Alfred Brunet-Debaines, “Ruines du Château de Tancarville”, 1866

Alfred Brunet-Debaines (also known as Alfred-Louis Brunet-Debaines) (1845–1939)

“Ruines du Château de Tancarville” (Ruins of Tancarville Castle), 1866

Technical Details & Condition:

Etching with plate tone on fine buff laid paper with wide margins. This print is plate 230 from the series “Eaux-Fortes Modernes” [Modern Etchings], published in Paris in 1866 by Cadart & Luquet (Alfred Cadart and Jules Luquet) (active from 1863 to 1867), for the Société des Aquafortistes (Society of Etchers) (fl. 1862–1867). The print bears the publisher’s blind-stamp at the lower centre in the margin: “L. CADART & LUQUET / ÉDITURE / 79 R. RICHELIEU”, and was printed by Auguste Delâtre (1822–1907).

This is a strong, well-printed impression—near faultless—with generously wide margins. The sheet is in near-pristine condition, free of tears, holes, folds, abrasions, stains, or signs of handling.

Dimensions:

• Sheet: 52.2 x 33.5 cm
• Platemark: 31.5 x 23 cm
• Oval Image borderline: 24.5 x 18.4 cm

In-Plate Lettering:

• Upper right: “230.”
• Within the oval border at lower right: “A. Brunet Debaines”
• Lower left: “A. Brunet Debaines sculp.”
• Lower centre: “RUINES DU CHÂTEAU DE TANCARVILLE. / (Seine Inférieure.) / Paris, Publié par CADART & LUQUET, Editeurs. 79 Rue Richelieu.”
• Lower right: “Imp. Delâtre, Rue St. Jacques, 303, Paris.”

References:

• IFF 2 (Jean Laren & Jean Adhémar, Inventaire du Fonds Français après 1800: BOCQVIN–BYON, 1942, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 480, cat. no. 2)
• Beraldi 5 (Henri Beraldi, Les Graveurs du Dix-Neuvième Siècle: BRASCASSAT– CHÉRET, 1886, vol. IV, Paris, Librairie L. Conquet, p. 22, cat. no. 5)
• National Gallery of Australia (NGA): https://searchthecollection.nga.gov.au/object/35023
• British Museum: https://www.britishmuseum.org/collection/object/P_1866-1110-1412

Price & Shipping:

AU$232 (approx. US$163.84 / €139.69 / £121.72), including worldwide express shipping. Import duties and taxes (if any) are the buyer’s responsibility.

To acquire this sublimely romantic portrayal of the 11th-century castle near Tancarville in Seine-Maritime, Normandy, France—where the oval (ovato tondo) format lends a poetic, possibly even melancholic, mood—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless transaction.

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