Charles Émile Jacque’s etching, Road at the Edge of a Wood”, 1846

Charles Émile Jacque (1813–1894)

“Road at the Edge of a Wood” (aka “Lisière de Bois”), 1846, signed and dated in the plate.

Etching, drypoint and aquatint on laid paper backed with a support sheet.

Size: (support sheet) 26.7 x 34.2 cm; (sheet) 16.5 x 20.2 cm; (plate [soft]) 9.6 x 13.4 cm; (image borderline) 7.4 x 11.5 cm.

Inscribed in plate at lower right:  “Ch. Jacque. 1846. X^bre".

State ii (of ii)

Guiffrey 124 (J-J Guiffrey 1866, “L'Oeuvre de Charles Jacque: catalogue de ses eaux-fortes et pointes seches”, Paris, p. 74, cat. no. 5); IFF 180 (Jean Adhémar & Jacques Lethève 1954, “Inventaire du Fonds Français: Bibliothèque Nationale”, Paris, Département des Estampes, cat. no. 180); Beraldi 124 (Henri Béraldi 1885–1892, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes”, vol. VIII, Paris, Librairie L. Conquet, p. 184, cat. no. 124 [https://archive.org/details/lesgraveursdu19e08berauoft/page/184/mode/1up]).

Guiffrey (1866) offers the following description of this print: transl.] “Edge of wood. A road on the edge of a wood sinks in turning to the left. On the right, in the foreground, three or four large trees dominate the coppice; at the foot of one of them a man is seated. Grey sky” (p. 74).

The British Museum and the Art Institute of Chicago offer descriptions of this print:

https://www.britishmuseum.org/collection/object/P_1889-0608-177; https://www.artic.edu/artworks/45709/road-at-the-edge-of-a-wood.

Condition: a richly inked impression with margins laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a good condition with no significant stains or foxing, but there are signs of erasure of collector’s marks in the lower margin and pale toning.

I am selling this graphically strong and poetically moody etching by one of the luminaries of the Barbizon School for AU$256 (currently US$183.57/EUR171.26/GBP145.89 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 very beautiful study of a forest with a resting traveller—presumably the forest of  Fontainebleau—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

Valentin Lefebre’s etching, “Venice Sitting on a Globe”, 1682, after Battista Zelotti

Valentin Lefebre (aka Valentin Le Fevre; Valentin Le Febre; Valentin Lefebure; Valentin Lefèvre) (1637–1677)

“Venice Sitting on a Globe” (aka “Venetië zittend op een globe”; “Venice Seated upon the Globe and upon a Lion”), 1682, plate 45 from the series of fifty-three plates, “Opera Selectiora” (aka “Opera selectiora quae Titianus Vecellius Cadubriensis et Paulus Calliari Veronensis inventarunt ac pinxerunt”), after Battista Zelotti (aka Giovanni Battista Zelotti; Giambattista Zelotti) (c.1526–1578) and published by Jacobus van Campen (fl.1682) in Venice.

Although the inscription on this plate (“Pavlvs Caliary, Veronensis, In, & Pin[x]”) advises that the print is after the design/invention and painting by Paolo Veronese (1528–1588), this attribution is now rejected. According to the Rijksmuseum, this print is after the mural in the Sala delle Udienze del Consiglio dei Dieci (Palazzo Ducale, Venice) by Giambattista Zelotti (see http://hdl.handle.net/10934/RM0001.COLLECT.138913).

Regarding the publication of “Opera Selectiora”, the British Museum advises: “The series was left unfinished at his [Valentin Lefebre's] early death, and finally published in 1682 by Jacques van Campen (the 1680 edition does not seem to exist). It was reprinted in 1684, and in the XVIIIc in 1749, 1763; later by Teodoro Viero who added his address to the plates (editions in 1786 and 1789)” (https://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=117639).

Etching on laid paper with a small margin around the platemark backed with a support sheet.

Size: (support sheet) 41.3 x 24.7 cm; (sheet) 33.3 x 16.6 cm.; (plate) 30.5 x 15.1 cm.; (inner image borderline) 27 x 14.7 cm.

Lettered on plate below the image borderline: (left) V. lefebre del. et sculp.”; (centre) “PAVLVS CALIARY, VERONENSIS, IN, & PIN[X]”; (right) “J. Van Campen. F. Venetÿs.”

State i (of ii) before the addition of the address of the later publisher (Teodoro Viero).

Ruggeri I.45 (Ugo Ruggeri 2001, “Valentin Lefèvre: Dipinti, Disegni, Incisioni”, Manerba, Merigo Art Books, p. 223, cat. no. I.45); Hollstein Dutch 1–53 (FWH Hollstein 1953, “Dutch and Flemish etchings, engravings and woodcuts ca. 1450–1700: L'Admiral–Lucas van Leyden”, vol. 10, Amsterdam, Menno Hertzberger, p. 46, cat. no. 1–53); Villot 46 (Frédéric Villot 1844, "Valentin Lefebre, peintre et graveur à l'eau-forte", in 'Le Cabinet de l'amateur et de l'antiquaire', vol. 3, p. 194, cat. no. 46).

The British Museum offers the following description of this print: “Personification of Venice: a woman seated on a globe, a lion at her feet, raising her left hand and holding a sceptre with her right hand; in an oval; after Zelotti. 1682/ Etching” (https://www.britishmuseum.org/collection/object/P_1891-0511-2).

See also the description of this print offered by the Rijksmuseum: http://hdl.handle.net/10934/RM0001.COLLECT.138913.

Note that Johann Gottfried Seuter (aka Gottifredo Saiter) (1717–1809) executed an etching after Lefefre’s etching in c1749 (see https://www.britishmuseum.org/collection/object/P_1936-1007-25).

Condition: a slightly silvery impression with small margins around the platemark and laid onto a support sheet of archival (millennium quality) washi paper. The sheet is in a good condition with no losses, significant stains or foxing.

I am selling this very Venetian composition showing the personification of Venice sitting on the globe (symbolic of supremacy, sovereignty and dominion) with her foot resting on the lion of St Mark (symbolic of power, pride, magnificence, nobility and courage), for AU$238 (currently US$168.87/EUR158.14/GBP134.33 at the time of listing 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 early impression from the first edition published by Jacobus van Campen, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed a companion print by Valentin Lefebre, “Janus and Juno”, 1682, that is still available; see: https://www.printsandprinciples.com/2020/05/valentin-lefebres-etching-janus-and.html

(attrib.) Johann Jacob von Sandrart’s engraving, “Amphora with Serpents as Handles”, 1675, after Agostino Veneziano

(attrib.) Johann Jacob von Sandrart (aka Johann Jakob von Sandrart) (1655–1698), or his father, Jacob von Sandrart (1630-1708)

“Amphora with Serpents as Handles” (aka “Antique Vessel”; “Antikes Prachtgefäß”), 1675, engraving in reverse after Agostino Veneziano’s (aka Agostino dei Musi) (fl.1509–1536) engraving, 1530 (see https://www.britishmuseum.org/collection/object/P_1873-1213-258), published in 1675 in Nuremberg by Jacob von Sandrart (1630–1708) and in Frankfurt am Main by Matthäus Merian II (1621–1687) as an illustration to Joachim von Sandrart’s (1606–1688), “Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste …” (German Academy of the Noble Arts of Architecture, Sculpture and Painting)  (see https://archive.org/details/gri_33125008279545/page/n365/mode/2up).

Engraving on laid paper with letterpress text verso as published, trimmed around the image borderline and backed with a support sheet.

Size: (support sheet) 34.6 x 27.1 cm; (sheet) 19.9 x 15.4 cm.

Inscribed in plate: (upper centre) “Götter, so die blinden Heyden zum anbeten vorgestellt,/ Man von allen rechten Christen billig vor verworffen hält./ Wan man aber nur allein Seine Kunst an ihnen zeiget,/ So ist es gar wol gethan, So hat man den Zweck erreichet.” (Gods, so presented to the blind heathen to worship,/ All true Christians justly hold them to be rejected./ But if one only shows one's art on them, then/ it is well done, then one has achieved the purpose.)

Regarding the inscription, Sandrart.net offers the following explanation: (transl.) “The verse of the vignette … contains two aspects of the relationship to antiquity. On the one hand, Sandrart addresses the overcoming of ‘pagan practice’ by Christianity and, on the other hand, he warns against orienting oneself only to the ancient art form and not to the pagan content (cf.Klemm 1994 , p. 13)” (http://ta.sandrart.net/de/artwork/view/372).  

Condition: a strong, well-inked and well-printed impression backed with a support sheet of archival (millennium quality) washi paper. The sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this very beautiful engraving of an antique amphora with coiled serpent handles and featuring four dancing figures with a putto holding up an Oenochoe (wine jug), for the total cost of AU$239 (currently US$167.50/EUR159.22/GBP134.89 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 curiously interesting engraving of a Baroque designed antique amphora, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

(attrib.) Johann Friedrich Leonart’s engraving with etching, “Woman with Coiled Hair after Dürer”, c1660, after Wenceslaus Hollar

(attrib.) Johann Friedrich Leonart (aka Johann Friedrich Leonard;  Johann Friedrich Leonhart) (1633–1680/87)

“Woman with Coiled Hair after Dürer” (aka “Portrait of Catharina Fürleger”), c1660, engraving in reverse after Wenceslaus Hollar’s (aka Václav Hollar; Wenzel Hollar) (1607–1677) etching (Pennington 1536 [p. 268]), after Albrecht Dürer's (aka Albrecht Duerer) (1471–1528) painting dated 1497. See the description of this print offered by the British Museum (without attribution Leonart): https://www.britishmuseum.org/collection/object/P_Bb-8-294.

Stipple, etching and engraving on laid paper with wide margins.

Size: (sheet) 33.3 x 22 cm; (plate) 16.5 x 11.4 cm; (image borderline) 14.6 x 11 cm.

Inscribed in plate: (on banderole at upper right) “1487”; (on plaque hanging below banderole) Fürleger family coat of arms; (on book held by wooden sculpture near window) monogram of Albrecht Dürer; (below image borderline) “Also bin ich gestalt, In achtzehe Jahr alt” (So I am in shape, at eighteen years old).

Condition: a strong impression with generously wide margins. There are partially erased collectors’ notes recto and verso, otherwise the sheet is in excellent condition for its considerable age with no tears, holes, folds, significant stains or foxing.

I am selling this beautifully executed engraving (with etching) after Dürer's painting and in reversed direction to Hollar’s etching showing a young woman with braided hair wrapped around her head (symbolic of being available for marriage) and holding sprigs of sea holly and Southernwood (symbolic of conjugal fidelity and eroticism [see https://www.wga.hu/html_m/d/durer/1/02/03hair_d.html]), for the total cost of AU$337 (currently US$236.29/EUR225.92/GBP191.06 at the time of this listing) including Express Mail (EMS) 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 interesting portrait charged with symbolism and showing what I assume to be a view of the old city of Nuremburg with its defensive walls as seen by Dürer in 1497, 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 Joshua Chaplin’s lithograph, “Shepherds of the Cevennes”, c1850

Charles Joshua Chaplin (1825–1891) —not to be confused with the almost legendary silent film actor, Charlie Chaplin (Sir Charles Spencer Chaplin KBE).

“Shepherds of the Cevennes” (aka “Pâtres des Cévennes”), c1850, after a painting by CJ Chaplin exhibited in the Salon of 1885, printed by Victor Jacques Bertauts (fl.1830s–1880) and published in Paris by Marchant (aka Alliance des Arts) (fl.c1830–80) in “L'Artiste”.

Interestingly, this print plays a significant role in uncovering an act of fraud. Henri Béraldi (1886) explains that in 1885 an unknown painting by Millet appeared on the market that was guaranteed as being an authentic Millet. Chaplin was shocked as this painting was in fact his own painting: “Shepherds of the Cévennes.” Chaplin’s name had been erased and replaced with Millet’s signature. What the forger hadn’t bargained on, however, was that this print (executed by Chaplin after the artist’s painting) existed confirming that the signature on the painting was a forgery and the the painting was by Chaplin. Béraldi advises that: (transl.) “[the forger] …got caught red-handed. Chaplin laughed at the adventure” (p. 96). From my understanding of the relationship between Chaplin and Millet, Millet may have been scornful of Chaplin as Chaplin had “become a declared opponent of the realistic landscape” leading to Chaplin’s lament ; “For once I'm [portraying] pigs [and] I'm out of luck!” (ibid.)

Lithograph printed in black ink on wove paper backed with a support sheet.

Size: (support sheet) 42.2 x 34.9 cm; (sheet) 30.6 x 22.5 cm; (image borderline) 20.7 x 16.8 cm.

Inscribed and lettered on plate below the image borderline: (left) “Ch.Chaplin.pinx. et lith.”; (centre) “Pâtres des Cévennes.”; (right) “Imp. Bert[auts]/ Marchant, Edit^r.­­_Alliance des Arts.”

Béraldi 61 (Henri Béraldi 1886, “Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes”, vol. 4, Paris, Librairie L Conquet, p. 96, cat. no. 61).

Henri Béraldi (1886) offers the following description of this print: (transl.) “The last vestiges of twilight, in a mountainous landscape. a herdsman and a peasant woman drive a herd before them of pigs descending towards the foreground. — Salon of 1850” (p. 96).

See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1889-0608-356.

Condition: a well-printed impression with small margins laid onto a support of archival (millennium quality) washi paper. Beyond minor handling marks, the sheet is in a very good condition with no tears, holes, folds, abrasions, significant stains or foxing.

I am selling this poetically evocative lithograph where a descending drove of pigs is only partially visible in fading twilight, for the total cost of AU$237 (currently US$163.38/EUR156.94/GBP133.34 at the time of this listing) including Express Mail (EMS) 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 lithograph of rural life at dusk, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that I have listed two other prints by Charles Chaplin that are currently still available:

https://www.printsandprinciples.com/2021/04/charles-joshua-chaplins-etching.html;

https://www.printsandprinciples.com/2022/03/charles-joshua-chaplins-etching.html.