Jules Jacques Veyrassat, “Le Marché aux Chevaux”, 1858, after Rosa Bonheur

Jules Jacques Veyrassat (1828–1893)
“Le Marché aux Chevaux” (The Horse Fair), 1853
after the painting (1852–1855) held in the Metropolitan Museum of Art by Rosa Bonheur (also known as Marie Rosa Bonheur) (1822–1899): https://www.metmuseum.org/art/collection/search/435702.

Regarding the painting that this etching translates into line, the MET offers the following insights: “This, Bonheur’s best-known painting, shows the horse market held in Paris on the tree-lined Boulevard de l’Hôpital, near the asylum of Salpêtrière, which is visible in the left background. For a year and a half Bonheur sketched there twice a week, dressing as a man to discourage attention.” (see op. cit.)

Technical Details & Condition:
Etching on buff chine collé, trimmed with a small margin around the image borderline (with loss of the title and publication details) and laid upon a support sheet of archival-quality washi paper, providing support to the print and generously wide margins.
This print was published in Paris by Marchant (also known as Alliance des Arts) (fl. c.1830–1880).
The impression is richly inked and well-printed (near flawless). The sheet has minor chipping at the lower-left corner of the margin.

Dimensions:
• Sheet: 12.6 x 25.8 cm
• Image borderline: 11.9 x 24.9 cm

Plate Lettering:
• Lower left: “Rosa Bonheur 1853.”
• lower right: “Veryressat sc.”

References:
• Beraldi 14 (Henri Béraldi 1892, Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: SAINT-MARCEL–ZWINGER, vol. 7, Paris, Librairie L. Conquet, p. 227, cat. no. 14)
• See also the description of this print offered by the British Museum: https://www.britishmuseum.org/collection/object/P_1916-0411-3.

Price & Shipping:
AU$273 (approximately US$178.41 / €153.88 / £134.76), including worldwide express shipping.
Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this lively scene of horses at market — a view Rosa Bonheur likened to “her own Parthenon frieze” (see the MET URL above) — please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Félix Bracquemond, “Jacob Meyer-Heine”, 1872

Félix Bracquemond (aka Joseph Auguste Félix Bracquemond) (1833–1914)
“Jacob Meyer-Heine” (also known as “Dernière Réflexion” [Final Thought]), 1872

Technical Details & Condition:

Etching on buff laid paper trimmed with a small margin around the plate mark at the top and sides, with a more generous margin below.
Published in Paris by the widow of Alfred Cardart (Vve A.Cadart) in “L'Eau Forte en 1876.”
State iii (of iii), with the addition of the title (“Dernière Réflexion”) and publication details.
The impression is richly inked and well-printed (near flawless). The sheet is in excellent condition, free of tears, holes, folds, and stains. To ensure stability and wider margins, the sheet has been laid on archival quality washi paper.

Dimensions:
• Sheet: 25 x 25.7 cm
• Plate mark: 21.9 x 24.5 cm
• Image borderline: 21.2 x 24.1 cm

Plate Lettering:
• Lower left corner: “Bracquemond. del. et sculp.”
• Upper right corner: “13. Bracquemond (signature)”
• Lower right corner: “DERNIÈRE RÉFLÉXION / Vve A.Cadart, 56, Bd Haussmann, Paris”

References:
• Beraldi 80 (Henri Béraldi 1888, Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRACQUEMOND, vol. 3, Paris, Librairie L. Conquet, pp. 39–40, cat. no. 80 [state 3])
• IFF 322 (Jean Laren & Jean Adhémar 1942, Inventaire du Fonds Français après 1800: BOCQVIN–BYON, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 378, cat. no. 322 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f387])
• See also the descriptions of this print offered by the British Museum (https://www.britishmuseum.org/collection/object/P_1915-0105-14-86) and the National Gallery of Art (https://www.nga.gov/artworks/226572-jacob-meyer-heine).

Price & Shipping:
AU$286 (approximately US$186.96 / €161.11 / £141.01), including worldwide express shipping.
Please note: Import duties and taxes are the buyer’s responsibility.

If you're interested in acquiring this confidently inscribed portrait that Beraldi (1888) advises was drawn from life (“gravé d'après nature” [p. 40]) of Jacob Meyer-Heine (1805–1879)—the head enameller at the Sèvres porcelain factory—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Jan Luyken, “Construction of Noah's Ark”, 1690

Jan Luyken (aka Jan Luijken) (1649–1712)
“Construction of Noah’s Ark,” 1690

Technical Details & Condition:
Etching on laid paper with full margins as published by David and Willem Goeree in Amsterdam in 1700 in “Mosaize Historie der Hebreeuwse Kerke…” (Mosaic History of the Hebrew Church…). The print features the original five folds of publication, now flattened by the sheet having been archival laid on a washi paper backing to provide stability and wider margins. The impression is richly inked and well-printed (near flawless). The sheet is in excellent condition, free of tears, holes, and significant stains.

Dimensions:
• Sheet: 32.8 x 43.4 cm
• Plate mark: 22.5 x 41.5 cm
• Image borderline: 21.5 x 40.7 cm

Plate Lettering:
• Numbered at upper right corner: “1012”
• Numbered throughout the image: from “1” to “45”
• Lettered below the image borderline in a line of Dutch: “de Timmering der Arke onder’t bestuur van de goddelyke Bouwmeester Noach in syn aaleg en werkda[d]ige vootgang vertoond.”
(“The Carpentry of the Ark under the direction of the divine Architect Noah, shown in its design and active progress”)

References:
• Van Eeghen 1128 (Pieter van Eeghen & Johan Philip van der Kellen 1905, “Het werk van Jan en Casper Luyken”, Amsterdam, Frederik Muller & Co., vol. 1, p. 192, cat. no. 1128 [see https://archive.org/details/hetwerkvanjanen00kellgoog/page/192/mode/1up]).
Van Eeghen describes the scene depicted: “The ark, almost finished at the back, is only just being started on the other side. In the foreground on the left, under a shelter, Noah discusses the plans with two overseers. With instructions.” (p. 192)
• The Rijksmuseum holds a drawing by Jan Luyken, “Construction of Noah's Ark” (c. 1689), depicting Noah planning the construction: https://id.rijksmuseum.nl/200142075.
• Also see Jan Sadeler’s vision of the Ark’s construction in his engraving “Noah Building the Ark” (1586), previously showcased here: https://www.printsandprinciples.com/2018/10/jan-sadelers-engraving-noah-building.html

Price & Shipping:
AU$298 (approximately US$194.05 / €167.33 / £147.05), including worldwide express shipping.

Please note: Import duties and taxes are the buyer’s responsibility.

If you're interested in acquiring this remarkable view of the construction of Noah’s Ark — a design that appears to emphasize creating a boxed-in floating platform without navigational aids like a keel, bow, stern, or rudder — please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Unidentified master engraver of the early 1600s, “Virgin Nursing the Infant Christ with Joseph”, 1620

Unidentified master engraver of the early 1600s

“Virgin Nursing the Infant Christ with Joseph”, 1620 (date inscribed in plate at lower right)

Note that the Latin inscription beneath the image, which translates to “The Virgin Mother embraces the born child as parent,” offers insight into the somewhat unconventional depiction of the infant Christ. The portrayal presents a complex amalgamation: the infant appears both as a vulnerable child and as an adult Saviour. His stretching upward towards the Virgin’s face may symbolise his dual nature—simultaneously innocent and divine—highlighting the profound mystery of his incarnate form.

Technical Details & Condition:
Engraving on fine laid paper, with a narrow margin around the platemark and backed with a support sheet to provide wide margins and ensure stability. The impression is strong and crisply printed, with minimal signs of wear to the printing plate, suggesting that this is a lifetime impression. Beyond general age-toning and a tear/fracture in the margin at left, the sheet is in good condition with no significant stains or other issues.

Dimensions:
• Sheet: 18.6 x 14 cm
• Plate mark: 18.1 x 13.3 cm
• Inner image borderline: 15.5 x 13.2 cm

Plate Lettering:
In the text box below the image, lettered in four lines of Latin and the date:
“VIRGO. NATA PARENS NATVM COMPLEXA PARENTEM / QVI CÆLVM. TERRAS SYDERAQ ALTA REGIT / VIRGINEIS DOMINVM LACTANS FERT MATER IN VLMS. / QVOD NATVRA STVPET. SCVLPTA FIGVRA DOCET. / 1620”

(“The Virgin Mother embraces the born child as parent / Who rules the heaven, the earth, and the starry high / The mother carries the Lord nursing in her virgin arms / Which nature marvels at; the sculpted figure teaches”)

Price & Shipping:
AU$287 (approximately US$185.34 / €160.73 / £141.26), including worldwide express shipping.

Please note: Import duties and taxes are the buyer’s responsibility.

If you are interested in acquiring this early master engraving of the Holy Family — and note how the artist draws in the viewer as an active participant in the scene through Joseph’s gaze — please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase. 

This print has been sold