Harris Schrank Fine Prints

Albrecht Dürer

1471 – Nuremberg – 1528

Die Entführung auf dem Einhorn – Abduction on a Unicorn    1516

etching; 310 x 212 mm (12 1/4 x 8 5/16 inches)

Bartsch 72; Meder 67; Schoch/Mende/Scherbaum

watermark

anchor in circle (Meder 171)

provenance:

Gilhofer & Ranschburg, Lucerne

Carl and Rose Hirschler, geb. Dreyfus, Haarlem (Lugt 633a), acquired in January 1938;

thence by descent

exhibition:

B.L.D. Ihle/J.C. Ebbinge Wubben, Prentkunst van Martin Schongauer, Albrecht Dürer, Israhel van Meckenem. Uit eene particuliere verzameling, exhibition catalogue, Museum Boijmans, Rotterdam, 1955, p. 34, no. 55

A fine impression before any rust spots; in excellent condition; trimmed within the platemark, with the borderline visible all round as well as the four rounded corners of the plate.

Albrecht Dürer

1471 – Nuremberg – 1528

Der Liebesantrag – The Ill-Assorted Couple    ca. 1495–96

engraving; 150 x 137 mm (5 7/8 x 5 7/16 inches)

Bartsch 93; Meder 77 I.b-c (of III); Schoch/Mende/Scherbaum

provenance

Gilhofer & Ranschburg, Lucerne

Carl and Rose Hirschler, geb. Dreyfus, Haarlem (Lugt 633a), acquired in August 1924;

thence by descent

exhibition

B.L.D. Ihle/J.C. Ebbinge Wubben, Prentkunst van Martin Schongauer, Albrecht Dürer, Israhel van Meckenem. Uit eene particuliere verzameling, exhibition catalogue,Museum Boijmans, Rotterdam, 1955, p. 17, no. 22

A very good impression, showing the vertical scratch in front of the horse but not the one above the head of the man; in excellent condition with the platemark visible all round.

Félix Buhot

1847 Valogne – Paris 1898

Le Peintre de marine –The Seascape Painter, c. 1879

etching on laid paper; 129 x 207 mm (5 1/8 x 8 2/8 inches)

with the artist’s stamp (Lugt 977) in the lower margin of the plate below the image

Bourcard/Goodfriend 146 third state (of four)

provenance

possibly Henrietta Buhot (there are two pencil inscriptions on the recto and verso: coll. HB)

private collection, France;

its sale, Paul Renaud, Paris, October 25, 1985, lot 55 (a detail of this print illustrated on the cover of the catalogue; the impressions in this collection of prints by Buhot were all stamped on the verso with a triangular blue stamp with the letters fb; not in Lugt)

A superb, rich impressions of this rare print; on a pristinely preserved sheet with wide margins (deckled edges at right and below).

Martin Lewis (1881-1962), Glow of the City– – 1929, Drypoint

McCarron 77. Edition 110, including 4 trial proofs. Signed in pencil. Annotated Trial Proof No 2 in pencil and numbered 2 at the bottom right sheet edge.Signed in the plate, lower right.

Image size 13 3/4 x 9 7/8 inches (350 x 251 mm); sheet size 17 5/8 x 12 7/8 inches (448 x 327 mm).

A superb, richly inked, luminous impression, in dark brown ink, on cream wove paper, with full margins (1 3/4 to 1 7/8 inches).

Lewis, here at the height of his technical virtuosity, has created a beautifully nuanced image, at once dramatic and intimate. Awarded the Print Club of Philadelphia’s Charles M. Lea Prize in 1930, many consider this to be the artist’s most important work.

“The dark steeple beyond the tenements rose from a church that once stood at the Manahattan entrance of the Queens-Midtown Tunnel. The Art Deco skyscraper in the distance with illuminated upper floors, is the 1929 Chanin Building, designed by Slaon and Robertson, which stands at the corner of Forty-second Street and Lexington Avenue…The Chanin building had a very dramatic impact on the New York City skyline because it did not yet compete with taller neighbors like the Chrysler Building, completed in 1930.” –McCarron

Collections: ACM, AIC, AMP, BMNY, BPL, CAM, CU, DIA, LC, MAC, MMA, MOMA, NAM, NGA, NMAA, OC, PMA, SU, YU.

Jean-Emile Laboureur (1877-1943), Le Diner Chez le Bistro, engraving, 1923, signed in pencil lower left, numbered (9/60) and inscribed “imp” lower right [also with the monogram and date lower left in the plate]. Reference: Laboureur 255, second state (of 2), from the edition of 60, the total printing was 74. In excellent condition, the full sheet with full margins, printed on a white wove paper (watermark “J Perrigo”). 6 1/4 x 5 1/2, the sheet 11 x 8 15/16 inches.

A fine impression, printed by the artist personally, with a subtle veil of plate tone.

Sylvain Laboureur notes that this plate evokes an image of the artist and his wife in a bistro on the rue Saint-Jacques.

$4500

Jean-Emile Laboureur (1877-1943), Le Diner a L’Auberge, 1917-1922), engraving, signed in pencil lower left and numbered (45/55) lower right. Reference: Sylvain Laboureur 173, second state (of 2). In excellent condition, with full margins, 8 x 6 3/4, the sheet 11 3/4 x 9 3/4 inches.

A fine impression, printed in black ink on a cream wove paper.

In the second state the figure of the woman is adjusted so that she holds the hat pin appended to her hat. Proofs of the first state were pulled in 1917;  a numbered edition of 55 impressions in the second state were printed in 1922.

Jean-Emile Laboureur (1877-1943), La Marchande de Violettes, etching, 1914, signed in pencil lower left and numbered (33/35) lower right [also signed and dated in the plate lower right].  Reference: Sylvan Laboureur 132, only state, from the edition of 35.  Printed in black ink on a greenish tinged laid ledger paper (with a V watermark), with the ledger lines still showing (visible on the right and left platemarks), in excellent condition, the full sheet with wide margins, 10 1/2 x 8 3/4, the sheet 18 1/16 x 12 1/2 inches.

A very fine impression, on this unusual paper, particularly effective given the contrast of the black ink and greenish tinge of the paper.

La Marchande de Violettes is one of the early  – and among the most striking and successful – cubist-influenced prints Laboureur created in the period 1913-14.

$8000