Adolphe André Wacquez’s lithograph/soft-ground with dot-roulette etching, “Sketch for the Madonna d'Alba”, 1858, after Raphael

Adolphe André Wacquez (1814–[after]1865)

“Sketch for the Madonna d'Alba” (Royal Academy title) (aka “Études pour la Vierge à l'Enfant avec Saint Jean Baptiste” [Guermonprez & Lothe title] “Studies for the Virgin and Child with Saint John the Baptist”), 1858, crayon-manner engraving after a drawing by Raphael (aka Raffaello Sanzio; Raffaello Santi) (1483–1520), published by Georges Rapilly (fl. 1850–1890) and printed by Henri Plon (fl. c1858-1870?) in Paris in 1858 as an illustration, Pl. XIX, to “Choix De Dessins De Raphael Qui Font partie De La Collection Wicar A Lille, Reproduits En Fac-Simile Par MM. Wacquez Et Leroy, Gravés Par Les Soins De M.H. D'Albert, Duc De Luynes, Membre de l'Institu”.

Note that the Royal Academy advises: “All plates are signed as drawn by Raphael and engraved by Alph. Leroy (pl. 1, 2, 4-6, 8-13, 16, 18) or A. Wacquez (pl. 3, 7, 14, 15, 17, 19, 20)” (https://www.royalacademy.org.uk/art-artists/book/choix-de-dessins-de-raphael-qui-font-partie-de-la-collection-wicar-a-lille).

Lithograph—as advised by the Royal Academy (see https://www.royalacademy.org.uk/art-artists/work-of-art/sketch-for-the-madonna-dalba), but there is a platemark and evidence of dot-roulette linework in the printing of the sanguine colour, mindful that Wacquez also employed soft-ground etching in some plates (see https://www.britishmuseum.org/collection/object/P_1872-1012-686) and so the dot-roulette linework and the pen-like strokes in the bistre colour may be a part of a soft-ground etching technique—on buff-coloured chine collé printed in bistre and sanguine coloured inks on heavy wove paper with wide margins.

Size: (sheet) 63.6 x 44.9 cm; (plate) 45.9 x 30.9 cm; (image borderline/chine collé) 39.9 x 25.5 cm.

Numbered in plate above the image borderline: (right) “PL. XIX”

Lettered in plate below the image borderline: (left) "RAPHAËL DEL.”; (right) “A. WACQUEZ SC.”

Beraldi (not numbered) (Henri Beraldi 1892, “Les Graveurs du Dix-Neuvième Siècle: Saint-Marcel - Zwinger”, vol. 12, Paris, Librairie L. Conquet, p. 253); Guermonprez & Lothe 4 (Paul Guermonprez & José Lothe 2007, “Alphonse Leroy Graveur 1820–1902”, Paris, Editions Héritage Architectural, p. 119, cat. no. 4 [with differences in publication details]).

Condition: a strong impression with generously wide margins in a near pristine condition.

I am selling this very beautiful and large lithograph (as proposed by the Royal Academy) after preparatory drawings by Raphael, for the total cost of AU$279 (currently US$186.48/EUR168.73/GBP148.53 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 subtle masterwork showing a composite arrangement of Raphael’s drawings, 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 

Adolphe André Wacquez’s crayon-manner engraving, “Study for the painting ‘Saint John the Baptist Preaching’”, 1858, after Raphael

Adolphe André Wacquez (1814–[after]1865)

“Study for the painting ‘Saint John the Baptist Preaching’”, 1858, crayon-manner engraving after a drawing by Raphael (aka Raffaello Sanzio; Raffaello Santi) (1483–1520), published by Georges Rapilly (fl. 1850–1890) and printed by Henri Plon (fl. c1858-1870?) in Paris in 1858 as an illustration (Pl. VII, page 20) to “Choix De Dessins De Raphael Qui Font partie De La Collection Wicar A Lille, Reproduits En Fac-Simile Par MM. Wacquez Et Leroy, Gravés Par Les Soins De M.H. D'Albert, Duc De Luynes, Membre de l'Institu”.

Crayon-manner engraving on buff coloured chine collé printed in bistre colour ink on heavy wove paper with wide margins. Note that I may be incorrect in my description of this print as the Royal Academy propose that it is a lithograph (see https://www.royalacademy.org.uk/art-artists/work-of-art/study-for-the-painting-saint-john-the-baptist-preaching), but close examination suggests (to me) that this may not be the case.

Size: (sheet) 63.4 x 43.5 cm; (plate) 47.5 x 30.3 cm; (image borderline) 39.8 x 26.3 cm.

Numbered in plate above the image borderline: (right) “Pl. VII.”

Lettered in plate below the image borderline: (left) "RAPHAËL DEL.”; (right) “A. WACQUEZ SC.”

Beraldi (not numbered) (Henri Beraldi 1892, “Les Graveurs du Dix-Neuvième Siècle: Saint-Marcel - Zwinger”, vol. 12, Paris, Librairie L. Conquet, p. 253)

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

I am selling this very beautiful and large crayon-manner engraving for the total cost of AU$279 (currently US$186.60/EUR172.02/GBP151.31 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 huge and technically superb engraving—note that the finer/faint lines are executed with a dot roulette and I suspect (and I may be wrong) that the pen-like strokes may be executed with soft ground etching—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Alphonse Leroy’s crayon-manner engraving, “Study of an Infant”, c1857, after Giovanni Antonio Sogliani

Alphonse Leroy (aka Alphonse Alexandre Leroy), 1820–1902)

“Study of an Infant”, c1857, after a drawing by Giovanni Antonio Sogliani (1492–1544), from the series of plates (under the patronage of Count Alfred Émilien O'Hara van Nieuwerkerke [1811–1892]) after old master drawings transcribed as engravings to be used as drawing lesson studies (“Cours de Dessin”) in “Collection de dessins originaux de grands maîtres gravés en fac-simile par Alphonse Leroy; avec texte explicatif par MM. F. Reiset et F. Villot, conservateurs du Musée Imperial du Louvre”, printed by Chatain (fl.1857/1864–1872) and published in 1857–59 by Alphonse Leroy and Georges Rapilly (fl.1850–1890) in Paris.

Crayon-manner engraving with aquatint(?) and plate tone, printed in a umber coloured ink on fine China paper (originally chine collé on heavy blue wove paper), trimmed with a small margin around the image borderline (with loss of the publication text lines), backed with a support sheet.

Size: (sheet) 28.1 x 40.5 cm; (image borderline) 26.8 x 39.5 cm.

Inscribed on plate below the image borderline: (left) “Dessiné par Antonio Sogliani”; (centre) “impe. Chatain, Paris.”; (right) “Gravé par Alphonse Leroy.”

Condition: well-printed impression but with surface marks, trimmed with a small margin around the image borderline and laid onto a support of archival (millennium quality) washi paper.

I am selling this large crayon-manner engraving designed as a drawing lesson study, for AU$234 (currently US$170.47/EUR143.86/GBP133.20 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 sensitive translation of the texture of a chalk drawing into an 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