Karl Daubigny, “Environs de la Ferme Saint-Siméon, à Honfleur (Calvados)”, 1879

Karl Daubigny (aka Karl Pierre Daubigny; Carl Charles Pierre Daubigny) (1846–1886)—son of Charles Daubigny (aka Charles François Daubigny) (1817–1878)

“Environs de la Ferme Saint-Siméon, à Honfleur (Calvados)” (aka “Surroundings of the Saint-Siméon Farm, in Honfleur (Calvados)”; “Une Vue d’Honfleur”), 1879, after the artist’s painting, “Ferme Saint-Siméon, à Honfleur (Calvados)”, 1870, in the collection of the Musée d'Orsay (Paris) (see https://www.musee-orsay.fr/fr/oeuvres/ferme-saint-simeon-honfleur-calvados-70277).

Note that I have previously listed a different impression of this etching with the descriptive title, “Shoreline Thicket with Sailboats in the Distance”, as I was unable to find the published title (see https://www.printsandprinciples.com/2022/02/karl-daubignys-etching-shoreline.html). The title of the print that I have now adopted is published in Paul Detrimont’s (1881) “Catalogue de tableaux, études et esquisses, meubles, chevalets, tapisseries, lithographies, gravures, eaux-fortes laissés dans son atelier par feu Karl Daubigny...”, p. 11 (see:  https://gallica.bnf.fr/ark:/12148/bpt6k1244197n/f15.item). Note also that Frédéric Henriet’s (1875), “C. Daubigny et son Oeuvre Gravé” (Paris, A. Levy), which includes a catalogue of Karl Daubigny’s prints, does not describe this particular etching as it lies outside the time-window of the publication (see https://archive.org/details/cdaubignyetsonu00henrgoog/page/n14/mode/2up).

Interestingly, Karl Daubigny executed another etching of a similar scene and format fourteen years earlier: “The Seine Before Honfleur”, 1865 (see https://www.artic.edu/artworks/43511/the-seine-before-honfleur). Moreover, Claude Monet (1840–1926) painted what may be his first series of related views close to the same location and around the same time (1864–1867); see Harvard Art Museum’s article, “Road toward the Farm Saint-Siméon, Honfleur Paintings” (https://harvardartmuseums.org/collections/object/299844?position=299844).

Etching with dot roulette and drypoint on imitation Japanese paper backed with a support sheet providing wide margins.

Size: (sheet) 15.5 x 22.2 cm; (plate) 10.8 x 18 cm; (image borderline) 10 x 17.3 cm.

Lettered in plate below the image borderline: (right) “Karl Daubigny 1879”.

Condition: a richly inked and almost faultless impression laid onto a support of archival (millennium quality) washi paper providing generously wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this rare etching by the son of one of the key figures of the Barbizon School, Charles François Daubigny—note that this etching was executed a year after Karl’s father died and shows clear stylistic connections to his father’s work—for AU$259 in total (currently US$170.50/EUR156.13/GBP133.55 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$259) as this is my currency.

If you are interested in purchasing this freely executed etching that exemplifies the newly found spirit of a freedom in printmaking arising from the Etching Revival—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.