Gustave Bertinot’s engraving, “Supper at Emmaus”, 1883, after Titian

Gustave Bertinot (aka Gustave Nicolas Bertinot) (1822–1888)

“Supper at Emmaus” (aka “Les Disciples d'Emmaùs”, “The Pilgrims of Emmaus”), 1883, plate 53 after Titian’s (aka Tiziano; Tiziano Vecellio) (1489/90–1576) painting of the same title (c1530) in the collection of the Louvre (Inv. no. 746; see https://commons.wikimedia.org/wiki/File:Titian_-_Supper_at_Emmaus_-_WGA22794.jpg), printed by Charles Chardon (1832–1896) and published by the Société Française de Gravure (aka Société des Graveurs au Burin) (fl.1868–)—a society that the BM advises was founded by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members (see https://www.britishmuseum.org/collection/term/BIOG183625).

Engraving on cream chine collé on heavy wove paper with wide margins.

Size: (sheet) 51.8 x 61.2 cm; (plate) 35.2 x 45.5 cm; (chine collé) 33 x 43 cm; (image borderline) 25.2 x 36.3 cm.

Lettered in plate below the image borderline: (left) “TITIEN PINX^T.”; (centre) “SOCIÉTE FRANÇAISE DE GRAVURE/ [stamped in ink] 53/ Imp. Ch. Chardon”; (right) “C. BERTINOT SCULP^T.”

Beraldi 17 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Bellangé – Bovinet”, vol. 2, Paris, Librairie L. Conquet, p. 53, cat. no. 17).

Condition: a richly inked and near faultless impression with generously wide margins. Beyond small spots (mainly on the right side) the sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains.  

I am selling this huge and exceptionally rare engraving exemplifying the discipline and skill of a master engraver for AU$304 in total (currently US$208.08/EUR207.12/GBP179.58 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 masterwork of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Paul Alphonse Bellay’s engraving, “Christ a la Monnaie”, 1885, after Titian

Charles Paul Alphonse Bellay (1826–1900)

“Christ a la Monnaie” (aka “Christ has the Coin”; “Christ with the Denarius”), 1885, plate 53 after Titian’s (aka Tiziano; Tiziano Vecellio) (1489/90–1576) painting of the same title (1514-15) (first version) in Gemäldegalerie Alte Meister in Dresden, printed by Charles Chardon (1832–1896) and published by the Société Française de Gravure (aka Société des Graveurs au Burin) (fl.1868–)—a society that the BM advises was founded by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members (see https://www.britishmuseum.org/collection/term/BIOG183625).

Engraving on cream chine collé on heavy wove paper with wide margins.

Size: (sheet) 63.4 x 48.7 cm; (plate) 41 x 29.6 cm; (chine collé) 38.7 x 27.3 cm; (image borderline) 18.8 x 21.7 cm.

Lettered in plate below the image borderline: (left) “TITIEN PINX^T.”; (centre) “SOCIÉTÉ FRANÇAISE DE GRAVURE/ [stamped in ink] 53/ Imp. Ch. Chardon”; (right) “CH. BELLAY SCULP^T.”

Beraldi 22 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Bellangé – Bovinet”, vol. 2, Paris, Librairie L. Conquet, p. 26, cat. no. 22).

Condition: a richly inked and near faultless impression with generously wide margins. The front side of the sheet (recto) is in near pristine condition with no tears, holes, folds, abrasions, significant stains or signs of handling, but the back of the sheet (verso) shows faint spots of foxing.

I am selling this huge and exceptionally rare engraving exemplifying the discipline and skill of a master engraver for AU$304 in total (currently US$209.633/EUR209.08/GBP179.44 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 masterwork of engraving—note that the portrayed event in which Christ advises regarding the paying of taxes that one should “render unto Caesar the things that are Caesar’s, and unto God the things that are God’s” had added meaning for Duke Alfonzo who commissioned Titian to paint the scene as the Duke had been excommunicated by the Papacy because he wasn’t prepared to fund the Papacy’s war interests—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

William Haussoullier’s engraving, “Augustus, Octavia and Livia”, 1869, after Jean Auguste Dominique Ingres

William Haussoullier (aka Guillaume Haussoullier) (1818–1891)

“Augustus, Octavia and Livia” (aka “Auguste, Octavie et Livie”), 1869, from the series of engravings, “La Semaine” after drawings executed in Rome in 1813 by Jean Auguste Dominique Ingres (1780-1867) and given to Ingres’ friend, art collector and sculptor/medallist to Louis XVIII, Edouard Gatteaux (1788–1881) (see Henri Beraldi 1889, “Graveurs du Xixe Siècle: Guérin–Lacoste”, vol. 8, Paris, Librairie L Conquet, p. 65).

This impression is before the print was later published as plate 14 (“Planche XIV”) of the third series lettered on plate with the title and the collection: “Auguste Octavie et Livie/ musée de Bruxelles”.  It was printed by Charles Chardon (1832–1896) and published by the Société Française de Gravure (aka Société des Graveurs au Burin) (fl.1868–)—a society that the BM advises was founded by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members (see https://www.britishmuseum.org/collection/term/BIOG183625).

The portrayed subject relates to a detail of the Metropolitan Museum of Art’s “recently discovered drawing” by Ingres (https://www.metmuseum.org/art/collection/search/389561) related by its composition to his painting, “Virgil reading the Aeneid before Augustus”, in the collection of the Museum of Fine Arts in Brussels. Be mindful, however, as the MET advises in the marvellous accompanying discussion about Ingres’ drawing, that “Ingres would return to this subject throughout his career, reworking the composition in over one hundred drawings and three paintings.” (op. cit.)

Regarding the engraver and the historical context of this ultra-fine print, Haussoullier was a former pupil of Paul Delaroche (1797–1856) who made the now famous comment—possibly more of a myth than factual—on the demise of painting with the perceived advance of photography: “From today painting is dead.” Taking his master’s view to heart that a career in painting may be short lived, Haussoullier redirected his career to the art of engraving and this print is a demonstration piece of his newly acquired skill as an engraver. I understand that initially the plan was for Haussoulier to use a photograph of Ingres’ painting as a reference model for the engraving. This plan, however, seems to have been abandoned as photography at the time was not be sufficiently nuanced with subtleties and so (according to Beraldi’s catalogue) Haussoullier employed a drawing by Ingres instead as the reference model. Clearly, the pending threat towards the end of the 19^th century posed by photography over engraving as the preferred medium for the reproduction of artworks had not fully crystallised for Haussoullier.

Etching and engraving on cream chine collé (China paper) on heavy wove paper with wide margins.

Size: (sheet) 51.7 x 52.5 cm; (plate) 29 x 30 cm; (chine collé) 27.1 x 27.7 cm; (image borderline) 21.4 x 23 cm.

Lettered on plate below the image borderline: (left) “INGRES PINXT.”; (centre) “SOCIÉTÉ FRANçAISE DE GRAVURE/ 53/ Imp. Ch. Chardon”; (right) “HAUSSOULLIER SCULPT.”

Musées d'Art et d'Histoire de La Rochelle offer the following description of this print:

(Transl.) “On the right, a naked man [Augustus], a drape over the shoulder is seated in profile facing left. He has his right hand raised. On her knees lies a fainting young girl [Octavia] whose head is supported by a Roman matron [Livia] seated in the background.

Emperor Augustus and his sister Octavia face Virgil who is not presented in this engraving. The latter faints when the poet pronounces the words of "Tu Marcellus eris", recalling his murdered dead son. Finally, seated next to them, here is Livie, wife of Augustus and probable sponsor of the murder” (https://www.alienor.org/collections-des-musees/fiche-objet-151862-auguste-octavie-et-livie).

See also the description of this print by the Musée du Louvre: https://collections.louvre.fr/en/ark:/53355/cl020529512.

Condition: a strong and well-printed (near faultless) impression with generously wide margins in near pristine (museum quality) condition with no tears, holes, folds, abrasions or stains.

I am selling this astoundingly fine engraving in almost mint condition for the total cost of AU$268 (currently US$206.86/EUR172.10/GBP149.27 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 outstanding academic masterwork of late 19^th century engraving executed at the time when photography was seen as a threat to the traditional art mediums of painting and 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 

Huot & Danguin’s engraving, “The Virgin and Child with Saint Anne”, 1885,

Adolphe-Joseph Huot (1839–1883) and Jean-Baptiste Danguin (1823–1894)

“The Virgin and Child with Saint Anne” (aka “La Vierge, l'Enfant Jésus et Ste. Anne” [plate title]), 1885, after Leonardo da Vinci’s painting (c1503) in the Louvre, Paris (inv. 776), plate XXIV printed by Charles Chardon (1832–1896), published by the Société Française de Gravure (aka Société des Graveurs au Burin) (fl.1868–)—a society that the BM advises was founded by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members (see https://www.britishmuseum.org/collection/term/BIOG183625). The plate in the collection of the Chalcographie du Louvre.

Engraving with etching on heavy wove paper trimmed with a narrow margin around the platemark on the top and sides and (possibly) along the platemark on the lower edge.

Size: (sheet) 30.9 x 30 cm; (image borderline) 31 x 21.5 cm.

Lettered on plate below the image borderline: (left) “PEINT PAR LÉONARD DE VINCI/ [faint] I RE [first year?] SÉRIE”; (centre) “SOCIÉTÉ FRANÇAISE DE GRAVURE/ La Vierge, l'Enfant Jésus et Ste. Anne/ (MUSÉE DU LOUVRE)/ Imp. Ch. Chardon”; (right) “GRAVÉ PAR A HUOT ET DANGUIN/ PLANCHE XXIV”.

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

I am selling this superb engraving (with etching) of Leonardo’s famous painting showing the Virgin seated on her mother/St Anne’s lap coaxing baby Jesus away from grappling with a sacrificial lamb—the symbol for his passion—for the total cost of AU$312 (currently US$241.59/EUR201.61/GBP175.82 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 extraordinary 19^th century translation into line of the colour and tones of Leonardo’s painting, 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 

Ferdinand Gaillard’s etching, “Les Pélerins d'Emmaus”, 1884, after Rembrandt

Ferdinand Gaillard (aka Claude Ferdinand Gaillard) (1834–1887)

“Les Pélerins d'Emmaus” (The Supper at Emmaus) (aka “Les Pelerins d'Emmaus” [The Pilgrims of Emmaus]), 1884, after the 1648 painting by Rembrandt (aka Rembrandt Harmensz van Rijn) (1606–1669) in the Musée du Louvre, Paris, inv.no.1739 (Bredius 578) (see: http://rembrandt.louvre.fr/en/html/r13.html), printed by A Beillet (fl.1850–76) and published by the Société Française de Gravure—publishers founded in 1868 by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members—in Paris.

Note: a watercoloiur by Ferdinand Gaillard of the same composition was auctioned by ARTCURIAL (Sale 2781, June 3, 2015): https://www.artcurial.com/en/lot-claude-ferdinand-gaillard-paris-1834-1887-les-pelerins-demmaus-dapres-rembrandt-harmenszoon-van.

Etching and engraving on chine collè (China) on heavy wove paper with wide margins as published.

Size: (sheet) 71 x 54.5 cm; (plate) 49 x 43.1 cm; (chine collé) 47.5 x 42.3 cm.

Inscribed on plate within the image borderline: (lower left) “Rembrandt f 164[8]”.

Lettered on plate below the image borderline: (left) “REMBRANDT PINXT.”; (centre) “SOCIÉTÉ FRANÇAISE DE GRAVURE./ Imp. A. Beillet, Paris.”; (right) “F. GAILLARD SCULPT.”

State x (of x) with the addition of publication details.

Beraldi 43 (Henri Beraldi 1885-92, “Les graveurs du 19e siècle; guide de l'amateur d'estampes modernes”, vol. 6, Paris, L. Conquet, p. 208, cat. no. 43); IFF 73 (“Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes”, Paris, 1930).

Henri Beraldi (1885-92) in his catalogue raisonné offers the following insights about this print:

(transl.) “The engraver was probably tired of being told that he could only engrave calm and smooth paintings, so he wanted to show here a new face of his talent, by approaching Rembrandt and tackling color, that Gaillard … considered as a secondary thing or, according to its own expression, like a simple jam which one spreads on the drawing …” (vol. 6,  p. 208, cat. no. 43). 

Beradi proceeds to commend the print in that it (in translation) “reproduces with incredible fidelity the … slightest brushstroke of the original” and raises the interesting question: “But does it render … that ambient light which reigns the painting (when one sees it on a favourable day)?” (ibid.)

Note: the catalogue may be viewed online or downloaded free-of-charge from archive.org:

https://archive.org/details/lesgraveursdu19e06berauoft/page/208/mode/2up/.

The British Museum offers the following description of this print”

“The supper at Emmaus, with Christ sitting in the middle, in front of architectural niche; after Rembrandt”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3190445&partId=1&searchText=Ferdinand+Gaillard&page=1).

Condition: richly inked impression in museum-quality condition (i.e. there are no tears, holes, folds, losses, abrasions, stains or foxing). This is a superb copy of a huge print.

I am selling this large etching (with engraving) by arguably the finest engraver of the late 19^th century who is famous for his remarkably his fine strokes—sometimes almost invisible!—rendering the most subtle of tonal transitions, for the total cost of AU$282 (currently US$172.23/EUR157.04/GBP139.22 at the time of 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 masterpiece of 19^th century reproductive printmaking executed with the documented purpose of showcasing the artist’s skill to translate the textures of Rembrandt’s painting into line, 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