Ferdinand Roybet’s etching, “Frontispiece to 'Eaux-Fortes Modernes'”, 1865

Ferdinand Roybet (aka Ferdinand V L Roybet) (1840–1920)

“Frontispiece to 'Eaux-Fortes Modernes'”, 1865, title plate to the series, “Eaux-Fortes Modernes”, printed by Auguste Delâtre (aka Auguste Marie Delâtre) (1822–1907) and published in Paris by Cadart & Luquet (fl. 1863–1867) in the fourth volume of sixty prints (beginning at plate 181 following on from the previous volume), “Eaux-Fortes Modernes: Originales et Inédites” (September 1865–August 1866), produced by the Société des Aquafortistes (Society of Etchers).

Etching laid paper (watermarked “AQUA-FORTISTES”) with margins as published and stamped with the Cadart & Luquet blindstamp at lower centre.

Size: (sheet) 51 x 35.1 cm; (plate) 24.6 x 34.4 cm; (image borderline) 30.6 x 23.5 cm.

Lettered in plate within the image borderline: (in window) “EAVX^.FORTES^.MODERNES/ PVBLIEES/ par/ LA SOCIETE/ DES AQVA^.FORTISTES/ 4^e ANNEE/ MDCCCLXVI”; (inscribed on folio at left) “ALBERT. DURER”.

Lettered in plate below the image borderline: (left) “Roybet sculp^t./ QUATRIÈME ANNÉE.”; (centre) “LE REPOS./ Paris, Publié par CADART & LUQUET, Editeurs, 79, Rue Richelieu.”; (centre) “A. CADART & LUQUET./ ÉDITEURS - GÉRANTS DE LA SOCIÉTÉ DES AQUA-FORTISTES,/ 79, Rue de Richelieu,/ PARIS.”; (right) “Imp. Delâtre, Rue S^t. Jacques, 303, Paris./ 4^ÉME VOLUME.”

The British Museum offers the following description of this print: “Frontispiece to 'Eaux-Fortes Modernes: Originales et Inédites', the fourth volume in a series produced by the Société des Aquafortistes; allegory of printmaking, with inscription regarding the volume in window, with printmaking equipment and bust (Paris: A Cadart & Luquet, Éditeurs). 1866
Etching” (https://www.britishmuseum.org/collection/object/P_1866-1110-1355).

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins in almost pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this superb frontispiece etching for the fourth volume of prints published by the Society of Etchers, “Modern Etchings” (Eaux-Fortes Modernes), showing not only a still-life assortment etching tools (vz. needle, burnisher, ink dabbers, tarlatan, magnifying glass, funnel, acid and acid bath), but also references to past printmaking luminaries (viz. a folio lettered with the name of Durer and a bust of possibly the greatest of all etchers, Rembrandt)—for AU$316 in total (currently US$214.85/EUR1203.87/GBP175.16 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 remarkable etching that to my eyes crystallises the tools and aspirations of the Etching Revival movement of the late nineteenth century in France, 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 Holroyd’s etching, “Langstrath”, 1905

Charles Holroyd (aka Sir Charles Holroyd) (1861–1917)

“Langstrath”, 1905, pencil-signed and titled artist’s proof.

Etching with plate tone on laid paper.

Size: (sheet) 24.7 x 35.3 cm; (plate) 20 x 30.1 cm.

Inscribed in pencil below the platemark: (left) “Langstrath.”; (right) “Charles Holroyd”.

Dodgson 187 (192) (Campbell Dodgson [ed.] 1923, “The Print Collector's Quarterly”, vol.10, no.4, New York, E. Weyhe, p. 354, cat. no. 187 [192]).

Dodgson (1923) describes the portrayed scene of this etching as a “mountain stream dashing over rocks” (p. 354 [https://archive.org/details/printcollectorsq104carr/page/354/mode/2up]).  

See also the description of this print offered by the Tate and the Hugh Lane Gallery: https://www.tate.org.uk/art/artworks/holroyd-langstrath-p01021; https://hughlane.emuseum.com/objects/800/langstrath-beck.

Condition: a richly inked and well-printed proof-state impression with adequate/good margins in an excellent condition with no tears, holes, folds, abrasions or significant stains, foxing or signs of handling. There is a previous collector’s pencil note verso.

I am selling this magnificent impression showing fast flowing water crossing the rocky terrain at Langstrath Beck in Cumbria (North West England, bordering Scotland), for the total cost of AU$229 (currently US$155.67/EUR147.62/GBP127.08 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 dramatic proof-state etching—note how the careful wiping of the plate has created a darkly toned foreground with sparkling light in the water and a pale distance—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Francisco de Goya’s etching, “Against the Common Good”, 1814–15

Francisco de Goya (aka Francisco José de Goya y Lucientes) (1746–1828)

“Against the Common Good” (“Contra el Bien General”), 1814–15, plate 71 from the series of eighty plates, “The Disasters of War” (“Los Desastres de la Guerra”), published in Madrid in 1863 in “Los Desastres de la Guerra: Coleccion de ochenta láminas inventadas y grabadas al agua fuerte por Don Francisco Goya” (see https://www.royalacademy.org.uk/art-artists/book/los-desastres-de-la-guerra-coleccion-de-ochenta-laminas-inventadas-y & https://www.royalacademy.org.uk/art-artists/work-of-art/contra-el-bien-general).   

Etching and burnished aquatint on laid paper printed in a warm black ink on cream laid paper with wide margins.

Size: (sheet) 25.9 x 32.1 cm; (plate) 17.6 x 21.1 cm; (image borderline) 14.7 x 18.5 cm.

Numbered and lettered in plate outside the image borderline: (upper left corner) “71”; (lower centre) “Contra el ‘bien general.”  

State iii (of iii) with the addition of the title.

Delteil 190 (Loys Delteil 1906, “Le Peintre-Graveur Illustré: (XIXe et XXe siècles)”, vol. 15, Paris, Chez lauteurp, cat. no. 190 [see https://archive.org/details/lepeintregraveur1415delt/page/n279/mode/2up]); Harris 191 (Tomás Harris 1964, “Goya: Engravings and Lithographs”, vol. I [text and Illustrations], vol. II [catalogue raisonné], Oxford).

The British Museum offers the following description of this print: “Plate 71: demon with bat's wing ears sitting on chair writing in volume, with imploring figures below to right; from an unbound album of first impressions, 1863. c.1814-1815” (https://www.britishmuseum.org/collection/object/P_1975-1025-290).

Condition: a strong and well-printed impression showing no sign of wear to the printing plate with wide margins in a near pristine condition with no tears, holes, folds, abrasions, significant stains, foxing or signs of handling.

I am selling this remarkable etching—possibly a demon from the Inquisition chronicling confessions from victims of judicial torture? (My apologies if I am wrong about this)—from Goya’s famous series, “The Disasters of War”, for the total cost of AU$988 (currently US$632.26/EUR545.74/GBP545.74 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 creatively inventive masterwork, 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

Thomas Landseer’s soft-ground etching, “Hand Study from ‘The Sleeping Groom’”, 1817, after Benjamin Robert Haydon

Thomas Landseer (1795–1880)

“Hand Study from ‘The Sleeping Groom’”, 1817, from a series of seven soft-ground etchings after Benjamin Robert Haydon (1786–1846), published in 1817 by Thomas Landseer in “Haydon's drawing-book”, with an inscribed extract from Shakespeare’s “Macbeth” spoken by Lady Macbeth in Act 2, Scene 2, lines 6–10 (see https://www.litcharts.com/shakescleare/shakespeare-translations/macbeth/act-2-scene-2).

See this etching and another plate showing two hands described by the British Museum: https://www.britishmuseum.org/collection/object/P_1866-1013-418-419.

Soft-ground etching on chine collé on wove paper, trimmed with a small margin around the platemark and backed with a support sheet.

Size: (support sheet) 33.7 x 34.2 cm; (sheet) 20 x 21.2 cm; (plate) 19.1 x 19 cm; (chine collé) 19.1 x 19.2 cm.

Lettered in plate along the lower edge: (left) “B. R. Haydon. del^t./ SLEEPING GROOM”; (centre) “Pub. May 7. 1817 by: T. Landseer 33 Foley Street, London.”; (right) “T. Landseer Sc^t./ — “The surfeited Grooms/ “Do mock their charge with snores. I’ve drugg’d their possets/ “That Death and Nature do contend about them. — Lady Macbeth.”

Condition: a strong and well-printed impression, trimmed around the platemark and laid onto a support of archival (millennium quality) washi paper providing wide margins. Beyond slightly dusty margins to the original sheet, the sheet is in a good condition with no tears, folds, significant stains or foxing.

I am selling this marvellous study of a hand executed as a soft-ground etching, for the total cost of AU$237 (currently US$159.29/EUR151.36/GBP130.77 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 exceptionally fine hand study, 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

Jules Edmond Cuisinier’s etching, “A Fallen Fledgling”, late 1800s

Jules Edmond Cuisinier (1857–1917)

“A Fallen Fledgling” (descriptive title only), late 1800s, proof-state impression before lettering, possibly executed around the time of Cuisinier’s macabre etching with aquatint, “Le Concert Fantastique”, 1877 (see https://www.artsy.net/artwork/jules-edmond-cuisinier-le-concert-fantastique).

Around the time that Cuisinier was creating his somewhat troubling images of death and disenfranchisement—arguably following in the footsteps of Bosch and Goya—he was living near the La Santé prison in Paris that was infamously popular for its public executions. No doubt Cuisiner’s mindset was also coloured by having witnessed the displaced lives of the indigenous Melanesian inhabitants, the Karnak, by French settlement when he visited New Caledonia (see https://moellerart.net/en/artists-and-publications/drawings-watercolours-and-oilstudies/93/).

Etching with drypoint, aquatint and plate tone on cream laid paper (with partial watermark).

Size: (sheet) 18.6 x 37 cm; (plate) 13.2 x 31.9 cm; (image borderline) 11.8 x 30.2 cm.

Inscribed in plate within the image borderline: (upper right): “E Cuisinier sc”.

Condition: a richly inked and well-printed proof-state impression with adequate/good margins in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this superb study of a fledgling that must have fallen from its nest, for the total cost of AU$349 (currently US$233.63/EUR221.93/GBP191.82 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 amazingly insightful etching of a bird—note the confident and sparing use of line—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.