Charles Amand Durand (1831-1905)

An innovative and passionate engraver & artist who resurrected the fading copper & wood plates of various Old Masters from the 15th, 16th and 17th centuries such as Rembarant, Albrect Drurer, Hans Sebald Beham and others. He admired their etchings and engravings which he noted through the ravages of time had faded and were no longer producing quality impressions.

Durand comprehensively researched many public and private collections displaying the Old Masters' engravings and realised that many of the images would eventually fade completely. He especially admired the works of Rembrandt and scrutinised his plates and techniques. Rembrandt's engravings were created in the 1600's, but by the mid 1800's the original plates were worn and in a defective condition. In order to form exact reproductions he used as his guide, not the worn and flat copper plates, but the 1st and 2nd state prints of the original works. Durand dedicated the major part of his life to recreating in exact detail engraved plates of Rembrandt & other old Masters.

Durand's re-engravings are so well respected major collectors throughout Europe sought to acquire them, including the French Biblioteque Nationale and the Louvre Museum in Paris. Born in Paris and became a master engraver early in his career. He deeply admired the 15th, 16th, and 17th century Old Masters’ engravings and saw how they lost quality and faded from the ravages of time. This realization, combined with in-depth research throughout public and private collections of these masters, inspired Durands dedication to recreate their images and preserve the original quality for future generations.

In 1895 Theo Van Gogh, brother and manager of the infamous Vincent Van Gogh stumbled across the works of this artist in one of his travels. He was so impressed that he sought the artist out and spent an evening with him in his home. Afterward he quickly took to pen and paper to write Vincent to express his enthusiasm for his artistic talents and intellect. The Van Gogh brothers were just two of the many that recognized Amand Durand's talents. However, it would take years to unravel a story book mystery that makes his works and talents even more famed today.

Amand Durand was a great admirer of Rembrandt. He desired to study the plates and techniques of this genius. Unfortunately at the time there only remained about 100 known plates, which were available to produce fine quality impressions. For 100 years the bulk of Rembrandt's plates were shrouded in mystery. As time moved on some of Rembrandt’s plates began to surface. By this time Rembrandt’s plates were miserably worn and dull. Amand Durand, who by now had made the ranks of a noted engraver, decided to remedy this with his own gifted talents. He researched and intensely studied pieces that were available only in collections. From here on he spent the major part of his life exactly duplicating Rembrandt’s images onto copper plates. These recreations were called Amand Durand’s after Rembrandt. Their unbelievable clarity and exactness were achieved because Amand Durand used as his guide, not the worn and dull plates, but the first and second state etchings of the master’s original works. By this time Durand’s talent were known to experts of the 19th and 20th centuries.

In 1855, Conservator of the Cabinet de Estampes, George Duplessis so appreciated the genius of this man that he had his work published in books which belong to the Bibliotheque Nationale in France. Amand-Durand was used as master etcher in an anthology of European engravings, which became so valuable that they were kept under locked scrutiny in most libraries. What we have is a noted master duplicating a master some 200 years later.

Charles Amand Durand (8)

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1870 Amand Durand & Heinrich Aldegrever Antique Prints of Lazarus, 16th century

1870 Amand Durand & Heinrich Aldegrever Antique Prints of Lazarus, 16th century

  • Title : Erumnos hic lazar iages ad ianva divitis/Dives epvlo elamis
  • Date : 1870
  • Condition: (A+) Fine Condition
  • Ref:  22444
  • Size: 14in x 9 1/2in (350mm x 240mm) 

Description: 
This fine original antique print of 2 amazingly detailed engravings by Amand Durand after the German printmaker Heinrich Aldegrever or Aldegraf (signed A G & dated 1554 & 1561) - who was part of the 16th century German school of artists known as the "Little Masters" renown for their small and finely detailed engravings. This one details the parable of the rich man and Lazarus: Lazarus asks for bread  - was engraved and published by Durand in 1870.

Charles Amand Durand (1831-1905) was an innovation and passionate engraver & artist who resurrected the fading copper & wood plates of various Old Masters from the 15th, 16th and 17th centuries such as Rembarant, Albrect Drurer, Hans Sebald Beham and others. He admired their etchings and engravings which he noted through the ravages of time had faded and were no longer producing quality impressions.

Durand's re-engravings are so well respected major collectors throughout Europe sought to acquire them, including the French Biblioteque Nationale and the Louvre Museum in Paris. Born in Paris and became a master engraver early in his career. He deeply admired the 15th, 16th, and 17th century Old Masters’ engravings and saw how they lost quality and faded from the ravages of time. This realization, combined with in-depth research throughout public and private collections of these masters, inspired Durands dedication to recreate their images and preserve the original quality for future generations.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

$275.00 USD
More Info
1870 Amand Durand Antique Print of 15th century Italian Nobels

1870 Amand Durand Antique Print of 15th century Italian Nobels

Description: 
This finely engraved, beautifully detailed original antique print - of 15th century Italian Nobles - was engraved and published in 1870.

Charles Amand Durand (1831-1905) was an innovation and passionate engraver & artist who resurrected the fading copper & wood plates of various Old Masters from the 15th, 16th and 17th centuries such as Rembarant, Albrect Drurer, Hans Sebald Beham and others. He admired their etchings and engravings which he noted through the ravages of time had faded and were no longer producing quality impressions.

Durand's re-engravings are so well respected major collectors throughout Europe sought to acquire them, including the French Biblioteque Nationale and the Louvre Museum in Paris. Born in Paris and became a master engraver early in his career. He deeply admired the 15th, 16th, and 17th century Old Masters’ engravings and saw how they lost quality and faded from the ravages of time. This realization, combined with in-depth research throughout public and private collections of these masters, inspired Durands dedication to recreate their images and preserve the original quality for future generations.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

$275.00 USD
More Info
1870 Amand Durand Antique Print of Card 49 of 15th Century Mantegna Tarocchi or Tarot Card

1870 Amand Durand Antique Print of Card 49 of 15th Century Mantegna Tarocchi or Tarot Card

Description: 
This finely engraved, beautifully detailed, high quality original antique print of card 49 of the Mantegna Tarocchi or Tarot Cards, was engraved and published by the famous French Artist Amand Durand in 1870 after a 15th century wood-cut plate.

The Tarocchi di Mantegna is a set of 50 copper-engraved emblematical images (c.1465) which were probably a social pastime, or an instructional or educational series. It is not clear whether they were produced by Andrea Mantegna (1431-1503), however, the subjects of the set are mentioned by Giorgio Vasari who writes in his Lives about Mantegna that he created copper prints of trionfi - another name for the tarot Trumps. 

There are no suits and the images are numbered consecutively from 1 to 50, divided into the following groups: Society; Apollo and the Nine Muses; the Arts and the Sciences; the Seven Virtues and Sun, Time and the World; the Planets and the Spheres. Thus we have a system of divine activities and functions reflecting an ideological structure. There are a number of versions and copies by different artists. Of the known examples none were made into a pack of playing cards, but were printed onto thin paper as black and white outlines. However, woodcut copies of these engraved images occur in later educational or didactic books 

In the debates and speculation regarding the origin, purpose and meaning of the “Mantegna Tarocchi” series, some misconceptions have been perpetuated from earlier literature. Possibly they represent a humanist world view or cosmology of the day; the outward design and hierarchical structure, beginning with the fool and leading up via craftsmen to the aristocracy, the king and the pope, through the muses, virtues and planets to the Cosmic Principles, reflects an androcratic ideology. Each figure has a name and a number. In some respects they remind us of the Hofämterspiel. A distinction is that the Tarocchi reflects a world order prompted by humanism, with the aristocracy and the church ranking lower than the arts, the sciences, the virtues, the planets and the spheres. The Hofämterspiel reflects feudal society.

Card games based around the Virtues and Vices, or Social Subjects, have of course been produced from time to time over the centuries. Possibly the tarot trumps were merely an alternative or condensed version of these images, which most educated people would recognise, added to a pack of cards for the purpose of making a new card game.

Charles Amand Durand (1831-1905) was an innovation and passionate engraver & artist who resurrected the fading copper & wood plates of various Old Masters from the 15th, 16th and 17th centuries such as Rembarant, Albrect Drurer, Hans Sebald Beham and others. He admired their etchings and engravings which he noted through the ravages of time had faded and were no longer producing quality impressions.

Durand's re-engravings are so well respected major collectors throughout Europe sought to acquire them, including the French Biblioteque Nationale and the Louvre Museum in Paris. Born in Paris and became a master engraver early in his career. He deeply admired the 15th, 16th, and 17th century Old Masters’ engravings and saw how they lost quality and faded from the ravages of time. This realization, combined with in-depth research throughout public and private collections of these masters, inspired Durands dedication to recreate their images and preserve the original quality for future generations.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

$275.00 USD
More Info
1870 Amand Durand Antique Print of The Virgin Mary & Angel - 17th Century

1870 Amand Durand Antique Print of The Virgin Mary & Angel - 17th Century

Description: 
This finely engraved, beautifully detailed, high quality original antique print - an early representation of The Virgin Mary visited by an Angel - was engraved and published by the famous French Artist Amand Durand in 1870.

Charles Amand Durand (1831-1905) was an innovation and passionate engraver & artist who resurrected the fading copper & wood plates of various Old Masters from the 15th, 16th and 17th centuries such as Rembarant, Albrect Drurer, Hans Sebald Beham and others. He admired their etchings and engravings which he noted through the ravages of time had faded and were no longer producing quality impressions.

Durand's re-engravings are so well respected major collectors throughout Europe sought to acquire them, including the French Biblioteque Nationale and the Louvre Museum in Paris. Born in Paris and became a master engraver early in his career. He deeply admired the 15th, 16th, and 17th century Old Masters’ engravings and saw how they lost quality and faded from the ravages of time. This realization, combined with in-depth research throughout public and private collections of these masters, inspired Durands dedication to recreate their images and preserve the original quality for future generations.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

$275.00 USD
More Info
1870 Murillo Durand Antique Print Self Portrait of Bartolomé Esteban Murillo

1870 Murillo Durand Antique Print Self Portrait of Bartolomé Esteban Murillo

  • Title : Bart Murillo seipsum depin gens. pro filorum votis acprecibus explendis
  • Date : 1870
  • Condition: (A+) Fine Condition
  • Ref:  22446
  • Size: 14in x 9 1/2in (350mm x 240mm)

Description: 
This fine original antique wood-cut print of the Spanish artist Bartolomé Esteban Murillo was produced from a reworked 17th century wood-block by Amand Durand in 1870. As a way of clarification this print was printed in 1870 by Durand by means of a wood-block  from the original 17th century wood-block. Please see below for further detail.

The Latin inscription on the cartouche at the centre of the ledge explains that the self-portrait was made at the request of Murillo's children: 'Bart (olo) mé Murillo portraying himself to fulfil the wishes and prayers of his children - or sons'. Despite the unlined appearance of the face the painting is probably relatively late in date, of the early 1670s, when Murillo's children would have been of an age to take pride in their father's achievements. The composition is based on a formula that had been developed for portrait engravings used on the frontispiece of books. The sitter is shown in an oval frame and on the ledge below are the instruments of his profession, a palette and brushes on the right and a drawing and pencil on the left.

Bartolomé Esteban Murillo (born late December 1617, died April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times.

Amand Durand, born in Paris France, 1831, became a master engraver early in his career. He deeply admired the 15th, 16th, and 17th century Old Masters’ engravings and saw how they lost quality and faded from the ravages of time. This realization, combined with in-depth research throughout public and private collections of these masters, inspired Durands dedication to recreate their images and preserve the original quality for future generations. In 1895 Theo Van Gogh, brother and manager of the infamous Vincent Van Gogh stumbled across the works of this artist in one of his travels. He was so impressed that he sought the artist out and spent an evening with him in his home. Afterward he quickly took to pen and paper to write Vincent to express his enthusiasm for his artistic talents and intellect. The Van Gogh brothers were just two of the many that recognized Amand Durand's talents. However, it would take years to unravel a story book mystery that makes his works and talents even more famed today. Amand Durand was a great admirer of Rembrandt. He desired to study the plates and techniques of this genius. Unfortunately at the time there only remained about 100 known plates, which were available to produce fine quality impressions. For 100 years the bulk of Rembrandt's plates were shrouded in mystery. As time moved on some of Rembrandt’s plates began to surface. By this time Rembrandt’s plates were miserably worn and dull. Amand Durand, who by now had made the ranks of a noted engraver, decided to remedy this with his own gifted talents. He researched and intensely studied pieces that were available only in collections. From here on he spent the major part of his life exactly duplicating Rembrandt’s images onto copper plates. These recreations were called Amand Durand’s after Rembrandt. Their unbelievable clarity and exactness were achieved because Amand Durand used as his guide, not the worn and dull plates, but the first and second state etchings of the master’s original works. By this time Durand’s talent were known to experts of the 19th and 20th centuries. In 1855, Conservator of the Cabinet de Estampes, George Duplessis so appreciated the genius of this man that he had his work published in books which belong to the Bibliotheque Nationale in France. Amand-Durand was used as master etcher in an anthology of European engravings, which became so valuable that they were kept under locked scrutiny in most libraries. What we have is a noted master duplicating a master some 200 years later. (Ref: M&B; Tooley)

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: -  General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1/2in (12mm)

 Imperfections:
Margins: - None
Plate area: - None
Verso: - None

$275.00 USD
More Info
1878 Augustin Mongin Antique Print - Classical Art Woman with a Bow

1878 Augustin Mongin Antique Print - Classical Art Woman with a Bow

Description: 
This finely engraved, beautifully detailed, high quality original antique print of a Classical figure Woman with Bow was engraved by Augustin Mongin - signature engraved at the base of the print - and published in the 1878 edition of The Portfolio.

Augustin Mongin: A nineteenth century French painter and etcher, Augustin Mongin studied art in Paris under Gaucherel. He first exhibited at the Paris Salon in 1874 and during the following years received medals in 1876, 1885, 1887 and 1889. Augustin Mongin was elected to the Societe des Artistes Francais in 1887 and, in 1900, was awarded both the Chevalier de la Legion d'honneur and the medaille d'honneur. In his etchings, Augustin Mongin was best known for his for works after the art of old masters such as Karel du Jardin, Reynolds and Peter Lely. He was also commissioned by publishers in both France and England for etchings after contemporary artists, such as H. G. Glindoni.

.General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

$225.00 USD
More Info
1878 Léon Richeton Antique Print - Gainsborough Boy Print

1878 Léon Richeton Antique Print - Gainsborough Boy Print

Description: 
This finely engraved, beautifully detailed, high quality original antique print of a Gainsborough Child Print was engraved by Léon Richeton - signature engraved at the base of the print - and published in the 1878 edition of The Portfolio.

Léon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence and Gainsborough. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

$275.00 USD
More Info
1878 Léon Richeton Antique Print - Gainsborough Portrait

1878 Léon Richeton Antique Print - Gainsborough Portrait

Description: 
This finely engraved, beautifully detailed, high quality original antique print of a Gainsborough Child Portrait was engraved by Léon Richeton - signature engraved at the base of the print - and published in the 1878 edition of The Portfolio.

Léon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence and Gainsborough. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

$275.00 USD
More Info