Pierre Eugène Vibert, “Edmond Rocher”, c.1907

Pierre Eugène Vibert (1875–1937)—Swiss woodcut artist and painter who worked mainly in Paris

“Edmond Rocher”—French writer, poet and printmaker (aka Edmond-André Rocher) (1873–1948)—c.1907.

Two-colour woodcut printed in tan and dark brown on buff wove paper.

Size: (sheet) 26.8 x 19 cm; (image borderline) 14.2 x 10.1 cm.

Lettered in plate with the artist’s and the sitter's names.

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

I am selling this two-colour woodcut of the famous poet and artist, Edmond Rocher—note that in 1927 Rocher was named as a knight of the Legion of Honor—for the total cost of AU$202 (approximately US$132.94, EUR 112.60 or GBP 97.26), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this bold and finely executed colour woodcut—interestingly, Vilbert’s use of the pale colour of the paper in combination with the mid-tone tan and dark brown is termed a chiaroscuro woodcut—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Gustave Greux, “Fleurs et Fruits”, 1873, after Jan van Huysum

Gustave Greux (aka Gustave Marie Greux) (1838–1919)

“Fleurs et Fruits” (Flowers and Fruit), 1873, after Jan van Huysum’s (1682–1749) 1735 painting in the Alte Pinakothek, Munich (see https://commons.wikimedia.org/wiki/File:Jan_van_Huysum_002.jpg), printed by Alfred Salmon (fl.1863–1894) and published in Paris in the art periodical, “Gazette des Beaux-Arts”, 1st March, 1873, between pages 266 and 267.

Etching and drypoint on buff laid paper with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 21.9 x 16.3 cm; (plate) 18.4 x 14.8 cm; (image borderline) 16.3 x 13.3 cm.

Lettered in plate below the image borderline: (left) “JAN VAN HUYSUM PINX./ Gazette des Beaux-Arts.”; (centre) “FLEURS ET FRUITS”; (right) “GREUX SC./ Imp. A. Salmon, Paris.”

Beraldi (not numbered but listed with Greux’s prints from 1872–73) (Henri Béraldi 1888, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: GAVARNI–GUÉRARD”, vol. 7, Paris, Librairie L. Conquet, p.230, see “Estampes Diverses” for 1872–73); IFF 4–2 (Jean Adhémar & Jacques Lethève 1960, “Inventaire du Fonds Français après 1800: GAVARRET–GUILLARD”, vol. 9, Paris, Bibliothèque Nationale de France, p. 375, cat. no. 4–2 [see: https://gallica.bnf.fr/ark:/12148/bpt6k54892064/f387]).

Condition: a strong and well-printed impression in a near pristine condition with no tears, holes, folds, abrasions or stains, trimmed with a small margin and laid upon an archival support sheet of millennium quality washi paper.

I am selling this superbly rich impression of Greux’s etching after Jan van Huysum’s flower-piece with fruit and insects—often included in such arrangement to project the notion of transience (vanitas)—for the total cost of AU$207 (approximately US$136.01, EUR 115.41 or GBP 99.16), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this sensitively executed and exceptionally beautiful 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 

Eugène Le Roux, “Course de Chevaux”, c.1849–62, after Théodore Géricault

Eugène Le Roux (aka Eugène Leroux) (1811–1863)

“Course de Chevaux” (“Horse Race”) (aka “Entrance to the Arena”; “Course de Chevaux Libres à Rome”; “Free Horse Racing in Rome”), c.1848, plate 30 from the series of 144 plates (Volume 1 , 1ère Année, 2ème livraison [Plates 1–72]), “Les Artistes Anciens et Modernes”, printed by Bertauts (fl.1830s–1880) in Paris, after Théodore Géricault’s (aka Jean Louis André Théodore Géricault) (1791–1824) painting, “Course de Chevaux Libres à Rome”, in the Musée du Louvre, Paris (https://collections.louvre.fr/en/ark:/53355/cl010059217 [R.F. 2042]).

Palais des Beaux Arts de Lille offers the following description of one of Géricault’s studies for the painting, “Course de Chevaux Libres à Rome”: (transl.) “It's February in Rome, in the middle of Carnival. Today marks the traditional free-range horse race, the highlight of the festivities. Grooms come to show off their finest stallions, watched by the city's notables. The horses are let loose along the Corso, Rome's main thoroughfare, which then takes on the appearance of an arena” (https://pba.lille.fr/Collections/Chefs-d-OEuvre/Peintures-XVI-sup-e-sup-XXI-sup-e-sup-siecles/Course-de-chevaux-libres-a-Rome).

Lithograph on buff chine collé on heavy wove paper with wide margins as published and blind-stamped with the mark of “Les Artistes Anciens et Modernes” (Lugt 36a) below the image borderline at centre.

Size: (sheet) 31.5 x 44.8 cm; (chine collé) 19 x 25.5cm.

Numbered in plate above the image borderline: (upper right) “30”.

Lettered in plate below the image borderline: (left) “Géricault, pinx.”; (centre) “Imp. Bertauts, Paris.”; (right) “E. Le Roux, lith/ Collection de M^r. Marcille.”

Blind stamped: (in oval at lower centre) “LES ARTISTES/ ANCIENS/ ET MODERNES”.

The British Museum offers the following description of this print: “Plate 30: in the foreground, Roman slaves restraining horses before their release into the hippodrome, with classical buildings and crowds visible in the background; after Théodore Géricault
Lithograph on buff chine collé” (https://www.britishmuseum.org/collection/object/P_1936-0302-14-31).

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

I am selling this dramatic and romantic lithograph showing stallions being restrained before being freed into the Via del Corso—a central thoroughfare in Rome connecting Piazza del Popolo and Piazza Venezia—that I understand had been configured at the time into an arena during the February Carnival, for the total cost of AU$244 (approximately US$160.60, EUR 136.27 or GBP 116.80), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this beautifully executed lithograph after Géricault, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Giovanni Benedetto Castiglione, “Head of a Man with Turban and Fur Hat”, 1645–50

Giovanni Benedetto Castiglione (aka Il Grechetto) (1609–1664)

“Head of a Man with Turban and Fur Hat” (aka “Man with a Long Beard, Wearing a Headdress and Fur Cap, Facing Right” [TIB title]; “Un homme à barbe assez longue …”), 1645–50, from the series of six plates (according to the Rijksmuseum and Bartsch, or five plates according to Bellini), “Large Studies of Heads in Oriental Headdress”, printed from the original plate and published in 1816 in London by John McCreery in the album, “200 Etchings”.

Etching on fine wove (China?) paper trimmed along the platemark (as published by McCreery) and backed with a support sheet

Size: (sheet) 19 x 13.7 cm.

Inscribed on plate at upper right: “CASTILIONE”.

TIB 46.48 (Paolo Bellini [ed.] 1982, “The Illustrated Bartsch: Italian Masters of the Seventeenth Century”, vol 46, New York, Abaris Books, p. 51, cat. no 48 [32]); Bellini 1982 41 (Paolo Bellini 1982, “L'Opera incisa di Giovanni Benedetto Castiglione”, Milan, Comune di Milano, p. 133, cat. no. 41); Bartsch XXI.32.48.

The Curator of the British Museum offers the following interesting insights about the series in which this print features: “They were originally etched with small landscapes along the short sides (a very early remarque). …the landscapes were cut away and separately printed” (https://www.britishmuseum.org/collection/object/P_1871-0812-42).

See also the following insight about the series offered by the Rijksmuseum: This series of heads with oriental headdresses is inspired by similar etchings by Rembrandt and Lievens” (https://id.rijksmuseum.nl/200123985).

For those who love insights into the lives of the old masters, the following insights about Castiglione may be fascinating:

1. Castiglione invented the monotype process (i.e. “A single print taken from a design created in oil paint or printing ink on glass or metal” [Oxford Dictionary]);

2. Castiglione “discovered” Rembrandt and “is the first artist in Italy known to have borrowed directly from the Dutch master” (Timothy J Standring & Martin Clayton, 2013, “Castiglione: Lost Genius”, Royal Collection Trust, p. 43);

3. He purportedly threw his sister off a rooftop (Standring & Clayton, 2013);

4. He accused his brother of being a thief and an assassin and sent him to jail. (Standring & Clayton, 2013);

5. He almost killed his nephew with relentless punches (Standring & Clayton, 2013);

6. Castiglione “pioneered the development of the oil sketch” (Wikipedia).

Condition: a well-printed impression with no sign of wear to the printing plate, trimmed along the platemark (as published by McCreery) in an excellent condition with no tears, holes, folds, abrasions, or stains and laid upon an archival support sheet of millennium quality washi paper.

I am selling this superb etching by the artist argued to be the inventor of the monotype for the total cost of AU$392 (approximately US$256.08, EUR 218.51 or GBP 186.66), including express mail shipping worldwide. Import duties, if any, are the responsibility of the buyer.

If you are interested in purchasing this near faultless (albeit late) impression by one of the most important of the old masters, 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