. Abbé rendant la vûe à un aveugle/ Dessein de Jean Bonnatti, qui est dans le Cabinet de M^r. Crozat/ Gravé à l’eau forte par M^r. le C… de C.., et en bois sous sa conduit par Nicolas le Sueur.”; (right) “126”.

IFF 38 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes).

Condition: a strong and well-printed impression. There is age-toning, pale patches and a few spots/stains, otherwise, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this curiosity of a composite print employing etching and chiaroscuro woodcut (i.e., a woodcut involving more than one tone of a colour) for AU$319 (currently US$211.34/EUR194.64/GBP166.63 at the time of posting this print) 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 early impression of a technically important print, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Comte de Caylus & Nicolas Le Sueur’s etching and chiaroscuro woodcut, “The Virgin Accompanied by Saints”, c1729, after Pietro Antonio de' Pietri

Anne Claude Philippe de Tubières, Comte de Caylus (1692–1765) (etching component) in collaboration with Nicolas Le Sueur (1690–1764) (woodcut component)

“The Virgin Accompanied by Saints” (aka “La S^te. Vierge Accompagnée de Pusieurs Saints”), c1729, plate 135 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing by Pietro Antonio de' Pietri (aka Pietro de Pietri; Pierre de Pietri) (1663/5-1716).

This is a rare early impression before the woodcut component was replaced by aquatint when published by François Basan (1723–1797) in 1764. The British Museum holds a later impression where an aquatint plate is employed to imitate the woodcut plate: https://www.britishmuseum.org/collection/object/P_1855-0609-216.

Regarding the publication of the series, “Recueil Crozat”, the Curator of the British Museum offers the following insights: “… a series of plates commissioned by Crozat [Pierre Crozat (1665–1740)] … reproducing famous paintings and drawings of the era; 140 plates were published in 1729. A second volume formed by 42 prints (instead of the 110 plates initially planned) was issued in 1740.

After Crozat's death, the plates were sold to a company of booksellers who commissioned Mariette to reorganize the 'Recueil'; Mariette divided the plates into two volumes, added some missing descriptions, and advertised the set to the public in 1742.

In 1764, Basan [François Basan (1723–1797)] bought the plates and the text, and republished the 'Recueil', but replaced the woodcuts by intaglio prints. … where an attempt to imitate the effect of a chiaroscuro woodcut is made by using aquatint instead …” (https://www.britishmuseum.org/collection/object/P_1907-1121-14).

Etching and chiaroscuro woodcut printed in black (etching component) and two shades of blue (woodcut component) on heavy laid paper with wide margins.

Size: (sheet) 54.6 x 40.7 cm; (plate) 41.9 x 24.2 cm; (image borderline) 37.8 x 22.7 cm.

Lettered in plate below the image borderline: (centre) “La S^te. Vierge accompagnée de pusieurs Saints./ Dessein de Pierre de Pietri, qui est dans le Cabinet de M^r. Crozat/ Gravé à l’eau forte par Mr. le C… de c., et en bois sous sa conduit par Nicolas le Sueur.”; (right) “135”.

Le Blanc 9 (Charles Le Blanc 1854-1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations” [4 vols.], Paris, p. 543, cat. no. 9); IFF 370 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes).

The British Museum offers the following description of this print: “The Virgin and child with saints; the Virgin and Child sit on a pedestal at centre, at right a monk approaches and offers a flower, behind him stand a female figure carrying a vase, and a bearded man; in the foreground, to the right, a bearded saint carrying a book kneels before the Virgin, and at left St Lawrence stands with his hand resting on the gridiron; after a drawing by Pietri. c.1729 Etching and chiaroscuro woodcut printed in two shades of blue” (https://www.britishmuseum.org/collection/object/P_2014-7072-1).

Condition: a strong and well-printed impression in excellent (near pristine) condition with no tears, holes, folds, losses, abrasions, significant stains or foxing.

I am selling this curiosity of a composite print employing etching and chiaroscuro woodcut (i.e., a woodcut involving more than one tone of a colour) for AU$319 (currently US$214.61/EUR203.47/GBP179.72 at the time of posting this print) 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 early impression of a technically important print, 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

Comte de Caylus & Nicolas Le Sueur’s “Discovery of the True Cross”, c1729/64, after Bernardino Pintoricchio

Anne Claude Philippe Comte de Caylus (1692–1765) (etching component) in collaboration with Nicolas Le Sueur (1690–1764) (aquatint component)

“Discovery of the True Cross” (aka “l'Invention de la Croix”; “Discovery of the True Cross by St Helena”), c1729/64, plate 3 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing by Bernardino Betti Biagi Pintoricchio (aka Bernardino Betti Biagi Pinturicchio) (c1454–1513), published by François Basan (1723–1797) in 1764.

Etching and aquatint with tone woodblock imitating a chiaroscuro woodcut, printed in two shades of blue with black on heavy laid paper with wide margins.

Size: (sheet) 46.8 x 37.2 cm; (plate) 41 x 32 cm; (image borderline) 34.4 x 31.3 cm.

Regarding the publication of the series, “Recueil Crozat”, the Curator of the British Museum offers the following insights: “… a series of plates commissioned by Crozat [Pierre Crozat (1665–1740)] … reproducing famous paintings and drawings of the era; 140 plates were published in 1729. A second volume formed by 42 prints (instead of the 110 plates initially planned) was issued in 1740.

After Crozat's death, the plates were sold to a company of booksellers who commissioned Mariette to reorganize the 'Recueil'; Mariette divided the plates into two volumes, added some missing descriptions, and advertised the set to the public in 1742.

In 1764, Basan [François Basan (1723–1797)] bought the plates and the text, and republished the 'Recueil', but replaced the woodcuts by intaglio prints. … where an attempt to imitate the effect of a chiaroscuro woodcut is made by using aquatint instead …” (https://www.britishmuseum.org/collection/object/P_1907-1121-14).

Lettered in plate below the image borderline: (centre) “l'Invention de la Croix./ 'D'après le dessein de Bernardin Pinturicchio, qui est dans le Cabinet de M^r. Crozat/ gravé en bois par Nicolas le Sueur”; (right) “3.**”

The British Museum offers the following description of this print: “The invention of the Cross, or the discovery of the True Cross by St Helena, after a drawing attributed on plate to Pinturicchio: three men lifting a cross; two are standing in a trench, the third one is kneeling on the edge at right. c.1729/64/ Aquatint imitating a chiaroscuro woodcut, printed in two shades of brown, on etched lines (https://www.britishmuseum.org/collection/object/P_1855-0609-82).

See also the description of this print offered by the Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/698050.

Condition: a strong and well-printed impression in excellent condition with no tears, holes, folds, losses, abrasions, significant stains or foxing.

I am selling this curiosity of an intaglio print (viz. etching with aquatint) that is skilfully crafted to imitate a chiaroscuro woodcut (i.e., a woodcut involving more than one tone of a colour) for AU$296 (currently US$191.90/EUR199.54/GBP177.81 at the time of posting this print) 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 technically important print showcasing a somewhat deceptive practice of the 1700s, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy (but not, of course, any import duties/taxes imposed by some countries).

This print has been sold

Comte de Caylus & Nicolas Le Sueur’s “St Philippe de Nery”, c1729/64, at Luigi Garzi

Anne Claude Philippe Comte de Caylus (1692–1765) (etching component) in collaboration with Nicolas Le Sueur (1690–1764) (aquatint component)

“St Philippe de Nery” (aka “St Philippe de Néri”), c1729/64, plate 133 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing by Luigi Garzi (aka Louis Garzi; Luiggi Garzi Romano) (1638–1721), published by François Basan (1723–1797) in 1764.

Regarding the publication of the series, “Recueil Crozat”, the Curator of the British Museum offers the following insights:

“… a series of plates commissioned by Crozat [Pierre Crozat (1665–1740)] … reproducing famous paintings and drawings of the era; 140 plates were published in 1729. A second volume formed by 42 prints (instead of the 110 plates initially planned) was issued in 1740.

After Crozat's death, the plates were sold to a company of booksellers who commissioned Mariette to reorganize the 'Recueil'; Mariette divided the plates into two volumes, added some missing descriptions, and advertised the set to the public in 1742.

In 1764, Basan [François Basan (1723–1797)] bought the plates and the text, and republished the 'Recueil', but replaced the woodcuts by intaglio prints. … where an attempt to imitate the effect of a chiaroscuro woodcut is made by using aquatint instead …”

(https://www.britishmuseum.org/collection/object/P_1907-1121-14).

Etching and aquatint imitating a chiaroscuro woodcut, printed in two shades of green with black on heavy laid paper (with watermark) with wide margins.

Size: (sheet) 54.8 x 40.9 cm; (plate) 38.3 x 25.4 cm; (image borderline) 34.7 x 24.8 cm.

Lettered in plate below the image borderline: (centre) “S^. Philippe de Nery./ D’apres le dessein de Louis Garzi, qui est dans le Cabinet de M^r. Crozat./ Gravé à l’eau forte par C . . . de  C . . . et en bois sous conduit par Nicolas le Sueur”; (right) “133”.

IFF 272 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes); Le Blanc 25.

The British Museum offers the following description of this print:

“St Philip Neri, kneeling at left, his left hand to his chest, and looking at the Virgin and Child, who have appeared on the right, surrounded by angels; after a drawing by Luis Garzi; lettered state. c.1729/64
Etching and aquatint imitating a chiaroscuro woodcut, printed in two shades of brown” (https://www.britishmuseum.org/collection/object/P_1855-0609-214).

See also the description of this print offered by the Louvre: https://collections.louvre.fr/en/ark:/53355/cl020603501.

Condition: a strong and well-printed impression (nearly faultless) with a generously wide margins in excellent condition with no tears, holes, folds, losses, abrasions, significant stains or foxing.

I am selling this curiosity of an intaglio print (viz. etching with aquatint) that is skilfully crafted to imitate a chiaroscuro woodcut (i.e., a woodcut involving more than one tone of a colour) for AU$296 (currently US$218.58/EUR184.66/GBP157.71 at the time of posting this print) 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 technically important print showcasing a somewhat deceptive practice of the 18^th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy (but not, of course, any import duties/taxes imposed by some countries).

This print has been sold

Charles Nicolas Cochin I & Nicolas Le Sueur’s, “La Calomnie, peinte par Apelles”, 1729

Charles Nicolas Cochin I (1688–1754) (etching component) in collaboration with Nicolas Le Sueur (1690–1764) (aquatint component)

“La Calomnie, peinte par Apelles”, 1729, plate 39 from the series, “Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France” (Collection of prints from the most beautiful paintings and from the most beautiful designs that are in France) (aka “Recueil Crozat”; “Cabinet Crozat”), after a drawing by Raphael (1483–1520) (see https://www.britishmuseum.org/collection/object/P_1955-1109-10-11) and no doubt loosely based on the composition (in reverse) of Sandro Botticelli’s tempera on wood painting, “La Calomnie d'Apelle” (c1495) in the Uffizi Gallery, Florence (see: https://fr.wikipedia.org/wiki/La_Calomnie_d%27Apelle_(Botticelli)), published by François Basan (1723–1797) in 1764.

Regarding the publication of the series, “Recueil Crozat”, the Curator of the British Museum offers the following insights:

“… a series of plates commissioned by Crozat [Pierre Crozat (1665–1740)] … reproducing famous paintings and drawings of the era; 140 plates were published in 1729. A second volume formed by 42 prints (instead of the 110 plates initially planned) was issued in 1740.

After Crozat's death, the plates were sold to a company of booksellers who commissioned Mariette to reorganize the 'Recueil'; Mariette divided the plates into two volumes, added some missing descriptions, and advertised the set to the public in 1742.

In 1764, Basan [François Basan (1723–1797)] bought the plates and the text, and republished the 'Recueil', but replaced the woodcuts by intaglio prints. … where an attempt to imitate the effect of a chiaroscuro woodcut is made by using aquatint instead …”

(https://www.britishmuseum.org/collection/object/P_1907-1121-14 ).

Etching and aquatint imitating a chiaroscuro woodcut, printed in two shades of brown on heavy laid paper (with watermark).

Size: (sheet) 27.4 x 44.4 cm; (plate) 18.7 x 35.7 cm; (image borderline) 15.9 x 34 cm.

Lettered in plate below the image borderline: (centre) “La Calomnie, peinte par Apelles/dessein de Raphaël, qui est dans le Cabinet de Mr. Crozat, gravé en cuivre par Charles Nicolas Cochin, et en bois par Nicolas le Sueur”; (right) “39”.

IFF 51 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes); Le Blanc 25.

The British Museum offers the following description of this print:

“The calumny of Apelles, after a drawing attributed on plate to Raphael: Calumny, preceded by a bearded man personifying Envy and followed by two women (Deceit and Malice?), hals [hauls?] a youth by the hair and brings him before a king with ass's ears, enthroned at left and surrounded by two female figures (Ignorance and Assumption?) who are whispering into his ears; on the right, an old woman personifying Remorse turns round as a naked woman, representing Truth, arrives; the print has been cut down the middle. c.1729/64 Aquatint imitating a chiaroscuro woodcut, printed in brown over etched lines” (https://www.britishmuseum.org/collection/object/P_1855-0609-118).

See also the description of this print offered by the Louvre: https://collections.louvre.fr/en/ark:/53355/cl020603407.

Condition: a well-printed impression with a generously wide margins in excellent condition with no tears, holes, folds, losses, abrasions, significant stains or foxing.

I am selling this curiosity of an intaglio print (viz. etching with aquatint) that is skilfully crafted to imitate the attributes/“look” of a chiaroscuro woodcut (i.e. a woodcut involving more than one tone of a colour) for AU$261 (currently US$191.85/EUR162.67/GBP139.41 at the time of posting this print) 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 technically important print showcasing a somewhat deceptive practice of the 18^th century, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy. (but not, of course, any import duties/taxes imposed by some countries).

This print has been sold