Harris Schrank Fine Prints

Adolphe Beaufrere (1876-1960), [Mountain and Sea], soft ground etching, c. 1910, signed in pencil lower right margin and with the artist’s red stamp lower right. Not in Morane. In very good condition, printed on a cream/tan card, with small (1/4″) margins all around, 105 x 149 mm, 4 1/4 x 5 7/8 inches.

Provenance: acquired directly from Jean-Noel Beaufrere, the artist’s son.

A fine impression of this most unusual modernist image, printed with plate tone.

This is an exceedingly rare proof impression, quite possibly unique.

Detail, showing estate stamp and signature

Adolphe Beaufrere (1876-1960), La Vache Noire, Le Pouldu (The Black Cow. Le Pouldu), soft ground etching, 1910, unsigned.  Reference: Morane 10-23, only state. In very good condition, trimmed about 1/8-1/4 inch outside of the platemark, 7 x 8 1/8 inches.

Printed in black on a laid paper, with the watermark Original Hindostan Mill, with the letters and crest.

Provenance: acquired directly from Jean-Noel Beaufrere, the artist’s son.

A fine proof impression of this very rare composition. Morane notes that only 1 or 2 proofs of Le Vache Noire was pulled.

It appears that at this time Beaufrere was experimenting with a variation on a soft ground etching technique, perhap just brushing or dabbing acid on the plate, and then printing the plate.

Beaufrere was among the many artists who worked on the French Le Pouldu coast, others included Gauguin, Emile Bernard, and Paul Seurisier.

Detail

Gerald Leslie Brockhurst (1891-1978), Una (Portrait of a Creole Lady), etching, 1929, signed in pencil lower right, and also inscribed by the artist: “2nd State, GB”. Reference: Fletcher 65, second state (of 10), before the edition of 111. In very good condition, printed on a cream wove paper with full margins, 8 5/8 x 6 1/4, the sheet 15 3/8 x 10 1/8 inches, archival matting.

A fine impression of this early state, before the signature in the plate and much additional shading in the background and on the figure.

Only 4 proofs are known in this state.

A painting in the Metropolitan Museum of Art in New York by Brockhurst is related to this etching; the model is the same woman.

Gerald Leslie Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best: as a master etcher, and superb draftsman.

Detail

Mary Cassatt (1844-1926), The Manicure, drypoint,  circa 1908, signed in pencil lower left. Reference: Breeskin 199, first state (of 2).In very good condition, printed on laid paper with margins, 8 3/8 x 6, the sheet 12 3/4 x 9 inches.

Provenance: Robert Hartshorne, New York (with his stamp verso, Lugt 2215b).

A fine delicately printed impression, printed in a dark brownish/black ink, with touches of burr from the drypoint work in many places, and a very subtle veil of plate tone.

Robert Hartshorne collected fine examples of work by artists such as Degas, Cezanne, Matisse, and Picasso, and was known for his particularly distinguished collection of Cassatt prints.

Although Manicure is frequently seen in the later second state restrike impressions, first state impressions are exceedingly rare.

Detail

Detail

Reginald Marsh (1896-1954), Pennsylvania Rail Road Loco Waiting to be Junked, 1932, etching, signed in pencil lower right and numbered “12” lower left.  Reference: Sasowsky 130, fifth state (of 5). In very good condition, with margins (slightest trace of light stain), 6 x 11 3/4, the sheet 7 1/4 x 13 3/4 inches.

Provenance: Kennedy Galleries (with their stock number on margins.

A fine impression, printed in black on cream wove BFK Rives paper (with a partial watermark).

This impression was printed by Marsh personally (and has margins trimmed a bit irregularly, as is typically of Marsh’s self-printed prints). His notes are of interest, e.g., he notes that he “Drew design from nature in two afternoons” and that the design was complete in the first state “except for tracks and sky.” He made only small changes thereafter, e.g., in state 3 added “cinders in track and sky drawn.”  Only about 19 impressions were made of the 5th state, and only 1, 2 or 3 impressions of the prior states.

Detail

Walt Kuhn (1877-1949), Advice, etching and drypoint, 1915, signed in pencil lower right and titled lower left. In generally good condition but obviously a proof impression, with margins (trimmed irregularly), remains of prior hinging showing through at upper margin, a red ink notation lower margin (“29 Conversation”), 4 3/8 x 2 1/2, the sheet 6 1/8 x 4 5/8 inches.

Provenance: ex Collection: Jonathan Greenberg, New York.

A very good, inky impression of this great rarity. The total number of proofs is about 6 or less, probably 3 or 4.  This is listed as number 3 in the Kennedy Galleries Walt Kuhn Checklist, made for an exhibit of his prints in 1967; it is cited as a print where no more than 6 impressions are known to exist.

Advice appears to be a portrait of circus or carnival performers in an off-stage moment.

Detail

Walt Kuhn (1877-1949), Strong Girl, drypoint, 1916 [signed in pencil by Kenneth Hays Miller and inscribed Zinc sheet E printed by Howard Moore Park 1928). In very good condition, printed on a cream wove paper, 7 1/2 x 5 1/4, the sheet 11 1/8 x 8 1/2 inches.

Provenance: ex Collection: The Metropolitan Museum of New York, with their stamp verso.

ex Coll: Jonathan Greenberg, New York City

A very good impression of this rare early Kuhn print.

This is listed as number 48 in the Kennedy Galleries Walt Kuhn Checklist, made for an exhibit of his prints in 1967.

Kuhn was of course intimately familiar with circuses and carnivals. To the left of the Strong Girl holding the barbells is another woman, less muscular, perhaps a trapeze artist.

Kenneth Hays Miller was an important figure in modernist art for many years, a teacher of Reginald Marsh, Isabel Bishop and other members of the 14th Street school, and a prominent artist and printmaker in his own right.

Adolphe Appian (1819-1898), Barque de Pecheurs (also known as Barques de Cabotage Cotes d’Italie), etching, 1874, printed with title below and with the inscription Appian Sc. lower left. References: Curtis and Proute 40, Jennings 35, G. and A. Burton 37, second or third state (of 3). In excellent condition, printed on a cream laid paper, 5 3/4 x 8 3/4, the sheet 8 x 11 1/2 inches.

A fine impression, printed with a subtle veil of plate tone, wiped selectively so that the central sail is bright; printed in a dark brownish/black ink.

In the fine Burton catalogue it is noted that:

“The painting of this title was exhibited at the 1872 Paris Salon, and the print was exhibited there three years later. It is another rare composition arranged around a central element…with the white sail as the static focus of the picture.”

detail

Albrecht Durer (1471-1528), Christ Taking Leave of His Mother (Der Abschied Christi von seiner Mutter), a proof impression before the edition of 1511, woodcut on laid paper, from the Small Woodcut Passion. References: Bartsch 21, Meder 132, Schoch/Mende/Scherbaum 193. In excellent condition, 5 x 3 3/4 inches (128 x 98 mm).

Provenance:

Stefan Jamesy, Vienna and New York (Lugt 1529 d)

Watermark: Bull’s Head (Meder 70)

A fine fresh proof impression (before the edition of 1511)

Gerald Leslie Brockhurst (1891-1978), Una (Portrait of a Creole Lady), etching, 1929, signed in pencil lower right [also signed in reverse in the plate lower left]. Reference: Fletcher 65, tenth state (of 10), from the edition of 111. In very good condition, the slightest marginal toning, printed on a cream wove paper with full margins, 8 5/8 x 6 1/4, the sheet 15 3/8 x 10 1/2 inches, archival matting.

A very fine impression, delicately printed in brownish/black ink.

Provenance: Kennedy Galleries, with their stock number (A53211) lower right.

A painting in the Metropolitan Museum of Art in New York by Brockhurst is related to this etching; the model is the same woman.

Gerald Leslie Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best: as a master etcher, and superb draftsman.

Henri Matisse (1869-1954), Le Grand Nu, lithograph, 1906, signed and numbered (23/50) in pencil lower right. Reference: Duthuit-Garnaud 403, only state, from the edition of 50. Printed by August Clot, Paris. In excellent condition, the full sheet, 11 1/8 x 9 7/8, the sheet 17 11/16 x 13 3/4 inches, archival matting.

A fine rich impression, printed in black on a soft light China paper.

Le Grand Nu is Matisse’s first lithograph, drawn directly on the stone; it is a landmark print both in his career as an artist and printmaker, and in the history of modernist printmaking.

By 1906 Matisse had been involved in Fauvist art for a couple of years, and Le Grand Nu is often regarded as a Fauvist print (and so it is, at least chronologically). But as many commentators have observed, it also has strong cubist elements, although Braque and Picasso were to embark on their cubist work some time after Le Grand Nu. But perhaps the cubism of Le Grand Nu is really a reflection of the importance of Cezanne to Matisse – Cezanne’s ability to abstract form, to reduce objects to their simplest forms – his cones, cylinders, spheres.  At about the time he created Le Grand Nu Matisse defined his aesthetic aims:

“What I am after is expression…Expression to my way of thinking does not consist of the passion mirrored upon a human face or betrayed by a violent gesture. The whole arrangement of my picture is expressive. The place occupied by figures or objects, the empty space around them, the proportions, everything plays a part….every part will be visible and will play the role conferred upon it…All that is not useful in the picture is detrimental. A work of art must be harmonious in its entirety; for superfluous details would, it the mind of the beholder, encroach upon the essential elements. “

detail

Giovanni Battista Piranesi (1720-1778),  etching, 1748 [signed in the plate lower left, and titled]. References: Wilton-Ely 87, Focillon 90. First Edition. From Varie Veduti de Roma Anticha e Moderna. In very good condition, stray spots of oil mostly on verso not affecting image, a written number in margin upper right, 4 3/4 x 7 3/4, the sheet 8 3/4 x 12 3/4 inches.

A fine early lifetime example from this series of small plates made early in Piranesi’s career. Printed in black on a firm cream laid paper.

The plates of the Views of Ancient and Modern Rome were made at the outset of Piranesi’s career. Impressions from the First Edition are rare; in fact any impressions from the set are quite rare, largely because Piranesi sold the plates, and they were not included in the many frequently re-issued editions of Piranesi’s collected works.

The Villa Ludovisi in Rome was built in the 17th century by Domenichino for the Cardinal Ludovico Ludovisi; the magnificent gardens were designed by Andre Le Notre, the architect of the gardens of Versailles.

The plate below by Israel Silvestre (1621-1691), an eminent 17th Century etcher, shows the Ludovisi Palace about 75 years earlier, before the construction of the gardens and elaborate entrance area and fountain. (This etching will be sold as an interesting companion piece to the Piranesi impression).

Detail

View of Villa Ludovisi circa 1770 by Israel Silvestre (1621-1691)

William Zorach (1887-1966), Pegasus, 1921, linocut, signed in pencil lower right. In very good condition, on thin cream laid paper with margins, 4 1/2 x 4 7/8, the sheet 8 x 7 1/2 inches, archival mounting.

A fine clear black impression.

Provenance: Heald Collection.

Pegasus is of course the winged horse of Greek mythology; among other stories, the young warrior Bellerophon rode Pegasus when he went off to slay the monster Chimaera, and after this success he rode Pegasus as he successfully destroyed a series of monsters. Pegasus is also the name of a constellation in the Northern Hemisphere.

Efram Burk, in his brilliant article on Zorach’s prints in the Print Quarterly (The Prints of William Zorach, December, 2002) conjectures that the rider in Zorach’s Pegasus might have represented a girl Zorach met while hiking in 1920; Zorach wrote that he had seen her riding, and he wrote her letters over a period of a decade.

Zorach studied modernist art in Paris in the years 1909-11, and was introduced to it as well through Marguerite Thompson, who met Matisse, Picasso, Zadkine, etc. in Paris at that time; Marguerite met Zorach in 1911 and they married in 1912.  Pegasus, one of his more abstract compositions, was created in Provincetown, in 1921.

John R. Barclay (1884-1962), The Proof, drypoint, c. 1920, signed in pencil lower left and numbered (no. 9) lower right 9also with the stamp number 3551 . In very good condition, on a laid paper (with the partial watermark Gelder), with margins, 7 7/8 x 7 7/8, the sheet 14 3/8 x 9 7/8 inches, archival matting.

A fine impression of this rarely encountered image, printed in a dark brownish/black ink with substantial drypoint burr, and with a subtle layering of plate tone at the right and bottom of the composition, the left area and the face of the man wiped more thoroughly.

Barclay was a member of the Edinburgh Group, a group of Scottish painters who exhibited together in 1912 and 1913, and then after the war in 1919, 1920 and 1921. Other members of the group included Eric Robertson (1887-1941), William Oliphant Hutchison (1889-1970), and Mary Newbery (1892-1985).

This impressionistic composition of a man holding an etching proof  may be a self portrait of the artist, and the print itself bears evidence of its being a working proof, i.e., it is printed toward the top of the sheet, and has a number of faint fingerprints or ink marks at the edges of the sheet.

Arthur B. Davies (1862-1928), Girl Running (or Woman Running), drypoint, 1917, signed in pencil (twice) lower leftand dated lower right. Reference: Czestochowski 44, Price 126, first state (of 2). In very good condition, on a light cream laid paper, with margins, 4 3/8 x 3 7/16, the sheet 6 1/2 x 5 1/8 inches.

Provenance: ex Collection Elizabeth Luther Carey (pencil verso). Ms. Carey was an American art and literary critic, well-known in the early 20th century for her works on Tennyson, Browning and Emerson, and the artists Whistler, Daumier and Blake.

A fine impression, with much burr from the drypoint work, and selective plate tone, a bit darker under the lines which suggest a road or path near the bottom of the composition; also many lines have extended shading probably through the use of retroussage (pulling ink out of the etched or drypoint lines with a cloth or feather). Czestochowski notes that Davies experimented with different inkings on Girl Running in its first state, and we show another impression below in the same state (also in our collection) with a very different look because of the inking.

A comparison impression, with darker overall plate tone.

Arthur B. Davies (1862-1928), Iris (Nude Seated), 1916, drypoint on zinc, signed in pencil lower right.  Reference: Czestochowski 33, second state (of 2), total printing unknown but small.   In very good condition, with margins, printed in black with an overall plate tone on a light cream wove paper.  8 7/8 x 6 15/16, the sheet 12 1/2 x 9 5/8  inches, archival matting.

A very good impression, after the addition of roulette and various shades of aquatint in 1918.

In this delicately printed impression Davies achieves the floating gauzy effect of his pre-Armory show symbolist imagery. The light drypoint lines of the first state are now barely evident, as if they have been burnished, and three layers of aquatint now surround the wispy image.

There is an impression of Iris in the second state hand-colored by Frank Nankivell at Michigan State University. This was perhaps a guide for a contemplated color edition;  however, no such color edition was made.

Arthur B. Davies (1862-1928), Iris (Nude Seated), drypoint on zinc, 1916, signed in pencil lower left.  Reference: Czestochowski 33, first state (of 2).  In excellent condition, on a very light laid paper. With margins, 8 7/8 x 6 15/16, the sheet 11 1/4 x 8 3/4  inches, archival matting.

Provenance: ex Collection Lansing C. Baldwin

A fine impression of this rare proof, with a substantial layer of plate tone, and burr from the drypoint work. This print was not editioned in any state.

This first state impression shows the design drawn in drypoint; in the second state aquatint was added as well as some roulette work.

At this stage of his printmaking career Davies was immersed in experimentation with cubism, surely as influenced by his involvement in the Armory Show of 1913 – but Davies had always been one of the few American artists conversant with the work of the European modernists. In Iris he explores a number of cubist elements such as the intersection of flat planes, while adhering to a realistic rendering of the central figure.

Detail

Arthur B. Davies (1862-1928), Moonlight on the Grassy Bank, soft ground etching and aquatint, drypoint and roulette, 1919, signed in pencil lower right. Reference: Czestochowski 71, fourth state (of 5); total printing unknown but small. In good condition apart from traces of foxing and staining especially toward to the margin edges away from the image, remains of prior hinging verso, with margins, 11 3/4 x 7 3/4, the sheet 14 1/4 x 9 7/8 inches.

A fine impression, with the aquatint layering contrasting vividly. Printed in black ink on a cream laid paper.

Moonlight on the Grassy Bank is a tour-de-force both compositionally and technically. Here Davies has his emblematic nude figures posing, dancing with their hands, in an usual vertical composition. The etching is rich with at least 4 layers of aquatint, from a very light layer on the figures and in the sky to a deep black in the tree. Davies has also added drypoint, with rich burr, as well as dotted lines created by a roulette, between the arms of the figure at the left, and the arm of the right figure and the tree.

Detail

Gerard Edelinck (1649-1707), Philippe, Duc d’Anjou, after de Troy, engraving, c. 1698. Reference: Randall Coll. 736. In very good condition (remains of prior hinging verso), with margins, 15 1/4 x 11 1/2, the sheet 16 5/8 x 12 7/8 inches, archival matting.

Provenance: ex Collection Gottfried Eissler (Lugt Supplement 805b, with his stamp verso)

A fine impression.

Philippe, Duc d’Anjou (1683-1746) is pictured just before he was named King Philippe V of Spain in 1700. Philippe was born at Versailles, the second son of Louis, le Grand Dauphin and Duchess Maria Anna of Bavaria.  At his birth he was named Duke d’Anjou, which he would be known as until he became the king of Spain.

Edelinck is of course well known as one of the great 17th Century masters of portraiture, and the burin.  Francoise de Troy (1645-1730), who painted this portrait, was a renowned painter and engraver, a director of the Royal Academie of Painting and Sculpture, and a member of an eminent family of artists.

Detail

Gerard Edelinck (1649-1707), Philippe, Duc d’Anjou, after de Troy, engraving, c. 1698. Reference: Randall Coll. 736. In very good condition (remains of prior hinging verso), with margins, 15 1/4 x 11 1/2, the sheet 16 5/8 x 12 7/8 inches, archival matting.

Provenance: ex Collection Gottfried Eissler (Lugt Supplement 805b, with his stamp verso)

A fine impression.

Philippe, Duc d’Anjou (1683-1746) is pictured just before he was named King Philippe V of Spain in 1700. Philippe was born at Versailles, the second son of Louis, le Grand Dauphin and Duchess Maria Anna of Bavaria.  At his birth he was named Duke d’Anjou, which he would be known as until he became the king of Spain.

Edelinck is of course well known as one of the great 17th Century masters of portraiture, and the burin.  Francoise de Troy (1645-1730), who painted this portrait, was a renowned painter and engraver, a director of the Royal Academie of Painting and Sculpture, and a member of an eminent family of artists.

Detail

Jacques Villon (1875-1963), Pour le Bapteme de Madeleine, 1900, aquatint , etching, printed in soft blue ink, signed in pencil lower right and numbered 7/10. On laid paper. Reference: Genestet and Pouillon 45, only state. [Also signed in the plate “G Duchamp”, fully titled, dated “Juin 1900”, and with the name Madeleine added on the box cover (?) lower right.] In very good condition, the full sheet with margins (indications of inking in margins, as typical of a trial proof). 7 1/8 x 5 5/8, the sheet 14 1/4 x 11 inches.

A fine, delicately and lightly printed impression of this great rarity (the picture above shows a pink not in the actual print). Although an edition of 50 impressions is indicated, this print is only rarely encountered, and is here numbered as in an edition of 10.

In 1970 Lucien Goldschmidt (Jacques Villon, A Collection of Graphic Work 1896-1913 in Rare or Unique Impressions) catalogued an impression of “Pour le Bapteme de Madeleine” as the frontispiece of a menu, presumably for the celebration of Madeleine’s (Villon’s young sister) Baptism.

At this early point in his career (he was 25) Villon had begun experimenting with aquatint; this proof shows that he had achieved mastery by this time.

Raoul Dufy (1877-1953), L’Amour, woodcut, 1910, signed in pencil lower right and annotated “a J. E. Laboureur”, printed on a chine appliqué, in adequate condition apart from small creases mostly in margins, a stain and associated thin spot lower left.  Printed apart from the early edition of 100 which were signed and numbered by Dufy (there was also a later edition unsigned and estate stamped); this is probably a proof apart from the initial edition of 100 reserved for the artist (which he then gave to Laboureur).  Impressions from the original edition are now rare.  11 7/8 x 12 1/2, the sheet 17 3/8 x 20 1/2 inches.

A very good impression of this important woodcut.

It is quite fitting that we find Dufy inscribing this woodcut to Jean-Emile Laboureur (1877-1943). Laboureur and  Dufy were contemporaries (born in the same year, 1877), and both were influenced by similar currents of modernism, including  the adaptation of the woodcut technique to modern art (particularly the example of Vallotton’s woodcuts), and of course Cubism.  Dufy had an early exposure to Cubism (in 1908, working with Braque at L’Estaque, near Marseilles); Laboureur created his unique adaptation of the Cubist idiom a few years later.

L’Amour is one of a set of woodcuts Dufy made on his return in 1910 from a visit to Munich; observers have noted that it shows evidence of his being inspired by the German Expressionists.  But largely because of its date and Dufy’s involvement with the Fauvists, L’Amour can be seen as an important example of Fauvist woodcutting. The set of woodcuts was exhibited at the Salon d’Automne of 1910.

Detail

Adriaen Van Ostade, The Singers, circa 1668, etching. References: Godefry, Hollstein 19. The fifth state (of seven). In very good condition. [with the inscription on the plate [A. v. oftade fecit et excud.]. With margins, 9 7/16 x 7 17/32, the sheet 9 17/32 x 7 19/32  inches. On old laid paper.

Provenance: Craddock and Barnard, London, acquired on December 8, 1967 by Dr. S. W. Pelletier (with his stamp verso, Lugt 4193).  Dr. Pelletier was known for his fine collection of Van Ostade etchings (as well as superb examples of etchings by Rembrandt, Van Dyke, Meryon, and others).

A fine impression in black ink on ivory laid paper, with superb contrasts.

In this state the three vertical lines above the jug are crossed by three diagonal strokes, also appearing in the margin, before the scratch on the nose of the standing man).  Dr. Pelletier notes that Godefry is not correct in stating that state V is a Picart (and thus possibly posthumous) printing; and that the Picart is of state VI (cf. Adriaen Van Ostade, Etcher of Peasant Life in Holland’s Golden Age, pp. 109-110. This impression is illustrated in this volume, p. 106).

Further data on this and other Van Ostade prints, in the exhibition catalog for the 1998 exhibition at the Rembrandthuis, Everyday Life in Holland’s Golden Age: The Complete Etchings of Adriaen van Ostade, sheds additional light on the dating of this impression. Laurentius points out, based on watermark evidence, that there were posthumous printings of Van Ostade prints in the period 1685-1700, probably by Gole, and indeed, that Picart may not have printed/published a posthumous edition at all. In the initial essay in the catalogue Pelletier revises his ’94 opinion that this impression is definitely lifetime in light of Laurentius’s conclusion that the print in this state is found in the posthumous editions. Pelletier notes, however, that “In some cases impressions of a Picart-Gole state are still in the condition left by Van Ostade. My own studies indicate that the following fifteen etchings, in the states corresponding to those in the Picart-Gole edition, do not contain the characteristic fine, close, parallel strokes, and therefore probably exist in lifetime impressions: B. 1,2,5,6,8,10,13,16,19,20,24,27,33,40, and 41.” He then gives examples of Mariette-dated prints that were in lifetime states but the same states in the posthumous edition(s). (Slatkes also notes that whomever produced the early posthumous edition re-worked only those plates which were especially worn.) Laurentius points out that a number of the etchings examined did not have watermarks.  Watermark evidence would shed light on the lifetime status of this impression but unfortunately, without the watermark evidence, we can not conclude with certainty that this is not (or is) a lifetime impression (and we can not find a watermark on this impression, nor could Pelletier).

The Singers is one of Van Ostade’s most important and impressive works. It shows four singers, three of whom are highlighted by the candlelight held by the man at the left; a fourth man is in the shadows upper left, and other shapes, suggesting figures, lurk in the background as well.

The Singers probably depicts members of a rhetorical group; these groups were common in The Netherlands during the late 15th and 16th centuries (there were two in Haarlem at the time, and many local artists such as Frans Hals and Esaias van de Velde, were members). Their members presented public readings, plays, and sponsored literary competitions. Jan Steen created well-known paintings of such a group (at Worcester and Philadelphia), probably after Van Ostade’s conception. Van Ostade as well made several drawings and a watercolor on the subject, and probably at least one painting (now lost). The triangular shape at the bottom of the etching is surely the upper half of a “blazon” or coat of arms that these rhetorical groups used to identify themselves.

Detail

Etienne Delaune (1519-1583) Grotesques Sur Fond Noir, engravings, circa 1560, the set of 6 plates of Grotesques Sur Fond Noir (Oval Compositions of Divinities and Fables). Reference:  Robert-Dumesnil 371-376. Very good condition, tiny crease upper left margin (R-D 373); parts of collector’s stamps on several at margins; trimmed well outside of oval borders, archival mat.  Sizes: two prints are larger size (R-D 375-6 2 7/8 x 2 1/4 inches), the rest smaller (R-D 371-4 2 1/4 x 2 1/2 inches). Archival mounting.

Fine impressions of these rarities.

Provenance: unidentified collector’s stamps (not in Lugt) recto

The greatest achievement of the early 16th C. French School of engraving was in ornamental and architectural prints, and Delaune, trained as a goldsmith, was the pre-eminent master and leader of this school.  In this set we see depictions of Apollo, Mars and Hercules, as well as women with palms, women sitting, and a sacrificial altar; each in great detail in a gloriously ornamental context.

Adriaen Van Ostade, The Singers, circa 1668, etching. References: Godefry, Hollstein 19. The fourth state (of seven). In very good condition. With the inscription on the plate [A. v. oftade fecit et excud.]. With margins, 9 7/16 x 7 15/32, the sheet 9 3/4 x 7 3/4 inches. On old laid paper with the Fleur de Lys in Crowned Shield watermark, a variant of the several comparable watermarks cited by Godefry as characteristic of the early impressions.

Provenance: J. Danser Nyman, sale Amsterdam, March 19, 1798, to Hendriks [Knoedler Gallery, New York (Lugt 2007)]; Martin Carlsson, Stockholm; George Bjorklund, Stockholm, acquired from him on August 18, 1966 by Dr. S. W. Pelletier (with his stamp [twice] verso). Inscribed in graphite by J. Danser Nyman verso, also by another unidentified collector [OE] in violet ink verso.  (This is the earliest state impression of this print collected by the eminent Van Ostade collector Dr. S. W. Pelletier.)

A fine richly printed impression in black ink with plate tone, with superb contrasts – a fine example of Van Ostade’s use of chiaroscuro – on ivory laid paper.  This state shows Van Ostade’s signature bottom right, and the three very tiny vertical strokes across the border above the jug at the top, before the further shading above.

It is of course only in the early, lifetime impressions that Van Ostade etchings can be fully appreciated. Additional printings were made posthumously; this is the fourth state; the Picart (posthumous) edition was made in the sixth state (not the fifth, as noted by Godefry).  Godefry described impressions of this state as “rare.”

The Singers is one of Van Ostade’s most important and impressive works. It shows four singers, three of whom are highlighted by the candlelight held by the man at the left; a fourth man is in the shadows upper left, and other shapes, suggesting figures, lurk in the background as well.

The Singers probably depicts members of a rhetorical group; these groups were common in The Netherlands during the late 15th and 16th centuries (there were two in Haarlem at the time, and many local artists such as Frans Hals and Esaias van de Velde, were members). Their members presented public readings, plays, and sponsored literary competitions. Jan Steen created well-known paintings of such a group (at Worcester and Philadelphia), probably after Van Ostade’s conception. Van Ostade as well made several drawings and a watercolor on the subject, and probably at least one painting (now lost). The triangular shape at the bottom of the etching is surely the upper half of a “blazon” or coat of arms that these rhetorical groups used to identify themselves.

Adriaen Van Ostade (1610-1685), Bust of a Peasant (or, A Female Peasant Laughing), etching, 1647 (see discussion below). Reference: Godefroy 2, third state (of 5). In very good condition, with small margins outside of the platemark, 1 1/4 x 1 1/4 inches.

A fine strong impression, before the artist’s initials were added and the borderline was strengthened with a burin.

Godefroy indicates that impressions from this state were included in the later Picart edition, but there is evidence that impressions of this state were also taken before the Picart edition; this impression appears sufficiently fine to suggest that it is a lifetime impression.

Godefroy dates this to 1636, but subsequent authorities have concluded that this work is far too mature to date that early, and suggest a later date (Schnackenburg 1647-52; Slatkes 1650-52).

This was probably meant as a companion piece or pendant to Godefroy 1, Bust of a Laughing Peasant.

Francisco Goya (1746-1828), Hilan Delgado, (They Spin Finely), etching, aquatint, drypoint and burin, 1799. References: Harris 79, Delteil 81. Plate 44 from Los Caprichos, First Edition (of 12), edition of approximately 300. In very good condition, with wide margins, 8 1/4 x 6, the sheet 11 5/8 x 8 inches.

A fine impression, printed in sepia ink, on a fine quality, soft but strong laid paper. The two layers of aquatint contrast effectively with the highlights on the spinner. The drypoint lines on the threads held by the spinner, and the gravure lines on her neck, can be seen clearly in this impression (along with touches of burr).

Goya’s commentary: They spin finely and the devil himself will not be able to undo the warp which they contrive.

Detail

Francisco Goya (1746-1828), Se Repulen (They Spruce Themselves Up), etching, burnished aquatint and burin, 1799. References: Harris 86, Delteil 88. Plate 51, Los Caprichos, First Edition (of 12), edition size was approximately 300. In very good condition, with wide margins. Printed on fine quality, soft but strong laid paper, 8 3/8 x 6, the sheet 12 x 8 inches.

A fine impression, printed in sepia ink, with the 2 layers of aquatint contrasting well between each other and the white sky. The burnishing on the figures and the cloud to the right creates an effective half-tone. (These subtleties are lost in the later, posthumous, impressions from the eleven subsequent editions of Los Caprichos.)

This is one of the series of portrayals of witches in the Caprichos. Goya’s commentary: This business of having long nails is so pernicious that it is forbidden even in Witchcraft.

Detail

Wenzel Hollar (1607-1677), The Mineral Spring, etching, c. 1645. Reference: Pennington 1238, fourth state (of 4). In generally adequate condition, trimmed on or just into the borderline, tiny nick lower margin edge, repair (?) upper right, hinging slightly showing through. 4 5/8 x 7 5/8.  Watermark: Crown with initials MM.

A good/fair impression, showing wear at the extreme left.

This interesting composition shows a sunken stone basin with steps; water is running from two pipes in a decorated wall. People are seated in the basin and under the trees, and a man with two pitchers walks toward the well.

Pennington notes that various locations have been identified for the Mineral Spring.

The publisher, Paul Furst (1608-1666) died about a decade before Hollar.

Detail

Wenzel Hollar (1607-1677), Charles I, etching, 1644. Reference: Pennington 1686, third state (of 3) [with initials WH fec in the plate]. On laid paper, In adequate condition, a pinhole in the wide margin at bottom away from image, slight staining in spots, with small margins top and sides, larger bottom, 9 7/8 x 7 3/4, the sheet 11 1/2 x 8 inches, archival matting.

A fair impression printed in 1705 for the frontispiece of Edward Walker’s Historical Discourses, with lettering verso (showing through slightly).

Charles I is pictured bareheaded, in armor, holding a baton; in the background between the horse’s feet are battalions of cavalry and infantry.

Detail