Eugène Gaujean, “L'Apparition”, 1878, after Gustave Moreau

Eugène Gaujean (1850–1900)

“L'Apparition”, 1878, etching after Gustave Moreau’s (1826–1898) painting in the Musée Gustave Moreau, Paris, showing the decapitated head of the Baptist appearing to Salome, printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “L’Art”, 1878, volume 13.

Etching on laid paper with full margins as published.

Size: (sheet) 43.6 x 30 cm; (platemark) 33.4 x 23.3 cm; (image borderline) 29.7 x 20.3 cm.

Lettered in plate above the image borderline: (centre) “EXPOSITION UNIVERSELLE DE 1878”.

Lettered in plate below the image borderline: (left) “Gustave Moreau pinx./ L’Art.”; (centre) “L'APPARITION”; (right) “Gaujean sc./ Imp.A.Salmon.”

Beraldi 2 (Henri Béraldi 1887, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: DORÉ–GAVARD”, vol. 6, Paris, Librairie L. Conquet, p. 244, cat. no. 2); IFF 5 (Jean Laren 1954, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 8, p. 452, cat. no. 5).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1879-0510-120.

Condition: a strong and near faultless impression with generously wide margins as published. Beyond a flattened fold in the low left margin, the sheet is in an excellent condition with no tears, holes, abrasions or stains.

I am selling this visually stunning etching—a true feast of textures and the finest of details—for the total cost of AU$237 (currently US$159.40/EUR143.53/GBP121.15 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$237) as this is my currency.

If you are interested in purchasing this arresting and marvellous 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

Philips Galle, “Daniel’s Accusers Cast into the Den”, 1565, after Maarten van Heemskerck

Philips Galle (Philippus Gallaeus; Philippe Galle) (1537–1612)

“Daniel’s Accusers Cast into the Den” (aka “Cyrus laat Daniëls aanklagers in de leeuwenkuil werpen”), 1565, plate 10 from the series of 10 plates, “The Story of Daniel, Bel and the Dragon” after the design by Maarten van Heemskerck (aka Martin Heemskerk; Maarten van Veen) (1498–1574)—the Curator of the British Museum advises that a related drawing is in the collection of the Rijksmuseum (see BM inv. no. D,5.98)—published in Antwerp by Hieronymus Cock (aka Jérome Cock) (c1517/18–1570) and later by Theodoor Galle (aka Theodor Galle; Dirck Galle) (1571–1633).

Engraving on fine laid paper trimmed along the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 20.2 x 25 cm; (image borderline) 19.4 x 24.8 cm.

Inscribed in plate within the image borderline: (lower left) “10”; (lower centre) “H^. Cock ex.”; (upper right corner) “^.M^./ Heemskerck/ inuentor”.

Lettered below the image borderline: (centre) “Qui Danieli periculum crearan [false addition of a “t”] in foueam conijciuntur, protinus[que] deuorantur. [(transl.) “Those who had created a danger to Daniel were thrown into the pit, and immediately devoured.”]

State i (of iii) a lifetime impression showing the publication details for Hieronymus Cock before the change of publisher to Theodoor Galle in the second state.

New Hollstein (Galle) 102 (Manfred Sellink & Marjolein Leesberg [comp.] 2001, “Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450–1700: Philips Galle”, Rotterdam, Sound and Vision, p. 141, cat. no. 102).

The Rijksmuseum offers the following description of this print: (transl.) “King Cyrus has the Babylonians who wanted to kill Daniel thrown into the lions' den. The men are immediately eaten by the lions. Daniel and Cyrus watch from the edge of the den. An explanatory text in Latin under the depiction. The print is part of an album” (http://hdl.handle.net/10934/RM0001.COLLECT.597143).

See also the description of this print in its second state offered by the British Museum: https://www.britishmuseum.org/collection/object/P_D-5-98.

Condition: a strong and well-printed impression trimmed along the platemark and laid upon a support of archival (millennium quality) washi paper providing wide margins. Beyond a restored tear at the edge at lower centre and a curious addition of the letter “t” in brown ink in the text line, the sheet is in a very good condition for its considerable age with no significant stains.

I am selling this marvellously strong lifetime impression from the first edition of the engraving as published by Hieronymus Cock in 1565—interestingly, this is the same year that Pieter Bruegel the Elder painted “The Harvesters”—for the total cost of AU$343 (currently US$230.03/EUR207.63/GBP175.28 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$343) as this is my currency.

If you are interested in purchasing this remarkably fine engraving, 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

Eugene Tommasi, “À Tanger”, 1879

Eugene Tommasi (born 19^th century)—an Italian Orientalist artist (see the following example of his work: “The Moroccan Wedding Dance” (https://www.artrenewal.org/artworks/eugene-tommasi/the-morrocan-wedding-dance/9016)

Note that the publisher of this plate, the widow of Alfred Cadart (1828–1875) publishing as Veuve A. Cadart (1868–1881), has identified the printmaker of this print as “Tomassi” (see plate 492: https://gallica.bnf.fr/ark:/12148/btv1b8527606k/f51.item), but this information is inconsistent with the name inscribed on the plate, “E. Tommasi”. Of course, there may be variations in the spelling of the artist’s name and this would explain the anomaly.

“À Tanger” (In Tangier), 1879, after a painting by the artist (as inscribed in the plate) published and printed in Paris by Veuve A. Cadart in the art periodical “L'Illustration Nouvelle”, vol. 11, 1879 (see https://gallica.bnf.fr/ark:/12148/btv1b8527606k/f36.item).

Etching with plate tone on cream laid paper with deckle edges on three sides and wide margins as published.

Size: (sheet) 48.8 x 33.6 cm; (platemark) 24.3 x 16.2 cm.

Inscribed in plate at lower left: “E. Tommasi”.

Lettered in plate along the lower edge: (left) “E. Tommasi pinx et sculp”; (right) “V^ve A. Cadart Edit. Imp. 56 B^ard Haussmann Paris”.

Condition: a strong impression showing minor movement to the printing plate. Beyond minor marks in the margins, the sheet is in an excellent condition with no significant stains.

I am selling this strong image of a swaggering bare-chested Moor holding with self-assured pride his Moroccan snaphance or Afedali rifle (see https://www.alamy.com/morocco-snaphance-or-afedali-rifle-of-the-19th-century-image244357638.html) — his posturing is understandable mindful that only a year before this etching was executed a shipment of a thousand of these flintlock rifles were imported into Morocco (forgive me if I’m wrong about this)—for the total cost of AU$232 (currently US$155.59/EUR140.44/GBP118.55 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$232) as this is my currency.

If you are interested in purchasing this seldom seen etching on the art market, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jean Baptiste Huet, two panels of dog studies, 1995/96

Jean Baptiste Huet (1745–1811)

(Upper image) “Two Head Studies of Dogs Facing Left” and (lower image) “Two Head Studies of Dogs Facing Right” (descriptive titles only), 1795/96. Both panels are sections cut from the larger plate, plate 3, from the series of thirty-eight plates, “Oeuvres de J. B. Huet” (aka “Cahiers d'Études”), published in the first volume. See descriptions of both panels offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1860-0211-222 and https://www.britishmuseum.org/collection/object/P_1860-0211-221.

Etchings on laid paper trimmed with margins around the image borderline and backed on the same support sheet.

Size: (sheets) 8.7 x 15.7 cm; (image borderlines) 7.6 x 14.6 cm

Inscribed in plate at upper left in the upper image and upper right in the lower image (with minor differences): “J. B. hüet l'an 4”.

Condition: both panels are strong impressions but the upper panel has flattened printer’s creases and chipping along the lower edge. Both panels are laid onto the same sheet of archival (millennium quality) washi paper providing wide margins.

I am selling this pair of etchings extracted from a larger composite image by a previous collector for the total cost of AU$220 (currently US$146.95/EUR133.41/GBP112.69 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$220) as this is my currency.

If you are interested in purchasing this marvellous pair of dog studies, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Leopold Flameng, “Portrait of Jean-Baptiste Greuze”, 1862, after Greuze

Léopold Flameng (aka Léopold Joseph Flameng) (1831–1911)

“Portrait of Jean-Baptiste Greuze” (aka “J. B. Greuze (Peint par Lui-Mème)”—after a self-portrait (c.1760) of the painter and draughtsman, Jean Baptiste Greuze (1725-1805), previously in the collection of M. Lacaze (as inscribed in the plate) and now in the Louvre collection (see https://collections.louvre.fr/en/ark:/53355/cl010059521), 1862, printed by Drouard (as lettered in the plate or possibly a typographical error for the printery, Imprimerie Drouart [fl.1824–1861)]?), published in Paris in the art periodical, “La Gazette des Beaux-Arts” in 1862 (2^nd vol.), page 402.

Etching on chine collé on wove paper trimmed with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 22.4 x 16.7 cm; (plate) 17.5 x 13.3 cm; (image borderline) 12.2 x 9.4 cm.

Lettered in plate below the image borderline: (left) “LEOPOLD FLAMENG AQUA F. ET DEL./ Gazette des Beaux-Arts”; (centre) “J. B. GREUZE/ PEINT PAR LUI-MÈME”; (RIGHT) “IMP DROUARD/ Cabinet de M. Lacaze”.

Hippert & Linnig 159 (T Hippert & J Linnig 1879, “Le peintre-graveur hollandais et belge du 19me siècle”, vol. 1, Brussels, p. 300, cat. no. 159); Beraldi 342 (Henri Béraldi 1887, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: DORÉ–GAVARD”, vol. VI, Paris, Librairie L. Conquet, p. 127, cat. no. 342).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.110321.

Condition: a strong and well-printed (near faultless) impression laid onto a sheet of archival (millennium quality) washi paper providing wide margins. The sheet is in an excellent (near pristine) condition with no tears, holes, folds, abrasions or significant stains.

I am selling this superbly executed—to my eyes, a true masterwork—translation of Greuze’s self-portrait in an exquisitely fine web of crossed hatched lines, for the total cost of AU$239 (currently US$159.14/EUR144/GBP121.45 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$239) as this is my currency.

If you are interested in purchasing this luminous and very beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.