Harris Schrank Fine Prints

Mathias Hornung after Callot's Man Playing Grill as Violin (Lieure 423)

Months of the Year, a set of 12 prints derived in large part from Jacques Callot’s Les Gobbi (cf. Lieure 407-426, dated 1616).  Published and possibly engraved by Paul Fürst (1608-1666), Nurnberg.  [with the publisher/artist’s name P.Fürst Excu in the plate, and the name of each character].  Each print glued to a card just at the corners, with margins, glue and other stains coming through, other defects, 2 x 2 1/2 inches, the sheets 2 3/8 x 3 1/4 inches

A fascinating set, combining the humorous characterizations of Callot and following the German tradition of personifying the months of the year.

Each print is named after a month, i.e., the first is Fabianus Ienner (Fabianus January), then Mathias Hornung (Mathias February), Gregorius Mertz (March), Marcus April (April), up to Simion Weinman (October), Martius Wintermon (November) and Nicolaus Christmon (December). This follows an old tradition in German printmaking. For example, Hans Sebald Beham’s Peasant Festival or The Twelve Months, 1546 (Bartsch 154-163) follows the identical naming practice.

Paul Fürst was a publisher, print dealer, and possibly an artist as well. He is perhaps best know for his image of Doktor von Schnabel von Rom, a man dressed in a hawk costume, which apparently 17th Century doctors used when visiting patients to ward off the Plague. He published a few prints by Hollar; he was a contemporary of Hollar, but not Callot, although the Gobbi set would have been rather freshly known to Fürst since it would presumably have been made only a couple of decades before this set.

In creating the set the Gobbi imagery was followed loosely (and in reverse); in some cases the artist took imagery from a couple of the Gobbi plates to arrive at the desired composition. For example, Simon Weinman has the gross stomach of Callot’s “Man With Large Stomach” (Lieure 415), but holds a cup in the air in line with Callot’s Le Buveur (Lieure 411) (Weinman is of course a wine-man as well as Mr. October). Some of the images do not appear derived from Callot in any way except in spirit.  But Nicolaus Christmon is clearly derived from Callot’s Man with a Falling Belly (Lieure 417),  Philipus May from Callot’s Violin Player (Lieure 418), and Mathias Hornung from Callot’s Man Playing a Grill as a Violin (Lieure 423).

Mathias Hornung after Callot’s Man Playing Grill as Violin (Lieure 423)

Months of the Year, a set of 12 prints derived in large part from Jacques Callot’s Les Gobbi (cf. Lieure 407-426, dated 1616).  Published and possibly engraved by Paul Fürst (1608-1666), Nurnberg.  [with the publisher/artist’s name P.Fürst Excu in the plate, and the name of each character].  Each print glued to a card just at the corners, with margins, glue and other stains coming through, other defects, 2 x 2 1/2 inches, the sheets 2 3/8 x 3 1/4 inches

A fascinating set, combining the humorous characterizations of Callot and following the German tradition of personifying the months of the year.

Each print is named after a month, i.e., the first is Fabianus Ienner (Fabianus January), then Mathias Hornung (Mathias February), Gregorius Mertz (March), Marcus April (April), up to Simion Weinman (October), Martius Wintermon (November) and Nicolaus Christmon (December). This follows an old tradition in German printmaking. For example, Hans Sebald Beham’s Peasant Festival or The Twelve Months, 1546 (Bartsch 154-163) follows the identical naming practice.

Paul Fürst was a publisher, print dealer, and possibly an artist as well. He is perhaps best know for his image of Doktor von Schnabel von Rom, a man dressed in a hawk costume, which apparently 17th Century doctors used when visiting patients to ward off the Plague. He published a few prints by Hollar; he was a contemporary of Hollar, but not Callot, although the Gobbi set would have been rather freshly known to Fürst since it would presumably have been made only a couple of decades before this set.

In creating the set the Gobbi imagery was followed loosely (and in reverse); in some cases the artist took imagery from a couple of the Gobbi plates to arrive at the desired composition. For example, Simon Weinman has the gross stomach of Callot’s “Man With Large Stomach” (Lieure 415), but holds a cup in the air in line with Callot’s Le Buveur (Lieure 411) (Weinman is of course a wine-man as well as Mr. October). Some of the images do not appear derived from Callot in any way except in spirit.  But Nicolaus Christmon is clearly derived from Callot’s Man with a Falling Belly (Lieure 417),  Philipus May from Callot’s Violin Player (Lieure 418), and Mathias Hornung from Callot’s Man Playing a Grill as a Violin (Lieure 423).  Note: This set is not for sale.

Max Pollack (1886-1970), Bohemia, drypoint with wash and pencil additions, c. 1925, signed in pencil lower right and titled lower left. In very good condition, printed on a chine colle with wove backing, the full sheet with deckle edges, 4 1/2 x 5 1/4, the sheet 11 1/2 x 9 3/8 inches.

A fine impression, printed in a blue/black ink on a white background, rich burr from the drypoint work, with extensive pencil additions particularly as shading for the houses and added trees in the background, and a darker grey wash with pencil additions at the top. The coloration and pencil additions create a snowy landscape, with a dark wintry sky above the horizon.

Pollack was an inventive printmaker, who often added color etching to his plates; here he creates a unique work with the additions to the drypoint composition. Although the added work may have been in contemplation of a later state of the print, it is an aesthetic gem as it stands.

Detail

Detail

Israel Silvestre (1621-1691), View of the Palace and Gardens of Cardinal Ludovisi, etching, c. 1660 [with the title and address of Henriet in the margin below]. Printed on a cream laid paper, with a bunch of grapes watermark, in good condition, trimmed just outside or inside of the plate mark and outside of the borderline, 4 5/8 x 9 3/4 inches.

Silvestre was the nephew of the print dealer and publisher Israel Henriet, who often used the name Israel alone when listing himself as a publisher (as in this example). Henriet took his nephew in as an orphan, and Silvestre went on to become a leading etcher in the late 17th Century. Henriet was a friend of Jacque Callot, published much of his work, and in 1661 at his death left the plates to his nephew Silvestre (whose aesthetic debt to Callot is evident in plates such as this view.

The Villa Ludovisi in Rome was built in the 17th century by Domenichino for the Cardinal Ludovico Ludovisi; the gardens, some of which are shown in this view, were made even more opulent and magnificent years later by the designer Andre Le Notre, the architect of the gardens of Versailles.

Detail

Israel Silvestre (1621-1691), Veduta di Campo Vaccina, Vieu du Campe Vaccine, etching, c. 1660, from the series of Veduta, plate 8 [with the titles, name of Israel and the publisher Mariette in the plate]. In generally good condition, with margins, 5 1/4 x 10 1/8, the sheet 5 1/2 x 10 5/8 inches. Watermark: dagger with shield.

A very good impression, printed on a cream laid paper.

Israel Silvestre was a nephew of the print dealer Israel Henriet, who was a friend Jacques Callot. Henriet took Silvestre in as an orphan at an early age.  Silvestre became a prolific etcher, making many view of France and Italy; later in his career he inherited his uncle’s plates, including many of the works of Callot and Stefano Della Bella. As is evident from this etching, he was strongly influenced by the work of these artists.

During the 17th and 18th Century the Roman Forum, the area between the Capitoline Hill and the Colosseum, was called the “Campo Vaccino” or cow field, for the Forum had been largely buried for many years in this area; in this etching we can still see cattle wandering over the middle ground; the Colosseum is visible in the background.

Detail

James McNeill Whistler (1834-1903), The Bead-Stringers, etching, 1879-80, signed on the tab with the butterfly and inscribed “imp”. Reference: Kennedy 198, eighth state (of 8). In excellent condition, trimmed on the platemark by the artist all around except for the tab, printed on laid paper. From the “Set of Twenty-Six Etchings”, the Second Venice Set. From the edition of 30 (an additional 12 were planned for certain titles including The Bead-Stringers. 9 x 6 inches.

A very fine impression, with a subtle plate tone overall, selectively wiped so that the bottom of the plate is slightly darker.

The Bead-Stringers is one of only two subjects from Whistler’s Venice stay for which a drawing exists; the view is that of the Calle de le Mende, Dorsoduro, which opens through the sottoportico, onto the Fondamenta Ospedaleto.

James McNeill Whistler (1834-1903), The Velvet Dress, drypoint, 1873, printed in black ink on japan paper, signed with the butterfly on the tab [also signed with the butterfly in the plate].  Kennedy 105, fourth state (of 5). Trimmed on the plate mark by the artist, 9 1/8 x 6 1/8 inches.

A fine delicately printed impression of this rare print, known in only about two dozen impressions, only two of which are signed in pencil.This is one of the first prints in which Whistler used the butterfly monogram.

Whistler made three drypoints of Mrs. Francis Leyland; The Velvet Dress is the most successful of these. Susan Grace Galassi devotes a chapter to Francis Leyland in the catalogue of the exhibit Whistler, Women and Fashion, shown at the Frick Collection in 2003.  Apparently after Mrs. Leyland saw a model in a velvet dress she told Whistler she wanted to be painted in a similar dress, and perhaps to appease her Whistler made this beautiful spare drypoint of Mrs. Leyland standing in profile, in a full gown.

In this fourth state impression Whistler has straightened Mrs. Leyland’s hair a bit, added some background lines; in a fifth state (we know of only one example, in the Smithsonian Freer collection) he strenghthened the drypoint substantially.

Emil Orlik (1870-1932), Gambler, etching, 1897, signed in pencil lower right margin. Reference: Söhn 52803-6.  The matrix in good condition; mat burning well outside of plate mark. 2 x 3 1/4 inches.

A fine impression of this rarely encountered tiny gem, printed on laid paper, with plate tone. This print was later published in Pan, Vol. 3, October 1897.

Allan Wolman, in his indispensable website on Orlik (www.orlikprints.com), writes of the context of Orlik’s career at this early stage:

In 1896 Orlik returned to Munich to work with his fellow pupil and life-long friend Bernhard Pankok on their first essays in the making of colour woodcut prints. They had seen examples of Japanese woodcut prints and were fascinated by them. He began contributing illustrations to the journal Jugend. By 1897 Orlik was such an accomplished print-maker that four of his small etchings were chosen for publication in the prestigious art magazine PAN. Also illustrated in PAN was a reproduction of his first poster ‘Die Weber’, designed for the play of the same name produced by Gerhart Hauptmann. Hauptmann was so impressed by the poster that he invited Orlik to Berlin to visit his studio and this was the first stepping stone to Orlik’s involvement in the theatre.

Giovanni Battista Piranesi (1720-1778), The Forum of Nerva; With the Two Half-Buried Corinthian Columns, etching, 1770, from the Views of Rome [with the title on stone lower left: Veduta degli Avanzi del Foro di Nerva, signed lower right: C. Piranesi f.].  References: Hind 95, Focillon 750, Wilton Ely 228. The first state (of 4), before numbers. In excellent condition, with the usual centerfold and full margins, 18 3/4 x 28, the sheet 21 x 30 3/4 inches.

A fine fresh impression.

Watermark: Fleur de Lys in a Double Circle (Robison’s watermark 34, Hind’s watermark 3).

This lifetime impression is of course relatively rare; for example both Hind and Wilton-Ely illustrate the print with a second state impression.

Detail

Detail

Final State

Auguste Lepère (1849-1918), LA MUSIQUE ET LA POESIE SECOURANT LES ARTISTES, chiaroscuro woodcut, a set of 5 including 4 proofs (two color blocks, two proofs before letters and initials, and the final proof), each signed in pencil.  Reference: Texier-Bernier 517. In good condition, each attached at corners to a backing card; the proofs each on chine volant, the final proof on wove. 7 1/2 x 5 1/4, each with margins 1-2 inches, matted on a single presentation mat.

A superb set of proofs demonstrating Lepere’s working method. Includes two color blocks, and two trial proofs before the initial in the block and the letters below.  Each proof and the final impression is signed; one proof before letters is inscribed “essai”, another before letters is numbered, and the final proof is also numbered.

Proof before letters, numbered

Although the two trial proofs before letters are similar to the final state in several respects, the final state colors are a bit more vivid, and, most notably, in the final state Lepere has more clearly defined the buildings and particularly the figures.

Proof before letters inscribed "essai"

Orange Block

Yellow Block

Jean-Emile Laboureur (1877-1943), Petite Images de la Guerre Sur le Front Britannique, Portfolio of 9 engravings, 1916, with the signature in pencil on the justification sheet, and numbered (95), from the total edition of 120; there were also about 30 proofs of earlier states and 15 in this state not in the edition.  Reference: Laboureur 144-152, fourth state (of 4). In good condition, the cover of the portfolio worn but the prints and inside sheets in very good condition. The portfolio includes a title page which reads in part: “Neuf gravures au burin de J.-E. Laboureur precedees d’une Lettre sur les spectacles de la Guerre, de Roger Allard. A Paris, de ‘imprimerie d’A. Vernant, 6 rue Emile Dubois.” Each print is about 7 x 5 1/2 inches, on a sheet 11 x 8 3/4. Each impression is printed on a double sheet, which, when folded, is 11 x 8 3/4 inches.

Fine impressions, in excellent condition.

For the show The Cubist Print, 1981, Burr Wallen wrote: “The plates represent evolved versions of the artist’s slender, elongated figures with long necks and stylized poses in the matter of Parmigianino. It is possible that Laboureur may have been inspired by Winslow Homer’s Campaign Sketches, a portfolio of lithographs published in Boston in 1863 that take a similarly casual approach to camp life during the Civil War. One cannot fail to be impressed by the consummate precision of his fine engraved lines,possibly executed with the help of a magnifying glass. A rich variety of hatching and cross-hatching grw from the artist’s study of old master engravings…” It seems too that Laboureur was influenced by the  Mannerist old master engravings he studied in the years before the Great War; here he melds Mannerist and Cubist idioms to create his own modernist aesthetic.

We show only four of the set of 9 engravings, but of course pictures of all the prints are available on request.

Jean-Emile Laboureur (1877-1943), Paysage aux Buttes-Chaumont (First Plate), etching, 1920,  signed in pencil lower left, numbered (2/8) and inscribed imp, also titled. Reference: Laboureur 204, only state. In very good condition, the full sheet, some thin spots in margins verso. 7 7/8 x 9, the sheet 10 5/8 x 14 1/4 inches.

A fine impression of this rare plate, printed on cream wove paper.

Laboureur made only 10 impressions in all, two trial proofs and 8 numbered. He later made another version (L. 205).

Conceived by the architect Haussmann in the late 19th century, the Buttes-Chaumont is a sweeping romantic-style park whose dramatic (albeit primarily man-made) bluffs, waterfalls, and rolling green hills provide a welcome sense of space and fresh air to overcrowded Parisians.

$1150

Detail

Auguste Lepère (1849-1918), Sur la Seine, vue prise de la frégate du Pont Royal, wood engraving, 1879, signed in pencil [also initialed in the plate lower left]. Reference: Lotz-Brissonneau 270.  In very good condition apart from some printing scratches, full margins, 8 3/4 x 5 7/8, the sheet 18 1/4 x 12 1/4 inches.

A fine clear impression, printed on a cream simile-japon paper.

Provenance: Phillips Gallery, sold October 27, 1981, to the current owner.

Auguste Lepère was the undisputed leader in the creative revival of wood engraving in Europe in the second half of the nineteenth century.  Beginning his art studies as a teenager, he had by the mid 1870s clearly emerged as one of the most renowned printmakers of his time. In both etching and wood engraving, he became known as the prime delineator of daily life.  Sur la Seine represents a tour-de-force example of the wood-engraver’s art.

Detail

Emil Orlik (1870-1932), The Courtisan, or Mädchen aus Niingata, 1902, etching, roulette, and aquatint, signed and dated in pencil lower right. Reference: Kuwabara R-6, plate 11 of the portfolio “Aus Japan”.  In good condition apart from a number of thin spots and tears in the margins not affecting the matrix; 7 3/4 x 5 1/4, the sheet 10 3/4 x 7 1/4 inches.

A fine fresh impression, printed on cream laid paper; one of the most beautiful of Orlik’s Japan subjects.

An extremely rare print, made just after Orlik’s first major voyage to the Far East.

Detail

James Ensor (1860-1949), Les Peches Capitaux Domines Par La Mort (The Deadly Sins Dominated by Death), etching, 1904, signed and dated in pencil lower right, titled in pencil lower left [also signed in the plate lower right]. References: Delteil 126, Croquez 126, Taevernier 126, Elesh 131, only state. In excellent condition, printed on a simile japon paper, with full margins, 3 5/8 x 5 1/2, the sheet 9 3/8 x 11 5/8 inches.

A fine early impression, as indicated by the quality of the printing as well as the early Ensor signature.

The seven sins are represented by carnival figures: Pride as a soldier at the left, then Avarice holding a bag of money, Anger as a women furious at the man representing Lust, then Gluttony eating a sausage, Envy menacing a knife, and finally Sloth falling asleep while a snail creeps up his nightgown.

Detail

Alphonse Legros (1837-1921), Les Moissonneurs (The Reapers), etching, c. 1890, signed in pencil lower right margin. Reference: Bliss 464, third state (of 3). In excellent condition, printed on a cream wove paper, the full sheet, 6 x 9 7/8, the sheet 9 1/4 x 12 3/4 inches.

Provenance:

Colnaghi’s, London (with their stock number c65632 verso)

Kennedy Galleries, New York (with their stock number A22741 recto)

A delicately printed impression, with a light veil of plate tone overall.

This is a rare example; there were only 12 impressions of the third state, and 5 of the second.

Detail

Edmund Blampied (1886-1966), A Jersey Vraic Cart. 1939, etching,  signed in ink lower margin [also signed and dated in the plate]. Reference:  Appleby 183, the full sheet, on a J. Whatman cream laid paper, with the watermark, in excellent condition,  8 9/16 x 11 1/16 (sheet 11 7/16 x 15 5/16). From the edition of 250 for the Print Club of Cleveland.

Provenance: Gift of the Print Club of Cleveland to the San Francisco Museum of Modern Art; sold at Christie’s New York to benefit the SFMMA.

A fine fresh impression, still in its original Cleveland mat. Printed with selective use of plate tone, with a light veil of tone left on the plate toward the bottom, the plate wiped cleaner and thus whiter in the area of the figures.

Vraic is the Norman name used in the Channel Islands for the seaweed traditionally used as fertilizer.

Detail