Charles Émile Jacque's and/or Léon Subercaze's etching, “Village Festival under a Tree”, c1840s, after Adriaen van Ostade

Charles Émile Jacque (1813–1894) and/or

Léon Subercaze (fl.1845–1849)

Note: current opinion is that most—arguagly all—of the prints after Adriaen van Ostade (1610–85) and attributed to Charles Jacque (including those lettered with Jacques’ name) are now thought to have been executed by Léon Subercaze (see the Curator of the British Museum’s comment for BM No. 1889,0608.292).

“Village Festival under a Tree”, c1840s (note that a previous collector’s inscription on thie margin of this print proposes that the date of execution is 1866), after Adriaen van Ostade possibly published in the series “20 sujets composés et gravés à l'eau-forte par Ch. Jacques” (20 subjects composed and etched by Jacques Ch.).

Etching on buff chine collé China paper laid on ivory wove paper backed with a support sheet.

Size: (sheet) 27.2 x 35.9 cm; (plate) 13.5 x 23.1 c; (chine) 12.7 x 22.8 cm; 

(image borderline) 12 x 22.3 cm

Numbered on plate below the image borderline: (left) “13.”

Note that I have been unsuccessful in finding this print listed in J-J Guiffrey’s (1866) catalogue raisonne for Charles Jacque, but the Museum of Fine Arts Boston holds an unillustrated print online titled “A small festivity before a cottage” after Adriaen van Ostade by Léon Subercaze which may be the same print. Sadly, the online description of the MFA’s print does not give dimensions or other details to confirm this idea (see https://www.mfa.org/collections/object/a-small-festivity-before-a-cottage-90649). The MFA also holds another print by Jacque/Subercaze described as “[One of twenty one] Van Ostade. La vie et son oeuvre” (see https://www.mfa.org/collections/object/one-of-twenty-one-van-ostade-la-vie-et-son-oeuvre-353958), but as this impression is numbered “13” there would be an anomaly in the numbering of the series as Jacque’s etching “Forgeron”, 1850, is also numbered “13”.

Condition: richly inked and well-printed proof impression before the addition of publication details in excellent condition (i.e. there are no tears, holes, folds, significant stains or foxing). There are light pencil notations by a previous collector in the margin (upper and lower right corners) and the sheet has been laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this magnificently executed etching after Adriaen van Ostade for AU$188 (currently US$136.09/EUR119.97/GBP106.18 at the time of posting this print) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this remarkable etching from the 19^th century, 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

Adriaen van Ostade's etching, “Village Festival under a Tree”, c1654

Adriaen van Ostade (1610–1685)

“Village Festival under a Tree” (aka “La fête sous le grand arbre” [Barsch title]), c1654, published in Haarlem. This impression is from an edition published in the 1700s.

Etching on fine laid paper trimmed along the platemark and backed with a support sheet.

Size: (sheet/plate) 12.8 x 23.2 cm; (image borderline) 12.2 x 22.5 cm

Inscribed on plate on the portrayed flag of the inn: "Av. o."

State iii (of iii/iv) with the smudge along the tree to the right of the church-tower erased (see the BM’s impression of state iii: BM No. 1980,U.1687; compare this with the smudge on the tree shown in the state ii impression held by the Rijksmuseum: RP-P-1972-262).

TIB 1.48 (380) (Leonard J Slatkes [ed.] 1978, “The Illustrated Bartsch: Netherlandish Artists”, vol. 1, Abaris Books, New York, p. 359); Davidson 48 iii & iv/iv; Godefroy 48 iii & iv/iv; Boon-Verbeek 18 iii/iii; Hollstein 48.III.

The British Museum offers the following description of this print:

“The village fair. A gathering of peasants in front of an in [sic] and dancing and drinking, a street-seller or quack doctor selling his wares to a small crowd at centre, a horse-drawn cart heading towards a church at left, groups of peasants gathering under awnings in left background”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3093906&partId=1&people=112651&peoA=112651-2-60&page=1)

Condition: richly inked and well-printed impression trimmed along the platemark and backed with a support sheet of archival (millennium quality) washi paper. The sheet is in excellent condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing, but there are minor signs of use).

I am selling this very strong early impression of one of Adriaen van Ostade’s most famous etchings, for AU$423 in total (currently US$306.21/EUR269.93/GBP238.90 at the time of posting this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this remarkably fine impression executed by one of the truly great masters of the 17th century, 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

Charles-François Daubigny’s etching, “Moonrise”, 1861

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

“Moonrise” (aka “Lever de Lune”), 1861, published as plate 47 in “Les chefs-d’œuvre” (as lettered on plate), printed by Chardon-Wittmann (fl.c.1884–90).

Etching and drypoint on chine collé on wove paper backed with a support sheet.

Size: (sheet) 21.9 x 30.5 cm; (chine collé) 13.7 x 19.6 cm; (image borderline) 9.5 x 16.7 cm

Inscribed on the plate below the image borderline: (left) “Daubigny"

Lettered below the image borderline: (left) “Les chefs-d’œuvre–47.”; (centre) “LEVER DE LUNE”; (right) “Imp. Chardon-Wittmann.”

vii (of vii) with addition of publication details of “Les chefs-d’œuvre” (not documented by Melot)  after erasure of printer details for Salmon of state vi.

Melot 1981 D 98 (Michel Melot 1981, "Graphic Art of the Pre-Impressionists”, Harry N. Abrams, New York, p. 280).

Melot (1981) advises that this print reproduces the “painting Daubigny exhibited in the Salon of 1861 (no. 794), engraved for publication in the ‘Gazette des Beaux-Arts’ on that occasion.” (p. 280).

Condition: richly-inked and well-printed impression with generous margins in excellent/pristine condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing). The print has been laid onto a support sheet of archival (millennium quality) washi paper.

I am selling this hauntingly poetic etching with homely twin columns of chimney smoke rising from cottages in the distance, for the total cost of AU$196 (currently US$141.89/EUR125.07/GBP110.69 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this exemplary etching of Daubigny's commitment to capturing the traditions of rural life before the advent of changes brought by the industrial age, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles-François Daubigny’s etching, “Moonrise along the Banks of the Oise River”, 1875

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

“Moonrise along the Banks of the Oise River” (aka “Lever de lune sur les bords de l’Oise”), 1875.

Etching with plate tone on cream laid paper with wide margins, water mark, deckle edge on left and lower edge and the dry seal of Sagot at lower right corner.

Size: (sheet) 20.1 x 26.2 cm; (plate) 11.2 x 16.1 cm; (image borderline) 9.8 x 15.3 cm

Inscribed on the plate below the image borderline: (left) “Daubigny 1875"

iv (of iv) posthumous proof published by Sagot (not documented by Melot) with the title featured in the third state erased.

Melot 1981 D 123 (Michel Melot 1981, "Graphic Art of the Pre-Impressionists”, Harry N. Abrams, New York, p. 282)

Condition: richly-inked and well-printed impression with delicate plate tone, generous margins and stamped with Sagot’s dry seal of authenticity. The sheet is in excellent/pristine condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).

I am selling this freely drawn etching with the raft of ducks that is Daubigny’s unofficial trade mark, for the total cost of AU$196 (currently US$141.89/EUR125.07/GBP110.69 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this exemplary etching of Daubigny's commitment to direct observation of nature and the effects of light on landscape, 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

Wenceslaus Hollar's etching, "Lay Sister of the Order of St Clare”, 1663

Wenceslaus Hollar (aka Wenzel Hollar; Václav Hollar) (1607–77)

“Laica Soror Ord: Stæ. Claræ” (aka "Lay Sister of the Order of St Clare"), 1663, from the series of four plates, “Monks and Nuns”.

Etching on wove paper with small margins.

Size: (sheet) 10.4 x 6.5 cm; (plate) 9.3 x 5.5 cm

Inscribed on plate: (upper edge) “a Lay sister of ye Order of St. Clare.”; (at left above the image borderline) “WHollar delin: et / sculp: 1663.”; (below the image borderline) “Laica Soror Ord: Stæ. Claræ.”

Numbered on plate: (lower right corner) “46”

State ii (of ii) with number, “46” and “a Lay sister of ye Order of St. Clare.” added.

Pennington 1982 ii/ii (Richard Pennington 1982, “A Descriptive Catalogue of the Etched Work of Wenceslaus Hollar, 1607–1677”, Cambridge, p. 314); New Hollstein (Hollar part VI) 1812 II/II

The Metropolitan Museum of Art offers the following description of this print:

“A lay sister of the order of St Clare standing whole-length in profile to left, holding a rosary with suspended cross.”

(https://www.metmuseum.org/art/collection/search/361183)

See also the brief description at the National Gallery of Scotland:

https://www.nationalgalleries.org/art-and-artists/157529/lay-sister-order-st-clare

Condition: crisp and well-printed impression with small margins in faultless condition.

I am selling this simple but graphically strong etching by one of the greatest printmakers of history, for the total cost of AU$123 (currently US$89.21/EUR78.13/GBP69.25 at the time of this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this rare and elegantly minimal composition, 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

Two fragments of Nicolas Dorigny's etchings after Raphael, 1693

Nicolas Dorigny (aka Nicholas Dorigny) (1658–1746)

(left plate)

(Centre fragment of) “Iovis mandato Psyche per Mercurium arrepta ab ipso in Caelum...”, 1693, from the series, “Psyches et Amoris nuptiae”, after Raphael (1483–1520), published by Domenico de' Rossi (1647–1729).

Etching on laid paper trimmed from the much larger print (see BM No. 1980,U.1594) retaining the floral border and backed with a support sheet.

Size: (sheet trimmed unevenly) 22.5 x 24.7 cm

IFF 28 (Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes, Paris, 1930).

The British Museum offers the following description of this print:

“Plate 9: lunettes from the Loggia di Psyche .. at centre, Mercury carrying Psyche to Olympus … after Raphael. 1693” (https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?searchText=Dorigny%20raphael&ILINK|34484,|assetId=550140001&objectId=3161561&partId=1)

(right plate)

(Centre fragment of) “Cupido paenam sumpturus de matris injuriis...”, 1693, from the series, “Psyches et Amoris nuptiae”, after Raphael, published by Domenico de' Rossi.

Etching on laid paper trimmed from the much larger print (see BM No. V,6.72) retaining the floral border and backed with a support sheet.

Size: (sheet trimmed unevenly) 22 x 24 cm

IFF 22

The British Museum offers the following description of this print:

“Plate 3: lunettes from the Loggia di Psyche … at centre the three Graces seen seating with Cupid … after Raphael. 1693”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3161451&partId=1&searchText=Dorigny+raphael&page=1)

________

Condition: richly inked fragments of larger etchings in generally excellent condition but there are a few dots and minor blemishes and the right print has either a closed tear or a printer’s crease at the lower centre. The sheets are backed on separate support sheets of archival (millennium quality) washi paper.

I am selling this pair of strong fragmentary impressions after two of Raphael's lunettes on the ceiling of Loggia di Psyche, Villa Farnesina, for AU$288 in total for the pair of etching (currently US$208.85/EUR183.10/GBP162.19 at the time of posting this listing) in including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this pair of etched fragments after Raphael’s design, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Cornelis Schut's etching, “Pyramus and Thisbe”, 1618–55

Cornelis Schut (I) (1597–1655)

“Pyramus and Thisbe”, 1618–1655, published by Cornelis Schut with privilege (provider unknown).

Etching on fine laid paper trimmed with narrow margins around the platemark and backed with a support sheet.

Size: (sheet) 18.5 x 23.9 cm; (plate) 18 x 23.3 cm; (image borderline) 17.1 x 23.1 cm

Inscribed on plate below the image borderline: (left) "Cornrliud Schut inuen: cum privilegio"

Hollstein Dutch 113 (F W H Hollstein 1982, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700”, 26, Van Gendt & Co, Amsterdam, p. 256).

The Rijksmuseum offers the following description of this print:

(transl.) “Thisbe collapses into Pyramus' sword after she found her beloved dying at the fountain. The smeared veil that led to the misunderstanding lies behind her.”

(http://hdl.handle.net/10934/RM0001.COLLECT.173861)

See also the description of the print at the Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/717091  

Condition: richly inked and well-printed early impression with narrow margins around the plate mark and in excellent condition (i.e there are no tears, holes, abrasions, significant folds, stains or foxing) and backed with a support sheet of archival (millennium quality) washi paper.

I am selling his dramatic image showing the two Babylonian lovers, Pyramus and Thisbe, at the very moment when Thisbe kills herself with Pyramus’ sword after discovering that her dead lover had earlier killed himself after falsely believing that a bear-ravaged veil belonging to Thisbe (shown behind her) was evidence that she had been killed, for AU$386 in total (currently US$279.59/EUR245.09/GBP218.66 at the time of posting this listing) including postage and handling to anywhere in the world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this dramatic etching exemplifying the exuberance of the Flemish High-Baroque style, 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