Henry Lerolle, “A Peasant Woman Carrying Two Buckets”, 1879

Henry Lerolle (aka Henri Lerolle) (1848–1929)

“A Peasant Woman Carrying Two Buckets” (aka “Une Paysanne Portant Deux Seaux”; “Paysanne Portant Deux Seaux” [https://armstrongfineart.com/collections/henri-lerolle]), 1879, a proof before lettering (if published) with generously wide margins and the ink stamp of Alfred Beurdeley (1847–1919) (Lugt no. 421; see pp. 72–75), an important collector described by Fritz Lugt (2002) in “Les Marques de Collections de Dessins & d’Estampes“ as possessing: (transl.) “… a collection remarkably rich in works by masters of the 19^th and 20^th centuries, represented by more than 1300 drawings. His drawings, old or modern, were not kept in boxes, but framed, and literally covered all the walls of his hotel, 79 rue de Clichy, in Paris, lounges, bedrooms, grand staircase, and even service staircase.” (p. 72).

Etching with plate tone on buff-coloured laid paper (D & C Blauw watermark) with generously wide margins and a collector’s ink stamp at lower left (Lugt no. 421).

Size: (sheet) 51 x 34 cm; (plate) 31.9 x 23.7 cm

Inscribed in plate with the artist’s name in reverse at lower left.

Not numbered in IFF, but this print may be the one described as “The Haystack” (“Le Meule de Foin”) (see https://gallica.bnf.fr/ark:/12148/bpt6k5489453g/f115.item).

The Rijksmuseum offers descriptions of two other etchings by Henry Lerolle: https://id.rijksmuseum.nl/200130996; https://id.rijksmuseum.nl/200219390.  

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins and a collector’s ink stamp (Lugt no. 421) at lower left. There are mounting hinges verso at the upper edge and beyond minor age-toning around the edges and pencil notations in the lower margin, the sheet is in a good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this exceptionally rare and very beautiful etching seldom seen on the art market, for AU$487 (equivalent to approximately US$302.45, EUR 291.38, or GBP 240.48 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 are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$487).

If you are interested in purchasing this remarkable proof-state impression with an illustrious provenance as testified by the ink stamp of an influential and well-documented former collector (see Lugt no. 421, pp. 72–75), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

John Cousen, “A Fire at Sea”, 1859, after JMW Turner

John Cousen (1804–1880)

“A Fire at Sea”, 1859, after a painting by Joseph Mallord William Turner (1775–1851) (see “A Disaster at Sea”, c.1835, held by the Tate Gallery: https://www.tate.org.uk/art/artworks/turner-a-disaster-at-sea-n00558), published in the art periodical, “Art Journal”, 1861.

Engraving and etching on heavy wove paper trimmed with a small margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 23.3 x 28.7 cm; (image borderline) 18.9 x 24.9 cm

Lettered in plate below the image borderline: (left) “J. M. W. TURNER, R. A. PINX^T.”; (centre) “A FIRE AT SEA./ FROM THE PICTURE IN THE NATIONAL GALLERY.”; (right) “J. COUSEN, SCULP^T.”

The British Museum offers the following description of this print: “Moonlit view of sea, with many figures floating on wreckage in the right foreground, women holding their children, men holding sticks, crescent moon in the left sky; after JMW Turner (Butlin & Joll 460); later edition, illustration to the Art Journal of 1861. 1859-61/ Engraving and etching” (https://www.britishmuseum.org/collection/object/P_1872-1012-6099).

Condition: a strong and well-printed (near faultless) impression trimmed with a small margin around the image borderline and laid onto a support of millennium quality washi paper providing wide margins.

I am selling this simply magnificent engraving for AU$224 (equivalent to approximately US$202.80, EUR 134.01, or GBP 110.63 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 are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$224).

If you are interested in purchasing this 19^th century masterwork of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Bernard Picart, “The House of Sleep”, 1733

Bernard Picart (1673–1733)

“The House of Sleep” (aka “Le Palais du Sommeil”), 1733, Plate 60 (LX)—the final plate in the series of sixty plates—from the series, “Le Temple des Muses” (Neu-Eröfneter Musen-Tempel), first published in Amsterdam in 1733 by Zacharie Chatelain (fl.1700–50), facing page 151.

Archive.org offers an online view of this print in its context in the publication, “Le Temple des Muses”: https://archive.org/details/gri_33125012263162/page/n281/mode/2up

Etching and engraving printed from two plates on laid paper with full margins as published.

Size: (sheet) 45.4 x 28.8 cm; (outer plate) 36 x 25.7 cm; (outer image borderline) 34.9 x 25 cm

Lettered in plate below the inner image borderline: (left) “B. Picart sculp. dir..”; (centre with title in four languages [French, English, German and Dutch]) “LE PALAIS DU SOMMEIL./ The House of Sleep.// …./ …”.

LeBlanc 85–146 (J.Ch. Brunet & Ch. Leblanc 1854[–1889], “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations: ouvrage destiné à faire suite au Manuel du libraire”, vol. 3, Paris, p. 192, cat. nos. 85–146).

The Rijksmuseum offers the following description of this print: (Transl.) “The House of Sleep. On top of the building Diana and Night, in her arms her children Sleep (Hypnos) and Death (Thanatos). In the middle in the niche Sleep, with his attribute poppy in his hand. The house is teeming with Oneiroi (beings responsible for human dreams). In the margin the title in French, English, German and Dutch. The representation is decorated with an ornamental border.” (https://id.rijksmuseum.nl/200370068).

Condition: a strong and well-printed (faultless) impression in a near pristine condition for its size and considerable age.

I am selling this curiously wonderful symbolic representation of sleep as a house separating true from false dreams at the entrance to the Underworld—"a deep Cavern, where the Sun’s rays never penetrate”—for AU$336 (equivalent to approximately US$208.78, EUR 200.91, or GBP 165.94 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 are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$336).

If you are interested in purchasing this museum quality engraving printed from two plates—an outer “frame” plate and the inner “image” plate—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

Simon Frisius, “Village in a Mountain Landscape”, 1614, after Matthijs Bril

Simon Frisius (aka Simon Wynhoutsz Frisius; Simon de Vries) (c.1580–1628)

“Village in a Mountain Landscape”, 1614, a lifetime impression from the first state (of three) before numbering (as plate 6?) from the series of twenty-seven plates, “Topographia Variarum Regionum” (Various topographical views), after the design by Matthijs Bril (aka Mattheus Bril; Mattheus Brill; Mattheus Brillo) (c.1550–1583) and (following the description by the Rijksmuseum) Josse van Liere (aka Joos van Lier; Jodocus Lireus) (?–1583), published in The Hague by Hendrik Hondius I (1573–1650).

Etching on fine laid paper trimmed around the image borderline with restorations and backed with a support sheet.

Size: (unevenly trimmed sheet) 10.6 x 15.5 cm; (image borderline) 9.7 x 15.5 cm.

Lettered in plate below the image borderline: (centre) “Mathias bril Inventor Hhondius excudit.”

State i (of iii) before numbering

New Hollstein (Dutch & Flemish) 143.I.

The Rijksmuseum and the British Museum offer descriptions of this print: https://id.rijksmuseum.nl/200193124; https://www.britishmuseum.org/collection/object/P_1947-0319-7-15.

Condition: a strong and well-printed impression unevenly trimmed. The lower right edge has been replenished, otherwise there are with no significant stains. The sheet is laid onto a support of millennium quality washi paper providing wide margins.

I selling this exceptionally rare first state impression of this marvellous jewel of a small etching for AU$322 (equivalent to approximately US$202.80, EUR 193.61, or GBP 160.15 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 are the responsibility of the buyer and are not included in the purchase price. Payment is requested in Australian dollars (AU$322).

If you are interested in purchasing this superb and seldom seen old-master print on the art market, 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