Harris Schrank Fine Prints

Aristide Maillol (1861-1944), Juno, lithograph in sanguine, signed in pencil with the cipher lower right and numbered (7/25) lower left. Reference: Guerin 274 III, from the Maitres et Petits Maitres d”Aujourd’hui, published by the Galerie des Peintres Gravures, 1925, edition of 125. Printed on cream laid paper. In very good condition, with full margins, 8 1/2 x 11 1/4, the sheet 12 1/2 x 19 3/8 inches.

With the blindstamp of the Galerie des Peintres Gravures lower right (Lugt 1057b).

Provenance: collection of Dr. and Mrs. Freddy and Regina T. Homburger, purchased directly from the artist. The Homburgers were distinguished collectors of modern art.  This print was exhibited in the exhibition of the Homberger collection, a traveling exhibit whose locations included the Fogg Museum at Harvard, the Ringling Museum in Florida, the University of Maine, and the Philadelphia Museum of Art (several labels appended to back of mat).

A fine impression of this iconic Maillol figure.

Junon is French for Juno, the Roman version of the Greek God Hera.

Jean-Emile Laboureur (1877-1943), Le Souper des Dockers, engraving, 1919-1920, signed in pencil lower left, titled lower left, and numbered (27/35) lower right. Reference: Laboureur 186, second state (of 2), from the edition of 35. In very good condition, the full sheet with wide margins (remains of prior hinging verso), printed on a cream wove Van Gelder Zonen paper (with the watermark), 4 5/8 x 4 7/8, the sheet 10 7/8 x 8 3/4 inches.

Provenance: Galerie Marcel Lecompte (Paris, with his pencil mark);  Colnaghi (London, with their stock number C.68527)

A fine sharp impression printed in black ink.

A superb example of Laboureur’s utilization of engraving within his cubist idiom.

Max Pechstein (1881-1955), Am Ufer (At the Riverbank), etching and drypoint, 1920, signed in pencil lower right, with the blindstamp of Die Schaffenden lower left, Plate 9 from Die Schaffenden III, Jahrgang 1, published by Verlag Gustav Kiepenheuer, Weimar, 1921. Reference: Kruger R 116, from the edition of 125. In good condition, slight handling folds, minor soiling; printed on a cream/tan wove paper, the full sheet, 8 1/4 x 10 1/2, the sheet 12 1/8 x 16 inches.

A fine impression, printed in black ink on cream/tan wove with  substantial burr on the drypoint work and with plate tone overall.

Provenance: ex Collection John and Valerie Butterwick, Kewanee, Illinois (not in Lugt).

In the spring of 1914 Pechstein went to the Palau Islands in the South Seas, returning to Germany via Japanese internment, the US and Holland, in 1915. He was drafted to the Somme front but in early 1917 returned to Berlin after a nervous collapse. He then participated in the emergence of art movements after the War, including the utopian call for socialised art in a socialist state;  it’s possible that Am Ufer recalls the South Seas experience in the context of this later period.

$5000

Felicien Rops (1833-1898), LA PRESSE, CARTE D’ADRESSE DE L’IMPRIMERIE F. NYS, etching.  Exsteen 589, Amiel 139. In excellent condition, the full sheet with deckle edges (remains of prior hinging verso), printed on a heavy cream wove paper. 3 3/8 x 4 5/8, the sheet 5 3/4 x 8 7/8 inches.

A fine impression of this rarely encountered etching.

La Presse is unusual in the Rops oeuvre insofar as the subject matter is entirely innocent (although the antics of the various cherubim are subject to various interpretations!).  This Carte d’Adresse was used by F. Nys, who was Rops printer at times; it suggests that Nys was a teacher of printmaking as well as a printer.

Detail

Detail

Pierre Gatier (1878-1948), La Toilette (also known as Le Rimmel or L’elegante a sa Toilette), 1911, preliminary  drawing in pencil, ink and watercolor for the etching and aquatint, signed in color lower right and and inscribed “aquarelle dessin pour L’Eegantes de Monmartre”.  The reference for the print is  Felix Gatier 81, from the series L’Elegantes de Montmarte, 1911″ (4 plates), as edited by George Petit, and published in a suite of 100. In very good condition (some handling folds toward the outer edges), on a light simile Japan wove paper, the full sheet with wide margins, 8 5/8 x 12 1/2, the sheet 14 x 21 5/8 inches.

The drawing outlines the complete composition of the final etching and aquatint, but focuses the coloration on the central figure; the rest of the composition is delineated in both pencil and ink. The size of the drawing is about the same as the print.  The woman in the drawing has a softer expression, less stern than in the print; her stockings are black,  her undergarment white with pink trim, and unlike the print, she wears a white headband.

In Le Rimmel (eyeliner) Gatier captures the spirit of the Belle Epoque, and demonstrates his facility with aquatint, and the method of using three color plates which apparently fascinated him – he wrote a treatise on the method, which is re-printed in the recently published catalogue raisonne of his prints.

Le Rimmel is the second plate of a series of four, showing a women of Montmarte waking, dressing (Le Rimmel), shopping, and then going out on the town. This is – in our view – the most interesting depiction in the series.

The drawing and print are sold as a pair.

$3200 the pair

The Print – see separate entry

Pierre Gatier (1878-1948), La Toilette (also known as Le Rimmel or L’elegante a sa Toilette), 1911, etching and aquatint, signed and inscribed “Recherche de couleurs”. [also signed and dated in the plate]. Reference: Felix Gatier 81, from the series L’Elegantes de Montmarte, 1911″ (4 plates), as edited by George Petit, and published in a suite of 100. In very good condition, on a heavy cream wove paper, the full sheet with deckle edges, 8 5/8 x 12 1/2, the sheet 13 7/8 x 19 5/8 inches.

A fine fresh impression of this colorful Fin de Siecle aquatint, printed in three colors.

In Le Rimmel (eyeliner) Gatier captures the spirit of the Belle Epoque, and demonstrates his facility with aquatint, and the method of using three color plates which apparently fascinated him -he wrote a treatise on the method, which is re-printed in the recently published catalogue raisonne of his prints.

Le Rimmel is the second plate of a series of four, showing a women of Montmarte waking, dressing (Le Rimmel), shopping, and then going out on the town. This is – in our view – the most interesting depiction in the series.

This will be sold together with the preparatory drawing (see listing above); $3200 the pair.