Charles Meryon ,“Portrait of Jean Besly”, 1861, after Jaspar Isaac

Charles Meryon (aka Charles Méryon) (1821–1868)

“Portrait of Jean Besly”, 1861, after the design (possibly an engraving?) by the printmaker, printer and publisher, Jaspar Isaac (fl.1585–1654) showing the historian, Jean Besly (1612-1647), from the Province of Poitou, at the age of 70 in 1642, signed in the plate with Charles Meryon’s monogram in the upper-left corner and with the date (1861) inscribed in the margin at lower centre, printed in Paris by Abraham Beillet (aka Beillet & Forestier) (fl.1850–1876) as an illustration to the first volume (of two) of Benjamin Fillon and Octave de Rochebrune’s “Poitou et Vendée, études historiques et artistiques”, published in 1861.

Etching with pale surface tone, printed on oriental paper with wide margins.

Size: (sheet) 30.8 x 23.2 cm; (platemark is too soft for accurate measurement [14.7 x 12 cm]); (image borderline) 11 x 8.9 cm.

Inscribed in plate within the image borderline: (upper left corner) [Charles Meryon’s monogram]; (square at upper right) “ÆT 70/ ANN 1642/ [coat-of-arms]”.

Lettered in plate below the image borderline: (left) “d'après I. Isac”; (centre) “IEAN BESLY/ 1861”; (right) “Imp. A. Beillet Q. de la Tournelle, 35.”

State iv (of iv) with the addition of the artist’s monogram.

Delteil & Wright 82 (Loys Delteil & Harold JL Wright 1989, “Catalogue Raisonné of the Etchings of Charles Meryon”, San Francisco, Alan Wofsy Fine Arts, n.p., cat. no. 82 [4^th state]).

See also the descriptions of this print offered by The British Museum and the Metropolitan Museum of Art: https://www.britishmuseum.org/collection/object/P_1876-0510-392; https://www.metmuseum.org/art/collection/search/377942.

Condition: a strong and well-printed impression with wide margins. The sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this seemingly raw etching by one the acknowledged masters of 19^th century French printmaking, Charles Meryon (see https://en.wikipedia.org/wiki/Charles_Meryon), after the design by the very fine engraver, Jaspar Isaacs (see for example, https://www.printsandprinciples.com/2020/05/jaspar-isaacs-engraving-descent-from.html), showing the historian Jean Besly in his 70^th year in 1642, for AU $291 in total (currently US $182.45/ EUR 175.28/ GBP 148.15 at the time of posting 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 $291) as this is my currency.

If you are interested in this intriguing portrait by Meryon, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Léon Gaucherel, “Where the Hell Does Love Go to Nest!”, 1873, after Charles-Edouard de Beaumont

Léon Gaucherel (1816­–1886)

“Where the Hell Does Love Go to Nest!” (aka “Où diable l'amour va-t-il de nicher!”; “Notre-Dame de Paris Gargouille et Amour”), 1873, after a painting by Charles-Edouard de Beaumont (aka Édouard de Beaumont) (1821–1888) that was based on a photograph by Charles Nègre (1820–1880), printed by Charles Delâtre (fl.c1872–1876) and published in Paris in August 24, 1873, as an illustration, plate 22, to the article, “Paris en Voyage", on page 44 of “Paris à l'Eau Forte” (see https://www.princeton.edu/~graphicarts/2012/07/du_diable_lamour_ya-t-il_se_ni.html & https://app.smartify.org/ro/objects/ou-diable-l-amour-va-t-il-se-nicher).

Note that the gargoyle on the left is the famous “Vampire” featured in Charles Meryon’s (1821–1868), “Le Stryge”, 1853 (https://www.artgallery.nsw.gov.au/collection/works/7009/). Although I may be wrong, I suspect that these gargoyles may have held a special significance for Gaucherel, as they were fairly recent additions to the cathedral during the time when (I understand) he worked on its restoration. Interestingly, the restoration of Notre-Dame was completed only three years before this print was executed.

Etching with drypoint on cream laid paper with full margins as published.

Size: (sheet) 27.9 x 18.6 cm; (plate) 18.1 x 12.3 cm; (image borderline) 16.6 x 11 cm.

Inscribed in plate above the image borderline: (right) “A 6.”.

Inscribed in plate within the image borderline: (lower right following the balustrade edge) “E Beaumont […]”.

Inscribed in plate below the image borderline: (left) “Imp: C Delatre”; (left-of-centre) “Ou diable l'amour va-t-il de nicher[n?]!”; (right) “Leon’ Gaucherel [deL?]”.

Condition: a strong and well-printed impression with full margins as published. The sheet is in very good (near pristine) condition with no tears, holes, abrasions or significant stains.

I am selling this curiously wonderful etching of love among the gargoyles of Notre-Dame, for a total cost of AU$254 (currently US$167.38/EUR151.97/GBP130.46 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$254) as this is my currency.

If you are interested in purchasing this fascinating etching designed to invite contemplation about the significance of its title (scratched below the image), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Eugène Bléry, “Bunch of Poppies, Convolvulus, Corncockles and Other Wildflowers”, c1850

Eugène Bléry (aka Alexandre Stanislas Eugène Bléry) (1805–1887)

“Bunch of Poppies, Convolvulus, Corncockles and Other Wildflowers”, c1850, plate 7 from the series, ‘’Suite de 16 planches de fleurs et plantes dans leur habitat’’ (Suite of 16 plates of flowers and plants in their habitat), 1848–50, printed by Lemercier & Cie (fl.1827–99) and published in Paris by Dessaigne (fl.1845–57).

Lithograph printed on heavy wove paper with wide margins as published.

Size: (sheet) 55.5 x 36 cm; (image borderline) 36 x 25.2 cm.

Inscribed in plate/stone within the image borderline: “(left) “EBléry del. Lith”.

Lettered in plate/stone below the image borderline: (centre) “Imp. Lemencier, r. de Seine 57 à Paris./ 7./ Paris. Dessaigne, éditeur 19 Rue de Clery.”

IFF 206 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris); Beraldi not described (Henri Beraldi 1885, “Les Graveurs du dix-neuvième siècle”).

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1859-0709-1994.

Condition: a near faultless impression in a near pristine condition with no tears, holes, folds, losses, abrasions, stains, foxing or signs of handling with generously wide margins as published.

I am selling this large and exceptionally beautiful original lithograph in a near pristine condition, designed and executed by a seminal figure of the 19th century etching revival movement and, interestingly, taught the great Charles Méryon, for AU$220 in total (currently US$144,02/EUR132.83/GBP111.74 at the time of posting 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$220) as this is my currency.

If you are interested in purchasing this very luminous lithograph exemplifying the drawing skills of one of the great 19th century masters of printmaking, 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

Aimé Dallemagne’s etching, “Les Colonnettes de Notre-Dame de Paris”, c1930, referencing Charles Meryon

Aimé Dallemagne (aka Aimé Edmond Dallemagne) (1882–1971)

“Les Colonnettes de Notre-Dame de Paris” (The Columns of Notre-Dame of Paris), c1930, a view of the gallery columns of the Notre-Dame reinterpreting in reverse Charles Meryon’s (1821–1868) famous etching, “La Galerie de Notre-Dame de Paris” (1853), showing the Gothic colonnade between the two towers of Notre-Dame with a view over Paris (see http://hdl.handle.net/10934/RM0001.COLLECT.42346).

Etching with pale plate-tone printed in brown ink on cream chine collé on heavy wove paper with a remarque of two gargoyles and lightly inscribed edition note in pencil, “[?] / 200”, below the image at lower left.  There may also be a pencil inscription at lower right (possibly once the artist’s signature) but this inscription has been erased and only the faintest trace remains.

Size: (sheet) 49.5 x 26.3 cm; (plate) 42.1 x 21.5 cm.

Inscribed in plate at lower right: “DALLEMAGNE”.

Condition: a very strong and richly inked impression with a well-printed remarque and very faint pencil notations of the edition. The sheet is in a very good condition with no tears, folds or holes, but there are minor marks (notably the margin at left).

I am selling this large and visually arresting etching of the upper gallery of the Notre-Dame for the total cost of AU$283 (currently/approximately US$190.81/EUR176.40/GBP149.20 at the time of posting 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$283) as this is my currency.

If you are interested in purchasing this superb etching that references with differences the famous etching of the same scene by Charles Meryon, 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 Meryon’s etching, “Louis Jacques Marie Bizeul”, 1861

Charles Meryon (aka Charles Méryon) (1821–1868)

“Louis Jacques Marie Bizeul” (aka “L.J. Marie Bizeul, a Breton archaeologist”), 1861, based on a photograph of L.J. Marie Bizeul, taken in 1860 when he was aged 75, printed in Paris by Abraham Beillet (aka Beillet & Forestier) (fl.1850–1876) and published in the first volume (of two) of Benjamin Fillon and Octave de Rochebrune’s “Poitou et Vendée, études historiques et artistiques”.

Note that Charles Meryon also made an etching of the archaeologist, Benjamin Fillon (1819–1881), who is one of the writers of the book in which Meyon’s etching, “Louis Jacques Marie Bizeul”, features (see https://www.metmuseum.org/art/collection/search/377943). The other writer, Octave de Rochebrune (1824–1900), is a well-known printmaker famous for his large etchings of buildings and monuments that (to my eyes) have some of the same magic of ominous presence that Meryon instilled into his prints; see for example, “View of a Castle”, 1870 (http://hdl.handle.net/10934/RM0001.COLLECT.340241) and “Interior of the Lantern of the Castle of Chambord”, 1872 (http://hdl.handle.net/10934/RM0001.COLLECT.102856).

Etching with engraving on heavy wove paper with wide margins (as published).

Size: (sheet) 30.7 x 22.8 cm; (plate) 16.9 x 11.8 cm; (image borderline) 12.1 x 10.4 cm.

Lettered in plate within the image borderline: (upper centre) “‘75^e ANNÉE DE SON AGE.’”

Lettered in plate below the image borderline: (left) “C M. sculp^t 1861.”; (centre) “BIZEUL/ (LOUIS JACQUES MARIE)/ 1860”; (right) “Imp. Beillet, Paris.”

State v (of v) with the addition of lettering for publication.

Delteil & Wright 83 v (Loys Delteil & Harold J.L. Wright 1989, “Catalogue Raisonné of the Etchings of Charles Meryon”, San Francisco, Alan Wofsy Fine Arts, n.p., cat. no. 83 [5^th state]).

See also the descriptions of this print offered by The British Museum and the Metropolitan Museum of Art: https://www.britishmuseum.org/collection/object/P_1865-0114-138; https://www.metmuseum.org/art/collection/search/377895.   

Condition: a strong and well-printed impression with wide margins around the platemark. The sheet is in a near pristine condition for its age with no tears, holes, folds, abrasions or significant stains.

I am selling this “rock solid” portrait of the Breton archaeologist, Louis Jacques Marie Bizeul, based on a photograph taken in 1860 of the sitter in his 75^th year—interestingly there is one curious deviation in the transcription of the composition of the photograph to the etching and that is the sitter’s far shoulder that Meryon advises “[he had raised] slightly [to bring] it closer to the body” (Meryon, in a letter to Monsieur Benjamin Fillon, February 9^th, 1863)—for AU$327 (currently US$220.11/EUR201.55/GBP173.83 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 this keenly observed portrait of what appears to be a commanding and possibly a “no nonsense’ archaeologist—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.