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Complete suite of six framed prints (Blum: 1184-1189; Duplessis: 34-39) in a homogeneous edition, all with margins or margins with the exception of the Festin cut at the limit of the border.

-The Prodigal Son leaves the paternal home

Skillfully restored transverse tear, fine dubbing, tiny brown stain.

-The Prodigal Son in a bawdy-house, uncovered version

State II / III before the modifications on the panties of the man in the kitchen and the recovery on the hand of the Prodigal Son to make the board more "decent". On this piece the mention "du Roy"as well as the address of the publisher undoubtedly erased because of its scabrous character and re-established in the last version considered more suitable.

Two old traces of brown ink in the most nimble places.

-The Prodigal Son keeps the pigs

Tiny brown spot in the border.

-The Return of the Prodigal Son

-The Prodigal Son changes his clothes Two traces of pencil in the sky and on the column.

-The Feast of the Return

The parable of the Prodigal Son is the subject of almost the entire chapter XV of the Gospel according to Saint Luke. Bosse respects the letter but he nevertheless watered down the end as was previously the case with many other artists very inspired by this theme, such Dürer, Beham, Mérian (who was one of the masters of the Bosse) or Callot whose slightly earlier sequel maintains a discreet relationship with it. (cf.: Abraham Bosse, learned engraver, BNF, Museum of Fine Arts in Tours, 2004)

Each, at sight approximately 250 x 320 mm
With the frame 405 x 460 mm

HISTOIRE DE L'ENFANT PRODIGUE

  • Author : BOSSE ABRAHAM ( 1605-1678 )
  • Technic: Burin
  • Date : ca.1636
  • Width : 320.00
  • Height : 250.00
  • Leaf width : 460.00
  • Leaf height : 405.00
  • Availability: In Stock

  • 2,400.00 €



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Guarantee of Authenticity

All our prints and engravings are guaranteed to be original.

Art Gallery in Paris

11 Passage Verdeau, Paris 9th. Recognized expertise in ancient and modern prints, Japanese and European. Member of SLAM (Syndicat de la Librairie Ancienne et Moderne) and ILAB (International League of Antiquarian Booksellers)

Conservation Museum Quality

Flat packaging, acid-free folders with neutral pH and reinforced protection.

Shipping within the European Union

Careful delivery within 24/48 hours with ad valorem insurance and real-time tracking.

Frequently Asked Questions from Collectors & Print Lovers

Answers on the authenticity, conservation and acquisition of Japanese prints and Master engravings.

How are the prints packaged and secured during delivery?

En résumé : The prints are protected in a neutral acid-free pouch, packaged strictly flat between two plates of rigid reinforced non-deformable cardboard with ad valorem insurance.

Prints are preferably shipped flat to preserve the fiber of the paper. Packages are shipped within 24 to 48 hours via Colissimo Expert with delivery against signature or express carrier (DHL / FedEx) with tracking number. Collection by hand from our Parisian gallery (11 Passage Verdeau) is also available during opening hours or on request.

How can we guarantee the authenticity and period print of an original print?

En résumé : An original print is verified by its edition, determined largely by the nature of its paper and the quality of its printing.

At the Maillard-Fouilleul Gallery, each work undergoes an in-depth examination, mention in the dedicated catalogs or directories, quality of the print and printing, possible presence of a watermark and its identification as well as any signature, sending or collector's mark, state of conservation of the print, integrity of the margins.

What is the difference between an Ukiyo-e print and a Shin-Hanga print?

En résumé : Ukiyo-e (17th–19th century) illustrates the classic “floating world” of Edo, while Shin-Hanga (20th century) renews woodcut with Western perspectives and light effects.

Ukiyo-e brings together illustrious masters like Hokusai, Hiroshige, Utamaro and Sharaku. The favorite subjects are actors, kabuki, courtesans or Bijin and landscapes, nature and its seasons being at the heart of art and the art of living in Japan. The Shin-Hanga (“new prints”) movement, launched by the publisher Watanabe Shozaburo in the years 1915-1960 with Hasui Kawase and Hiroshi Yoshida, preserves the traditional technique on wood with the intervention of a designer, an engraver and a printer, while infusing a spectacular atmospheric realism. To this we must add Sosaku-Hanga ("creative prints"), the creative process of which is in the hands of the artist alone and whose palette and graphic expression are freer.

How to properly preserve and frame a Japanese print or old engraving?

En résumé : Store prints away from UV rays and excessive humidity. Use only acid-free (neutral pH) mats and museum-quality anti-UV glass.

Inks like paper are very sensitive to direct light and humidity. We recommend reversible assembly with neutral pH or Japanese starch-based hinges, avoiding any synthetic adhesive. Never glue a print in full. For storage in drawing board, choose neutral polyester pouches (Melinex/Mylar) and permanent blotting paper.

Can you have your European and Japanese prints appraised or sold at the gallery?

En résumé : Yes, we examine your works for cash purchase, or valuation notice on photographs.

We are constantly looking for Japanese prints (Ukiyo-e, Shin-Hanga, Sosaku-Hanga), as well as engravings by ancient or modern European masters: Dürer, Callot, Bosse, Nanteuil, Boucher, Delacroix, Gericault, Goya, Rodin, Redon, Miro, Chagall, Buffet, Delaunay, Vasarely. You can send us photos by email to maillard.estampes@orange.fr or come and meet us directly at Passage Verdeau in Paris.

Galerie Maillard-Fouilleul · Specialist in ancient and modern prints · Ref. bibliographic: Hollstein, Bartsch, Le Blanc, I.F.F, Delteil, Last update: 09/2026.