Albert Ardail’s etching, “Portrait de Falguière”, 1899, after Rodin

Albert Ardail (1865–1914)

“Portrait de Falguière”—portrait of the French sculptor and painter, Alexandre Falguière (aka Jean Alexandre Joseph Falguière) (1831–1900), 1899, after Auguste Rodin’s (aka François Auguste René Rodin) bronze, “Buste d'Alexandre Falguière”, 1897 (https://www.museunacional.cat/es/colleccio/retrato-del-escultor-alexandre-falguiere/auguste-rodin/011141-000), published in Paris as an illustration facing page 178 to “L'Artiste: journal de la littérature et des beaux-arts”, 1899, vol. 2 (see https://gallica.bnf.fr/ark:/12148/bpt6k486099w/f192.double).  

Etching with plate tone printed in umber ink on cream laid paper.

Size: (sheet) 25.5 x 17.4 cm; (plate) 18.5 x 13.3 cm; (image borderline) 17.6 x 12.4 cm.

Inscribed in plate: (lower right) “Alb Ardail/ d'ap. A. Rodin”.

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

I am selling this finely executed and very beautiful etching of Rodin’s bronze bust of the sculptor Alexandre Falguière—note that Falguière also executed a bust of Rodin (https://commons.wikimedia.org/wiki/File:Falgui%C3%A8re_Rodin_Copenhague.JPG) during the time that Rodin’s plaster sculpture of Balzac (1898) was rejected and the commission reassigned to Falguière—for the total price of AU$238 (currently US$154.64/EUR143/GBP122.38 at the time of this listing) including Express 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 technically brilliant etching, 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, “Le Château d'Harcourt”, 1824

Richard Parkes Bonington (1802–1828)

“Le Château d'Harcourt”— a section of the ruins of the medieval Harcourt Castle near Lillebonne (Northern France in Normandy, between Rouen and Le Havre), 1824, plate 3 from the series of ten lithographs (Beraldi 16–25), “Restes et Fragmens d'Architecture du Moyen Age” (Remains and Fragments of the Architecture of the Middle Ages) (aka “la Petite Normandie” [Beraldi]), printed in Paris by Feillet (fl.1822–28).

Lithograph on fine wove paper trimmed with a narrow margin around the image borderline with loss of the text above the borderline, “Lillebonne.”, and below the borderline, “Chateau d'Harcourt”, backed with a support sheet providing wide margins.

Size: (sheet) 22 x 15.6 cm; (image borderline) 21.5 x 15.2 cm.

Lettered in stone/plate (with partial loss of text) below the image borderline: (left) “R P Bonington”; (right) “Lith de Feillet”.

Curtis 9 (Atherton Curtis 1939, “L'Oeuvre Lithographié et Gravé de R. P. Bonington”, Paris, Paul Prouté, cat. no. 9); Bouvenne p. 18 (Aglaüs Bouvenne 1873, “Catalogue de l'Oeuvre Gravé et Lithographié de R. P. Bonington”, Paris. 1873, p. 18); Beraldi 18 (Henri Beraldi 1885, “Les Graveurs du XIXe Siècle: BELLANGÉ - BOVINET”, vol. 2, Paris, Librairie L. Conquet, p. 159, cat. no. 16–25 [no. 3]).

The British Museum offers the following description of this print: “A ruined square tower with an arched window in the lowest storey, in a wooded landscape, with two men resting by the path in front of it, and another moving planks in front of the window. 1824 Lithograph (https://www.britishmuseum.org/collection/object/P_1866-1114-249).

Beraldi descibes that the set of ten lithographs of which this print is one as not only a “very beautiful and rare suite” (“Très belle et rare suite …”) (p. 159), but, interestingly, also proposes that “they are masterpieces and they must be put in the first place among the pieces which did honor to lithography” (“ Ce sont des chefs-d'oeuvre et il faut les mettre au premier rang parmi les pièces qui ont fait honneur à la lithographie …”) (p. 157).

Condition: a strong and well-printed impression in a good condition with no tears, holes or significant stains, trimmed with losses to the text above and below the image borderline and laid onto a sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this very beautiful and rare lithograph by “one of the most influential British artists of his time” (https://en.wikipedia.org/wiki/Richard_Parkes_Bonington) and certainly one of the acclaimed masters of lithography, for the total price of AU$269 (currently US$175.22/EUR161.78/GBP138.39 at the time of this listing) including Express 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 acknowledged masterwork of lithography, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Armand Gautier’s etching, “Work: Man Sawing Wood”, 1860

Armand Gautier (aka Armand Désiré Gautier) (1825–1894)—a close friend of  Gustave Courbet (1819–1877) and a student of Léon Cogniet (1794–1880)

“Work: Man Sawing Wood” (aka “Le Travail: Homme Sciant du Bois”), 1860, printed in 1864, possibly published by Alfred Cadart (1828-1875) in “Cahier d'eaux-fortes” (based on this print being listed by Beraldi [1887] with this heading [vol. 6, p. 239).

Note that Armand Gautier made a related etching, “Le Travail”, showing a woman at work in a laundry, published by Cadart in “Catalogue complet d'eaux-fortes originales et inédites composées et gravées par les artistes eux-mêmes...” (1873–1876)  (see https://gallica.bnf.fr/ark:/12148/btv1b8470159z/f51.item).

Etching with pale plate tone on wove paper.

Size: (sheet) 20 x 17.9 cm; (plate) 12 x 10.1 cm.

Inscribed in plate at lower left: “A Gautier 1860”.

Beraldi 2 (Henri Beraldi 1887, “Les Graveurs du XIXe Siècle: DORÉ - GAVARD”, vol. 6, Paris, Librairie L. Conquet, p. 249, cat. no. 2 [Cahier d'eaux-fortes (Cadart)])

Musée des beaux-arts du Canada offers a description of this print: https://www.beaux-arts.ca/collection/artwork/le-travail-homme-sciant-du-bois.

Condition: a well-printed impression with minor marks in the margin, otherwise the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this interesting etching showing a timber worker using what must be a back-breaking, but no doubt effective way, to saw logs single handed, for the total price of AU$234 (currently US$153.27/EUR141.22/GBP120.85 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.

If you are interested in purchasing this seldom seen etching on the art-market with the (to my eyes) nobility of Jean François Millet’s etchings of farm-workers (compare, for instance, with Millet’s etching, “Peasant with a Wheelbarrow”, 1855 (https://www.printsandprinciples.com/2022/07/jean-francois-millets-etching-peasant.html), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jules Guiette, “Riverside with Windmill, Evening”, c.1874–88

Jules Guiette (1852–1901)

“Riverside with Windmill, Evening” (descriptive title only), c.1874–88, unsigned.

Etching  with plate tone printed in a brown-black ink on heavy cream wove paper print.

Size: (sheet) 19.3 x 31.4 cm; (plate) 12.4 x 24.7 cm; (image borderline) 11.7 x 24 cm.

The British Museum offers the following description of this print: “Landscape a river with a sailing boat in the foreground and a small village in the background Etching with plate tone” (https://www.britishmuseum.org/collection/object/P_1888-0612-1647).

Condition: a strong and well-printed impression with generous margins. Beyond minor marks in the margin, the sheet is in an excelled condition with no tears, holes, folds, abrasions or significant stains.

I am selling this very poetic etching, for the total price of AU$194 (currently US$127.23/EUR117.50/GBP100.42 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.

If you are interested in purchasing this unusual etching that (to my eyes) exemplifies the interests and high order of skills of the Antwerp Society of Etchers (aka “Vereeniging der Antwerpsche etsers”; l’Association des aquafortistes anversois”), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Bernard Picart's etching, “Orpheé tué par les Baccantes”, 1724, after Poussin

Bernard Picart (1673–1733)

“Orpheé tué par les Baccantes” (Orpheus killed by the Bacchantes), 1724 (as dated in plate), after Nicolas Poussin (1594–1665), plate 43 in the series, “Impostures Innocentes, ou Recueil d'estampes d'après divers peintres illustres”, published in Amsterdam by Picart’s widow (chez la Veuve B. Picart) in 1734.

Etching on wove paper with a pale plate tone and printed in sienna coloured ink.

Size: (sheet) 27.8 x 42.5 cm; (plate) 20.6 x 33.4 cm; (image borderline) 19.1 x 32.4 cm.

Numbered in plate: (upper right corner) “43”.

Lettered in plate below the image borderline: (left) “N. Poussin pinxit, B. Picart sculpsit 1724.”; (centre) “Orpheé tué par les Baccantes. Ovid. metam. livr. XI.”

State ii (of ii) with the addition of the plate number.

LeBlanc 83 (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. no. 83).

The British Museum offers the following description of this print (not reproduced): “Death of Orpheus, after Nicolas Poussin; Bacchanalia set in a landscape, with, in the middleground, a group of Bacchantes gathered before Orpheus, who lies on the ground and seems to be imploring them; in the foreground, women drinking at centre, and two women with thyrsus standing at right. 1724 Etching” (https://www.britishmuseum.org/collection/object/P_1861-1109-785).

The Rijksmuseum offers the following description of this print: (transl.) “The maenads of Ciconia kill Orpheus after he loses Eurydice. During a bacchanal they beat him with sticks and stones” (http://hdl.handle.net/10934/RM0001.COLLECT.303447).

Condition: a very strong and well-printed impression with generous margins. Beyond minor surface marks and age-toning in the margins, the sheet is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this stunningly beautiful etching of a Bacchanalian gathering of Thracian women (Maenads) shown drinking and dancing before they ultimately kill and tear apart love-sick Orpheus, for the total price of AU$226 (currently US$148.40/EUR137.12/GBP117.10 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.

If you are interested in purchasing this superb etching, 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