Bronislaw Zaleski, “Partie du Colysée à Rome”, 1864

Bronislaw Zaleski (aka Bronislas Zaleski) (1819–1880)

“Partie du Colysée à Rome” (Part of the Colosseum in Rome), 1864, plate 119 from the second volume of prints produced by the Société des Aquafortistes (Society of Etchers) in 1864, “Eaux-Fortes Modernes: Originales et Inédites” (see https://www.britishmuseum.org/collection/object/P_1864-1008-270), printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris by Cadart & Luquet (fl.1863–1867).

Etching on heavy laid paper (with the watermark of the Société des Aquafortistes) with wide margins as published.

Size: (sheet) 41.4 x 29.4 cm; (plate) 29.1 x 21.8 cm; (image borderline) 27.8 x 19 cm.

Inscribed in plate within the image borderline: (lower left corner) “ROMA. 1864/ Br. Zaleski”.

Numbered and lettered in plate outside the image borderline: (upper right corner) “119.”; (lower left) “Saleski sculp./ Paris, Publié par CADART & LUQUET, Editeurs, 79, Roue Richelieu.”; (lower centre) “PARTIE DU COLYSÉE À ROME.”; (lower right) “Imp. Delâtre, Rue S^t. Jacques, 303; Paris.”

The British Museum offers a description of this print (not reproduced): https://www.britishmuseum.org/collection/object/P_1864-1008-331.

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins. There is a printer’s crease/fold in the margin at lower left, otherwise, the print is in an excellent condition with no tears, holes, abrasions or stains.

I am selling this boldly dramatic view of a passageway within Colosseum that has become skylit with the collapse of a section of the roof, for AU$288 (equivalent to approximately US$185.05, EUR 165.30, or GBP 139.47 at the time of listing) and includes Express Mail Service (EMS) postage and handling to any worldwide destination. Please note that any import duties or taxes levied by the destination country, if any, are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$288).

If you are interested in purchasing this visually arresting etching of the Colosseum clearly following in the footsteps of the great Giovanni Battista Piranesi, 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 

Xavier de Dananche’s etching, “Sous Bois”, 1863

Xavier de Dananche (1828–1894)

“Sous Bois” (Underwood), 1863, plate 80 from the series, “Eaux-Fortes Modernes”, published in Paris by A. Cadart & Luquet (fl.1863–1867) in the second volume of prints produced by the Société des Aquafortistes, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907).

Etching on buff coloured chine collé on heavy wove paper.

Size: (sheet) 41.2 x 28.7 cm; (plate) 36.4 x 24.3 cm; (chine collé) 34.7 x 23.6; (image borderline) 32.4 x 23.2 cm.

Numbered (partially legible) in plate above the image borderline: (right corner) “80”.

Lettered in plate below the image borderline: (left) “Xavier Dananche pinx^t. & sculp^t.”; (centre) “SOUS BOIS./Paris, Publié par A. CADART & LUQUET, Éditeurs, 79, Rue Richelieu.”; (right) “Imp. Delâtre, Rue S^t. Jacques, 3o3, Paris.”

Condition: a richly inked impression in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this darkly luminous and poetically beautiful etching showing a forest stream with a female nude resting in a hammock at left in the near distance (my apologies if I am misreading this curiously romantic figure) executed by a pupil of the legendary Corot for AU$247 in total (currently US$165.09/EUR149.38/GBP131.49 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 and reasonably large etching, printed in velvety rich blacks exemplifying the late 19^th century fascination with the effects of light, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Chaplin’s etching, “Les Bulles de Savon”, 1867

Charles Chaplin (aka Charles Joshua Chaplin) (1825–1891)

“Les Bulles de Savon” (Soap Bubbles), 1867, etching after Charles Chaplin’s painting in the Luxembourg Museum (see https://commons.wikimedia.org/wiki/File:Chaplin-The_Soap_Bubbles.jpg), plate 278 from the fifth volume of prints produced by the Société des Aquafortistes (Society of Etchers), printed in Paris by Alfred Cadart (1828–1875) (as lettered in plate), before/after the change of publication details to the printer, Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and publication by Cadart & Luquet (fl.1863–1867) in “Eaux-Fortes Modernes”, vol. 5 (1867).

Etching on laid paper with wide margins.

Size: (sheet) 25.5 x 20.1 cm; (plate) 15 x 11.7 cm; (image borderline) 12.1 x 9.3 cm.

Numbered in plate above the image borderline: (right) “278.”

Lettered in plate below the image borderline: (left) “Ch. Chaplin sculp.”; (centre) “LES BULLES DE SAVON.”; (right) “Imp. A. CADART, Paris.”

Beraldi 36 (Henri Beraldi 1886, “Les Graveurs du XIX Siecle”, Paris, Librairie L. Conquet, vol. 4, p. 92, cat. no. 36).

The British Museum offers a description of this print with the earlier/later printer and publisher details: https://www.britishmuseum.org/collection/object/P_1867-1214-41.

Condition: a strong and well-printed impression with wide margins in a near pristine condition with no tears, holes, folds, abrasions, significant stains (note that the back of the sheet is slightly dusty) or foxing.

I am selling this small and beautifully executed etching from the genre of vanitas prints—mindful that bubbles are often used in images to symbolise the notions of life’s transience, brevity and the spontaneity of death—and prints that draw upon the symbolism of women and their labours—mindful that the distaff shown here leaning on the spinning wheel has a history of being a symbolic weapon of women while the spinning wheel is a key symbolic tool of women’s industry—for AU$212 in total (currently US$141.70/EUR128.21/GBP112.86 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 wonderful etching—to my eyes it has the allure of a Vermeer! —please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Léo Drouyn’s etching, “Paysage”, 1863

Léo Drouyn (aka François Joseph Léo Drouyn) (1816–1896)

“Paysage”, 1863, plate 273 from the series, “Eaux-Fortes Modernes”, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris by Cadart & Luquet (fl. 1863–1867) in the fifth volume of sixty prints (beginning at plate 241 following on from the previous volume), “Eaux-Fortes Modernes: Originales et Inédites” (September 1866–August 1867), produced by the Société des Aquafortistes (Society of Etchers).

Etching laid paper stamped with the Cadart & Luquet blindstamp at lower centre.

Size: (sheet) 47.8 x 30 cm; (plate) 32.2 x 24 cm; (image borderline) 27.8 x 20.8 cm.

Inscribed in plate within the image borderline: (upper left corner) “Leo Drouyn/ avril 1863”.

Numbered in plate above the image borderline: (right corner) “273.”

Lettered in plate below the image borderline: (left) “L. Drouyn sculp.”; (centre) “PAYSAGE./ Paris, Publié par CADART & LUQUET, Editeurs, 79, Rue Richelieu.”; (right) “Imp. Delâtre, Rue S^t. Jacques, 303, Paris.”

The British Museum offers the following description of this print: “Plate 273: pastoral landscape with couple standing on small bridge over stram, surrounded by trees; from the fifth volume of prints produced by the Société des Aquafortistes. 1863” (https://www.britishmuseum.org/collection/object/P_1867-1214-36).

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins in almost pristine condition with no tears, holes, folds, stains, foxing or signs of handling.

I am selling this superb etching of a light-filled forest with a man fishing off a narrow rustic bridge while steadying a female companion (his daughter?), for AU$281 in total (currently US$186.71/EUR174.39/GBP153.59 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 very beautiful etching revealing the artist's affinity with the concerns of the Barbizon movement—interestingly, Drouyn spent several years painting outdoors with Jules Coignet—and as a draughtsman of the smallest of details—an attribute in keeping with his fame as an authority on Romanesque art and medieval architecture—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Ferdinand Roybet’s etching, “Frontispiece to 'Eaux-Fortes Modernes'”, 1865

Ferdinand Roybet (aka Ferdinand V L Roybet) (1840–1920)

“Frontispiece to 'Eaux-Fortes Modernes'”, 1865, title plate to the series, “Eaux-Fortes Modernes”, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris by Cadart & Luquet (fl. 1863–1867) in the fourth volume of sixty prints (beginning at plate 181 following on from the previous volume), “Eaux-Fortes Modernes: Originales et Inédites” (September 1865–August 1866), produced by the Société des Aquafortistes (Society of Etchers).

Etching laid paper (watermarked “AQUA-FORTISTES”) with margins as published and stamped with the Cadart & Luquet blindstamp at lower centre.

Size: (sheet) 51 x 35.1 cm; (plate) 24.6 x 34.4 cm; (image borderline) 30.6 x 23.5 cm.

Lettered in plate within the image borderline: (in window) “EAVX^.FORTES^.MODERNES/ PVBLIEES/ par/ LA SOCIETE/ DES AQVA^.FORTISTES/ 4^e ANNEE/ MDCCCLXVI”; (inscribed on folio at left) “ALBERT. DURER”.

Lettered in plate below the image borderline: (left) “Roybet sculp^t./ QUATRIÈME ANNÉE.”; (centre) “LE REPOS./ Paris, Publié par CADART & LUQUET, Editeurs, 79, Rue Richelieu.”; (centre) “A. CADART & LUQUET./ ÉDITEURS - GÉRANTS DE LA SOCIÉTÉ DES AQUA-FORTISTES,/ 79, Rue de Richelieu,/ PARIS.”; (right) “Imp. Delâtre, Rue S^t. Jacques, 303, Paris./ 4^ÉME VOLUME.”

The British Museum offers the following description of this print: “Frontispiece to 'Eaux-Fortes Modernes: Originales et Inédites', the fourth volume in a series produced by the Société des Aquafortistes; allegory of printmaking, with inscription regarding the volume in window, with printmaking equipment and bust (Paris: A Cadart & Luquet, Éditeurs). 1866
Etching” (https://www.britishmuseum.org/collection/object/P_1866-1110-1355).

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins in almost pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this superb frontispiece etching for the fourth volume of prints published by the Society of Etchers, “Modern Etchings” (Eaux-Fortes Modernes), showing not only a still-life assortment etching tools (vz. needle, burnisher, ink dabbers, tarlatan, magnifying glass, funnel, acid and acid bath), but also references to past printmaking luminaries (viz. a folio lettered with the name of Durer and a bust of possibly the greatest of all etchers, Rembrandt)—for AU$316 in total (currently US$214.85/EUR1203.87/GBP175.16 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 remarkable etching that to my eyes crystallises the tools and aspirations of the Etching Revival movement of the late nineteenth century in France, 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