Auguste Alexandre Baudran, “La Ronde”, 1864, after Domenico Campagnola

Auguste Alexandre Baudran (1823–1907)

“La Ronde”, 1864, a facsimile engraving employing a photomechanical process—possibly more advanced than the Heliogravure (photogravure) process that Baudran had inscribed on some of his earlier photomechanical prints (e.g., “Marie Ann Charlotte Corday de Armans” [https://www.britishmuseum.org/collection/object/P_1898-0527-276]), but before Baudran’s “Colour Projection Method” that he developed/invented in 1891 (see Bernard E Jones [ed.] 1911, “Cassell’s Cylopædia of Photography, London, Cassell & Company, Ltd., p. 57 [https://ia804708.us.archive.org/5/items/cu31924030707867/cu31924030707867.pdf]), printed in three colours by Alfred Salmon (fl.1863–1894) after Domenico Campagnola’s (1500–1564) brown ink drawing (with chalk), “Twelve Dancing Putti” (see https://api.artic.edu/api/v1/artworks/4270/manifest.json), 1517, published in Paris in the art periodical, “La Gazette des Beaux-Arts”, 1^st July, 1864, p. 158 (see https://gallica.bnf.fr/ark:/12148/bpt6k203081b/f488.double).

Photomechanical facsimile engraving printed in three colours (warm ochre, sanguine and burnt umber) on heavy wove paper with wide margins.

Size: (sheet) 18.4 x 25 cm; (plate) 14 x 18.9 cm; (image borderline) 9.6 x 12.4 cm.

Inscribed in plate within the image borderline: (lower centre) “Dominicvs/ Cāpaqnola/ ^.1517^.”.

Lettered in plate below the image borderline: (left) “D. CAMPAGNOLA SC^T./ Gazette des Beaux-Arts”; (centre) “LA RONDE”; (right) FAC-SIMILE DE M. BAUDRAN/ Imp. A. Salmon à Paris”.

Alfred Morrison & M Holloway 1868, “The collection of engravings, formed between the years 1860–68”, London, [privately printed] Holloway and Son, p. 30 (https://archive.org/details/collectionofengr00morr/page/30/mode/2up).

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

I am selling this extraordinarily beautiful three-colour facsimile (photomechanical) hand-printed engraving published in 1864—for AU$198 in total (currently US$135.22/EUR121.11/GBP101.54 at the time of posting 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. Note that payment is in Australian dollars (AU$198) as this is my currency.

If you are interested in purchasing this jewel of an engraving exemplifying the advances made by Domenico Campagnola in creating a note looseness and life to the stippled engraving technique developed by his former teacher, Giulio Campagnola (1482–1515), 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

Alphonse Legros’ etching, “Portrait of Edward John Poynter”, 1877; photogravure after Poynter, “Study for the Head of St. John”, 1882

(left) Alphonse Legros (1837–1911)

“Portrait of Edward John Poynter” (aka “Portrait de E.-J. Poynter, Esq^re” [Poulet-Malassis’ title]), 1877, published in London as an illustration to Philip Gilbert Hamerton’s (1834-1894) annual, “The Portfolio”, 1877, opposite p.12.

Etching with drypoint with pale plate tone printed in brown ink on laid paper with Van Gelder watermark.

Size: (sheet) 34.8 x 23.6 cm; (plate) 25.7 x 17 cm; (image borderline) 21.5 x 15.8 cm.

Inscribed in plate below the image borderline: (left) “A. Legros”.

State v (of v) with the addition of the artist’s name.

Poulet-Malassis 42.v (Auguste Poulet-Malassis 1877, “Catalogue raisonné de l'oeuvre gravé et lithographié de M. Alphonse Legros”, Paris, J Baur, pp. 23–24, cat. no. 42 [see https://archive.org/details/catalogueraisonn00poul/page/22/mode/2up]).

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(right) Photogravure after Edward John Poynter (aka Sir Edward John Poynter) (1836–1919)

“Study for the Head of St. John”, 1882, photogravure after a chalk study for an abandoned project for the dome of St. Paul's Cathedral, published in London as an illustration to “The Portfolio”, 1882, opposite p. 96. See another study by Poynter and description of the abandoned St. Paul's Cathedral project described by the British Museum: https://www.britishmuseum.org/collection/object/P_1919-1216-31).

Photogravure on laid paper with “MBM Portfolio” watermark and full margins as published.

Size: (sheet) 35.5 x 24.3 cm; (plate) 27.3 x 20.6 cm.

Inscribed in plate: (upper left) “Mar.4,80”.

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Condition: both prints are strong impressions (almost faultless) in near pristine condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this pair of historically significant prints for AU$377 as the total price for the pair (currently US$258.59/EUR253.96/GBP214.85 at the time of posting this listing) including Express Mail 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 pair of prints related to the painter, printmaker and sculptor, Edward John Poynter, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.