Bernard Picart, “Atlas Supports the Heavens on His Shoulders”, 1731

Bernard Picart (1673–1733)

“Atlas Supports the Heavens on His Shoulders”, 1731, Plate 43 (XLIII) from the series of sixty plates, “Le Temple des Muses” (Neu-Eröfneter Musen-Tempel), pages 119–120, published in 1733 by Zacharie Chatelain (fl.1700–50) and later in 1754 in Amsterdam and Leipzig.

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

Size: (sheet) 46 x 29.1 cm; (outer plate) 35.5 x 25.5 cm; (outer image borderline) 34.6 x 25 cm.

Inscribed on plate below the (inner) image borderline in four languages (French, English, German and Dutch): (left) “ATLAS PORTE LE CIEL SUR SES ÉPAULES./ Atlas supports the Heavens on his shoulders.// …./ …”.

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.) “Titan Atlas carries heaven on his back, as punishment for his part in the revolt against Jupiter. Through Perseus he is turned into a mountain range. In the margin the title in French, English, German and Dutch. The image is decorated with an ornamental border” (http://hdl.handle.net/10934/RM0001.COLLECT.302958).

All the plates (including this plate) illustrating “Le Temple des Muses” may be viewed at “Heidelberg historic literature – digitized”; see details about this plate: https://digi.ub.uni-heidelberg.de/diglit/picart1754/0177/image .

Art of the Print offers marvellous insights and technical details about this print and its publication: http://www.artoftheprint.com/artistpages/picart_bernard_atlasheavens.htm.

Condition: a strong and well-printed (near faultless) impression in a near pristine condition.

I am selling this stunningly beautiful engraving showing Atlas—a Titan from mythology—holding up the sky with the mountain range, The Atlas Mountains, of northwest Africa behind him, for AU$336 in total (currently US $218.81/EUR 204.26/GBP 175.47 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 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.

Note that this is the second impression of this print that I have listed. The previous copy has been sold.

This print has been sold

Adriaen Collaert, “Neptune in a Decorative Frame with Grotesques”, c.1590

Adriaen Collaert (c.1560–1618)

“Neptune in a Decorative Frame with Grotesques” (aka “Medaillon waarin een stroomgod”; “Medallion Showing a River God”), c.1590 (1580–1600), plate 2 from a series of six engravings, “Medallions with Figures from the Judgment of Paris” (aka “Medaillons met figuren uit het Oordeel van Paris”); published by Adriaen Collaert (as inscribed on plate).

Engraving on laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet) 13.9 x 9.9 cm.

Inscribed in plate along the lower edge: (centre) “Adrian. Collaert invent. sculp. et excud."

Orn Cat I 61.2 (Irene Margaretha de Groot 1988, “Ornamentprenten in het Rijksprentenkabinet”, Amsterdam, Rijksmuseum Staatsuitgeverij); SKB 235; New Hollstein VI.308.1677; Guilmard 479.12a.

The Rijksmuseum and the Metropolitan Museum of Art offer descriptions of this print: http://hdl.handle.net/10934/RM0001.COLLECT.380900 & https://www.metmuseum.org/art/collection/search/425850. 

Condition: a slightly silvery impression, trimmed along the platemark and laid upon an archival support sheet of millennium quality washi paper. There are chips along the edges and a replenished loss of the lower right corner.

I am selling this sensitively rendered engraving featuring Neptune (or a mythological river god with the attribute of spilling a vase of water and fish) set within an extraordinarily complex frame of ornamentation—note that Zeus is shown on his eagle under a canopy in the lower area with snails advancing on cupids aiming their arrows at tongue-wagging dogs, for AU$310 (currently US $201.72/EUR 188.61/GBP 162.19 at the time of this listing) including 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 small and gem-like engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed another engraving from the same series, “Mercury in a Decorative Frame with Grotesques”, that is currently still available: https://www.printsandprinciples.com/2019/09/adriaen-collaerts-engraving-mercury-in.html. 

This print has been sold 

Maxime Lalanne, “Le Matin”, 1882, after Théodore Rousseau

Maxime Lalanne (aka François Antoine Maxime Lalanne) (1827–1886)

“Le Matin” (title as inscribed in plate) (aka “Morning”; “La Mare” [Beraldi’s title]), 1882, after a painting by Théodore Rousseau (aka, Pierre Etienne Théodore Rousseau) (1812–1867), printed by Abraham Beillet (fl.1850–76/83) and published in the “Gazette des Beaux-Arts” in August 1883 as an insert between pages 118 and 119.

Interestingly, ten years before Lalanne executed “Le Matin”, Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914) etched, “Bouquet d'Arbres près d'un cours d'Eau” (Bouquet of Trees near a Stream) (1872), that is also a translation of Rousseau's painting into line, but in the reverse direction to Lalanne's print: see https://www.britishmuseum.org/collection/object/P_1916-0411-23.

Etching on cream laid paper (watermarked “MBM” [Arches]) with a small margin around the platemark and backed with a support sheet providing wide margins.

Size: (sheet) 18.1 x 25.4 cm; (plate) 16 x 24 cm; (image borderline) 12.4 x 18.9 cm.

Lettered in plate above the image borderline: (centre) “EXPOSITION DES CEMT CHEFS – D’ŒUVRE.”

Inscribed in plate within the image borderline: (lower left) “TH ROUSSEAU”; (lower right) “[signature] M Lalanne”.

Lettered in plate below the image borderline: (left) Th. Rousseau pinx./ Gazette des Beaux-Arts.”; (centre) “LE MATIN./ (Collection de M^me la Baronne N. de Rothschild.}; (right) “M. Lalanne sc./ Beillet imp.”

State iii (of iii) final published state with height of plate reduced.

Villet 156 (Jeffrey M. Villet 2010, “The Complete Prints of Maxime Lalanne”, Washington, D.C., art@mone fine prints, n.p., cat. no. 156).

Condition: a strong and well-printed impression with a small margin around the platemark. Beyond a few surface marks, the sheet is in a very good condition and has been laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this marvellous etching that (to my eyes) sparkles with morning light, for AU$187 in total (currently US $120.62/EUR 112.96/GBP 97.46 at the time of this listing) including Express (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 very beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Jean Rougeot de Briel, “Smugglers on the Normandy Coast”, 1841

Jean Rougeot de Briel (1795-1871)—a French painter specialising in miniatures.

“Smugglers on the Normandy Coast”, 1841—note that the title is based on a similar scene painted by George Morland (1763–1802), “Sea-Coast Scene, Smugglers”, 1793, showing smugglers with barrels and a horse laden with wicker panniers (see https://www.wikiart.org/de/george-morland/sea-coast-scene-smugglers-1793)—charcoal and white chalk drawing on buff-coloured wove paper, backed with a support sheet, initialled and dated in ink at lower right corner: “R. de B. 8 Juillet 1841.”

If I am wrong in my interpretation of the subject of this drawing, my apologies. The portrayed scene may be simply an everyday occurrence on the beach around the 1840s (the dealer from whom I purchased this drawing advised me the setting is the Normandy coast) with folk selling fish and other items.

Size: (sheet) 16.4 x 22.8 cm.

Condition: The drawing is in an excellent condition with no tears, holes, folds, abrasions or significant stains and is laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this finely executed charcoal drawing with stumping and heightened with white chalk, for the total cost of AU$382 (currently US $245.74/EUR 230.36/GBP 198.44 at the time of 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 historically interesting drawing of smuggling in plain sight (i.e., not a covert operation) as suggested by the couple casually strolling in the far distance, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Achille Désiré Lefevre, “Le Sommeil d'Antiope”, c.1850, after Antonio Correggio

Achille Désiré Lefevre (1798–1864)

“Le Sommeil d'Antiope” (Antiope's Sleep), c.1850 (between 1818–1864), after the intermediary design by Auguste Sandoz (aka Auguste Sandos) (fl.late 18thC– early 19thC), after Antonio Correggio’s (Antonio Allegri; Corrège) (1489–1534) painting, “Venus, Satyre et Cupidon” (c.1524/27), in the Musée du Louvre, Paris (inv. 42; see: https://art.rmngp.fr/en/library/artworks/le-correge_venus-satyre-et-cupidon_huile-sur-toile), printed and published in Paris by the Chalcographie of the Musée du Louvre between 1818 and 1864.

Etching and engraving on heavy wove paper with wide margins stamped with the blind seal of the Chalcographie Imperiale du Louvre at lower centre.

Size: (sheet) 65 x 47.1 cm; (platemark) 53.4 x 37.5 cm; (image borderline) 41.8 x 27.8 cm.

Lettered in plate below the image borderline: (left) “LE CORRÈGE PINX^T.”; (centre) “SANDOZ DEL./ LE SOMMEIL D'ANTIOPE./ CHALCOGRAPHIE IMPERIALE DU LOUVRE./ [blind stamp of the Chalcographie]”; (right) “ACH. LEFÈVRE SCULP^T.”.

Condition: a richly inked and strong (near faultless) impression with generously wide margins. There are minor marks in the margins, otherwise, the sheet is in an excellent condition with no tears, holes, folds or significant stains.

I am selling this huge etching, showing an amorously smitten satyr discovering Venus (possibly not Antiope) and cupid asleep, for the total cost of AU$313 (currently US$200.99/EUR188.53/GBP162.44 at the time of 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 superbly rich impression of a masterwork of etching and engraving with strong—perhaps (at least to my eyes) glowing—contrasts of light and dark tones, 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