Gustave Greux, “Clog Makers in the Quimerc'h Woods (Finistère)”, 1877, after Camille Bernier

Gustave Greux (also known as Gustave Marie Greux) (1838–1919)

“Clog Makers in the Quimerc'h Woods (Finistère)” (“Sabotiers dans le Bois de Quimerc’h [Finistère]”), 1877

Contextual Commentary:

This original etching with drypoint by Gustave Greux is based on Camille Bernier's (1823–1902) painting exhibited at the Paris Salon of 1877. The composition depicts Breton clog makers (sabotiers) crafting traditional wooden footwear directly within the Quimerc'h forest in Finistère, Brittany. Historically, the Quimerc'h woods—located near the present-day Cranou forest on the edge of the Monts d'Arrée—sheltered entire itinerant communities of forest artisans. These specialised craftsmen lived in temporary woodland settlements, using freshly felled beech and birch wood to carve the iconic botou-coad (wooden clogs).

This fine impression was printed in Paris by the master printer François Liénard (fl. c. 1860s–1880s) and was published in 1877 as a premium insert for the prestigious art periodical L'Art (Volume IX / Tomes II of that year).

Technical Details & Condition:

Etching with drypoint on buff-coloured laid paper with full margins as issued.

The impression is richly inked, crisp, and evenly printed — almost faultless! Note that the impression retains the very fine and faint scratched historic inscription below the image at centre: “G. Greux d’apres G. Bernier.”

The sheet is in pristine condition—completely free of tears, holes, folds, abrasions, handling marks, foxing, and stains.

Dimensions:

• Sheet: 29.0 x 43 cm
• Platemark: 20.8 x 28.7 cm
• Image borderline: 17.8 x 26.6 cm

In-Plate Lettering:

• Above image: (centre) “Salon de 1877.”
• Below image: (left) “C. Bernier. pinx. / L’Art.”; (centre) “SABOTIERS DANS LE BOIS DE QUIMERC’H (Finistère)”; (right) “G. Greux. sc. / F^çois Liénard. Imp. Paris.”
• Scratched inscription below image at centre: “G. Greux d’aprés G. Bernier.”

References:

• IFF 6 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: GAVARRET–GUILLARD”, vol. 9, 1955, Paris, Bibliothèque Nationale de France, Département des Estampes, p. 376, cat. no. 11) — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k54892064/f388.item
• Pierre Sanchez & Xavier Seydoux, “Les Estampes de L’Art (1875–1907)”, 1999, Paris, L’Echelle de Jacob, p. 56
• British Museum: Museum number 1878,0511.320 — https://www.britishmuseum.org/collection/object/P_1878-0511-320

Price & Shipping:

AU$224 (approximately US$157.65 / €140.70 / £117.87), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this superb etching sparkling with tonal contrasts, please contact oz_jim@printsandprinciples.com. Secure payment is handled via PayPal invoice for a smooth, protected transaction.

Eugène Gaujean, “La Vierge, l'Enfant-Jésus et Sainte Anne”, 1884, after De Vinci

Eugène Gaujean (1850–1900)

“La Vierge, l'Enfant-Jésus et Sainte Anne” (The Virgin, the child Jesus and Saint Anne), 1884

Contextual Commentary:

This exquisite engraving (with etching) by Gaujean is after the famous painting by Leonardo da Vinci (1452–1519) in the collection of the Louvre (inv. 776). The etching was printed in Paris by A. Clément (fl. c. 1887–1892) and published in the art periodical, “Gazette des Beaux-Arts”, volume 36 (August 1887 issue), tipped between pages 94 and 95. The print serves to illustrate the article by François-Anatole Gruyer, “Léonard de Vinci au Musée du Louvre”.

This impression is from the second state (of two) with the addition of lettering for publication.

Note that I have previously listed an engraving executed in 1885 by Adolphe-Joseph Huot and Jean-Baptiste Danguin that is a different translation of Da Vinci’s painting; see https://www.printsandprinciples.com/2021/04/huot-danguins-engraving-virgin-and.html.

Technical Details & Condition:

Engraving with etching on buff-coloured chine collé on heavy wove paper.

The impression is richly inked, crisp, and evenly printed with slight misalignment of the inscribed text that was printed beyond the sheet of chine collé (possibly from historic reattachment). Aside from a few minor and very faint dot stains, the sheet remains in excellent condition with no tears, holes, folds, or significant stains.

Dimensions:

• Sheet: 44.8 x 30.9 cm
• Platemark: 23.8 x 17.0 cm
• Chine collé: 22.6 x 16.3 cm
• Image borderline: 20.1 x 15 cm

In-Plate Lettering (below the image borderline):

• Left: “Léonardo de Vinci pinx. / Gazette des Beaux-Arts.”
• Centre: “LA VIERGE, L'ENFANT-JÉSUS ET SAINTE ANNE / (Musée du Louvre)”
• Right: “Gaujean sc. / Imp. A. Clément_Paris”

References:

• IFF 23 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: FOLLET–GAVARNI”, vol. 8, 1954, Paris, Bibliothèque Nationale de France, p. 453, cat. no. 23) — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f465.item
• Pierre Sanchez & Xavier Seydoux, “Les Estampes de la Gazette des Beaux-Arts (1859–1933)”, 1998, Paris, L’Echelle de Jacob, p. 110 (1887-10)
• British Museum: Museum Number 1933,0224.1 —  https://www.britishmuseum.org/collection/object/P_1933-0224-1

Price & Shipping:

 AU$261 (approximately US$183.29 / €163.44 / £136.91), inclusive of worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this superb engraved translation of Leonardo’s famous painting showing the Virgin seated on St Anne’s (her mother’s) lap coaxing baby Jesus away from grappling with a sacrificial lamb—the symbol for his passion—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

This print has been sold

Charles Courtry, “Cossack Horses in Snowy Weather”, 1868, after Aldolf Schreyer

Charles Courtry (also known as Charles Jean Louis Courtry) (1846–1897)

“Cossack Horses in Snowy Weather” (also known as “Chevaux Cosaques par un Temps de Neige” and “Cossack Horses Resting after a Hard March through the Snow”), 1868

Technical Details & Condition:

Etching on wove paper, trimmed slightly within the platemark. The sheet has been professionally laid upon a backing sheet of archival-quality washi paper to provide structural support and a clean false margin for conservation presentation.

This is a rare first state (of two) proof impression before lettering for publication in around 1882 in the Spanish magazine “La Ilustración Artística”. The impression is strong, crisp and evenly printed—almost faultless. The composition is based on a painting by the 19th-century German artist Adolf Schreyer (1828–1899). Although Schreyer’s original canvas is unrecorded online, a closely related winter work by the artist—depicting a huddling team of horses hitched to a wagon beside thatched farm structures during a heavy blizzard—is available to view digitally via The Walters Art Museum: https://art.thewalters.org/object/37.88/.

Aside from a faint closed tear in the margin (almost invisible) the sheet remains in an excellent condition with holes, folds, or stains.

Dimensions:

• Sheet: 17.6 x 24.2 cm
• Image borderline: 12.1 x 19.5 cm

Catalogue Reference:

• IFF 8 (Jean Adhémar, “Inventaire du Fonds Français après 1800: Cidoine–Daumier”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 5, 1949, p. 273, cat. no. 8 — Available via Bibliothèque Nationale de France (Gallica): https://gallica.bnf.fr/ark:/12148/bpt6k5488526m/f285.image

Price & Shipping:

 AU$213 (approximately US$149.42 / €132.98 / £111.46), inclusive of worldwide express shipping. Please note that import duties and taxes (if any) are the buyer’s responsibility.

If you are interested in acquiring this superb and rare proof-state etching before lettering for publication, please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.