Arthur Mayeur’s colour aquatint with stipple engraving, “The Wicar Head”, c.1900

Arthur Mayeur (1871–1934)—French printmaker, sculptor and medallist

“The Wicar Head,” (aka “Buste de Femme sur Piédouche”; “Tête de Wicar”), c.1900, after an 17^th century Italian bust of a young woman executed in polychromed wax, terracotta and blown glass by an unidentified artist (see https://commons.wikimedia.org/wiki/File:T%C3%AAte_de_cire,_dite_T%C3%AAte_de_Wicar,_XVIIe_s,_cire_peinte,_terre_cuite_peinte_et_verre_souffl%C3%A9,_Anonyme,_Italie_(2).jpg). I suspect that copies of this head were used in the Art Academies of the time as I have an early charcoal study of the same subject from a French Academy. Interestingly, Ferdinand Gaillard (1834–1887) also made an exquisite engraving of the same head, “Tête de Cire” (Wax Head), which I will feature in a future post (see https://www.britishmuseum.org/collection/object/P_1981-U-436).

Colour aquatint with stipple engraving, printed in sanguine and blue ink on cream chine collé on heavy wove paper, signed in the plate by the artist.

Size: (sheet) 39 x 29.3 cm; (plate) 29.l x 21.5 cm; (chine collé) 28.2 x 20 cm.

Signed in the plate at lower right: “A. Mayeur[f?]”.

The Musenor website offers a brief description of this print in the collection of the Beaux-Arts Museum of Arras at the former Benedictine Abbey of Saint-Vaast, France (Le Musée des Beaux-Arts d'Arras): https://webmuseo.com/ws/musenor/app/collection/record/30982.  

Condition: Apart from a white mark on the figure’s lips, the impression is strong and well-printed. Beyond minor handling marks, the sheet is in an excellent condition with no tears, holes, folds, or significant stains.

I am selling this very beautiful study of a sculpted bust of a young woman displayed on a pedestal base and finished with the unusual addition of blue accents, for AU$276 (currently US$188.58/EUR170.72/GBP148.11 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 visually striking portrayal of a sculpted head executed by a fine sculptor-printmaker, 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

Jean-Baptiste Millet’s pencil studies, “Ploughing Scenes”, c.1870

Jean-Baptiste Millet (1831–1906)—brother and pupil of Jean-François Millet (1814-1875)  

“Ploughing Scenes” (descriptive title only), c.1870/late 1800s, eight (?) seemingly rapid pencil studies executed on the same page, signed by the artist (compare with https://www.impressionism.nl/millet-jean-baptiste/#pgcSgb-cl2-1_cl2_10020) at lower left: “Millet/ J.-B.”.

Pencil on buff coloured laid paper (watermark “LP”), with loss of the upper-right corner of the sheet.

Size: (sheet) 16.5 x 26.4 cm.

Providence: 2008, Dominique Weitz Gallery (Paris); prior to 2008, through the estate of a descendant of Henri Rouart (information supplied by Dominique Weitz)—note that Henri Rouart was an instrumental figure in arranging the exhibition of two of Jean-Baptiste Millet’s works in the Salon of 1875 (see the blog post: “Jean-Baptiste Millet, the unknown brother” (https://www.impressionism.nl/millet-jean-baptiste/).

Note that Jean-Baptiste Millet made several prints following the designs of his famous brother, Jean-François Millet; such as, “La Grande Bergère Assise” (https://www.britishmuseum.org/collection/object/P_1877-1013-813) and “Man Sowing” (https://www.britishmuseum.org/collection/object/P_1878-0713-2677). His approach leans heavily to the interests of the Barbizon School in portraying everyday rural life from direct observation as may be seen in the chalk drawing held by the British Museum, “Summer Landscape with the Artist's home at Gruchy” (descriptive title only): https://www.britishmuseum.org/collection/object/P_2004-1030-5.

Note that I have listed several etchings by Jean-François Millet that are currently still available: https://www.printsandprinciples.com/2022/07/jean-francois-millets-etching-peasant.html and https://www.printsandprinciples.com/2016/05/jean-francois-millet-181475-les_15.html. 

Condition: the sheet has the upper right corner missing along with chips to the upper edge on the right; otherwise, there are no tears, holes folds or significant stains.

I am selling this remarkable sheet of delicately executed pencil sketches featuring a figure guiding a plough pulled by a team of horses, for AU$436 (currently US$297.18/EUR269.53/GBP233.86 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 wonderful sheet of pencil studies revealing the artist’s approach to capturing a scene with fundamental notational strokes, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Nicolas Cochin I’s etching, “Alexandre et Roxane”, c.1729/40, after Raphael

Charles Nicolas Cochin I (1688–1754)

“Alexandre et Roxane”, c.1729/40 (BM attrib.), plate 37 after Raphael (aka Raffaello Sanzio; Raffaello Santi) (1483–1520), from the series, “Recueil Crozat” (aka “Recueil d'estampes d'après les plus beaux Tableaux et d'après les plus beaux Dessins qui sont en France”).

Etching and engraving on heavy laid paper with watermark, trimmed along the platemark.

Size: (sheet) 23.1 x 31.7 cm; (image borderline) 21 x 30.7 cm.

Lettered in plate below the image borderline: (centre) ALEXANDRE ET ROXANE/ D'après le dessein de Raphaël, qui est dans le Cabinet de Mr. Crozat de la mesme grandeur de l’Estampe gravé en cuivre par Charles Nic. Cochin.” (According to the design of Raphaël, which is in the Cabinet of Mr. Crozat of the same size as the engraved copper print by Charles Nic. Cochin.); (right) “37”.

IFF 49 (Département des estampes 1930–, “Inventaire du Fonds Français: Graveurs du Dix-Huitième Siècle”, vol. 4, Paris, Bibliothèque Nationale, cat. no. 49).

The British Museum offers the following description of this print: “Alexander the Great stands in front of Roxane and holds out his hands; the young woman sits on a bed at right and lowers her gaze modestly; both are naked and surrounded by putti; after Raphael. c.1729/40” (https://www.britishmuseum.org/collection/object/P_1955-1109-15); see also the description offered by the Louvre: https://collections.louvre.fr/ark:/53355/cl020603404.

Interestingly, around a century before Cochin made this print, Jacopo Caraglio (aka Giovanni Jacopo Caraglio) (c.1500–1565), executed an engraving of almost the same composition after Raphael in which the figures are clothed; see Caraglio’s engraving held by the British Museum: https://www.britishmuseum.org/collection/object/P_1868-0822-64. In the discussion of Caraglio’s print, the Curator of the British Museum offers the following fascinating insights about the composition which also applies to Cochin’s print: “The print follows the ecphrasis in Lucian's 'Herodotus' very closely. It describes how some putti are straining to lift another on the heavy shield while one crawls inside the cuirass 'in ambush' so as to pop out and give everyone a surprise. The attribution to Raphael is traditional, and is presumably based on the resemblance to the figure of Alexander in the grisaille in the Stanza della Segnatura” (op. cit.).

Condition: a well-printed impression, trimmed along the platemark. Beyond minor age-toning, handling marks and pale glue residue in the corners (from verso), the sheet is in good condition for its considerable age with no tears, holes, abrasions or significant stains.

I am selling this sensitively executed etching (with engraving) showing Alexander the Great (356–323 BC) surrounded by putti having fun—note that a group on the left are playing at being carried on Alexander’s shield while another in the foreground has crawled inside his armour (cuirass)—as Alexander makes a gesture of invitation to his wife, Roxane (334–310 BC), seated on a bed, for AU$302 (currently US$205.43/EUR186.51/GBP161.74 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 wonderful etching that seems almost luminous with the delicacy of the rendering of the figures, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Nicolas Chaperon’s etching, “Noah Leaves the Ark”, 1649, after Raphael

Nicolas Chaperon (aka Nicolas Chapron) (1612–1654/5)

“Noah Leaves the Ark” (aka “Noé sortant de l'arche après le deluge”; “Noah leaving the ark after the flood”; “Noach verlaat de ark na de Zondvloed”), 1649, plate 11 from the series or 54 plates (including the Title and Dedication plates), “Raphael Bible” (aka “Sacrae Historiae Acta a Raphael Urbin in Vaticanis xystis ad picturae miraculum expressa”), after Raphael’s (aka Raffaello Sanzio; Raffaello Santi) (1483–1520) frescoes in the Logge di Raffaello of the Vatican, published in Rome by Pierre Mariette I (c.1603–1657).

Etching on heavy laid paper with full margins as published.

Size: (sheet) 27.1 x 39.8 cm; (plate) 23.6 x 25.4 cm; (image borderline) 22.2 x 24.8 cm.

Lettered in plate below the image borderline: “R. V. I.” (Raphaelis. Urbinatis. Inventor.); (centre) “Reuersæ sunt aguæ de terra, Cgressus est ergo Noë fusij eius,/ Et uxores et omnis species animantium. Gen.VIII.” (The waters were returned from the earth, and Noah went forth, and his sons, and their wives, and every kind of living thing. Gen. 8); (right) “N. C. F. (Nicolas. Chaperon. Fecit.)/ Typis P. Mariette Via Iacobea Sub jnsigne Spei 11”.

State iii (of iv) compare with the state iii impression held by the Rijksmuseum (http://hdl.handle.net/10934/RM0001.COLLECT.92195).

Robert-Dumesnil 13 (Robert-Dumesnil 1842, “Le Peintre-Graveur Français”, Paris, vol. 6, p. 220, cat. no. 13 [https://archive.org/details/bnf-bpt6k65576943/page/n239/mode/2up): IFF 11 (Département des estampes 1939–, “Inventaire du Fonds Français: Graveurs du XVIIe Siècle”, vol. 2, Paris, Bibliothèque Nationale, vol. 2, p. 270, cat. no. 11).

See also the description of this print offered by the British Museum (no image): https://www.britishmuseum.org/collection/object/P_L-66-13. Note that the Curator of the British Museum offers an insightful account of the publication of the series in which this plate is a part and describes the title plate; see https://www.britishmuseum.org/collection/object/P_L-66-1.

Condition: a strong and well-printed impression (near faultless) with full margins as published in 1649. Beyond minor handling marks, the sheet is in an excellent condition for its considerable age and size with no tears, holes, abrasions, losses or significant stains.

I am selling this fascinating image of Noah and his family standing beside the Ark with doves flying above holding the olive branch—Noah’s tell-tale sign that the waters of the deluge had receded (Genesis 8:18 – 9:17)—while pairs of animals disembark from the Ark, for AU$312 (currently US$212.23/EUR192.68/GBP167.09 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 superb etching, 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

(attrib.) Abraham Blooteling’s etching, “The Family”, 1655–1690, after Adriaen van Ostade

(attrib.) Abraham Blooteling (aka Abraham Bloteling; Abraham Blotelingh; Abraham Blootelingh) (1640–1690) (see the Rijksmuseum’s description of this print in the later numbered state: http://hdl.handle.net/10934/RM0001.COLLECT.82212)

“The Family” (aka “Boerengezin in Interieur”; “Farming Family in Interior”), 1655–1690 (Rijksmuseum attrib.), plate 3 from the series of eight prints, “Caprice”, after scenes by Adriaen van Ostade (1610–1685). Proof before numbering and publication in Amsterdam by Abraham Blootelling, etched in the reverse direction to Adriaen van Ostade’s composition (see https://www.britishmuseum.org/collection/object/P_Sheepshanks-1529).

Etching on fine laid paper, trimmed with a thread margin around the platemark backed with a support sheet.

Size: (sheet) 13.5 x 11.1 cm; (plate) 13.3 x 10.8 cm; (image borderline) 12.9 x 10.5 cm.

Inscribed in plate at lower left “1646” with indistinct additional marks at lower right.

Ref. Hollstein 46 (K.G. Boon & J. Verbeek 1964, “Dutch and Flemish Etchings, engravings and woodcuts ca. 1450–1700: Van Ostade–De Passe”, vol. 15, Amsterdam, Menno Hertzberger en Co., p. 59, cat. no. 46).

The Rijksmuseum offers the following description of this print: “[trans.] Simple living area with farmer's family during daily activities. The farmer's wife takes care of her youngest child while a boy eats from a bowl at the table and the farmer cuts a slice of bread. Another boy is playing with a dog. The room is full of household objects and furniture” (http://hdl.handle.net/10934/RM0001.COLLECT.82212).

Lifetime impression before numbering.

Condition: a strong, well-printed and near faultless impression in an excellent condition, trimmed with a thread margin around the platemark and laid in a support of archival (millennium quality) washi paper providing wide margins.

I am selling this superb, near faultless, lifetime impression before the plate was later numbered for publication, for AU$307 (currently US$208.22/EUR189.13/GBP164.09 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 very beautiful etching by Blooteling—a contemporary of Van Ostade—in the reverse direction after Van Ostade’s design, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.