Léon Gaucherel, “Où diable l'amour va-t-il se nicher!”, 1873, after Charles-Édouard de Beaumont

Léon Gaucherel (1816–1886)

“Où diable l'amour va-t-il se nicher!” (Where the devil will love go to nest?), 1873

Background insights:

This etching is based on the design of a painting by Charles-Édouard de Beaumont (1821–1888), which parodies Charles Nègre’s iconic 1853 photograph “Le Stryge” (The Vampire). Where Nègre captured the photographer Henri Le Secq looking out over Paris alongside Notre-Dame's famous stone demon. Beaumont and Gaucherel replaced the image of Le Secq with a pair of trysting lovers huddled high in the cathedral's stone gallery.

This impression was printed in Paris by Charles Delâtre (active circa 1872–1876). It was issued as an illustration for the satirical article “Paris en Voyage” in the avant-garde journal Paris à l'eau-forte (No. 22). As noted by the Paris Musées / Maison de Victor Hugo, the image cleverly visualises a line from the text: “Lovers, in spring, love old towers, just like the 'hirodelel' [swallow] sung by Victor Hugo." This nods to Hugo’s celebrated poetry collection Les Contemplations (1856), drawing a witty parallel between private birds nesting away from the world and human lovers seeking shelter amid the dizzying, demonic architecture of Paris.

Technical Details & Condition:

Etching with drypoint printed on cream laid paper with a partial watermark and full margins as issued.

The impression is crisp, strong, and evenly printed. Aside from a flattened historical fold in the upper margin safely isolated from the image matrix, the sheet is in excellent condition—free of tears, foxing, modern restoration, or surface stains.

Dimensions:

• Sheet: 27.8 x 18.5 cm
• Platemark: 18.0 x 12.2 cm
• Image borderline: 16.6 x 11.0 cm

In-Plate Lettering:

• Above image (Right): “A d.”
• Within image (Right): “E. Beaumont” (Reproducing the painter’s signature)
• Below image (Left): “Imp: C. Delatre”
• Below image (Centre): “Où diable l'amour va-t-il se nicher!”
• Below image (Right): Léon Gaucherel del”

References:

• IFF 159 (Jean Adhémar & Jacques Lethève, “Inventaire du Fonds Français après 1800: FOLLET–GAVARNI”, 1954, vol. 8, Paris, Bibliothèque Nationale de France, p. 441, cat. no. 159) — https://gallica.bnf.fr/ark:/12148/bpt6k5489221t/f453.image

• Paris Musées Collections: Maison de Victor Hugo Inventory Number 2017.0.4053 —  https://www.parismuseescollections.paris.fr/fr/maison-de-victor-hugo/oeuvres/ou-diable-l-amour-va-t-il-se-nicher
• For an expanded historical context on the architectural and photographic history of the specific composition, see the Princeton University Graphic Arts Collection — https://www.princeton.edu/~graphicarts/2012/07/du_diable_lamour_ya-t-il_se_ni.html

Price & Shipping:

AU$224 in total (approximately US$157.38 / €138.22 / £119.01), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this sensitively executed etching celebrating love in unexpected and dizzying places, please contact me directly at oz_jim@printsandprinciples.com. A secure PayPal invoice will be generated to complete your transaction seamlessly.

Jacopo Leonardis, “Columnar Hill of Segalizzo near Valdagno”, 1778, after Antonio de Bitto

Jacopo Leonardis (also known as Giacomo Leonardis) (1723–c.1782)

“Columnar Hill of Segalizzo near Valdagno”, 1778

Historical Context:

This etching is from an important geological series executed in Venice under the patronage of the British diplomat and naturalist John Strange (1732–1799). It is based on a painting by Antonio de Bittio (1722–1797), whom Strange employed to create accurate scientific illustrations of volcanic phenomena across Europe. The print depicts a dramatic hillside outcrop of prismatic columnar basalt found in the Vicentine region (Vicenza) of northern Italy—located approximately 75 to 80 kilometres west of Venice. The local stone, historically referred to as Segalizzo basalt, is renowned for its remarkably fine, compact, and homogeneous texture that can be polished to a glossy, mirror-like black finish.

Technical Details & Condition:

Etching printed on heavy laid paper with small margins of approximately 3 mm extending beyond the platemark. Note on Medium: While historical references and the in-plate Latin abbreviation “sculp.” conventionally categorise this series under the generic umbrella of 18th-century “engravings,” close technical inspection reveals it to be an etching. The lines display the classic uniform thickness and fluid, hand-drawn character typical of the Venetian etching tradition, entirely free of the rigid, tapered lines associated with pure burin engraving.

This is a richly inked and evenly printed impression showcasing excellent tonal contrast and clarity. It features early ink notations inscribed by an old hand below the lower borderline, providing an English translation of the title, “Columnar Hill of Segalizzo near Valdagno.”, and its corresponding series plate number, “No. 1.” Aside from minor, negligible surface marks in the margins, the sheet remains in excellent condition—entirely free of tears, folds, modern restoration, or significant staining.

Dimensions:

• Sheet: 28.8 x 40.3 cm
• Platemark: 27.7 x 39.5 cm
• Outer Image borderline: 24.7 x 36.5 cm

In-Plate Lettering (below the image borderline):

• Left: “Anton^s_de Bittio pinx.”
• Right: “Jac. Leonardis scul_Venetiis..”

References:

• Neither LeBlanc (vol. 2, p. 534) nor Nagler (vol. 7, p. 439) describe this specific regional view.
• Later reissued in London by John Manson (1825) in A Series of Plates Representing the Most Extraordinary and Interesting Basaltic Mountains, Caverns and Causeways in the Known World.
• For a description of the complete basalt series in which this plate features, see Damien Voglaire Auctions: Lot 207 — https://www.voglaire.com/lot/85975/7725932-de-bittio-dapres-antonio-1722-1797-gravures-sur

Price & Shipping:

AU$294 in total (approximately US$206.74 / €181.61 / £156.15), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this intriguing etching by a prominent pupil of the great Venetian artist, Giovanni Battista Tiepolo (1696–1770), documenting the rare columnar basalt formations near Valdagno, in northeastern Italy, please contact me directly at oz_jim@printsandprinciples.com. A secure PayPal invoice will be generated to complete your transaction seamlessly.

Valentine Green, “Inigo Jones, in the Common Parlour at Houghton”, 1775, after Anthony van Dyck

Valentine Green (1739–1813)

“Inigo Jones, in the Common Parlour at Houghton”, 1775

Background and Production Insights:

The portrayed figure, Inigo Jones (1573–1652), is widely celebrated as England’s first major architect to implement classical Roman and Italian Renaissance principles into his structures. He pioneered the Palladian style in Great Britain, drawing direct inspiration from the symmetrical, harmonious designs of Italian master Andrea Palladio (1508–1580).

This original mezzotint is based on an intermediary drawing by draughtsman George Farington (1752–1788), executed after the oil portrait by Sir Anthony van Dyck (1599–1641). The original painting was formerly housed in the collection of Sir Robert Walpole at Houghton Hall before being sold to Catherine the Great; it resides today in the State Hermitage Museum (St. Petersburg, inv. no. GE-557). This plate forms part of the celebrated “Houghton Gallery” series, published in London on November 1, 1775, by John Boydell (1719–1804).

This superb, powerful impression represents the second state of the plate before the subsequent re-engraving and publisher address alterations.

Technical Details & Condition:

Mezzotint printed in a rich, warm black ink on fine antique laid paper with approximately 2 cm margins remaining beyond the platemark.

A deeply inked, exceptionally crisp, and balanced impression showcasing excellent tonal contrast. Aside from minor, typical paper thinning concentrated at the upper corner margins, the sheet remains in remarkable, museum-quality condition—entirely free of tears, modern restoration, folds, or stains.

Dimensions:

• Sheet: 21.9 x 16.8 cm
• Platemark: 17.7 x 12.7 cm
• Image borderline: 15.1 x 12.7 cm

In-Plate Lettering (below the image borderline):

• Left: “Van Dyke Pinxit. / G. Farington delint./ Size of the picture I F[oot] 85/8 I[nch] by 2 F[oot] 1 I[nch] in height.”
• Centre: “Inigo [crest with the motto ‘Fari Quae Sentiat’] Jones. / In the Common Parlour at Houghton. / Published Novr. 1. 1775 by Jno. Boydell Engraver in Cheapside London.”
• Right: “Val. Green Engraver / to his Majesty fecit.”

References:

• Whitman 55.2 (Alfred Whitman, “British Mezzotinters: Valentine Green”, 1902, London, A. H. Bullen, p. 60, cat. no. 55, state ii); LeBlanc 101; Chaloner Smith 77.
• British Museum: Museum number 1948,0315.10.168 — https://www.britishmuseum.org/collection/object/P_1948-0315-10-168

Price & Shipping: AU$288 in total (approximately US$204.11 / €178.70 / £153.42), including worldwide express shipping. Please note that import duties are the buyer's responsibility.

If you are interested in purchasing this exquisite, jewel-like masterwork of 18th-century British printmaking, please contact me at oz_jim@printsandprinciples.com. A secure PayPal invoice will be generated to complete your transaction seamlessly.

This print has been sold