Carle Vernet, “Shipwreck”, c.1822, after Joseph Vernet

Carle Vernet (aka Antoine Charles Horace Vernet) (1758–1836)

“Shipwreck”, c.1822 (date based on the printer’s date of activity at Rue Cassette; the British Museum proposes the dates 1785–1836) after the painting by the artist’s father Joseph Vernet (aka Claude Joseph Vernet) (1714–1789) exhibited at the Salon in 1785, printed in Paris by J. Chabert (fl.c.1822–1834). Note that the British Museum holds an impression printed by Villain (aka Ch Villain; François le Villain) (fl.1822–1852) (see https://www.britishmuseum.org/collection/object/P_1869-0410-2060 [no image]).

Lithograph on wove paper trimmed with a narrow margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 22.3 x 34.7 cm; (image borderline) 20.1 x 33.5 cm.

Lettered in plate below the image borderline: (left) “Imp. lith. de Chabert, rue Cassette, N^o. 20.”; (centre) “carle Vernet dapres Joseph Vernet.”

Condition: a strong and well-printed impression, trimmed with a small margin around the image borderline and laid upon an archival support sheet of millennium quality washi paper providing wide margins. The sheet is in a good condition with no tears, folds or significant stains.

I am selling this panoramic view of a shipwreck—sadly the portrayed event, to my  mind, parallels the artist’s own life as, according to the “Art Journal” for 1876, vol. 2, p. 188, his mother “possessed a bizarre, fanciful temperament, which developed into insanity”, his sister “perished during the Terror on the scaffold” and after his personal disappointment after falling “in love with a pair of magnificent eyes” dressed himself “in a monk's habit” and “threw himself in a cloister” (see https://archive.org/details/artjournal187600/page/188/mode/2up)— for AU $228 (currently US $141.41/ EUR 142.03/ GBP 113.94 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. Note that payment is in Australian dollars (AU $228) as this is my currency.

If you are interested in purchasing this marvellous lithograph that is interesting to compare with similar scenes of shipwrecks that I have shown previously by artists like Adrien Manglard (1695–1760) (see https://www.printsandprinciples.com/2024/08/adrien-manglard-shipwreck-c1750.html) and Claude Lorrain (1600–1682) (see https://www.printsandprinciples.com/2021/10/claude-lorrains-etching-le-naufrage.html), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Léon Cogniet’s lithograph after Théodore Géricault’s design, “Two Dapple-Grays Being Exercised’, 1822

Théodore Géricault (1791–1824) (designer) in collaboration with Léon Cogniet (1796–1865) (lithographer).

“Deux Chevaux Gris Pommelé Que L'on Promène” (Two Dapple-Grays Being Exercised), 1822, from the series of twelve lithographs and the title plate, “Études de Chevaux” (Horse Studies) (aka “Grands Chevaux” [Great Horses]), oringinally printed by François le Villain (aka Villain; Ch Villain; F Villain) (fl.1822–1852), published by Gihaut Frères (fl.1815–1871) in Paris in 1822.

Lithograph on wove paper backed with a support sheet.

Size: (sheet) 38.8 x 54 cm; (image borderline) 29.3 x 42.2 cm.

Lettered on plate below the image borderline: (left) "Géricault del.”

State ii (of ii) with the erasure of “Lith. de Villain” at lower right (signifying state ii) (see Loys Delteil 1902 catalogue: https://archive.org/details/gri_33125005992975/page/n113/mode/2up).

Delteil 83.II (Loys Delteil 1902, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]: Théodore Géricault”, vol. 18, Paris, Loys Delteil, p. 115).

The British Museum offers the following description of this print:

“Seen in profile to left, two horses wearing saddlecloths canter on a path, the one in the foreground is unmounted, held by the reins of the rider on the other horse”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1458580&page=2&partId=1&searchText=gericault).

The Curator of the BM also offers the following insights about this print and the series in which it is a part:

“According to Delteil, the lithograph was executed to a great extent by Léon Cogniet, after the lithograph 'Horses exercising' ([BM inv. no.] 1876,1111.323) in 'The English Set', which is the same subject in reverse, with variations (background wall and pillar, etc)” (BM inv. no. 1868,1114.299).

“Delteil quotes a passage from Ch. Clément, 'Géricault', which states that in order to satisfy public demand, the Gihaut brothers asked for a repeat of the artist's 'The English Set', but that only horses were required. Six equestrian subjects from the original series were retained and Géricault produced watercolours which were to serve as designs for the remaining six. He asked Léon Cogniet and Volmar to execute the work, and he directed the project, sending work back and making some corrections” (BM no. 1868,1114.293).

Condition: strong impression with generous margins, laid onto a support sheet of archival (millennium quality) washi paper. There is a closed tear in the upper margin otherwise the sheet is in a excellent condition for its considerable age.

I am selling this rare lithograph of Géricault’s design for AU$362 in total (currently US$212.40/EUR197.39/GBP182.23 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 strong image of horses galloping—an image proven to be incorrect in 1872 by Eadweard Muybridge whose photographs of horses revealed that the only moment when a horse has all its hooves off the ground is when it’s galloping and all its feet are pulled in together … but not while outstretched as portrayed here—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Théodore Géricault's lithograph (in collaboration with Léon Cogniet), “Le Maréchal Français”, 1822

Théodore Géricault (1791–1824) in collaboration with Léon Cogniet (1794–1880)

“Le Maréchal Français” (aka “The French Farrier”; “The French Blacksmith”), 1822, from the series of twelve lithographs and the title plate, “Études de Chevaux” (Horse Studies) (aka “Grands Chevaux” [Great Horses]), printed by François le Villain (aka Villain; Ch Villain; F Villain) (fl.1822–1852), published by Gihaut Frères (fl.1815–1871) in Paris in 1822.

Regarding the execution of this lithograph, Loys Delteil (1902) in his catalogue raisonné for Gericault advises: “Lithographie exécutée en grande partie par Léon Cogniet” (Lithograph executed in large part by Léon Cogniet) (p. 116).

Lithograph on heavy wove paper with wide margins and backed with a support sheet.

Size: (sheet) 38.2 x 48.9 cm; (image borderline) 27.3 x 36.3 cm.

Lettered on plate below the image borderline: (left) "Géricault del."; (centre) "chez Gihaut éditeur et Md. d'Estampes, Boulevard des Italiens, No.[ 5]."

State ii (of ii) with the erasure of “Lith. de Villain” at lower right (see Loys Delteil 1902 catalogue: https://archive.org/details/gri_33125005992975/page/n115  

Delteil 84.II (Loys Delteil 1906, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]: Théodore Géricault”, vol. 18, Paris, Loys Delteil, p. 116).

The British Museum offers the following description of this print:

“In the centre foreground, a restless horse is being shod by a farrier, while further back to left a man sees to another horse, and to right a third man is visible indoors hammering a glowing shoe on an anvil.”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1445672&partId=1&people=124335&peoA=124335-2-60&page=1)

See also the description of this print at The Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/358098?searchField=All&sortBy=Relevance&ft=Th%c3%a9odore+Gericault&offset=0&rpp=20&pos=18

Regarding the series, “Études de Chevaux”, of which this plate is a part, the curator of the BM offers the following insights:

“Delteil quotes a passage from Ch. Clément, 'Géricault', which states that in order to satisfy public demand, the Gihaut brothers asked for a repeat of the artist's 'The English Set', but that only horses were required. Six equestrian subjects from the original series were retained and Géricault produced watercolours which were to serve as designs for the remaining six. He asked Léon Cogniet and Volmar to execute the work, and he directed the project, sending work back and making some corrections” (BM no. 1868,1114.293).

Condition: marvellously strong impression with generously wide margins and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in excellent condition for its considerable age (i.e. there are no tears, folds, holes, abrasions, significant stains or foxing).

I am selling this large lithograph that is seldom seen on the art market and executed by the hand of the grand master of Romanticism, Géricault, in collaboration with his key lithographer, Cogniet, for AU$362 in total (currently US$250.52/EUR225.84/GBP193.51 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 spectacular lithograph, 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

Théodore Géricault's lithograph, “Deux Chevaux Promenés par un Jockey”, 1822

Théodore Géricault (1791–1824) (designer) in collaboration with Joseph Simon Volmar (1796–1865) (lithographer).

Regarding the execution of this lithograph, Loys Delteil (1902) in his catalogue raisonné for Gericault advises: “Lithographie exécutée en grande partie par Joseph Volmar” (lithograph was executed to a great extent by Joseph Volmar” (p. 122).

“Deux Chevaux Promenés par un Jockey” (Two Horses Exercised by a Jockey), 1822, from the series of twelve lithographs and the title plate, “Études de Chevaux” (Horse Studies) (aka “Grands Chevaux” [Great Horses]), printed by François le Villain (aka Villain; Ch Villain; F Villain) (fl.1822–1852), published by Gihaut Frères (fl.1815–1871) in Paris in 1822.

Lithograph on buff-coloured wove paper.

Size: (sheet) 38.3 x 48.2 cm; (image borderline) 32.9 x 38.6 cm.

Lettered (slightly indistinctly) on plate below the image borderline: (left) "Géricault del"; (centre) "chez Gihaut éditeur et Md. d'Estampes, bard. des Italiens No.5."

State iii (of iii) with the erasure of “Lith. de Villain” at lower right (signifying state ii) and with the strong deterioration of the image at right (signifying state iii) (see Loys Delteil 1902 catalogue: https://archive.org/details/gri_33125005992975/page/n121  

Delteil 90.III (Loys Delteil 1902, “Le Peintre-Graveur Illustré [XIXe et XXe siècles]: Théodore Géricault”, vol. 18, Paris, Loys Delteil, p. 122).

The British Museum offers the following description of this print:

“One horse ridden, the other just behind, horses and rider in profile to right; wall with pillar in the background. 1822”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1459363&partId=1&searchText=gericault&page=2)

See also the description of this print at The Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/360092

Regarding the series, “Études de Chevaux”, of which this plate is a part, the curator of the BM offers the following insights:

“Delteil quotes a passage from Ch. Clément, 'Géricault', which states that in order to satisfy public demand, the Gihaut brothers asked for a repeat of the artist's 'The English Set', but that only horses were required. Six equestrian subjects from the original series were retained and Géricault produced watercolours which were to serve as designs for the remaining six. He asked Léon Cogniet and Volmar to execute the work, and he directed the project, sending work back and making some corrections” (BM no. 1868,1114.293).

Condition: a rare impression showing the curious deterioration of the image at right (viz. the puddling of lighter tone passing over the front of the leading horse) signifying in the third and final state. The sheet is in excellent condition for its considerable age (i.e. there are no tears, folds, holes, abrasions, stains, foxing or significant signs of handling).

I am selling this lithograph that is seldom seen on the art market and executed by the hand of the grand master of Romanticism, Géricault, in collaboration with his key lithographer, Volmar, for AU$362 in total (currently US$244.88/EUR222.03/GBP200.14 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 quietly regal masterwork with the fascinating technical breakdown of the image in its final state, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Richard Parkes Bonington’s lithograph, “Brackline”, 1826

Richard Parkes Bonington (1802–1828)

“Brackline”, 1826, after a drawing (1824) by François Alexandre Pernot (1793–1865), published by Charles Gosselin (1792–1859) in “Vues pittoresques de l'Ecosse, d'après nature” (1826–28) showing views of  Scotland with accompanying text written by Amédée Pichot (1795–1877), printed by François le Villain (fl.1824–1835).

Lithograph in black ink on wove paper lined with a support sheet.

Size: (sheet) 24.5 x 34.8 cm; (image borderline) 17.1 x 24 cm

Lettered on plate below the image borderline: (left) “Lith. par Bonington, d'après les dessins de F.A.Pernot.”; (centre) “BRACKLINE”; (right) “Imp. Lith. de Villain."

There are at least two states of this print. The British Museum has a second state copy signified by non-italicised publication details (see BM no. 1861,0810.175) and the Yale Centre for British Art has a copy with italicised publication details (see http://collections.britishart.yale.edu/vufind/Record/3623048) the same as this impression. Accordingly, this impression and the one from Yale are either from the first state or after the second state.

Curtis 1939 36. (Atherton Curtis 1939, “Catalogue de l'oevre lithographié et gravé de RPB”, Paris)

See also Ernest Aglaüs Bouvenne 1873, “Catalogue de l'oeuvre gravé et lithographié de R.P. Bonington”, Paris, Jules Claye, p. 28 (this publication [in French] may be downloaded through archive.org: https://archive.org/details/cataloguedeloeuv00bouv)

The British Museum offers the following description of this print:

“A small waterfall gushes down between two rocks and runs towards the left of the image under a low hanging branch. 1826 Lithograph”

(http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3176999&partId=1&searchText=Brackline&people=131739&page=1)

Condition: well-inked and well-printed impression in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing, but there are very light handling marks at the lower edge). The lithograph is laid onto a support sheet of conservator’s fine archival/millennium quality washi paper. There is an ink collector's stamp and monogram that is visible through the tissue-thin support sheet (verso).

I am selling this small but graphically strong lithograph executed by one of great luminaries of 19^th century watercolour—indeed so marvellous was he that even Delacroix when writing to Théophile Thoré in 1861 described Bonington’s artwork as “a type of diamond which flatters and ravishes the eye”—for AU$128 (currently US$99.70/EUR81.56/GBP71.74 at the time of this listing). Postage for this print is extra and will be the actual/true cost of shipping.

If you are interested in purchasing this beautifully preserved lithograph exemplifying the romantic spirit, 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

When I was researching this print I found only one description of it which mentions the heron lightly scratched into the shadows at the lower left of the composition. This is a shame as I like the sketchy way the bird is treated. For me, the freely drawn lines suggest a peripheral impression of the bird, or rather an intuitive recognition of the bird lying slightly outside of the focus of the rest of the scene. I mention this tiny feature in the composition as it shows Bonington’s ability to merge the pictorial reality of what he observed and wished to portray with the reality that the image is just a graphic illusion.

Regarding Bonington’s creative play in making this lithograph, I should point out that that the artist, François Alexandre Pernot—whose drawing that this print is purportedly based upon—did not especially like Bonington’s prints. In fact, Bouvenne (1873) asserts (in translation) that “Mr. Pernot had little taste for Bonington lithographs and complained that in his first plans the artist allowed himself to go too much to the taste of the picturesque” (p. 7).