Charles Daubigny, “Parc à Mouton, le Matin”, 1862

Charles Daubigny (aka Charles François Daubigny) (1817–1878)

“Parc à Mouton, le Matin”, or “The Large Sheepfold”, 1862

Technical Details & Condition:

Etching on heavy cream wove paper, with generously wide margins and deckle edges on all sides. This large etching marks Daubigny’s debut publication with Alfred Cadart (1828–1875) and serves as a definitive example of the “new taste for realism” identified by Michel Melot (1978, p. 279) at the dawn of the 1860s. Indeed, with its richly inked and deeply bitten lines, the sheer boldness of this execution was instrumental in defining the aesthetic path for the ambitious, large-scale prints subsequently issued by Cadart for the Société des Aquafortistes.

This impression is from the final state (of four), after the removal of the publisher (Cadart & Chevalier) and printer (Auguste Delâtre) addresses.

A superbly strong, well-printed, and nearly faultless impression. Aside from a few minor marks in the margins and slight instances of tonal unevenness visible when held to the light, the sheet remains in excellent condition for its size and age.

Dimensions:

• Sheet: 42.5 x 61.7 cm
• Platemark: 22 x 38 cm
• Image borderline: 18.5 x 34.7 cm

Lettering on Plate (below the image border):

• Left: “Daubigny pinx^t. & sculp^t.”
• Centre: “PARC À MOUTON, LE MATIN.”

References:

• Melot D 95 (Michel Melot, Graphic Art of the Pre-Impressionists, 1978, New York, Harry N. Abrams, p. 279, cat. no. D 95)
• Rijksmuseum: https://id.rijksmuseum.nl/200182019
• British Museum: https://www.britishmuseum.org/collection/object/P_1864-1008-210

Price & Shipping:

AU$306 (approx. US$216.07 / €184.88/ £160.97), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this pivotal work from the "Etching Revival"—notable for its luminous, painterly rendering and direct plein air observation—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless transaction.

This print has been sold 

Claudine Bouzonnet Stella, “Abduction of Christ”, c. 1694

Claudine Bouzonnet Stella (also known as Claudia Bouzonnet-Stella) (1636–1697)
“Abduction of Christ”, c. 1694 (1690–1697)

Technical Details & Condition:
Engraving with etching on heavy buff laid paper, with deckle edges on three sides, and wide margins as issued. This is plate 10 from the series of 13—or arguably 14—plates (see BM inv. U,7.37), “Life and Passion of Christ” (La Vie et la Passion du Christ, or Het leven en lijden van Christus), published in Paris with privilege from Louis XIV, after the intermediary design by Jacques Stella (1596–1657), and a painting of the same composition, previously attributed to Nicolas Poussin (1594–1665).

This is a richly inked, well-printed, and nearly faultless impression. Aside from minor marks and small tears along the edges, the sheet remains in excellent condition for its large size and age.

Dimensions:
• Sheet: 59.7 x 43.4 cm
• Platemark: 46.4 x 35.2 cm
• Image borderline: 43.8 x 34.5 cm

Lettering on Plate (below the image border):

• Left: “N. Poussin pinx.”
• Right: “Claudia Stella Sculp. / 10.”

References:

• British Museum: https://www.britishmuseum.org/collection/object/P_U-7-46
• Rijksmuseum: https://id.rijksmuseum.nl/200259037
• See the Curator of the British Museum’s comments about the series in which this print features: https://www.britishmuseum.org/collection/object/P_U-7-37
• Anthony Blunt, “Jacques Stella, the De Masso family and falsifications of Poussin,” Burlington Magazine, vol. CXVI, December 1974, pp. 744–749.
• LeBlanc 7 (Charles Le Blanc, 1856), “Manuel de l'amateur d'estampes, contenant un dictionnaire des graveurs de toutes les nations,” vol. 3, p. 589, cat. no. 7)
• Nagler 6 (G.K. Nagler, 1832–52), “Neues allgemeines Künstler-Lexicon,” vol. 17, p. 308, cat. no. 6)

Price & Shipping:
AU$314 (approximately US$220.99 / €189.36 / £164.94), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this exceptional and large engraving with etching—created by one of the few historically documented female printmakers from the late Renaissance, exemplifying the period style of Mannerism—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

(Attrib.) Adriaen Collaert, ““The Emperor Commodus Killing a Leopard”, c. 1596, after Jan van der Straet

(Attrib.) Adriaen Collaert (circa 1560–1618)

“The Emperor Commodus Killing a Leopard” (aka “Keizer Commodus doodt een luipaard met een pijl” [Emperor Commodus kills a leopard with an arrow]), circa 1596

Technical Details & Condition:

Engraving on fine laid paper. This print is plate 14 from the series of 104 engravings titled “Hunting Parties” (also known as “Venationes Ferarum, Bird, and Fish”). The design is after Jan van der Straet (also known as Joannes Stradanus and Ioannes Stradanus) (1523–1605), and the engraving was published in Antwerp by Philips Galle (1537–1612).

This impression is from the second state (of three), prior to being reworked and published by Philips Galle’s grandson, Joannes Galle (also known as Ioan Galle and Jan Galle) (1600–1676), who modified the figures in the background. A third state impression of this print, which I previously listed, can be viewed at: https://www.printsandprinciples.com/2021/07/attrib-adriaen-collaerts-engraving.html.

The impression is strong and well-printed—nearly faultless. The sheet is in near-pristine condition for its age, free of tears, holes, folds, abrasions, stains, or signs of handling.

Dimensions:

• Sheet: 22.3 x 30.6 cm
• Platemark: 20.3 x 27 cm
• Image borderline: 18.3 x 26.6 cm

In-Plate Lettering:

• Within the image borderline on lower edge: (left of centre) “Ioan. Stradanus inuent.”; (right of centre) “Phls Galle excud.”
• Below the image borderline: (left) “14”; (two lines of two columns at centre) “Pensilis è cauea Tigris rabiosa theatre / Erumpit vinclis, hominiq[ue] occurrit inermi, // Quem ne dilaceret fera bellua, Commodus arcu / Impedit, atq[ue] feræ iacit in præcordia telum.”

References:

• New Hollstein 513.II (Marjolein Leesberg [comp.], “The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450–1700: Johannes Stradanus”, vol. 3, Amsterdam, Sound & Vision, p.193, cat. no. 513)
• British Museum: https://www.britishmuseum.org/collection/object/P_1856-0712-440
• Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.97378
• Archive.org offers an online view of the publication, “Venationes Ferarum, Avium, Piscium”, in which this engraving appears: https://archive.org/details/printboeck00stra/page/n89/mode/2up

Price & Shipping:

AU$307 (approximately US$216.48 / €185.15 / £161.30), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this fascinating glimpse into Roman life during the reign of Emperor Commodus—an era marked by his megalomania, statues portraying him as Hercules, and the renaming of Rome to “Colonia Commodiana”—please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice to facilitate a smooth and secure purchase.

This print has been sold

Isidor Stanislas Helman, “Le Joueur de Cornemuse”, c. 1803, after David Taniers II

Isidor Stanislas Helman (also known as Isidore Stanislas Henri Helman or Isidor Stanislaus Helmann) (1743–1806)

“Le Joueur de Cornemuse” (The Bagpiper), circa 1803

Technical Details & Condition:

Engraving with hand-colouring on fine wove paper with wide margins. This print is from the series “Musée Français,” which documents paintings and statues in the Louvre, published in Paris between 1803 and 1809. It is after an intermediary drawing by Jean Claude Gallier (fl. c. 1800–1820), based on the painting “Joueur de Musette” (1635/37) by David Teniers the Younger (1610–1690), which is in the collection of the Musée du Louvre, Paris (see: https://collections.louvre.fr/ark:/53355/cl010059232).

The impression is strong and well-printed, with vivid, unfaded hand-colouring. The large sheet is in pristine condition, free of tears, holes, folds, abrasions, stains, or signs of handling.

Dimensions:

• Sheet: 51 x 38 cm
• Platemark: 47.6 x 34.6 cm
• Image borderline: 28.1 x 22.4 cm

Plate Lettering:

• Lower left: “Peint par Teniers.”
• Lower centre: “Dessiné par Gallier, / LE JOUEUR DE CORNEMUSE”
• Upper right: “Gravé par Helman,”

References:

• Nagler 4 (GK Nagler, Neues allgemeines Künstler-Lexikon, vol. 5, Munich, Fleischmann, 1837, p. 75, cat. no. 4).
• British Museum: https://www.britishmuseum.org/collection/object/P_1856-0712-440
• Smithsonian American Art Museum: https://americanart.si.edu/artwork/le-joueur-de-cornemuse-10250#
• Library of Congress: https://hdl.loc.gov/loc.music/musdcmicon.0037

Price & Shipping:

AU$243 (approximately US$167.99 / €145.50 / £126.96), including worldwide express shipping. Import duties are the buyer’s responsibility.

If you are interested in acquiring this evocative depiction of a tavern scene, where figures in the background seem oblivious to the deafening music—highlighted by the artist’s keen attention to facial expressions, exemplifying the Baroque period in which the original painting was created—please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice to facilitate a smooth and secure purchase.