Louis Marin Bonnet

Le Dejeune, aquatint etching by Louis Marin Bonnet.
Le Dejeune, aquatint etching by Louis Marin Bonnet.

Louis Marin Bonnet came from a family of artisans and was trained in the craft of engraving by his brother-in-law, the engraver Louis Legrand (1723-1808).

Via Legrands connections in the art world, Bonnet became the pupil of Jean-Charles François. After a year of study, Bonnet and François invented the “crayon manner”. This was a engraving technique invented to imitate the look of a chalk drawing.  In 1760, Bonnet was ready to set up his own shop. During this period he perfected the crayon manner by producing prints using several different plates, each inked with a different color. These were very valuable and labor intensive processes that where simplified later on.  He also experimented with aquatint-like techniques designed to reproduce wash drawing.

Bonnet was considered one of the most significant representatives of engraving in pastel manner. engravings with mythological and gallant scenes, as well as portraits and nudes. He engraved after his friend Francois Boucher, Francois-Hubert Drouais and Jean-Baptiste Huet.
Works of Louis Marin Bonnet are part of the collections of many  international museums.

These Aquatints are for sale on etsy:

Two antique aquatint prints by Bonnet

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Marie Antoinette two rare royal engravings

Rare commemorative engravings of Marie Antoinette Louis XVI 

The last (official) reigns of France.

 

Engraving of Marie Antoinette by Pierre François Bertonnier (1791-1858)

Both where killed during the peak of the French Revolution, ending the long tradition of French monarchs.
Marie Antoinette, who is very much appealing to the imagination, and her husband, the king of France Louis XIV, are seen here in these engravings. Years after their unfortunate beheading in 1793,  Louis XVIII (brother of Louis XIV) had the remains of his brother and of his sister-in-law Marie-Antoinette, transferred and re-buried in the Basilica of St Denis, the Royal necropolis of the Kings and Queen of France.
Between 1816 and 1826, a commemorative monument, the Chapelle expiatoire, was erected at the location of the former cemetery and church.
These two engravings are dated around that time, 1816-1820. On the engravings we see portrayals of the king and queen, both flanked by the weapons of their houses. Weeping angels are next to the names of the reigns.
Both prints are made by well known French master engravers:

  • Marie Antoinette, was made by: Pierre François Bertonnier (1791-1858).
  • King Louis XVI, was made by:  Pinx. François-Jacques Dequevauviller (1783-1848) Sculp. Callet
Engraving of Louis XVI by Dequevauviller

Both gravures have been cleaned to enhance the engravings and aid conservation. Both prints have foxing spots.
Used “new” black plaster frames where used to frame the engravings. These frames have some missing chips, and scratches meant to add to the charm of these old prints.

The engravings measure approx. 6 by 5 inches.
The mattes measure 15.7 by 11.8 inches.
Two very interesting and neat looking prints. decorate your wall, behind glass.

These engravings can be bought directly via —>Etsy, or by contacting me via the form below. The price for these two is 124,95 Euro exclusive of shipping costs.

If you are interested in purchasing this work or if you have additional questions, please use the form below. I will be happy to answer your questions.

—>Sold Costumes Parisiens 1823, 1826 en 1833

Costumes Parisien 1823, 19th century fashionista’s 

These original steel engravings are from the French Fashion Magazine “Costumes Parisien”. They give a wonderful outlook on the history of European 19th century fashion.

This set of three steel engravings looks very good and fresh, with soft, hand-colored details. The number of these three are:

plate no. 2174, from 1823,
plate no. 2436 from 1826
plate no. 3130 from 1833.

They are framed behind a white matte and glass plate. The youngest of the three plates has some foxing spots but in general they are in very good condition. The oldest two engravings have noticeable etching plate marks around the corners that tells us that these plates are genuine. All plates have their full margins and are untrimmed. One of the plates in signed verso with a monogram. One of the glass plates has an almost unnoticeable little chip missing in the corner.

This fashionable trio can also be shipped without the glass plates and hanging garments, which would make shipping cheaper. Please let me know in advance if you want this option and i’ll calculate the accurate shipping fee.

These framed engravings can be purchased for 74.95 Euro ( in all currencies) exclusive of shipping costs directly via this link on Etsy:  These Prints on Etsy

More info about antique fashion plates and authentication can be found here How do I know if my fashion print is genuine?

Feel free to ask me questions about these lovely fashion engravings, i’ll be happy to answer.
Jo
*If you are interested in purchasing this work or if you have additional questions, please use the form below.

How to tell if my antique fashion print is genuine

Is my fashion print antique or not?

For people that collect old prints, it is important to know if the print is genuine or not. A genuine print is usually far more valuable than a reproduction, especially when it is a rare antique print. So how can you tell if your fashion print is the real stuff? Even better, how can you prevent yourself from purchasing a fake fashion print? Here are some simple guidelines to help you determine if your print is antique or a reproduction. In this article we will focus on plates produced on the old fashion way, via the so called printing technique of engraving. A technique where a copper, steel or zinc is plate is carved out and ink is rubbed into the carved areas and removed from the smooth surface of the plate. The copper or steel plates are then run through a press and the paper is pushed into the carved lines. With a very good magnifier its is easy to determent the difference between a wood- and steel engraving.

Antique french print close up. Earrings are colored in with goldpaint 1835

Important French leading magazines like La mode Illustree, Journal des Dames et des Modes, Le Petit Courrier des Dames and the likes considered their fashion plate collectibles an art form and no expense was was spared to create them. Quality paper and ink was used, leading artists and designers where brought in to draw up the designs, master engravers did the steel carving and the prints were colored in by art students or artist that needed money.  The fashion plates soon became a huge success. Because of the high quality and beauty of the prints, they are still very much collected around the world. Here are the tips that help you determine the authenticity of your antique fashion print.

If it’s too white, something  is not right. 

Very old paper doesn’t look snow white.  Over the years, micro organisms have their way with the paper causing the pH value of the paper to increase. The residue that organisms leave behind, often leave spots and marks in the paper. Next to these organisms, sun damage and years of accumulated smoke also can cause yellowing and browning of the print. Some sellers resort to harsh bleaching agents to whiten the prints. This is very harmful in the long run. I would recommend not buying those.

Generally speaking, discoloration, yellowing and browning of the paper is a sign of old age, it comes with, and is part of its authenticity.

Using close-ups to determent antique prints

The use of simple magnifiers to authenticate antique prints

When you use a magnifier to look at an antique print, you can determent with what kind of printing technique you are dealing. At the end of this article you can find some in depth resources that help you understand all printing techniques used. In the case of antique fashion prints, you should look for regular dotted, or beehive shaped patterns that indicate you are dealing with a common impostor! A regular steel engraved antique fashion print has many details that you can’t even see to well with the naked eye.

A steel engraved fashion print should look something like the photo on the right. So invest in some magnifiers. Its worth the money and they are not that pricey. When buying antique prints online, make sure you ask for close-ups or only buy from sellers that provide them with the description. When browsing local markets, keep a small pocket magnifier with you to check out the print on the spot.

“Good” details  in antique fashion prints you should look for with a magnifier are:

  • Use of gold paint used for jewelry.
  • Hand applied paint that goes clearly beyond the lines of the print.
  • Infilled make-up colors and blush. Irregular dots and lines applied by hand.
  • Use of areas waxed with Arabian gum.

“Bad” details you should look for are:

  • Regular, apparently generated dots in RGB
  • Bee hive shaped patterns in CMYK
  • Colors that do not coat the whole surface of a place, colors that overlap.

 Look for plate marks, it sounds bad but it is a good thing!

A plate mark imprint was left by the pressure of the inked plate, pressing in the paper.

Steel engravings are made by applying ink to a steel plate and pressing it onto the paper. These plates left marks around the printed area, usually shaped in a rounded rectangle around the illustrated area. Look for these imprints of pressure around the image. It is a sign of the prints authenticity!

The type of paper is an indication of age.

Watermark visible when keeping the print against a light source.

Before the 19th century, laid paper was used. Laid paper has a very different production procedure then modern, woven paper and also different composition. After the 19th century they used a more modern and cheaper way to produce paper. This modern paper was very high in wood pulp content which made this paper very prone to yellowing. However, many French antique fashion prints continued to be printed on laid paper because of the quality the publishers wanted to deliver with their magazines. These prints on laid paper often have a watermark as well as the typical horizontal stripes, that seem to be embedded in the paper. (a trade of laid paper)

I think its safe to say that antique fashion prints printed on laid paper, are usually more valuable then those that are not.

In general:

  • Prints on laid paper are often older and more valuable.
  • Look for watermarks in the paper by holding the print against the light
  • Look for the type of paper used, do you see horizontal stripes in the paper? Than it is laid paper.
  • Very modern paper often feels very smooth compared to old fashion types of paper that has high contents of viberous wood pulp.

 

Some examples of old and new printing techniques I have come across:

These are some of the points I have come across in collecting antique fashion prints. I hope it helps you collecting the prints you are looking for!

If you want more in depth information about identifying old and antique prints, check out these two great resources:

You can find the antique fashion prints that are up for sale in my store here: My Etsy shop, section: engravings

Jo

 

 

 

 

Journal des Demoiselles

 Journal des Demoiselles, for the 19th century fashionista’s 

Two lovely original 19th century fashion prints from the Amsterdam Bruxelles Desterbecq editions, rare.

For the history lovers: How woman have come a long way since the “Journal des Demoiselles” and other fashion magazines like this one. Before these magazines issued, woman weren’t expected to read.  These Fashion magazines, with lots of pictures, came out and gradually became the first socially approved “reading” material for ladies. Fashion was an agreeable topic in higher social circles which made these magazines a stepping stone in aiding the literariness of woman.

Both copper engravings are cleaned and are de- acidified for the purpose of conservation. Both plates are in very good, bright condition. The gravures have been sun-bleached to treat and visually improve the plates and lessen the foxing spots.
The oldest original gravure depicts a woman and two children dressed in a Harlequin themed outfit. Maybe these where outfits for a play or for the yearly Parisian fashion fair. The plate is dated: Janvier 1861. No 1.
The second original gravure is dated: Fevier 1866 no 2.
On this plate we see several bonnets and hair guirlandes and some matching other fashions items.
Both plates are mounted on acid free museum board and are framed in gold-colored frames. The frames where made around 1920-1930 and have a new piece of glass. The stylish and valuable plates are ready to decorate your wall. Feel free to ask me any questions you might have about this item, I’ll be happy to answer.

Regards, Jo

These framed engravings can be purchased for 41.95 Euro ( in all currencies) exclusive of shipping costs directly via this link on Etsy:
*If you are interested in purchasing this work or if you have additional questions, please use the form below.

Freudenberg, Lingee and Romanet

Two French Baroque etchings with colored accents after Freudenberg 1774, Paris.

1. Le Lever, Romanet after Freudenberg

Le lever is an etching after Sigmund Freudenberg, (Swiss)  by Romanet, depicting the French ritual of getting op or rising “Le Lever”. Friends and other visitors could visit the persons of fame and wealth at their house while getting dressed. This could take several hours up to the point where people would stay in bed for a whole morning for the time of the “Lever”. Sometimes they even had to go bed again, and get dressed all over for an extended Lever if they had many visitors.

A historical very nice and interesting plate that turns up occasionally on the market. This is one of the customs and rituals Freudenberg, painter and engraver produced for publisher Prault,Francois. These plates where meant to educate the not so rich in the ways, fashion and etiquette of the happy few. The plates where not a big success because Freudenberg had no knowledge of the French high society customs. At one point, (1773) Freudenberg disappeared all together, thus never finishing the series. Some of these plates are finished by others. The plate measures: 49.5 x 29,5 cm. and is printed on laid paper. Plate marks from the etching process are visible outside the margins. A lovely plate, well preserved for its age. Dated around 1770-1780.

2. L’ occupation, Lingee after Freudenberg

This engraving is one out of a suite of several prints, called: Monument du Costume Physique et Moral de la fin du Dix-huitième siècle”.

The series was meant to educate people about the fashion, manners and morals of the wealthy. This one is from the first suite and deals mainly with costume and manners. In the lower left corner it reads: I. H. E. inv. S. Freudenberg del. On the right it reads: Lingee sculp. In the middle there is also an address in Paris and the date: 1774. The plate measures 43 x 29,5 cm. and is printed on laid paper. In very good condition for its age.

This is the best of the two plates and also the scarcest of the two.

 

Name: L’occupation & Le Levee

Date 1774

Origin Paris France

Engavers: Romanet and Lingee

Genre: French costumes

After Freudenberg.

Price: 115 euro exclusive of shipping costs.

If you are interested in purchasing this work or if you have additional questions, please use the form below.

Kleiner, Salomon and Basset

Two old engravings glued to one piece of paper.

Two very old engravings from different countries, glued to one sheet of paper. framed and behind glass, 1720 and 1760

1) Un grand Boulingrain borde des Marroniers S. (Salomon) Kleiner commissioned by publisher I. A Pfeffel.

An engraving by Austrian engraver Kleiner, Salomon of the gardens of lustshlos "favorite".
An engraving by Austrian engraver Kleiner, Salomon of the gardens of lustshloss “Favorite”.
The first engraving is dated between 1723-1726, and called ” Un grand Boulingrain borde des Marroniers”. and in German: “Ein groses Boulingrain mit kastanien baumen belest”. 
A big bassin shaped garden and border planted with chestnut trees.
On this nice engraving we see a group of people strolling and enjoying a wonderful, 18th century garden. This garden is probably located in Mainz next to the Rhine river and called “ Lustschloss Favoriteand also just “Favorite”.
This was the location of a German castle with huge gardens, meant to please the eye and entertain with huge Baroque gardens and water games.The whole complex was build between 1700 and 1730. Luckily, there is a lot of information about this Castle and eventually its destruction so you can enjoy the rich history behind this engraving. A lot of information is also available about the maker, Salomon Kleiner.
The engraving is printed on laid paper and framed behind glass in a simple black frame with a cream colored matte. The print measures: 28 x 19,5 cm. The condition of this engraving is excellent.
 
Verso, we find glued to the same paper a very old engraving from France.
 

2) Maison the plaisance du grand Mogol a quelques milles de Dely

 
Maison the plaisance du grand Mogol a quelques milles de Dely
Maison the plaisance du grand Mogol a quelques milles de Dely, ca. 1760 Basset

The second engraving is made in Paris by the publisher Basset, ca. 1760

In the lower middle of the plate we find the text A Paris chez Basset rue st Jacques a Se Genevieve.

The plate was colored sloppy and has some tears. I believe it was colored after publication. The margins on the right side have been trimmed. The engraving was printed on laid paper and measures 39,5 x  39 cm. It was glued onto a piece of paper. This engraving also has a history to tell, mainly about Europe’s interference and arguing over the Moghuls empire in India and the founding of several European Trading Compagnies in India, aiming at the gain of land and setting up economical trade of spices, sugar and other Indian riches to Europe. 

Price: 175 euro exclusive of shipping costs.

 If you are interested in purchasing this work or if you have additional questions, please use the form below.

Madeleine Lemaire

Madeleine Lemaire, johulsteinsfineart, antique art prints for sale

Madeleine Lemaire

Girl in the rain, engraving ca. 1888.

Madeleine Lemaire woodengraving, hand colored, 1877
Madeleine Lemaire

A beautiful framed wood engraving by Madeleine Lemaire.  This engraving was made around 1888 . Madeleine Lemaire, (her artist name was Jeanne Magdelaine Colle), was a painter and watercolorist. She was born on 24 May 1845 and died in Paris on 8 april 1928 . The engraving was colored by hand. I suspect this is an illustration by Lemaire made for a portfolio containing essays of French artists. The engraving measures 12 x 8.5 cms. and the frame measures: 22 x 17.5 cm.

The condition of this artwork is very good! The frame and matte are also in good condition.

Price: 69,95 euro. Inclusive of world wide of shipping .

Click on the images for a larger view of the artwork.

If you are interested in purchasing this work or if you have additional questions, please use the form below.

Ave Lilium

Ave Candidum Lilium

Framed biblical image.

This is a beautiful West European wood engraving from around 1800, maybe sooner. It is a representation of the Holy Mother Mary, crushing a serpent or dragon, the devil or evil if you will, while standing on a crescent moon. Some historians feel that the woman in this scene was not the mother Mary but “The woman of the apocalypse” from the book of Revelations. Through the years, many flawed translations of biblical texts and different cultural interpretations of the Latin scriptures accredited to people believing this was Mary. 

I think this historical artwork is an illustrative page from an old book. At the top of this image is the sun, the moon, Jesus, a halo and seven stars. It seems Mary is holding an iron rod or sword. There is so much religious symbolism in this tiny image that it is practically a historical time capsule of that era. This framed picture is unopened by me and ready to decorate your wall.  It was re-framed around the 1980’s by a professional Belgian restoration and framing studio. (see the pictures) The measurements are ca. 14 x 11 cm for the engraving and 23,5 x 18 cm for the frame. This wood engraving was printed on laid paper. The Latin text in the bottom of the picture reads:

“Ave candidum Lilium fulgidae semperque tranquillae Trinitatis”  

Price: 54,95 euro (exclusive of additional shipping costs) 

Click on the images for a larger view of the artwork.

If you are interested in purchasing this work or if you have additional questions, please use the form below.