Loys Delteil’s etching, “Portrait of Paul Renouard”, 1898

Loys Delteil (aka, Loïs Delteil; Henri Loys Delteil) 1869– 1927)

“Portrait of Paul Renouard” (aka “Portrait of Charles Paul Renouard [1845–1924]”), 1898, drawn from life by Delteil, printed in Paris by Alfred Porcabeuf (aka Alfred Louis Porcabeuf) (fl. 1895–1946?) and published in the journal of art (especially the graphic arts) in France, “L'Estampe et l'Affiche” (The Print and the Poster), No. 5., 15 May, 1898.

Etching and drypoint with pale plate tone on ivory coloured laid paper with full margins.

Size: (sheet) 28.2 x 21.7 cm; (plate) 20 x 14.9 cm.

Inscribed in plate: (lower left) “Loys Delteil/ ad. vivum del.sc.”; (lower left of centre) “Mai 1898”.

Lettered in plate along the lower edge: (left) “L'Estampe et l'Affiche”; (centre) “PAUL RENOUARD”; (right) “Imp. Porcabeuf­_Paris”.

IFF 4 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Français après 1800”, vol. 6, Paris, Bibliothèque nationale de France, cat. no. 4)

The Rijksmuseum offers the following description of this print:

(Transl.) “Paul Renouard behind his desk, looking in a mirror, with a magnifying glass in one hand and an etching needle or pencil in the other. Next to him a table with printmaker's instruments” (http://hdl.handle.net/10934/RM0001.COLLECT.599136).

See also the description of this print and biographical details about the artist offered by Galerie Bassenge: https://bassenge.com/lots/117/53290.

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

I am selling this sensitively executed etching (with drypoint) by Loys Delteil showing his fellow printmaker, Paul Renouard, distracted from his work on a self-portrait by looking in the mirror at the viewer/Delteil—note that Delteil has inscribed on the plate that he drew/inscribed Renouard’s portrait from life (ad vivum)— for the total cost of AU$288 (currently US$206/EUR175.88/GBP151.02 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 fascinating portrait of a printmaker at work and a marvellous example of how an artwork can excite a viewer’s reflexive response—an automatic “knee jerk”/startle response rising from the viewer examining Renouard at work in his studio and then recognising that he is looking directly at the viewer in the mirror—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

Pieter Dupont’s engraving, “Cheval de Labour”, 1902

Pieter Dupont (1870–1911)

“Cheval de Labour” (aka “Rustend ploegpaard”; “Resting plough horse”), 1902, printed by Alfred Porcabeuf (aka Alfred Louis Porcabeuf) (fl. 1895–1946?) and published in Paris in the periodical, “Gazette des Beaux-Arts”, in February 1903.

In 1898 Dupont executed a similar print in reverse, “Ploegpaard aan de oevers der Seine” (Plough horse on the banks of the Seine), featuring an almost identical resting horse in an arched position; see https://www.britishmuseum.org/collection/object/P_1919-1111-8. Although the position of the horse is similar, the subject of plough horses was explored numerous times by Dupont; see for example, “L'Outillage” (https://www.britishmuseum.org/collection/object/P_1919-1111-15);  “l'Attelage” (https://www.britishmuseum.org/collection/object/P_1908-1014-333) and “Bête de labeur” (http://hdl.handle.net/10934/RM0001.COLLECT.573826).  

Engraving on fine wove (imitation parchment) paper backed with a support sheet.

Size: (sheet) 18.2 x 26.5 cm; (plate [soft]) 16 x 23.1[?] cm; (image borderline) 13.7 x 20.6 cm.

Lettered on plate below the image borderline: (left) “Gazette des Beaux-Arts”; (centre) P. Dupont del. et sc./ CHEVAL DE LABOUR”; (right) “Imp. A Porcabeuf, Paris.”

WF Dupont 92 (WF Dupont 1947, “Pieter Dupont, een Nederlandsch graveur: zijn leven en werken”, Oisterwijk, Uitgeverij Oisterwijk, p. 151, cat. no. 92).

The Rijksmuseum offers the following description of this print:

(Transl.) “A horse is bent over a plough. Under the belly of the horse with a view of a harrow and a ploughing pair of horses” (http://hdl.handle.net/10934/RM0001.COLLECT.584849).

Condition: a richly inked, near faultless impression showing no sign of wear to the printing plate and laid onto a support of archival (millennium quality) washi paper. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this exquisitely executed engraving by one of the leading and influential Dutch printmakers at the turn of the 20^th century who sought to revive engraving in the Netherlands following the etching revival in France, Britain and the United States, for AU$243 (currently US$189.18/EUR155.75/GBP134.15 at the time of posting this print) including Express Mail (EMS) 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 ravishingly beautiful engraving, 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 Duvent’s drypoint, “Venise au Rialto”, c1904

Charles Duvent (aka Charles Jules Duvent; Charles-Jules-Valère Duvent; Charles-Jules-Walère Duvent) (1867–1940)

"Venise au Rialto", c1904, after a fragment of a painting by Charles Duvent shown in the Salon of 1904, printed by Alfred Porcabeuf (aka Alfred Louis Porcabeuf) (fl.1895–1946?) and published in “La Gazette des Beaux Arts” (insert between pp. 166–167 [see https://gallica.bnf.fr/ark:/12148/bpt6k2031643/f183.item]) in August, 1904, in Paris.

See the very brief discussion of Duvent’s painting that this print translates on p. 39 where the treatment of the painting is described as having breadth and beauty: “M. Charles Duvent avec plus de largeur consacre au Pont du Rialto un tableau d'une belle ordonnance” (https://gallica.bnf.fr/ark:/12148/bpt6k2031643/f42.item).

Drypoint with plate tone on cream laid paper with full margins as published, backed with a support sheet.

Size: (sheet) 26.9 x 18.4 cm; (plate) 21.3 x 14.7 cm; (image borderline) 19.5 x 14.7 cm.

Lettered on plate below the image borderline: (left) “Gazette des Beaux-Arts”; (centre) “Ch. Duvent pinx. et sc./ VENISE AU RIALTO (FRAGMENT)/ (Société des Artistes français _ Salon of 1904.); (right) “Imp. A. Porcabeuf, Paris”.

Condition: a richly inked and well-printed impression with full margins as published and laid onto a support of archival (millennium quality) washi paper. Beyond a dot in the lower left margin the sheet is in near pristine condition with no tears, holes, folds, losses, abrasions, significant stains, foxing or signs of handling.

I am selling this superbly executed drypoint that to my eyes unambiguously expresses what the portrayed figures are thinking—note for instance how the woman on the left seems to be looking inquisitively at the viewer and the aura of resolute confidence exhibited by the slightly smiling lady in the foreground with her clenched fist—for AU$227 (currently US$165.94/EUR139.77/GBP125.06 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.

If you are interested in purchasing this marvellous drypoint capturing the bustling spirit of the Belle Époque age, 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