Current Inventory by Artist

Saints Simon and Matthew

ISRAHEL VAN MECKENEM ca. 144045 Bocholt 1503 Saints Simon and Matthew engraving; 212 x 142 mm Geisberg 249; Lehrs and Hollstein 298 first state (of two) WATERMARK quartered coat of arms with fleur-de-lis and dolphin (cf. Briquet 1647, documented between 1470 and 1500) PROVENANCE Counts Maltzan, Militisch, Silesia (not annotated, cf. Lugt 3024a) Richard Zinser, Forest Hill, New York (Lugt 5581) N.G. Stogdon, Catalogue XI: Early Northern Engravings, 1998, lot 25 private collection, Connecticut An unusually superb impression for a fifteenth-century print; it was known to Lehrs who assigned it a *** rating. The engraving retains even the finest burin […]

Read more and view large image >

Brooklyn Bridge

Brooklyn Bridge = 1929, Lithograph. Louis Lozowick (1892-1973), Brooklyn Bridge = 1929, Lithograph. Flint 48. Edition 100. Signed, dated ‘30, and numbered 1/100 in pencil. Signed with the artist’s monogram in the stone, lower left. Titled in the lower left margin, in the artist’s hand. Annotated TO LEONARD SPIGELGASS, in pencil. Image size 13 x 7 7/8 inches (330 x 200 mm); sheet size 15 3/4 x 11 1/4 inches (400 x 286 mm). A superb, richly-inked impression, on cream wove paper; with full margins (1 to 3 1/4 inches), in excellent condition. Reproduced and exhibited: Manhattan Observed: selections of […]

Read more and view large image >

Three AM: A Corner by Madison Square at Night -1920

C.R.W Nevinson (1889-1946), Three AM: A Corner by Madison Square at Night -1920, Drypoint. Edition 75. Signed in pencil. Black 72. Image size 9 15/16 x 6 7/8 inches (252 x 175 mm); sheet size 15 1/8 x 10 1/8 inches (384 x 257 mm). A superb, richly-inked impression, in dark brown ink, on cream laid paper; the full sheet with margins (1 1/8 to 2 5/8 inches), in excellent condition. Although the edition specifies 75 prints we have encountered very few impressions on the market. Provenance: Metropolitan Museum of Art, with the deaccession stamp verso (Lugt 1943). Literature: C.R.W. […]

Read more and view large image >

The Little Putney, 1879

James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly lower right (also with the butterfly in the plate). Glasgow 187, third state (of 3). 124 x 201 mm. In very good condition, with wide margins (a tiny rust spot right margin), printed in brownish/black ink on laid paper. Provenance: S.H. Nazeby Harrington (lugt 1349), with his stamp lower left recto. Harrington was an art critic, author of the catalogue raisonne for Seymour Haden (Whistler’s brother-in-law) prints. A very fine impression, with substantial plate tone. MacDonald (Glasgow) notes that relatively few impressions of the third state […]

Read more and view large image >

The Geese

Camille Pissarro (1830-1903), Gardeuse DOies (The Geese), etching, drypoint; 1888. Signed in pencil lower right, annotated Epreuve dartiste and titled lower left margin by the artist. Printed in dark brown/black ink on an ivory laid paper, watermark Van Gelder. In very good condition, with wide margins, 5 1/2 x 8, the sheet 9 x 11 1/4 inches. Reference: Delteil 76, first state (of 4). A fine impression, with carefully drawn plate tone differentiating the sky from the field and streams. Delteil notes only a few lifetime impressions, less than a 10 in all, and only one other of the first […]

Read more and view large image >

Fanny Leland

James Whistler (1834-1903), Fanny Leyland, drypoint, 1874, signed in the plate at left with the butterfly, inscribed Fanny Leyland at upper left. Glasgow 135, 6th state (of six). Printed in a dark brown ink on an ivory laid paper, with a Pro Patria watermark. In generally good condition (some soft horizontal folds, remains of prior hinging verso, slight toning, soft fold and tiny nick at right edge). Glasgow notes that only 12 impressions are known. Provenance: John H. Wrenn (1841-1911), with his initials stamp verso (Lugt 1475). Wrenn was a Chicago financier and print collector. He is referred to in […]

Read more and view large image >

Laburnums and Battersea

Theodore Roussel, Laburnums and Battersea, etching and drypoint, 1889/1890 and 1898; signed in the plate lower right, and signed in pencil on the tab, with the inscription IMP. Hausberg 34, fifth state (of 5). From the total of 60 impressions printed in all states. In good condition, slight soft folds upper left; trimmed by the artist around the platemark, leaving a tab the the signature and inscription, 13 l/2 x 8 5/8 inches. A fine impression, with platetone delicately wiped so that the area above the buildings in the background, and the area above the sand heap in the foreground […]

Read more and view large image >

L’Abside de Notre-Dame

Charles Meryon (1821-1868), L’Abside de Notre Dame, etching with engraving and drypoint, 1854. Schneiderman 45, fourth state (of 9). In excellent condition, printed in blackish/brown ink on a cream laid paper with the watermark D&C BLAUW. With full margins, 6 1/2 x 11 3/4, the sheet 12 x 16 3/4 inches. A fine rich impression, printed with a delicate film of plate tone, carefully wiped to accentuate the embankment beside and under the bridge. The eminent art critic Phillipe Burty wrote of L’Abside: “The church of Notre-Dame seems…to have exerted a great attraction on the dreamy spirit of the artist. […]

Read more and view large image >

La Morgue

Charles Meryon (1821-1868), La Morgue, 1854, etching, fourth state (of 7), printed in brown/black ink, Schneiderman 42 [with the inscription, date, address in the plate]. 9 3/4 x 8 3/8, the sheet 13 x 10 1/2 inches. A fine impression, printed on thin cream laid paper in a dark brown/black ink. With the Hallines Shield watermark. Meryon personally printed the impressions of this state (he printed all the impressions of The Morgue up to state 6 himself). In this impression he has left a subtle layer of plate tone throughout, but has wiped the plate slightly more on the central […]

Read more and view large image >

Until Death (Hasta la Muerte)

Francisco de Goya y Lucientes (1746-1828), 1799, etching, burnished aquatiint and drypoint. Reference: Harris 90, First Edition, plate 55 from the Caprichos. Printed on fine quality strong laid paper. In very good condition, the full sheet, 8 3/4 x 6 1/8, the sheet 12 1/8 x 7 15/16 inches. A brilliant early impression of this iconic image, from the First Edition. The aquatint, dark in two tones, here contrasts well with the highlights on the maid, the old woman, the dressing table and the mirror. Consistent with the earliest impressions, there is a slight touch of drypoint burr on the […]

Read more and view large image >

Love and Death (El Amor y la Muerte)

Francisco de Goya y Lucientes (1746-1828), Love and Death (El Amor y la Muerte), 1799, etching, burnished aquatiint and burin. Reference: Harris 45, First Edition, plate 10 from the Caprichos. Printed on fine quality strong laid paper. In good condition, the full sheet, 8 5/8 x 6 1/8, the sheet 12 1/2 x 8 1/2 inches. A very good impression of this iconic image, from the First Edition, before the aquatint breaks up in various areas in the later editions. Goya’s commentary: “See here a Calderonian lover who, unable to laugh at his rival, dies in the arms of his […]

Read more and view large image >

The Family

Adriaen Van Ostade (1610-1685), The Family, etching with drypoint, 1647, signed and dated in plate lower right. Louis Godefroy 46, fourth state (of 7), on a cream laid paper, in very good condition, 7 x 6 1/4 inches, 181x 160 mm. Provenance: Kennedy Galleries, New York, with their inventory number a49071 verso Unidentified collector with initials HW in pencil verso, not in Lugt (probably not Horace Walpole, whose initialing was a bit different) Jean-Louis Henri Le Secq (1818-1889) with his stamp verso, Lugt 1336 A very good impression, before the Picart edition (in the fifth state). Fourth state impressions are […]

Read more and view large image >

Exterminating Angel (LAnge Exterminateur)

Artist: James Ensor

James Ensor (1860-1949), Exterminating Angel (LAnge Exterminateur), etching with drypoint, 1889, signed and dated in pencil lower right, also titled and countersigned verso. References: Delteil 77, Croquez 77, Elesh 77, Taevernier 77; second (final) state. In very good condition, on a tan Japan paper with wide margins. 4 3/4 x 6 1/4, the sheet 9 5/8 x 11 15/16 inches. A fine impression printed in a grey/black ink, with substantial plate tone. Only a few impressions of a first state of this print are known; one definitively identified in 2002 published in the catalogue on Ensor prints presented for sale […]

Read more and view large image >

Adoration of the Shepherds

Adoration of the Shepherds after Peter Paul Rubens (Flemish, 1577-1640), engraved by Pierre-Franois Basan (French, 1723-1797), engraving, c. 1750, in black on ivory laid paper, 282 x 200 mm., with small margins. In very good condition. A fine proof impression, before letters. A draft printing of letters is visible, lower left, below image: “P P Rubens inv.”; lower right: “F. Basan excudit”. Basan’s engraving after Rubens may be modeled after another engraving of the Adoration after Rubens by Theodor Galle (1571-1633), which appeared as an illustration to the 1618 reprint of 1616 edition of “Missale Romanum” (Antwerp: 1618); this version, […]

Read more and view large image >

Village Fair

Nicolaas Aartman (1713-1793), Village Fair, etching, c. 1750; etched by Jan Schouten; in good condition except glued down at corners (small tear lower right where glue hinged); 187 x 276 mm. A good impression of this mid-18th C. Northern Netherlands rural scene, with a quack (and two clowns) selling their wares on center stage; a game of nine pins and dancing in the foreground.

Read more and view large image >

Cock, Hen, Chicken, Dove

Francis Barlow (1626-1702) Cock, Hen, Chicken, Dove (after); etching, c. 1680. Etched by Francis Place (1647-1728). With the names of Barlow, Place, and Cooper (ex.) etched in the plate, as well as the names in of the birds depicted, as follows: Cock gallus coq ; hen gallina poulle ; chicken pullus poulcin ; dove columbus pigeon ; F. Barlow delin. ; F. Place fecit ; E. Cooper ex. From Barlow’s series Various Birds and Beasts. A good impression, in only fair condition (the paper toned due to placement in a non-archival mat), but the matrix satisfactory, with a small margin, […]

Read more and view large image >

Goltzius (after): Touch, Sight, Smell, Hear

Hendrich Goltzius (1558-1607), after, engravings c. 1740, Four of the Five Senses, engraved by Elisabeth Marlie Lepicier (1714-1773), after engravings by Jan Saenredam (1565-1607). References: Nagler VIII p. 391; Hollstein XXIII p. 78. In very good condition, printed on a cream laid paper, with small margins, 8 1/4 x 6 inches each. Fine impressions. Saeredam engraved these subjects after Goltzius in reverse from the original paintings; Lepicier copied the engravings in reverse from Saeredam, thus producing “corrected” impressions, in line with the Goltzius compositions. The engravings are: La Vue (sight); L’Ouie (sound); Le Toucher (touch), and L’Odorat (smell). The engravings […]

Read more and view large image >

The Prodigal Son

William Strang (1859-1921), The Prodigal Son, 1882, etching and drypoint, signed and dated in the plate lower right. Reference: Binyon 10. In excellent condition (an oil stain upper right margin well outside of the image). On a cream laid paper with margins, 6 7/8 x 7 7/8, the sheet 9 1/2 x 10 inches. A fine strong impression. Strang was one of the original members of the Royal Society of Painter-Etchers, and his work was a part of their first exhibition in 1881. Some of his early plates were published in The Portfolio and other art magazines. Strang was a […]

Read more and view large image >

Virtue v. Vice (Virtutis et Vitii Lucta)

Pieter de Bailliu (1613-1660), Virtutis et Vitii Lucta, etching and drypoint, circa 1650, after a drawing by Peter van Lint (1609-1690). In fair/passable condition, the paper darkened brown; slight discoloration at top margin due to hinging, with margins, 5 1/2 x 6 1/4 inches. With the engraver and painter’s names in the plate below the Latin text. Watermark: Strasbourg Lily (?) A good impression of this rather rarely encountered print. An impression is in the Albertina (H/11/40/64). This is an allegory of combat between the Putto Satyr and a child representing virtue.

Read more and view large image >

The Model

Heinrich Zille (1858-1929), The Model (Das Modell), c. 1908, color etching, on wove paper, numbered in pencil (21/100), from the presumed edition of 100, on a large sheet, 10 3/4 x 6 1/4, the sheet 26 x 16. With the artist’s stamp verso, the sheet with the artist’s chop mark lower right. A fine impression, in very good condition. A drawing for this print was sold at Christie’s New York in October, 2020.

Read more and view large image >

Flower Girls

Sybil Andrews (1898-1992), Flower Girls1934, Color Linocut. White 28. Edition 60. Signed, titled, numbered 8/60in pencil, in the image, lower left. Image size 9 7/16 x 8 9/16 inches (240 x 217 mm); sheet size 10 1/4 x 9 3/4 inches (260 x 257 mm). A brilliant, early impression, on Japanese mulberry, with margins (1/4 to 1 1/8 inches), in very good condition. From 4 blocks, printed in : 1) chrome yellow, 2) spectrum red, 3) permanent blue, 4) Chinese blue. Exhibited: London, 1936 (Redfern), no. 64. Illustrated inLinocuts of the Machine Ageby Stephen Coppel, National Gallery of Australia, 1995. […]

Read more and view large image >

The Descent from the Cross by Torchlight 1654

Rembrandt Harmensz. van Rijn 1606 Leiden Amsterdam 1669 The Descent from the Cross by Torchlight 1654 etching and drypoint; sheet 213 x 163 mm (8 3/8 x 6 7/16 inches) Bartsch 83, White/Boon only state; Hind 280; The New Hollstein 286 first state (of four) watermark foolscap with five-pointed collar (Hinterding variant G-b-a; vol. 2, p. 123, vol. 3, p. 214 ill.) provenance P. & D. Colnaghi & Co., London (their stock no. in pencil verso C.31001) The Montclair Art Museum, Montclair, New Jersey; their sale, Christies, New York, May 13, 1997, lot 237 (sold to C.G. Boerner) private collection, […]

Read more and view large image >

Palace Court

Frederick Landseer Griggs (1876-1938), Palace Court,1933, etching, signed and inscribed in pencil. Reference: Comstock 49, third state (of 3), from the printing of about 75. In excellent condition, printed in a warm brownish/black ink on a cream laid paper with a letters in a row watermark. 10 x 7 inches. Special presentation proof impression, dedicated in pencil by F.L.GriggsTo my friend H.J.F. Badeley. Badeley was an accomplished original printmaker famed especially for his exquisitely engraved bookplates. A fine impression. In the first state (only 2 proofs) figures were yet to be etched, and in the lower margin was a dedication […]

Read more and view large image >

Flora with her Nymphs

  GIULIO BONASONE (1510-1576) AFTER GIULIO ROMANO (CIRCA1499-1546) Flora with her Nymphs engraving,circa1531-50, on laid paper, watermark Two crossed Arrows with a Star (Massari 77, similar to Briquet 6299), a fine impression of Massari’s second state (of three), printing with many wiping marks, trimmed inside the subject above, thread margins elsewhere, a few pale moisture stains at the sheet edges, the lower sheet edge backed, otherwise in good condition. Plate 316 x 431 mm., Sheet 316 x 435 mm. Provenance With Olimpia Theodoli, London. Acquired from the above, on 15 July 1998.

Read more and view large image >

Brooklyn Bridge No. 6 (Swaying) – a proof before steelfacing

Artist: John Marin

John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying), a proof before steelfacing, 1913, etching. Reference: Zigrosser 112. Signed in pencil lower right, also signed and dated 13 and B.B. 6 in the plate, lower left. From the small group of prints printed in 1913 by Marin (Zigrosser estimated about 12), before the later (1924) New Republic edition. Printed on a wove paper, 11 x 9 inches. A very fine, rich impression, printed by the artist. This impression includes much inking on the plate mark, creating a frame for the composition, and substantial plate tone. The matrix is slightly larger than […]

Read more and view large image >

Downtown the El, 1921, a proof before steelfacing

Artist: John Marin

John Marin (1870-1953), Downtown, The El, a proof before steelfacing, etching, 1921, signed in pencil lower left and numbered (1-30); (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published by Alfred Stieglitz, in an edition of about 30 impressions. In excellent condition, the full sheet, on firm wove paper, 7 x 9 inches, the full sheet, with deckle edges. A very fine impression, printed by Marin personally, with strong plate tone, carefully wiped to highlight the sky and the Woolworth Building, and rich inking left on the platemark framing the composition. Zigrosser cites a few other […]

Read more and view large image >

Spring Night, Greenwich Village

Artist: Martin Lewis

Spring Night, Greenwich Village––1930, Drypoint and Sand Ground. McCarron 85, only state. Edition 92. Signed in pencil. Signed in the plate, lower right. Titled in pencil on the bottom left sheet edge. Image size 9 7/8 x 12 3/8 inches (248 x 315 mm); sheet size 13 3/8 x 15 7/8 inches (340 x 403 mm). An exceptionally fine, richly inked, atmospheric impression, in warm black ink, on cream laid paper; the full sheet with wide margins (1 3/4 to 1 7/8 inches), in excellent condition. Ex-collection Patricia Lewis, the artists daughter-in-law, with her collection stamp in the bottom right […]

Read more and view large image >

Ephraim Bonus, Jewish physician 1647

Rembrandt Harmensz. van Rijn 1606 Leiden Amsterdam 1669 Ephraim Bonus, Jewish physician 1647 etching, engraving, and drypoint; 240 x 177 mm. Bartsch 278, White-Boon second (final) state; Hind 226; The New Hollstein 237 second (final) state provenance Hermann Weber, Bonn (Lugt 1383) Ferdinand, Prince of Saxe-Coburg and Gotha and King of Portugal (Lugt 968) C.G. Boerner, Neue Lagerliste 54 (1974), no. 33 (our stock no. in pencil verso 8356) private collection, Germany Ephram Hezekiah Bueno (15991665), usually referred to by his Latinized name Bonus, was a physician and writer who came from a Sephardic-Jewish family. He was a renowned doctor […]

Read more and view large image >

Following His Wife

Honore Daumier (1808-79), Following his Wife, lithograph, plate 35 from the series Moeurs Conjugales, 1841, published in 1843 in the Album Moeurs Conjugales, Daumier Register 658, third state (of 4). In good condition, a sur blanc impression, on wove paper, matted. 8.3 x 7.4 inches A very good impression. Explanation and translation from the Daumier Register: On a trial proof of this print (which can be seen in the Dreyfus Collection) Daumier wrote underneath the image: “un mari qui decouvre sa femme en tete–tete dans un fiacre”. [a husband who discovers his wife in a tete a tete in a […]

Read more and view large image >

The Farce is Over

Honore Daumier (1808-79), Baissez le rideau, 1834, plate 421 from Le Caricature. Daumier Register 86, only state. Sur Blanc, on wove paper. In compromised condition: tears in margins (some poorly repaired), toning, soft folds, staining verso, other defects, not matted. 9 x 10 7/8, the sheet 10 1/2 x 13 5/8 inches. A good impression of this rare print. Here are notes and translation from the Daumier Register: This print shows a masterly interpretation of King Louis-Philippe dressed in the costume of a clown while the theatre curtain falls. With a sardonic smile he points at “Blind Justitia”, thereby insinuating […]

Read more and view large image >

Vous Avez la Parole (You’re Free to Speak)

Honore Daumier (1808-79), You’re Free to Speak (Vous avez la parole), 1834, plate number 490, from La Caricature; Daumier Register 116, only state (rare); in generally satisfactory condition, the top trimmed close to the letters, toning, staining, various defects; 9 1/4 x 11 1/8, the sheet 10 3/8 x 14 inches, unmatted. A good impression of this great rarity. Provenance: George Longstreet, with his initial stamp recto (Lugt 4750). Note and Translation from the Daumier Register: Following the massacre of Rue Transnonain on April 13-14, 1834, a total of 121 legal cases were launched against the participating revolutionaries. Because of […]

Read more and view large image >

Le Gout (The Taste)

Honore Daumier (1808-79), Le Gout, lithograph, plate 40 from the series Types Parisiens, 1839, an impression sur blanc from the Album Types Parisiens. Daumier Register 596, third state (of 5), In generally good condition but trimmed at the bottom edge (the letters still preserved), slight foxing in margins, 10 1/4 x 13 1/2 inches. A very fine impression of this humorous subject.   From the Daumier Register: Original Text: LE GOUT Fichtre! je ne m’etonne pas si gaillard la a de l’esprit. . . .et il m’appelle vielle bete! donne m’en comme ca tous les matins animal, et j’en aurai […]

Read more and view large image >

The Nightmare (Le Cauchemar)

Honore Daumier (1808-79), Le Cauchemar, lithograph, 1832, plate 139, published in La Caricature. Daumier Register 41, first state (of 2). In compromised condition, trimmed at the top to the line of the illustration; with various repairs, toning and fox marks, although the matix is perfectly legible. The sheet 10 5/8 x 14 inches. A sur blanc impression; a rare print. Here’s a summary background description from the Daumier Register: The print shows General Lafayette, known hero of the Polish and American wars of independence. His portrait brings to mind a painting by Ary Scheffer from 1822. This lithograph represents General […]

Read more and view large image >

The Author’s Husband

Honore Daumier (1808-79), The Bluestocking’s Husband, plate 46 from the series Moeurs Conjugales, published in 1842 in Le Charivari, and in the Album Moeurs Conjugales in 1843; an impression from the album, sur blanc (without the letterpress verso and on a quality wove paper); Daumier Register 669, second state (of 3). In excellent condition (tiny repaired tear bottom edge), 9.3 x 7.6 inches. A fine impression. Note: By the late 1500s, the fashion had spread to Paris where the termbas bleu(bas, stocking;bleu, blue) emerged to describe women with literary aspirations From the Daumier Register: Original Text: LE MARI DU BAS […]

Read more and view large image >

A Man for all Seasons

Honore Daumier (1808-79), A Man for all Seasons, lithograph, plate 2 from the series Les Parisiens en 1852, published in Le Charivari, 1852. Daumier Register 2219, second state (of 2), an impression on letterpress, from Le Charivari. In good condition apart from a water stain lower right not affecting image. 9.4 x 8.4 inches A very good impression. From the Daumier Register: Original Text: Un monsieur qui s’enflamme en toute saison. Translation: A gentleman who gets excited in any season.

Read more and view large image >

The Results of Diplomacy

Honore Daumier (1808-79), The Results of Diplomacy, lithograph, plate 128 from the series Actualities, published in Le Charivari, 1867. Daumier Register 3581, fourth state (of 4). An impression from Le Charivari, with letterpress verso, in very good condition, 10.1 x 8 2 inches. A very good strong impression.   From the Daumier Register: Note: A lot of paper has been wasted by the diplomats, who had met at the World Exhibition in Paris. It is still unclear whether anything of substance has come out of all these meetings. The ragpicker shown here picking up the pieces of paper left behind […]

Read more and view large image >

The Art Critic

  Honore Daumier (1808-79), The Art Critic, lithograph, plate 2 from the series Croquis Pris au Salon par Daumier, published in Le Charivari, 1864. Daumier Register 3294, second state (of 2). A impression from Le Charivari, with letterpress verso. A very good, strong impression.   From the Daumier Register: Original Text: LE VISITEUR – Oh! pour le coup voila une composition qui est reellement insensee!…. et quelle couleur! L’ARTISTE – Cretin de bourgeois va!   Translation: THE VISITOR: – Just look at this senseless arrangement… and these colours!… hideous! The artist: – Cretin of a bourgeois… bugger off!

Read more and view large image >

Fortune Makes one Forget Friends

Honore Daumier (1808-79),La fortune fait oublier les amis,lithograph, plate 31 from the series Caricaturana, published in Le Charivari in 1837; later in Album Caricaturana (Les Robert Macaires) (1838). Daumier Register 385, third state (of 3) This impression is hand colored, on a cream wove paper, without letterpress verso (sur blanc), in generally good condition, paper toned toward edges. 9 x 9 inches A very good impression, with the colors vivid. From Daumier Register: Original Text: La fortune fait oublier les amis. John ! Portez ces 500 f. a Mr le Cure pour les pauvres de la paroisse. Quon sache bien […]

Read more and view large image >

Floating Down the River

Honore Daumier (1808-1879), Floating Down the River, lithograph, plate 3 from the series Les Canotiers Parisiens, 1843, published in the journal Le Charivari, and in the Album Les Canotiers Parisiens, a sur blanc impression on wove paper without the letterpress verso. In good condition (paper slightly toned), Daumier Register 1025, second state (of 3). 8 x 10 inches. A fine impression,   From the Daumier Register: Original Text: UNE NOUVELLE MANIRE DE DESCENDRE LE FLEUVE DE LA VIE. – Brigand de Radiguet!.. que le diable t’emporte avec ta voile a nouvelle invention… elle est cause que notre partie est tombee […]

Read more and view large image >

It Shouldn’t be Allowed

Honore Daumier (1808-1879), It Shouldn’t be Allowed, lithograph, plate 4 from the series Les Canotiers Parisiens, 1843, published in Le Charivari and in the Album Les Canotiers Parisiens, a sur blanc impression, on stiff quality wove paper without the letterpress verso, in very good condition. Daumier Register 1026, second state (of 3). 9.3 x 7.3 inches. A fine clear impression. From the Daumier Register: Original Text: – Est-il permis de revenir de Bercy dans un etat pareil… un homme etabli… que je suis malheureuse mon Dieu!… – Eh ben quoi?.. puisque j’aime l’eau!.. on ne peut donc plus aimer l’eau […]

Read more and view large image >

I’ve Only Been Ringing for an Hour!

Honore Daumier (1808-1879), I’ve Only Been Ringing for an Hour, lithograph, plate 14 from the series Moeurs Conjugales, published in Le Charivari 1839, in the Album Moeurs Conjugales 1843. A sur blanc impression, on strong wove without the letterpress verso. Daumier Register 637, second state (of 2). 9.4 x 7.5 inches A fine impression.   From the Daumier Register: Original Text: Il n’ya pourtant qu’une heure que je le tire!…   Translation: I’ve only been ringing for an hour!

Read more and view large image >

All Men are Brothers

Honore Daumier (1808-1879), Je t’ai defendu deja, lithograph, plate 11 from the series LES PHILANTROPES DU JOUR, published in Le Charivari, 1844. Daumier Register 1303, second state (of 2). 8.6 x 7.1 inches. Provenance: Rene Gaston-Dreyfus, with his collector’s stamp verso (not in Lugt). Gaston-Dreyfus was one of the great Daumier collectors; his collection was sold in 1966 and 1968. A fine impression, printed sur blanc, on strong wove paper with no letterpress verso.   From the Daumier Register: Original Text: – Je t’ai defendu deja de m’appeler maitre… apprend que tous les hommes sont freres… animal!…   Translation: I […]

Read more and view large image >

Preparing for an Outing

Honore Daumier (1808-1879), [Preparing for an Outing], lithograph, plate 1 from the series Les Canotiers Parisiens, a sur blanc impression from the Album Les Canotiers Parisiens (also published separately in letterpress in Le Charivari), 1843. Reference: Daumier Register 1023, fourth state (of 5), 9.7 x 7.7 inches. A very good impression. In the mid-19th Century boating on the Seine was a popular Parisien hobby.   From the Daumier Register: Original Text: – Eh bien! Rigobert… mon vieux flambard…. nous allons faire une longue traversee aujourd’hui… as-tu embarque des vivres a bord de notre navire?… – Ne m’en parle pas!… je […]

Read more and view large image >

Saved from Drowning

Honore Daumier (1808-1879), [Saved from Drowning], lithograph, plate 7 from the series Les Canotiers Parisiens, a sur blanc impression from the album, with binding holes at left (also published with letterpress verso in Le Charivari; Daumier Register 1029, second state (of 3); in very good condition, 10 x 7.5 inches. A very good impression. From the Daumier Register: Original Text: UN HOMME SAUVE MALGRE LUI. – Mais puisque je vous dis que je sais nager et que je me serais bien tire de l’eau sans monsieur!…. – a ne fait rien… la loi est positive… vous devez payer vingt cinq […]

Read more and view large image >

A Fair Exchange

Honore Daumier (1808-1879), [A Fair Exchange], hand colored lithograph, from the series Robert Macaire, 1836-38, published in Le Charivari and also separately sur blanc. Daumier Register 357, third state (of 3), 8 1/2 x 10 1/2 inches. The matrix in adequate condition but with stains, a tear lower right (in margin), stains in margins, soft folds, other defects. A good impression, the colors vivid.   From the Daumier Register: Original Text: Robert Macaire Escompteur. Voici mes conditions : Vous me ferez une lettre de change de 40,000 f. je vous donnerai 25 f. argent 3000 f. de moutarde blanche et […]

Read more and view large image >

An Unpleasant Encounter

  Honore Daumier (1808-1879), An Unpleasant Encounter, lithograph, plate 16 from the series Les Canotiers Parisiens, 1843, published in Le Charivari; in very good condition, 10 1/2 x 8 inches. Daumier Register 1038, second state (of 4), before the lines upper left were added to suggest rainfall. A very good impression, sur blanc (and thus on a strong wove paper, without letterpress verso)   From the Daumier Register: Original Text: UNE RENCONTRE DESAGREABLE. Ah! Bernardel! Bernardel! . v’la le bateau a vapeur, nous sommes enfonces! Translation: AN UNPLEASANT ENCOUNTER. Bernardel, Bernardel! Here comes the steamer… we will sink!    

Read more and view large image >

Fans of Comedy

Honore Daumier (1807-1879), Se posant en appreciateurs, lithograph, plate 10 from the series LES PARISIENS EN 1852, published in Le Charivari, 1852; an impression on letterpress with the letters from the journal verso. Reference: Daumier Register 2227, second state (of 2); in generally good condition, a water stain lower right, some horizontal folds, 9.8 x 8.6 inches. A strong bright impression. From the Daumier Register: Original Text: Se posant en appreciateurs de la bonne comedie. Translation: They pose as lovers of a good comedy.  

Read more and view large image >

The Danes and the Germans

  Honore Daumier (1808-1879), Voyons, faut pas etre injuste, lithograph, plate 8 from the series Croquis Parisiens, published in Le Charivari, 1864. Daumier Register 3287, second state (of 2), 8 x 9.4 inches. A very good impression, from the letterpress edition, with the newsprint verso.   Original Text: – Voyons, faut pas etre injuste, quoiqu’on aime les Danois…. il y a du bon chez les Allemands …. la biere!   Translation: We shouldn’t be unfair. One may like the Danes… but let’s not forget that the Germans also have something good… their beer!  

Read more and view large image >

A Conspiracy on the Train

Honore Daumier (1808-1879), A Conspiracy on the Train, plate 3 from the series En Chemin de Fer, published in Le Charivari, 1864, Daumier Register 3298, second state (of 2), 9 x 8 7/8 inches. A very good impression, printed on letterpress (with the newsprint verso). From the Daumier Register: Original Text: – Ils ont l’air de se concerter….. je suis bien fach d’etre monte dans ce wagon!… et dire qu’il n’y a pas moyen de faire arreter le train!   Translation: They seem to be planning a conspiracy….how stupid of me to having chosen this compartment…. and there is no […]

Read more and view large image >

Leaving the Tavern

Honore Daumier (1808-1879), Tout est Paye?, lithograph, plate 31 from the series Types Parisiens, published in La Caricature Provisoire, 1839, in generally good condition (a stain upper middle of matrix), trimmed at the top and bottom of the sheet so without the series title and plate number at the top and address data below, 6 x 8 inches. A good impression from the early printed edition, with letterpress verso. From the Daumier Register: Original Text: TOUT EST PAYE? NOUS N’AVONS FAIT SOTTISE A PERSONNE!!……SALUT.   Translation: EVERYTHING IS PAID FOR? AND WE DIDN’T INSULT ANYONE… BYE.

Read more and view large image >

La Pipe Matinale

Honore Daumier (1808-1879), La Pipe Matinale, lithograph, plate 6 from the series Silhouettes, published in Le Charivari, 1841, Daumier Register 855, third state (of 3), 8 x 8 1/4 inches. A very good impression from Le Charivari, with letterpress verso.     From the Daumier Register: Original Text: LA PIPE MATINALE. Le Tabac de caporal fait maintenant partie integrale de ce que les poetes appellent les suaves parfums du matin; et grace aux bouffes que lui envoyent de toutes parts les fumeurs, l’aurore, jadis au teint de rose, doit etre bien prs d’etre culottee.   Translation: THE MORNING PIPE. The […]

Read more and view large image >

No Respect for Money

Honore Daumier, No Respect for Money, lithograph, 1841, from the series Robert Macaire 2eme serie, published in Le Charivari and also in the Album Robert Macaire 2eme serie; Daumier Register 883, second state (of 3); a sur blanc impression (presumably from the album, on a fine wove paper without the letterpress verso), 8 x 9.8 inches. A very good impression. Translation: Original Text: – Comme tu y vas, on voit bien que l’argent ne te coute rien ! si je te laissais faire, je serais bientot devore.. Bah ! mon pere, ce n’est pas pour vous que vous amassez. Cest […]

Read more and view large image >

La Lecture du Journal

Honore Daumier, La Lecture du Journal, lithograph, 1840, as published in Le Charivari, Daumier Register 852, second state (of 2). Plate 3 from the series Silhouettes. In good condition, printed on newsprint, with lettering (the journal Charivari) verso. A very good impression. Translation, from the DR: Original Text: LA LECTURE DU JOURNAL. Ah! j’espere qu’aujourd’hui enfin mon grand Journal m’apprendra quelque chose de nouveau et de definitif touchant la crise actuelle….. voyons….. “La situation est grave….” Hum! Hum! ca commence a devenir monotone. (Refrain de chaque matin).   Translation: READING THE NEWSPAPER . Oh, I hope that my great journal […]

Read more and view large image >

Little Piglet

Honore Daumier (1808-1879),Hein ! Comme il regarde les cervelas, lithograph, plate 51 from the series Moeurs Conjugales, published in Le Charivari in 1842, and in Album Moeurs Conjugales in 1843, a sur blanc impression (without letterpress verso, on strong wove paper), in good condition with only slight toning, Daumier Register 674, second state (of 3), 8.3 x 9 inches. A fine impression. Here’s the translation from the Daumier Register: Original Text: Hein ! Comme il regarde les cervelas, les jambons… Nous aimerons donc l’tat de papa…. petit cochon!….   Translation: Look! See how his eyes are on the saveloys and […]

Read more and view large image >

A Musical Gift

Honore Daumier (1808-1879),Oh! monsieur, quel talent possde, lithograph, plate 8 from the series CROQUIS MUSICAUX, 1852, Daumier Register 2235, 1852, published in Charivari, with letterpress verso, in good condition apart from a stain lower right (not affecting matrix). 8.6 x 10.1 inches A very good impression. Translation from the Daumier Register:   Original Text: Oh! monsieur, quel talent possde mademoiselle votre fille… quel talent, quel talent! – Dans notre famille nous sommes tous suprieurement organiss pour la musique… moi-mme, dans ma jeunesse, j’ai t de premire force sur la clarinette.   Translation: – Oh Monsieur, your daughter possesses quite an […]

Read more and view large image >

Bains de Femmes

    Honore Daumier (1808-1879), Bains de Femmes, lithograph, plate 20 from the series Les Baigneurs, 1840-42, published in Le Charivari in 1841; Daumier Register 780, third state (of 3), 10.4 x 7.2 inches A very good, clear impresion on cream wove paper, without text verso. Translation from the Daumier Register: Original Text: Bains de femmes. Oui Madame, c’est comme j’ai l’honneur de vous le dire, je l’ai port onze mois, qu’on croyait que j’tais hydropique; Dirait-on que a n’a que six ans, il tient de son pre, Tambour major de la 6me Lgion, chantant la Marseillaise par cur et […]

Read more and view large image >

An Encounter in Open Water

  Honore Daumier (1808-1879), An Encounter in Open Water, lithograph, plate 11 from Les Canotiers Parisiens, 1843, Daumier Register 1033, third state (of 3), in good condition, a sur blanc impression, from the Album, on quality wove paper without the letterpress verso,10.2 x 8.1 inches. At this time boating in the Seine in Paris was a fashionable hobby. In this image it appears the working sailors are less enamored than the passengers. Translation from the Daumier Register: UNE RENCONTRE EN PLEINE EAU. – Oh! h! . . l bas . . . Capitaine! qu’y a-t-il de nouveau Paris? – Rien […]

Read more and view large image >

Oursikoff – do you see any similarity? No, sire.

Honore Daumier (1808-1879), Oursikoff, lithograph, from Actualities, Plate number 72, published in Charivari, 1854. Reference: Daumier Register 2519, second state of two, a newsprint impression. In adequate condition for an original newsprint impression still attached to the issue of Charivari in which the lithograph appeared. 10 x 8 inches. A fascinating example, a Russian officer looking at a rendering of himself, asking a lackey if it’s a good representation (and saying he’d be sent to Siberia if he agreed it was a good image. Here’s the translation from the Daumier Register: Original Text: – Oursikoff! …trouvez-vous cela ressemblant?……… – Non, […]

Read more and view large image >

Man in his Natural State

Honore Daumier (1808-1879),LHomme in naturalibus, lithograph, from the Robert Macaire 2nd series, plate number 17. Published 1840-41. In generally good condition; a tiny hole lower right, 9 x 10 inches. A very good impression, of the 4th state, noted in the Daumier Register as “Rare.”   Here’s the translation of the text from the Daumier Register: L’Homme in naturalibus. La philosophie, mon cher Bertrand, explique fort bien nos deux caractéres par nos physiques.. tu es la faiblesse, je suis la force. toi la ruse, moi le courage . tu es le lire et moi le chne, sans moi, le plus […]

Read more and view large image >

Tendres Stocks: The Complete Etchings

Artist: Chas Laborde

  Chas Laborde (1886-1941), Tendres Stocks: The Complete Etchings, c. 1924, etching, engraving, colored etching proofs before publication of the book. A suite of 13 impressions in black and white, and 13 in color; 26 in all; impressions printed before the book edition of Tendres Stocks by Paul Morand, published by Emile-Paul Freres, Paris, 1924. This set of 13 etchings in color, and 13 in black in white, was published in a small edition of only 24, on Holland paper (many with a fleur de lys watermark). The book containing the etchings in color was published in an edition of […]

Read more and view large image >

Courses a Longchamp

  Jean-Emile Laboureur (1877-1943), Courses a Longchamp, 1938, engraving and drypoint. Reference: Laboureur 534, sixth state (of 6). In good condition, printed on a cream wove Arches paper (with the Arches France watermark. 15 x 18 1/2, the sheet 19 3/4 x 25 3/4 inches. A very good impression, from the Chalcographie du Louvre edition (with the blindstamp, cf. Lugt 1695 and 1695a). Laboureur felt that this print represented the culmination of thirty years of working with the engraving burin.

Read more and view large image >

L’Entomologiste

Jean-Emile Laboureur (1877-1943), L’Entomologiste, 1932-3, engraving. Reference: Laboureur 475, sixth state (of 6). In good condition, the full sheet, printed on cream Arches paper (with the watermark), 15 x 16 1/4, the sheet 19 3/4 x 25 3/4 inches. A very good impression, from the Chalcographie du Louvre edition, with it’s blindstamp (Lugt 1695a). L’Entomologiste is a tour de force example of Laboureur’s work in engraving.

Read more and view large image >

La Rentree au Seminaire, 1897

Jean-Emile Laboureur (1877-1943), La Rentree au Seminaire, 1897, woodcut, signed in ink lower right and inscribed “tire a 15 ex.” [also with monogram in the plate]. Reference: Laboureur 566, only state. In good condition, with some staining toward margin edge not affecting image, tack-holes at corners, 4 3/8 x 4 3/8, the sheet 9 5/8 x 8 1/2 inches. A fine impression, printed on a grey/green wove paper. A very early woodcut; the first time that Laboureur used a monogram within the plate. This woodcut was made shortly after Laboureur learned printmaking from the famed printmaker – and woodcut specialist […]

Read more and view large image >

Le Moulin Abandonne

Jean-Emile Laboureur (1877-1943), Le Moulin Abandonne, etching and engraving, 1934, signed lower left and numbered and annotated “imp” in pencil lower right. Reference: Laboureur 489, second state (of 6), In very good condition, with large margins, printed on a cream wove paper, 10 1/8 x 11 7/8, the sheet 14 x 19 inches. A fine impression of this large composition. The composition was essentially complete in the first state; in the second state an adjustment was made to the standing woman’s hair; in the second state her reflection was added to the water, a monogram and additional shading were added […]

Read more and view large image >

Les Barques (the small boats)

Jean-Emile Laboureur (1877-1943), Les Barques (the small boats), etching and drypoint, 1932, signed in pencil lower left and numbered lower right, also annotated “imp” [also with the initial in the plate lower left. Reference: Laboureur 465, second state (of 2), from the lifetime edition of about 27 (there was a posthumous edition of about 240 impressions printed in 1959, used to illustrate the volume Laboureur en Briere, by Toesca). In excellent condition, printed on a cream wove BFK Rives paper (with the watermark), 3 7/8 x 7 3/4, the sheet 9 3/4 x 12 1/2 inches. A fine impression. Briereis […]

Read more and view large image >

Chez le Patissier

Jean-Emile Laboureur (1877-1943), Chez le Patissier, engraving, etching and roulette, 1924, signed in pencil lower right. Reference: Laboureur 278, third state (of 3), from the total printing of about 138 impressions in all states. In excellent condition, with full margins, 5 1/2 x 4 5/8, the sheet 11 x 8 3/4 inches. A fine impression, printed on a cream wove paper. A wonderful example of Laboureur’s cubist work in engraving, with the elongated Mannerist figures so characteristic of his work in this period. This is the patisserie Mangin, rue du Havre, in Paris.

Read more and view large image >

Orage en Briere

Jean-Emile Laboureur (1877-1943), Orage en Briere, etching an drypoint, 1932, signed in pencil lower left, numbered lower right and annotated “imp” (impressit, printed by the artist personally). Reference: Laboureur 461, third state (of 4), from the edition of 42 in this state (11 in states one and two; state four was published posthumously, see below). In very good condition, printed on an old greyish laid paper with irregular edges (with a Bunch of Grapes watermark), 6 3/4 x 7 1/4, the sheet 8 x 10 5/8 inches. A fine impression of this interesting composition, with two women and a child […]

Read more and view large image >

Chez la Fleuriste

Jean-Emile Laboureur (1877-1943), Chez la Fleuriste, etching, 1919-1920, unsigned [with initials and date in the plate]. Reference: Laboureur 192, second state (of 2), from the edition of about 67 proofs on a cream/tan japon paper before the much larger issue inserted in the no. IV of the review Feuillets d’art. In good condition apart from moderate light staining, with margins, 8 x 6, the sheet 11 1/2 x 8 3/4 inches. A very good impression. A fine example of Laboureur’s work in a cubist idiom, with the mannerist figures Laboureur favored during this period.

Read more and view large image >

Le Facteur Rural

  Jean-Emile Laboureur (1877-1943), Le Facteur Rural, engraving, 1924, signed in pencil lower right. Reference: Laboureur 283, third state (of 3), from the total printing of about 80. In excellent condition, the full sheet, 5 1/8 x 6 3/4, the sheet 9 x 11 inches. A fine impression of this rural mailman, with bicycle and pouch; all in engraving with the slightest trace of roulette at the lower foreground, and with a light veil of plate tone. Printed on a cream wove Arches (France) paper, with the watermark.

Read more and view large image >

Causerie Villageoise

Jean-Emile Laboureur (1877-1943), Causerie Villageoise (Village Chat), engraving with touches of roulette and etching, 1924, signed in pencil lower left, numbered and inscribed “imp” lower right, titled by the artist lower left margin. Reference: Laboureur 287, fourth state (of 4). In excellent condition, the full sheet, printed on a cream wove BFK Rives paper (with the watermark), 4 3/4 x 5 1/8, the sheet 7 1/2 x 10 inches. A fine impression; a splended example of Laboureur’s using engraving to render a cubist-influenced composition.

Read more and view large image >

Le Charmeur de Moineaux

Jean-Emile Laboureur (1877-1943), Le Charmeur de Moineaux, etching and engraving, 1933, signed in pencil lower left and inscribed “a Monsieur Armand Olivier, en hommage”, also numbered lower right and annotated “imp.” Reference: Laboureur 477, third state (of 3), from the total of 75 impressions pulled, in generally good condition apart from slight light staining, 5 x 7 1/2, the sheet 8 3/4 x 10 3/4 inches. A fine impression. Although numbered 3/120, there were no impressions pulled after number 68. Laboureur also made a lithograph of a similar scene (Laboureur 784), as well as a gouache. The man at the […]

Read more and view large image >

Le Petit Hotel de Ville

    Jean-Emile Laboureur (1877-1943), Le Petit Hotel de Ville, 1922, signed in pencil lower left, numbered lower right, and annotated “imp.” Reference: Laboureur 244, first state (of 2), from the group of 8 in this state (47 in all). In generally good condition apart from streaks of light staining (most visible in the margins), printed on a wove Arches paper (with the watermark), with margins, 5 x 4 1/4, the sheet 10 1/2 x 8 3/4 inches. A fine impression; a good example of Laboureur’s exacting work in engraving, working in a cubist idiom This is the city hall […]

Read more and view large image >

Le Ferveur

Jean-Emile Laboureur (1877-1943), Le Ferveur, etching, engraving, roulette, drypoint, 1928, signed in pencil lower left, numbered lower right, and annotated “imp.” Reference: Laboureur 370, first state (of 2), from the edition of 15 in this state (another 500 impressions were printed for inclusion in the volume Ferveur (see below). In good condition, moderate light staining, with margins, 5 1/2 x 3 1/4 inches. A very good impression, with shading especially in the clouds toward the top right created with the use of an extremely fine-pointed roulette tool. This engraving, in its second state, was the frontispiece for a recueil of […]

Read more and view large image >

Dimanche en Bretagne

Jean-Emile Laboureur (1877-1943), Dimanche en Bretagne, etching, 1939, signed in pencil lower left and inscribed “ep d’artite” lower right. Reference: Laboureur 543, second state (of three, but see discussion below). In very good condition, printed on a cream/tan wove paper, 7 1/2 x 5 7/8, the sheet 10 3/4 x 8 3/8 inches. A fine lifetime impression of this rare work, the last etching printed by Laboureur before his final illness. Sylvan Laboureur, in his catalog raisonne, incorrectly notes that the monogram between the trees was entered in a third state by a technician, and that some impressions of the […]

Read more and view large image >

Le Chemin de Camoelin

Jean-Emile Laboureur (1877-1943), Le Chemin de Camoelin, etching and drypoint, 1928, signed in pencil lower left and numbered and annotated imp lower right. Reference: Laboureur 385, second state (of 2), from the edition of 58 in this state (another 8 impressions of the first state were printed). In excellent condition, printed on a cream wove BFK Rives paper (with their watermark), the full sheet, 4 x 4 3/4, the sheet 9 5/8 x 11 3/8 inches. A fine impression of this iconic rural composition. The first state was before the monogram bottom left, and before some lines of drypoint in […]

Read more and view large image >

Le Chemin de la Foret

  Jean-Emile Laboureur (1877-1943), Le Chemin de la Foret, etching and engraving, 1926, signed in pencil lower left and inscribed epreuve d’artiste lower right. Reference: Laboureur 329, first state (of 3). In excellent condition, printed on a cream wove paper, 8 x 6, the sheet 12 3/4 x 9 1/2 inches. A fine impression, delicately printed, before the monogram and the cross-hatching of the foliage at the right. There were two artist’s proofs and another 7 numbered impressions of the first state (a total of about 100 impressions were printed in all states).

Read more and view large image >

Broadway, New York, 1907, first state before lettering

    Jean-Emile Laboureur (1877-1943), Broadway, New York, etching, 1907, signed in pencil lower left. Reference: Laboureur 70, first state (of 2), before the lettering and before publication in the Gazette des Beaux Arts, one of 50 impressions on a cream/yellow simile japon included in the deluxe edition of the Gazette des Beaux Arts. In very good condition, 7 5/8 x 6 1/8, the sheet 11 1/4 x 7 1/4 inches. A fine impression.

Read more and view large image >

Broadway, New York 1907, published state

Jean-Emile Laboureur (1877-1943), Broadway, New York, etching, 1907. Reference: Laboureur 70, from the edition of 1200 published by the Gazette des Beaux-Arts, with the printing below (J.E. Laboureur aquaf; Broadway, New York (Salon d’Automne, 1907, Imp. A. Porcabeuf, Paris). In good condition apart from moderate light staining, 7 1/2 x 6, the sheet 10 1/2 x 7 inches. A good impression. This composition was initially titled Broadway and Herald Square, which would be the area of Broadway and 34th Street. The composition was created from two photos Laboureur took of the area.

Read more and view large image >

Les Deux Chaumieres

Jean-Emile Laboureur (1877-1943), Les Deux Chaumieres, 1927-28, etching and engraving, signed in pencil lower left and numbered lower right. Laboureur 356, second state (of 4). One of the seven impressions printed in this state (84 in all), before the monogram in the plate, and some added shading in the trees. In excellent condition (paper folded less than an inch at sides); 4 1/2 x 6, 10 x 13 (before folds) inches. A fine impression on cream wove paper. This impression appears to be an intermediate state between states one and two, before some shading on the figures at the left […]

Read more and view large image >

L’Auberge du Bord de L’Eau (Petite Planche)

Jean-Emile Laboureur (1877-1943), L’Auberge du Bord de L’Eau (Petite Planche), engraving, 1924, signed in pencil lower left, numbered lower right ((41/60), and titled in pencil by the artist lower margin edge. Reference: Laboureur 310, third state (of 3), from the edition of 60 in this state. In very good condition, the full sheet with deckle edges, 3 1/2 x 4 7/8, the sheet 8 3/4 x 11 inches. A fine impression of this gem, printed on a Van Gelder Zonen cream wove paper (with partial watermark). Published by Henri Petiet, with his blindstamp (Lugt 2021a). Ex collection Alan Fortunoff (not […]

Read more and view large image >

Le 14-Juillet au Village

  Jean-Emile Laboureur (1877-1943), Le 14-Juillet au Village, engraving and roulette, 1925, signed in pencil lower left and numbered lower right (30/100) [also initialed and dated in the plate lower left]. Reference: Laboureur 292, third state (of three), from the edition of 100 impressions in the third state (115 printed in all states). In very good condition (the slightest coloration at paper’s edge, time staining in the margins), the full sheet, 5 3/4 x 6 1/2, the sheet 11 x 15 inches. A fine impression, printed on a strong cream wove paper, with deckle edges. ex collection Alan Fortunoff A […]

Read more and view large image >

Portrait of Elias Frise

Artist: James Ensor

James Ensor (1860-1949), Portrait of Elias Frise, etching, 1886, signed, titled (leancetre) and dated in pencil recto; also signed and titled verso, on laid japon nacre paper. References: Delteil 3, Elesh 3, second state (of 2). In very good condition, with wide margins (hinged at top to a backing sheet, not matted), 9 3/4 x 7 3/4, the sheet 16 x 11 1/2 inches. Provenance: Augusta Boogaerts (1850-1951), Ostend, a gift from the artist (with her initials AB in pencil verso) Mira Jacob Wolfovska (1912-2004), Paris, with her blindstamp lower right margin blindstamp (Lugt 4576; Jacob was a renowned figure […]

Read more and view large image >

No se puede saber por qu One cant tell why

Harris155_Proof (3)

  Francisco Jose de Goya y Lucientes (1746 Fuendetodos Bordeaux 1828),No se puede saber por que One cant tell why ca. 18081814, etching, burnished aquatint, drypoint, and burin on laid paper; 155 x 203 mm (6 1/8 x 8 inches), Harris 155.I.2 (of III.7) provenance Infante Don Sebastian de Borbn y Braganza Georges Provot, Paris; his sale, Hotel Drouot, April 10, 1935, lot 64 Tomas Harris, London (Lugt 4921) private collection, Germany A fine, rich proof impression for plate 35 ofLos Desastres de la Guerre, before numbers, letters, and before additional drypoint and burin work. No impression of state I.1 […]

Read more and view large image >

Jamming at the Savoy

Romare Bearden (1911-1988), Jamming at the Savoy, 1980-81, colored etching and aquatint. Reference: Gelburd and Rosenberg (2, p. 9); GG #95 (p. 29). Signed, titled and numbered (124/180), from the edition of 180. The full sheet, in excellent condition, 16 5/8 x 23 3/4, the sheet 22 1/2 x 30 1/8 inches. A fine, fresh impression, with colors vivid. This print can be provided framed or in the mat.

Read more and view large image >

Maisons au Bord de la Mer

Jean-Emile Laboureur (1877-1943), Maisons au Bord de la Mer, etching, 1936, numbered bottom right (26/66) and inscribed in the bottom margin by Suzanne Laboureur (see below). Reference: S. Laboureur 511, third state (of 3), from the edition of about 48 pulled in 1977 at the occasion of the 100th anniversary of the birth of the artist. In excellent condition, the full sheet, printed on a heavy cream wove paper, 10 14 x 8 5/8, the sheet 15 x 11 inches. A fine impression. At the bottom of the sheet Suzanne Laboureur, Laboureur’s wife, writes that the completed edition, numbered 18 […]

Read more and view large image >

Une Marmite

Jean-Emile Laboureur (1877-1943), Une Marmite, engraving, 1916, signed in pencil lower left; titled, dated and inscribed epreuve de 1er etat bottom margin edge [with the initial and date in the plate]. Reference: S. Laboureur 149, first state (of 4); only 8 or so impressions in the first state (this may be the first); in the published state, with lettering at the bottom, there were 135 proofs. In very good condition (the margin at right cut a bit ragged and close to the plate mark, but still away from it), 7 x 5 1/2, the sheet 8 1/4 x 6 3/8 […]

Read more and view large image >

Viaduc a Monaco

Jean-Emile Laboueur (1877-1943), Viaduc a Monaco, 1931, etching, signed in pencil lower left and numbered lower right (2/8), annotated imp.; also titled lower left margin edge. Reference: S. Laboureur 437, first state (of 3), from the group of 8 in the first state (a total of 54 proofs were pulled in all states). Printed on cream wove paper with the watermark VMA. 11 1/4 x 8 1/4, the sheet 18 x 11 inches. A fine impression of this early state. This is a rather realistic portrait of the railroad viaduct, Saint Devote, Monte Carlo, Riviera; the figures, however, are in […]

Read more and view large image >

Les Grandes Celebrites de la France

Honore Daumier (1808-1879), Les Grandes Celebrites de la France, lithograph, 1939, plate 2 from the series Les Saltimbanques, from La Caricature Provisoire (also published later in Le Charivari, 1843). Reference: Daumier Register 620, second state (of 5). With lettering, and the initials (in the plate lower left). Printed on a wove paper. In good condition (formerly folded across the middle, now flattened) , 11 1/2 x 8 7/8, the sheet 13 1/8 x 10 inches. A very good impression. An impression of Les Grande Celebrites de la France was shown in the Metropolitan Museum’s show Seurat’s Circus Sideshow (At The […]

Read more and view large image >

Dup

Honore Daumier (1808-1879), Dup, lithograph, 1832, from the series Celebrites de la Caricature, plate 171. Reference: Delteil 45, Daumier Register 45, only state. In generally good condition (with what appears as stains on recto but characterizing impressions of this print), with hand coloring in the contrived coat of arms below (possibly the coloring caused the staining), on wove paper, 11 x 6 1/2 inches. Provenance: G Cognacq (Lugt 538d, stamp verso) R. Gaston-Dreyfus (initials stamp verso) Ramus, Charles F. Collection Nehorayan, A. Collection. New York, NY (impression noted in the Daumier Register) Sothebys New York, February 13, 1980 An impression […]

Read more and view large image >

Portrait

Jean-Emile Laboureur (1877-1943), Portrait, 1917, engraving, signed in pencil lower left and numbered lower right (28/40). Reference: S. Laboureur 170, third state (of 3), from the edition of 40 in this state (54 proofs pulled overall). In excellent condition, 4 3/8 x 3 1/4, the sheet 9 1/2 x 7 1/4 inches. A fine impression, printed on a cream laid paper. An excellent example of Laboureurs adoption of a cubist idiom, using engraving lines to accentuate the linear quality of cubism; a small portrait that works splendidly.  

Read more and view large image >

Beach and Willows

Frederick Garrison Hall (1879-1946), Beach and Willows, etching, c. 1920, signed in pencil by the artist (?) and annotated "by HPH". Reference: Elton Waylon Hall: Frederick Garrison Hall: Etchings, Bookplates, Designs; Beach and Willows, 1972: Etching no. 5; also The Print Connoisseur, 1921, Vol. 1, NO. 3, p 229 No. 7. Only state known, edition of 50. 6 1/2 x 10, the sheet 10 1/2 x 14 inches. In very good condition. A fine impression, printed on a wove paper. Other impressions of Beach and Willows can be found in the Boston Public Library, Library of Congress, Boston Museum of […]

Read more and view large image >

A Drunken Night Cap, Wine is a Mocker

(After) JAN VAN DER BRUGGEN (Brussels c1649 1690 Paris), A Drunken Night Cap, Wine is a Mocker, mezzotint, c. 1720, with artist’s name Mieris lower left in the plate, engraver’s initials JHL lower right in the plate. In generally good condition (water stain verso not visible recto), with small margins, 9 x 7 3/8, the sheet 10 1/4 x 7 3/4 inches. A fine impression, possibly before letters, on old laid paper with a high crown (?) watermark. This composition was initially conceived in a drawing (now lost) by Frans Mieris, then engravedby Hendrik Bary (Hollstein 11); later executed in […]

Read more and view large image >

Walking in the Woods at Night

Frank Arthur Nankivell (18691959), [Walking in the Woods at Night], drypoint, c. 1910, signed in pencil lower right. Printed on a cream laid paper. In good condition, with margins (slight light staining). 10 x 8, the sheet 11 1/2 x 9 1/2 inches. A fine impression of this great rarity; no edition is known or indicated. Printed with extensive burr on the drypoint work, and carefully placed plate tone darkening the woods, but wiped to highlight the house in the woods and the foreground. This impression was exhibited in the International Fine Print Center New York (IPCNY) 2013 exhibit The […]

Read more and view large image >

Le March aux Fleurs ou la Rencontre

Jean-Emile Laboureur (1877-1943), Le March aux Fleurs ou la Rencontre, 1914, Engraving. Sylvain Laboureur 127, second state (of 2). Edition of 35. Signed, titled, and numbered 2/35 p in pencil. Signed and dated in the plate, lower left. Image size: 11 1/8 x 13 9/16 inches (283 x 344 mm); sheet size 12 7/8 x 16 3/8 inches (327 x 416 mm). A superb impression, with rich burr and delicate overall plate tone, on cream wove paper; full margins (6/8 to 1 3/8 inches); slight light toning within the original mat opening, otherwise in excellent condition. One of Laboureurs most […]

Read more and view large image >

Les Deux Chaumires

Jean-Emile Laboureur, Les Deux Chaumires, etching, 1927-8, signed in pencil lower left, numbered and annotated “imp” lower right. Reference: S. Laboureur 356, second state (of 4). In excellent condition (apart from paper folded back slightly at left and right), 4 1/2 x 6, the sheet 10 x 13 inches. A delicately printed, fine impression of this early state, before the initial in the plate. There were 7 impressions taken of this state, and about 80 impressions in all. Sylvan Laboureur notes that this site is at Kerfahler (a commune of Penestin), now a well known camping area in western France.

Read more and view large image >

Printemps Breton

Jean-Emile Laboureur (1877-1943), Printemps Breton, 1926, drypoint, roulette, aquatint, etching; signed in pencil lower left and numbered lower right (37/50) with the imp inscription (printed by the artist). Reference: S. Laboureur 324, second state (of two), from the lifetime edition of about 50 (another edition of about 248, posthumous, was made in 1959 in conjunction with the publication of the volume Laboureur en Briere. In excellent condition, the full sheet, 3 1/8 x 5 1/8, the sheet 9 5/8 x 12 5/8 inches. A fine impression, printed on a wove BFK Rives paper (with the watermark BFK). Laboureur utilized anumber […]

Read more and view large image >

Le Promenade au Phare

  Jean-Emile Laboureur (1877-1943), Le Promenade au Phare, engraving, 1925, signed in pencil lower left and numbered lower right (24/70) [with the initial in the plate lower left]. Reference: S. Laboureur 302, third state (of 3), published by Henri Petiet, with his blindstamp, in very good condition, on a cream laid paper with margins, 6 1/2 x 7, the sheet 8 x 10 1/2 inches. A fine impression, with a light veil of plate tone overall, perhaps a bit darker toward the bottom of the sheet. Henri M. Petiet was an illustrious Paris publisher and print dealer; his stamp (Lugt […]

Read more and view large image >

Sur la Marne

  Jean-Emile Laboureur (1877-1943), Sur la Marne, engraving, 1924, signed in pencil lower right [with the initial lower right in the plate]. Reference: S. Laboureur 277, third state (of 4), before the letters below the image, before the large edition in the fourth state as an illustration for an article by Claude Roger-Marx. With full margins, 7 x 5 1/4, the sheet 11 x 9 inches. A fine impression, printed on a cream Arches paper (with the Arches watermark). In addition to the cubist idiom this print, with its elongated figures, illustrates Laboureur’s interest in Mannerism – perhaps first ignited […]

Read more and view large image >

La Petite Plage

    Jean-Emile Laboureur (1877-1943), La Petite Plage, 1926, etching and engraving, signed in pencil lower left [inscribed lower margin as a trial proof; also with initials and date in the plate]. Reference: S. Laboureur 327, third state (of 3), from the total printing of about 91. In generally good condition, with a mark (probably in the paper) upper left just above the plate mark (also a few light staining spots well away from image, printed on an old laid (ledger?) paper, the full sheet with wide margins, 5 x 6 3/8, the sheet 9 x 13 1/2 inches. A […]

Read more and view large image >

Jeune Fille au Chapeau Blanc

  Jean-Emile Laboureur (1877-1943), Jeune Fille au Chapeau Blanc, 1921, etching and engraving. Reference: S. Laboureur 223, third state (of 3), edition of 30, about 47 impressions pulled in all. Signed lower left, numbered (15/30) lower right and inscribed imp (printed by the artist); also titled lower left near the edge in pencil [also with initials and date in the plate]. In excellent condition, remains of prior hinging verso, the full sheet with deckle edging, 6 1/2 x 4 5/8, the sheet 10 1/4 x 7 1/4 inches. A fine fresh impression of this attractive inhabitant of Croisic. Printed on […]

Read more and view large image >

Un Homme a La Mer

  Honore Daumier (1808-1879), Un Homme a La Mer lithograph, 1843, [with initials in the plate]. Reference: Daumier Register 1036, plate number 14 from the series Les Canotiers Parisiens, published in Le Charivari, third state (of 4), before publication in Le Charivari, a sur blanc impression, in very good condition, with margins, on wove paper, 9 1/2 x 10 1/4, the sheet 10 1/2 x 13 5/8 inches. With the letters, addresses of Pannier (lower left), Aubert (lower center). A fine strong impression. Translation of the text from the Daumier Register: Original Text: UN HOMME A LA MER. – Harponne […]

Read more and view large image >

L’Employe des Pompes Funebres

Jean-Emile Laboureur (1877-1943), L’Employe des Pompes Funebres (The Mortician), color etching, 1902, signed and annotated (essai l’eau forte in 2 planches) in pencil lower left [also signed and dated in the plate lower left]. Reference: Sylvan Laboureur 29, only state (a line plate, then color plate(s). Printed on a cream laid paper with the watermark ARCHES. In excellent condition, the full sheet with deckle edging, 7 3/4 x 9, the sheet 10 3/4 x 14. Provenance: Alfred Beurdeley, Paris (Lugt 421, stamp lower right recto); Eric Carlson, New York A fine fresh impression of this early Laboureur rarity. A trial […]

Read more and view large image >

Paysannes Dans un Champ de Haricots

  Camille Pissarro (1830-1903), Paysannes Dans un Champ de Haricots, etching, aquatint, maniere grise; 1891, titled, signed, annotated 1er etat no. 10, also marked with a large Z by the artist in pencil. Reference: Delteil 103, only state. Delteil notes that there were 14 lifetime proofs (then 18 posthumous impressions). Printed on a cream laid paper, the image within the platemark: platemark size is 9 1/2 x 6 1/8, the image 6 7/8 x 5 1/4, the full sheet with deckle edges 16 3/4 x 11 3/4. In excellent condition. A fine impression of this great rarity, printed personally by […]

Read more and view large image >

Merry-Go-Round

Reginald Marsh (1898-1954), Merry-Go-Round, etching, 1930, signed in pencil lower right and numbered “24” lower left. In very good condition, with margins (cut irregularly, and with some ink smudges, as is customary for prints printed personally by Marsh). Printed in black on an ivory laid paper. Reference: Sasowsky 99, sixth state (of 6); an estimate of about 50-60 impressions printed (surely an exaggerated estimate). 6 7/8 x 9 3/4, the sheet 8 1/2 x 12 1/2 inches, archival matting. Provenance: Downtown Gallery, with their stamp verso, and stamp dated Nov. 12, 1931. Collection of Mr. and Mrs. Edward Crossett, with […]

Read more and view large image >

Bachelor’s Fare

Jean-Emile Laboureur (1877-1943), Bachelor’s Fare, engraving, 1916-1920, signed lower left, numbered lower right and inscribed “imp” in pencil. Reference: S. Laboureur 169, third state (of 3), from the total printing of 38 in all states. In excellent condition, the full sheet printed on a laid paper with a Horn in Shield watermark; 6 1/4 x 5, the sheet 9 x 7 inches. A fine crisp impression of this early cubist-influenced engraving. An illustration for this print was done as early as 1914; the print may have been started around 1916 and, as with so many of the war-time Laboureur prints, […]

Read more and view large image >

Au Balcon

Jean-Emile Laboureur (1877-1943), Au Balcon, engraving, 1917-1919, signed in pencil bottom left, numbered (8/35) and inscribed imp bottom right, titled bottom left margin. Laboureur 181, third state (of 3), from the total printing in all states of about 45. In good condition (browning at bottom edge), with margins, 7 3/4 x 4 7/8, the sheet 11 1/4 x 8 3/8 inches. A fine impression. One of Laboureur’s iconic images, the aesthetic structure to be reprised a few years later in Le Balcon sur la Mer (1923). The dating of this print, like a number of the prints interrupted by the […]

Read more and view large image >

Coney Island-1935, Etching

Artist: Paul Cadmus

Paul Cadmus (1904-1999) Coney Island–1935, Etching. Johnson and Miller 81. Edition 50. Signed in pencil. Annotated Edition of 50 1935 in pencil, in the artists hand, bottom left margin. Image size 9 1/8 x 10 3/16 inches (232 x 257 mm); Sheet size 11 1/4 x 13 1/8 inches (279 x 400 mm). A superb, richly-inked impression, on cream laid paper, with full margins (1 to 1 1/2 inches), in excellent condition. After the 1934 painting of the same title in the collection of Los Angeles County Museum of Art. Reproduced and exhibited: The American Scene on Paper; Prints […]

Read more and view large image >

Little Penthouse

Artist: Martin Lewis

Martin Lewis (1881-1962), Little Penthouse, drypoint, 1931, signed in pencil lower right [signed in the plate in a rectangle lower left]. Reference: McCarron 91, only state. Printed for inclusion in the Deluxe Edition of American Etchers Volume XI (Martin Lewis) by the Crafton Collection, NY, and distributed by P&D Colnaghi in London in 1931. The total number of recorded impressions is 84. In fine condition, withfull margins, 9 7/8 x 6 13/16 inches, the sheet 11 1/2 x 8 1/2 inches. A fine glowing impression, printed on a cream laid paper. Martin Lewis was born in Victoria Australia, and in […]

Read more and view large image >

Whistler Portrait No. 7 (Six Faces of Whistler)

    Mortimer Menpes (1855-1938), Whistler Portrait No. 7 (Six Faces of Whistler), drypoint, 1902-3, signed in pencil and inscribed “imp” bottom right margin. Reference: Morgan 237. Watermark: No. 1 in a diamond. The matrix in good condition, with very wide margins (defects in margins including folds, loss upper right, light mat stains, creases, other defects), 7 3/8 x 5 3/8, the sheet 16 x 10 inches. A brilliant impression of this iconic print, with much drypoint burr. Provenance: A private collection (USA) David Tunick, Inc., New York Menpes,a Whistler a pupil and studio assistant in the 1880’s, made a […]

Read more and view large image >

Venus, 1859

  James Whistler (1834-1903), Venus, 1859.Etching and drypoint, printed in black ink on laid paper, an impression in the second (final) state: there was no published edition. 6 x 9 inches (15 x 22.6 cm) sheet 73/8 x 117/8 inches (18.8 x 30.3 cm) Reference: Kennedy 59; Glasgow 60 A study of Hlose, Fumette, asleep in bed, her head pressed into the pillow and the bedclothes covering her lower legs. This is one of three portraits Whistler made of Fumette in 1859: one of the others shows her standing and in the third only her head and shoulders are depicted. […]

Read more and view large image >

Penny Passengers, Limehouse

  James Whistler (1834-1903), Penny Passengers, Limehouse, 1860. Etching and drypoint, signed in pencil with a butterfly and inscribed imp, printed in black ink on laid paper, trimmed at the platemark, leaving a signature tab, an impression in the second (final) state, one of only six recorded, 31/4 x 81/8 inches (8.2 x 20.7 cm) Provenance: Otto Gerstenberg, stamp verso [Lugt 2785] Reference: Kennedy 67; Glasgow 71 The buildings on the far bank of the Thames and the ship and their masts moored there show the distinctive draughtsmanship of the period 18591860 when Whistler worked in Limehouse and made an […]

Read more and view large image >

Chrysler Building (Chrysler Building in Construction)

Artist: Howard Cook
Cook-Chrysler

        Howard Cook (1901-1980),Chrysler Building (Chrysler Building in Construction)-–1930, Wood Engraving. Duffy 122. Edition 75, only 50 printed. 1931, signedin pencil, annotated “imp” and dated; printed by the artist Image size 10 1/16 x 6 11/16 inches (256 x 170 mm); sheet size 11 7/8 x 9 inches (302 x 229 mm). A superb, black impression, on thin cream wove Japan paper, in excellent condition. By the early 1930s, Cooks prints of New York, especially its skyscrapers and bridges, were widely known and often reproduced in such magazines as Harpers and The Atlantic Monthly. The first solo […]

Read more and view large image >

Rainy Day, Queens

Artist: Martin Lewis
Lewis-RainyDayQueensH

  Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition of about 70. In very good condition, 10 5/8 x 11 7/8, the sheet 13 1/2 x 15 7/8 inches. Provenance: Estate of Edward G Kennedy (?) (with stamped initials EGK verso, cf. Lugt 857) A fine rich impression of this iconic image, printed in black ink on an ivory laid paper. Lewis described this location as “Skillman Ave. Queens”; it is probably at the intersection of Skillman Avenue and 49th […]

Read more and view large image >

Jeune Fille de Rosporden, c. 1890

Dezaunay_JeuneFilledeRosporden

Emile-Alfred Dezaunay (1854-1938) Jeune Fille de Rosporden, c. 1890 etching and aquatint printed in color on cream-colored laid ARCHES paper; Reference: Morane 66. plate: 278 x 199 mm (11 x 7 7/8 inches) numbered 2/50 and signed in pencil Timbre sec : Ed. Sagot diteur (L. 2254).

Read more and view large image >

Sails

IMG_2123

    Sybil Andrews (1898-1992), Sails, linocut in colors, 1960, signed (twice), titled, and inscribed “TP” in pencil. Reference: White 50. In good condition, two sheets, each image 7 1/8 x 9, each sheet 10 5/8 x 11 inches. Consisting of two sheets, unattached, each with the entire image, and placed one atop the other. The bottom sheet: signed in pencil twice and inscribed “TP”; the top sheet annotated “sample printing”. Each sheet printed on tissue-thin laid Japan. A brilliant vividly colored presentation, as achieved through the juxtapositioning of two proof impressions of this print, presumably by the artist. As […]

Read more and view large image >

St. Germain-Des-Pres, Paris

Artist: John Marin
IMG_2093

    John Marin (1870-1953),St. Germain-Des-Pres, Paris, etching, 1906. Signed in pencil lower right and titled lower left [also signed and dated in the plate]. Zigrosser 47, only state, from the edition estimated by Zigrosser of about 25. Printed on wove Japan paper, with wide margins, a deckle edge at top, in very good condition (paper loss lower right corner, paper crease lower left margin), 8 x 5 5/8, the sheet 13 x 9 inches. A fine impression, printed with plate tone. Marin lived and worked in Europe from late 1905 to 1909, mostly in Paris but also in Venice, […]

Read more and view large image >

Shadows, Garage at Night

Artist: Martin Lewis
IMG_2016

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right[also signed in the plate lower right].Reference: McCarron 69, only state, from the total printing of 49. In excellent condition, the full sheet, 9 7/8 x 11 7/8, the sheet 12 3/4 x 15 inches. A very fine impression, printed in black ink on a cream wove paper. A”noir”rural scene, presumably from the Danbury, Connecticut area, with the focus on cars, and shadows.  

Read more and view large image >

Black Magic

  Gerald Geerlings (1897-1998), Black Magic, etching and aquatint, 1929, signed in pencil lower right, titled and annotated (New York, 1928) lower left margin. Reference: Czestochowski 6, fourth state (of 4), from the edition of 100. In excellent condition, with full margins (slight rippling at outer margin edges), 11 3/4 x 6 1/2, the sheet 17 x 12 1/4 inches. A fine glowing impression, printed on a greenish laid paper with the watermark TG Head & Co. According to the web site of the Philadelphia Museum of Art this etching and aquatint portrays the Warwick Hotel(on West 54th Street and […]

Read more and view large image >

The Gate, Chelsea

IMG_1995

  Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it […]

Read more and view large image >

The Avon on the Road to Bexhill

IMG_1974

Theodore Roussel (1847-1926), The Avon on the Road to Bexhill, drypoint, 1919, signed in pencil and dated (15.7.19) lower left [also signed in the plate]. Reference: Hausberg 115, fourth state (of 4), from the total printing of about 22 impressions, about 12 in this state. In excellent condition, printed on a very thin laid Japon with margins, 4 1/2 x 5 7/8, the sheet 6 x 7 3/4 inches. A very fine impression with substantial burr from the drypoint work. According to Hausberg “Bexhill lies just west of St. Leonards-on-Sea, where Roussel lived from 1914. The River Avon does not […]

Read more and view large image >

L’le Lacroix, Rouen

IMG_1964

Camille Pissarro (1830-1903),L’le Lacroix, Rouen, etching, aquatint, maniere grise, drypoint, burnishing,c. 1887. Signed and numbered (No. 1) in pencil lower left, annotated 1er t?t lower right. Delteil 69, second state (of 2). In very good condition, with full margins (traces of foxing), 4 1/2 x 6 1/4, the sheet 10 3/4 x 13 inches. A fine impression of this great rarity. Delteil notes that only a few impressions were made of the first state, and eight impressions of the second. Although Pissarro himself notes that this is an example of the first state, Delteil shows that in the second […]

Read more and view large image >

Coat of Arms with Lion and a Cock

durercocklion

Albrecht Durer (1471-1528), Coat of Arms with Lion and a Cock, engraving, c. 1502-3, 7 5/16 x 4 5/8 inches. With the monogram; no date, with border lines. Meder 97, Hollstein 97. In excellent condition, trimmed outside of the borderline all around. Provenance: Sir Philip Burne-Jones (not in Lugt, pencil inscription verso) Thomas Miller Whitehead (his ink stamp verso, Lugt 2449) Colnaghi, London (with their stock number C 23526 verso) A fineMeder aimpression, with the small horizontal scratches lower left as called for by Meder for the a impressions. The heraldic symbols in this coat of arms are not associated […]

Read more and view large image >

Shadow Magic

Artist: Martin Lewis
Lewis_ShadowMagic_ED

Martin Lewis (1881-1962), Shadow Magic, 1939, drypoint, signed in pencil lower right. Reference: McCarron 126, only state, 34 impressions recorded. In excellent condition, 13 1/2 x 9 1/2 inches. An extraordinarily fine example of this rare drypoint, printed in black on a cream wove paper. In a preparatory drawing in the Lucile Lewis (his wife) inventory Lewis quoted the first line of the Edna St. Vincent Millay (1892-1950) sonnet “Euclide alone has looked on beauty bare.” Here is that sonnet: Euclide alone has looked on beauty bare. Let all who prate of Beauty hold their peace, And lay them prone […]

Read more and view large image >

A Street in Ventnor, Isle of Wight

rousselstreetventnor

  Theodore Roussel (1847-1926), A Street in Ventnor, Isle of Wight, etching, soft ground etching, drypoint, 1912, signed in pencil on the tab and inscribed “imp” (printed by the artist) [also signed in the plate lower left]. Reference: Hausberg 102, third state (of 3), from group of about 30 impressions in this state, 37 overall;in excellent condition, trimmed by the artist outside of the platemark except for the signature tab, 4 x 2 3/4 inches. A fine impression, printed with tone. Roussel visited the Isle of Wight in the summer of 1912, filling two sketchbooks with drawings; based on the […]

Read more and view large image >

James McBey

FullSizeRender

  Gerald Leslie Brockhurst (1890-1978), James McBey, etching, 1931, signed in pencil lower right [also signed in the plate, in reverse, lower right just under the borderline, and titled just under the borderline lower left]. Fletcher 69, ninth state (of nine), from the edition of 111. In excellent condition, the full sheet, 7 1/2 x 10 1/2, the sheet 14 7/8 x 11 inches. Provenance: Kennedy Galleries, New York (with their stock number A55738 Unidentified collector (initials TW lower left margin recto, not in Lugt) A fine impression, printed in black on a cream wove paper. Gerald Leslie Brockhurst was […]

Read more and view large image >

Couple Beneath a Tree

FullSizeRender

Elyse Ashe Lord (1900-1971), Couple Celestial Nymph I, c. 1930, color etching, soft ground, drypoint; signed lower right in pencil and numbered by the artist lower left. In very good condition, the full sheet, 11 3/4 x 12 1/4, the sheet 17 x 16 inches. A fine impression, with strong colors and plate tone. Printed on a light laid ivory Japan paper. Elyse Ashe Lord developed her unique artistic style exclusively around oriental subject matter. Her art was inspired by both Chinese art and various aspects of oriental culture. Although E.A.Lord never actually travelled to China, she used Chinese paintings, […]

Read more and view large image >

Le Bourg de Batz

FullSizeRender

    William Strang (1859-1921), Le Bourg de Batz, etching and drypoint on copper, 1913, signedin pencil lower right [also signed and dated in the plate]. Reference: Binyon 654, only state, edition of 58. In very good condition, printed in black/brown ink on an ivory laid paper, with full margins, 16 3/4 x 13 3/4, the sheet 20 x 17 1/2 inches. A fine strong impression of this large composition. Printed with a light veil of plate tone. Le Bourg de Batz is a commune in western France; the town lies between the Bay of Biscay and its salt marshes, […]

Read more and view large image >

The New Baby

lordbaby

  Elyse Ashe Lord (1900-1971), The New Baby, c. 1930, color etching, drypoint; signed lower right in ink. In very good condition, 10 3/4 x 8 3/4, the sheet 11 1/2 x 10 1/4 inches. A fine impression, with strong color and plate tone. Printed on a light laid ivory Japan paper. The New Baby is something of a departure from Lord’s usual detailed and realistic renderings of Asian subjects. Here, the shapes are outlined in a nearly abstract idiom, and with only a few lines and colors Lord achieves a masterful composition, at once touching and aesthetically accomplished. Elyse […]

Read more and view large image >

Mother Earth

strangmotherearth

  William Strang (1859-1921), Mother Earth, 1897, etching, drypoint, aquatint (listed in Binyon as etching mezzotint); signed in pencil lower right, and signed by the printer David Strang and inscribed “imp” lower left. Reference: Binyon 312, 35 proofs. With the notation in pencil lower margin “406 (312) final state.” In excellent condition, with margins, 7 3/4 x 6, the sheet 10 1/8 x 7. A fine impression, printed with carefully wiped plate tone, so that the figure of Mother Earth and children is stands out; much tone is left on the top and central hilly area, and a subtle veil […]

Read more and view large image >

J.H. Woods’ Fruit Shop, Chelsea

photo

James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4). Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in black ink on ivory laid paper,3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published. Glasgow accounts for four impressions. watermark:partial arms of Amsterdam(cf. Spink/Stratis/Tedeschi, watermark nos. 12ff.) This […]

Read more and view large image >

Celestial Nymph I

lordcelestialnymph

  Elyse Ashe Lord (1900-1971), Celestial Nymph I, c. 1930, color etching, soft ground, drypoint; signed lower right in pencil and numbered by the artist lower left. In very good condition, the full sheet, 8 1/4 x 10, the sheet 17 x 13 1/2 inches. A fine impression, with strong color and plate tone on the nymph and surrounding decorations, and with pencil additions in various places on the nymph by the artist (using the same pencil as with signing). Printed on a light laid ivory Japan paper. Provenance: Kennedy Galleries, New York (with their stock number A 32064) Elyse […]

Read more and view large image >

Kristiania Boheme I (or Kristiania Bohemians I; Drinking Session/Drinking Bohemians)

Artist: Edvard Munch

Edvard Munch (1863-1944) Kristiania Boheme I (or Kristiania Bohemians I; Drinking Session/Drinking Bohemians), etching, drypoint and burnishing, 1895, signed in pencil lower right, also signed by the printer Felsing lower left. References: Willoch 9, Schiefler 10, Woll 15, third state (of 3). Kristiania Bohme I was included in the Meier-Graefe Portfolio, a portfolio of intaglio prints by Munch, printed by the firm of Angerer in Berlin in an edition of 65; impressions printed by Otto Felsing (including some such as this impression signed by him, were printed outside of the portfolio). In excellent condition, with full margins, 8 1/2 x […]

Read more and view large image >

A Peaceful Sunday in the Woods (Repos du Dimanche dans le Bois)

FullSizeRender

Camille Pissarro (1830-1903), A Peaceful Sunday in the Woods (Repos du Dimanche dans le Bois), etching, aquatint and drypoint, 1891, signed in pencil lower right and inscribed by the artist “2e etat No.2 repos dans le bois” lower left. Reference: Delteil 99, third state (of three, but see discussion below). In good condition apart from a printer’s crease upper center(soiling as befits an artist’s proof, and a blue crayon mark verso);trimmed (presumably by the artist) just outside of the plate mark at right and left, with margins top and bottom. Printed on a brown laid paper, in a brownish/black ink. […]

Read more and view large image >

The Little Mast

K185_TheLittle Mast_HS

James Whistler (1834-1903), The Little Mast, etching, drypoint and burnishing, 1879-80, signed in pencil with the early shaded butterfly lower left and annotated “imp”. References: Glasgow 196, Kennedy 185. Glasgow’s third state (of 8). From the Twelve Etchings, The First Venice Set. With margins, 10 5/8 x 7 1/2, the sheet 12 3/8 x 8 7/8 inches. In very good condition. Provenance: Charles C. Cunningham (with his stamp verso, Lugt 4684 James Lawrence Claghorn (with his stamp recto lower right, Lugt 555c) Kennedy Galleries (with their stock number a94365 verso) A very fine early proof impression, printed on a Chinese […]

Read more and view large image >

The Beggars

K194_TheBeggars_HS

  James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”. Reference: Glasgow 190, seventh state (of 17), Kennedy 194, fourth state (of 9), from the First Venice Set. In excellent condition (tiny nick bottom margin; remains of hinges verso), with margins, 121/8x 8 1/4 inches, the sheet 13 x 9 1/4 inches. An exceedingly fine impression, printed on sturdy laid paper, with a Strasbourg Lily with a W watermark. With substantial plate tone especially towards the bottom of the composition, wiped carefully to highlight the figures at the end of the tunnel, and […]

Read more and view large image >

Conversation

Artist: Emil Nolde

Emil Nolde (1867-1956), Unterhaltung (Conversation), etching, 1906, signed and dated in pencil lower right and also signed by the printer Otto Felsing lower left. Reference: Gustav Schiefler 37, fourth state (of 4). A proof apart from the edition of only 20 and”some proofs”(Schiefler says: “einige probedrucke”)of this state. In excellent condition, on a heavy laid handmade paper with the (partial) watermark “V”, the full sheet with deckle edges, 6 x 7 1/2, the sheet 21 1/2 x 15 inches. A fine exceptionally fresh impression of thissuperb composition, printed in a rich dark blue/green ink. According to Schiefler only 5 proofs […]

Read more and view large image >

Swing Boats

photo

Claude Flight (1881-1955), Swing Boats, circa 1919-1921, color linoleum cut on very thin Japan paper, signed and numbered by the artist lower left. In very good condition, with the full colored margin outside of the borderline (with slight imperfections typical of these British futurist linoleum proofs, i.e., border edge somewhat rough-cut,small loss upper left corner, a printing fold toward the middle of the image, slight wrinkling upper right). The sheet 10 x 12 3/4 inches. Provenance: The Redfern Gallery, 27 Old Bond Street, London (with their label affixed to the mat). A fine impression, with the colors fresh and balanced. […]

Read more and view large image >

Yacht Races (Grand Lake, Colorado)

Ronnebeck-YachtRacesH

Arnold Ronnebeck (1890-1983) Yacht Races (Grand Lake, Colorado)= 1933, Lithograph Edition 25. Signed, titled and numbered in pencil. Image size 13 1/4 x 9 1/8 inches (225 x 349 mm); sheet size 15 7/8 x 11 1/4 inches (292 x 406 mm). A fine, rich impression, on cream wove paper, with full margins (1 to 1 1/2 inches), in excellent condition. Collection: Smithsonian American Art Museum.  

Read more and view large image >

Montparnasse Street

Artist: Howard Cook
Cook-MontparnasseBig (1)

Montparnasse Street– 1931, Etching Duffy 128. Edition 50, only 25 printed. Signed, dated, and annotated imp and 50 in pencil. Image size 4 7/8 x 9 7/8 inches (124 x 251 mm); sheet size 7 1/2 x 13 1/2 inches (191 x 343 mm). A fine, rich impression, on cream laid paper, with full margins (1 1/4 to 1 7/8 inch), in excellent condition. Printed by the artist. Scarce. Collections: NMAA, Philadelphia Museum of Art, Smithsonian American Art Museum, UNM.

Read more and view large image >

At The Piano

Artist: Anders Zorn
photo

  Anders Zorn (1860-1920), At the Piano, etching, 1900, signed in pencil lower right. Reference: Asplund 160, Hjert and Hjert 108, second state (of 2), from the edition of 60-70. Printed on an ivory laid paper, in very good condition (some repaired tears, loss at bottom edge), 7 7/8 x 5 3/4, the sheet 14 3/4 x 11 3/4 inches. A fine delicately printed impression. The sitter is Mrs. Anna Burnett Hardin; the plate was made at the home of Charles Deering, an industrialist and patron of Zorn’s, in Evanston, Illinois. Two pencil drawings are in the Zornmusset and another […]

Read more and view large image >

Palazzo Dei Cammerlenghi, 1926

Artist: James McBey
McBey-PalazzoDeiCammerlenghiBig

J a m e s= M c B e y– – – 1 8 8 3 – 1 9 5 9 Palazzo Dei Cammerlenghi– 1926, Etching. Edition 60, 20. Signed in ink. Numbered AI, indicating the first impression of the American edition of 20 [also signed and dated October 1925 in the plate lower right]. Reference: Hardie and Carter 231, only state (there were about 11 trial proofs, where slight changes were made, before the published first state). Image size 8 3/4 x 5 3/4 inches (222 x 146 mm); sheet size 11 5/8 x 8 3/8 inches (295 […]

Read more and view large image >

Vrit

photo

  Henri Fantin-Latour (1836-1904),Vrit (petite planche), 1900, lithograph. Hediard-Mason 156, first state (of 3). A proof of the first state before the edition published in La Revue de l’Art Ancien et Moderne. In excellent condition, the full sheet, 7 3/8 x 5 1/2, the sheet 13 x 9 7/8 inches (matrix 190 x 137 mm.). A fine proof impression, printed on a light chine volant. In the published state lettering at the bottom margin gave the name of the artist, the title,publication, and printer (Clot).

Read more and view large image >

Chelsea Children, Chelsea Embankment

photo

Theodore Roussel (1847-1927), Chelsea Children, Chelsea Embankment, etching, 1889, signed in pencil on the tab and inscribed “imp”[also signed in the plate].Reference: Hausberg 32, only state, from the total printing of about 30 impressions. Printed in a reddish brown ink on a thin laid paper. In very good condition, trimmed by the artist on the platemark except for the tab, 7 1/2 x 5 1/16 inches. A fine impression, printed with a veil of plate tone, wiped a bit less toward the sky making the sky darker than the street scene. Hausberg notes that this etching “depicts, in reverse, a […]

Read more and view large image >

Brooklyn Bridge No. 6 (Swaying), 1913

Artist: John Marin
marinbb

    John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying) = 1913, Etching. Z112. Edition c. 12 (Steiglitz); 1924, unknown but small (New Republic). Signed in pencil. Signed and dated 13 and B.B. 6 in the plate, lower left. Image size 10 5/8 x 8 3/4, the sheet size 14 x 10 7/8 inches. A superb, richly inked impression, with selectively wiped platetone; on warm cream wove paper, with wide margins (1 to 1 5/8 inches), in excellent condition. Very scarce. First published by Alfred Stieglitz in 1913, a small number of later impressions were printed as the work was […]

Read more and view large image >

The Bohemians

The Bohemians Jacques Callot (1592-1635), The Bohemians, the set of four etchings touched with burin, 1621. Reference: Lieure 374 (second state of four); Lieure 375-77 (second state of two). In very good condition, trimmed on or slightly within the platemark but outside of the borderline, 124 x 238 mm. A fine uniform early set of these iconic images. The first plate (L. 374) is known in four states, the latter two posthumous (our impression is the second state of four, before the posthumous printings). The first state for each plate is extremely rare (Lieure RRRR). L. 377 with a Cross […]

Read more and view large image >

Grand-mere

pissarrograndma1

    Camille Pissarro (1830-1903), Grand-mere (effet de lumiere), etching and drypoint, 1889, signed in pencil lower right, titled lower left, inscribed “No 3 – 2e etat” lower left in pencil. Delteil 80, second state (of 7). In good condition (slight rubbing in lower right margin at the signature), the full sheet, 6 5/8 x 10 1/4, the sheet 10 5/8 x 16 inches. Printed in black on a tan/ivory moderate weight Japan wove paper. A fine richmpressionof this very rare print,with substantial burr from the drypoint work. Only one impression is known of the first state; this is one […]

Read more and view large image >

Facile Proie – Complete Set of 8

    STANLEY W. HAYTER(1901-1988) Facile Proie. Set of 8 engravings, 1938-39. 250×325 mm; 9 7/8 x 12 3/4 inches (sheets), full margins, loose as issued, with the cover and . Each print signed and numbered 43/100 in pencil, lower margin. Numbered 43 in red pencil, on the justification page. Published by Guy Levis Mano, Paris. With the cover and container as issued, in generally good condition, some prints with slight spotting in margins, the outer cover with wear; the album in excellent condition. Very good impressions of these scarce, early prints. This is the initial edition; a restrike edition […]

Read more and view large image >

Bridge, Amsterdam – Final State

James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11. References: Kennedy 409, Glasgow 447, fifth state (of 5). In very good condition (slight nicks at edges), trimmed by the artist on the plate mark apart from the tab, 6 1/2 x 9 1/2 inches. Provenance: Vivian and Meyer P. Potamkin, Philadelphia; sale, Sothebys, New York, May 11, 1989, lot 302 (the catalogue entry mentions a note on the mat which identifies this […]

Read more and view large image >

Instantanes

Jean-Emile Laboureur (1877-1943), Instantes, 1911, a portfolio of six woodcuts, including the original paper wrapper, each print is signed and numbered (14/40) in pencil, printed in various colors. Reference: Laboureur 655 (1-6), only state. Printed on soft wove paper. In very good condition, each print matted as issued, the largest about 7 1/4 x 5 1/2, the sheets 11 1/4 x 8 1/4 inches. This set is one of only five in color pulled by hand. The first 10 sets were pulled by hand in black and white, the next five pulled by hand in color, the rest printed by […]

Read more and view large image >

Trois Contes Cruels

Jean-Emile Laboureur (1877-1943), Trois Contes Cruels, set of 9 color woodcuts, 1926, each signed in pencil, with the original portfolio wrapper. Reference: Laboureur 748, from the deluxe edition of 10, printed in gold and silver, apart from the text (book) edition of 160 numbered copies; there was also an edition of 9 portfolios issued in black and white; printed on a soft cream wove paper. In very good condition, with margins, the largest image is about 4 1/2 x 4, the sheets each 9 3/8 x 6 1/4 inches. Fine impressions of this rare set. According to Laboureur’s notebook entry, […]

Read more and view large image >

Bridge, Amsterdam – First State

James McNeill Whistler (1834-1903), The Bridge, Amsterdam, etching, 1889. Signed on the tab with the butterfly and inscribed “imp”, also inscribed on the verso in the artist’s hand “first proof pulled” together with the butterfly monogram. In good condition, printer’s crease bottom center. References: Glasgow 447, first state (of five), Kennedy 409, first state of three. Trimmed on or outside of the plate mark by the artist, with the tab remaining, h: 6.5 x w: 9.5 in / h: 16.5 x w: 24.1 cm Provenance: P. and D. Colnaghi, London H. Wunderlich & Co., New York (stock no. a 33940) […]

Read more and view large image >

Jersey City Landscape

  Reginald Marsh (1896-1954), Jersey City Landscape, etching and engraving, 1939, signed in pencil lower right [also signed and dated in the plate]. Reference: Sasowsky 187, third state (of 3); estimated printings in this state: 20. In very good condition, printed on an ivory laid paper, with margins, 7 3/4 x 11 3/4. A strong impression. Only three proofs are known in the earlier states; the design was complete from the start. In the third state some engraving – a few lines and tiny buildings – was added just above the building at the far left. The title is interesting: […]

Read more and view large image >

Le Pont de Pierre, a Rouen

Camille Pissarro (1830-1903), Le Pont de Pierre, a Rouen, etching and drypoint, 1887. Reference: Delteil 66, second state (of 2). Signed lower right in pencil, annotated lower left “No 4 Epreuve d’artiste Pont de Pierre a Rouen Zinc”. In very good condition (tiny fox mark lower right), the full sheet with full margins, 5 x 7 3/4, the sheet 10 1/2 x 14 inches. Printed in black ink on a cream/tan laid paper. A fine impression, with substantial burr from the drypoint work, with plate tone. Delteil notes that Pissarro printed two impressions of the first state, and about thirty […]

Read more and view large image >

Disparate Pobre (Two Heads are Better Than One) – Proof

    Francisco de Goya y Lucientes (1746-1828), etching, with burnished aquatint, drypoint and engraving, c. 1812; plate 11 from Los Proverbios. References: Delteil 212, Harris 258. In very good condition, 240 x 352 mm., 9 7/16 x 13 7/8 inches, the sheet 280 x 380 mm., 11 x 15 1/8 inches. A very fine, rare, proof impression, before the edition of c. 1854-1863, printed on cream wove paper. In this proof impression the delineation of the aquatint is clearer and more vivid than in the published edition, and figures are shown in greater detail, allowing a fuller appreciation of […]

Read more and view large image >

The Duet

    James Whistler (1834-1903), The Duet, lithograph, 1894, signed in pencil with the butterfly lower left margin (also signed in the plate upper left). Reference: Spink 104, Way 64, Levy 95, only state; 39 lifetime impressions printed. In very good condition (slight rippling right), printed on cream laid paper, with full margins, 246 x 165 mm, 9 1/2 x 6 1/2 inches, the sheet 280 x 196 mm, 11 x 7 7/8 inches. Provenance: Rosalind Birnie Philip (her stamp verso, Lugt 406). Birnie Philip, Whistler’s sister-in-law and executrix, used two stamps on the lithographs in her collection. Lugt 406, […]

Read more and view large image >

Midsummer

  Childe Hassam (1859-1935), Midsummer, etching, 1919, signed lower right and inscribed “imp” [also signed and dated in the plate]. Reference:Clayton/Cortissoz 150. In very good condition, with the usual drying holes and associated nicks at edges, printed on a cream wove paper with margins, 9 x 7, the sheet 9 1/2 x 11 3/4 inches. A fine fresh and vivid impression of this great rarity. Midsummer is printed on a sheet with a cancelled impression of The Greek Dance (C/C 91) verso; this was made a few years earlier (1916). Hassam is known to have saved preferred papers, and he […]

Read more and view large image >

The Old Mulford Farm (East Hampton)

Childe Hassam (1859-1935) The Old MulfordFarm(East Hampton)-1929, Etching. Cortissoz 319. Edition not stated. Signed with the artist’s monogram in pencil. Signed, dated, and annotatedEasthamptonin the plate, lower right. Image size 8 15/16 x 12 inches (227 x 305 mm); sheet size 12 x 15 inches (305 x 381 mm). A fine, crisp impression, on cream wove paper, with full margins (1 1/2 inches all around), the artists drying tack holes at the sheet edges all around, in excellent condition.Printed by the artist(the imp stands for impressit, indicating that Hassam printed this personally).A scarce East Hampton image. Hassam’s plates of Easthampton […]

Read more and view large image >

The Old Dominy House (East Hampton)

Childe Hassam (1859-1935),The Old Dominy House(East Hampton)-1928, Etching. Cortissoz 303, only state. Edition not stated. Signed with the artist’s monogram in pencil. Signed, dated, and annotatedEasthamptonin the plate, lower right. Image size 9 x 12 inches (229 x 305 mm); sheet size 12 x 15 inches (305 x 381 mm). A fine, clean impression, on cream wove paper, with full margins (1 1/2 inches all around), the artists drying tack holes at the top and bottom sheet edges, in excellent condition.Printed by the artist.A scarce East Hampton image. Hassam’s plates of Easthampton constitute a high point of American Impressionist printmaking; […]

Read more and view large image >

Rue Saint-Romain, Rouen, 2nd Plate

    Camille Pissarro (1831-1903),Rue Saint-Romain, Rouen, 2nd Plate, 1896, signed, titled and inscribed No. 1 in pencil. Reference: Delteil 177, first state (of 2). In very good condition, with full margins, 7 1/2 x 5 1/2, the sheet 13 3/4 x 10 1/4 inches. Provenance: unknown collector, with stamp (ES within a square) verso (Lugt 3498). A fine fresh impression of this great rarity, printed on a cream wove paper. This is one of only two proofs Pissarro made of the first state, each of which was numbered (1 and 2) titled and signed. In the second state […]

Read more and view large image >

Soaring New York

Artist: Howard Cook

      Howard Cook (1901-1980), Soaring New York, aquatint, soft0ground etching, roulette, 1931-2; signed, dated and annotated “imp” in pencil lower right, titled lower margin. Reference: Duffy 165, fifth state (of 5), from the edition of 75. In very good condition, the full sheet with deckle edges, 8 15/16 x 11 3/4, the sheet 11 x 15 1/8 inches. A fine atmospheric impression, printed on a cream wove paper. Nearly half of Cook’s entire print output was done in the period from 1928-1931, including most of his iconic images of New York.Soaring New York is one of the most […]

Read more and view large image >

L’Aile

Artist: Odilon Redon

      Odilon Redon (1840-1916), L’Aile, 1893, on Chine appliqu, signed in pencil lower left. Reference: Mellerio 122, only state, from the edition of 25, printed by Becquet, Paris. In very good condition, the matrix flawless, with margins, 12 5/8 x 9 3/4, the sheet 15 1/2 x 10 3/4 inches. A fine fresh vibrant impression of this iconic image. It is interesting to note that 100 years ago two galleries at the 1913 Armory Show were dominated by the work of Odilon Redon, an artist show organizers Walt Kuhn and Arthur B. Davies encountered in Europe and decided […]

Read more and view large image >

Financial District

Artist: Howard Cook

  Howard Cook (1901-1980), Financial District, lithograph, 1931, signed and dated in pencil lower right and numbered 75 lower left. Reference: Duffy 155, from the stated edition of 75. In very good condition, with full margins, 13 3/8 x 10 3/8, the sheet 18 3/8 x 13 7/8 inches. A fine impression, printed on cream wove paper. Cook’s lithographs were made in collaboration with famed printer George Miller. Nearly half of Cook’s entire print output was done in the period from 1928-1931, including most of his iconic images of New York.

Read more and view large image >

Rue Vue D’en Haut ca. 1895–99

  Pierre Bonnard 1867 Fontenay-aux-Roses – Le Cannet 1947   Rue Vue D’en Haut ca. 189599 color lithograph on thin wove paper; 370 x 220 mm (14 1/2 x 8 3/4 inches) Bouvet 62 provenance estate of the printer Auguste Clot, Paris A proof impression outside the edition of 100 from the set Quelques Aspects de la vie de Paris, published by Ambroise Vollard with a cover date of 1895 (but probably not before 1899).  

Read more and view large image >

Paniconographie (Pornography)

Felicien Rops (1833-1898), Paniconography (Pornography), etching, drypoint, soft-ground etching, c. 1880, signed and titled in pencil lower right, and signed again toward the bottom of the sheet. References: Exteens 764, Revens and Amiel 210. In good condition, the full sheet (some soft handling folds, slight soiling, toning), with full margins, 8 1/2 x 6 1/4, the sheet 18 x 11 5/8 inches. Printed in black ink on an ivory/tan wove paper with the watermark MBM. A fine impression of a woman perched atop a centaur, plus a few sketches of faces in the upper left. As usual, Rops utilizes his […]

Read more and view large image >

Nude on Couch

Martin Erich Phillip (1887-1978), Nude on Couch, 1920, etching, signed in pencil lower right and titled and numbered lower left [also initialed MEPH in the plate]. Second state (of 2). In excellent condition, printed on a heavy cream wove paper, with full margins (5 3/4 x 3 3/4, the sheet 12 1/2 x 9 1/2 inches. A fine fresh impression, with plate tone. In the second state the artist darkened the women’s coat and her shadow. Austrian-born Phillip worked also in the US, where he is well-known for his color woodcuts of birds and flora; this etching obviously represents a […]

Read more and view large image >

Gants de Suede

James McNeill Whistler (1834-1903), Gants de Suede, lithograph, 1890, signed in pencil with the butterfly lower left [also with the artist’s butterfly signature in the plate]. Reference: Spink, Stratis and Tedeschi 35. In good condition, with slight evidence of pale mat staining, pinhole toward bottom edge. 8 1/2 x 4 1/8, the sheet 12 1/2 x 8 3/16 inches. Provenance: Kennedy Galleries, with their stock number (a23958) recto. Estate of Marie D. Powers (acquired from above, 1974) A fine lifetime impression. Printed on a cream laid paper with the watermark IV, Spink et al’s Watermark number 191 (IV countermark to […]

Read more and view large image >

Le jour enfin parat (Day Appears at Last)

Artist: Odilon Redon

Odilon Redon (1840-1916), Le jour enfin parat, lithograph, 1896, signed in pencil upper left, plate 24 from the portfolio The Temptation of Saint Anthony, Troisieme Serie, on chine appliqu. Printed by Vollard, Paris, published by Auguste Clot, Paris, edition of 50. Reference: Mellerio 157, only state. In good condition, slight light staining, a small repaired tear bottom and right edges, 10 1/2 x 6 3/8″ , the sheet: 22 1/4 x 15 1/4 inches. A fine impression of this iconic portrait. The printing at the bottom of Le Jour: Le jour enfin parat . . . et dans le disque […]

Read more and view large image >

Quirinal Hill

Giovanni Battista Piranesi (1720-1778), Quirinal Hill, etching, 1745, [signature lower right, enumeration of locations in the print at margin bottom, in the plate]. 1745. Focillon 95, Wilton-Ely 98. From the Varie Veduti di Roma Anticha e Moderna. In compromised condition: laid down, light stain, tear bottom right, trimmed to or just within plate mark, rubbed area upper right near edge). 5 x 7 1/2 inches. A fair impression. The Quirinal Hill consists of: 1. Pontifical Palace, 2. Church of St. Mary Magdalen, 3. Palazzo della Consulta, 4. Palazzo Rospigliosi, 5. Pontifical Stables and Barracks of the Bodyguard. The Pontifical Palace […]

Read more and view large image >

Veduta dell’interno del Tempio di S. Stefano Rotondo (Interior view of the Church of San Stefano Rotondo)

Giovanni Battista Piranesi (1720-1778), Veduta dell’interno del Tempio di S. Stefano Rotondo (Interior view of the Church of San Stefano Rotondo), etching, 1756. First Edition, from the series Le Antichita Romane, Bouchard e Gravier 1756, section XXV, figure 2 [signed, numbered and titled in the plate]. References: Focillon 192, Wilton-Ely 327. In good condition, with margins, 5 1/2 x 8, the sheet 6 1/4 x 9 inches. A very good impression, printed on a stiff cream laid paper. Piranesi developed the plates of the Antichita Romane (Roman Antiquities) after eight years of careful study and excavation. His aim, as with […]

Read more and view large image >

Le Balcon sur la Mer

Jean-Emile Laboureur (1877-1943), Le Balcon sur la Mer, engraving, 1923, signed in pencil lower right and numbered (49/57) [also initialed in the plate lower right]. Reference: Sylvain Laboureur 274, third state (of 3), from the total printing in all states of about 75. In very good condition, the full sheet, 77 7/8 x 8 1/4, the sheet 18 7/8 x 12 inches. Provenance: Henri M. Petiet (cf. Lugt 2021a, with his stamp verso) A fine impression of this iconic Laboureur print, printed in black on a greenish laid paper, with unidentified initials watermark. This composition is said to depict the […]

Read more and view large image >

Tree, Manhattan

Artist: Martin Lewis

Martin Lewis (1881-1962), Tree, Manhattan, drypoint, 1930, signed in pencil lower right [also signed in the plate lower left]. Reference: McCarron 87, only state; 91 recorded impressions including 10 trial proofs; intended edition 100. In excellent condition, with full margins, 12 5/8 x 9 3/4, the sheet 16 1/4 x 13 1/4 inches. A very fine fresh impression, printed in black ink on a cream laid paper. Tree, Manhattan is a tour de force print demonstrating Lewis’s mastery of drypoint. Hues range from the rich black of the figures in the lower left to the near-white of the fire and […]

Read more and view large image >

Wagon Crossing a Bridge

Lyonel Feininger (1871-1956), Wagon Crossing a Bridge (Wagen auf einer Brucke), woodcut, c. 1941, signed in pencil lower left, with the artists work number lower center (1867). Reference: Prasser W 82, only state. In very good condition, with margins, 3 1/2 x 4 3/4, the sheet 4 7/8 x 6 7/8 inches. A fine fresh proof impression of this intricate cubist composition, printed in black ink on a thin Japan wove paper. Prasser notes a few proofs, on various papers, some unsigned. This print was included as No. 5 of the portfolio Ten Woodcuts by Lyonel Feininger, 1941, edition of […]

Read more and view large image >

Le Diner Chez le Bistro

  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 […]

Read more and view large image >

Le Diner a L’Auberge

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 […]

Read more and view large image >

La Marchande de Violettes

laboureurmarchand132

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 […]

Read more and view large image >

Le Cafe du Commerce

  Jean-Emile Laboureur (1877-1943), Le Cafe du Commerce, etching, 1913, signed in pencil lower left and numbered lower right 28/35 [also with the signature and date in the plate]. Reference: Godefroy 126, Sylvain Laboureur 126, only state. From the edition of 35; there were also 4 artist proofs. In excellent condition, with full margins and deckle edges, 11 3/4 x 13 1/2, the sheet 15 1/4 x 19 7/8 inches. On a heavy cream/ivory wove paper. A fine impression of Laboureur’s great Cubist masterpiece, printed with a subtle veil of plate tone. Provenance: Henri M. Petiet (with his oval ink […]

Read more and view large image >

The Traveler

    William Auerbach-Levy (1889-1964), The Traveler (also The Emmigrant, Marchant des’habits), 1920, etching with plate tone, signed in pencil lower right and inscribed “imp” [also signed and dated in the plate]. In very good condition, with margins, printed on a cream wove paper (very slight toning, remains of prior hinging verso), 8 1/4 x 6, the sheet 11 1/2 x 8 inches. Provenance: ex Coll: Cortland Field Bishop (1870-1935) (Lugt 2770b, with his stamp verso) A fine impression. William Auerbach-Levy was born William Auerbach in Brest-Litovsk, Russia, on February 14, 1889. His parents adopted the surname of Levy after […]

Read more and view large image >

The Troubadour

William Auerbach-Levy (1889-1964), The Troubadour, c. 1935, etching in dark brown ink with plate tone, signed in pencil lower right and inscribed “imp”, also inscribed “1st State” lower left. In very good condition, with margins, 8 1/4 x 6, the sheet 11 1/2 x 8 inches. Provenance: ex Coll: Cortland Field Bishop (1870-1935) (Lugt 2770b, with his stamp verso) A fine impression of this rare print. Although inscribed 1st state we have seen another impression without the player’s right hand, and before some shading on the other hand. So this may be a second state. This is a portrait of […]

Read more and view large image >

The Search Party

    Raphael Soyer (1899-1987), The Search Party (From the Cracked Mirror), color lithograph, c. 1975, signed in pencil lower right and numbered III/XXV lower left; 22 1/2 x 16 1/2 inches. In good condition, the full sheet with margins. With a BSA chopmark lower right. A fine impression, printed in colors on a stiff cream wove paper.

Read more and view large image >

Virgin and the Unicorn

John Buckland Wright (1897-1954), The Virgin and the Unicorn (large version), wood engraving in colors, 1947, the original block and a proof, the proof titled, signed and dated lower margin. Reference: The Engravings of John Buckland Wright, edited and with an introduction by Christopher Buckland Wright, L 142. 6 1/16 x 4 1/16 inches, framed. A fine impression of this great rarity, one of the three artist’s proofs (there was no edition), together with the block. There was an earlier small version (Ld 155), which was rejected. The background on this print is described in Buckland Wright as follows: “Experimental […]

Read more and view large image >

La Fille aux Oies

Jean-Emile Laboureur (1877-1943), La Fille aux Oies, engraving, 1916, signed in pencil lower left, numbered (4/40) lower right and inscribed “imp,” also titled lower left margin edge. Reference: Sylvan Laboureur 159, second state (of 2), from the edition of 40.In very good condition, with margins (remains of prior hinging verso), 6 3/4 x 6 1/8, the sheet 11 x 8 3/4 inches. A fine impression of this early cubist-influenced engraving. In 1917 Apollinaire wrote to Laboureur: “Je voudrais bien avoir le portrait de femme [L. 170] et la gardienne d’oies promis.”

Read more and view large image >

[Church Entrance, Venice]

Donald Shaw MacLaughlin (1876-1938), Doorway of the Doges, Venice, etching with plate tone, 1909, signed bottom right [also signed and dated in the plate]. Reference: Marie Bruette 124, only state [reproduced after page 91 in the Bruette catalogue], a probable edition of c. 50. In good condition, with small margins all around, trimmed to or just inside the plate mark at the top, with a repaired area at the top. On medium laid Van Gelder Zonen paper with a partial watermark. 15 5/8 x 8 inches. A fine impression, printed in dark brown ink, with plate tone overall but wiped […]

Read more and view large image >

Beim Kornpuppenbinden (Harvesting Grain)

Artist: Lesser Ury

Lesser Ury (German, 18611931), Beim Kornpuppenbinden, drypoint, 1923, signed in pencil lower right and numbered 45/100, from the edition of 100. Reference: Rosenbach 17, only state. In excellent condition, printed in black on cream/ivory laid paper, with full margins, 8 1/8 x 6, the sheet 13 1/2 x 9 7/8 inches. A fine rich impression with substantial burr from the drypoint work. This is from the portfolio Hollandische Motive (Dutch Studies), a portfolio of 7 drypoints by Ury. Ury was born in Birnbaum, the son of a baker whose death in 1872 was followed by the Ury family’s move to […]

Read more and view large image >

Grabender Bauer (Farmer Digging)

Artist: Lesser Ury

Lesser Ury (German, 18611931), , drypoint, Grabender Bauer (Farmer Digging), c. 1920, signed in pencil lower right and numbered xxix/xxx, from the edition of 30 on Japan (another 100 were editioned on wove). Reference: Rosenbach 102, only state. In excellent condition, printed in black on extremely thin laid Japan, with margins, 7 1/16 x 4, the sheet 10 1/2 x 8 1/4 inches. A fine rich impression with substantial burr from the drypoint work. Ury was born in Birnbaum, the son of a baker whose death in 1872 was followed by the Ury family’s move to Berlin. In 1878 Lesser […]

Read more and view large image >

Anshutz on Anatomy

Artist: John Sloan

John Sloan (1871-1951), Anshutz on Anatomy, etching, 1912, signed titled and inscribed “100 proofs” by the artist, and also signed “Ernest Roth imp” by the printer. Reference: Morse 155, eighth state (of 8), from the edition of 80. In very good condition, the full sheet, printed in dark brown ink on a brown/tan wove paper, 7 1/2 x 9, the sheet 11 1/8 x 12 3/4 inches. A fine impression. Sloan wrote of this print: “Tom Anshutz, our old teacher at the Pennsylvania Academy, gave anatomical demonstrations of great value to art students. Modelling the muscles in clay, he would […]

Read more and view large image >

Paysanne Donnant a Manger a un Enfant

Camille Pissarro (1830-1903), Paysanne Donnant a Manger a un Enfant, etching on zinc, 1874, signed in pencil lower right and inscribed lower left “No 1 – 1er etat”, also titled in pencil with the added annotation “zinc”. Reference: Delteil 12, first state (of 4). In excellent condition, 4 3/4 x 4 5/8, the sheet 10 3/4 x 7 inches. Provenance: Kennedy Galleries, NY [and with customs stamps verso] A fine clear impression, printed in brown ink on cream wove paper, with plate tone. Pissarro pulled 8 or 9 impressions in this first state, in 1874; 15 years later (1889) he […]

Read more and view large image >

Femme de Chagrin

  Theophile Alexandre Steinlen (1859-1923), Femme de Chagrin, 1894, lithograph, signed in pencil lower right [also signed in the plate lower center]. Reference: Crauzat 454, first state (of two), with color added and before lettering except for the title. In very good condition apart from oil stains at edges (away from matrix), with margins, 10 3/4 x 7 1/2, the sheet 12 1/2 x 10 3/4 inches. A fine impression with printed in rich black ink with fresh color added (au patron). This is the first state for a music cover, a children’s lullaby (berceuse) with the title shown but […]

Read more and view large image >

Frauenprofil (Profile of a Woman)

Artist: Emil Nolde

Emil Nolde (1867-1956), Frauenprofil (Profile of a Woman), woodcut, 1917, signed in pencil lower right (also titled, numbered 8, and annotated III.10 lower left). Reference: Schiefler/MOsel 136, third state (of 3). In very good condition, 8 1/4 x 5 15/16, the sheet 11 3/4 x 8 3/4 inches. Provenance: Collection of H. Neuerburg, Koln (with the blindstamp lower left, Lugt 1344a). A fine fresh impression with considerable gaufrage, printed on a thin wove white/ivory paper with a partial circle watermark. Rare in this condition, only 12 impressions were made of this state (and three each of prior states) according to […]

Read more and view large image >

Abschied (Parting)

Artist: Emil Nolde

    Emil Nolde (1876-1956),Abschied (Parting), etching and aquatint (tonal effects), 1906, signed in pencil lower right. Reference: Schiefler/Mosel 20, third state (of 3). One of only 15 hand pulled proofs. In excellent condition, on a thick cream/ivory wove paper with full margins, 6 1/2 x 4 15/16, the sheet 17 1/2 x 12 3/8 inches. A fine, evocative impression, printed in dark brown ink. The composition was complete in the first state but in succeeding states Nolde strengthened the defining lines in critical areas such as the hands of the figure at the right. Noldes method of achieving his […]

Read more and view large image >

Ship at Sea (also Marine); Barke auf See

  Lyonel Feininger (1871-1956), Ship at Sea (also titled Marine by the artist; Barke auf See), woodcut, 1918, signed in pencil lower left, with the artist’s work number lower center (1851). Reference: Prasser W 66, only state. In excellent condition, with margins, 7 x 8 1/2, the sheet 8 3/4 x 11 inches. A fine fresh impression of this complex, perfectly balanced cubist composition, printed in black ink on a light orange/tan wove paper. This is one of the few proofs Feininger made of Bark at Sea; the print was published in an unsigned edition of 100 and also in […]

Read more and view large image >

Kreuzende Segelschiffe 2 (Cruising Sailing Ships 2)

  Lyonel Feininger, “Kreuzende Segelschiffe 2 (Cruising Sailing Ships 2)” 1919, Woodcut. Prasse W175. Edition 275 unsigned for portfolio Die tunlte Jahresgabe des Kreises graphischer Kunstler und Sammier, 1925; 25 signed de luxe edition nos. I-XXV, on Japanese Milo paper; 150 signed edition nos. 1-150, on Zanders cream laid paper; 100 unsigned nos. 151-250. Signed and titled in pencil.Image size 6 x 8 7/8 inches (171 x 225 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). A superb, black, proof impression, apart from the published editions, on tissue-thin cream laid Japan, with full margins ( […]

Read more and view large image >

Cavaliers Anglais En Picardie

    Jean-Emile Laboureur (1877-1943), Cavaliers Anglais en Picardie, engraving, 1916, signed in pencil lower left, numbered (20/35) and inscribed “imp” lower right [also initialed in the plate lower left]. Reference: Laboureur 158, second state (of 2), from the edition of 35, a total of 43 impressions were printed. In good condition, some unobtrusive scuff marks, on a tan laid paper, watermark MBM, with margins, 8 1/2 x 5 3/4, the shet 10 3/4 x 8 1/2 inches. A fine impression of this cubist-influenced engraving. Laboureur studied the old masters in the print rooms of Europe, and here combines a […]

Read more and view large image >

Chanson du Soir

Theophile Alexandre Steinlen (1859-1923), Chanson du Soir, etching, c. 1913, signed in pencil lower right. Not in Crauzat (but see below) in excellent condition, printed on a cream laid Arches paper (with a partial watermark), 11 3/4 x 6, the sheet 12 3/4 x 9 3/4 inches. Provenance: ex Collection: Forgues, Eugne Daurand (1857-1933) Premier Prsident de la Cour d’Appel, Paris, with his stamp recto lower right margin (Lugt 743a) A fine strong impression of this rare print; the print is known is several versions and states; this is an early state, after the first state but before larger unsigned […]

Read more and view large image >

Wuxtry!

Albert Abramovitz (1879-1963), Wuxtry! [Extra?!], linocut in colors, c. 1936, signed in pencil lower right and titled lower center [also initialed in the plate]. In very good condition, with full margins, 14 1/2 x 10, the sheet 18 x 13 inches. On Japan paper. A fine fresh impression of this exceedingly rare print. Albert Abramovitz was born in Riga, Latvia, on January 24, 1879. He studied art at the Imperial Art School in Odessa and at the Grande Chaumire in Paris. In Paris, he became a member of the Salon in 1911. In 1913 he became a member of its […]

Read more and view large image >

La Marchande de Liqueurs

Jean-Emile Laboureur (1877-1943), La Marchande de Liqueurs, engraving, 1916-1920, signed in pencil lower left and numbered (7/45), annotated “imp” lower right, and titled lower left margin. Reference: Laboureur 165, second state (of 2). In very good condition (remains of prior hinging right edge verso), the full sheet with wide margins, printed in black ink on cream laid paper. 5 1/4 x 4 1/4, the sheet 10 3/4 x 8 5/8 inches. Provenance: Marcel Lecompte, Paris A fine fresh impression, printed with a subtle veil of plate tone. An exquisite example of Laboureur’s use of the burin in furtherance of his […]

Read more and view large image >

25e Rue, New York

Jean-Emile Laboureur (1877-1943), 25e Rue, New York, etching and drypoint, 1907, signed in pencil lower left, also titled “Coin de rue Sixth Avenue, New York” and numbered “no. 6” at the bottom margin [also signed, titled and dated in the plate lower right]. Reference: Laboureur 69, second state (of 2). One of about 23 proofs taken during Laboureur’s lifetime in this state; there were another four first state impressions (before the drypoint work was added to the sky). In very good condition, the full sheet, 7 1/2 x 6, the sheet 12 1/2 x 9 1/2 inches. Provenance: Marcel Le […]

Read more and view large image >

L’ile Desert

Jean-Emile Laboureur (1877-1943), L’ile Desert, etching, 1914, signed in pencil lower left and numbered lower right (33/35). Reference: Laboureur 135, only state, from the edition of 35. In very good condition, the full sheet, printed on cream wove Van Gelder Zonen paper (with the full watermark), 11 5/8 x 13 5/8, the sheet 17 1/2 x 22 inches. Provenance: Marcel Lecompte, Paris, with his pencil marking recto. A fine impression of this large cubist composition, printed in a dark brownish/black ink on a cream white wove paper. L’ile Desert was based on a visit Laboureur made to Nova Scotia (La […]

Read more and view large image >

Two Models on a Bed

Reginald Marsh (1898-1954), Two Models on a Bed, lithograph, 1928, signed and inscribed “15 proofs” [also initialed and dated in the plate]. Reference: Sasowsky 9, only state, from the edition of 15. In excellent condition, printed on chine applique on a stiff cream wove paper, 9 x 10 1/2, the sheet 12 5/8 x 17 3/4 inches. A fine impression. This is a relatively rare print, from a small edition (15); since several impressions are in public institutions (such as the Boston Public Library, Yale University Art Gallery, New York Public Library) the print is rarely obtainable on the market. […]

Read more and view large image >

L’Amazon

    Jean-Emile Laboureur (1877-1943), L’Amazon, etching on zinc, 1913, signed in pencil and inscribed to R. Bonfils, dated, and numbered 15/25. Reference: Laboureur 120, only state, from the edition of 25. In very good condition (crease in right margin), the full sheet, 7 3/4 x 5 3/4, the sheet 9 5/8 x 7 3/4 inches. Provenance: Marcel Lecompte; also (presumably) the artist Robert Bonfils to whom the print is inscribed. A fine impression of this delicately printed composition, with a subtle veil of plate tone. The subject is the artist’s sister in front of the family home in Nantes. […]

Read more and view large image >

Bar en Pennsylvanie

  Jean-Emile Laboureur (1877-1943), Bar en Pennsylvanie, etching, 1914. Signed in pencil lower left and numbered 21/35 lower right [also signed and dated lower in the plate lower left]. Printed in a dark brownish/black ink on cream laid MBM paper (with the watermark). Reference: Laboureur 134, only state, from the edition of 35. In very good condition, the full sheet (slight soiling in margin edge upper left, small tear margin edge bottom, remains of prior hinging verso). 8 1/4 x 8 5/8, the sheet 13 x 11 inches. A fine impression of this quintessential cubist print. In the famed exhibit […]

Read more and view large image >

Connecticut Summer Fragments – Portfolio of 29

Artist: Lee Hall

  Lee Hall (1934-), Connecticut Summer Fragments, a portfolio of stained paper studies, 29 in all, each about 5 x 7 inches, on hand made paper attached to a backing, in a portfolio with board covers (also with a stained colored paper), folding out as a screen; signed, dated (1978) and titled on the cover (Connecticut Summer Fragments), inscribed to Edith and Lloyd Goodrich. In excellent condition. A beautiful collection of rare stained watercolors. Hall, a New York Abstract Expressionist artist, was a friend of many artists, including Helen Frankenthaler (whose stained paintings are related to these works). […]

Read more and view large image >

Coffee Huskers

    George Biddle (1885-1973), Coffee Huskers, 1928, lithograph, signed, titled and numbered [also inscribed ’43/Biddle/1928 in the plate]. Reference: Pennigar 77, Trotter 43. From the edition of 100, on Rives cream wove paper, with the Rives watermark. In excellent condition, probably never framed or matted, the full sheet, 13 1/4 x 9 3/4, the sheet 16 x 11 1/2 inches, archival mounting (mylar non-attached hinging between acid free boards glassine cover). A fine black impression. Biddle wrote of this lithograph, in 1943: “After scraping the tusche away…I worked back with a pensil (sic) and again with diamond. This all […]

Read more and view large image >

Jeune Fille au Cocktail

Jean-Emile Laboureur (1877-1943), Jeune Fille au Cocktail, engraving, 1921, signed in pencil lower left, numbered (18/65) lower right and annotated “imp”. Reference: Laboureur 224, second state (of 2), from the edition of 65 (another 8 impressions were printed in the first state). In good condition, the full sheet, some cockling in the paper towards the left. Printed in black on a cream laid MBM paper (with the watermark), 5 1/2 x 4 3/4, the sheet 10 1/2 x 8 3/4 inches. Provenance: Marcel Lecompte, with his pencil marking recto. A fine impression of this delicately printed composition, engraved in a […]

Read more and view large image >

Coat of Arms With A Cock

Hans Sebald Beham (1500-1550), Coat of Arms with a Cock, engraving, 1543. References: Bartsch 256, Pauli 267, second state (of 2) [signed and dated in the plate]. On laid paper with no watermark. In very good condition (usual slim margins, some soiling in margins), 69 x 47 mm, sheet 72 x 51 mm. Provenance: Dr. Erich von Rath (Lugt 2721) Albert W. Blum (Lugt 79b), his sale Sotheby’s, New York, 2/1988, lot 1191 A fine rich impression.    

Read more and view large image >

The Little Buffoon

Hans Sebald Beham (1500-1550), The Little Buffoon, engraving, 1642. References: Bartsch 230, Pauli 234, first state (of 2). In very good condition apart two minor thin spots lower right and an unobtrusive vertical crease, mainly visible verso, trimmed to the platemark, 45 x 81 mm. A fine, rich impression of the first state. Provenance: Heinrich Stiebel (Lugt 1367) W. Meyer (L. 1813) Albert W. Blum (L. 79b); his sale Sotheby’s, New York, Feb. 27, 1988. lot 1190 The inscription reads: ON DIR HAB ICH GERISEN DAS ICH MICH HAB BESCHISEN (I have written on you that I have beshit myself). […]

Read more and view large image >

Hafendock (Harbor Dock)

Hafendock (Harbor Dock) – 1919, Woodcut. Prasse W154, 1919, only state, . No published editionone of only a few known proofs. Signed in pencil and numbered 1934 (the artist’s work number, not the date) in the bottom center margin. Estate stamped and numbered W 716 in pencil, in the bottom left sheet corner. Image size 3 3/8 x 3 1/2 inches (86 x 89 mm); sheet size 5 1/2 x 8 1/2 inches (140 x 216 mm). A fine, black impression, on tan carbon-copy paper, with full margins (3/4 to 2 9/16 inches), in excellent condition. Very scarce. Prasse notes […]

Read more and view large image >

Kirche und Dorf (Church and Village)

Kirche und Dorf (Church and Village)- 1919, Woodcut. Prasse W18. No published editionone of only a few proofs. Signed in pencil and numbered 1814 (the artist’s work number) in the artists hand, bottom center margin. Estate stamped and numbered W 37 in pencil, in the bottom right sheet corner. Image size 3 3/8 x 4 5/8 inches (86 x 117 mm); sheet size 5 1/2 x 8 1/2 inches (140 x 216 mm). A fine, black impression, on oatmeal-tan carbon-copy paper, with full margins (3/4 to 2 9/16 inches), in excellent condition. Very scarce. Prasse notes “Proofs chiefly on oatmeal-tan […]

Read more and view large image >

Little Drunk -un petit pochard!

Honore Daumier (1808-1879), vl un petit pochard!, lithograph, 1842, plate 42 from the series Moeurs Conjugales, published in Le Charivari, and the Album Moeurs Conjugales (1839-42). Reference: Daumier Register 665, second state (of 3), in good condition apart from a short (repaired) tear upper edge well away from image, slight browning, 11 1/4 x 8, the sheet 13 1/2 x 10 inches. A good impression, sur blanc (on firm white wove paper without the letterpress verso). Translation from the Daumier Register: Original Text: En vl un petit pochard! il vous avale a comme du lait! pauvre chou…. c’est tout le […]

Read more and view large image >

ILS REVIENNENT DE PLUMER LES CANARDS

  Honore Daumier (1808-1879), ILS REVIENNENT DE PLUMER LES CANARDS, 1846, lithograph, Reference: Daumier Register 1185, second state (of 2), plate 97 from the seriesLES BEAUX JOURS DE LA VIE, published in an album of that name (1843-6) and in Le Charivari. In generally good condition, some fox marks, a repaired tear upper left corner not near matrix, hinged along the left edge. 11 1/4 x 9, the sheet 13 1/4 x 10 inches. A good impression of this evocative composition; two rather well dressed older men apparently satisfied that they have taken advantage of someone. A sur blanc impression, […]

Read more and view large image >

POIDS ET MESURES

  Honore Daumier (1808-1879), Poids et Mesures, lithograph, plate 8 from the series ACTUALITS, published in La Caricature, 2e srie, nr. 5 in 1840. Reference: Daumier Register 791, second state (of 4), before the number 8 was added. In good condition, hinged along the left margin, 11 1/2 x 8 1/2, the sheet 13 1/4 x 9 5/8 inches. A very good impression. The indispensable Daumier Register explains the background of this print: “The law of July 4, 1837 brought the introduction of the metric system to France from January 1840 on. As early as 1790, the Academy of Science […]

Read more and view large image >

Mon Cher Ami

  Honore Daumier (1808-1879),Mon Cher Ami, lithograph, 1838, plate 4 from the series CROQUIS D’EXPRESSIONS . Reference: Daumier Register 469, second state (of 2). Published in Le Charivari in 1838; in the publication Muse pour Rire in 1839-40. In generally satisfactory condition, with binding holes along upper edge. A relatively weak but still satisfactory impression, sur blanc on cream wove paper. We considered the possibility that this is from the Muse pour Rire publication of 150 caricatures, but unlike the reprints from that publication this impression has the title of the series at the top, and the printing at the […]

Read more and view large image >

L’OEIL DU MATRE (The Master’s Eye)

Honore Daumier (1808-1879), L’OEIL DU MATRE, lithograph, 1842, published in Le Charivari in 1842. Reference: Daumier Register 681, second state (of 3). From the series Moeurs Conjugales, plate 58. In good condition (remains of prior hinging verso), a sur blanc impression, on sturdy wove paper without the letterpress verso, 11 x 8, 13 1/2 x 10 1/4 inches. A very good impression of this curious subject. The indispensible Daumier Register notes that “The comedy “L’Oeil de Verre” (The glass eye) was written by M. Lon and first shown in the Vaudeville Theatre on September 15, 1840.” Here is the translation […]

Read more and view large image >

Petit Gredin (Little Brat)

  Honore Daumier (1808-1879), Eh. Eh? petit gredin, lithograph, 1840, published in Le Charivari in 1840. Reference: Daumier Register 649, third state (of 4). From the series Moeurs Conjugales, plate 26. A sur blanc impression. In generally satisfactory condition, with two repaired tears right edge, nick lower left, slight toning, remains of prior hinging verso. 11 x 8, the sheet 13 3/8 10 1/4 inches. A good impression of this comical scene. Translation from the Daumier Register: Original Text: Eh. Eh? petit gredin, vous en ferez aussi des moutards, vous avez dja des yeux de sclrat. Vous serez comme votre […]

Read more and view large image >

Une Partie de Campagne

Honore Daumier (1808-1879), Une Partie de Campagne, lithograph, 1842, plate 59 from the series Moeurs Conjugales, published in Le Charivari in 1842, and in the album of the series in 1843. Reference: Daumier Register 682, second state (of 2). A sur blanc impression on wove paper (as published in the album for collectors, without the newsprint verso). In very good condition, 11 1/2 x 9, the sheet 13 1/4 x 10 1/2 inches. A fine impression, with the blacks rich, contrasting well with the greys and white. Here is the translation from the Daumier Register: Original Text: UNE PARTIE DE […]

Read more and view large image >

The Traghetto

  James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed imp. Reference: Kennedy 191, fourth state (of 6), Glasgow (MacDonald et al) 223, 7th state (of 9), before the eyes are added to the child at the left, and without the carafe on the table. From the First Venice Set. In excellent condition, trimmed by the artist to the platemark except for the signature tab. 9 1/2 x 11 7/8 inches. A fine impression, printed on laid paper, with subtle plate tone. With Whistler’s three tiny circles in pencil verso, indicating […]

Read more and view large image >

Affairs of the Orient

  Honore Daumier (1808-1879), Je vous disais tout l’heure que je ne serais pas fch que l’affaire d’Orient s’arranget. Lithograph, 1853, published in Le Charivari in 1853. A newsprint impression, with the lettering from Le Charivari verso. Reference: Daumier Register, second state (of three), before the changes made for publication in LE CHARIVARI BELGE. Plate number 28 from the series ACTUALITS. In general Daumier was opposed to France’s using military force against its neighbors. The Daumier Register points out that in Daumier’s prints Mars is the personification of war threats. In this print, on the eve of the Crimean […]

Read more and view large image >

Flanerie par le dgel (A Walk in the Snow)

  Honore Daumier (1808-1879), Flanerie par le dgel (A Walk in the Snow), , lithograph, 1841, published in LA CARICATURE (Deuxime Publication) in 1841, then in an album MOTIONS PARISIENNES in 1842. Daumier Register 724, fourth state (of four). Plate number 40 from the series MOTIONS PARISIENNES. With the initials HD lower left. A sur blanc impression. In very good condition, with margins, 11 1/2 x 8, the sheet 12 3/4 x 9 1/2 inches. A fine impression, with rich black inking and strong contrasts. The sur blanc impressions were made for collectors, in limited numbers (often less than 100); […]

Read more and view large image >

Un Monsieur au Dessous de Ses Affaires (A Man Whose Affairs Have Gone Awry)

  Honore Daumier (1808-1879), Un Monsieur au dessous de ses affaires, lithograph, 1841, published in LA CARICATURE (Deuxime Publication) in 1842, Daumier Register 718, fourth state (of five), before the name of Aubert is removed. Plate number 34 from the series MOTIONS PARISIENNES. With the initials HD lower left. A sur blanc impression. In good condition, a slight tear right margin expertly repaired, slight evidence of fox marks, with margins, 11 x 7 3/4, the sheet 13 x 9 7/8 inches. A fine impression of this famous image. Un Monsieur was the cover image of the Daumier Centenary Tribute published […]

Read more and view large image >

Drury Lane

  James Abbott McNeill Whistler (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upper right in the plate], on 18th Century laid paper, a proof impression apart from The Second Venice Set. References: Glasgow 243, only state; Kennedy 237, only state. In very good condition, with very wide margins, 6 3/8 x 3 7/8, the sheet 11 x 8 3/4 inches. A fine early impression, printed in brownish/black ink. Drury Lane, London, was known then as now as a centre of theatres and entertainment. Although titled the Second Venice Set […]

Read more and view large image >

New Republic Portfolio

  Six American Etchings: The New Republic Portfolio 1924 The complete set of six etchings, as issued in 1924, including: Peggy Bacon (18951987), The Promenade Deck, 1920 (Flint 47), 6 x 8 3/8 inches Ernest Haskell (18761925), The Sentinels of North Creek, ca. 1923, 5 x 7 7/8 inches Edward Hopper (18821967), Night Shadows, 1921 (Levin 82) 7 x 8 3/8 inches John Marin (18701953), Downtown the El (Zigrosser 134), 6 7/8 x 8 3/4 inches Hayes Miller (18761952), Play, 1919, 4 7/8 x 5 7/8 inches John Sloan (18711951), Bandits Cave, 1920 (Morse 195), 7 x 5 inches A […]

Read more and view large image >

The First Church Burial Ground

Rudolph Ruzicka (1883-1978), The First Church Burial Ground —1916, Color Wood Engraving. Edition not stated. Signed in pencil. With the artist’s monogram and date in the block, lower right. Image size 7 9/16 x 5 5/16 inches (192 x 135 mm); sheet size 11 7/8 x 8 7/8 inches (302 x 225 mm). A fine impression, with fresh colors, on cream laid paper; full margins (1 1/4 to 2 3/4 inches), in excellent condition. Ruzicka’s color wood engravings are rarely encountered in today’s marketplace, but are highly valued bycollectors, both because of the subtlety of their design and composition, and […]

Read more and view large image >

View of Newark from Harrison

Rudolph Ruzicka (1883-1978) View of Newark from Harrison —1916, Color Wood Engraving. Edition not stated. Signed in pencil. With the artist’s monogram and date in the block, lower left. Image size 7 1/2 x 5 1/2 inches (191 x 140 mm); sheet size 11 7/8 x 9 inches (302 x 229 mm). A fine impression, with fresh colors, on cream laid paper; full margins (1 1/8 to 2 7/8 inches), in excellent condition. Ruzicka’s color wood engravings are rarely encountered in today’s marketplace, but are highly valued bycollectors, both because of the subtlety of their design and composition, and Ruzicka’s […]

Read more and view large image >

Tu Vois Austerlitz au Moment du Tremblement

  Nicolas-Toussaint Charlet (1792-1845), Tu Vois Austerlitz au Moment du Tremblement, lithograph, 1827. Published by Gihaut Freres, Paris. Reference: Fonds Francais IV, p. 336, no. 12. Printed by Villain. In generally good condition apart from foxing verso, lightly showing through image. 7 1/4 x 6, the sheet 14 1/4 x 10 1/2. This print was included in the catalogue and exhibit Prints About Prints (Diane Ewan Wolfe, 1981, exhibit arranged by Martin Gordon and Sigma Art Fund), #8. The old veteran of the Napoleonic wars, standing before a stand of prints, is selling his war stories; a young soldier interrupts […]

Read more and view large image >

Rainy Night in Rome

Muirhead Bone (1876-1953), Rainy Night in Rome, drypoint, 1913,signed in pencil lower right and inscribed “Trial Proof” lower left margin. Reference: Dodgson 299, first state (of 10), a total of 125 impressions were printed in all 10 states. In very good condition, with margins (deckle edges bottom and right irregularly trimmed, the slightest toning), 12 x 8 7/8 inches, the sheet 15 3/4 x 11 inches. Provenance: Kennedy Galleries, New York (with their stock number a11101). A fine rich impression, printed with a brownish/black ink, with substantial burr and carefully wiped plate tone lightening the center of the composition, printed […]

Read more and view large image >

The Blacksmith (Marechal Ferrant)

  Hermine David (1886-1970), Marechal Ferrant (The Blacksmith), etching and drypoint, signed in pencil lower right [also signed in the plate lower left], in very good condition (remains of prior hinging verso). The full sheet, printed on an Arches wove paper, 7 5/8 x 10 1/8, the sheet 9 7/8 x 13 inches. A fine impression of this great rarity. We have not encountered another impression of this print on the art market. In this print, in a departure from the sharply delineated drypoint work characterizing many of her prints, David achieves a range of grey shadings through extensive use […]

Read more and view large image >

La Fumee du Bateau

Jean-Franois Raffalli (1850-1924), La Fumee du Bateau, color etching and drypoint, 1911, signed and numbered in pencil lower right. Reference: Delteil 98. In very good condition, the full sheet, printed on a firm cream wove simile Japon paper, 7 3/4 x 5 1/2, the sheet 12 1/2 x 9 1/2 inches. A fine fresh impression, printed in colors (blue, blue-green, yellow, reddish brown, black), with substantial burr from the drypoint work. Raffalli used different plates to create this print, using tiny registration holes to align the prints. In From Pissarro to Picasso: Color Etching in France, Cate and Grivel write […]

Read more and view large image >

Two Trophies With a Cuirass Lower Left

Artist: Enea Vico

Enea Vico (1523-1567) engraving, Two Trophies With a Cuirass Lower Left, 1550, Bartsch 449, with the name of the publisher Ant[onio] Lafreri at bottom, first state (of 2) before numbers. Good condition, with small margins all around, archival matting,9 5/8 x 7 inches. A fine, fresh impression. Provenance: Furstich Waldburg Wolfeggsches Kupferstichkabinett (Lugt 2542). The fineimpressions of Vicos Trophy series, such as this example, are of astonishing clarity and brilliance. This sort of showmanship was until recently discounted as lacking in original draughtsmanship or inventiveness, but recent work (as exemplified in the British Museum exhibit The Print in Italy, 1550-1620), […]

Read more and view large image >

Downtown, The El

Artist: John Marin

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500. In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New […]

Read more and view large image >

Farm in the Woods

Werner Drewes (1899-1983), Farm in the Woods, woodcut, 1933, signed and dated in pencil lower right (also numbered 1-xxx and titled lower left). Reference: Rose 83. In very good condition, on hand made cream colored Japan paper with an upper and lower deckle edge, 9 1/8 x 11 1/2, the sheet 10 3/4 x 13 7/8 inches. Provenance: Heald Collection A fine strong impression. Drewes, who studied at the Bauhaus in Weimar and Dessau during the ’20’s, with Paul Klee, Wassily Kandinsky, and Lyonel Feininger, came to the United States in 1930. His early work reflects the Bauhaus emphasis on […]

Read more and view large image >

Two Trophies With a Breast Plate and a Ram’s Head

Artist: Enea Vico

Enea Vico (1523-1567 engraving, Two Trophies With a Breast Plate and a Ram’s Head, 1550, Bartsch 447, with the name of the publisher Ant[onio] Lafreri at bottom, before numbers. Good condition, with small margins all around (slight discoloration upper right and left due to hinging), archival matting,9 1/2 x 7 inches. A fine, fresh impression. Provenance: Furstich Waldburg Wolfegg’sches Kupferstichkabinett (Lugt 2542). The fineimpressions of Vico’s Trophy series, such as this example, are of astonishing clarity and brilliance. This sort of showmanship was until recently discounted as lacking in original draughtsmanship or inventiveness, but recent work (as exemplified in the […]

Read more and view large image >

The Billboards, New York

Childe Hassam (1859-1935), The Billboards, New York, etching and drypoint, 1916, signed with the cipher in pencil lower right and annotated “imp” [also signed, dated and titled New York in the plate]. Reference: Cortissoz 87. In good condition, slight light toning, barely perceptible printer’s crease center, with full/wide margins ( the usual pin holes for drying all around), 4 5/8 x 6 1/8, the sheet 9 3/8 x 12 inches. A fine delicately printed and atmosphericimpression, printed on a wove paper with very carefully placed plate tone. The clouds at the top in particular have been left with a layer […]

Read more and view large image >

House on the Main Street, Easthampton

Childe Hassam (1859-1935), House on the Main Street, Easthampton, 1922, etching, signed in pencil with the cipher lower right and annotated “imp” [also signed Easthampton, April 22, C.H. 1922 in the plate lower left corner]. Reference: Cortissoz/Clayton 213. In very good condition, with full margins (with the characteristic drying holes all around). Printed by the artist in black ink on cream/ivory wove paper, with deckle edges; 6 x 12 1/8, the sheet 8 x 14 1/8 inches. A fine impression, printed with a light layer of plate tone. Hassam’s plates of Easthampton constitute a high point of American Impressionist printmaking, […]

Read more and view large image >

Le Souper des Dockers

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 […]

Read more and view large image >

Am Ufer (At the Riverbank)

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. […]

Read more and view large image >

Skyline from Pier 10, Brooklyn – Rare First State

Reginald Marsh (1898-1954), Skyline from Pier 10, Brooklyn, etching, 1931, signed in pencil [also signed in the plate]. Reference: Sasowsky 129. First state (of 4). In very good condition with margins (a couple of ink marks in margins, a stain upper right margin tip). Archival mounting (acid free board, window mat, not attached hinging). 6 1/2 x 11 7/8, the sheet 7 1/2 x 13 1/16 inches. A fine impression of this rare first state proof, printed in black on laid paper. This is one of the two first state proofs, proof A (proof B was extensively touched). The composition […]

Read more and view large image >

Armistice Day

William Meyerowitz (1898-1981), Armistice Day, 1918, etching with watercolor. Edition not stated. Signed in pencil. Signed and dated in the plate, lower left. Image size 9 3/4 x 8 inches (248 x 203 mm); sheet size 12 3/8 x 9 1/2 inches (314 x 241 mm). A unique impression with the artists watercolor additions throughout, on off-white wove paper, with full margins (5/8 to 1 3/8 inches), in excellent condition.

Read more and view large image >

Study From the Nude of a Girl Lying Down

Theodore Roussel (1847-1926), Study From the Nude of a Girl Lying Down, 1890, drypoint with plate tone, signed with the tab and inscribed “imp” [also signed in the plate upper left]. Reference: Hausberg 40, only state, from the total printing of about 20 impressions. In good condition, trimmed as usual by the artist on the plate mark with the tab left for the signature, 2 11/16 x 3 7/16 inches. A fine impression, with a heavy veil of plate tone. Hausberg notes that the model was “presumably Hetty Pettigrew”, who was Roussel’s model from the early 1880’s until the second […]

Read more and view large image >

French Cruiser

Childe Hassam (1859-1935), French Cruiser, lithotint, 1918, signed in pencil with the cipher lower right. Reference: Griffith 8. In very good condition, printed in black ink on cream wove paper with a flower watermark, the full sheet with deckle edges, 6 x 11, the sheet 11 1/8 x 18 inches. A fine impression of this rare print. Hassam was of the course the pre-eminent American Impressionist, and French Cruiser is a superb example of his use of impressionism in printmaking. In his lithotints he applied ink with the same fluidity as with his watercolors. The detailed line-work of the etchings […]

Read more and view large image >

Cascade

Jan van de Velde (1593-1641), Cascade, etching, 1616. References: Hollstein 264, first state (of 2), Francken and Van der Kellen 303, third state (of four). Plate number 9 from the series Landscapes: Third Part. In generally good condition apart from light stain over left half of image, printed on old laid paper with an elaborate shield watermark, with margins, 4 3/4 x 7 1/2 inches, the sheet 5 1/8 x 8 1/4 inches. A very good impression. A cascade flows down the hillside and under a bridge at the left; at the right a covered wagon rolls around a bend […]

Read more and view large image >

Skaters

Jan van de Velde (1593-1641), Skaters, etching, c. 1616. References: Hollstein 238, second state (of 3), Francken and Van der Kellen322, third state (of four). In good condition, affixed to a card at top by two spots of glue, trimmed on or just inside of the borderline, minor toning, 4 3/4 x 7 7/16 inches. A very good strong impression. An exceedingly well-dressed foursome, men in top hats, women in long coats, converse bottom right; another well dressed man attends a woman’s skates bottom center. The magnificent bare trees serve as a lush backdrop.

Read more and view large image >

Frontispiece, from Landscapes, Third Part (1616)

Jan van de Velde (1593-1641), Frontispiece, from Landscapes, Third Part (1616), Reference: Francken and Van der Kellen 295, Hollstein 256, second state (of 4). In good condition, with full margins (browning toward margin edges), printed on a laid paper with a jug (?) watermark. 4 3/4 x 7 1/2, the sheet 7 1/4 x 10 inches. A very good impression. With the address of Claes Visscher, date (1616), and the artist’s name in elaborate seal at the top center. A peaceful scene, made at about the time of Rembrandt’s birth; it has of course been conjectured that this and like […]

Read more and view large image >

Marche aux Legumes (Vegetable Market)

Jan van de Velde (1593-1641), Marche aux Legumes, etching, c. 1614. References: Francken and Van der Kellen 283, fourth state (of 4). The frontispiece from Soixante Paysages, the second part of the series. In very good condition, overall toning, with small margins, 7 5/8 x 4 3/16 inches. Printed on a yellowish laid paper, with a Pro Patria watermark. Provenance: Succession Grendolf #1444, with the stamp recto (not in Lugt). Christie’s New York, Old Master and Modern Prints, 11/16/1982 A very good impression. In a discussion of Van de Velde’s depiction of his Pancake Woman (Clifford Ackley, Printmaking in the […]

Read more and view large image >

Chasseurs de Lion (The Lion Hunters)

Charles Dufresne (1876-1938), Chasseurs de Lion (The Lion Hunters), etching, aquatint and drypoint, 1921, signed in pencil lower right and numbered (40/40) lower left [also signed in the plate lower center]. Reference: Thomas Dufresne 39. In very good condition, with full margins, on an ivory/tan laid Arches paper, with a (partial) Arches watermark. 11 3/4 x 14 7/8k, the sheet 14 5/8 x 21 3/4 inches. Published by Editions Sagot, with the blindstamp of Edmund Sagot Lugt 2254) bottom margin. A fine rich impression, printed in a brownish/black ink, with substantial drypoint burr. The Lion Hunters is a tour de […]

Read more and view large image >

Shrove Tuesday (also, Carnival)

Jan van de Velde (1593-1641), Shrove Tuesday (also, Carnival), engraving, c. 1630, after Pieter Molyn (1595-1661). References: Hollstein 150, Francken and Van der Kellen 67, third state (of 3). In generally good condition but pricked as if for transfer (visible verso), slight staining generall not affecting image, with small margins, trimmed outside of the plate mark. 9 x 6 3/4 inches. Inscription Content: Lettered in lower margin, with production details and two lines of Latin: “Ludere sic … / … venter eget.” and “J. V. Velde scul. / P. de Molyn inve.”. A fine impression. After about 1622 Jan van […]

Read more and view large image >

Merry-Go-Round

Reginald Marsh (1898-1954), Merry-Go-Round, etching and engraving, 1938, signed in pencil lower right and inscribed Forty Proofs lower left, [also signed in the plate lower left and inscribed SC]. Reference: Sasowsky 179, fourth state (of 4). In good condition, with margins (a paper loss upper right corner well outside of the platemark, stains from prior hinging, notations in pencil lower margin edge). 10 x 8, the sheet 11 1/2 x 9 1/8 inches. A very good impression, printed in black on a wove paper with a partial FRANCE watermark. Sasowsky notes that Marsh printed 15 impressions of this state (and […]

Read more and view large image >

A Douelan

Adolphe-Marie Beaufrre (1876-1960) A Douelan, etching, 1923, signed in pencil and numbered (21/50) [also initials and date in the plate]. Reference: Morane 23-07, BN Laran 175. Second state (of 2). In very good condition, printer’s crease bottom margin not near image. With the Sagot Editions, Paris stamp (Lugt 2254). 6 1/4 x 7 3/4, the sheet 8 1/4 x 9 1/2 inches. A fine impression, with tone, on a blue/green cream laid paper. The figures on the boat towards the right were added in the second state. The road pictured is along the river on the way to the port […]

Read more and view large image >

Westminster Palace – Annotated Artist’s Proof

Artist: Felix Buhot

Felix Buhot (1847-1898), Westminster Palace, etching, drypoint, roulette, 1884, signed in pencil and extensively annotated. Bourcard/Goodfriend 155, Bourcard’s third state (of 5); Goodfriend’s fourth state (of 7). In very good condition (minor thinning in spots verso), printed on a heavy cream/greenish wove paper with margins; 11 1/2 x 15 1/4, the sheet 13 1/2 x 17 1/4 inches. Provenance: Collection of Mr. and Mrs. Edward Flower A fine impression, printed in a brownish/black ink with plate tone. The extensive pencil annotation by Buhot includes: upper left margin, the words “Le Palais de Westminster;” upper center Buhot has drawn in pencil […]

Read more and view large image >

La Fille au Litre (Grande Planche), 1921

Jean-Emile Laboureur (1877-1943), La Fille au Litre (Grande Planche), engraving, 1921, signed in pencil lower left and inscribed “ep d’art”. Reference: Sylvain Laboureur 217, third state (of 3), the trial proof (or one of the five impressions “hors-tirage”, the edition was 65. In excellent condition, remains of prior hinging verso, printed on a cream wove paper with full margins, 8 3/8 x 7 1/8, the sheet 12 3/4 x 9 3/4 inches. A fine impression. Perhaps Laboureur’s most famous engraved portrait, made in his incomparable cubist manner, and a stunning example of his use of engraving within his mature cubism […]

Read more and view large image >

Tea-Room Du Front Anglais: The Drawing, Annotated 1st State, 1st State, Final State, Canceled Plate

Jean-Emile Laboureur (1877-1943), Tea-Room Du Front Anglais, etching and engraving, 1919-1923. Reference: Sylvain Laboureur 189. Five sheets: the drawing for the print, an impression of the first state (of 2), an impression of the first state extensively drawn over in pencil in preparation for the second state, an impression of the final state, and an impression of the canceled plate. The drawing: in pen and pencil, signed, titled and dated, with margins, 8 3/8 x 7 15/16 inches, the sheet 11 1/4 x 10 inches, on a thin tan wove tracing paper, in generally good condition, with tack holes in […]

Read more and view large image >

Shere Mill Pond

Seymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In good condition (skillfully repaired hole in the sky upper left) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Print Collector’s Quarterly 1 (1911): 1; Guichard, […]

Read more and view large image >

L’Hiver a Paris ou La Neige a Paris

Artist: Felix Buhot
DSCF7139

Felix Buhot (1847-1898), L’Hiver a Paris ou La Neige a Paris, 1879, etching, aquatint, drypoint, roulette. [signed and dated in the plate Felix Buhot Paris 1879]. Reference: Bourcard/Goodfriend 5th state (of 9). In excellent condition, on a cream laid Van Gelder Zonen paper (with the watermark), the full sheet, 9 3/8 x 13 5/8, the sheet 14 7/8 x 19 1/4 inches. A fine impression; a published state before additional work was done primarily involving the dogs in the foreground. Bourcard’s description of the states for this print are clarified by Goodfriend, who describes 9 states (Bourcard had only 5). […]

Read more and view large image >

York Avenue Tenements – A Printer’s Proof Impression

landeckyorkproof

Armin Landeck (1905-1984), York Avenue Tenements, drypoint, 1938, signed and dated in pencil lower right, inscribed “Printer’s Proof” lower left margin, and “For Mohammad” lower middle margin. Reference: Kraeft 74, only state, apart from the edition of 100. In pristine condition. The full sheet with full margins, printed on a heavy cream wove paper, 10 3/8 x 9, the sheet 14 1/4 x 13 1/4 inches. A superb impression, richly printed, and with a light veil of plate tone. Landeck printed his proofs personally, supplying his dealers with proofs as they had need for replacements. But since Landeck insisted that […]

Read more and view large image >

York Avenue Tenements – An Impression from the Edition

Armin Landeck (1905-1984), York Avenue Tenements, drypoint, 1938, signed and dated in pencil lower right, inscribed “ed 100” lower left margins. Reference: Kraeft 74, only state, from the edition of 100. In very good condition, barely perceptible light tone, remains of prior hinging verso, soft printer’s crease upper right. The full sheet with full margins, printed on a heavy cream wove paper, 10 3/8 x 9, the sheet 14 1/4 x 12 5/8 inches. A fine impression, printed with a light veil of plate tone. Landeck said of this print: “…something of the character and mood of that part of […]

Read more and view large image >

Adam Elsheimer

Wenzel Hollar (1607-1677), Adam Elsheimer, etching after a painting of Elsheimer by Jan Meyssens, 1649, with text and signatures as described below. Reference: Pennington 1397, third state (of 6). In generally good condition, on laid paper with wide margins (browning toward margin edges, repaired tear upper right margin). 6 1/4 x 4 1/2, the sheet 10 3/8 x 6 1/2 inches. Provenance: Collection of Mrs. George A. Martin, then to Baldwin-Wallace College, Berea, Ohio; de-acquistioned 2010. A fine impression. Adam Elsheimer (1578-1610) was an influential German painter, famed for some of his very small-scale studies, and for a number of […]

Read more and view large image >

Fashions of the Past

Artist: John Sloan

John Sloan (American 1871 – 1954), Fashions of the Past, etching and aquatint, 1926, signed and titled by the artist in pencil (Morse 224 IV/IV), also signed by the printer.From the edition of 100 (of which75 were printed, according to Morse). Annotated: Peter Platt imp (Platt was an early, and one of Sloan’s favorite, printer). In very good condition, with wide margins, with the tack holes at outer margins for drying, as usual for impressions printed by Peter Platt; on wove paper, conservation matted. 7 7/8 x 9 3/4 inches, the sheet 12 1/2 x 14 1/2 inches. A fine […]

Read more and view large image >

The Green Hour (or Angna Enters in “The Green Hour”)

Artist: John Sloan
sloanagnesenters

John Sloan (1871-1954), The Green Hour (or Angna Enters in “The Green Hour”), etching, 1930, signed in pencil lower right, inscribed “100 proofs” lower left [with the signature and date lower right, title lower left in the plate]. Reference: Morse 245, second state (of 2), of 90 printed. In very good condition, the full sheet with deckle edges, 5 x 4, the sheet 12 1/2 x 9 3/4 inches. Printed on a cream wove paper by Peter Platt, with his characteristic drying holes around the edges. A superb impression. Peter Platt was one of Sloan’s favorite printers. He printed 25 […]

Read more and view large image >

Nude With Furniture

Artist: John Sloan

John Sloan (1871-1954), Nude with Furniture, etching, 1931, signed in pencil lower right, titled lower middle, annotated “100 proofs” lower left. Reference: Morse 252, third state (of 3). From the edition of only 45 printed. Printed by Peter Platt, with his characteristic drying tack holes all around, in very good condition, the full sheet with deckle edges; printed on a cream wove paper with the Van Gelder Zonen Holland and the JP in a square watermark, 5 x 4, the sheet 12 1/4 x 9 1/2 inches. A fine impression. Sloan routinely wrote “100 proofs” on many of his prints, […]

Read more and view large image >

Le Gramophone – Woodcut – The Print and the Block

Jean-Emile Laboureur (1877-1943), Le Gramophone, 1918-21, woodcut – both the woodblock and a print from the block. The print is signed in pencil lower left, and numbered lower right (24/45) [also initialed in the block lower right]. Reference: Sylvain Laboureur 712, only state, total printing of 45 impressions. Both in excellent condition; the print on a cream wove paper, a nick at left edge, some handling folds in margins; the full sheet with deckle edges, both the print and block are 9 3/4 x 8 1/2, the sheet 17 1/2 x 11 3/4 inches. The block is about 3/4 inch […]

Read more and view large image >

Limehouse

James McNeill Whistler (1834-1903), Limehouse, etching,1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the lower margin. [Also signed and dated in the plate.]With margins, 5 x 7 7/8 inches, the sheet 6 1/2 x 9 1/2 inches. Published as no. 12 in A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, otherwise known as the Thames Set. In good condition apart from a soft diagonal fold in the sky. A very fine impression, in black ink on a thin Japan paper. Provenance: Dr. […]

Read more and view large image >

Abraham and Sarah (Sarah Presenting Hagar to Abraham)

Artist: Georg Pencz

Georg Pencz (1500-50) engraving, c. 1540, Abraham and Sarah (Sarah Presenting Hagar to Abraham). Reference: Bartsch 1, Landau 1, only state. [titled Sarah/Abraham and initialed in the plate with the interweaving PG]. In good condition, slight time discoloration (graphite verso), with thread margins, 50 x 85 mm, 2 x 2 3/8 inches. Provenance: unidentified collector’s stamp verso A very good impression with strong details. Pencz was one of the German Little Masters, the Northern Renaissance engravers known for their small scale engravings. In this engraving, the first of five Pencz made of the story of Abraham, we see his wife […]

Read more and view large image >

The Old White King on the Journey to His Bride – Painted Woodcut

Hans Burgkmair (1459-1519), The Old White King on the Journey to His Bride, painted woodcut, 1514-16. Reference: Bartsch 80-(224) 6, from the History of Emperor Maximilian I. In excellent condition, on old laid paper, 8 3/4 x 7 1/2 inches. A brilliantly colored impression, with the colors vibrant and fresh. The History of the Weisskunig (White King) is an autobiography in the style of an illustrated novel without words. Although it is the story of Emperor Maximilian I all the characters have symbolic names. The White King is the name Maximilian chose for himself, as it both stands for whiteness […]

Read more and view large image >

Council of the Swiss and the Swabian War – A Painted Woodcut

Hans Burgkmair (1459-1519), Council of the Swiss and Swabian War, painted woodcut, 1514-16. Reference: Bartsch 80-(224) 162, from the History of Emperor Maximilian I. In excellent condition, on old laid paper, 8 3/4 x 7 5/8 inches. A fine impression, with the colors vibrant and fresh. The History of the Weisskunig (White King) is an autobiography in the style of an illustrated novel without words. Although it is the story of Emperor Maximilian I all the characters have symbolic names. The White King is the name Maximilian chose for himself, as it both stands for whiteness (purity) and is associated […]

Read more and view large image >

Old Woman Emptying Pot Through the Window (Sleazy Bess)

Hendrik Bary (1640-1707), Old Woman Emptying Pot Throught the Window, etching and engraving, after the Frans van Mieris (1635-1681)painting “Goore Besje” (Sleazy Bess), c. 1670. Reference: Hollstein 10, fourth state (of 5); Wurzbach 6, third state (of 4), after the addition of the inscription J. Tangenas exc. In very good condition, on old laid paper with a Foolscap watermark, small margins, 10 1/8 x 7 1/2 inches. A very good impression. Simon Schama’s discussion of Dutch paintings such as this one in his Embarrassment of Riches is on point; he notes: “To judge from their art there were no wrinkles […]

Read more and view large image >

Similitudes

Jean- Louis Forain (1852-1931), Similitudes, etching and drypoint, not signed [signed in the plate upper right], 1880, from the total edition of 545, on wove paper, in generally good condition (slight toning), the frontispiece for J.K. Huysman’s Croquis Parisiens, published by Henri Vaton, 5 5/8 x 3 3/4, the sheet 11 1/4 x 9 1/8 inches. A fine impression. Forain was an impressionist painter and printmaker; influenced by Daumier as well as Degas, he depicted law courts as well as lovely ladies.

Read more and view large image >

L’Ivrogne

DSCF6974

Honore Daumier (1808-1879), L’Ivrogne, lithograph, 1834 [with initials in the plate]. Reference: Daumier Register 189, second state (of 2), with letters verso but before/without text. As published in Charivari. In generally good condition, trimmed rather closely and irregularly, edges browned, 10 7/8 x 8 3/4, the sheet 12 x 9 1/8 inches. A good impression of this exceedingly rare print. This is a Daumier print without an explanatory title, thus perhaps justifying my unabashedly quoting the various theories about the print as related by the Daumier Register: ” The title of this print might be: “The drunkard” or “Consequences of […]

Read more and view large image >

Asperges et Radis – all four states, and the preliminary drawing

Jean-Emile Laboureur (1877-1943), Asperges et Radis, engraving, 1928, impressions of each of the four states of the engraving, and the preliminary pencil drawing (in reverse, see illustration below). Each of the engravings signed and numbered, the drawing initialled and dated. Reference: Sylvain Laboureur 384, four states, about 75 impressions printed in all four states, 35 in the edition in the fourth state. 7 x 9 1/2 inches, 165 x 225 mm. Provenance: Henri Petiet, with his initials (HMP) stamp verso (not in Lugt) states 2 and 4. The drawing is 6 1/4 x 9 1/8 inches, in pencil, in reverse. […]

Read more and view large image >

Ecstasy (or Leda) – Final State

Arthur B. Davies (1862-1928), Ecstasy (alternate title: Leda), 1916, drypoint, signed in pencil lower right. Reference: Price 165, Czestochowski 30, third state (of 3). Edition size unknown but small. In very good condition, the full sheet, printed on a thin ivory wove paper, 2 3/4 x 4, the sheet 9 1/2 x 7 1/2 inches, archival mounting. A very fine impression of this rare drypoint, printed in black ink with the drypoint burr extraordinarily rich. One of the earliest of Davies’modernistic experiments, createdat a timewhen Davies was generally regarded as the preeminent American artist of his generation. After the Armory […]

Read more and view large image >

Ecstasy (or Leda) – First State Painted Working Proof

Arthur B. Davies (1862-1928), Ecstasy (alternate title: Leda), 1916, drypoint, with the stamp and initials NMD [Niles Davies, a descendant] lower right. Reference: Price 165, Czestochowski 30, first state (of 3, but cf discussion). Edition size unknown but small. In very good condition, printed on a very thin cream wove paper, the sheet printed in the manner of chine colle, on a backing card, full sheet, printed on a thin ivory wove paper, 3 7/8 x 3 inches, the full sheet 8 x 7 1/4 inches. This impression is about 1/8 inch wider than the later state impressions described by […]

Read more and view large image >

Up-Rising

Arthur B. Davies, Up-Rising, soft ground etching and aquatint on a cream laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In good condition, with margins. From a small edition, 6 x 9, the sheet 8 3/8 x 12 1/4 inches. A fine atmospheric impression. The first state of this print was before the aquatint; it was in soft ground etching only (the third state was printed in color by Frank Nankivell in 1924). At this stage of his career Davies was experimenting with modernism in his printmaking; he had developed substantial expertise […]

Read more and view large image >

Resurrection – Final State

Arthur B. Davies (1862-1928), Resurrection (aka Flying Figures; Border of the Lake), drypoint, 1916, signed with the estate stamp lower right. Reference: Czestochowski 35, third state (of 3), with the aquatint. The total printing was unknown but small. With margins, printed on a blue/green laid paper, in good condition, 3 x 5, the sheet 5 x 8 inches. A fine impression, with the complex aquatint layering contrasting effectively. Aquatint was added in the second state to many areas of the plate except the figure; in the third state aquatint was added to the figure.

Read more and view large image >

Resurrection – First State

Arthur B. Davies (1862-1928), Resurrection (aka Flying Figures; Border of the Lake), drypoint, 1916, signed with the estate stamp lower right. Reference: Czestochowski 35, first state (of 3), before aquatint. The total printing was unknown but small. With margins, printed on a very thin wove paper, in good condition, 3 x 5, the sheet 6 1/2 x 8 1/4 inches. A fine proof impression, with substantial burr from the drypoint work, printed with a veil of plate tone overall. Aquatint was added in the second state to many areas of the plate except the figure; in the third state aquatint […]

Read more and view large image >

Entreat (aka Nude with Uplifted Arms)

Arthur B. Davies (1862-1928), Entreat (aka Nude with Uplifted Arms), mezzotint, 1927, signed in pencil lower right margin. Reference: Czestochowski 217, only state. Edition unspecified, total printing unknown but small. In good condition, printed on a cream wove paper, with margins, 6 x 4, the sheet 8 1/2 x 5 1/2 inches. A very good impression of this rarity.

Read more and view large image >

Torment

Arthur B. Davies (1862-1928), Torment, soft ground etching with aquatint and roulette, 1919-20, signed with the estate stamp lower right, and signed by the printer Frank A. Nankivell (and inscribed “Printer”) lower left. Reference: Czestochowski 102, fourth state (of 4). In generally good condition apart from light staining toward the top of the image, and light staining at the top margin edge, a crease in the right margin. With margins, 7 13/16 x 11 7/8, the sheet 9 3/8 x 13 5/8 inches. A fine impression.Printed on thin laid paper with the watermark Vassier. Czestochowski notes that this print was […]

Read more and view large image >

Mirror of Illusion – First State

Arthur B. Davies (1862-1928), Mirror of Illusion (aka The Mirror; Maya; Mirror No. 2), drypoint, signed with the estate stamp lower right. Reference: Czestochowski 31, first state (of 2). In generally good condition, with margins (creasing and folds in margins, browning toward edges), 6 3/8 x 8 3/8, the sheet 8 7/8 x 11 1/4 inches. A fine proof impression of the first state, printed with a heavy plate tone. In the first state the design is made with drypoint only, and the platemaker’s name is clearly visible on the middle right margin. The platemaker’s inscription reads: John Sellers and […]

Read more and view large image >

Tartessians

Arthur B. Davies (1862-1928), Tartessians, soft ground etching with aquatint, 1919-20, signed in pencil lower right. Reference: Czestochowski 96, second state (of 2), total printing unknown but small. In good condition, slight mat toning, printed on a cream wove paper, with margins, 4 7/8 x 3 1/4, the sheet 10 7/8 x 7 1/2 inches. A fine impression, with the aquatint tones contrasting effectively.

Read more and view large image >

By the Sea (aka Idyll)

Arthur B. Davies (1862-1928), By the Sea (aka Idyll), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochowski 72, fourth state (of 5; see discussion below), edition about 21. In very good condition, printed in black on a green laid paper, 8 7/8 x 5 7/8, the sheet 10 1/4 x 8 inches. A fine impression. Davies put this complex composition through some extensive state changes, adding aquatint in the second state, grinding it down on the figures in the third state while adding some tint in the third and fourth state. This impression may represent […]

Read more and view large image >

Round of Summer (aka Four Figures) – First State Proof

Arthur B. Davies (1862-1928), Round of Summer (aka Four Figures), soft ground etching, 1919, signed in pencil lower right. Reference: Czestochowski 91, first state (of 3), trial proofs only in this state. With margins, extensive wrinkling, tape on margins verso (showing through at top margin), soiling (mostly in margins), printed on light wove paper, 7 7/8 x 5 7/8, the sheet 11 x 7 3/8 inches. A good impression; the rough condition indicates that this is a trial proof. In later states aquatint was added to cover the figures, foreground, and the tree upper middle; this state is interesting for […]

Read more and view large image >

Afternoon

Arthur B. Davies (1862-1928), Afternoon, transfer lithograph, 1920, signed in pencil lower left. Reference: Czestochowski 188, only state, from the edition of 25 (another 300 unsigned proofs cut down to the image were distributed by Weyhe Gallery as gallery souvenirs); one of a set of eight lithographs, in generally good condition, some light fox spots mostly verso, the slightest toning, the full sheet, printed on a stiff cream wove paper, 7 1/2 x 6, the sheet 15 x 10 7/8 inches, archival matting. A good impression. Printer: George C. Miller.

Read more and view large image >

Strength in Shadow

Arthur B. Davies (1862-1928), Strength in Shadow, soft ground etching with drypoint, roulette and aquatint, 1919, with the estate stamp lower right. Reference: Czestochowski 90, only state, total printing unknown but small. In good condition apart from several creases across the middle of the image (a result of the printing process?). Printed on laid paper, with wide margins, 6 5/8 x 4 5/8, the sheet 12 x 9 5/8 inches. A very good impression

Read more and view large image >

Contemplation – An impression of the only state, and a working proof

Arthur B. Davies (1862-1928), Contemplation (alternate title: Ishlamih Group), drypoint on zinc, 1917, with the estate stamp lower right margin. Reference: Czestochowski 53, only state, total printing unknown but small. In good condition, with margins, 2 7/8 x 6 1/8, the sheet 7 x 9 inches. Printed on a very light laid paper, with extensive cataloguing notes in pencil verso bottom. A fine impression, printed with much drypoint burr, and an overall veil of plate tone. We also have a working proof of Contemplation (illustrated below) printed on a light laid paper, with inky fingerprints in the margins (going into […]

Read more and view large image >

Pompeian Veil – working proof with pencil additions

Arthur B. Davies (1862-1928), Pompeian Veil, soft ground etching with aquatint, with pencil additions, 1918-1919, with the stamp signature. Reference: Czestochowski 63, fifth state (or a state between the 4th and 5th) of 5. In generally good condition, soiling and soft folding in margins, 5 3/8 x 3 , the sheet 9 7/8 x 7 inches. Printed on a cream/yellow wove paper. A good impression, with pencil additions to the nose, hair and hand of the figure; these additions were then made in the plate for Czestochowskis fifth state. Only trial impressions were made of the fifth state. Pompeian […]

Read more and view large image >

Venus

Arthur B. Davies (1862-1928), Venus (alternative title: Spindrift), mezzotint, 1927, with the estate stamp lower right, signed in pencil by Frank A. Nankivell lower left and inscribed Printer. Reference: Czestochowski 218, first state (of 2), edition unspecified, total printing unknown. In good condition apart from light fox marks in margins, with margins, printed on laid paper with a bunch of grapes (?) watermark, 9 15/16 x 5 15/16, the sheet 13 x 8 inches. A very good impression of this rarely encountered print; no impressions signed by Davies are known.

Read more and view large image >

Retrospection

Arthur B. Davies (1862-1928), Retrospection, drypoint on zinc, 1916-17, with the estate stamp lower right. Reference: Czestochowski 40, first state (of 2). Total printing unknown but small. In good condition, with margins (a soft fold upper left margin away from image, paper very thin along the left platemark where the plate was unburnished). 4 7/8 x 3 3/8, the sheet 8 x 6 inches. A fine, delicately printed impression, printed on thin cream wove paper with plate tone, the central area of the figures wiped selectively so that this area is brighter and whiter, with substantial burr from […]

Read more and view large image >

Monsieur – Here’s Your Handkerchief

Honore Daumier (1808-1879), Monsieur – Here’s Your Handkerchief, lithograph, 1842. Daumier Register 670, third state (of 3), sur blanc, plate 47 from the series Moeurs Conjugales, published in the album of that title and then in the journal Le Charivari. In good condition, a tear bottom edge margin, with margins, 12 x 8 1/2, the sheet 13 1/2 x 10 inches. A very good impression, on sur blanc wove paper (from the small collector’s edition, without the letterpress verso as the print was issued in the large Le Charivari edition). Here’s the translation from the indispensable Daumier Register (note: the […]

Read more and view large image >

Sortie de Theatre a Londres

Jean-Emile Laboureur (1877-1943), Sortie de Theatre a Londres, etching and drypoint, 1911, signed in pencil lower left [also signed and dated in the plate upper right]. Reference: Laboureur 104, third state (of 3). Published for La Societe des amis de l’eau-forte, with the blindstamp with the inscription: Circle Librairie Estampes. From an edition in the third state of 109; there were also 5 impressions of the first state and five of the second state. In excellent condition, the full sheet with deckle edges bottom and sides, 6 3/4 x 14; a remarque lower left 2 x 3 1/2, the sheet […]

Read more and view large image >

12 Views of Italy – The Set

  Franz Weirotter (1730-1771), Suite of 12 Views of Italy, etchings, 1759 [most signed in the plate by Weirotter]. Reference: Nagel 5. 10 printed in pairs on one sheet; one on a smaller sheet (still with margins), and the larger frontispiece on a single sheet. In generally good condition, browning toward the outer edge of the sheets, some other defects affecting outer edges but not the images. Each of the paired compositions about 6 1/2 x 8 1/4 inches on sheets 16 3/4 x 10 3/8; the frontispiece 7 1/4 x 10 5/8 on a sheet 16 3/4 x 10 […]

Read more and view large image >

Mountain Scene

Ira Moskowitz (1912-1985), [Mountain Scene], 1943, lithograph, signed in pencil lower right, numbered lower left (27/50) [also signed and dated 1943 in the plate lower right], from the (presumed) edition of 50, not in Czestochowski. In pristine condition, on a cream wove paper with deckle edges, 10 1/8 x 14, the sheet 13 3/4 x 18 inches. A fine impression of the hilly countryside, with donkeys and goats grazing on the hillside, farm cabins in the distance; probably Taos. A rarely encountered print, apparently not known to Czestochowski (and not in his catalogue raisonn). Ira Moskowitz was born in Poland […]

Read more and view large image >

At the Round House

Artist: Cecil Bell

Cecil Bell (1906-1970), At the Round House, soft-ground etching and aquatint, c. 1935, signed in pencil lower right and titled lower left (also numbered 45), printed on a cream wove paper, the full sheet, in excellent condition, 5 3/4 x 7 5/8, the sheet 8 3/4 x 10 1/4 inches. A fine impression of this evocative image. Cecil Bell, born in Seattle in 1906, started his artistic career as a cartoonist. He moved to New York and enrolled in the Art Student’s League in 1930, where he had John Sloan as a teacher. “I want principally to get down life […]

Read more and view large image >

Bohemia

Artist: Max Pollack

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 […]

Read more and view large image >

Paysage aux Buttes-Chaumont (1re Planche)

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 […]

Read more and view large image >

Les Moissonneurs (The Reapers)

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.

Read more and view large image >

A Jersey Vraic Cart

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 […]

Read more and view large image >

Una (Portrait of a Creole Lady) – early state

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 […]

Read more and view large image >

Pennsylvania Rail Road Loco Waiting to be Junked

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 […]

Read more and view large image >

Advice

Artist: Walt Kuhn

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 […]

Read more and view large image >

Strong Girl

Artist: Walt Kuhn

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. […]

Read more and view large image >

Girl Running – 1st State

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 […]

Read more and view large image >

Iris (Nude Seated) – Second State

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 […]

Read more and view large image >

Iris (Nude Seated) – First State

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 […]

Read more and view large image >

Moonlight on the Grassy Bank

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 […]

Read more and view large image >

Pour le Bapteme de Madeleine

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 […]

Read more and view large image >

Charles I

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 […]

Read more and view large image >

La Morgue – 4th State

Charles Meryon 1821-1868), La Morgue, etching, fourth state (of 7), printed in brown/black ink, Schneiderman 42 [with the inscription, date, address in the plate]. In very good condition, with margins (several nicks at margin edges, remains of prior hinging verso, tiny loss left margin edge, bottom right corner). 9 x 8 1/8 inches, the sheet 10 13/16 x 9 1/2 inches. Provenance: Sir John Day (his blindstamp recto lower left, Lugt 526) C.W. Dowdeswell, 36 Chancery Lane, London (stamp verso, Lugt 690) Arthur Hahlo and Company A fine, richly inked impression, printed on thin laid paper in a dark brown/black […]

Read more and view large image >

La Morgue – Rare 3rd State, before letters

Charles Meryon (1821-1868), La Morgue, etching, 1854, thirdstate (of 7), printed in dark brown/black ink. References:Delteil Wright 36, Schneiderman 42. On a thin laid paper with a watermark with the initials CD. In excellent condition, hinge remains verso, with margins, image 8 3/8 x 7 1/2, the plate 9 1/8 x 8 1/8, the sheet 9 3/4 x 8 1/2 inches. A superb atmospheric impression, with extensive and selective wiping of the plate, and particularly effective inking and plate tone in the ominousclouds of smoke and the shadowy areas at the left. The richness of the lines attest to the […]

Read more and view large image >

Am Gnsehufel in Wien

Artist: Emil Orlik

Emil Orlik (1870-1932), Am Gnsehufel in Wien, 1911, soft-ground etching, signed and dated in pencil lower right. In very good condition, on firm laid paper with margins, 5 1/2 x 8, the sheet 9 3/4 x 12 1/2 inches. A fine impression of this great rarity; few impressions are known to exist. Printed on a cream colored laid paper in dark brownish/black ink. In this splendid example of Orlik’s printmaking expertise, he may have used aquatint to achieve the solid areas of print and selected wiping of the plate to achieve shading; the burr on some of the figures suggests […]

Read more and view large image >

Two Fools – The Folly of Love

Hans Sebald Beham (1500-1550), an engraving after Beham’s Two Fools (or Fool and Foolish Woman), engraving, c 1540, a copy or impression in reverse of Pauli 215, Bartsch 213, the copy after the first state. In excellent condition, trimmed on or just outside or inside the plate mark, on old laid paper, numerous notes in pencil verso, 1 15/16 x 2 1/16 inches. A brilliant impression of this famous image, after the Beham composition. The subject matter for this print was addressed by numerous artists in the 15th and 16th centuries. In this rendering the allusions refer to the folly […]

Read more and view large image >

Chez la Corsetiere

Jean-Emile Laboureur (1877-1943), Chez la Corsetiere, soft ground etching and drypoint, a color etching made with two plates, 1934, signed in pencil lower left, also titled and inscribed “epreuve d’essai (en couleur)” and “tire a 5 epreuves” lower margin by the artist. Reference: Sylvain Laboureur 494, first state (of 2). In excellent condition, printed on a cream wove paper with the watermark initials AMV. The full sheet with margins, 8 1/4 x 6, the sheet 11 x 8 3/4 inches, archival matting. A fine impression of the rare first state, before additional definitional lines to the mirror and other areas […]

Read more and view large image >

Sea Maidens (or, Sunshine; Girls on the Beach)

Arthur B. Davies (1862-1928), Sea Maidens (or, Sunshine; Girls on the Beach), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochoski 79, second state (of 3). Total edition unknown but small. In generally good condition apart from a tear (repaired, now unobtrusive, see detail one below) upper center c 1″ into image, soiling verso and in margins, nicks at paper edges. Printed in black on a green laid paper. With margins, 8 x 11 7/8, the sheet 9 5/8 x 14 1/2 inches. A fine impression, with the several aquatint layers contrasting effectively against the greenish […]

Read more and view large image >

Petits, Petits

Charles Emile Jacque (1813-1894), Petits, Petits, etching on chine colle, c. 1864 [signed in the plate upper left, also with the name of the artist and the printer (Sarazin)]. Reference: Guiffrey 187, third state (of 3). In good condition, the full sheet, 5 x 6 7/8, the sheet 12 x 16 3/4 inches, archival matting. Provenance: Alfred Beurdeley (his stamp recto lower right, Lugt 421). A fine clear impression. Although Jacque’s training as an artist was spotty, he did learn printmaking early in his career, and developed a strong reputation in the graphic arts. In 1845 Baudelaire wrote of this […]

Read more and view large image >

Loguivy le Soir (Loguivy at Evening)

Artist: Henri Rivire

Henri Rivire (French, 1864-1951), Loguivy le Soir (Loguivy at Evening), 1904,Plate 7 for Le Beau Pays de Bretagne. Published by Eugne Verneau, Paris. Color lithograph. Signed in blue crayon lower right and numbered 37 [also signed in the stone]. The full sheet with full margins, 9 x 14, the sheet 19 x 23 5/8 inches. In good condition, some soft folds well outside of the image. Provenance: ex Collection Ernest Shapiro A fine atmospheric impression, with the intentionally subdued colors effectively contrasting. Rivire was one of the most creative artists of his time – he created a form of shadow […]

Read more and view large image >

Un Charron (The Wheelwright)

Alphonse Legros (1837-1911), Un Charron (The Wheelwright), etching, c. 1890, signed in pencil lower right. Reference: Bliss 267. In good condition, printed on a cream laid paper with a flower (?) watermark, with margins, 6 x 8, the sheet 6 5/8 x 8 5/8 inches. Provenance: Frank E. Bliss (with his stamp verso, Lugt 265. Bliss was the author of a catalogue raisonne of the Legros prints). Collection of the Artist. The following is written on the mat: “Ex library Deigton 16/12/09. The proof bought from Deighton was subsequently exchanged Legros for the proof in the artist’s Private Collection.” A […]

Read more and view large image >

Mezzotint After a Drawing by Claude Lorrain

Richard Earlom (1743-1822), etching and roulette, mezzotint, 1776, after a drawing by Claude Lorrain (Claude Gelee), number 135 from the Original Collection of the Duke of Devonshire, 1776, published by John Boydell. [With the lettering in the plate Claude le Lorrain delin at left, the Boydell address center, R. Earlom fecit right, and below the lettering From the Original Drawing in the Collection of the Duke of Devonshire, No. 135]. In generally good condition, with margins (a stain upper right edge well away from image), printed in sepia on a laid paper with a watermark 1809, 8 1/4 x 10 […]

Read more and view large image >

On the Beach – Rare Proof

lanfaironthebeach

Harriet Lanfair (1900-1988) lithograph, c. 1935, signed in pencil on lower right margin.Printed on a very light japan paper, with margins. A proof impression, with printers ink and creasing in irregularly trimmed margins (as characteristicof a working proof,these margin defects not affecting image),slight foxing alsomostly in margins. Archival matting, 8 1/4 x 13 inches, the sheet 12 x 15 inches. A fine impression of this rarity -this isa working proof impression, and we know of no edition or other impressions of this fascinating composition that have appeared on the market. Lanfair, a California painter and printmaker (born in Pasadena, studied […]

Read more and view large image >

Mezzotint after a Drawing by Claude Lorrain

Richard Earlom (1743-1822), etching and roulette, mezzotint, 1776, after a drawing by Claude Lorrain (Claude Gelee), number 162 from the Original Collection of the Duke of Devonshire, 1776, published by John Boydell. [With the lettering in the plate Claude le Lorrain delin at left, the Boydell address center, R. Earlom fecit right, and below the lettering From the Original Drawing in the Collection of the Duke of Devonshire, No. 162]. In generally good condition, with margins (a stain upper right edge well away from image), printed in sepia on a laid paper with a watermark 1809, 8 1/4 x 10 […]

Read more and view large image >

Springtime: Immigrant Mother and Children

Artist: Jerome Myers

Jerome Myersdrypoint, Springtime: Immigrant Mother and Children, circa 1907, signed in pencil lower right, in good condition (soft printer’s creases lower left margin corner), on a soft cream wove paper with a shell/leaf watermark, wide margins, 7 7/8 x 5 7/8 (the sheet 17 1/4 x 11 1/2) inches, archival mounting. A fine clear impression, with a veil of plate tone, with substantial drypoint burr. Myers (1876-1940) was an actor and artist, a specialist in the American turn of the century immigrant experience, particularly those immigrants in the Lower East Side of Manhattan; this is a prototypical example of his […]

Read more and view large image >

Nurse and Child (or Virgin and Child) – definitive state

Kenneth Hayes Miller (1876-1952), Nurse and Child (or Virgin and Child), etching, c.1928, signed in pencil lower right and numbered 25 lower left. Reference: Associated American Artists 25, from the edition of about 25, probably the second state (of 2). Printed on a strong wove paper, watermark FRANCE. In good condition apart from moderate light stain, with margins, 6 7/8 x 5, the sheet 10 1/2 x 7 7/8 inches. A very good impression, with the lines added to the pillow at the left, and cross hatching added to the woman’s dress at the right. Hayes Miller studied at […]

Read more and view large image >

Nurse and Child (or Virgin and Child) – 1st State Proof

Kenneth Hayes Miller (1876-1952), Nurse and Child (or Virgin and Child), etching, c.1928, signed in pencil lower right, titled Virgin and Child, signed, priced ($25) and addressed by the artist verso (Hayes Miller, 6 E. 14th Street, New York). Reference: Associated American Artists 25. A proof impression of presumably the first state (of 2?), in generally good condition but somewhat soiled in the margins, remains of prior hinging verso, some grease stains in margin and matrix bottom right and verso, creases in matrix (all as befitting a proof impression). On a heavy wove paper, 6 7/8 x 5, the sheet […]

Read more and view large image >

Carnival in Rio No. 4

George Biddle (1885-1973), Carnival in Rio No. 4, lithograph, 1947, signed and dated in pencil lower right; titled lower left [also signed and dated in the stone lower left]. Reference: Pennigar 151, only state, from the edition of 20. In good condition, with margins (remains of prior hinging verso), 10 1/2 x 11 1/4, the sheet 11 3/4 x 16 inches, not matted. Biddle signs and dates the print “Biddle 1944″ in the stone in barely visible scratches just above the pencil title. This dating would presumably change Pennigar’s dating of the print from 1947 to 1944. Also, it might […]

Read more and view large image >

Cover (from Odes)

Goldberg-CoverFromOdesBig

Michael Goldberg (1924-2007), Cover (from Odes)– – 1961, Color Serigraph. Edition 10. Signed, dated and annotated Special Edition 2/10 in pencil. Image size 16 1/4 x 13 1/2 inches (425 x 343 mm); sheet size 19 5/8 x 14 15/16 (498 x 379 mm). A fine, painterly impression, with fresh colors, on off-white wove paper; full margins (5/16 to 2 1/4 inches), in excellent condition. Created for the Tiber Press four-volume set of poetry by Kenneth Koch, John Ashbery, Frank OHara, and James Schuyler, illustrated with original silkscreen prints by Alfred Leslie, Joan Mitchell, Michael Goldberg, and Grace Hartigan. The […]

Read more and view large image >

The Young Hostess

Cornelis Bega (1631/32-64), The Young Hostess, c. 1660-64, etching. Reference: Hollstein, Bartsch 33, third state (of 5). With the address of J. Covens and C Mortier bottom left -before the address was removed (in the fourth state) and the artist’s signature was added (in the fifth state). In excellent condition, printed in black/grey ink on an old laid paper, with a 3/16 inch margin outside the plate mark all around, archival matting. Provenance: Ex collection Graff (with stamp verso, Lugt 1092a), LRV (with stamp verso, Lugt 1761), an unidentified collector’s stamp verso, and Dr. Karl Herveg (his stamp verso, not […]

Read more and view large image >

Uprising

Arthur B. Davies, Uprising, soft ground etching and aquatint on a green laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In good condition, with margins (slight mat stain away from platemark); on a green laid paper. From a small edition, 6 x 9, the sheet 8.3/4 x 12 inches. A fine atmospheric impression, carefully printed in black/grey ink on old green laid paper. The first state of this print was before the aquatint; it was in soft ground etching only (the third state was printed in color by Frank Nankivell in 1924). […]

Read more and view large image >

La Repasseuse (The Presser)

Jean-Emile Laboueur (1877-1943), La Repasseuse (The Presser), 1937, engraving and drypoint. Signed and numbered in pencil (29/67) [with the monogram bottom left]. Reference: Sylvain Laboureur 527, third state of three. In good condition, on tan wove paper, with wide margins (remains of prior hinging verso), 9 1/4 x 7, the sheet 13 1/2 x 10 1/2 inches, archival mounting. A fine impression. Jean-Emile Laboureurtraveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby famed Academie Julian, and although he never officially matriculated there, he became immersed in the Parisian art scene.In […]

Read more and view large image >

Dawn (or, Kneeling Figure)

daviesdawn

Arthur B. Davies (1862-1928), Dawn (or, Kneeling Figure), 1918, soft ground etching and aquatint, signed in pencil lower right. Reference: Czestochowski 59, second state (of 3). In very good condition, with margins, 11 7/8 x 7 7/8, the sheet 14 x 9 1/2 inches. Printed in black ink on a cream wove paper. A fine impression of this very strong composition. Dawn is unusual among Davies’s printed images for the great clarity and strength of the image, undergirded by the blackness of the aquatint background. At this stage of his career Davis was making a transition from explorations into the […]

Read more and view large image >

Baptism (or, Group of Ten Men – One Seated)

Arthur B. Davies (1862-1928), Baptism (or, Group of Ten Men – One Seated), drypoint on zinc, 1917, signed in pencil , printed in black on very thin laid paper. In very good condition, cockling top and bottom margins (result of printing process), the matrix excellent, 6 3/8 x 4 1/4, the sheet 9 1/2 x 8 1/2 inches. Reference: Czestochowski 52, second state (of 2), total printing unknown but small. A fine rich impression of this great rarity (most of the other impressions are in museums), with substantial burr from the drypoint work, with platetone overall but carefully wiped to […]

Read more and view large image >

Guiding Spirit

Arthur B. Davies (1862-1928), Guiding Spirit, 1918, etching, drypoint and roulette, signed in pencil lower right. Reference: Czestochowski 55, Second state (of 2), edition of 22, 4 x 6 7/8, the sheet 8 x 11 inches. In good condition apart from some light rust marks or paper imperfections dotting the surface. A fine impression with substantial burr from the drypoint work, wiped selectively so that the central floating figures are much lighter than the figures below or to the sides. Printed in black on a cream wove paper. A superb example of Daviess Symbolist work as well as […]

Read more and view large image >

A Galway Peasant (also, An Irish Peasant)

Gerald Brockhurst (1890-1978), A Galway Peasant (also, An Irish Peasant), etching, 1920, signed in pencil lower right. Reference: Fletcher 10, from the edition of 55, third state (of 3), printed on laid paper, the full sheet, in very good condition (remains of prior hinging verso), 4 x 4 1/4, the sheet 10 1/2 x 9 inches, window mount. A fine impression, printed in greyish/black ink on ivory laid paper. 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 […]

Read more and view large image >

Elizabeth (Anais, also called the London Coster Girl)

Gerald Brockhurst, Elizabeth (Anais, also called the London Coster Girl), etching, 1922, signed in pencil lower right, also initialed and annotated “1st State” lower left margin corner [also signed, in reverse, in the plate lower left].Reference: Fletcher 32, first state (of 10), 2 proofs in this state, edition of 76. In very good condition, withinkmarks, slight soilingandfingerprints in the margins as befits an early proof impression. 7 x 5 3/8, the sheet8 1/2 x 11 1/8; the image is 5 3/4 x 4 3/8. A very fine impression of this first state impression (there were only two proofs in this […]

Read more and view large image >

West Street, New York City

Irving Wolfson (b.1899), West Street, New York City, etching and drypoint with plate tone, signed, titled and inscribed in pencil ”ed 99.” In very good condition (with only the slightest hint of any light stain)on a cream laid paper with margins, 11 7/8 x 7 7/8, the sheet 15 1/4 x 11 1/4 inches, archival mounting. A fine atmospheric impression. Wolfson here looks at downtown, facing east from West Street (which lies close to the Hudson on thelower west side of Manhattan), and of course the most famous landmark from that vantage point at the time (and perhaps still today) […]

Read more and view large image >

Les Mannequins Politiques

Honore Daumier (1808-1879), Les Mannequins Politiques, lithograph, 1834. Reference: Daumier Register 96, first state (of 2), on wove paper (no lettering verso).Published in La Caricature, 11/20/1834. In good condition, slight soiling at outer edges, with wide margins, 9 1/2 x 10 1/2, the sheet 10 5/8 x 13 3/4 inches. Provenance: ex Collection: Vouay, S. Mme (Lugt 2373c, with the red stamp lower right recto) Here is the explanation of this print, and translation, unabashedly taken verbatim from the invaluable online Daumier Register (with my continuing indebtedness and thanks to Lilian and Dieter Noack): Two persons, the King and de […]

Read more and view large image >

Lavoir de Kervino

Adolphe Beaufrere (1876-1960), Lavoir de Kervino, 1908, etching, with the Beaufrere red estate stamp lower left recto [also signed and dated in the plate lower right]. References: Morane 08-02, Laran 35. Printed in a dark brown ink, on a thin wove Japan paper. In very good condition, unobtrusive water stain lower left, crease lower right corner, with margins, 9 1/2 x 12, the sheet 10 1/4 x 13 1/4 inches. Provenance: acquired directly from Jean-Noel Beaufrere, the artist’s son. A fine impression of this very rare print. This impression is probably a first state working proof, before some foliage was […]

Read more and view large image >

Narrow Street in Rouen (Petite Rue Nationale, a Rouen)

Camille Pissarro (1830-1903), Narrow Street in Rouen (Petite Rue Nationale, a Rouen), etching, drypoint, maniere grise, aquatint, 1896, signed in pencil lower right, numbered (No 6) and annotated “ep defi” (definitive proof) lower left, titled below (and with the added annotation Z). Reference: Delteil 122, third state (of 3). In excellent condition, the full sheet with very wide margins (remains of prior hinging verso, mat staining in margins not affecting image), printed on an ivory laid paper, 6 1/2 x 5 1/8, the sheet 16 1/4 x 11 5/8 inches. There was one impression of the first state, one of […]

Read more and view large image >

Pause by a Window (or Waiting for the Bus) – Two States

Kenneth Hayes Miller (1876-1952), Pause by a Window (or Waiting for the Bus), etching, 1930. Associated American Artists checklist 101. Two impressions, one of the first state, one of the second. The first is stamp/estate signed, the second pencil signed by the artist and numbered 27. In very good condition, both with wide margins, the state 1 proof with drying holes all around, on a white/cream wove paper,9 x 4 7/8, the sheet 13 x 7; state 2 on a cream/ivory wove paper, 9 x 4 7/8, the sheet 13 3/8 x 9 inches. Fine impressions of each state, the […]

Read more and view large image >

Tennis

George Bellows (1882-1925), Tennis (Tennis Tournament), lithograph, 1921, signed in pencil lower right, also signed and annotated by the printer Bolton Brown, imp lower left, and numbered 37. Reference: Mason 71, only state, from the edition of about 63. In very good condition, repaired tears in margins left and bottom not affecting image, with margins; 18 3/8 x 20 inches. A superb impression, printed on a thin Japan paper. A souvenir of the summers Bellows spent with his family at Middletown, Rhode Island. Emma Bellows can be seen wearing the black hat, sitting at the left. Critics have speculated that […]

Read more and view large image >

Le March aux Fleurs ou la Rencontre

Jean-Emile Laboureur (1877-1943), Le March aux Fleurs ou la Rencontre, 1914, Engraving. Sylvain Laboureur 127, second state (of 2). Edition of 35. Signed, titled, and numbered 2/35 p in pencil. Signed and dated in the plate, lower left. Image size: 11 1/8 x 13 9/16 inches (283 x 344 mm); sheet size 12 7/8 x 16 3/8 inches (327 x 416 mm). A superb impression, with rich burr and delicate overall plate tone, on cream wove paper; full margins (6/8 to 1 3/8 inches); slight light toning within the original mat opening, otherwise in excellent condition. One of Laboureur’s most […]

Read more and view large image >

Le Jockey d’Epsom

Jean-Emile Laboureur (1887-1943), Le Jockey d’Epsom (Deuxieme Planche), 1913, engraving. Reference:Sylvain Laboureur 125, only state. Edition of only 30. Signed, titled, and numbered 17/30 in pencil. Initialed and dated in the plate, lower left. Image size: 8 1/4 x 8 13/16 inches (210 x 224 mm); sheet size 9 1/2 x 10 inches (241 x 254 mm). A fine impression, with rich burr throughout and delicate overall plate tone, on cream wove paper; full margins (5/8 to 3/4 inch), in excellent condition. In the “L’Express de l”Ouest” of February 18, 1914, the critic Bernesto wrote: “Cette eau-forte est une des […]

Read more and view large image >

Drole Politicians

TRAVIS, (Travis de Villers, Charles-Joseph) (Wlflingen, Switzerland, February 21, 1804 – Paris, August 13, 1859), DrolePoliticians, c. 1845 hand painted lithograph.Published by Aubert [with signature lower left image, letters and addresses in margin below, in the plate]. In very good condition, small paper loss left margin, printed on a tan wove paper with wide margins, 10 x 7 1/2, the sheet 13 1/2 x 10 1/4 inches, archival window matting. A fine impression of this amusing portrait, skillfully hand colored; a print sur blanc (on wove paper, no lettering verso). This balding establishment figure, himself surely a member of the […]

Read more and view large image >

Feluka on the Nile

Artist: Emil Orlik

Emil Orlik (1870-1932) Feluka on Nile,circa 1916, signed in pencil lower right margin. In very good condition, with margins (remains of prior hinging margin corners verso), 4 5/8 x 8, the sheet 6 1/2 x 10 inches. A fine impression, in dark reddish brown ink, with platetone, on a cream wove paper. Emil Orlik (1870-1932, born in Prague) was a member of the Berlin and the Viennese Secessions, but although often identified as a leading and early German Expressionist, his art transcended any single movement. He first traveled to the Far East in 1900, wanting to learn close up what […]

Read more and view large image >

Political Prisoners

Honore Daumier (1808-1879), lithograph (Delteil 94), published in La Caricature (November 11, 1834), [with the inscription, address, initials in the plate]. A very good impression of this early (1834) political print. Louis-Phillipe is shown addressing 3 Republicans in the ruins of the prison at St. Michel (“Tres-bien! Tres-bien! Vous etes parfaitment conduites!”). An impression of the only state, on heavy white wove paper without the letterpress verso (as published and inserted in the journal). Thetop margin is trimmed closely and roughly, outside the upper borderline but just abutting printing on top, otherwise with margins and in satisfactory condition, archival matting. […]

Read more and view large image >

Gants de Suede

James McNeill Whistler (1834-1903), Gants de Suede, lithograph, 1890, from the published edition, published by The Studio and with their blindstamp lower left [with the artist’s butterfly signature in the plate] Reference: Spink, Stratis and Tedeschi 35. From the edition of about 3000, printed by way and issued by The Studio, London, April 16, 1894. In very good condition with a trace of light staining; with margins, 10 x 6 1/2, the sheet 11 1/4 x 8 1/4 inches, archival window matting. A very good clean impression of this lithograph. Provenance: Kennedy Galleries, with their stock number recto. Gants de […]

Read more and view large image >

Gabled Roofs

James Abbot McNeill Whistler (1834-1903), Gabled Roofs, lithograph, 1893. Reference: Chicago (Spink et al) 64, only state. From the lifetime edition of 12 (there was also a posthumous edition of 53 printed by Goulding in 1904). In very good condition, with margins, 7 3/4 x 6 1/4, the sheet 12 1/4 x 7 3/4 inches. Provenance: Childs Gallery, Boston, with their stamp verso, and on their mat (with their catalogue notations). A fine impression of this rare lithograph, printed on a cream laid paper with the watermark ProPatriaB (this is Spink watermark 251, one of the watermarks specified in Spink […]

Read more and view large image >

Le Bambillon (Red Mullet; or Le Barbillon entrane la ligne, The Fish Pulls the Line)

Honore Daumier (1808-1879), Le Bambillon (Red Mullet; or Le Barbillon entrane la ligne, The Fish Pulls the Line), lithograph, 1840-41, [with initials in the plate]. Reference: Daumier Register 818, second state (of 2), with the letters, Plate 4 from LA PCHE, in the published form in Caricature, a sur blanc impression, in very good condition, with margins, on wove paper, 8 1/4 x 6 3/8, the sheet 14 x 9 1/2 inches,archival matting. A fine clear impression. This is a sur blanc impression, printed in a small contemporaneous edition for collectors (probably 100-150 impressions only). This form of the print […]

Read more and view large image >

A Summer Day

Rudolph Ruzicka (1883-1978), A Summer Day, wood engraving, 1936, unsigned [with the initial R in the plate; the AAG logo, title, name, address stamp verso).Published by the American Artists Group. In very good condition, in the original AAG mat,the full sheet with full margins, 5 1/16 x 7 7/8 inches, the sheet13 x 18 inches. A fine impression, still in its original mat as issued. The American Artists Group was formed in 1934, during the Great Depression, with the express purpose of providing unsigned inexpensive prints which were to be widely distributed. AAG published prints by Ganso, Spruance, Meissner, and […]

Read more and view large image >

The Shepherd

schultheissshepherd

Carl Schultheiss (1885-1961), The Shepherd, engraving, 1951, signed in pencil lower right margin. In excellent condition, with prior hinging verso, on a cream wove paper, the full sheet, 7 1/2 x 4 3/4, the sheet 11 3/8 x 8 5/8 inches. Archival storage, with non-attached mylar hinging between acid free boards. A fine fresh impression. Provenance: The Print Club of Rochester Presentation Print, 1951. At the time Schultheiss was created the presentation print for the Print Club of Albany John Taylor Arms wrote of him: “His prints have a rich mellowness born of study, contemplation and understanding. Conceived in the […]

Read more and view large image >

Off to Market

Carl Max Schultheiss (1865-1963), Off to Market, etching, 1944. Signed in pencil bottom right and numbered bottom left margin (2/50). In excellent condition, on a cream wove paper, with wide margins, 8 3/8 x 7 3/8, the sheet 11 3/4 x 10 5/8 inches, archival matting. A fine fresh impression printed in black ink. Provenance: Kennedy Galleries, Inc. (still in their mat, with their label) German-born artist Carl Schultheiss was trained classically, and his respect for the Old Masters is always evident in his work (and Off to Market is no exception; it recollects the pastoral tradition in 15th and […]

Read more and view large image >

Little Harbor or Boats, Maine

Artist: Emil Ganso

Emil Ganso (1895-1941). Little Harbor or Boats, Maine, etching and aquatint, c. 1920, not signed [signedwith a copyright mark in the plate], inscribed “To Lucille”. Reference: Smith I78B. In very good condition, the matrix excellent, a couple of small spots in marginsand the remains of a prior hinge verso, with margins, 10 3/8 x 14 7/8, the sheet 13 x 17 inches, window mat. A fine impression, with effective aquatint tonalities. Little Harbor,a very successful composition,was chosen as an American Artists Group print, reproduced in AAG original etchings, and also in Zink, American Artists Group Prints, 30. We do not […]

Read more and view large image >

Studio Mirror

Artist: Emil Ganso

Emil Ganso (1895-1941), Studio Mirror,chiaroscuro wood engraving, 1936. Not signed [signed and dated in the block, with the backward s in Ganso and the date also reversed]. Reference: Smith R-77B, edition not stated. In very good condition, on cream wove paper, the full sheet,14 3/8 x 9 3/8 inches, the sheet18 x 13 inches. Published by the American Artists Group, and in their original mat. A fine impression, printed in two colors, light and dark brown. The American Artists Group was formed in 1934, during the Great Depression, with the express purpose of providing unsigned inexpensive prints which were to […]

Read more and view large image >

Passing of a Poodle

Honore Daumier (1808-1879), Le Trepas du Caniche, lithograph, 1840. Reference: Delteil 651. Plate 28 from Moeurs Conjugales. [initialed in the plate, and with the inscription, name of publisher, seller.] Third state of three, after removal of the address of Aubert; a sur blanc impression (no newprint verso). On cream wove paper,pale light staining overall, tear upper right and bottom margins (not affecting image), light foxing verso, mounted in acid free mats, 10 x 8, the sheet 13 1/2 x 10 inches. A very good impression. The sur blanc impressions of this print were taken apart fromthe large run for the […]

Read more and view large image >

She’s Gone!

daumierd668

Honore Daumier (1808-1879), She’s Gone (Ciel! apres trois mois…), lithograph, 1841, published in Le Charivari as plate 45 in the series Moeurs Conjugales. References: Delteil 668, Daumier Register 668, Delteil’s third state of three, DR’s fourth state of four. A sur blanc impression, without letterpress verso. [With the address, inscription, number, and initials of artist in the plate] In very good condition, with wide margins, 12 1/4 x 8, the sheet 14 x 11 inches, archival matting. A fine clear and blackgood impression of this humourous print. Loys Delteil did not identify this state of the print, but the recently […]

Read more and view large image >

Pleasures of Fishing

daumiermoersconjugale50

Honore Daumier, The Pleasures of Fishing, lithograph, Plate 50 from the series Moeurs Conjugales, 1839-42. Reference: Daumier Register 673, Delteil 673. DR fourth state (of 4). A sur blanc impression (without newsprint verso)issued apart from the edition published in La Caricature. In very good condition, only slight traces of foxing. With margins, 11 1/2 x 8 1/2, the sheet 12 3/4 x 8 3/4 inches, matted. A fine bright impression. The sur blanc edition was made for collectors, published on a cream wove paper (the Caricature impressions are on a lighter paper, and the newsprint can be seen through the […]

Read more and view large image >

Une Navigation Difficile

Honore Daumier (1808-1879), Une Navigation Difficile, lithograph, 1843, plate 6 from the series Les Canotiers Parisiens [with the addresses, text, and Daumier’s initials in the plate]. Reference: Daumier Register, Delteil 1028. Second state (of 3), on wove paper, sur blanc, with the address of Aubert; printed before the publication in the journal Le Charivari. In very good condition, 9 3/4 x 10 3/8, the sheet 10 x 13 1/2 inches, archival matting. A fine strong impression, printed on a heavy wove paper, before the newsprint edition (sur blanc) for the collector’s edition, which was limited to about 150 impressions. During […]

Read more and view large image >

Young and Old Guard

Honore Daumier (1808-1879), Jeune et Vielle Garde, 1848, lithograph. Plate 52 froma the series Tout ce que on Voudra; as published in the Album Comique. Reference: Daumier Register 1698, Delteil 1698. Second state of two, sur blanc (withoutthe letterpress verso as it appeared in the journal Charivari). [with the initials hD and stone number 1267 in the plate] In very good condition (with only a few fox marks mostly verso not affectingimage, mounted on the left side), with margins, 10 1/4 x 7 1/2, the sheet 13 x 9 inches, matted with a window mat. A fine fresh black impression […]

Read more and view large image >

The White King Receiving a Message About the Defeat of the Croats

Hans Burgkmair (1459-1519), The White King Receiving a Message About the Defeat of the Croats, woodcut, 1514-1516. Reference: Bartsch 80-(224) 153 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink bottom margin, some slight staining, foxing), on old laid paper, 8 1/4 x 7 5/8, the sheet 10 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688). Lugt notes of Liphart, a distinguished collector of old master prints, “il commence […]

Read more and view large image >

Woman at the Gate

Camille Pissarro (1830-1903), Femme a la Barriere (Woman at the Gate), etching and drypoint, 1889, signed in pencil with the initials CP lower right (annotated “imprime par C.P.”), annotated “No. 3, 6 etat” lower left and also titled “femme a la barriere” (largely erased) lower left. Reference: Delteil 84, sixth state (of 10). In very good condition, on a cream laid Arches paper, with a partial Arches watermark, with wide or full margins (remains of prior hinging verso), 6 7/8 x 4 1/8, the sheet 9 3/8 x 6 inches. A fine delicately printed impression, printed in brown ink. Pissarro […]

Read more and view large image >

Toilette

Jean-Emile Laboureur (1877-1943), Toilette– 1930, Drypoint. Sylvain Laboureur 432, Godefroy 432. Total printing only 26, in both states; 2nd state (of 2). Signed and annotated 4/15 p. in pencil. Signed in the plate, lower left. Image size: 10 1/2 x 7 inches (267 x 178 mm); sheet size 17 5/8 x 11 inches (448 x 479 mm). A fine impression, on pale gray wove paper, with full margins (2 to 4 1/2 inches), in excellent condition. Laboureur considered Toilette, initially titled “Le Baton de Rouge or Femme a Sa Toilette, an essai de pointe seche; it is a very rare […]

Read more and view large image >

La Peche aux Crevette

Jean-Emile Laboureur (1887-1943), La Peche aux Crevette– 1928, Engraving. Sylvain Laboureur 375, Godefroy 375. Total printing 82 (58 in the third state); 3rd state (of 3). Signed and numbered 24/58 ep in pencil. Initialed in the plate, lower left. Image size: 5 3/8 x 4 1/8 inches (143 x 105 mm); sheet size 12 7/8 x 9 3/4 inches (327 x 248 mm). A fine impression, on cream wove paper, with full margins (2 3/4 to 4 5/8 inches); in excellent condition. One of Laboureur’s most delightful small-scale compositions, La Peche aux Crevette has been included in at least 24 […]

Read more and view large image >

Portrait of Slevogt

Artist: Emil Orlik
orlikslevogt

Emil Orlik (1870-1932), Portrait of Slevogt, etching, 1921, signed in pencil and numbered (27/100) [also signed and dated in the plate], from the presumed edition of 100. In very good condition, 3 5/8 x 3 3/4, the sheet 12 x 10 1/4 inches. A very good impression, on ivory laid paper. Max Slevogt (1866-1932),a friend of Orlik, was a leading German artist, printmaker, and illustrator. The definitive source of information on Orlik, with pictures of his prints (some for sale)and an extensive biography, is of course the comprehensive website producedby Allan Wolman and Anne Schneider (www.orlikprints.com).

Read more and view large image >

Lovers

Jean-Emile Laboureur, The Amores, plate 5 (Impotence), etching in sanguine, 1931, signed. Reference: Sylvain Laboureur 440, volume 2, page 231. The rare first state (there were six proofs of the first state, only one printed in sanguine); in the second state the etching was includedas part of the book The Amores at the Golden Cockerel Press, Waltham St. Lawrence, Berkshire. In very good condition, remains of prior hinging top corners, on a cream wove paper with the watermark AMV, the full sheet with wide margins, 5 3/8 x 4, the sheet 11 x 8 3/4 inches, archival window matting. A […]

Read more and view large image >

Negres Americains a Saint-Nazaire

Jean-Emile Laboureur (1877-1943), Negres Americains a Saint-Nazaire, 1917-1920, engraving on cream wove paper, signed in pencil lower left, titled lower left margin edge, and numbered (4/35) and inscribed imp lower right [monogram in the plate], 6.25 x 5.06, the sheet 9.75 x 7.5 inches. Reference: Sylvain Laboureur, Godefry 180. Second state (of 2). In very good condition, with margins and archival mounting. A fine impression of this important and rare cubist-influenced engraving. One of the most popular and engaging of Laboureur’s early images of World War I, Negres Americains a Saint-Nazaire has been exhibited at at least 18 of the […]

Read more and view large image >

Anzacs

Jean-Emile Laboureur, Anzacs,woodcut, 1918-22, signed and numbered (7/45), the second state (of 2). Reference: Sylvain Laboureur 713. In good condition, with remains of old hinges at left margin, a fold at bottom margin edge,archival matting. Plate10 x 5 1/2 inches, the sheet 17 x 9 1/4 inches. A clean, bright impression, made in 1918 (a few proofs printed at that time; the edition printed a bit later) just as Laboureur’s singular approach to cubism was emerging. ANZACs stands for Australian New Zealand Army Corps (in France during WWI). On laid paper, with an MBM watermark. Jean-Emile Laboureur was born in […]

Read more and view large image >

Le Defile a Pied (Parade on Foot)

Jacques Callot (1592-1635), Le Defile a Pied (Parade on Foot), etching, 1627, from the Combat a la Barriere (Combat at the Barriere). Lieure 583, probably first state of 2. In very good condition, trimmed on or just outside of the plate mark,6 x 9 1/2 inches, archival mounting. On old laid paper with the Countermark 4 Lorrain (Lieure’s watermark 36). A very fine strong and early impression. An impression, printed before the (also lifetime) presentation book which included Callot’s prints and a narrative on the event by the poet Henry Humbert. Provenance: Helmut H. Rumbler (noted print dealer, with his […]

Read more and view large image >

Souper a New York

Jean-Emile Laboureur (1877-, Souper a New York, etching on zinc, 1907, signed in pencil bottom left margin; also annotated “No 11/20 imp” bottom margin. Reference: Sylvain Laboureur 67, only state. [with the signature and date in the plate lower right] From the small edition of only 16 impressions. In very good condition, the full sheet with deckle edges,oncream laid Ch. Whittman paper with theirwatermark, 6 x 7 1/2, the sheet 9 3/4 x 13 inches; archival mounting. A fine impression, printed in a dark brown/black ink. Sylvain Laboureur notes that this print was numbered according to a proposed edition size […]

Read more and view large image >

Touristes en Bretagne

Jan-Emile Laboureur (1877-1943), Touristes en Bretagne, engraving and roulette, 1928, signed in pencil lower left; numbered (42/58) and annotated “imp.” lower right [with the initial L bottom right in the plate]. Reference: Sylvain Laboureur 376, third state (of 3). In very good condition, with wide/full margins, printed on a cream wove paper, 4 3/8 x 4 3/4, the sheet 9 1/4 x 12 1/2 inches, archival matting. A fine delicately printed impression. The natives of this small town are at the left, carrying baskets and wearing aprons and wooden shoes; the small group of tourists at the right are gazing […]

Read more and view large image >

Jeunes Filles Sur Le Port

Jean-Emile Laboureur, Jeunes Filles Sur Le Port, 1920, engraving, signed in pencil [also initialed and dated in the plate]. Reference: Godefry, Sylvain Laboureur 200, second state of two. An artist’s proof apart from the edition of 85 in this state; there were about 110 impressions printed in all before the plate was cancelled. In pristine condition, the full sheet with deckle edges, 6 x 5 3/8, the sheet 11 x 9 inches, archival mounting. A fine clear impression. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but […]

Read more and view large image >

La Promenade Sur Le Port

Jean-Emile Laboureur (1877-1943), La Promenade Sur Le Port, 1933, engraving, signed in pencil lower left. Reference: Godefry 482, Sylvain Laboureur 482, second state(of 2); from the edition of 235 (a total of 263 were printed) printed for the Print Club of Cleveland as a Presentation Print (1935). In pristine condition, still in the original presentation mat, on a cream wove paper with full margins, 8 1/2 x 8 3/4, the sheet 13 1/2 x 12 3/4 inches. A fine impression, printed with a subtle veil of plate tone. By the mid-Thirties Laboureur was of course well known as a printmaker […]

Read more and view large image >

La Halte des Bohemiens

Jean-Emile Laboureur (1877-1943) engraving La Halte des Bohemiens, 1938, signed and numbered (73/108) in pencil. References: Godefry, Sylvain Laboureur 539. Third state of three,edition of 108 in this state, about 120 in all states. Published by the Societe de Peintres – Graveurs, and with their blindstamp lower left. In excellent condition, with full margins (tiny nick bottom margin edge); archival mounting. 12 3/4 x 11, the sheet 19 x 14 3/4 inches. A fine impression of this tour-de-force of modernist engraving. La Halte des Bohemiensis one of Laboureur’s larger plates, an ambitious undertaking for the artist who was just over […]

Read more and view large image >

Paysage au Buttes-Chaumont (2nd Planche)

Jean-Emile Laboureur (1877-1943) etching and engraving Paysage au Buttes-Chaumont (2nd Planche), 1920-21, signed and numbered ( 38/55) in pencil. Reference: Sylvain Laboureur 205. In very good condition with wide margins (remains of old hinging on margin verso, some showing through not near image). On white wove paper, 7 7/8 x 9 1/4, the sheet 10 x 13 1/2 inches, archival matting. A fine, fresh and clear impression of this important cubist-influenced scene. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby […]

Read more and view large image >

Coin de Rue Dans Soho (New York City)

Jean-Emile Laboureur (1877-1947), Coin de Rue Dans Soho, woodcut, 1909, signed in pencil lower left and numbered (15/15) [also initials in the plate]. Reference: Sylvain Laboureur 642, Godefroy 642, second state (of 2). In very good condition, with widemargins, deckle edges left and bottom, slight traces of spotting inmargin at left and bottom. 4 1/2 x 5 3/4, the sheet 8 1/2 x 11 1/2 inches. Archival mounting with window mat. A fine clear and bright impression of thisearly and rarewoodcut. At this stage of his development Laboureur had arrived at an interesting modernist approach to the woodcut, somewhat comparable […]

Read more and view large image >

Spring Dance (or On Willow Brook)

Arthur B. Davies, Spring Dance (or On Willow Brook), lithograph, 1924, signed in pencil. Reference: Czestochowski 211, Price 116, only state. From the edition of 25. Printer: George C. Miller. In good condition apart from moderate light stain, remains of glue and backingfrom prior hinging verso. With margins, 12 x 19 1/2, the sheet 14 1/2 x 21 1/2 inches, archival mounting. A very good impression of this classic Davies composition. Provenance: Fort Worth Art Museum. This impression is the print shown in Czestochowski’s catalogue raisonne of the Davies prints. It is noted there that the impression was a “Gift […]

Read more and view large image >

Westminster Abbey – Complete Bound Set

Artist: John Sloan

John Sloan ((1871-1951), Westminster Abbey, c. 1891, the complete set of13 etchings, ribbon bound with ahand-painted gilt cover [many of the etchingssignedand variously annotated in the plate]. Reference: Morse 11-23, only state. Printed byPeters Brothersand published byA. Edward Newton (1864-1940).Theetching imagematrices are in excellent condition, thefull sheets with wide margins (slight soiling and foxing near margin edges, the first (blank) page with some losses; other pages with nicks, some water stains not near images). Etchings are c. 3 1/4 x 5,the sheets 8 x 10 1/4 inches. These etchings are finelyand delicately printed in dark brown or sepia ink on […]

Read more and view large image >

Metro 2nd Class

Clement Haupers (1900-1982), Metro 2nd Class, aquatint and etching, 1928, signed, titled, numbered (6/20), dated and inscribed “Paris.” In very good condition, slight toning and remains of prior hinging, on Van Gelder Zonen cream wove paper with margins, the full sheet, 4 x 5 3/4, the sheet 9 7/8 x 12 1/2 inches, archival mounting. A fine fresh impression, with the various aquatint tonalities contrasting vividly. A fascinating study of rush hour in a Paris Metro 2nd Class car. Haupers studied in Paris with the Cubist painter Andr Llote, who influenced his style and perspective.Upon completing his studies in France, […]

Read more and view large image >

Fashion Plates

Artist: Paul Gavarni

Paul Gavarni (1804-1866), Fashion Plates (a collection of 12), lithographs, c. 1840, as published in Le Charivari, with the letterpress verso. [Some are signed in the plate, the address of the gallery Aubert is noted, most are noted as by Gavarni] Several with customs stamps (Royal Seine) verso.In generally good condition, with folds (generally four folds per sheet, as the newspaper was folded),the full or near full sheets, the images c. 8 x 6 1/2, the sheets c. 13 1/2 x 8 1/2, unmatted, to be issued loose. Very good impressions of these fascinating fashions and models. Paul Gavarni (the […]

Read more and view large image >

Two Nudes

Artist: Emil Ganso

Emil Ganso (1895-1941), Two Nudes, 1928, wood engraving, signed in pencil lower right. Reference: Smith R-86A, First state (of 2). Edition of 5. In pristine condition, printed on a wove paper with margins, 3 3/4 x 5 1/8, the sheet 6 x 7 7/8 inches. Loose as issued, not matted. A good impression of this engraving, rare (edition of 5) before letters. In a later state this print was used as an announcement card, with these letters added: Paintings and Drawings by Emil Ganso at the Weyhe Gallery…October 22nd to November 10th, 1928. These modelsare picknicking, as evidenced by the […]

Read more and view large image >

Landscape and Houses (or, Woodstock, number 3, or Country Path)

Artist: Emil Ganso

Emil Ganso (1895-1941), Landscape and Houses (or, Woodstock, number 3, or Country Path),c. 1928, signed in pencil lower right. Reference: Smith R-29, only state. In pristine condition, not mounted or matted, with margins, deckle edges sides and bottom, 3 7/8 x 5 3/8, the sheet 5 1/8 x 6 7/8 inches. A fine impression of this tiny wood engraving, printed in black ink on a cream wove paper with the watermark ITALY. We believe this is a relatively rare Ganso print; Smith did not know of an edition. Starting in the late ’20’s Ganso spent much of May through November […]

Read more and view large image >

Eddyville, or Morning Stroll

Artist: Emil Ganso

Emil Ganso (1895-1941), Eddyville, or Morning Stroll, 1935 (also given as 1932), wash and scratch lithograph in brown ink, signed in pencil lower right and inscribed Ed 35 lower left. Reference: Smith L 30B. In good condition, with margins (loss at upper left corner), on a chine colle on cream wove, 10 3/4 x 15 1/2, the sheet 13 5/8 x 18 1/2 inches, archival window matting. A fine impression, printed in brownish black ink. Eddyville is a superb example of Ganso’s experimental “wash and scratch” lithographic technique – one can see numerous scratches in the grassy banks in the […]

Read more and view large image >

James B. Moore, Esq.

Artist: John Sloan

John Sloan (1871-1954) etching, James B. Moore, Esq., signed in pencil lower right and inscribed “100 proofs” lower left (although only 25 were printed). [Also signed and dated lower left, and titled upper left, in the plate.] Reference: Morse 126. Third state of three. In very good condition, on a cream wovewatermarked Van Gelder-Zonen Holland paper, archival matting. Plate size 12 x 10, picture size 11 1/4 x 9 1/4, sheet 15 x 12 1/2, with the drying holes at left and right margin edges. This paper,the characteristic drying holes, as well as the high quality of the impression,indicate that […]

Read more and view large image >

Romany Marye in Christopher Street

Artist: John Sloan

John Sloan (1871-1951), Romany Marye in Christopher Street, 1922, etching, signed in pencil lower right, titled, dated andinscribed 100 proofs bottom margin. Reference: Morse 278, seventh state (of 7), from the edition of 52 impressions, all printed by Charles White. In very good condition, with barely visible light toning, printed on a cream laid paper with margins (small loss upper left margin edge), 6 x 8 inches, the sheet 8 1/4 x 10 3/8 inches, archival mounting. A fine rich atmospheric impression, printed with a plate tone overall which heightens the sense that this is a night scene. Although Sloan […]

Read more and view large image >

Spanish Woman with Guitar

Artist: Jan Matulka

Jan Matulka (1890-1972), Spanish Woman with Guitar, lithograph, 1925, an unsigned proof impression. Reference: Flint 13, only a few impressions known. In generally good condition except for faint soiling or spotting, trimmed near the margin at left, just outside the margin right and bottom, and well above the margin (although unevenly) top. 13 3/4 x 11 5/8, the sheet 15 x 11 3/4 (approx.) inches, archival window mat. A very good strong impression of this rarity, printed on a cream wove paper. The inky borders and irregular trimming (as well as the lack of signature) are characteristic ofMatulka’s proof printing. […]

Read more and view large image >

Maine

Artist: Jan Matulka

Jan Matulka (1890-1972), Maine,lithograph, c. 1925, an unsigned proof impression. Reference: Flint 25, only a few impressions known. In generally good condition,with the inky and oily marginsand irregular trimming (as well as the lack of signature) characteristic of Matulka’s proof printing.11 1/2 x 14 3/8, the sheet 12 1/2 x 19, archival matting. A good strong impression of this rarely encountered print (no edition was published), printed on a cream wove paper. Provenance: ex Collection Sylvan Cole Born in Prague, Czechoslovakia, in 1890, Jan Matulka became a leading American modernist working at the same time as Lozowick to develop the […]

Read more and view large image >

Le Tir Forain, the print and the original drawing

Jean-Emile Laboureur (1877-1943), Le Tir Forain, engraving, 1920-21, signed in pencil lower left, titled lower left,and numbered 10//85 lower right, also annotated “imp.” [also withthe monogram and date 1920in the plate upper right].Reference: Godefroy, Laboureur 191. Fourth state (of 4), total lifetime edition of 108 including all states. Posthumous impressions were taken in 1988, which are clearly stamped and identified. The plate has been cancelled. Invery good condition, on an ivory laid paper with a double MBM watermark; the full sheet with wide margins (very slight toning, remains of prior hinging verso), 10 1/2 x 9, the sheet 15 1/2 […]

Read more and view large image >

The Bridge Party

Artist: Peggy Bacon

Peggy Bacon drypoint The Bridge Party, signed, dated (Nov. 1918) and titled (Bridge) in pencil by the artist. Flint 3.In generally ok but rough condition as befits an early working proof pulled by Bacon herself, with diagonal folds upper and lower right, with margins (1/2 inch top and sides, 1 inch bottom, pencil mark right margin. 4 1/8 x 5 inches, archival mounting. A very fine impression of this rarity (we’ve seen only one other impression in 30 years). In this early impression, the burr from the drypoint work creates a brilliant satiny black. Bacon (1895-1987) was influenced by the […]

Read more and view large image >

La Marchande de Moutarde – First State

  James Whistler (1834-1903), La Marchande de moutarde The Mustard Merchant 1858, etching and drypoint on cream laid paper (with a partial script watermark). Reference: Kennedy 22, first state (of five); Glasgow 20 (Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonn, University of Glasgow, 2011) first state (of 5). Lochnan 24. In very good condition, with wide margins: 6 x 3 1/2; the sheet 9 1/8 x 7 inches. A very fine impression of the extremely rare first state of five, printing with rich tone; before the […]

Read more and view large image >

Household Argument

Honore Daumier 1808-1879), Ah Tu Trouves…, lithograph, 1841 [with initials in the plate, other annotation:Chez Aubert, gal. Vro-Dodat lower center Se vend chez Bauger & Cie Editeurs… lower right Imp. d’Aubert & Cie]. Reference: Daumier Register 661, second state (of 3), before the erasure of the address. Published in Le Charivari. Plate 38 from Moeurs Conjugales. In good condition, withmargins (spotting in margins)9 x 12, the sheet 13 1/2 x 10 1/8 inches, archival matting. A very good black sur blanc impression. The sur blanc impressions were printed in a limited edition apart from the largenewsprint edition, for collectors, on […]

Read more and view large image >

UNE DEMANDE EN SPARATION (A Divorce Case)

Honore Daumier (1808-1879), UNE DEMANDE EN SPARATION (A Divorce Case), lithograph, 1845. Reference: Daumier Register, second state (of 2, with letters [initials in the plate]), Plate 40 of Les Beaux Jours de la Vie, published in Le Charivari, 8 7/8 x 9 1/4, the sheet 14 1/2 x 9 3/4 inches. In good condition, slight paper toning, horizontal fold. A fine strong and clear impression of this iconic Daumier lawyer image, as published in Le Charivari, with the letterpress verso. Here, as quoted from the Daumier Register is the translation: Original Text: UNE DEMANDE EN SPARATION. – Mon client n’est […]

Read more and view large image >

The Sleeping Model or The Sleeper

Theodore Roussel (1847-1926), The Sleeping Model or The Sleeper,etching and drypoint with additional pencil coloring, signed on the tab and inscribed “imp”, also inscribed “to Hetty” and initialed verso. Reference: Hausberg 145, an undescribed third state (of 5), colored by the artist in pencil, in very good condition, on antique laid paper trimmed to the plate mark by the artist with the tab left for the signature, 5 1/8 x 7 inches, archival mounting. A fine impression of a proof before the addition of lines on the couch and background,shading near the model’s fingers, and the addition of aquatint for […]

Read more and view large image >

The Street, Chelsea Embankment

Theodore Roussel (1847-1926), The Street, Chelsea Embankment, etching, 1888-9, signed in pencil on the tab and annotated “imp” [also signed lower left in the plate]. Reference: Hausberg 26, only state, about 40 impressions printed. Ingood condition (tiny repaired tear upper margin, trimmed by the artist at the platemark leaving a tab for the signature), 5 7/8 x 8 1/4 inches. Printed in brownish/black ink on an old laid paper, archival mounting. A fine atmospheric impression, printed by the artist with an overall veil of plate tone. Roussel was a student and admirer of Whistler, and, like Whistler, he printed his […]

Read more and view large image >

The Bridge, Santa Marta

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonn, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, […]

Read more and view large image >

Comparaison (Nude Bathers)

Artist: Jules Pascin

Jules Pascin (1885-1930), Comparaison (Nude Bathers), 1929, drypoint and aquatint, signed in pencil and numbered (99/253). Reference: Hemin 162 (p. 133). In good condition with full margins, slight light stain, on cream wove paper, 7 1/4 x 7, the sheet 16 1/2 x 13 inches. The plate for this print was not cut squarely, so the top margin is angled; also, at the right of the plate one can see a watery line within the platemark where the plate was not completely bitten by acid. A very good impression of this rather idiosycraticprint. The voluminous nudes, and light virtuoso drypoint […]

Read more and view large image >

Eight-Thirty Express

Letterio Calapai (1902-1993), Eight-Thirty Express,wood engraving, 1943,signed and dated ’43 lower right, titled and inscribed trial proof 3bottom left in pencil [with the monogram lower in the plate lower left]; an edition of 27 was printed.In very good condition, on laid paper, 5 3/16 x 8 1/2, the sheet 10 x 12 7/8 inches. Archival mounting. A fine impression of this modernist American icon, among the most aesthetically compelling of Calapai’s compositions. Calapai experimented with different papers, and on this impression he has written: “On Casinensis ivory laid – Made in Italy”. The paper has an elaborate two-headed snake watermark. […]

Read more and view large image >

River Life, Haiti

George Biddle (1885-1973), River Life, Haiti, 1928, lithograph, signed and dated in pencil lower right margin, titled and numberedlower left margin. Reference: Pennigar 84, Trotter 50. From the edition of 50, on a cream wove BFK RIVES paper with their watermark. Printed by George C. Miller. In excellentcondition (probably never matted or framed), slight soft folds in margins, the full sheet, 12 1/4 x 16 5/8, the sheet 16 x 20 1/2 inches,archival mounting (mounted with mylar non-attached corners between acid free mats, glassine cover). A fine impression. After Groton,Harvard College and Harvard Law (and several breakdowns) Biddle decided that […]

Read more and view large image >

Goat Herder’s Wife

George Biddle (1885-1973), Goat Herder’s Wife, 1928, lithograph, signed in pencil lower right and titled and numbered (64/100) in pencil lower left margin [with the inscription”Biddle/1928″ in the plate lower right]Reference: Pennigar 82, Trotter 48. Printed by George C. Miller. From the edition of 100. In excellent condition, on Rives cream wove paper, with full margins (tiny nick upper right edge); 9 1/2 x 13, the sheet 16 x 18 1/2 inches. Archival mounting (unattached mylar hinging between acid free boards, glassine cover). A fine clear impression, in pristine condition. After Groton, Harvard College and Harvard Law (and several breakdowns) […]

Read more and view large image >

The Expectant Thistles

George Biddle(1885-1973), The Expectant Thistles, 1928, lithograph, signed and dated in pencil lower right, titled and numbered in pencil lower left [also inscribed in the plate lower left Biddle/1928/46]. References: Pennigar 80, Trotter 46, only state, from theedition of 100. Printed by George C.Miller. On cream wove Rives paper, the full sheet with deckle edges, in pristine condition (never framed or matted), 7 x 11 1/4, the sheet 11 1/2 x 15 3/4 inches. Archival mounting (mylar unattached hinging between acid free mats, glassine cover). A fine fresh impression; a good example of Biddle’s technique of scratching and sanding the […]

Read more and view large image >

Virgin and Child with the Pear

Hans Sebald Beham (1500-1550), Virgin and Child with the Pear, engraving, 1520. Initials monogram and date in the plate. References: Bartsch 18, Pauli, Hollstein 19. First state (of two). In good condition, on old laid paper with thread margins on three sides, trimmed on the platemark bottom right and bottom, and archival mounting. h: 4.5 x w: 3 in / h: 11.4 x w: 7.6 cm A very good impression of this rarity. Hollstein indicates that earlier impressions, such as this one, do not have a scratch above the head of the Virgin. Beham was one of the Northern Renaissance […]

Read more and view large image >

Battersea Morn (also Battersea Dawn)

James Whistler (1830-1903), Battersea Morn (also Battersea Dawn), drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of 4), Glasgow 174, first state (of 5). On laid paper with a Coat of Arms watermark, also signed in the plate with a faint butterfly upper right, with full margins, in good condition apart from a few slight fox marks and light soiling in the margins, a tiny printer’s crease in the right edge, hinge stains and small related creases in the upper corners verso, 5 3/4 x 8 7/8 (sheet 8 x 13) […]

Read more and view large image >

The Runway (Provincetown)

Tod Lindemuth (1885-1956), The Runway (Provincetown), color woodcut, 1917, signed in pencil lower right, titled and numbered (67/100; possibly later, see below) lower left. On medium weight Japan paper, in very good condition, with margins(slight evidence of yellowing here and there, the slightest marginal light staining),the full sheet with deckle edges, 14 3/8 x 11 1/8, the sheet 18 x 15 1/2 inches, archival mounting with window mat. A fine, carefully printed impression of this important – and rare – American early modernist woodcut. Although the print is annotated with a number, we believe this is probably not evidence of […]

Read more and view large image >

Nude on Couch, Right Arm on Leg

Artist: Walt Kuhn

Walt Kuhn (1877-1949), [Nude on Couch, Right Arm on Leg],c. 1920, etching, signedin pencil lower margin. In very good condition, traces of discoloration in margins, the full sheet onyellow/cream laid paper, 8 5/8 x 6, the sheet 11 3/4 x 9 1/8 inches, archival mounting. A fine impression. Walt Kuhn was born in Brooklyn, and after a period of study art in Europe, he returned to the US to work as a cartoonist; illustrator, and developing artist. Aware of the great surge of modernist artistic activity in Europe, he joined with others to encourage Arthur B. Davies to get behind […]

Read more and view large image >

Irving Place Burlesque (#2), proof impression

Reginald Marsh (1898-1954), Irving Place Burlesque (#2), etching, 1928, signed in pencil lower right by Felicia Meyer Marsh, numbered (21) lower left margin, also with the initials RW lower left. Reference: Sasowsky 49, a proof impression of the 7th state (of 8). In good condition with margins,with characteristics of a Marsh proof, i.e., some inky fingerprints in margins, trimmed irregularly especially at left margin edge, printer’s creases. On an ivory laid paper, 7 x 10 3/4, the sheet 9 3/4 x 13 1/4 inches. A very good impression, before engraving and additional work darkening composition. Apparently Marsh experimented with burnishing […]

Read more and view large image >

Switch Engines, Erie Yards, Jersey City, Stone No. 3

Reginald Marsh (1898-1954), Switch Engines, Erie Yards, Jersey City, Stone No. 3, lithograph, 1948, signed in pencil lower right. Reference: Sasowsky 30, only state, from the edition of 253 as published by the Print Club of Cleveland. In very good condition, slight spotting verso, 9 x 13, the sheet 13 x 16 3/4 inches. A fine fresh impression, in its original mat with the inscription on the mat of the Print Club of Cleveland, with its stamp verso, printed on a cream wove paper, the full sheet with deckle edges. Marsh made two earlier versions of this lithograph, which he […]

Read more and view large image >

St. Jean de Luz

Reginald Marsh (1898-1954), St. Jean de Luz, lithograph, c. 1928, signed in pencil lower right and inscribed “40 proofs” lower left [also signed in the plate lower left], printed on a chinecolle. In good condition, the full sheet with full margins (slight soiling, nicks, handling folds in margins, remains of prior hinging verso). 8 1/4 x 12 5/8, the sheet 12 3/4 x 19 1/4 inches, archival matting. A good strong impression. Provenance: Estate of Ernest Shapiro In this marvelous display of draftsmanship,Marsh draws a fierce storm, with a fiery sky and a group of people trying to get onto […]

Read more and view large image >

Loco-Erie Watering

Reginald Marsh (1898-1954), Loco-Erie Watering, 1929, etching, signed in pencil lower right, and numbered (16) lower left. Reference: Sasowsky 85, fourth state (of 4). On Whatman paper. In very good condition (apart from two hinging stains verso showing through top margin just into plate mark, some printers ink and soiling in margins), with margins, 7 x 9 7/8, the sheet 8 1/4 x 11 7/8 inches. Archival matting (acid free hinging and board, window mat, glassine cover). A fine clear black impression. Provenance: Kennedy Galleries, New York, and with their label and annotations still on mat. Marsh (obviously) printed this […]

Read more and view large image >

Fan Dance at Jimmy Kelly’s

Reginald Marsh (1898-1954), Fan Dance at Jimmy Kelly’s, etching, 1936, signed and inscribed 50 proofs (only 24 known printed) [also with the initials and date in the plate lower left]. Reference: Sasowsky 161, third state (of 3). In very good condition, with wide margins, on Rives cream wove paper (with the Rives watermark). 6 x5, the sheet 9 1/2 x 7 inches. Archival mounting. A fine, delicately printed impression. Fandance was printed in three states; the design was essentially complete in the first state and small changes were made for the second and third states. Two proofs were made of […]

Read more and view large image >

Tank Car Rail

Reginald Marsh (1898-1954), Tank Car Rail, 1929, etching, signed lower right and numbered 15 lower left margin [also signed and dated in the plate]. Reference: Sasowsky 86, fifth state (of 5). In very good condition, on cream laid paper with margins, 6 x 8 3/4, the sheet 8 1/8 x 11 inches, archival mounting. A fine impression of this rarely seen image. Marsh printed this personally, andworked on the plate extensively aftercreating areas of foul biting in the first state (foul biting occurs when acid gets through the etching ground and creates tiny holes in the plate, and resulting spots […]

Read more and view large image >

Subway Stairs – Working Proof

Artist: John Sloan

John Sloan (1871-1951), Subway Stairs, etching, 1926, signed, titled and inscribed “working proof 1;” also with the notation “JS imp” in pencil bottom margin[with the name and date in the plate]. Reference: Morse 221, third state (of 7). There was an edition in the seventh state,60 printed. In very good condition, on ivory laid paper with margins (the slightest toning toward the margin edges). 6 7/8 x 5, the sheet 8 1/2 x 7 1/2 inches. Archival mounting, with acid free board, window mat. A fine early state proof impression ofone of Sloan’s most alluring subjects. In this third state […]

Read more and view large image >

Schuylkill River

Artist: John Sloan

John Sloan etching Schuylkill River, 1894, signed, titled, annotated “100 proofs” [only 25 were printed], also signed by the printer “Peter Platt imp’ in pencil lower left margin. From the edition(of 25) all printed by Peter Platt. Morse 60, only state. Provenance: ex. coll. VO and MP Potamkin Collection; Kraushaar Galleries. A fine impression, with plate tone. On a tan wove paper with a partial crest and fleur de lys watermark, with margins, in good condition, a tiny nick right edge, slightest browning toward outer margin edges, 8 1/4 x 5 1/4 (the sheet 12 1/2 x 10) inches, archival […]

Read more and view large image >

“Up the Line, Miss?”

Artist: John Sloan

John Sloan (1871-1951), “Up the Line, Miss?”, etching, 1930, signed, titled and inscribed 100 proofs [also signed in the plate]. Reference: Morse 243, fifth state (of 5). In excellent condition, with full margins (slightly irregular lower edge, typical for the older paper favored by this printer, see note below). On an old laid paper with a circles in shield watermark. 5 1/2 x 7, the sheet 9 1/2 x 12 inches. Archival mounting. A fine impression. Only 80 impressions of the editionwere printed. This impression is printed on an old laid paper, of the sort the printer and artist Ernst […]

Read more and view large image >

On Rivington Street

Artist: Jerome Myers
myersonrivingtonstreet

Jerome Myers (1867-1940),On Rivington Street,c. 1910, colored etching, signed in pencil lower right. In very good condition, withmargins, 6 1/4 x 7 3/4, the sheet 9 1/4 x 10 3/8 inches, printed on a cream wove paper, archival matting. A fine impression of this rarely encountered print,with the colors fresh, printed in brown,red, yellow, orange, two shades of green. This print shows no signs of having been editioned. Myers printed hiscolor printspersonally, using different plates for the coloring. Myers’s artistry, and printing skill, are apparent here – one can discern that the various plates used for the coloring were not […]

Read more and view large image >

Children in Mulberry Street

Artist: Jerome Myers
myerschildreninmulberrystreet

Jerome Myers (1867-1940), Children in Mulberry Street, c. 1910, soft ground etching and plate tone, signed in pencil lower right. In good condition (apart from weakening at platemark left), with full margins, on a cream laid paper, 8 1/8 x 10 1/2, the sheet 12 x 18 7/8 inches, archival mounting. A fine fresh impression of this great rarity. This is a sketch pad, using the print medium (a la Rembrandt). The figure at the upper left is apparently a drawing, or at least the same figure, as Myers used in another etching called Conversation, two women on a bench […]

Read more and view large image >

La Receveuse

Jean-Emile Laboureur (1877-1943), La Receveuse, engraving, 1919-1920, signed in pencil lower left, numbered (2/38) lower right and annotated ”imp” [also with initials and the date 1918 in the plate (Godefry’s notes indicate that the plate was finished in 1919)]. Reference: Godefroy 190, Sylvain Laboureur 190, second state (of 2). In very good condition, the full sheet, printed on a cream wove paper with deckle edges, 7 7/8 x 5 7/8, the sheet 11 1/2 x 10 inches, archival mounting. A fine impression of this Cubist portrait. Here Laboureur uses the engraving technique which produces straight or regularly curved sharp lines,well […]

Read more and view large image >

La Cabaretiere Obese

Jean-Emile Laboureur (1877-1943), La Cabaretiere Obese, engraving, 1917, signed in pencil lower left and numbered 7/8 lower right, also inscribed imp. Reference: Sylvain Laboureur, Godefry 172, first state (of 2). There was a trial proof and eight impressions of the first state, made in 1917; then in 1921 an edition of 45 in the second state. In very good condition, on greenish/ivory laid paper, with an elaborate Crown with the initials MBM watermark,with margins, 7 1/2 x 6 3/4, the sheet 8 7/8 x 7 1/2, archival matting. A fine impression, still with wiping marks and plate tone, especially on […]

Read more and view large image >

Nude on Stairs

Artist: John Sloan

John Sloan (1871-1951), Nude on Stairs, etching, 1930, signed in pencil lower right margin, titled in pencil center, inscribed “100 proofs” lower left [also signed in the plate lower left]. Reference: Morse 241, ninth (published) state (of 9). In very good condition, the full sheet with margins (slightest toning in margins), printed in black on a cream wove paper, 9 7/8 x 8, the sheet 14 1/2 x 11 1/2 inches, archival matting. A superb impression, printing very black and clear. Provenance: Collection unknown collector, stamp SN in a circle verso (not located in Lugt) At this point in his […]

Read more and view large image >

The Pianist

Letterio Calapai (1902-1993) woodcut, signed and dated ’44 lower right, titled and numbered (4/25) lower left [also with the monogram in the block lower right]. On a thin Japan paper. In very good condition apart from repaired tear upper right margin corner (not affecting image), 7 1/2 x 5 3/4, the sheet 8 3/4 x 7 1/2inches. Archival mounting. A fine impression of this modernist American icon, among the most aesthetically compelling of Calapai’s compositions. Calapai’s mother was a pianist, as was his cousin, Vincint Aita, who encouraged him to move from Boston to New York to pursue his artistic […]

Read more and view large image >

Benicasim

Artist: James McBey

James McBey (1883-1959), Benicasim, etching, 1911, signed in ink and numbered lower left margin [with initials, title and date in the plate]. Reference: Hardie 96, only state, edition of 40. In very good condition, with wide margins (cut irregularly at bottom, tiny loss upper right corner), 5 5/16 x 8 3/8, the sheet 9 x 11 1/2 inches, archival matting. A fine, delicately printed impression, printed in black ink on cream laid paper. Benicasim is a small Spanishtown a few miles north of Valencia.In McBey’s etching it appears beautiful,isolated and remote; today it is built up, the site of a […]

Read more and view large image >

Ransdorp

Artist: James McBey

James McBey (1883-1959), Ransdorp, etching, 1910, signed in ink bottom right margin and numbered XXXVI bottom left [also signed, titled and dated 29 Aug. 1910 in the plate]. Reference: Hardie and Carter 75, only state, edition of 41, 4 7/8 x 8 15/16, the sheet 9 1/4 x 11 1/2 inches. Printed on old laid paper, with wide margins, a deckle edge bottom and sides. In very good condition, slight soiling in margins, a touch of light tone, archival mounting. A fine impression, with a veil of plate tone on the area of water in the foreground. At the age […]

Read more and view large image >

Laguna Veneta

Artist: James McBey

James McBey (1883-1959), Laguna Veneta, 1926, etching, signed in ink bottom right and inscribed “Trial proof IX” bottom left margins. Reference: Hardie 227. One of 11 trial proofs before the edition of 80. In very good condition, with margins (slight mat staining upper margin well above plate line,trimmed irregularly bottom with a lossaway from image). On fine laid paper with an elaborate initials (IHS?) watermark. Archival mounting. 7 x 15, the sheet 9 1/2 x 16 1/2 inches. A fineimpression, with plate tone especially toward the left in the water and sky,printed in adark brown ink. This is one of […]

Read more and view large image >

Lagoon: Noon

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches. A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below). Kennedy mades special note that an impression like this, with the clearly visible butterfly, […]

Read more and view large image >

Three-Quarter View of Nude Bathing Seated Near Lamp

Artist: Jan Matulka

Jan Matulka (1890-1972), Three-Quarter View of Nude Bathing Seated Near Lamp, lithograph, 1925, signed and dated in pencil lower right. Reference: Flint 9. Edition: only a few impressions known. On cream laid Japan paper. In good condition, with wide margins at top and bottom, narrow margins on sides, 11 1/2 x 9 7/8, the sheet 17 x 10 3/4 inches, archival mounting. A fine impression of this important – and rare -Matulka lithograph. This proof impression shows evidence of printing by the artist himself since there is substantial inking in the margins and outside of the image itself; also it […]

Read more and view large image >

Haarlem

Artist: James McBey

James McBey (1883-1959), Haarlem,etching, 1910, signed in ink bottom right margin and numbered XXXV bottom left [also signed, titled and dated July1910 in the plate]. Reference: Hardie and Carter 61, only state, edition of 40,4 3/4 x 6 7/16, the sheet 6 1/4 x 8 inches. Printed on old laid paper, with a partial crest watermark, with margins. Ingood condition, a paper loss upper right corner (away from image), slight soiling in margins,archival mounting. A fine impression, with a light veil of plate tone. At the age of 26 McBey left his bank job (which he had had for 15 […]

Read more and view large image >

The Mill

James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso. Reference: Kennedy 413, first state (of 5). Glasgow 457, second state (of 6; see discussion below) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonn, University of Glasgow, 2011) On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x […]

Read more and view large image >

Minne Playing with a Cat (Minne Jouant avec un Chat)

Jacques Villon (1875-1963) etching, aquatint, and drypoint, Minne Playing with a Cat (Minne Jouant avec un Chat),1907, signed in pencil and numbered (12/30)(Ginestet and Pouillon 192). A very good impression, with bright contrasts and strong burr from the drypoint, on laid Japan withmargins. Ex. coll: Estate of June W. Schuster; Mrs David Steinmetz III. In good condition, with margins (pale light and mat stain in margins, minor soiling at the bottom left margin corner), 9 3/8 x 6 5/8 (the sheet 13 x 9) inches. This is from the Minne series, a group of prints made by Villon in 1907, […]

Read more and view large image >

Putting on the Coat

Isabel Bishop (1902-1988), Putting on the Coat, etching, 1943, signed in pencil lower right and titled (Putting on Coat (front)) lower left margins. Reference: Teller 31. In excellent condition, printed on cream wove paper, with margins, 5 7/8 x 3 7/8, the sheet 7 5/8 x 4 5/8 inches, archival mounting with window mount. A fine atmospheric proof impression, before the edition printed decades later and before the corners of the plate were burnished (and thus with a platemark set in strong relief), printed with a light veil of plate tone. Provenance: Associated American Artists, with a copy of their […]

Read more and view large image >

Boxing Match

Hermine David, drypoint and engraving Boxing Match, circa 1927, signed and numbered (4/10) in pencil, lower margin. Reference: Jean Adhemar, Inventaire Bibliotheque Nationale #12. In excellentcondition, with full margins (some staining top margin near edge)(8 1/4 x 9 1/2, the sheet 12 3/4 x 16 1/4 inches), on BFK Rives cream wove paper, archival mounting. A fine impression, with the burr from the drypoint giving the composition an atmospheric quality, while at the same time the drypoint is used to convey even the finestdetails of the many figures. Hermine David (1886-1970) studied at the Ecole des Beaux Arts from the […]

Read more and view large image >

La Corrida

Hermine David (1886-1970) La Corrida, etching and drypoint,1929, signed and numbered (20/100) in pencil (Inventaire Bibliotheque Nationale de France #22). From Trois Plates au Nouvel Essor. On a medium weight cream wove paper, in very good condition with only the slightest trace of light stain, the matrix perfect, with wide margins, 10 x 11 3/4, the sheet 14 x 18 inches, archival acid free matting. A fine, bright impression, with substantial burr from the drypoint and engraving work. Hermine David was an established artist in Paris from about 1905 onward, even before she met Jules Pascin (in 1907), who she […]

Read more and view large image >

L’Eventail (The Fan)

Gerald Brockhurst, L’Eventail (The Fan), etching, 1926, signed in pencil, from the edition of 76. Reference: Fletcher 22, Wright 22. In good condition, on cream laid paper with margins (a thin spot inherent in paperlower margin near edge), the matrix pristine, archival matting. A fine impression of this small but impressive demonstration of Brockhurst’s mastery of etching. The woman carrying the fan is of course Brockhurst’s favorite model, at least at this time, his wife Anais. She wears an embroidered coat which allows Brockhurst to display his capacity to capture complex textures with the etching needle – much as his […]

Read more and view large image >

Aglaia

Gerald Leslie Brockhurst (1891-1978),Aglaia, etching, 1926, signed in pencil lower right [also signedin reverse in the plate]. Reference: Fletcher 54, ninth state (of 9), from the edition of 106. In very good condition apart from slight light toning, with wide margins, 5 x 3 1/2, the sheet 11 x 8 1/4 inches, archival window matting. A fine delicately printed impression, printed in a blackish/grey ink, on an ivory wove paper. Aglaia was the Greekgoddess of beauty, splendour, glory, magnificence and adornment. She was the youngest and most beautiful ofthe Three Graces,the sisters who typicallyappear dancing in a circle (the others […]

Read more and view large image >

Paysages (Landscapes)

Franz Edmund Weirotter (1730-1771), Paysages (Landscapes), 1759, complete set of 6 (4 are illustrated on this site), [signed in the plates lower right Weirotter sc, and also signed and dated in the images upper left; plate one with the title and inscription “Dessines et engraves apre nature par Weyrotter”]. Reference: Nagler 22. In generally good condition, with full margins (stains and spotting in margins away from images, browning at edges, plate 5 with an unobtrusive printer’s crease and thin area outside of image, plate 1 with a stain bottom edge well away from image). Platemarks app. 7 x 9 1/2, […]

Read more and view large image >

The Old White King Warning His Son Not to Trust the Flemish Party

Hans Burgkmair (1459-1519), The Old White King Warning His Son Not to Trust the Flemish Party, woodcut, 1514-1516. Reference: Bartsch 80-(224) 62 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink top and bottom margin, some slight staining, foxing), on old laid paper, 8 3/4 x 7 5/8, the sheet 10 1/2 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688). Lugt notes of Liphart, a distinguished collector of old […]

Read more and view large image >

The Alliance of the Four Kings

Hans Burgkmair (1459-1519), The Alliance of the Four Kings, woodcut, 1514-1516. Reference: Bartsch 80-(224) 183 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink bottom margin, some slight staining), on old laid paper, 8 3/4 x 7 3/4, the sheet 10 1/4 x 8 3/8 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688). Lugt notes of Liphart, a distinguished collector of old master prints, “il commence par l’oeuvre de Ridinger et par […]

Read more and view large image >

Pecheurs au Carrelet

Jean-Emile Laboureur (1877-1943), engraving, 1925, signed in pencil lower left, numbered 53/65 lower right and annotated imp. Reference: Laboueur 300, third state (of 3), from the total of about 69 lifetime proofs (there was also a posthumous edition). In very good condition, minor handling folds at margin edges; with wide/full margins, on a cream wove paper, archival mounting with window mat, 7 1/4 x 7 5/8, the sheet 9 3/4 x 12 3/4 inches. A fine fresh impression. Laboureur created Pecheurs au Carreletin engraving, a technique which provided sharp and exact lines complimenting his personal interpretation of cubism; as is […]

Read more and view large image >

La Boutique du Cremier

Jean-Emile Laboureur, engraving La Boutique du Cremier, 1937, signed and numbered 5/110, from the edition of 110 in this state (only a few proofs were made in a first state). Reference: Godefry, Sylvain Laboureur 526, second state of two. With the blindstamp of the Socit des Peintres-Graveurs Franais (Lugt 1195a). In very fine condition, with full margins, 6 1/4 x 5 1/4, the sheet 10 1/2 x 7 1/2 inches, archival mounting. A fine impression of this late 1930’s cubist/modernist composition. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at […]

Read more and view large image >

Le Policeman, Londres

Jean-Emile Laboureur (1877-1943), Le Policeman, Londres, 1913, etching on zinc. Signed lower left in pencil [also with the signature and date in the plate]. Reference: Godefroy, Sylvain Laboureur 119, only state, a proof impression apart from the edition of only 14 lifetime impressions (Laboureur calls for one trial impression). In good condition, with the deckle edges, onivory laid paper with the watermark A Parbeauf. 7 15/16 x 10 1/4, the sheet 9 x 12 3/8 inches, archival matting with non-attached mylar hinging. A very good impression of this rare print, printed with a light veil of plate tone Le Policeman […]

Read more and view large image >

Le Chapeau de Velours

Jean-Emile Laboureur (1877-1943), Le Chapeau de Velours, etching, 1914, signed in pencil lower left and numbered (17/30) lower right [also signedand dated in the plate upperright]. Reference: Godefroy, Sylvain Laboureur 128, only state. In very good condition, with margins (small thin areas verso toward corners), 8 x 6 1/4, the sheet 9 3/4 x 8 3/8 inches. Archival matting. A fine impression, printed with plate tone on an ivory wove paper. Le Chapeau is a markedly modernist print, done as Laboureur was immersed in developing the unique approach to cubism that represented a break from themore conventional aesthetic of his […]

Read more and view large image >

Lassitude

Jean-Emile Laboureur, Lassitude, 1912, woodcut, signed and numbered (24/35) in pencil. Reference: Sylvain Laboureur 682, third state (of 3). From the edition of about 35, published by Frequet, in very good condition, with wide margins, deckle edges right and bottom, a pinhole left and right margins, 9 1/2 x 10 1/8, the sheet 12 3/4 x 14 3/4 inches. A fine impression of one of Laboureur’s most famous images; the colors fresh. Although Laboureur’s own notes indicated that there were three states of this print (a few proofs inearly states) his later notes for an exhibition of his work (in […]

Read more and view large image >

Girl Standing – Repeated

Reginald Marsh (1898-1954), Girl Standing – Repeated, engraving, 1943,signed in pencil lower right and inscribed: “& Hoppe”. Reference: Sasowsky 224, only state, no edition or printing numbers known. In very good condition, with wide margins (remains of prior hinging at upper corners verso, repaired tear upper left edge well away from image), printed on wove paper, 6 1/2 x 4 3/16, the sheet 9 5/8 x 6 inches, archival matting. A fine impression of this great rarity,printed with plate tone. Provenance: Estate of Ernest Shapiro This unusual print is apparently the result of a session with the engraver William Hoppe […]

Read more and view large image >

East Tenth Street Jungle – 1st State

Reginald Marsh (1898-1954), East Tenth Street Jungle, 1934, etching, signed and annotated “Second Proof, First State”, in pencil [also initialed and dated in the plate]. Reference: Sasowsky 154, first state of 4. In very good condition, with margins, mat stain in margins outside of platemark, remains of glue from prior hinging uppermargin corners recto, some pencil notations lower margin. Size: 8 x 12, the sheet 10 x 13 3/4 inches, archival matting. A fine, delicately printed trial proof impression. This is one of the two first state impressions, with the composition completed but before shading in the wall at left, […]

Read more and view large image >

Le Couple

Pablo Picasso (1881-1973), Le Couple, 1951, drypoint on chine volant, signed lower right margin and numbered (5/XI) lower left margin. References: Bloch 690, Baer 889. Presumably an impression of Baer’s 889 Bb before the edition of 400 included in the book Dons des Feminines. 8 1/2 x 6 5/8, the sheet 19 1/5 x 12 3/4 inches. In good condition except for extensive rippling in the (very wide) margins, probably resulting from the process of printing on this paper (not affecting the image), a printer’s crease at right, a reinforced thin spot verso in the margin. Full margins with archival […]

Read more and view large image >

Die Loge im Gaite Montparnasse (Paris)

Artist: Emil Orlik

Emil Orlik (1870-1932), Die Loge im Gaite Montparnasse (Paris), drypoint, etching and soft ground, 1911, signed and numbered in pencil lower right, for the portfolio Zuschauer und Zuhorer (Listening and Watching), in very good condition, on an orange chine colle paper, 5 x 7 1/2, the (backing) sheet 8 3/4 x 11 5/8. A fine impression. Orlik captures theintense interestof each of these nine spectators, sitting and standing in the Loge at the Gaity in Montparnasse. Orlik visited Paris often,getting to know artists including Vallotton, Toulouse-Lautrec, Pissarro and Renoir. And of course one of his great interests was the theatre […]

Read more and view large image >

Heywood Broun

Artist: Peggy Bacon
baconheywoodbroun

Peggy Bacon (1895-1987), Heywood Broun, lithograph, 1930, signed lower right and titled lower left margin. Reference: Flint 92. In excellent condition (no trace of ever having been matted or framed), the full sheet with deckle edges, on a heavy cream wove paper watermarked BKF RIVES FRANCE. 11 x 15 3/8, the sheet 14 7/8 x 19 inches, archival mounting (unattached mylar hinging between acid free board, glassine cover). A fine fresh impression, in pristine condition. By the late 1930 Peggy Bacon, now in her mid-thirties, was one of America’s most loved and honored printmakers. She had many solo shows, and […]

Read more and view large image >

Antwerp

Artist: Erich Heckel

Erich Heckel (1883-1970), Antwerp, drypoint, 1914, signed and dated in pencil lower right margin. Reference: Dube 123. In excellent condition, the full sheet on a cream/ivory wove paper, 12 1/2 x 7 3/4, the sheet 18 1/4 x 13 1/4 inches, archival matting. A fine fresh impression, printed in black ink on a cream/ivory paper with substantial plate tone and strong burr from the drypoint work. Erich Heckel was born inSaxony in 1883. He studied architecture at the Technical College in Dresden where he met Kirchner and was a founding member of Die Brcke in 1905.Heckel moved to Berlin in […]

Read more and view large image >

Halberstadt III

Artist: Emil Ganso

Emil Ganso (1895-1941), Halberstadt III, 1929, etching, aquatint, soft-ground etching, roulette, signed in pencil lower right,and numbered 13/35 lower left; also titled lower center. Reference: Smith I 59, second state (of 2), from the edition of 35. In very good condition, with some printer’sfingerprintsin the margin edges, on a sturdy ivory wove paper with margins, 9 13/16 x 11 15/16, the sheet 11 x 15 inches, matted. A fine atmospheric impression. Provenance: Weyhe Gallery, still in their originalworn mat, with their cataloguing annotations. Weyhe, one of the oldest and most distinguished Madison Avenue New York dealers, was Ganso’s dealer. Halberstadt […]

Read more and view large image >

Loading Vraic St. Malo

Edmund Blampied (1886-1966), Loading Vraic St. Malo, drypoint, c. 1926, signed in pencil lower right margin and numbered 50/100 lower left. Reference: Appleby 122. In very good condition, with margins, on an ivory laid paper; 6 7/8 x 10, the sheet 10 x 15 1/2 inches, archival mounting. A fine impression, with substantial burr from the drypoint work. Provenance: Collection: Albert M. Bender; San Francisco Museum of Modern Art; sold at Christie’s New York to benefit the SFMMA. The medieval city of St. Malo is a ferry’s trip from Jersey, and we can see the walled city with the spire […]

Read more and view large image >

Une Escale au Brasil (A Stopover in Brazil)

Charles Dufresne (1876-1938), Une Escale au Brasil (A Stopover in Brazil), etching and drypoint, c. 1920, signed in pencil lower right margin and inscribed “epreuve de artist” lower left. Reference: Thomas Dufresne 35. Edition of only 25. In very good condition, with full margins on a cream wove paper, with the watermark Van Gelder Zonen and also Alfred Porcabeuf (?), 9 1/8 x 12, the sheet 12 1/2 x 18 inches, archival matting. A fine impression of this artist’s proof, printed in black ink. Dufresne used techniques beyond etching and drypoint here, perhaps softground etching and a piercing tool too […]

Read more and view large image >

Against Green

Arthur B. Davies (1862-1928), Against Green (also Three Figure Composition, Figures Against Green), soft ground etching and aquatint, 1918, signed in pencil lower right; also titled lower margin “Figures Against Green.” Reference: Czestochowski 58, fifth state (of 6). From an edition of unknown size, but according to Czestochowski “unknown but small.” In generally good condition, the matrix in very good condition,oil and slight light staining in margins and verso, remains of prior hinging, archival matting. Printed on an ivory laid paper, with margins, 7 13/16 x 11 7/8, the sheet 10 x 14 3/8 inches. A fine strong impression, with […]

Read more and view large image >

Sunset Palace Lodge

Armin Landeck (1905-1884), Sunset Palace Lodge, 1938, drypoint, signed, dated and inscribed “ed 100” in pencil, on a heavy cream wove paper, the full sheet with deckle edges, 6 x 7 7/8 (the sheet 11 x 13 1/2) inches, archival mounting. In pristine condition. A fine impression, carefully printed with a light veil of plate tone over the buildings and land areas. Landeck,an eminent American Precisionist, here creates ableak picture of the late Depression years reminiscent of Hopper’s isolationism. The sign in front of the Lodge says “Sunset Palace Lodge, Good Eats, Good Beds.” Landeck noted that this setting was […]

Read more and view large image >

Market in Grodek

Artist: Emil Orlik
orlikmarket

Emil Orlik (1870-1932), Market in Grodek, etching and aquatint, 1898, signed in pencil lower right, in very good condition, trimmed just outside of the platemark and so with a small margin, 3 x 5 3/4 inches, archival mounting. A fine impression, printed in brown ink. Market in Grodek, a small and seemingly unassuming print, is inmy viewone of Orlik’s most intriguing and successful compositions. Grodek was a ‘schtetl’ (a community of Eastern European Orthodox Jews) near Prague. For information on the lifeand work of Emil Orlik I recommend visiting theEmil Orlik website created by London-based Limited Edition Graphics; this is […]

Read more and view large image >

The Anglers

Adriaen Van Ostade (1610-1685) etching The Anglers, circa 1647, Godefry 26, Bartsch 26. Very good condition, with small (1/2 inch) margins, on cream laid paper, archival mounting. 4 1/2 x 6 5/8 inches. A fine, rich impression of the sixth state of seven. This state appears identical to Godefry’s fifth state, but the borderline appears a bit stronger than that pictured in Godefry, so we’ve taken a conservative position and assigned it as sixth state. But the horizontal lines in the sky upper right are printing quite well as in the earlier states, and the inking is quite rich and […]

Read more and view large image >

Aux Approches de Madrid (also Aux Abords de la Ville)

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. Ingood condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, withthe drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he […]

Read more and view large image >

Woman with Dog – 2 Impressions

Jacques Villon (1875-1963), two drypoints, 1905, (Ginestet and Pouillion E156) each signed in pencil: an impression of the final state (third state of three) printed in bistre, with lettering (Adresse Sagot); and an impression of the second state (of 3), before lettering, printed in sanguine. Both in very good condition: impression in bistre on cream wove with wide margins; impression in sanguine with wide margins, on laid paper, with very pale time staining in upper right sheet edge, minor surface soiling. Image: 9 1/2 x 8 1/2 inches (sheets: 12 1/2 x 10, 14 x 10), archival mounting. Both fine […]

Read more and view large image >

Le Combat a La Barriere (The Combat at the Barrier)

Jacques Callot (1592-1635), Le Combat a La Barriere (The Combat at the Barrier), 1627, etchings, the complete set of 10, including the title plate and the nine etchings. Reference: Lieure 575-584. In very good condition, on old laid papers with thread margins (occasionally trimmed on the platemark); two with center folds, occasional stains or soiling), the title 6 x 4 3/8, the plates approximately 6 1/8 -6 3/16 x 8 11/16 – 9 9/16 inches. A fine,uniformearly set, beforethe posthumous Fagnaniprinting, in only states except: L. 575 in state 2 (of 3) [Lieure notes that state one is extremely rare]; […]

Read more and view large image >

La Parisienne (tournee a gauche, petite planche)

Jacques Villon (1875-1963), La Parisienne (tournee a gauche, petite planche), 1904, etching and aquatint in color (black, brown, red), signed and dated (’04) in pencil. Reference: Ginestet and Pouillon E093, fifth state (of five). In very good condition, with margins, 9 1/2 x 6 1/2, the sheet 13 1/4 x 9 1/2 inches. A fine delicately printed impression. Provenance: Louis Carre (1897-1977), Villon’s dealer in both New York and Paris, who organized the first comprehensive exhibit of Villon’s graphic work, in Paris in 1954, and who kept many of the finest working proofs of Villon’s early prints, such as this […]

Read more and view large image >

La Parisienne (tournee a gauche, petite planche), early state

Jacques Villon (1875-1963), La Parisienne, (tournee a gauche, petite planche), 1904, etching, rouletteand aquatint, signed in pencil [also signed in plate]. Reference: Ginestet and Pouillon E093. Second state (of 5). In very good condition. On cream wove paper, with margins, 9 3/8 x 6 1/2, the sheet 15 x 11, archival mounting. A fine proof impression, with thefine roulette effects very evident, the aquatint layering clear and effective, and careful shading through the use of plate tone. Marcel Duchamp (Villon’s brother) has stated (in a note on the Museum of Modern Art impression of this print) that Yvonne Duchamp was […]

Read more and view large image >

La Couseuse (The Seamstress)

Jacques Villon (1875-1963), La Couseuse (The Seamstress), 1905, signed in pencil lower right margin. Reference: Ginestet and Pouillon 147, Auberty and Perussaux 96. On a heavy cream laid paper with a partial initials watermark. In good condition apart from slight time stain; soft fold along a laid paper line, a few marks in margins. Archival mounting. With margins, 6 3/8 x 6 3/8, the sheet 8 1/2 x 11 1/4 inches. A fine, black atmospheric impression, with the drypoint burr fresh and satiny. This is an exceedingly rare impression. When Ginestet and Poullon did their recent catalogue raisonne of Villon’s […]

Read more and view large image >

Le Concert sur la Plage (Musicians on the Beach)

Jacques Villon (1875-1963) Le Concert sur la Plage (Musicians on the Beach), 1907, etching and aquatint, signed and inscribed”essai” denoting this a trial proof [also signed and dated in the plate], before the edition of 50. Reference: Ginestet and Pouillon 177, only state.In very good condition, with some printer’sink markings bottom margin (as befits a trial proof), unobtrusive printer’s crease upper right. Wide margins, 8 3/4 x 7 7/8, the sheet 12 1/2 x 8 1/2 inches. On a heavycream wove paper. A particularly fine atmospheric impression, delicately and carefully printed in black/grey ink. At this time Villon was heavily […]

Read more and view large image >

Vertical Ornament with Fantastic Male Figure

Hans Sebald Beham (1500-1550), engraving, c. 1540, [with initials in the plate]. Reference: Bartsch 244, Pauli 253, only state. In generally good condition, with slight abrasions,soft rust marks, trimmed on or just into the plate mark but outside of image. 15/16 x 5 1/8 inches, archival mounting. Provenance: ex Collection Dr. Herweg (stamp verso, not in Lugt); P. Davidsohn (Lugt 654). This impression is mentioned in the Hollstein catalogue raisonne. A very good impression of this great rarity. Sebald Beham, like the other illustriousGerman Little Masters of the Northern Renaissance including his brother Barthel, Heinrich Aldegrever, Albrecht Altdorfer, Georg Pencz […]

Read more and view large image >

Ornament with Armor and Two Genii

Hans Sebald Beham (1500-1550), Ornament with Armor and Two Genii, engraving, 1544. [signed and dated in the plate lower right]. Reference: Hollstein 231, Pauli 231, first state (of 2). In excellent condition, trimmed just outside of the borderline. 7/8 x 1 1/8 inches, archival matting. A superb impression of this rare first state. Provenance: UnknownCollector (Lugt 2368b, with mark verso) The first state is before the strong third hatching linein the background. Beham was one of the Northern Renaissance Little Masters, so called because of their eminence in producingsmall-scale engravings such as Ornament with Armor and Two Genii.Beham was born […]

Read more and view large image >

Hell Hole

Artist: John Sloan

John Sloan (1871-1951), Hell Hole, 1917, etching and aquatint, signed bottom right, titled bottom center, and inscribed “100 proofs”. Reference: Morse 186, second state (of 2). From the edition of 100, printing of 110. In good condition,slight toning; with wide margins (trimmed irregularly at right and left, soft folds in margins, with the printerPeter Platt’s drying holes and associated paper losses, reinforced tearsand nicksat margin edges). On a cream wove paper, 8 x 10, the sheet 11 1/2 x 14 3/4 inches, window matted. A fine impression of this Sloan masterpiece. This impression was printed by Peter Platt, one of […]

Read more and view large image >

The Unsafe Tenement

James Abbot McNeill Whistler (1834-1903), The Unsafe Tenement, etching, 1858. [signed in the plate lower right]. References: Kennedy 17. Glasgow 18, fourth state (of four). In very good condition, printed on a very thin (two ply?) Japan paper, with margins, 6 1/8 x 8 3/4, the sheet 8 1/4 x 11, archival mounting. A brilliant, black impression printed with astonishing clarity and exquisite detailing, on an ivory Japan paper. Presumably this isa proof impression before the relatively large edition published in this state (the edition was not on this paper). Provenance: Inscribed “To Otto J. Schneider from his friend Frederick […]

Read more and view large image >

The Sign of the White Horse, Parson’s Green

Theodore Roussel (1847-1926), The Sign of the White Horse, Parson’s Green, etching, 1906, signed in pencil on the tab and inscribed “imp.” [also signed in the plate lower right] Reference: Hausberg 68, 14th state (of 14), from the total printing of about 60 impressions, about 30 in this state. In very good condition, on a laid paper, trimmed by the artist on the platemark with the tab, 4 7/8 x 3 1/4 inches, archival mounting. A fine impression with exquisite detailing, printed in black inkwith strong plate tone. Roussel apparently perfected this plate through a series of 14 states, making […]

Read more and view large image >

Portrait of Hans Bol, Painter at the Age of 58

GoltziusBol

Hendrick Goltzius (1558-1617), engraving, 1593 [with extensive inscription in the plate]. Reference: Bartsch 161, Hollstein 177, second state (of two). In very good condition (old hinges verso, horizontal centerfold visible verso), trimmed outside of the borderline, 10 7/16 x 7 5/16 inches, archival mounting. A very good, balanced impression, with exquisite detailing. This portrait of Bol was taken in the last year of his life, when he was 58. According to the inscription it is dedicated to Bol’s stepson Frans Bol. The skull with the upside-down torches indicatesthat this engraving was made by Goltzius after Bol died, and thus is […]

Read more and view large image >

Un Reve

Louis Marcoussis (1883-1941), Un Reve, etching, 1930, signed in pencil lower right and inscribed “2nd etat 1/2” lower left. Plate 1 of the portfolio Aurelia. Reference: Milet 55II, second state (of 4), before the edition (of 153 in the fourth state). Ingood condition, on a wove paper with full margins (a small area of discoloration below the border lower left, remains of prior glue right margin edge), 7 1/4 x 5 3/8, the sheet 15 5/8 x 9 3/8 inches, archival matting. A fine impression of a rare proof, before the edition. This is one of the two proofs of […]

Read more and view large image >

A New England Family (The Father)

Marguerite Zorach (1887-1968),A New England Family (The Father), linoleum cut, c. 1917, signed in pencil lower right margin. One of a small number of proofs; there was no edition. In excellent condition, on a very thin cream Japan paper, with margins, 12 7/8 x 8 3/4, the sheet 15 3/4 x 10 5/8 inches. Archival matting.. A fine impression of this very rarely encountered American modernist/cubist print. The Zorachs (William and Marguerite), who met in Paris, spent several summers in Provincetown (1915, 1916, 1921, 1922), with artist friends such as Max Weber and Marsden Hartley, and the summers of 1917 […]

Read more and view large image >

The Black Hat (Emma in a Black Hat)

George Bellows (1882-1925), The Black Hat (Emma in a Black Hat), lithograph, 1921. Reference: Morse 113. From the edition of 55. Signed in pencil by the artist, and also inscribed in pencil by the printer “Bolton Brown imp”, lower margin. In good condition (tiny fox mark lower margin center, faintest pale time staining), on cream/tan thin Japan paper, with margins, 13 1/8 x 9 1/4, the sheet 14 1/4 x 10 3/8 inches. Provenance: Estate of Ralph Spencer; Allison Gallery (H.V. Allison and Company, 11 East 57th Street, New York, NY was a noted gallery famed for handling Bellows prints. […]

Read more and view large image >

Induction

Clement Haupers (1900-1982),Induction,aquatint and etching, 1945, signed, titled, dated and inscribed “ed 75”. In excellent condition, printed in black on a heavy ivory wove paper with full margins and deckle edges all around, presumably printed in an edition of 75, 10 5/8 x 6 3/4, the sheet 14 3/4 x 11 inches, archival matting. A fine fresh impression, with the various aquatint tonalities contrasting vividly. This World War II scene portrays a doctor giving an inductee a physical exam, presumably checking on reflexes, as two other nude inducteesare seen in the rear. Haupers studied in Paris with the Cubist painter […]

Read more and view large image >

Ostend Horse

Edmund Blampied (1886-1966), Ostend Horse, drypoint, 1926, signed in pencil lower margin [also signed and dated in the plate lower left], from the edition of 100, printed on ivory laid paper with full margins with deckle edges, 7 x 9, the sheet 9 1/4 x 12 1/2 inches, still in the original SFA Museum mat with extensive annotations. Provenance: Kennedy Galleries (with their stock number A49359) Ex Collection: Albert M. Bender Ex Collection: San Francisco Museum of Art Christie’s New York A fine fresh impression, with rich burr from the drypoint work and a subtle layering of plate tone. One […]

Read more and view large image >

Ada

Edgar Chahine (1874-1947), Ada, 1901, drypoint, signed in pencil lower left also initials, dated and titled in the plate] Reference: Tabanelli 65, second state (of 2). In very good condition, with full margins, on cream wove paper, 7 1/4 x 13, the sheet 14 x 22 inches. Archival mounting with window mat. A very fine impression of this important Fin de Siecle Belle Epoque masterpiece, surely Chahine’s greatest portrait. With a rich drypoint burr on Ada’s fur and hat, and a subtle layer of plate tone over her dress and divan; her face and parts of the hat have been […]

Read more and view large image >

Amber Garden

daviesambergarden

Arthur B. Davies (1862-1928), Amber Garden (Hand Raised, Autumn Mist), soft ground etching and aquatint, 1919, signed in pencil lower right margin. Reference: Czestochowski 73, third state (of 4), from an edition of unspecified size but according to Czestochowski “total printing unknown but small.” In very good condition, the matrix pristine, some folds and creasing in the (wide)margins,printed on a cream wove paper with the watermark SPECIAL MBM, 11 3/4 x 7 13/16, the sheet 14 3/4 x 11 5/8 inches; archival mounting with acid free window mat. A fine strong impression with the several layers of aquatintcontrasting effectively. At […]

Read more and view large image >

The Mother Seated in an Inn

Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, first state of two. In good condition, trimmed outside of the plate mark top and sides, on the plate mark bottom; 6 1/4 x 4 7/8 inches, archival mounting. Cornelis Bega was born in Haarlem, the son of Pieter Bega, a wood carver and silversmith, and Maria Cornelis,daughter of the Mannerist painter Cornelis van Haarlem. He is known as a pupil of Adriaen Van Ostade, and of course his work bears a resemblance to Van Ostade’s. He was admitted to the Haarlem artists’ guild in […]

Read more and view large image >

Hombre! Que Sin Vergeunza!

George Biddle (1885-1973), Hombre! Que Sin Vergeunza!, 1928, lithograph, signed and dated in pencil lower right, titled and numberedlower left [also signed in plate lower left”Biddle/1928/44]. References: Pennigar 78, Trotter 44. Edition 100. In excellentcondition (never framed, without light or time staining),with wide margins, the full sheet, 9 3/4 x 13 3/4, the sheet 15 1/2 x 20 1/2 inches. Printed by George C. Miller. On cream wove paper with the FRANCE watermark. Archival mounting (mylar unattached mounting between acid-free board). A fine, fresh impression, in pristine condition. According to Pennigar the title translates roughly to “Buddy! Aren’t you ashamed […]

Read more and view large image >

Banana Grove

George Biddle (1885-1973), Banana Grove, lithograph, 1928. Signed, titled and numberedin pencil [alsoannotated in the plate “Biddle/1928, lower right “47). References: Pennigar 81, Trotter 47. In excellent condition, the full sheet, on cream wove BFK RIVES paper, with their (partial) watermark. 12 1/2 x 9, the sheet 20 x 16, archival mounting (non attached mylar hinging between acid free board, glassine cover). A fine fresh rich impression in pristine condition. After Groton,Harvard College and Harvard Law (and several breakdowns) Biddle decided that a conventionalcareer in lawwas not for him; he decided on art, went to Paris, worked with Mary Cassatt […]

Read more and view large image >

Cows and Sugar Cane

George Biddle (1885-1973), Cows and Sugar Cane, 1928, lithograph, signed in pencil bottom right margin, titled and numberedbottom left margin [also signed and dated in the plate bottom left]. Reference: Pennigar 79, Trotter 45. From the edition of 55, on BFK RIVES wove paper (with their partial watermark), printed by George C. Miller. In excellent condition, the full sheet with wide margins (remains of old hinging margin corners verso), 11 9/16 x 7 3/4, the sheet 15 1/2 x 11 1/2 inches. Archival mounting (mylar corners on acid free board, glassine cover). A fine black impression. After Groton,Harvard College and […]

Read more and view large image >

Morning on the East Side

Artist: Jerome Myers

Jerome Myers (1867-1940),Morning on the East Side, c. 1910, colored etching, signed in pencil lower right and annotated “imp.”; numbered and titled (twice)lower left. In very good condition, with full margins, 7 5/8 x 6 3/8, the sheet 11 1/2 x 8 7/8 inches, printed on a cream wove paper, archival matting. A fine impression of this rarely encountered print,with the colors fresh, printed in brown, yellow, pink, blue. This print is numbered 100/14, suggesting there was an edition of 100. Since we have not encountered another impression of this print, we doubt that this print was editioned at all, […]

Read more and view large image >

At the Show

Artist: Jerome Myers

Jerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. Ingood condition, with margins (paper losses upper corners), faint ink marks andfingerprintsin margins and matrix. 5 3/4 x 8 3/4, the sheet 8 1/2 x 11 1/2 inches, archival matting. A fine strong impression, printed on a tan wove paper, with the burr from the drypoint work printing effectively, and a light veil of plate tone, wipedselectively to frame the faces of the viewers. This proof,surely printed by the artist, is probably quite rare since we know of no edition or other impressions that […]

Read more and view large image >

The Carcase

Artist: Cyril Power

Cyril Power (1872-1951) color linoleum cut, The Carcase, circa 1929, signed and titled in pencil, from the edition of only several (Redfern 9). In good condition, with pinholes at lower left and upper right margins, and lower right, on buff oriental laid tissue, conservation matted, 9 x 8 (the sheet 19 1/2 x 9 1/2) inches. Only a small number of proofswere made, each hand printed with the successive color plates,and these were, as is typical for the Grosvenor School prints, trimmed irregularly. The illustrations show the effects of the application of successive plates on the areas outside of the […]

Read more and view large image >

Monseignor St. Thomas

Artist: Cyril Power

Cyril Power (1872-1951) color linoleum cut, Monseignor St. Thomas, circa 1931, signed and titled in pencil at the lower right, apart from the edition of 60. Reference: Redfern 24. In very good condition, on buff oriental laid tissue, conservation matted, with margins, 13 7/8 x 11 1/8, the sheet 15 x 12 5/8 inches. A fine impression, with the colors fresh and vivid. Printed in four colors (yellow, red, blue and dark blue). The prints of the Grosvenor School artists were created by applyingcolors with successive blocks. The margins show the colors of each of these blocks (see illustration of […]

Read more and view large image >

Vielle Rue a Rouen (Rue Malpalue)

pissarrod41

Camille Pissarro (1830-1903), Vielle Rue a Rouen (Rue Malpalue), 1883, etching and drypoint, signed in pencil and inscribed “1 Ep d’Etat”. On antique cream laid paper with the watermark 1826. Reference: Delteil 41, second state (of two, see below). In very good condition, with full margins, 5 x 4 7/8, the sheet 9 1/2 x 7 inches. A fine impression of this great rarity, printed personally by Pissarro with a delicate covering of platetone; there is also evidence of a special aquatinting process (“maniere grise”which he invented with Degas (see below). The plate is, however, carefully wipedto hightlight the front […]

Read more and view large image >

Enfants Causant (Children Talking)

Camille Pissarro (1831-1903), etching, 1889, signed, titled and inscribed “No. 6 Epreuve de Artiste.” Reference: Delteil 89, third state (of 3). On tan laid paper. In good condition (slight time staining and spotting), with margins and archival mounting. A fine impression of this charming composition, a great rarity. Only 7 or 8 impressions of this state of the print were made (and only 10 or 11 in all, each personally printed by Pissarro), each signed, numbered and annotated. (Another 12 impressions were taken posthumously, but of course they lack the character, atmosphere and quality of the lifetime impressions; these were […]

Read more and view large image >

Women Bathing in the Shade of Wooded Banks

Camille Pissarro (1830-1903), Baigneuses a L’Ombre des Berges Boisees (Women Bathing in the Shade of Wooded Banks), 1894, lithograph, signed in pencil lower right. Reference: Delteil 142, second state (of two). As published in L’Estampe Originale, with their blind stamp lower right (Lugt 819), edition of 100. On chine applique, in very good condition, with very wide margins (the full sheet, slight browning toward sheet edges, a few grease spots on margins far from image; prior hinging verso), 6 1/8 x 8 1/2, the sheet 16 3/4 x 23 1/2 inches, archival mounting (acid free unattached mounts, acid free matting). […]

Read more and view large image >

Mysteries of the Passion (Variae Tum Passionis Christi)

Jacques Callot (1592-1635), Mysteries of the Passion (Variae Tum Passionis Christi, Tum Vitiae Beatae Mariae Virginis), complete set of 20 etchings plus the frontispiece by Abraham Bosse (Reference Meaume 31). c. 1631. Reference: Lieure 679-698, second state (of 2). In very good condition, archival mounting. A fine set of these small etchings, printed on 5 plates/sheets of laid paper, with margins, 3 of the plates with partial Crown watermarks (possibly Lieure 45). The set of 20 etchings includes 7 in circular format, with a diameter of 1 1/4 inches; 7 larger ovals with a length of 1 7/8 inches, and […]

Read more and view large image >

Blue Serpent – The Colored Plate, and the Black Plate

Artist: Andre Masson

Andre Masson (1896-1988), Blue Serpent,1957, 2 plates, 1) etching and aquatint in colors, signed, dated (30/7/61) and inscribed “pour Louis Broder epreuve d’artiste.” Reference: Saphire and Cramer, p. 288 no. 7. In very good condition, on an olive wove paper, with wide margins, 8 1/8 x 6 3/4, the sheet 12 7/8 x 9 3/4 inches; 2) the black etching plate, before colors, also signed in pencil lower right and inscribed as above to Louis Broder, in very good condition printed on a cream laid paper, the sheet 12 1/2 x 9 3/4 inches. Both fine fresh impressions, the first […]

Read more and view large image >

Baigneuse Nue aux Arbres (Nude Bather amidst Trees)

Artist: Andre Derain

Andre Derain (1880-1954), Baigneuse Nue aux Arbres (Nude Bather amidstTrees), etching and drypoint, c. 1909, signed in pencil and numbered 27/100. Reference: Adhemar 50. In very good condition, on ARCHES cream laid paper, with their watermark, with full margins, 7 x 3 3/4, the sheet 22 1/4 x 17 1/2 inches, archivally matted. A fine impression, with a subtle layering of plate tone. Derain clearly based the face in this print on the famous African Fang mask which he owned (and whichinfluenced others who saw it in his apartment such as Picasso,e.g., inhis Demoiselles d’Avignon). It is also related toa […]

Read more and view large image >

King Philip Received at Castile and Sworn to Loyalty

Hans Burgkmair (1459-1519), King Philip Received at Castile and Sworn to Loyalty, woodcut, 1514-1516. Reference: Bartsch 80-(224) 218 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink bottom margin, some slight staining), on old laid paper, 8 5/8 x 7 5/8, the sheet 10 1/4 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688). Lugt notes of Liphart, a distinguished collector of old master prints, “il commence par l’oeuvre de […]

Read more and view large image >

Femmes au Tub (Women Bathing)

Adolphe Beaufrere (1876-1960), Femmes au Tub (Women Bathing), c. 1902, colored woodcut, signed in pencil, also with the artist’s red monogram stamp. Reference: Morane B-1; Musee des Beaux Arts de Renne 1. On brown Japon paper. Printed in dark brown, orange, tan and light blue. 13 1/2 x 8 7/8 inches. Trimmed just outside of the borderline. Soft creases upper left and associated slight rubbing,2 soft folds upper right corner, soft creaseslower left,soft fold near left border, a few rubbed or lightly printed areas in image. Provenance: acquired directly from Jean-Noel Beaufrere, the artist’s son. A fine impression of this […]

Read more and view large image >

Paysanne au Puits (Peasant Woman at the Well)

Camille Pissarro (1830-1903), Paysanne au Puits (Peasant Woman at the Well), etching and aquatint, 1891, signed, titled and numbered (3 etat no 2). Reference: Delteil 101, third state (of 3). In excellentcondition, on an ivory laid paper, no watermark discernible, with margins (remains of priorhinging verso). 9 1/4 x 7 5/8, the sheet 12 1/4 x 9 7/8 inches, archival mounting with non-attached mylar hinges,window mat. A superb, atmospheric impression of this great rarity, printed with a veil ofplate tone overall. The composition of Paysanne au Puits was essentially complete in the first state of the print (known in one […]

Read more and view large image >

Auction

Bernard Kretzschmar (1889-1972), Auction, etching, drypoint, and burnished aquatint, 1921, signed and dated (’20) in pencil lower right [also initialed in the plate lower left] Reference: Diether Schmidt 80.In verygood condition, the full sheetwith wide margins, 13 1/2 x 15 1/2, the sheet 18 x 22 inches, archival window mat. Published by the Mares-Gesellschaft, with their blindstamp lower right. A fine impression. This impression may be a second state, after burnishing of the plate. Burnishing marks are evident especially in the lower section, the lower left corner, the area surrounding the head of the auctioneer, the face of the man […]

Read more and view large image >

La Toillette Assise

Pierre Bonnard (1867-1947), La Toillette Assise, 1925, lithograph, signed in pencil lower right. Reference: Bouvet 76, first state (of 3); edition of only 25 in the first state (there were 25 in the second and 125 in the third states). On Japan paper, with full margins. Published by Edmond Frapier for the album Maitres et Petits Maitres d’Aujourd’hui (Masters and Minor Masters of Today). With the Galerie des Peintures-Gravures ink stamp lower left, and their blind stamp lower right. In good condition (some printer’s creases upper left and elsewhere), with wide margins, 13 3/4 x 9 1/4, the sheet 19 […]

Read more and view large image >

Kensington Gardens (The Small Plate)

Sir Francis Seymour Haden (1818-1910), Kensington Gardens (The Small Plate), drypoint, 1859, signed in pencil lower right. References: Harrington 12, Schneiderman 15, third/fourthstate (of 10). In very good condition, on a thin Japan paper, with margins, 6 1/4 x 4 1/2, the sheet 8 1/4 x 5 3/4 inches, archival mounting (window mat, unattached mylar hinging). A very fine impression, carefully wiped above the chimneys in the background, with blacks of the trees and shadows in the foreground contrasting effectively with the greys of the mansion to create a marveloussense of depth. We believe this is the thirdstate, before the […]

Read more and view large image >

Air

Wenzel Hollar (1606-1677), Air, 1647, after Petrus van Avont, from the Four Elements. [signed and dated W. Hollar 1647 lower right and inscribed P. van Avont inu lower left in the plate] Reference: Pennington 522, third state (of 3). In good condition (a thin spot upperleft verso),on laid paper, trimmed outside of the borderline all around, 5 1/2 x 8 1/8 inches. Provenance: the London firm ofCraddock and Barnard, still in their mat, withthe Barnard annotations. A fine strong impression of this whimsical representation of the element Air. Hollar (1607-1677) had learned etching as a gentlemanly pursuit before, as a […]

Read more and view large image >

Reclining Nude

Artist: Walt Kuhn

Walt Kuhn (1877-1949), [Reclining Nude],c. 1920, etching, signedin pencil lower margin. In pristinecondition, soft fold upper right, with no sign of prior framing or exposure, the full sheet onyellow/cream laid paper, 6 x 7 3/4, the sheet 9 3/8 x 11 3/4 inches,archival mounting. A fine impression. Walt Kuhn was born in Brooklyn, and after a period of study art in Europe, he returned to the US to work as a cartoonist; illustrator, and developing artist. Aware of the great surge of modernist artistic activity in Europe, he joined with others to encourage Arthur B. Davies to get behind the […]

Read more and view large image >

Nude on Chaise

Artist: Walt Kuhn

Walt Kuhn (1877-1949), [Nude on Chaise], c. 1920, etching, signed in pencil lower margin. In very goodcondition,no sign of prior framing, with margins (slight discoloration in margins), the full sheet on yellow/cream laid paper, 6 x 7 3/4, the sheet 9 3/8 x 11 1/4 inches, archival mounting. A fine impression, printed with a light veil of plate tone. Walt Kuhn was born in Brooklyn, and after a period of study art in Europe, he returned to the US to work as a cartoonist, illustrator, and developing artist. Aware of the great surge of modernist artistic activity in Europe, he […]

Read more and view large image >

Negligee

Artist: Walt Kuhn

Walt Kuhn (1877-1949),Negligee, c. 1920,etching, signed and titled in pencil lower margin. In good condition, on cream wove paper, printed with a light veil of plate tone,with widemargins, 6 x 8, the sheet 8 1/2 x 11 1/4 inches, archival mounting. A fine impression of this great rarity; it is listed as number 39 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. Walt Kuhn was born in Brooklyn, and after a period of study art in […]

Read more and view large image >

Interior of Tramway

steinlentramwaya

Theophile Steinlen (1859-1923), Interior of Tramway, lithograph, 1896, signed lower right in red pencil. Reference: Crauzat 173. In good condition, on Chine Volant with wide (full) margins, 10 5/8 x 13 5/8, the sheet 16 1/2 x 20. A proof impression apart from the edition of 50. A fine proof impression of this well known masterpiece. Theophile Alexandre Steinlen began his career as an illustrator forParis journals (Le Chat Noir, Gil Blas), and was naturally attracted to printmaking presumably because he was such an excellent draughtsman. His lithographic work, such as Interior of Tramway,was of course informed by the marvelous […]

Read more and view large image >

Etching for Stephen Spender “Fraternity”

Wassily Kandinsky (1866-1944), Etching for Stephen Spender “Fraternity”, etching and drypoint, 1939, signed in pencil lower right. Reference: Roethel 202, only state. From the edition of 113 (of which not all weresigned). In very good condition, on Montvale ivory laid paper, with a partial “woman bathing” watermark, the full sheet, 5 1/16 x 3 1/4, the sheet 9 x 6 3/8 inches. Published by Atelier 17, Paris. A fine impression of this rarely encountered print. After the Bauhaus closed, in 1933, Kandinsky moved to Paris where he made only a small number (6) of prints. Etching for Stephen Spender is […]

Read more and view large image >

Etching 1916 Number II

kandinskyetching1916

Wassily Kandinsky (1866-1944), Etching 1916 Number II, drypoint, signed in pencillower right, titled, numbered (No. 9) and dated lower left [also with initials and date in the plate lower right]. Reference: Roethel 154, only state, edition of 10. In excellent condition (the barest handling fold at sheet edge), printedon a heavy ivory wove paper, the full sheet with full margins, 4 7/8 x 3 1/4, the sheet 17 1/2 x 13 inches, archival mount with window mat. A fine fresh impression of this great rarity, printed in a dark brown ink. Kandinsky created this drypoint (erroneously named Etching 1916) in […]

Read more and view large image >

The Ebb Tide, or, Brightling Sea

Artist: James McBey
mcbeyebbtide

James McBey (1883-1959), The Ebb Tide, or, Brightling Sea, etching, 1922-3, signed in ink bottom right margin and numbered in ink bottom left margin (IV/L) [also signed, dated and titled in the plate]. Reference: Hardie and Carter 216. From the British Edition (as numbered in Roman Numerals from I to L); the total edition was 76. In very good condition (some glue on verso, small loss lower marginedgefar from image, on old laid paper with a Four Balls watermark, with margins, 8 3/8 x 13 3/4, the sheet 10 1/2 x 16 1/2 inches. Archivally matted, with acid free window […]

Read more and view large image >

Femme Nue Assise et Trois Tetes Barbues, from the Vollard Suite

Pablo Picasso (1881-1973) etching, drypoint, burin and aquatint Femme Nue Assise et Trois Tetes Barbues, signed in pencil lower right, from the Vollard Suite, from the total edition of 300, with full margins in excellent condtion (5 1/8 x 7 1/8, the sheet 17 1/4 x 13 1/2), on cream wove paper, archival acid free matting. References: Suite Vollard 25, Bloch 216, Geiser 416. A very fine, strong impression, with the burin and drypoint work at the righteffectively counterposing the aquatint work evident at the left(in the figure of Marie Therese). Femme Nue Assise was one of Picasso’s earliest works […]

Read more and view large image >

Model Contemplating Sculture, from the Vollard Suite

Pablo Picasso, Model Contemplating Sculpture, etching, signed in pencil, 1933, a fine impression, published by Vollard, from the Vollard Suite, edition of 310, Bloch 175, Geiser 328, printed by Lacouriere, with the Picasso watermark. In pristine condition, with small margins, 11 7/8 x 14 1/2 inches. A fine, delicately printed, clear impression of this fascinating composition. The model at left (looking rather sculpted herself) contemplates a sculpted group – a horse with attending figures – as well as the sculpteur. Small faces below the sculpture view the scene, or perhaps the viewer. This is one of the more complex compositions […]

Read more and view large image >

Two Heads (Zwei Kopfe)

Max Pechstein (1881-1955), Two Heads (Zwei Kopfe), woodcut, 1922, signed in pencil lower right. Reference: Kruger 275. From the edition of 50. In very good condition, on a cream laid paper, with wide margins, 7 1/8 x 5, the sheet 9 1/2 x 6 1/2 inches. Issued by Max Osborn in “Max Bechstein”, 1922. Archival matting. A fine impression. In the spring of 1914 Pechstein traveled to the Palau Islands in the South Seas, returning to Germany via Japanese internment, The USA and Holland. He was drafted and served on the Somme front, only to return to Berlin in 1917 […]

Read more and view large image >

The Barker (Self Portrait)

Artist: Max Beckmann

Max Beckmann (1884-1950), The Barker (Self Portrait), drypoint, 1921, from Der Jahrmarkt. Reference: Hofmaier 191 IIB.b. From the edition of 125 on wove paper (there was also an edition of 75 on Japan). With the blindstamp of Mariees Gesellschaft, Munich. In very good condition, the full sheet, with deckle edges,13 1/8 x 10 1/2, the sheet 20 3/4 x 15 inches, archival mounting. A fine impression. Only a few proofs were made of the first state; in the second state Beckmann strengthened some of the letters in the sign at the left but made no changes to the composition. Four […]

Read more and view large image >

Spring

Artist: Max Beckmann

Max Beckmann, Spring (Fruling) (also known as Street in Frankfort), etching and drypoint, 1918, signed lower right. Reference: Hofmaier 133IIb, from the edition of 60 on laid paper; another 40 were on Japan. Plate 13 of Gesichter (Faces), as published byR. Piper, Marees-Gesellschaft, and with their stamp bottom right hand corner. In very good condition, on an ivory laid paper, the full sheet, 11 3/4 x 7 3/4, the sheet 14 1/2 x 11 3/4 inches. Printed by Franz Hanfstaengel, Munich, archival window matting. A fine fresh impression. This is an impression of the second state (of two); only one […]

Read more and view large image >

Figure in Glass

Arthur B. Davies (1862-1928), Figure in Glass, drypoint on zinc, 1916-7, signed with initials in pencil lower left. Reference: Czestochowski 38, only state. Invery good condition, on asimile japan paper, 6 1/8 x 5 1/2, the sheet 12 1/4 x 8 3/8 inches, archival mounting. A very fine, rich and earlyimpression – with substantial burr from the drypoint work – of this American cubist rarity. The only impression of Figure in Glass of comparable quality we are aware of is at the National Museum of Art, Smithsonian Institution, pictured in the Czestochowski catalogue. Most impressions of Figure in Glass which […]

Read more and view large image >

Four Nudes in a Landscape

Artist: Jan Matulka

Jan Matulka (1890-1972), Four Nudes in a Landscape, drypoint, c. 1923, signed in pencil lower right margin [also with initials in the plate lower left]. Reference: Flint 4, only state. Edition: no edition, only several proofs were made. In very good condition, with margins, 10 11/16 x 13 15/16, the sheet 12 1/2 x 17 inches. Onlaid Strathmore Japan paper, with their watermark, deckle edges top and bottom, archival mount with window mat. A fine fresh impression, arare proof (no edition is known), with extensive burr from the drypoint work, and a substantial layering of plate tone. Born in Prague, […]

Read more and view large image >

Panel with a Mascaron

Hans Sebald Beham (1500-1550), Panel with a Mascaron, engraving, 1543 [with the initials monogram and date in the plate]. Reference: Bartsch 231, Hollstein 235. Second state (of 2). In very good condition, with thread margins, on a laid paper; 1 15/16 x 3 1/8 inches. Provenance: H. Steibel (Lugt 1367); unidentified collector (Lugt 23686) (both collector’s stamps verso). A fine strong impression of this famous image; clearly an early impression of this state. The composition was completed in the first state, but there were still some white spots in the background; these were filled in by dots in the second […]

Read more and view large image >

La Lecture Interrompue

l674aa

Jean-Emile Laboureur (1877-1943), La Lecture Interrompue (also La Liseuse), 1912, woodcut, signed and annotated “ep. d’artiste du 3 etat”. Reference: Sylvain Laboureur 674. In excellent condition (tiny fleck upper right, paper imperfection), on hand made cream wove paper, the full sheet with deckle edges, 9 7/8 x 6 7/8, the sheet 15 x 11 inches, archival mounting. A fine impression of one of Laboureur’s great images; ararity – only 11 lifetime impressions were printed. Jean-Emile Laboureurtraveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby famed Academie Julian, and although he […]

Read more and view large image >

Opera Box

Reginald Marsh (1898-1954), Opera Box, 1936, engraving, signed, numbered and annotated in pencil (State II 4/5, “to Dolsy and Eddie”); one of only 11 proofs. Reference: Sasowsky 162, second state of three. In very good condition, with wide margins (not shown in the illustration, and also somewhat uneven, as trimmed by the artist), 7 x 5, the sheet 9 3/4 x 7 1/4 inches, archival mounting. A superb black impression of this very rare print. Only five impressions were made of this print in this state (one of the first state, and five of the third; eleven altogether). The design […]

Read more and view large image >

Irving Place Burlesk

Reginald Marsh (1898-1954), Irving Place Burlesk, etching, 1929, signed in pencil lower right and numbered (18) lower left. Reference: Sasowsky 75, third state (of 3). In very good condition, withmargins (trimmed by Marsh in his usual fashion, i.e., slightly unevenly), on an ivory laid paper; 7 1/8 x 9 3/4, the sheet 8 5/8 x 10 3/4 inches. Archival mounting with window mat, unattached mylar hinging. A suberb impression, printed by the artist in black ink on an ivory paper. In contrast to many of his famed burlesque prints Marsh here focuses almost entirely on the audience – men smiling […]

Read more and view large image >

Flying Concellos

Reginald Marsh (1898-1954), Flying Concellos, etching, 1936, signed in pencil lower right and annotated “40 Proofs” lower left. Reference: Sasowsky 163, fourth state (of 4). In excellent condition, on a RIVES wove paper, the full sheet with deckle edges, with full margins (tiny hinges upper corners from prior hinging),8 x 10, the sheet 11 3/8 x 15 3/4 inches, archival matting. A fine impression. Flying Concellos was printed in a 11 or so proofs, then 15 impressions by Marsh in July of 1936 and another 10 in October ’36 by Charles White. Since this impression is in such fine condition […]

Read more and view large image >

Erie RR and Factories

Reginald Marsh (1898-1954), Erie RR and Factories, etching andengraving,1930, signed in pencil lower right and numbered (10) lower left [also signed and dated in the plate]. Reference: Sasowsky 90. Second state (of 6). In excellent condition, with margins, 8 x 12, the sheet 9 x 13 1/8 inches, archival matting. A fine impression, printed in black on a cream laid paper. Although this impression is numbered, suggesting therefore that itis the final state, some areas,e.g., the area under the chimney, are not asshadedor dark as the final state. Moreover, there are numerousengraving lines which have not been burnished, and others […]

Read more and view large image >

Tatoo-Shave-Haircut

Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition,with small margins (as trimmed, slightly irregularly, by the artist)(slight foxing in margins),remains of prior hinging verso;9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Centurymasters of photography, and a friend of […]

Read more and view large image >

Irving Place Burlesque, Lithograph, 1928

Reginald Marsh (1898-1954), Irving Place Burlesque, lithograph, 1928, signed in pencil lower right and inscribed 25 proofs lower left margin [also signed and dated in the plate upper left]. Reference: Sasowsky 15, only state. Chine colle on a thick cream wove paper, the matrix in adequate condition but the backing sheet with multiple (repaired) tears, somegoing just up to the image. Although these tears do not materially interfere with the matrix this print should not be considered by anyone at all fussy about condition. 10 x 11 5/8, the sheet 11 7/8 x 13 1/4 inches, archival matting. Provenance: Estate […]

Read more and view large image >

Figure in Glass – Posthumous Impression signed by Nankivell (Printer)

Arthur B. Davies (1862-1928), Figure in Glass, drypoint on zinc, 1916-7, printed in 1929 by the printer and artist Frank Nankivell, signed by the printer lower left with the annotation “printer”. Reference: Czestochowski 38, only state. Invery good condition, on a blue green laid paper, 6 1/8 x 5 1/2, the sheet 9 1/4 x 7 1/2 inches, archival mounting. A fine impression of this American cubist rarity. This is from the group (small, but of unknown size) of posthumous impressions printed by Frank Nankivell in 1929, the year after Davies died. Czestochoski notes that the total number of impressions […]

Read more and view large image >

La Tour de L’Horloge 3rd state of 10

Charles Meryon (1821-1868), La Tour de L’Horloge (The Clock Tower, Paris), 1852, etching with engraving. Reference: Schneiderman 23, Delteil 28. Third state (of 10). On very thin Japan paper. 10 1/4 x 7 1/4 inches. Archival mounting (non-attached mylar hinging between acid free board, glassine cover). In very good condition. Provenance: Colnaghi, London (with their notation verso). A fine early atmospheric impression, printed in dark brownish/black ink. In this state the borderline at both sides has yet to be reinforced. There is still a thin horizontal line across the lower margin above the bottom platemark, which is removed in the […]

Read more and view large image >

Veuves d’un Louis

Thophile Steinlen (1859-1923), Veuves d’un Louis, lithograph in two colors (brown and black), 1915, numbered (326/400 but not signed [signed, titled and dated in the plate], from the edition of 400. Not in Crauzat (Crauzat was published in 1913, and so did not include works after that date). In very good condition, the full sheet, on a cream wove paper, 16 x 12 1/4, the sheet 22 x 15 inches. A fine impression. Although he is famed for hisfin de siecle posters (and for his cats!), Steinlenswork throughout his career was marked by strong social consciousness. From early on, he […]

Read more and view large image >

Le Petit Metropolitan Life Building, 1909 (only 2 impressions made)

Jean-Emile Laboureur, Le Petit Metropolitan Life Building, etching, 1909, signed and dated in pen lower left, numbered in pencil (1/2) lower right. Reference: Sylvain Laboureur 88, only state, one of the two proofs of this print, no edition. In very good condition, on a cream laid Arches paper (with a partial watermark), the full sheet, 6 3/4 x 4, the sheet 12 x 8 1/2 inches. A fine impression of this great rarity, printed with platetone. Laboureur made only two impressions of Le Petit Metropolitan Life Building; he later made another stab at this subject, larger size and in reverse […]

Read more and view large image >

Cahier de Six Paysages

Jean-Emile Laboureur (1877-1943), Cahier de Six Paysages, etchings, 1928, each signed in pencil and inscribed “ep d’artiste”. Reference: Sylvain Laboureur 386-391, the artist’s proofs of the third state (of 3). The total printing in all states was 150. Contained in green hardcover boards, with a title cover. The green board covers and the prints themselves are in excellent condition (the outer cover is torn extensively). Printed on a cream/tan Japan paper, with full margins, 3 5/8 x 5 3/8, the sheets 10 1/2 x 11 3/4 inches. Ex collection: John Gribbel (with his pencil inscription on cover) Fine clear delicately […]

Read more and view large image >

Sur la Tamise (On the Thames)

Jean-Emile Laboureur (1877-1943), Sur la Tamise, woodcut, 1914, signed in pencil lower left margins and numbered (3/35) lower right margin. Reference: Sylvain Laboureur 696, only state. In generally good condition apart from mat stain outside of the image, slight toning, on Arches laid paper, with margins, 11 3/8 c 14 3/8, the sheet 13 1/2 x 16 1/2 inches. A good impression of this early cubist-influenced woodcut. Laboureur was of course close to Felix Vallotton, even before the turn of the century, and this woodcut shows the continuing influence of Vallotton as Laboureur was beginning to bring cubism into his […]

Read more and view large image >

Paysage au Tunnel

Jean-Emile Laboureur (1877-1943), Paysage au Tunnel, etching, 1920, signed in pencil lower left, numbered (19/55 ep) lower right and also titled lower left edge. Reference: Sylvain Laboureur 195, second state (of 2), from the edition of 55. In very good condition, printed on a cream wove paper with deckle edges, the full sheet with wide margins, 7 7/8 x 9, the sheet 11 x 16 1/8 inches. A fine impression, printed in a dark brownish/black ink. This is similar to the composition of Paysage au Butte Chaumont (L 205) but it a more dramatic etching (here along the Loire, near […]

Read more and view large image >

Chaumieres Dans Les Marais

Jean-Emile Laboureur etching and roulette, Chaumieres Dans Les Marais, 1930, signed lower left and numbered 12/80, Reference: Sylvain Laboureur 422, Godefry 422. Third state of three. From the total printing of 108, 85 in this state. With the blindstamp of Jacquart lower right margin. In very good condition, on medium wove paper with full margins, 7 3/4 x 8 3/4, the sheet 11 1/2 x 14 1/4 inches. A fine, vivid impression. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby […]

Read more and view large image >

Faubourg

Jean-Emile Laboureur (1877-1943), Faubourg, soft ground etching in two plates (black and sanguine), 1930, signed in pencil lower left and inscribed “imp d’essai” lower right. Reference: Sylvain Laboureur 413, a trial proof of the first state (of 2); there were 20 impressions of the first state, and 170 of the second state which was issued in conjunction with the publication of L’Eloge de J.-E. Laboureur by Dr. Lucien-Graux. In very good condition, with wide (full?) margins, 7 3/4 x 5 3/4, the sheet 10 1/2 x 8 1/4 inches. A fine proof impression of the first state. In the second […]

Read more and view large image >

La Depart Pour La Chasse (Leaving for the Hunt)

Jean-Emile Laboureur lithograph La Depart Pour La Chasse, in five colors, 1927, signed and numbered (35/150) in pencil (Sylvain Laboureur, Godefry 780), from the edition of 150 plus 20 hors tirage.9 x 8 1/4 (sheet: 19 1/2 x 13 1/4) inches; 229 x 210 (sheet 495 x 337) mm, acid-free mounting. Good condition, on a heavy wove paper with wide (full) margins and deckle edges (a fox spot in right margin away from image, scattered foxing at extreme margin edges, 2 pinholes in margins) A fine impression in vivid colors. The edition was published by the review Le Chien de […]

Read more and view large image >

An Introduction to Goya’s Aquatint sets

DSCF8149

    I get many questions about Goya prints, so thought it might be useful to sketch an overview of some of his most famous and common prints: the aquatint sets. Francisco Goya (1746-1828) was of course one of the greatest of Western artists, and printmaking was central to his career. He created four major series of prints, and many other prints including a series of lithographs late in his career. Due to the way most of his prints were created and published, thereis much confusion today about their dating, their rarity, their appearance and their value. In this guide […]

Read more and view large image >

A Cautionary Note on Rembrandt Prints

rembrandtjanlutma

Many aspiring print collectors are initially interested in collecting Rembrandt prints; this is understandable since Rembrandt is well known, and of course fine examples of Rembrandt prints are extraordinarily beautifuland justifiably sought after. But a high level of Rembrandt print connoisseurship can be gained only through study, or the guidance of a reputable and knowledgeable dealer, or preferably both. This note is an introduction to some of the issues. Rembrandt made etchings and drypoints, working on copper plates, creating ink-holding furrows in these plates either directly (using a drypoint needle) or with etching (drawing through a wax-like substance covering a […]

Read more and view large image >

The Alliance of the White King, The Pope, Spain, and Hungary

Hans Burgkmair (1459-1519), The Alliance of the White King, The Pope, Spain and Hungary, woodcut, 1514-1516. Reference: Bartsch 80-(224) 182 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink at bottom margin, some slight staining, foxing), on old laid paper, 8 3/8 x 7 5/8, the sheet 10 1/8 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688). Lugt notes of Liphart, a distinguished collector of old master prints, il […]

Read more and view large image >