Gustave Greux, “Clog Makers in the Quimerc'h Woods (Finistère)”, 1877, after Camille Bernier

Gustave Greux (also known as Gustave Marie Greux) (1838–1919)

“Clog Makers in the Quimerc'h Woods (Finistère)” (“Sabotiers dans le Bois de Quimerc’h [Finistère]”), 1877

Contextual Commentary:

This original etching with drypoint by Gustave Greux is based on Camille Bernier's (1823–1902) painting exhibited at the Paris Salon of 1877. The composition depicts Breton clog makers (sabotiers) crafting traditional wooden footwear directly within the Quimerc'h forest in Finistère, Brittany. Historically, the Quimerc'h woods—located near the present-day Cranou forest on the edge of the Monts d'Arrée—sheltered entire itinerant communities of forest artisans. These specialised craftsmen lived in temporary woodland settlements, using freshly felled beech and birch wood to carve the iconic botou-coad (wooden clogs).

This fine impression was printed in Paris by the master printer François Liénard (fl. c. 1860s–1880s) and was published in 1877 as a premium insert for the prestigious art periodical L'Art (Volume IX / Tomes II of that year).

Technical Details & Condition:

Etching with drypoint on buff-coloured laid paper with full margins as issued.

The impression is richly inked, crisp, and evenly printed — almost faultless! Note that the impression retains the very fine and faint scratched historic inscription below the image at centre: “G. Greux d’apres G. Bernier.”

The sheet is in pristine condition—completely free of tears, holes, folds, abrasions, handling marks, foxing, and stains.

Dimensions:

• Sheet: 29.0 x 43 cm
• Platemark: 20.8 x 28.7 cm
• Image borderline: 17.8 x 26.6 cm

In-Plate Lettering:

• Above image: (centre) “Salon de 1877.”
• Below image: (left) “C. Bernier. pinx. / L’Art.”; (centre) “SABOTIERS DANS LE BOIS DE QUIMERC’H (Finistère)”; (right) “G. Greux. sc. / F^çois Liénard. Imp. Paris.”
• Scratched inscription below image at centre: “G. Greux d’aprés G. Bernier.”

References:

• IFF 6 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: GAVARRET–GUILLARD”, vol. 9, 1955, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 376, cat. no. 11) — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k54892064/f388.item
• Pierre Sanchez & Xavier Seydoux, “Les Estampes de L’Art (1875–1907)”, 1999, Paris, L’Echelle de Jacob, p. 56
• British Museum: Museum number 1878,0511.320 — https://www.britishmuseum.org/collection/object/P_1878-0511-320

Price & Shipping:

AU$224 (approximately US$157.65 / €140.70 / £117.87), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this superb etching sparkling with tonal contrasts, please contact oz_jim@printsandprinciples.com. Secure payment is handled via PayPal invoice for a smooth, protected transaction.

Gustave Greux, “Rêverie”, c. 1875, after Albert Maignan

Gustave Greux (also known as Gustave Marie Greux) 1838–1919)

“Rêverie”, c. 1875

Technical Details & Condition:

Etching with drypoint on ivory laid paper (Arches watermark) with generously wide margins as issued.

The composition of the etching is based on Albert Maignan’s (aka Albert Pierre René Maignan) (1845–1908) painting exhibited in the 1875 Salon. This impression was printed in Paris by François Liénard (fl. c. 1860s–1880s). It was published as an insert between pages 342 and 343 in the art periodical “L’Art,” in 1875.

The impression is richly inked, strong, crisp and nearly faultless. Aside from a few thin spots that are an intrinsic part of the paper, the sheet is in pristine condition bearing no tears, holes, folds, abrasions, or stains.

Dimensions:

• Sheet: 43.9 x 29.9 cm
• Platemark: 29.0 x 20.9 cm
• Image borderline: 26.4 x 18.6 cm

In-Plate Lettering:

• Above the image at centre: “Salon de 1875.”
• Below the image: (left) “A.Maignan, pinx. / L'Art.”; (centre) “RÊVERIE.”; (right) “G.Greux,sc./ F^çois Liénard,Imp.Paris.”

References:

• IFF 6 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: GAVARRET–GUILLARD”, vol. 9, 1955, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 375, cat. no. 6)
• Pierre Sanchez & Xavier Seydoux, “Les Estampes de L’Art (1875–1907)”, 1999, Paris, L’Echelle de Jacob, p. 33
• British Museum: Inventory number 1877,0210.464 — https://www.britishmuseum.org/collection/object/P_1877-0210-464

Price & Shipping:

AU$236 (approximately US$164.91 / €147.16 / £124.62), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this superb etching capturing the spell of a contemplative state—a rêverie beautifully embodied by the young woman who has momentarily dropped her stitch, leaving her yarn to rest on the low stool beside her—please contact oz_jim@printsandprinciples.com. The quietude of her distraction contrasts with the dramatic, complexly knotted pollarded tree rising behind her, a powerful visual anchor that symbolically echoes the deep, entangled layers of her inner thoughts. Secure payment is handled via PayPal invoice for a smooth, protected transaction.

Léonie Valmon, “Le Canal de Chantenay à Nantes”, 1883, after Charles Lapostolet

Léonie Valmon (1864–1941)

“Le Canal de Chantenay à Nantes”, 1883

Technical Details & Condition:

Etching on fine cream laid paper featuring the Arches watermark, complete with generously wide, full margins as issued. Masterfully printed in Paris by François Liénard (active c. 1860s–1880s) it was published in 1883 for the renowned French art periodical L'Art (Sanchez & Seydoux ref: 1883-40). The etching interprets Charles Lapostolet’s (1824–1890) celebrated painting from the Paris Salon of 1883.

The impression itself is faultless—strong, remarkably crisp, and evenly printed across the matrix. The sheet remains in truly pristine condition, entirely free of tears, holes, folds, abrasions, stains, or historical handling marks.

Dimensions:

• Sheet: 42.9 x 29 cm
• Platemark (soft): 33.8 x 24.5 cm
• Image borderline: 11.8 x 20.3 cm

In-Plate lettering:

• Upper centre: “Salon de 1883”
• Lower left: “Ch. Lapostolet pinx. / L'Art.”
• Lower centre: “LE CANAL DE CHANTENAY À NANTES.”
• Lower right: “Léonie Valmon sc. / F^. Liénard, Imp.”

Price & Shipping:

AU$214 (approx. US$150.34 / €130.42 / £111.51, subject to daily exchange rates). Price fully includes worldwide express shipping. Please note that destination import duties and local taxes remain the sole responsibility of the buyer.

To purchase this superb etching, please contact me directly at oz_jim@printsandprinciples.com. I will provide a secure PayPal invoice for a seamless transaction.

Note: This print is exceptionally rewarding when examined closely, displaying subtle tonal nuances in the cloud modelling alongside a dramatic range of ink density—from the rich, deep blacks of the boats' hulls to the gleaming white of the distant building.

The scene beautifully captures the old industrial shipping canal system at Chantenay-sur-Loire, positioned on the western maritime approach to Nantes in western France.

This print has been sold