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A Small Selection of Modern Continental Prints currently in stock

WILHELM CAMPHAUSEN, Düsseldorf 1818 – 1885 Düsseldorf. Julius Schrader in His Studio. Original lithograph, 1844. This print is sold. CHARLES FRANÇOIS DAUBIGNY, Paris 1817 – 1878 Paris. Hen and her Chicks. Original etching, 1860. This print is for sale, price £350 THEODORE ROUSSEAU, Paris 1812 – 1867 Barbizon.Chêne des Roches. Etching, 1861.
JEANNE SIMONNET, Paris 1849 – 1926 Sèvres. La Tour de la Lanterne à La Rochelle. Original etching. This print is for sale, price £120 WILHELM HEISE, Wiesbaden 1892 – 1965 Munich. Fremde Lände. Original lithograph, c1925. This print is for sale, price £850 ANDRE DUNOYER DE SEGONZAC, Boussy-St Antoine 1884 – 1974 Paris. Le vieux Jas. Original etching, c1927. This print is for sale, price £300

These links:
Modern Continental 01, Modern Continental 02 and Modern Continental 03
will allow you to view the featured prints from the previous selections of
Modern Continental Prints

 


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The Current Selections:

From a Recent Catalogue
Old Master Prints
Modern British Prints
Prints by Women
Prints under £250

Selections from the Home Page

Click on a thumbnail (left) to link directly with the entry for that print, or scroll down to view all this month's selection. Images are not at very high resolution.

If you require further information on any print featured here, please contact us. When a print has been sold it will be marked as Sold.




WILHELM CAMPHAUSEN, Düsseldorf 1818 – 1885 Düsseldorf. Julius Schrader in His Studio. Original lithograph, 1844. This print is for sale, price £350

WILHELM CAMPHAUSEN
Düsseldorf 1818 – 1885 Düsseldorf

A painter, lithographer and wood engraver, Camphausen trained first with Alfred Rethel and then at the Düsseldorf Academy under Carl Sohn.

Though he later made his reputation with battles scenes, in about 1844, while still a student at the Academy, he began a series of nineteen lithographic portraits of Düsseldorf artists in their studios, many associated with the Academy, either his professors or fellow students, which were published in 1845 as Schattenseiten der Düsseldorfer Maler, nebst verkürzten Ansichten ihrer letzten Leistungen, in der 19 Einzelporträts Düsseldorfer Maler in ihren Ateliers gezeigt werden (Hidden Aspects of Düsseldorf painters in their Studios).

Julius Schrader in His Studio,
painting "Pope Gregory VII and Count Cencius"
270 x 240 mm
Original lithograph, 1844.
The stone signed with the initial C and dated.
Printed by W. Severin, Düsseldorf, for Schattenseiten der Düsseldorfer Maler ..., published by Julius Buddeus, 1845.
On chine collé.
Slight foxing, mainly in the margins.

Sold

Julius Schrader (1815-1900) was a fellow student of Camphausen at the Düsseldorf Academy. Schrader trained with Friedrich Wilhelm Schadow at the Academy from 1837 to 1845. He specialised in portraits and historical subjects. Camphausen shows him in his studio painting Pope Gregory VII and Count Cencius.

The ‘Reforming’ Pope, Gregory VII (1015-1085) was kidnapped and carried off on Christmas Day 1075 by Count Cencio Frangipane, known as Cencius, who hoped to force the Pope to grant him lands which he coveted. After the Pope’s rescue, Censius was brought before him, ‘on trial’. While the clergy and congregation thought Censius should be put to death, the Pope forgave him, provided he would do penance at the tomb of Christ in Jerusalem. Censius went on to be a useful servant to the Pope.

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CHARLES FRANÇOIS DAUBIGNY, Paris 1817 – 1878 Paris. Hen and her Chicks. Original etching, 1860. This print is for sale, price £350

CHARLES FRANÇOIS DAUBIGNY
Paris 1817 – 1878 Paris

The son of a classical landscape painter Daubigny was first taught by his father before being apprenticed to an engraver. Etching played an important part in his early career, when his plates were commissioned as illustrations and provided income. The culmination would be in two albums of independent original etchings, which he published in 1850-53.

Though, as a painter, conventionally Daubigny travelled to Italy, 1835-36, to study the old masters and on his return to Paris attended the Académie des Beaux Arts, exhibiting at the Salon for the first time in 1838, by the early 1840’s he had got to know the artists in Barbizon and himself began to paint and etch landscapes en plain air – in the open air.

Daubigny travelled quite extensively to find motifs, especially after 1857 when he acquired his boat studio, which he sailed on the rivers Seine, Marne and Oise. He was particularly drawn to Auvers-sur-Oise and bought a small property there for his regular visits.

In 1860 he built a larger house in the village. Much of the interior was decorated with murals by himself and friends who visited, including Corot and Daumier. One of the door panels is painted with a cockerel and chicken, subjects that obviously appealed to him and which recur in his etchings, such as this image of hens with chicks amongst meadow flowers.

Hen and her Chicks
Delteil 97, Melot 97 iv/iv
108 x 167 mm
Original etching, 1860.
The plate with Daubigny’s signature in the lower border.
Fourth state with Delâtre’s name as printer (previously printed by Beillet).
On chine appliqué on wove. Large margins.
A short supported tear in the right margin.

£350

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THEODORE ROUSSEAU, Paris 1812 – 1867 Barbizon.Chêne des Roches. Etching, 1861.

THEODORE ROUSSEAU, Paris 1812 – 1867 Barbizon. Le Chêne dans le Roches, Cleveland Museum of Fine Art.

THÉODORE ROUSSEAU
Paris 1812 – 1867 Barbizon

Rousseau rejected academic traditions and influenced by Dutch 17th century paintings and those of John Constable began to paint landscapes directly in the open air. He had very limited success in exhibiting in official circles such as the Paris Salon, but was greatly admired by fellow artists and became a leading painter of the Barbizon School. He visited Barbizon from 1836 and settled there in 1847. Millet moved his family there in 1849 and the two artists became close friends.

Rousseau made only four isolated attempts at etching between 1836 and 1861. The first three were never published and exist only in one or two proofs.

Of the fourth etching, the only one to be published, an interesting anecdote related by Alfred Sensier in his biography of Rousseau, 1872, describes its genesis. Le Chêne des Roches (Oak tree growing among Rocks) reproduces in line the painting (now in the Cleveland Museum of Art and illustrated below the print) that Rousseau had shown at the 1861 Salon and which had been savagely criticized. He hoped that the etching might mitigate the painting’s poor reception.

Sensier wrote “he set about drawing on copper an etching of that picture which he offered to the Gazette des Beaux Arts. It is dated May 1861. That etching is superb, done all at one go, without retouchings.” The Gazette des Beaux Arts who frequently themselves commissioned artists to etch their latest submissions to the Salon published it in the August 1861 issue.

Le Chêne des Roches
Etching, 1861.
Published state, with Rousseau’s name and the date in the lower plate border.
Printed by Delâtre in brown-black ink on chine appliqué, as published in the Gazette des Beaux Arts 1861.

Sold

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JEANNE SIMONNET, Paris 1849 – 1926 Sèvres. La Tour de la Lanterne à La Rochelle. Original etching. This print is for sale, price £120

JEANNE SIMONNET
Paris 1849 – 1926 Sèvres

The pupil of her father, the landscape painter Lucien Simonnet, Jeanne went on to study with the etcher Felix Bracquemond.

La Tour de la Lanterne à La Rochelle
248 x 146 mm
Original etching, issued in La Revue de l’art ancien et moderne and with the original lettered tissue guard.
On cream wove paper.

£120

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WILHELM HEISE, Wiesbaden 1892 – 1965 Munich. Fremde Lände. Original lithograph, c1925. This print is for sale, price £850

WILHELM HEISE
Wiesbaden 1892 – 1965 Munich

A painter, printmaker and ultimately Art Academy teacher, in 1912 Heise had studied with Hans Olde at the Kassel Art Academy and won a scholarship to study bookbinding, which was interrupted by the outbreak of the First World War.

In the immediate post-War years, in Munich, he attended evening life-drawing classes, while during the day, to finance himself, produced book illustrations and hand painted the decoration on watch dials. He also took up panel painting for himself. In 1925 he exhibited in the Neue Sachlichkeit (New Objectivity) exhibition.

Heise began making original prints from 1924. His lithographs, carried out in a ‘white-line’ technique unique to him, were, like his paintings, highly detailed and with a personal whimsicality and surreal intensity.

He commented ...

“I painted my pictures with as much care as I had painted the clocks and bound my books. When I began to make prints a few years later, I also extended this care to them.” (ich malte meine Bilder jetzt ebenso sorgfältig, wie ich die Uhren bemalt und früher auch meine Bücher gebunden hatte. Als ich ein paar Jahre später wieder anfing, graphisch zu arbeiten, dehnte ich diese Sorgfalt auch darauf aus.)

Fremde Lände
Foreign Land – strange shores
244 x 313 mm
Original lithograph, c1925.
Monogrammed in the stone.
Signed in pencil, entitled and numbered 21 of the edition of 150.
On thin japan.

£850

Perhaps a personal take on Adam and Eve in the Garden of Paradise, though the distant sailing ship also suggests being marooned on a Bosch-inspired desert island. All sorts of creatures are visible amongst the strange fruiting trees.

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ANDRE DUNOYER DE SEGONZAC, Boussy-St Antoine 1884 – 1974 Paris. Le vieux Jas. Original etching, c1927. This print is for sale, price £300

ANDRE DUNOYER DE SEGONZAC
Boussy-St Antoine 1884 – 1974 Paris

The landscapes of Provence and the Ile-de-France were Segonzac’s principal sources of inspiration. He wrote that ...

A love of the countryside and solitude are the indispensable elements for … the creative wellspring of deep and lasting works.

A keen etcher, as well as a painter, Segonzac was approached by Ambroise Vollard in the mid-1920’s to etch illustrations to Virgil’s Georgics for an artist’s book, though in common with several Vollard projects, publication was only in the 1940’s, after Vollard’s demise. However the individual etchings were all completed by 1927, and a few early proofs (before the plates were reduced in size) were taken, as the example offered here.

Segonzac, hoping to avoid platemarks, so that the images would appear to float freely on the page, in the proposed book edition, worked on large copper sheets, bigger than the intended page size.

When the plates began to be printed for an edition, from 1937 on, the oversize plates proved technically too difficult to print from and were trimmed down for easier handling.

The book has been described by the chief curator of the Musée d’Orsée as

“imbued throughout with an unfailing lyricism, [which] make this work Segonzac's masterpiece. It must be included in a list of the most beautifully illustrated books of [the 20th] century."

Le vieux Jas
Lioré & Cailler 985
240 x 300 mm (image)
Original etching, c1927.
Signed in ink and annotated épreuve d’essai (trial proof).
A rare proof, on cream wove Van der Zonen paper, printed before the plate was reduced.
A deckle edge on two sides and imprint of the platemark along the full extent of the left edge of the sheet (the only platemark visible).
A very deep margin at the foot.

£300

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