Henri Guérard, “Aube”, 1875

Henri Guérard (also known as Henri-Charles Guérard) (1846–1897)

“Aube” (or “Dawn”), 1875

Technical Details & Condition:

Etching with plate tone on laid (Holland) paper, issued prior to lettering, with full margins. This print is plate 4 from a series of ten etchings illustrating Victor Hugo's renowned collection of poems condemning Napoleon III and the Second Republic, “Les Châtiments” (also known as “The Castigations” or “The Punishments”). It was printed by Charles Delâtre (active 1872–1876) and published in Paris in 1875 as part of a portfolio titled: “Series of ten etchings by Henry Guérard on Holland paper for the illustration of Victor Hugo's Les Châtiments, Paris, Librairie Nouvelle.”

The prints in this series are extremely rare, and their numbering is discontinuous; see commentary by Paris Musées Collections: https://www.parismuseescollections.paris.fr/fr/maison-de-victor-hugo/oeuvres/iv-aube-les-chatiments-iv-x#infos-secondaires-detail.

This particular etching illustrates a few verses from the poem “Aube” (Dawn): “Sur l'horizon lugubre apparaît le matin / Face rose qui rit avec des dents de perles / Le boeuf rêve et mugit, les bouvreuils et les merles / Et les geais querelleurs sifflent, et dans les bois / On entend s'éveiller confusément les voix ; / Les moutons hors de l'ombre, à travers les bourrées, / Font bondir au soleil leurs toisons éclairées.” (Translation: “On the gloomy horizon appears the morning / A rosy face that laughs with pearly teeth / The ox dreams and lows, the bullfinches and blackbirds / And the quarrelsome jays hiss, and in the woods / One hears voices awakening confusedly; / The sheep out of the shadows, through the thickets, / Make their illuminated fleeces leap in the sun.”)

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

Dimensions:

• Sheet: 27.3 x 17.5 cm
• Platemark: 14.9 x 10.6 cm
• Image Borderline: 13 x 9.4 cm

In-Plate Lettering:

• Lower left within the image borderline: “H.GUERARD – 1875”
• Lower centre below the image borderline: “IV”
• Lower right below the image borderline: “IMP. CH DELATRE”

References:

• Beraldi 556–565 (Henri Beraldi, Les Graveurs du XIX^e Siècle: GAVARNI–GUÉRARD, 1888, vol. VII, Paris, Librairie L. Conquet, p. 273, cat. nos. 556–565)
• British Museum: https://www.britishmuseum.org/collection/object/P_1900-1231-6052

Price & Shipping:

AU$276 (approximately US$197.36 / €168.31 / £145.89), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

I am offering this freely inscribed etching of a flock of sheep, reminiscent of the work of Charles Jacque and the Barbizon School. For purchase inquiries, please contact me at oz_jim@printsandprinciples.com, and I will send a PayPal invoice for easy payment.

Use of “Special Wild Goose Skin Cicada Wing Rice Paper” & “Two-Layer Xuan Paper with Qingtan Bark”

 

A Special Shout-Out to a Truly Remarkable Rice Paper!

Today, I’m trying something a bit different — giving a big thumbs-up to a specialised handmade rice paper I’ve been using for supporting and repairing fragile prints. 

This isn’t just any rice paper — it’s tissue-thin, so delicate it could be mistaken for tracing paper. Yet, despite its fragile appearance, it’s archival quality, built to last a millennium without yellowing, becoming brittle, or foxing. Truly incredible. 

And here’s the best part: it’s remarkably strong! Its tensile strength is outstanding, making it perfect as a support sheet for delicate prints and for restoring ancient books. 

The name? “Special Wild Goose Skin Cicada Wing Rice Paper.” It’s custom-made for the Palace Museum in Beijing and is widely used for restoring centuries-old Chinese calligraphy and traditional paintings. 

If you’re interested in trying it out, I don’t sell this paper or profit from it — but I’m happy to share the contact info of the friendly manager of the family-run enterprise making it in China, Fangming Wu. He and I have been working together for years to find the most suitable papers for my needs. He’s kindly approved me sharing his email: lengyuyeguo@163.com. 

In addition to this ultra-thin semi-ripe rice paper (described above), Fangming Wu also produces the same fine paper as raw rice paper. The key difference? Semi-ripe paper is partially sized with a small amount of alum solution, which makes it less absorbent than raw paper but more absorbent than fully ripe paper—making it a versatile choice for most applications.

He also makes a much heavier rice paper called Double Xuan (双宣) or two-layer Xuan paper with Qingtan bark (Blue Sandalwood bark), which I use as backing support for prints. With this heavier paper I laminate two sheets together, and then lay the print on top. It’s perfect for creating wide margins when a print has been trimmed close the image (see the etching by Richard van Orley II in my post from two days ago). Before using this heavier paper, however, I carefully remove any particles trapped in the handmade surface with tweezers before gluing. 

Regarding the photos and videos, the first video shows the drying process of making this specialised paper. The second video is more of a general video of the paper manufacturing on a very hot day—as you will see. The first couple of photos document how I’ve used the tissue-thin paper as a support sheet for the print I listed yesterday. The last photos show how I used the heavy paper for the support and presentation of the print I listed the day before.

Use of “Special Wild Goose Skin Cicada Wing Rice Paper” as a support sheet

Use of “Two-Layer Xuan Paper with Qingtan Bark” as a support sheet

Hubert Goltzius, “Emperor Didius Julianus”, 1559

Hubert Goltzius (1526–1583) possibly in collaboration with Joos Gietleughen (also known as Jocodus de Curia and Regnirer Curia) (active 1555–1559)

Portrait of Emperor Didius Julianus” (also known as “Imperator Caesar Marcus Didius Severus Julianus Augustus” or “Imp Caes M Did Se Ver Ivlian Avg” as lettered in the medallion border), 1559

Didius Julianus was the nineteenth Emperor of Rome, famously purchasing his Imperial title in an auction held by the Praetorian Guard after they assassinated his predecessor, Pertinax. His reign was one of the shortest in Roman history, lasting only sixty-six days in 193 AD. He was eventually executed by his successor, Septimius Severus.

Technical Details & Condition:

Chiaroscuro woodcut printed in ochre with etching printed in black on laid paper with letterpress French text above and below the image, and verso.

This impression is from the rare 1559 first French edition of “Les Images Presque de Tous les Empereurs” (Images of Almost All the Emperors), printed in Antwerp by Gilles Coppens van Diest (also known as Aegidius Coppens van Diest) (1496–1572).

This is a definitive 16th-century impression, verified by the binder’s signature mark “G 4” at the lower right. This mark is specific to the 1559 French gathering and the presence of Middle French text on the reverse distinguishes this original woodcut from the later 17th-century recut. See this publication and the print in its context: https://gallica.bnf.fr/ark:/12148/btv1b105511132/f83.item.

Note that Christoffel Jegher (1596–1652/3) later recut the same design as a plate to Hubert Goltzius' “Icones Imperatorum Romanorum”, printed and published in Antwerp in 1645 by Balthasar Moretus II (aka Balthasar Moerentorf II) (1615–1674); see the description of this recut print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1982-U-2939.

The impression is strong with characteristic 16th-century colour unevenness. Note a restored tear in the right margin and two small wormholes on the neck of the portrait. There are minor surface marks consistent with age. The sheet has been professionally laid on tissue-thin washi paper (Special Wild Goose Skin Cicada Wing Rice Paper) for archival support.

Dimensions:

• Sheet: 27.4 x 22.2 cm
• Circular image borderline diameter: 18 cm

Lettering:

• Upper French text: “ET FVSSE-IE DE L'VN DES PIEDZ AV SEPVL= / CHRE, ENCORE VOVDROY-IE APRENDRE.” (Translation: And though I had one foot in the grave, I would still wish to learn.)
• Medallion inscription: “IMP · CAES · M · DID · SE VER · IVLIAN · AVG ·” (Imperator Caesar Marcus Didius Severus Julianus Augustus)
• Lower French text: “Il acheta fa mort auec l'Empire, lequel il ne gouuerna que sept moys.” (Translation: He bought his death with the Empire, which he only governed for seven months. Note: The 1559 text contains a common historical error; he actually reigned for 66 days.)
• Binder’s signature mark at lower right: “G 4”

Price & Shipping:

AU$298 (approximately US$212.26 / €181.67 / £157.65), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

I am selling this graphically arresting chiaroscuro woodcut created at the time when Michelangelo was working on his final marble sculpture, “The Rondanini Pieta” (1552–1564), 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 

Richard van Orley II, “Wedding of Amaryllis and Mirtillo”, c. 1700

Richard van Orley II (1663–1732)

“Wedding of Amaryllis and Mirtillo” (or “Huwelijk van Amaryllis en Mirtillo”), c. 1700 (c. 1695–1705)

Technical Details & Condition:

Etching with engraving on fine laid paper, trimmed with a thread margin around the image borderline on the top and sides, but retaining the writing edge. The sheet has been professionally supported on washi paper, providing wide margins. It is the second plate in a series of 12 prints titled Il Pastor Fido, illustrating scenes from Giovanni Battista Guarini’s play Il Pastor Fido (c. 1584). 

This particular print depicts the ninth scene of the fifth act, where the priest Montanus blesses the marriage of Amaryllis and Mirtillo in front of a circular temple dedicated to Diana. The impression is strong, crisp, and well-printed, showing no signs of wear to the printing plate—evidence that it is a lifetime impression, with guide lines for the lettering still visible. The sheet is in excellent condition, free of tears, holes, folds, abrasions, or significant stains. 

Dimensions:

• Sheet: 25.7 x 19.1 cm
• Image Borderline: 24.7 x 19 cm

In-Plate Numbering:

• Lower left: “R.V. Orleÿ fecit.”

References:

• Jacobs G15 (Alain Jacobs, Richard van Orley [Brussels 1663–Brussels 1732]), 2003, Brussels, Royal Library of Belgium, pp. 96–103, cat. nos. 66–78 [G4–G15])
• Hollstein Dutch 48–59 (FWH Hollstein, Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700, Amsterdam, Menno Hertzberger, p. 192, cat. nos. 48–59)
• Rijksmuseum: https://id.rijksmuseum.nl/200239334

Price & Shipping:

AU$302 (approximately US$216.01 / €184.47 / £160.09), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you’re interested in acquiring this lively scene, which captures the transition from late 17th-century Baroque to 18th-century Classicism—note the dynamic chain-like rhythms connecting the figures, the dramatic lighting (highlighting that the scene is staged), and the classical setting—please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice for a smooth and secure transaction.

This print has been sold 

Frederik Bloemaert, “Young Farmer with Basket”, c.1650, after Abraham Bloemaert

Frederik Bloemaert (1610–1669)

“Young Farmer with Basket” (“Jonge boer met mand”), c.1650 (1635–1669)

Technical Details & Condition:

Engraving on fine laid paper featuring a Foolscap watermark. The sheet has been trimmed with a narrow margin around the image borderline and professionally supported on tissue-thin archival (Kozo) washi paper. 

This print is based on a drawing by the artist’s father, Abraham Bloemaert (1564–1651). It is plate 21 from the series of 30 engravings (“The Little Figures” / “De Kleine Figuren”), catalogued as Roethlisberger 322–350. 

The impression is strong, crisp, and well-printed, showing no signs of wear to the printing plate. The sheet is in excellent condition, free of tears, holes, folds, abrasions, or significant stains.

Dimensions:

• Sheet: 12.5 x 8 cm
• Image Borderline: 12.2 x 7.7 cm

In-Plate Numbering:

• Lower right: “21”

References:

• Roethlisberger 341 (Marcel G. Roethlisberger, “Abraham Bloemaert and His Sons: Paintings and Prints”, vol. 1, 1993, Davaco, Doornspuk, p. 241, cat. no. 341)
• Hollstein Dutch 157 (FWH Hollstein, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700: Berckheyde–Bodding”, vol. 2, 1950, Amsterdam, Menno Hertzberger, p. 87, cat. nos. 156–185)
• Rijksmuseum: https://id.rijksmuseum.nl/200160138

Price & Shipping:

AU$239 (approximately US$171.25 / €145.74 / £126.74), including worldwide express shipping. Import duties (if any) are the buyer’s responsibility.

If you’re interested in acquiring this remarkably fine engraving of a curly-haired young farmer holding a basket and a staff—note how the artist insightfully used just enough shadow to “anchor” him, while avoiding a longer cast shadow that might distract from the focus on the young man—please contact me at oz_jim@printsandprinciples.com. I will be happy to provide a PayPal invoice for a smooth and secure transaction.