Jacques Firmin Beauvarlet, “Resting Cupid”, c. 1770, after Charles-André van Loo

Jacques Firmin Beauvarlet (1731–1797)— leader of the “Abbeville” school of engravers

“Resting Cupid” (aka “Amor steht an einen Felsen gelehnt”; “L'Amour debout”), c. 1770 (1746–1797), after Charles-André van Loo (aka Carle Vanloo; Carle Van Loo; Charles Wanloo) (1705–1765).

Note that Robert Strange (aka Sir Robert Strange) (1721–1792) executed a very similar plate; see: https://www.britishmuseum.org/collection/object/P_1842-0806-334.

Etching with engraving on heavy laid paper with narrow margins.

Size: (sheet) 39 x 27.4cm; (platemark); 38.6 x 27.1cm; (image borderline) 32.5 x 24.5cm.

Lettered in plate below the image borderline: (left) “Carolus Vanloo Èques pinxit.”; (centre) “Qu'il est malin! qui'il a d'appas!/ Ah! que n'inspire t'il des flames éternelles!// Les Roses naissent sous ses pas;/ Quel dommage qu'il ait des aîles./ [How clever he is! How charming he is!/ Ah! Why doesn't he inspire eternal flames!// Roses bloom beneath his feet;/ What a pity he has wings] Pesselier./ Gravé d'après le Tableau de Carle Vanloo Ecuier, tiré du Cabinet de son Altesse/ Royale Mgr le Prince Henry de Prusse, Frere du Roy.” [Engraved from the painting by Carle Vanloo Ecuier, taken from the Cabinet of His Royal Highness Prince Henry of Prussia, Brother of the King.]; (right) Beauvarlet sculpsit.”

IFF 131

The British Museum offers a description of this print: https://www.britishmuseum.org/collection/object/P_1877-0811-1231.  

Condition: a well-printed impression trimmed with a narrow/thread margin around the platemark. Beyond a closed tear in the upper margin and upper right, the sheet is in a very good condition for its age with no holes, folds or significant stains.

Price & Shipping: AU$327 (approx. US$213.82/ €183.93/ £162.32), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in purchasing this finely executed engraving, please contact me directly at oz_jim@printsandprinciples.com. I will happily send you a PayPal invoice to make the payment process easy.

Robert Strange’s engraving with etching, “Charles I and the Duke of Hamilton”, 1782, after Anthony van Dyck

Robert Strange (aka Sir Robert Strange) (1721–1792)

“Charles I and the Duke of Hamilton”, 1782, after Anthony van Dyck’s (aka Anthoni (Ridder) van Dijck; Anthony van Dijck; Antoon van Dijk; Anton van Dyck) (1599–1641) painting, “Charles I at the Hunt” (aka “Le Roi à la Chasse”), c1635, in the collection of the Louvre (see https://en.wikipedia.org/wiki/Charles_I_at_the_Hunt), showing Charles I (1600–1649), King of England, Scotland and Ireland, with James Hamilton (1606–1649), 1^st Duke of Hamilton—famous as a political and military leader during the Thirty Years' War.

Engraving with etching on laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 63 x 47.2 cm; (image borderline) 58.5 x 45.5 cm.

Lettered below the image borderline: (lert) “Antonius Vandiick Eques pinxit.”; (centre) “Carolo I^mo. MAGNÆ BRITANNIÆ REGI, &c./ [jaco]bus Hamiltonius, [M]archio ab Hamilton, [S]acri [S]tabuli Comes, adstat./ [e ta]bula [A]ntonii Vandiick [E]quitis, [8 pedes et 9 digitos alta, 6 pedes et 10 digitos] lata, in Pinacotheca R[eg]is Christianissimi conservata.”; (right) “Robertus Strange delint. atque sculpsit A.D. 1782.”

State iii (of iii) with the addition of the lettering.

LeBlanc 45 (Charles Le Blanc 1888, “Manuel de l'amateur d'estampes: contenant le dictionnaire des graveurs de toutes les nations”, vol. 3 Paris, Emile Bouillon, p. 604, cat. no. 45).

The British Museum offers the following description of this print: “Charles I standing in profile, one hand on his hip on a hill overlooking a river with a ship sailing, and the Duke of Hamilton behind him, under a tree, with one hand on the mane of the king's horse; after Van Dyck” (https://www.britishmuseum.org/collection/object/P_S-1-12).

Note that the British Museum holds a preliminary drawing for this print: see  https://www.britishmuseum.org/collection/object/P_1861-0112-97.

Condition: a strong impression, trimmed along the platemark and laid upon an archival support sheet of millennium quality washi paper. There are numerous restorations and significant abraded areas (restored) on the left.

I am selling this huge and famous engraving for AU$694 in total (currently US$463.89/EUR419.71/GBP369.46 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 masterwork of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Pierre Langlumé’s lithograph, “La Magdeleine”, 1825, after Antonio Correggio

(From the circle of, or by) Pierre Langlumé (1790–? [fl.1818–1830])

“La Magdeleine”, 1825, lithograph printed by Pierre Langlumé and published in Paris by Sazerac & Duval (fl.c1824–1827) after a detail in reverse of Antonio Correggio’s (aka Antoine Corrége; Antonio Allegri) (1489–1534) painting, “Madonna of St. Jerome”, 1528, in the Galleria Nazionale of Parma, Italy (see https://useum.org/artwork/Madonna-of-St-Jerome-Antonio-da-Correggio-1528).

Note that Sir Robert Strange (1721–1792) executed an etching with engraving after Correggio’s painting that is very close to the design for this lithograph; see https://www.britishmuseum.org/collection/object/P_1868-0808-3162.  

Lithograph in the crayon manner printed in black on wove paper with the publisher’s blind-stamp at lower centre.

Size: (sheet) 39.5 x 28 cm.

Lettered in the stone below the image: (centre) “LA MAGDELEINE,/ d’après le Tableau du Corrége./ (S. Jérome)/ Chez Sazerac et Duval, Passage de l'Opéra, Escalier A.”; (right) “Lith. De Langlumé”.

Blind-stamped with the publisher’s seal at lower centre

Condition: a near faultless impression. There are marks/stains verso, otherwise the sheet is in an excellent condition with no tears, holes, folds, abrasions, foxing or signs of handling.

I am selling this sensitively executed crayon-manner lithograph showing a detail St Mary Magdalene from Antonio Correggio’s painting, “Madonna of St Jerome”, for AU$234 (currently US$161.64/EUR154.32/GBP134.31 at the time of posting this print) 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 (and rare!) lithograph, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.