Old Master Through Modern Prints
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Nicholas D. Lowry
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924899
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Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
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Old Masters
Albrecht dürer
The Virgin and Child with the Monkey.
Engraving, circa 1498. 189x120 mm; 7½x4¾ inches, small margins. A very good, evenly-printed Meder l impression, with the small dot in the clouds upper center and with strong contrasts. Bartsch 42; Meder 30.
Estimate
$4,000 – $6,000
Albrecht dürer
The Holy Family with the Butterfly.
Engraving, circa 1495. 232x185 mm; 9¼x7½ inches. A very good, dark, well-inked Meder b impression with very strong contrasts, still with some traces of the delicate vertical wiping marks in the sky. Trimmed on or just inside the plate mark. Bartsch 44; Meder 42.
Estimate
$10,000 – $15,000
Albrecht dürer
The Penance of St. John Chrysostom.
Engraving, circa 1497. 182x120 mm; 7¼x4¾ inches, thread margins. A brilliant, dark, early Meder b-c impression with very strong contrasts and no sign of wear. Ex-collection Roumiantzoff Museum, Moscow, with the ink stamp verso (variant of Lugt 1524). Bartsch 63; Meder 54.
Estimate
$10,000 – $15,000
"The Sea Monster is, along with Hercules, or the Effects of Jealousy, one of Dürer's largest and most ambitious engravings of his early career up to around 1500. They are clearly both tour-de-force printmaking efforts by the young artist—who was not yet 30 years old."
4
Albrecht dürer
The Sea Monster.
Engraving, before 1500. 251x188 mm; 10x7⅜ inches, thread margins. A very good, evenly-printed, well-inked Meder k impression with strong contrasts and little to no sign of wear. Small bunch of grapes with the letters AP watermark (Meder 130, which he dates to around 1570).
Dürer (1471-1528) opened his own artistic workshop in the spring of 1495. In the years leading up to this significant development in his career, he had trained extensively during his teens with his father, a talented goldsmith, as well as with the Nuremberg painter-printmaker, Michael Wolgemut for three years (1486-89) and traveled extensively through southern Germany, Austria and northern Italy, making a journey to Venice and likely Padua and Mantua from the autumn of 1494 to the spring of 1495. According to Bartrum, “He was particularly impressed by the work of artists such as Andrea Mantegna (1431-1506), Giovanni Bellini (circa 1430/40-1516) and Antonio del Pollaiuolo (circa 1432-1498),” (Bartrum, Albrecht Dürer and his Legacy, London, 2002, page 105).
The Sea Monster is, along with Hercules, or the Effects of Jealousy, one of Dürer’s largest and most ambitious engravings of his early career up to around 1500. They are clearly both tour-de-force printmaking efforts by the young artist—who was not yet 30 years old–to achieve acclaim and prestige, much like his Apocalypse woodcut series from the 1490s. The engravings, however, evince Dürer’s profound emulation of Italianate artistic styles of the time, notably the work of Mantegna. In The Sea Monster, Dürer combines a Germanic setting (there is a view of Nuremberg castle in the background) with a figural group highly influenced by, if not lifted from, a Mantegna school composition. The nymph who is apparently being abducted by the sea monster also wears an elaborate hairstyle that was popular with upper-class Milanese women at the time.
Bartrum notes that Dürer sensed early on in his career, during the late 1400s and the opening of his workshop, that printmaking would be his path to success and fame, “By choosing to make engravings rather than copy them in singular luxury objects, Dürer could imprint his art on the products of his father’s trade, effectively reversing his filial relation through creative priority . . . Most importantly, he had a highly developed commercial sense; by 1497 he had already hired an agent, Contz Schwytzer, to handle his foreign print sales” (Bartrum, pages 21 and 106). Bartsch 71; Meder 66.
Estimate
$15,000 – $20,000
Albrecht dürer
Samson Fighting with the Lion.
Woodcut, circa 1496-97. 383x274 mm; 15⅛x10¾ inches, narrow margins. A very good, dark and evenly-printed Meder d-e impression, with the breaks in the border line but very little wear in the image itself, with strong contrasts and with the relief from the wood block distinct on the verso. Bartsch 2; Meder 107.
Estimate
$3,000 – $5,000
Albrecht dürer
The Bath House.
Woodcut, circa 1498. 388x284 mm; 15⅜x11¼ inches, narrow margins. A very good, dark, well-inked and evenly-printed Meder d impression with strong contrasts and little to no sign of wear. Bartsch 128; Meder 266.
Estimate
$4,000 – $6,000
Albrecht dürer
The Satyr’s Family.
Engraving, 1566. 115x70 mm; 4⅝x2¾ inches, narrow to thread margins. Bull's head watermark.
A deceptive impression after Dürer's original engraving, made by Wiericx at age 12, with the inscription "AE 12" and the date uninked at the lower center edge of the plate.
Estimate
$1,000 – $1,500
Albrecht dürer
The Flight into Egypt.
Woodcut, circa 1503. 298x212 mm; 11¾x8⅜ inches, small margins. A very good, dark impression from after the 1511 Latin text edition, with strong contrasts. Shield with a diagonal band watermark (Meder 246). Bartsch 89; Meder 201.
Estimate
$3,000 – $5,000
Albrecht dürer
The Birth of the Virgin.
Woodcut, circa 1503. 298x212 mm; 11¾x8⅜ inches. A brilliant, richly-inked proof impression before the 1511 Latin text edition, with very strong contrasts and no sign of wear, with the relief from the wood block on the verso distinct, consistent with the earliest impressions of this subject. Bull’s head watermark (Meder 20a, which he dates from the late 1490s/early 1500s). Trimmed on the outside of the border line with the border line preserved on all sides. Bartsch 80; Meder 192.
Estimate
$15,000 – $20,000
Albrecht dürer
Christ among the Doctors.
Woodcut, circa 1503. 296x209 mm; 11¾x8⅛ inches, thread margins. A brilliant, richly-inked proof impression, before the 1511 Latin text edition, with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. High crown watermark (Meder 20, which he dates from 1480 to 1525). Ex-collection Carl Schlösser (Lugt 636, verso). Bartsch 91; Meder 203.
Estimate
$10,000 – $15,000
Albrecht dürer
The Last Supper.
Woodcut, 1510. 394x287 mm; 15½x11⅜ inches. A good, dark Meder e impression after the 1511 Latin text edition. Pinecone in a shield with the letters G and H watermark (Meder 183, which he dates to around 1600). With thread margins or trimmed on the border line. Bartsch 5; Meder 114.
Estimate
$1,500 – $2,500
Albrecht dürer
Christ before Caiaphas.
Engraving, 1512. 117x73 mm; 4⅝x2⅞ inches. A very good, richly-inked, early Meder a impression, with strong contrasts and no sign of wear. Ex-collection Hermann Weber (Lugt 1383, verso). With thread margins or trimmed on the plate mark. Bartsch 6; Meder 6.
Estimate
$3,000 – $5,000
Albrecht dürer
Christ before Pilate.
Woodcut, 1509-11. 129x96 mm; 5⅛x3¾ inches, narrow margins. A superb, dark, richly-inked proof impression before the 1511 Latin text edition, with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Partial bull’s head watermark (Meder 70, which he dates from the early 1500s). Bartsch 31; Meder 140.
Estimate
$2,000 – $3,000
Albrecht dürer
The Mocking of Christ.
Woodcut, circa 1509-11. 127x98 mm; 5⅛x4 inches. A very good, well-inked proof impression before the 1511 Latin text edition with strong contrasts. Partial high crown watermark (Meder 20, which he dates from 1480 to 1525 and cites for proof impressions of this subject). With thread margins or trimmed on the border line. Bartsch 30; Meder 139.
Estimate
$1,500 – $2,500
Albrecht dürer
Christ Crowned with Thorns.
Woodcut, 1509-11. 130x103 mm; 5x4 inches, thread margins. A brilliant, richly-inked proof impression before the 1511 Latin text edition with very strong contrasts and no sign of wear. Ex-collection Marsden Jasael Perry (Lugt 1880, verso). Bartsch 34; Meder 143.
Estimate
$2,500 – $3,500
Albrecht dürer
The Last Judgment.
Woodcut, circa 1509-11. 127x98 mm; 5⅛x4 inches. A very good, well-inked and dark impression from the 1511 Latin text edition with strong contrasts and with little to no sign of wear. Partial high crown watermark (Lugt 20, which he cites for the 1511 Latin text edition and earlier impressions of this subject). Ex-collection Wilhelm Eduard Drugulin (Lugt 2612, verso); and unknown collector, ink stamp with the letter P verso (not in Lugt). With thread margins or trimmed on the border line. Bartsch 52; Meder 161.
Estimate
$2,500 – $3,500
Albrecht dürer
The Holy Kinship with the Lute-Playing Angels.
Woodcut, 1511. 213x215 mm; 8⅜x8½ inches, wide margins. A superb, dark, richly-inked Meder a-b impression, before the cracks in the borderline and in the last “1” in the date upper center, with very strong contrasts, little to no sign of wear and the relief from the wood block distinct on the verso, consistent with the earliest impressions of this subject. Ex-collection Waldburg Wolfegg’sches Kupferstichkabinett (Lugt 2542, verso). Bartsch 97; Meder 216.
Estimate
$6,000 – $9,000
Albrecht dürer
The Virgin and Child with a Pear.
Engraving, 1511. 155x107 mm; 6⅛x4¼ inches, narrow margins. A superb, dark, richly-inked Meder a impression, before any scratches or wear on the figures, with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bartsch 41; Meder 33.
Estimate
$5,000 – $8,000
Albrecht dürer
Philip Melanchthon.
Engraving, 1526. 174x127 mm; 7x5 inches, small margins. A good Meder f impression. The upper portion of a coat-of-arms watermark (possibly Meder 349). Bartsch 105; Meder 104.
Estimate
$2,000 – $3,000
Albrecht dürer
Willibald Pirckheimer.
Engraving, 1524. 180x112 mm; 7⅛x4⅜ inches. A very good, evenly-printed Meder 1 c impression, with the short diagonal scratch above the letter G in the word “Effigies” in the tablet below. With thread margins or trimmed on the plate mark. Bartsch 106; Meder 103.
Estimate
$1,500 – $2,500
Albrecht dürer
Frederick the Wise, Elector of Saxony.
Engraving, 1524. 184x125 mm; 7⅝x5 inches, narrow to thread margins. A good, evenly-printed Meder d impression. Bartsch 104; Meder 102.
Estimate
$1,500 – $2,500
Lucas van leyden
Old Man with Grapes.
Engraving, circa 1523. 114x82 mm; 4½x3¼ inches, thread margins. A superb, dark and well-inked impression of this scarce engraving, with very strong contrasts. Bartsch 151; Volbehr 154; New Hollstein 151.
Estimate
$1,000 – $1,500
Lucas van leyden
The Temptation of St. Anthony.
Engraving, 1509. 163x145 mm; 6½x5¾ inches. With thread margins outside the border line or trimmed on the border line. A very good impression of this extremely scarce engraving with strong contrasts.
We have found only 5 other impressions at auction in the past 30 years. Bartsch 117; Hollstein 117; Volbehr 117.
Estimate
$1,200 – $1,800
Lucas van leyden
Susanna and the Elders.
Engraving, 1508. 197x145 mm; 7¾x5¾ inches. First state (of 2). Gothic letter P with a flower watermark. With thread margins or trimmed on the plate mark. A superb, dark, evenly-inked and early impression with strong contrasts and little to no sign of wear, consistent with the earliest impressions of this subject. Bartsch 33; Hollstein 33; Volbehr 33.
Estimate
$10,000 – $15,000
Lucas van leyden
Christ on the Mount of Olives.
Engraving, 1521. 115x73 mm; 4½x3 inches. Partial bull’s head with the letter T watermark (Briquet 15177, which dates from around 1508 to 1522). Ex-collection Pierre Mariette (Lugt 1788, verso). Trimmed on the plate mark. A very good, dark impression of this scarce engraving. Bartsch 44; Hollstein 44; Volbehr 44.
Estimate
$1,000 – $1,500
Albrecht altdorfer
The Fall and Salvation of Mankind Through the Life and Passion of Christ.
Group of 7 (of 40) woodcuts, circa 1513. Each approximately 73x48 mm; 3x2 inches. Three ex-collection Paul Davidsohn (Lugt 654, verso). Each an early, dark, richly-inked impression with little to no sign of wear and very strong contrasts. Bartsch 20, 21, 26, 28, 29-31.
Estimate
$2,000 – $3,000
Albrecht altdorfer
The Fall and Salvation of Mankind Through the Life and Passion of Christ.
Group of 9 (of 40) woodcuts, circa 1513. Each approximately 73x48 mm; 3x2 inches. Each an early, dark, well-inked impression with little to no sign of wear and strong contrasts. Bartsch 16, 23-25, 28, 35-37 and 39.
Estimate
$3,000 – $5,000
Hans sebald beham
St. Christopher.
Woodcut, circa 1528. 302x217 mm; 12x8⅝ inches, narrow margins. Ex-collection Peter Gallatly (Lugt 1185, verso; according to Lugt, Gallatly’s auction, at Gutekunst, Stuttgart, May 13-18, 1911, included a collection of 77 lots by Beham); and William Edwin Rudge, Woodstock, Vermont. A very good impression of this extremely scarce woodcut.
We have found only 3 other impressions at auction in the past 30 years. Bartsch App. 16 (as Dürer); Pauli 892.
Estimate
$1,500 – $2,500
Hans sebald beham
Standard-Bearer and Drummer.
Engraving, 1544. 70x50 mm; 2¾x2 inches, thread margins. First state (of 2). A superb, dark, richly-inked and early impression with very strong contrasts and no sign of wear.
This engraving was made as a sympathetic memorial to the peasants of the 1524-25 German Peasants' War, in which up to 100,000 of some 300,000 poorly armed peasants and farmers were slaughtered by forces of the aristocracy in the German-speaking areas of Central Europe during a widespread, months-long revolt. It was Europe's largest popular uprising prior to the French Revolution of 1789. The fighting was at its height in the middle of 1525. Seeking influence and freedom, the peasants were spurred on by radical reformers and Anabaptists such as Thomas Müntzer; in contrast, Martin Luther and other Magisterial Reformers condemned the uprising and sided with the nobles. The inscriptions on the engraving identify the drummer as a bumbling “Farmer Conrad” and the standard bearer as “Klaus Swineherd,” in the same light as the figures would have been viewed by the aristocracy and their mercenaries.
Both Hans Sebald Beham (1500-1550) and his brother Barthel Beham (see lot 32, 1502-1540) were expelled from Nuremberg in 1525, during the upheaval of the Peasants' War, for their atheistic and radical views. This engraving may also have served as a testament to the youthful radicalism of godless artists represented by the Behams. Bartsch 199; Pauli 202.
Estimate
$2,000 – $3,000
Hans sebald beham
Two engravings.
Coat of Arms with a Cock, 1543 * Coat of Arms with an Eagle, 1543. Both approximately 70x50 mm; 2¾x2 inches, thread margins. Both very good impressions. Bartsch 256 and 257; Pauli 267 and 268.
Estimate
$1,000 – $1,500
Barthel beham
Emperor Ferdinand I.
Engraving, 1531. 207x134 mm; 8¼x5¼ inches. Second state (of 3), before the address of Heyden. Cardinal’s hat watermark. Ex-collection Christian Gottlieb Crusius (Lugt 548, verso). With thread margins or trimmed on the plate mark. A brilliant, richly-inked impression of this extremely scarce engraving with very strong contrasts and little to no sign of wear. Bartsch 61; Pauli 91.
Estimate
$3,000 – $5,000
Heinrich aldegrever
Two Lovers Seated.
Engraving, 1529. 58x52 mm; 2½x2 inches, narrow margins (the uncut rectangular plate). A superb, dark impression of this exceedingly scarce engraving.
We have not found another impression at auction in the past 30 years.
Bartsch described this plate as circular, with a diameter of 52 mm. Similarly, Hollstein catalogued and illustrated this engraving, using an impression from the Detmold collection (see Lugt 760), that was trimmed to the circular border line and re-margined. Bartsch 173.
Estimate
$3,000 – $5,000
Heinrich aldegrever
Three engravings.
The Rich Man in Hell, Seeing Lazarus Embraced by Abraham, 1554 * Sophonisba Drinking Poison, 1553 * Hercules and the Hind, 1550. Bartsch 40, 45 and 48.
With--Two engravings after Aldegrever. The Parable of the Good Samaritan: The Robbers Attacking the Travelers, after 1554 * Lazarus at the Rich Man's Gate, after 1554. Various sizes and conditions.
Estimate
$1,200 – $1,800
Georg pencz
Christ and the Children.
Engraving, circa 1540. 80x117 mm; 3¼x4¾ inches, thread margins. Ex-collection Franz Rechberger (Lugt 2133, verso); and Max Egon Fürst zu Fürstenberg (Lugt 2811, verso). A superb, dark, richly-inked impression of this very scarce engraving.
With–Mutius Scevola, engraving. A brilliant, richly-inked, early impression * HEINRICH ALDEGREVER. Strength, engraving, 1528. Second state (of 2). Various sizes and conditions. Bartsch 56, 74 and 133.
Estimate
$1,500 – $2,500
Georg pencz
Attilius Regulus.
Engraving, 1535. 117x76 mm; 4¾x3¼ inches. Ex-collection George M. La Monte (Lugt 1181c, verso). Trimmed on the plate mark. A very good impression of this scarce engraving.
Marcus Atilius Regulus was a Roman statesman and general who was a consul of the Roman Republic in 267 BC and 256 BC. He negotiated a peace treaty with the Carthaginians after the First Punic War (256 BC), during which he was captured and held in Tunis. When he returned to Rome on parole with the treaty details, he urged the Roman Senate to refuse the proposal. Over the protests of his own people, to have fulfilled the terms of his parole, rather than break his word, he returned to Carthage, where, according to Roman tradition and Livy, he was tortured to death. In Tertullian’s To the Martyrs and Augustine of Hippo’s The City of God, it is said the Carthaginians packed him into a tight wooden box, spiked with sharp nails on all sides so that he could not lean in any direction without being pierced and rolled it down a steep hill. Bartsch 77.
Estimate
$1,000 – $1,500
Giulio bonasone (after raphael)
Noah Leaving the Arc.
Engraving, 1544. 301x381 mm; 11¾x15 inches. Ex-collection Donald Moreland, Cambridge, Massachusetts, according to a label. With thread margins or trimmed on the plate mark. Bartsch 4.
Estimate
$1,000 – $1,500
Group of 6 Italian 16th and 17th century engravings and etchings.
AGOSTINO VENEZIANO (after). Soldier Attaching his Breeches to his Breast Plate, engraving, 1517. Based on a drawing by Michelangelo (1475-1564). Bartsch 463 Copy A * GIULIO BONASONE. Two Sea Gods Accompanied by Four Nymphs, engraving, circa 1550. Bartsch 173 * DIANA SCULTORI (after Giulio Romano). Latona Giving Birth to Apollo and Diana on the Island of Delos, engraving, circa 1580. Bartsch 39 * GIOVANNI ANDREA PODESTÀ. A Bacchanal with Satyrs, etching, 1640. Bartsch 4 * SALVATOR ROSA. St. William of Malevale, etching, 1661 * The Genius of Salvator Rosa, etching, circa 1662. Wallace 99 and 113. Various sizes and conditions.
Estimate
$1,500 – $2,500
Diana scultori (after giulio campi)
Mary Magdalene Washing Christ’s Feet.
Engraving, 1575. 270x192 mm; 10¾x7¾ inches. Third state (of 4), before the address of the publisher Horatius Pacificus. Ex-collection Carl Wiesböck (Lugt 2576, verso). A good impression of this very scarce engraving.
The current work is based on Campi's (1502-1572) fresco, which he painted in the church of S. Sigismondo, Cremona, circa 1570. Bartsch 3; Bellini 28.
Estimate
$1,000 – $1,500
Pieter coecke van aelst (after)
Procession of Sultan Süleyman through the Atmeidan from the frieze Customs and Fashions of the Turks.
Group of 4 (of 7) woodcuts, circa 1553. Each approximately 332x470 mm; 13x18½ inches (sheets), wide margins, the four sheets forming a connected, continuous frieze. One sheet with a Strasburg Lily watermark. Good impressions of these exceedingly scarce woodcuts.
We have found only 2 other sets of the woodcuts at auction in the past 30 years.
Van Aelst (1502-1550) traveled to Constantinople in 1533; he appears to have been part of an expedition sent by the Brussels-based Dermoyen firm to negotiate a sale of tapestries to the Sultan Süleyman. The firm may have been hoping that Süleyman, wanting to rival Western monarchs, would commission a set of tapestries glorifying his reign, possibly based on the designs rendered in this frieze. The tapestry commission appears never to have materialized. Van Aelst's widow published the woodcut frieze 20 years after her husband executed the designs created during or soon after his journey to Constantinople. Hollstein 4.
Estimate
$2,500 – $3,500
Pieter van der borcht
Two etchings.
Jesus, Perceiving the Thoughts of their Hearts, Took a Child and Set him by Him * I Go to Prepare a Place for You. Both 1582. Both approximately 188x243 mm; 7½x9¾ inches. One with a foolscap watermark (Heawood 75); the other with a crowned fleur-de-lys watermark (Heawood 96). Both very good impressions. Hollstein 75 and 96.
Estimate
$1,500 – $2,500
Tiziano vecellio, called titian (follower of)
Charles V.
Woodcut, after 1530. 485x342 mm; 19¼x13½ inches. Trimmed on the outside of the black border line. A good impression of this scarce woodcut.
This portrait was likely derived from or inspired by Giovanni Britto's (1500-1550) woodcut portrait of the Holy Roman Emperor Charles V (1500-1558), from circa 1535, that was based on Titian's (1490-1576) now lost oil portrait of the emperor (known from a copy by Peter Paul Rubens, 1577-1640, in the Courtauld Gallery, London; see Muraro and Rosand, Tiziano e la Silografia Veneziana del Cinquecento, Vicenza, 1976, catalogue number 57). Britto's woodcut shows Charles V in armor, albeit without the plumed helmet that apparently appeared in Titian's oil portrait, as shown in the Ruben's copy. The current woodcut portrait depicts Charles V in full Holy Roman Emperor regalia. He was crowned Holy Roman Emperor by Pope Clement VII in Bologna on February 22, 1530, the last emperor to receive a papal coronation.
Estimate
$3,000 – $5,000
Andrea andreani (after mantegna)
The Triumphs of Julius Caesar.
Two chiaroscuro woodcuts printed in dark olive brown, tan and black on cream laid paper, 1599. Both approximately 361x372 mm; 14¼x14⅝ inches. Both very good, richly-inked impressions with strong colors.
Andreani's (1540-1623) frieze of 9 chiaroscuro woodcuts (there is also a woodcut title page on a tenth sheet) depicts The Triumphs of Julius Caesar after a series of 9 paintings created by Andrea Mantegna (1431-1506) between 1484 and 1492 for the Gonzaga Ducal Palace in Mantua, notably the triumphal military parade celebrating the victory of Caesar in the Gallic Wars (58 BC–51 BC). This is among of the most ambitious and technically complex print series made during the 16th century and required a team of highly-skilled craftsmen, from the artist, woodblock carvers and printers, to the artisans who mixed the inks and the mills which produced the paper. Bartsch 11.
Estimate
$2,000 – $3,000
"This engraving is likely based on the oil portrait, now in the Museo Nacional del Prado, Madrid, of Charles II by Sofonisba Anguissola (circa 1532-1625), a late Italian Renaissance painter born in Cremona. In 1559 Anguissola was recruited by the Spanish queen, Elizabeth of Valois, who was herself an amateur portraitist, to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II."
44
Johannes wiericx
Phillip II, King of Spain.
Engraving, 1586. 357x251 mm; 14¼x10 inches, small margins. First state (of 2). Cornucopia watermark. A brilliant, early impression of this extremely scarce, large engraving with all the details distinct and little to no sign of wear.
This engraving is likely based on the oil portrait, now in the Museo Nacional del Prado, Madrid, of Charles II by Sofonisba Anguissola (circa 1532-1625), a late Italian Renaissance painter born in Cremona. In 1559 Anguissola was recruited by the Spanish queen, Elizabeth of Valois, who was herself an amateur portraitist, to go to Madrid as her tutor, with the rank of lady-in-waiting. She later became an official court painter to the king, Philip II. After the queen’s death, Philip helped arrange an aristocratic marriage for Anguissola. She moved to Sicily, and later Pisa and Genoa, where she continued to practice as a leading portrait painter. Hollstein 2134; Mauquoy-Hendrickx 1892.
Estimate
$1,000 – $1,500
Hendrick goltzius
Apollo.
Engraving, 1588. 342x265 mm; 13½x10½ inches (oval). Strasburg Lily watermark. Trimmed on the oval border line. A brilliant, richly-inked, early impression with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bartsch 141; Hollstein 131.
Estimate
$5,000 – $8,000
Hendrick goltzius
Mars and Venus Surprised by Vulcan.
Engraving, 1585. 407x305 mm; 16¼x12 inches. First state (of 3), before the address of Visscher. Strasburg Lily watermark. With thread margins or trimmed on the thin black border line. A brilliant, richly-inked, early impression of this scarce, important engraving, with very strong contrasts and no sign of wear. Bartsch 139; Hollstein 137.
Estimate
$4,000 – $6,000
Jan saenredam (after goltzius)
Bacchus, Ceres and Venus.
Engraving, 1600. 433x315 mm; 17x12½ inches, thread margins. Indiscernible watermark. A very good, early impression of this large, scarce engraving, with strong contrasts and no sign of wear. Bartsch 69; Hollstein 76.
Estimate
$1,500 – $2,500
Cornelis ploos van amstel (after goltzius)
Bust of a Woman.
Color etching, 1770. 264x208 mm; 10¼x8¼ inches. With the artist's ink stamp (Lugt 2725, verso). Trimmed on the plate mark. A superb impression of this extremely scarce, early color etching.
Likely a portrait of Maria Tesselschade Visscher (1594-1649), the Dutch poet and engraver and daughter of the humanist Roemer Visscher. She and her sister Anna Visscher were the only female members of the Muiderkring, the group of Dutch Golden Age intellectuals who met at Muiden Castle. Maria is often characterized as a muse of the group and attracted the admiration of its male members, such as its organizer Pieter Hooft, as well as Constantijn Huygens, Daniel Heinsius and Jacob Cats.
Estimate
$1,500 – $2,500
Agostino carracci
Saint Jerome.
Engraving, circa 1602. 384x276 mm; 15¼x10¾ inches, narrow margins. Fourth state (of 4), with one of the three letters lower left but with the name of the artist masked out lower right. A superb, richly-inked and dark impression of this large, scarce engraving, with very strong contrasts and little to no sign of wear. Bartsch 75.
Estimate
$2,000 – $3,000
Agostino carracci
Mercury and the Three Graces.
Engraving, 1589. 199x255 mm; 7⅞x10⅛ inches, thread margins. First state (of 3). Ex-collection John Whitcomb Bayley (?) (see Lugt 1412, verso). A brilliant, richly-inked, dark and early impression of this scarce engraving with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bartsch 117.
Estimate
$1,000 – $1,500
Agostino carracci
Omnia vincit Amor.
Engraving, 1599. 126x187 mm; 5x7⅜ inches, thread margins. Initials in a circle watermark. A very good, well-inked impression of this scarce engraving with strong contrasts. Bartsch 116.
Estimate
$1,000 – $1,500
Agostino carracci
Venus Punishing Profane Love.
Engraving, circa 1590-95. 154x112 mm; 6¼x4½ inches, thread margins. A very good impression of this extremely scarce engraving.
This is one of a dozen or so prints of mythological and biblical subjects, of a similar size format, which scholars have traditionally grouped as what is known as Carracci’s (1557-1602) Lascivie, even though there is no clear indication the artist ever intended these as a series. These subjects by Carracci evidently caused the wrath of Pope Clement VIII (1592-1605) who rebuked Carracci for his lack of decorum. Bartsch 135.
Estimate
$1,000 – $1,500
Jacques callot
Balli de Sfessania.
Complete set of 24 etchings, 1631. Each approximately 73x95 mm; 3x3¾ inches, narrow margins. Third state (of 3, for the frontispiece) and second state (of 2, for the additional 23 etchings), each with the plate numbers lower right. Superb, richly-inked and dark impressions of this very scarce complete set of etchings, each with very strong contrasts and little to no sign of wear. Lieure 379-402.
Estimate
$4,000 – $6,000
Jacques callot
La Tentation de Saint-Antoine.
Etching, 1635. 358x467 mm; 14⅛x18⅜ inches, small margins. Third state (of 5). Proprietary watermark with an orb and a cross. A very good, dark, well-inked impression of this important etching, with all the details distinct, with little to no sign of wear and with strong contrasts. Lieure 1416.
Estimate
$3,000 – $5,000
Jacques callot
Les Grandes Misères de la Guerre.
Complete set of 18 etchings, 1633. Each approximately 52x185 mm; 2⅛x7¼ inches. The title plate in the third state (of 3), each of the other plates in the second state or third state (of 3), with the address of Israel. Many of the sheets with a coat-of-arms with a powder horn watermark (Lieure 44-46, which he notes for early impressions of this series). Trimmed on the plate marks. Very good, richly-inked impressions with strong contrasts and little to no sign of wear. Lieure 1339-1356.
Estimate
$4,000 – $6,000
Jacques callot
Vue du Louvre.
Etching, circa 1630. 160x340 mm; 6⅜x13½ inches. Third state (of 5). Ex-collection Adalbert von Lanna (Lugt 2773, verso); and unknown collector, ink stamp verso (not in Lugt). With thread margins or trimmed on the plate mark. A very good, richly-inked, early impression with strong contrasts and no sign of wear. Lieure 667.
Estimate
$1,500 – $2,500
Claude gellée, le lorrain
La Fuite en Egypte.
Etching, circa 1630-33. 107x171 mm; 4¼x7 inches, thread margins. First state (of 4). A brilliant, richly-inked, early impression of this very scarce etching with strong contrasts and no sign of wear. Mannocci 9.
Estimate
$3,000 – $5,000
Claude gellée, le lorrain
L’Enlèvement d’Europe.
Etching, 1634. 200x256 mm; 8x10⅛ inches, thread margins. An undescribed, intermediate state between the fourth and fifth states (of 7), before the strengthening of the border line and with the circular mark on the border line upper center burnished. A very good, dark and well-inked impression of this scarce etching. Mannocci 14.
Estimate
$1,500 – $2,500
Claude gellée, le lorrain
La Tempête.
Etching, 1630. 127x175 mm; 5x6⅞ inches, thread margins. Fourth state B (of 7). A very good impression of this scarce etching.
With—Le Bouvier, etching and drypoint, 1636. 132x200 mm; 5¼x7¾ inches, thread margins. Sixth state (of 6). Mannocci 6 and 18.
Estimate
$2,000 – $3,000
Claude gellée, le lorrain
Le Bouvier.
Etching and drypoint, 1636. 132x200 mm; 5¼x7⅞ inches. Sixth state (of 6). With thread margins or trimmed on the plate mark. A very good, well-inked, dark impression with all the details distinct. Mannocci 18.
Estimate
$1,500 – $2,500
Claude gellée, le lorrain
Le Départ pour les Champs.
Etching, circa 1638-41. 130x181 mm; 5⅛x7⅛ inches, thread margins. Third state C (of 4), with the curving scratch across the mountain lower center. Ex-collection Jules Michelin (Lugt 1490; acquired from the D. G. de Arozarena collection, see Lugt 109, his sale Clement, Paris, 1861, according to an inscription in ink, verso). A very good impression of this scarce etching with strong contrasts and little to no sign of wear.
With—Le Troupeau à l'abreuvoir, etching, 1635 (1665 ?). 108x172 mm; 4 1/4x6 3/4 inches, narrow margins. Second state (of 3). Ex-collection Roger Passeron (Lugt 4096, verso). A superb, richly-inked impression.
Mannocci catalogues this print with the date 1635 (there is an illegible date scratched in the plate lower left to the right of the artist's signature), though he disputes the dating and explains that all the first state impressions he has seen of this plate "were printed on the thicker paper that Claude was using in the 1660s and not on the thin paper typical of the 30s" (Mannocci, page 126). It therefore appears that the correct date for the etching should be closer to 1665. Mannocci 34.
Estimate
$2,000 – $3,000
Simone cantarini
Rest on the Flight.
Etching, circa 1640. 174x263 mm; 6⅞x10½ inches. Ex-collection R. L. Licini, ink stamps verso (not in Lugt). Trimmed on the plate mark, with narrow to thread margins outside the border line. A very good impression with strong contrasts and all the details distinct. Bartsch 6.
Estimate
$1,200 – $1,800
Guido reni
Two etchings.
The Virgin and Child with St. John the Baptist, circa 1630. 190x160 mm; 7½x6⅜ inches, narrow margins * The Holy Family, circa 1590. 232x148 mm; 9⅛x5⅞ inches, thread margins. First state (of 2). Both ex-collection R. L. Licini, ink stamp verso (not in Lugt); the first also ex-collection Agostino Caironi (Lugt 426, lower left recto). Both very good, well-inked impressions with strong contrasts. Bartsch 6 and 9.
Estimate
$1,000 – $1,500
Pietro testa
The Academy of Painting.
Etching, 1642. 473x730 mm; 18¾x28¾ inches, small margins. Second state (of 2). Fleur-de-lys in a double circle with the joined letters CB watermark. A very good impression of this large, scarce etching, with the flecks caused by the foul-biting distinct.
We have found only 2 other impressions at auction in the past 30 years. Bartsch 34; Bellini 20.
Estimate
$1,500 – $2,500
Jusepe de ribera
The Drunken Silenus.
Etching, 1628. 268x346 mm; 10⅝x13⅝ inches, thread margins. Second state (of 3), before the address of the publisher, Rossi, lower left. A very good impression of this extremely scarce etching with strong contrasts. Bartsch 13; Brown 14.
Estimate
$1,500 – $2,500
Jusepe de ribera
The Martyrdom of St. Bartholomew.
Etching, 1624. 326x242 mm; 12⅞x9⅝ inches. First state (of 2). Small fleur-de-lys in a circle watermark. With thread margins or trimmed on the plate mark. A good, evenly-printed impression. Bartsch 6; Brown 12.
Estimate
$1,500 – $2,500
Jusepe de ribera
Saint Jerome Hearing the Trumpet of the Last Judgment.
Etching, 1621. 315x237 mm; 12⅜x9⅜ inches. Third state (of 5). Chalice with flowers watermark. A very good, richly-inked, early impression with all the fine details distinct, with strong contrasts and no sign of wear. With narrow to thread margins outside the border line.
St. Jerome was the favorite subject of Ribera (1591-1652), who was born near Valencia, Spain, but produced most of his mature work, from the 1620s onward, in and around Naples, which was then part of the Spanish Empire. Bartsch 4.
Estimate
$1,500 – $2,500
Giovanni b. castiglione
Circe Changing Ulysses’ Men into Beasts.
Etching, circa 1651. 220x311 mm; 8⅝x12¼ inches, narrow margins. Second state (of 2), with the short diagonal scratch below the helmet lower center. Ex-collection Carl von Guerard (Lugt 1109, verso). A very good, well-inked impression with strong contrasts. Bartsch 22; Percy 23.
Estimate
$2,500 – $3,500
Rembrandt van rijn
Self Portrait Open Mouthed, as if Shouting: Bust.
Etching, 1630. 73x61 mm; 3x2½ inches, thread margins. Biörklund’s third state (of 3); Usticke’s third state (of 3); White and Boon’s third state (of 3); New Hollstein third state (of 3). The lower fragment of a foolscap (?) watermark. A very good, dark and well-inked impression of this extremely scarce, early etching with strong contrasts.
We have found fewer than 20 other impressions at auction in the past 30 years.
According to Usticke, “A very scarce portrait, usually greyish.” Bartsch 13; Biörklund 30-N; Hollstein (White and Boon) 13.
Estimate
$15,000 – $20,000
Rembrandt van rijn
Bust of a Man Wearing a High Cap, Three-Quarters Right (The Artist’s Father ?).
Etching, 1630. 105x86 mm; 4⅛x3⅜ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s third state (e) (of 7); New Hollstein third state (of 6). A very good, dark impression before the Basan rework with strong contrasts and little to no sign of wear. Bartsch 321; Biörklund 30-F; Hollstein (White and Boon) 321.
Estimate
$5,000 – $8,000
Rembrandt van rijn
Bald Old Man with a Short Beard, in Profile Right.
Etching, circa 1635. 61x56 mm; 2½x2¼ inches, narrow margins. Usticke’s first state (of 2), with the delicate scratches in the background and with sharp, inky, uncleaned plate edges. A superb, crisp and early impression of this extremely scarce etching.
According to Biörklund, “The earliest impressions show very uneven plate edges, later they were made even and slightly bevelled.” According the Usticke, “A very rare small sketch.” Bartsch 306; Biörklund 35-6; Hollstein (White and Boon) 306.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Bust of an Old Bearded Man, Looking down, Three Quarters Right.
Etching, 1631. 122x108 mm; 4⅞x4¼ inches, narrow to thread margins. Biörklund’s third state (of 3), after the reduction of the plate at the far right; Usticke’s second state (of 3); White and Boon’s third state (of 3). Partial Posthorn watermark (Ash/Fletcher 31 A.a., which they date to circa 1620 and note that a similar watermark is on another lifetime impression of this subject in the Pierpont Morgan Library and Museum, New York, Vanderbilt Collection). Ex-collection Hermitage Museum, St. Petersburg, duplicate ink stamp (Lugt 5184, verso); Wilhelm Koller (Lugt 2632, verso); and unknown collector, indecipherable ink stamp verso. A superb, strong impression of this extremely scarce etching with little to no sign of wear.
We have found only 15 other impressions at auction in the past 30 years. Bartsch 260; Biörklund 31-E; Hollstein (White and Boon) 260.
Estimate
$10,000 – $15,000
Rembrandt van rijn
A Beggar Man and Woman behind a Bank.
Etching and drypoint, circa 1630. 100x68 mm; 4x2¾ inches, narrow to thread margins. Biörklund’s ninth state (of 9); Usticke’s third state (of 7); White and Boon’s ninth state (of 9), after the third and final reduction of the plate; New Hollstein’s ninth state (of 9). A superb, dark and richly-inked impression of this extremely scarce etching, with very strong contrasts and no sign of wear, with crisp, partially inky plate edges, consistent with the earliest impressions of this subject.
We have found fewer than 20 other impressions at auction in the past 30 years. Bartsch 165; Biörklund 30-5; Hollstein (White and Boon) 165.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Beggar Man and Beggar Woman Conversing.
Etching, 1630. 78x66 mm; 3⅛x2⅝ inches, thread margins. Usticke's second state (e) (of 3), with the horizontal scratch between the man's hand and the woman's hip distinct. Ex-collection Ottokar Mascha (Lugt 1903, verso). A very good, evenly-printed impression with strong contrasts.
The two beggars represented on this plate, which is among Rembrandt's earliest etched compositions with a pair of peasant figures, bear a striking resemblance to the beggar man and woman on his early Sheet of Studies, etching, circa 1632 (see lot 79). Bartsch 164; Biörklund 30-A; Hollstein (White and Boon) 164.
Estimate
$1,500 – $2,500
Rembrandt van rijn
Old Man Seen from behind, Profile to Right: Half Figure.
Etching, circa 1631. 71x43 mm; 2⅞x1⅝ inches, thread margins. Biörklund’s fifth state (of 6); Usticke’s fifth state (of 6); White and Boon’s third state (of 3). A very good, dark and richly-inked impression of this scarce, early etching. Bartsch 143; Biörklund 31-3; Hollstein (White and Boon) 143.
Estimate
$2,000 – $3,000
Rembrandt van rijn
A Ragged Peasant with his Hands Behind Him, Holding a Stick.
Etching, circa 1633. 97x74 mm; 3⅝x2¾ inches, thread margins. Biörklund’s sixth state (of 6), with the architectural sketch lower right; Usticke’s sixth state (of 6); White and Boon’s sixth state (of 6). Ex-collection unknown collector, initial R and associated inscription in pen and brown ink verso (not in Lugt). A very good, dark impression of this extremely scarce etching.
According to Usticke, “Very rare (RRR).”
We have found approximately only 12 other impressions at auction in the past 30 years. Bartsch 172; Biörklund 30-7; Hollstein (White and Boon) 172.
Estimate
$5,000 – $8,000
Rembrandt van rijn
A Beggar Seated Warming his Hands at a Chafing Dish.
Etching, circa 1630. 78x46 mm; 3⅛x1⅞ inches. Biörklund’s second state (of 2), with the shading on the bundle; Usticke’s only state (e); New Hollstein second state (of 2). With thread margins or trimmed on the plate mark. A superb, richly-inked impression of this very scarce, early etching, with strong contrasts.
According to Usticke, “A scarce little print (R +).” Bartsch 173; Biörklund 30-1; Hollstein (White and Boon) 173.
Estimate
$6,000 – $9,000
Rembrandt van rijn
Sheet of Studies.
Etching, circa 1632. 96x47 mm; 3¾x1⅞ inches. Likely Biörklund’s first state (of 2); Usticke’s first state (of 4); White and Boon’s first state (of 2), with the delicate scratches and foul-biting still showing. The lower half of the print only, the portrait of Rembrandt trimmed. Bartsch 363; Biörklund 32-1; Hollstein (White and Boon) 363.
Estimate
$6,000 – $9,000
Rembrandt van rijn
A Beggar with a Wooden Leg.
Etching, circa 1630. 114x66 mm; 4½x2⅝ inches, wide margins. Biörklund’s second state (of 2); Usticke’s second state (e) (of 3); New Hollstein second state (of 4). Ex-collection unidentified collector (Lugt 4786, verso). A superb, richly-inked, early impression with crisp, partially inky plate edges, strong contrasts and no sign of wear. Bartsch 179; Biörklund 30-4; Hollstein (White and Boon) 179.
Estimate
$8,000 – $12,000
"Rembrandt (1606-1669) etched some 30 self-portraits, with 27 singular images of himself and several others of himself in different guises or grouped with other portrait studies. This self-portrait, created at the age of 27, two years after he had moved to Amsterdam from Leyden to begin to establish himself as a successful independent artist, and months before he married Saskia van Uylenburgh, is among Rembrandt's most introspective self-renderings."
81
Rembrandt van rijn
Self Portrait in a Cap and Scarf with the Face Dark: Bust.
Etching, 1633. 135x105 mm; 5⅜x4 inches, wide margins. Biörklund’s third state (of 3); Usticke’s third state (of 5); New Hollstein third state (of 5). Ex-collection Pierre Sentuc (Lugt 3608, verso). A very good impression.
Rembrandt (1606-1669) etched some 30 self-portraits, with 27 singular images of himself and several others of himself in different guises or grouped with other portrait studies. This self-portrait, created at the age of 27, two years after he had moved to Amsterdam from Leyden to begin to establish himself as a successful independent artist, and months before he married Saskia van Uylenburgh, is among Rembrandt’s most introspective self-renderings. The dark shading covering much of his face (which rapidly disappears in later impressions), the deep-set eyes and his quiet, hunched pose lend an almost shy, reserved appearance, which is markedly different from the proud, bright, frontal poses of his self-portraits from the mid-to-late-1630s. Bartsch 17; Biörklund 33-G; Hollstein (White and Boon) 17.
Estimate
$12,000 – $18,000
Rembrandt van rijn
The Holy Family.
Etching and drypoint, circa 1632. 95x73 mm; 3¾x3 inches. Usticke’s first state (of 2), with the small patch of burr on Joseph’s left eye and burr of Mary’s nose and neck. Ex-collection Pierre Sentuc (Lugt 3608, verso). With thread margins or trimmed on the plate mark. A superb, crisp and early impression with all the fine lines distinct.
According to Usticke, “A very scarce, attractive print, (RR)”. Bartsch 62; Biörklund 32-3; Hollstein (White and Boon) 62.
Estimate
$15,000 – $20,000
Rembrandt van rijn
The Good Samaritan.
Etching, 1633. 253x203 mm; 10⅛x8⅛ inches. Biörklund’s fifth state (of 5); Usticke’s fourth state (of 4); White and Boon’s fifth state (of 5), after the reduction of the plate. Partial foolscap watermark (Hinterding notes foolscap with a 5-pointed collar watermarks, K.a.a., on the impressions of this subject in the Musée Jenisch, Vevey, and the Metropolitan Museum of Art, New York). Ex-collection Hermann Marx (Lugt 2816a, verso). With thread margins or trimmed on the plate mark, with the entire artist’s signature and date preserved in the lower margin and horizontal parallel shading added by another hand in ink in the lower margin. A very good impression of this scarce etching.
According to Usticke, “A scarce plate, seldom found in fine condition (R+).” Bartsch 90; Biörklund 33-A; Hollstein (White and Boon) 90.
Estimate
$8,000 – $12,000
Rembrandt van rijn
Joseph’s Coat Brought to Jacob.
Etching, circa 1633. 107x81 mm; 4¼x3¼ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s second state (e) (of 4); White and Boon’s second state (of 2). A superb, well-inked and dark impression with strong contrasts and partially inky plate edges. Bartsch 38; Biörklund 33-1; Hollstein (White and Boon) 38.
Estimate
$2,000 – $3,000
Rembrandt van rijn
St. Jerome Kneeling in Prayer, Looking Down.
Etching, 1635. 115x80 mm; 4½x3⅛ inches, narrow margins. Usticke’s second state (e-i) (of 3). A very good, dark impression with strong contrasts and partially inky plate edges. Bartsch 102; Biörklund 35-H; Hollstein (White and Boon) 102.
Estimate
$1,500 – $2,500
Rembrandt van rijn
Joseph Telling his Dreams.
Etching and drypoint, 1638. 111x80 mm; 4⅜x3¼ inches, small margins. Biörklund’s second state (of 4), with the face of the man in the turban directly behind Joseph unshaded; Usticke’s first state (of 5); New Hollstein second state (of 6). The pendant letters BA to a Strasburg Lily watermark (which dates from circa 1638). Ex-collection Alfred Morrison (?), initials in ink (Lugt 144, verso). A brilliant, richly-inked, early impression with all the fine lines distinct and no sign of wear, with burr on the object in the lower left corner, consistent with the earliest impressions of this subject.
Hinterding cites only 32 impressions of this subject in the second state in public collections (and only 3 known proofs in the first state). Bartsch 37; Biörklund 38-E; Hollstein (White and Boon) 37.
Estimate
$30,000 – $50,000
Rembrandt van rijn
Self Portrait in a Velvet Cap and Plume.
Etching and drypoint, 1638. 135x105 mm; 5¼x4⅛ inches, narrow to thread margins. Biörklund’s third state (of 3); Usticke’s second state (i-l) (of 3), with the delicate details on the face and beard distinct and the shading lower right clear, before the Jean rework. A very good, well-inked and crisp impression with strong contrasts and touches of burr on the beard, right eye and below the brim of the hat. Bartsch 20; Biörklund 38-B; Hollstein (White and Boon) 20.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Abraham Caressing Isaac.
Etching, circa 1637. 116x87 mm; 4¾x3½ inches. Biörklund’s second state (of 2); Usticke’s third state (e) (of 5), before the Basan editions; White and Boon’s second state (of 2). Trimmed on or just inside the plate mark. A very good, dark and earlier impression with strong contrasts and before the coarse rework. Bartsch 33; Biörklund 37-2; Hollstein (White and Boon) 33.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Man in a Broad-brimmed Hat.
Etching, 1638. 79x63 mm; 3¼x2½ inches. Usticke’s only state (l) with the spots of drypoint under the left eye indistinct. A very good impression of this scarce, early etching, with strong contrasts and little to no sign of wear.
According to Usticke, “A very rare small portrait (RRR).” Bartsch 311; Biörklund 38-C; Hollstein (White and Boon) 311.
Estimate
$4,000 – $6,000
Rembrandt van rijn
Three Oriental Figures (Jacob and Laban ?).
Etching, 1641. 145x115 mm; 5¾x4½ inches, small margins. Biörklund’s second state (of 2); Usticke’s second state (e) (of 2), with the delicate vertical scratches upper right; White and Boon’s second state (of 2). Ex-collection unknown collector, geometric red ink stamp verso (not in Lugt). A superb, early impression before any wear in the heavily cross-hatched arch in the doorway. Bartsch 118; Biörklund 41-F; Hollstein (White and Boon) 118.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Abraham and Isaac.
Etching, 1645. 157x130 mm; 6¼x5⅛ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s second state (i-l) (of 3). A very good, dark and richly-inked impression with all the fine lines distinct and with little to no sign of wear. Bartsch 34; Biörklund 45-D; Hollstein (White and Boon) 34.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Christ Driving the Money Changers from the Temple.
Etching, 1635. 138x170 mm; 5½x6¾ inches, narrow margins. Biörklund’s third state (of 3); Usticke’s third state (e) (of 7); White and Boon’s second state (of 2). A very good, well-inked impression with strong contrasts. Bartsch 69; Biörklund 35-B; Hollstein (White and Boon) 69.
Estimate
$2,500 – $3,500
"In spite of its modest dimensions, the Triumph of Mordecai exploits the scope of printmaking to an astonishing degree. It is as if Rembrandt wanted to exhibit the entire spectrum of his technique, from the airiest etched lines in the crowd on the right to the inkiest blacks in the drypoint areas around the superb figure kneeling in the left foreground."
94
Rembrandt van rijn
The Triumph of Mordecai.
Etching and drypoint, circa 1641. 163x213 mm; 5½x8½ inches, narrow margins. Usticke’s first state (e) (of 2), before the addition of aquatint; New Hollstein third state (of 4). Auvergne 1742 watermark (Hinterding Miscellaneous F-c). Ex-collection Rudolph von Seydlitz (Lugt 2283, verso). A very good, well-inked impression with burr on and around the kneeling figure lower left, on the standing figure, on the horse’s head, on Mordecai’s chest and cap and in the cross-hatching upper left.
According to Schapelhouman, “In spite of its modest dimensions, the Triumph of Mordecai exploits the scope of printmaking to an astonishing degree. It is as if Rembrandt wanted to exhibit the entire spectrum of his technique, from the airiest etched lines in the crowd on the right to the inkiest blacks in the drypoint areas around the superb figure kneeling in the left foreground,” (Rembrandt the Printmaker, London, 2000, page 196). Bartsch 40; Biörklund 41-1; Hollstein (White and Boon) 40.
Estimate
$10,000 – $15,000
Rembrandt van rijn
The Baptism of the Eunuch.
Etching, 1641. 185x215 mm; 7¼x8½ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s fourth state (of 4); White and Boon’s second state (of 2). A very good, dark and evenly-printed impression with strong contrasts. Bartsch 98; Biörklund 41-E; Hollstein (White and Boon) 98.
Estimate
$2,000 – $3,000
Rembrandt van rijn
The Small Lion Hunt (with Two Lions).
Etching and drypoint, circa 1641. 155x123 mm; 6⅛x4⅞ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s second state (e) (of 2); White and Boon’s second state (of 2). A superb, richly-inked, early impression of this very scarce etching, with burr on the spear and surrounding area and with partially inky plate edges. Bartsch 115; Biörklund 41-3; Hollstein (White and Boon) 115.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Man Drawing from a Cast.
Etching, circa 1641. 97x66 mm; 3¾x2½ inches, narrow margins. Biörklund’s third state (of 3); Usticke’s third state (of 5); White and Boon’s third state (of 3). A very good, dark and evenly-printed impression with strong contrasts. Bartsch 130; Biörklund 41-4; Hollstein (White and Boon) 130.
Estimate
$2,000 – $3,000
Rembrandt van rijn
The Card Player.
Etching, 1641. 91x83 mm; 3¾x3¼ inches, narrow margins. Biörklund’s third state (of 3); Usticke’s third state (e-i) (of 4); White and Boon’s second state (of 2). A very good, well-inked, crisp impression with strong contrasts. Bartsch 136; Biörklund 41-M; Hollstein (White and Boon) 136.
Estimate
$1,500 – $2,500
Rembrandt van rijn
Self Portrait in a Flat Cap and Embroidered Dress.
Etching, circa 1642. 90x63 mm; 3⅝x2½ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s second state (l) (of 3), with the signature distinct and doubled and with the diagonal slipped stroke above the left eye. A very good, dark and well-inked impression with strong contrasts. Bartsch 26; Biörklund 31-8; Hollstein (White and Boon) 26.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Cornelis Claesz Anslo, Preacher.
Etching and drypoint on thin China paper, 1641. 183x153 mm; 7¼x6¼inches. Biörklund’s fourth state (of 4); Usticke’s third state (of 6), with the nail in the wall still partially visible; White and Boon’s second state (of 2). Trimmed on or just inside the plate mark. A very good impression of this extremely scarce portrait with all the fine lines and the dense cross-hatching distinct. Bartsch 271; Biörklund 41-J; Hollstein (White and Boon) 271.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Jan Uytenbogaert, The Goldweigher.
Etching and drypoint, 1639. 253x204 mm; 10x8 inches, narrow to thread margins. Biörklund’s fourth state (of 4); Usticke’s third state (of 3); New Hollstein’s third state (of 3). A superb, well-inked impression with strong contrasts and little to no sign of wear. Bartsch 281; Biörklund 39-D; Hollstein (White and Boon) 281.
Estimate
$8,000 – $12,000
Rembrandt van rijn
The Flute Player.
Etching and drypoint, 1642. 114x143 mm; 4½x5⅝ inches, thread margins. Biörklund's fifth state (of 5); Usticke's fifth state (of 5); New Hollstein fourth state (of 4). A very good, well-inked impression with strong contrasts.
According to Usticke, "A scarce plate (R+)."
The figure of the lascivious male flute player, a popular folk-tale character from the early 16th century onward, was well-known to Dutch art connoisseurs in Rembrandt's time as the Eulenspiegel (or Owl-glass), and Rembrandt has conspicuously placed a tame owl on the shepherd's shoulder in this etching to further the point. The Eulenspiegel was known to be a wily, shifty character, whom Rembrandt has represented here with a flute suggestively directed at the seated shepherdess while he steals a glance beneath the hem of her dress. Bartsch 188; Biörklund 32-D; Hollstein (White and Boon) 188.
Estimate
$10,000 – $15,000
Rembrandt van rijn
Landscape with an Obelisk.
Etching and drypoint, circa 1650. 85x162 mm; 3½x6½ inches, narrow margins. Biörklund's second state (of 2), with the diagonal shading on the lightly-etched smaller cottage and trees lower right; Usticke's second state (e) (of 2), with the sulphur tinting and delicate scratches in the sky distinct; White and Boon's second state (of 2). Ex-collection Edward Peart (Lugt 891, lower left recto). A superb, richly-inked and early impression of this very scarce landscape etching, with burr on the foliage lower center and lower right.
This is among Rembrandt's most inventive landscape compositions and shows his mastery of emphasizing depth, by focusing on darkly-etched farm buildings and an obelisk in the foreground and receding to much more lightly-sketched structures and a solitary figure in a field holding a scythe to the far right. He likely drew this scene from nature; the "obelisk" is the boundary post near Halfweg on the Spaarndammerdijk, roughly the halfway-point between Amsterdam and Haarlem. Bartsch 227; Biörklund 50-3; Hollstein (White and Boon) 227.
Estimate
$20,000 – $30,000
Rembrandt van rijn
A Peasant Family on the Tramp.
Etching, circa 1652. 114x93 mm; 4½x3¾ inches, narrow margins. Biörklund's second state (of 2); Usticke's second state (of 4), with pentimenti of the face to the right of the walking stick still visible; White and Boon's second state (of 2). A very good, well-inked and early impression with strong contrasts. Bartsch 131; Biörklund 52-3; Hollstein (White and Boon) 131.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Nude Man Seated on the Ground with One Leg Extended.
Etching, 1646. 98x168 mm; 3⅞x6⅝ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s third state (i) (of 4); White and Boon’s second state (of 2). A very good, dark and well-inked impression with strong contrasts and crisp plate edges. Bartsch 196; Biörklund 46-C; Hollstein (White and Boon) 196.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Abraham Francen, Apothecary.
Etching, circa 1657. 156x208 mm; 6⅛x8¼ inches, thread margins. Biörklund’s ninth state (of 10), however with the slipped stroke on the left cheek from the eighth state still distinct; Usticke’s seventh state (of 9); White and Boon’s ninth state (of 10). A very good, dark and richly-inked impression, with burr on Francen’s right thumb, on the open book and on the statue and skull at the far left and on the windowsill, with the landscape through the window and all the delicate details distinct and with little to no sign of wear.
Francen (1612-after 1678) was a close friend of Rembrandt and a lifelong resident of Amsterdam (though records of the various addresses in the city where he lived indicate that he was not a particularly wealthy collector). He was a passionate connoisseur of art, which Rembrandt alludes to with the Crucifixion triptych and the landscape painting on the wall of Francen’s study, as well as the Taoist sculpture on the table.
Francen testified for Rembrandt and helped support him through his financial difficulties in the 1650s and 1660s; he also acted as a sort of guardian for Rembrandt’s children. Rembrandt likely made this etched portrait of Francen out of friendship rather than as a paid commission. Bartsch 273; Biörklund 57-2; Hollstein (White and Boon) 273.
Estimate
$2,500 – $3,500
Rembrandt van rijn
The Virgin and Child with the Cat and Snake.
Etching and drypoint, 1654. 96x146 mm; 3¾x5¾ inches, small margins. Biörklund’s first state (of 2), with the foul-biting along the upper edge of the plate; Usticke’s first state (e) (of 4), with the fine vertical scratches to the right of the date lower center and with crisp, inky plate edges; White and Boon’s first state (of 2). Foolscap with a 7-pointed collar watermark. Ex-collection Peter Gellatly (Lugt 1185, verso). A superb, richly-inked and dark impression with strong contrasts and no signs of wear, consistent with the earliest impressions of this subject. Bartsch 63; Biörklund 54-C; Hollstein (White and Boon) 63.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Jews in the Synagogue.
Etching, 1648. 73x130 mm; 2¾x5¼ inches, narrow margins. Biörklund’s third state (of 3); Usticke’s fourth state (e) (of 7); White and Boon’s third state (of 3). A very good, dark impression with strong contrasts and all the fine lines distinct. Bartsch 126; Biörklund 48-D; Hollstein (White and Boon) 126.
Estimate
$2,000 – $3,000
Rembrandt van rijn
The Goldsmith.
Etching and drypoint, 1655. 80x58 mm; 3⅛x2¼ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s third state (of 3); White and Boon’s second state (of 3). A very good, dark impression with strong contrasts. Bartsch 123; Biörklund 55-D; Hollstein (White and Boon) 123.
Estimate
$2,000 – $3,000
A Collection of Etchings; Mostly Original, by the Most Eminent Painters of the Dutch and Flemish Schools.
Bound volume with approximately 200 etchings by or after Rembrandt van Rijn; Claude Gellée, Le Lorrain; Cornelis Bega; Wezel Hollar, Giovanni B. Castiglione, Stefano della Bella; and others, 1826. 365x255 mm; 14½x10¼ inches (sheets), full margins.
Published by J. Kay, London. Full green, gold-stamped Morocco binding, covers worn.
This work was originally issued in London in 1816 as A Collection of 200 Original Etchings utilizing both the original etching plates of the noted artists or etchings copied from their work, under the direction of the publisher J. M. Creary. Another edition, published by W. Lewis, in London, preceded the Kay edition. In each of these editions, there are 6 etchings pulled from Rembrandt’s original plates (Bartsch 38, 75, 79, 262, 264 and 268) as well as numerous additional etchings printed from the original plates of Claude, Bega, Castiglione and Hollar, in addition to the many copies of their work also included in each volume.
Estimate
$3,000 – $5,000
Cornelis ploos van amstel (after rembrandt)
A Young Boy at a Doorhatch.
Color etching, 1765. 237x186 mm; 9½x7½ inches. With the artist's ink stamp (Lugt 2725, verso). Trimmed on the plate mark. A superb, richly-inked impression of this very scarce, early color etching.
Estimate
$1,500 – $2,500
Adriaen van ostade
The Smoker at the Window.
Etching, circa 1660-70. 183x155 mm; 7¼x6⅛ inches, small margins. Second state (of 4). Ex-collection William Esdaile (see Lugt 816); and Alexandre-Pierre-François Robert-Dumesnil (Lugt 2200, lower center recto). A superb, richly-inked impression with strong contrasts, crisp plate edges, delicate vertical wiping scratches in the blank lower margin and no sign of wear, consistent with the earliest impressions of this subject. Bartsch 10; Godefroy 10.
Estimate
$1,500 – $2,500
Adriaen van ostade
The Family.
Etching, 1647. 180x157 mm; 7⅛x6¼ inches, thread margins. Fourth state (of 7). Ex-collection the artist Jean-Louis-Henri Le Secq (1818-1882; Lugt 1336, verso). A superb, richly-inked and early impression with strong contrasts and no sign of wear. Bartsch 46; Godefroy 46.
Estimate
$2,000 – $3,000
Adriaen van ostade
The Woman Spinning.
Etching, 1652. 140x173 mm; 5½x6⅞ inches, narrow margins. Fourth state (of 7). Ex-collection Thomas Clutterbuck (Lugt 2424, upper left recto). A brilliant, dark, richly-inked impression with very strong contrasts and no sign of wear. Bartsch 31; Godefroy 31.
Estimate
$2,000 – $3,000
Adriaen van ostade
The Anglers.
Etching, circa 1653. 115x166 mm; 4¾x6½ inches, narrow to thread margins. Seventh state (of 7).
With–The Woman Spinning, etching, 1652. 140x176 mm; 5½x7 inches, thread margins. Sixth state (of 7). A very good, dark impression with strong contrasts. Bartsch 26 and 31; Godefroy 26 and 31.
Estimate
$1,500 – $2,500
Jacob van ruisdael
Landscape with Two Men and a Dog.
Etching, circa 1650. 193x280 mm; 7⅝x11⅛ inches. Ex-collection Albert van Loock (Lugt 3751, verso). Trimmed on the plate mark, with narrow margins outside the black border line. A very good, richly-inked impression with strong contrast. Hollstein 2.
Estimate
$1,500 – $2,500
Marcus de bije (after marcus gheeraerts the elder)
The Set of the Bears.
Set of 16 etchings, circa 1664. Each approximately 120x154 mm; 4¾x6¼ inches, small margins. Each in the second state (of 2), with the number in the plate lower right and the first plate with the address of Visscher. Very good impressions with strong contrasts. Hollstein 61.
Estimate
$1,000 – $1,500
Stefano della bella
Vues de la Villa de Pratolino.
Group of 3 (of 6) etchings, 1653. Each approximately 250x385 mm; 10x15¼ inches, small margins. Ex-collection Richard Jung (Lugt 3791, verso). Very good impressions of these extremely scarce etchings, with strong contrasts and no sign of wear.
The villa and surrounding gardens of Pratolino, near Florence, were commissioned by Grandduke Francesco I de' Medici (1541-1587) and supervised by Bernardo Buontalenti (1531-1608) during the late 1500s. Among the most spectacular sights, and one the etchings in this group, is the Colosso dell'Appennino, a fountain/grotto designed by Giambologna (1529-1608) and completed around 1579-80. DeVesme 838 ff.
With--An etching of St. Francis receiving the stigmata.
Estimate
$2,000 – $3,000
German or dutch school, late 17th/early 18th century
Veronica’s Veil.
Mezzotint. 390x323 mm; 15½x13 inches, small margins. Serpent watermark. A very good, dark and well-inked impression of this extremely scarce print.
Estimate
$1,500 – $2,500
Claude mellan
Veronica’s Veil.
Engraving, 1649. 430x30 mm; 17x12⅜ inches, narrow margins. Second state (of 2). A very good, dark and well-inked impression with strong contrasts.
Mellan’s (1598-1688) tour-de-force, achieved by one continuous engraved circular line. LeBlanc 33.
Estimate
$3,000 – $5,000
Gerhard janssen
Two etchings with open-bite and drypoint.
Landscape with Shepherds and Roman Ruins, circa 1715. 165x220 mm; 6½x8¾ inches, narrow margins * Landscape with a Cattle Herd and Roman Ruins, circa 1715. 160x220 mm; 6¼x8¾ inches, wide margins. Double-headed eagle watermark. Ex-collection Hamburger Kunsthalle, Hamburg (Lugt 1328, verso). Both superb, richly-inked impressions of this extremely scarce etchings.
Estimate
$2,000 – $3,000
Pietro santi bartoli and giacomo lauro
Romanae Magnitudinis Monumenta.
Bound volume with 136 (of 138) engravings, 1699. 255x380 mm; 10¼x15 inches (sheets), full margins.
Green Morocco spine and marbled paste board binding, covers worn.
The engravings represent the palazzi, churches, monuments, arenas, statues and public scenes of Rome in the 17th century, with explanatory text engraved in the lower margins. Originally engraved by Lauro for a 1637 publication, the plates were adapted by Bartoli, who added 16 additional engravings to create this set.
Estimate
$2,000 – $3,000
Antonio da canal, il canaletto
Il Mercato al Dolo.
Etching, circa 1740. 143x210 mm; 5¾x8 inches, narrow margins. Third state (of 4), with the signature still in the plate lower center but with the shading on the hill at right near the villa. A very good, well-inked impression with strong contrasts and crisp, partially inky plate edges.
With–Il Piccolo Monumento, etching, circa 1740. 119x84 mm; 4¾x3½ inches, narrow margins. Second state (of 2). DeVesme 23 and 30; Bromberg 26 and 33.
Estimate
$2,000 – $3,000
Antonio da canal, il canaletto
View of a Town on a River Bank.
Etching, circa 1740. 305x435 mm; 12x17⅛ inches, narrow margins. Second state (of 2). A very good, dark and evenly-printed impression with strong contrasts and all the details distinct. Bromberg 9.
Estimate
$2,500 – $3,500
"Canaletto's etchings, most of which are capricci, or imaginary views, blend familiar Venetian (and outlying areas such as Padua) vernacular architectural elements with classical motifs. His inspiration to idealize these views, many of which partially depict locations found along the Brenta Canal, running from the Venetian Bay inland to Padua (known as the "Brenta Riviera" and home to many opulent Veneto villas), probably came from his father who was a theatrical set designer."
125
Antonio da canal, il canaletto
An Imaginary View of Padua.
Etching, circa 1740. 301x425 mm; 12x16¾ inches, wide margins. Second state (of 3). The letter A countermark (?) to an unidentified watermark (see Bromberg 41). A brilliant, richly-inked and early impression with vivid contrasts and no sign of wear, consistent with the earliest impressions of this subject.
Canaletto (1697-1768), whose work embodies the city of Venice perhaps more than any other artist, was a highly fashionable painter already known primarily for his topographical views that were popular among Europeans (particularly English visitors) on the Grand Tour, when he embarked on a series of some 30 Venice-inspired etchings in the early 1740s. This project was encouraged and principally financed by Joseph Smith, the British consul to the Venetian Republic, who also acted as Canaletto’s agent on behalf of foreign collectors.
Canaletto’s etchings, most of which are capricci, or imaginary views, blend familiar Venetian (and outlying areas such as Padua) vernacular architectural elements with classical motifs. His inspiration to idealize these views, many of which partially depict locations found along the Brenta Canal, running from the Venetian Bay inland to Padua (known as the “Brenta Riviera” and home to many opulent Veneto villas), probably came from his father who was a theatrical set designer. DeVesme 11; Bromberg 11.
Estimate
$3,000 – $5,000
Antonio da canal, il canaletto
Ale Porte del Dolo.
Etching, circa 1740. 305x433 mm; 12x17 inches, wide margins. Third state (of 3), with the letters and number lower right. A very good, dark impression with strong contrasts and little to no sign of wear. DeVesme 5; Bromberg 5.
Estimate
$3,000 – $5,000
Antonio visentini (after canaletto)
Prospectus hinc illinc ab Aedibus Grimanorum Theupolorumque ad Foscaros.
Etching, 1742. 280x430 mm; 11x16⅞ inches, wide margins. From Urbis Venetarium Prospectus. A very good, richly-inked impression with strong contrasts and crisp plate edges.
Estimate
$1,500 – $2,500
Bernardo bellotto
Perspective de la Façade de la Roïale Eglise Catolique avec une part du Palais.
Etching, 1748. 545x839 mm; 21½x33½ inches, wide margins. First state (of 5), with the arms etched from a separate plate and the words “Peint, dessiné, et gravé oar Bernard Belotto dit Canalletto 1748.” Pinecone with letters watermark. A superb, richly-inked and early impression with traces of the guidelines for the text in the lower margin distinct and with pentimenti of the wheel on the cart lower left extending into the left margin. DeVesme 11.
Estimate
$5,000 – $8,000
Giovanni b. piranesi
The Drawbridge.
Etching and engraving, 1749-50. 561x415 mm; 22¼x16¼ inches, full margins. Fifth state (of 6); Robison’s fourth edition. Proprietary watermark (Robison 78). From Carceri d’Invenzione. A superb, richly-inked, dark impression with very strong contrasts and no sign of wear. Robison 33.
Estimate
$5,000 – $8,000
Giovanni b. piranesi
The Gothic Arch.
Etching, engraving, sulphur tint and open-bite etching and burnishing, circa 1749. 417x556 mm; 16½x22 inches, wide margins. Sixth state (of 6). From Carceri d’Invenzione. A very good impression with strong contrasts. Hind 14; Robison 40.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
The Giant Wheel.
Etching, engraving, sulphur tint and open-bite etching and burnishing, 1749-50. 561x411 mm; 22⅛x16¼ inches, full margins. Sixth state (of 8); Robison’s second edition, third issue from circa mid-1760s to early 1770s. Fleur-de-lys in a double circle watermark (Robison 35). From Carceri d’Invenzione. A superb, richly-inked, early impression with strong contrasts and no sign of wear. Hind 9; Robison 35.
Estimate
$5,000 – $8,000
Giovanni b. piranesi
Vue Intérieure du Temple de Neptune.
Etching, 1778. 475x671 mm; 18¾x26½ inches, full margins. First state (of 2). From Différentes vues de Pesto. A superb, richly-inked, early impression with very strong contrasts, crisp inky plate edges and no sign of wear. Focillon 594; Wilton-Ely 729.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Veduta interna del Pronao del Pantheon.
Etching, 1769. 391x537 mm; 15¼x21 inches, full margins. First state (of 3), before the numbers. From Vedute di Roma. A superb, richly-inked and early impression with strong contrasts. Hind 82.
Estimate
$1,000 – $1,500
Giovanni b. piranesi
Veduta del Pantheon d’Agrippa.
Etching, 1761. 470x690 mm; 18½x27⅛ inches, wide margins. Second state (of 5). From Vedute di Roma. A very good, well-inked impression with strong contrasts. Hind 60.
Estimate
$2,000 – $3,000
"The Vedute di Roma is a series of 134 etchings of famous Roman buildings, ruins and monuments created by Piranesi (1720-1778) over nearly three decades (circa 1748-circa 1777), which stands as one of the most ambitious and successful printmaking productions of all time."
134A
Giovanni b. piranesi
Veduta dell’Anfiteatro Flavio, detto il Colosseo.
Etching, 1757. 440x697 mm; 17¼x27⅜ inches, wide margins. Second state (of 4). Crowned coat-of-arms watermark (Hind 4). From Vedute di Roma. A superb, dark and richly-inked impression with very strong contrasts and no sign of wear.
The Vedute di Roma is a series of 134 etchings of famous Roman buildings, ruins and monuments created by Piranesi (1720-1778) over nearly three decades (circa 1748-circa 1777), which stands as one of the most ambitious and successful printmaking productions of all time. Hind 57.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Veduta, nella Via del Corso, del Palazzo dell’Accademia.
Etching, 1749. 405x620 mm; 16x24⅜ inches, full margins. Second state (of 5), with the address and price. Fleur-de-lys in a double circle watermark (Hind 3). From Vedute di Roma. A superb, richly-inked impression with very strong contrasts and all the details distinct.
A view looking toward the north on the Via del Corso in Rome, from near the Piazza Venezia to the Piazza del Popolo. Hind 24.
Estimate
$1,200 – $1,800
Giovanni b. piranesi
Veduta del Palazzo Odescalchi.
Etching, 1753. 402x615 mm; 15¾x24⅛ inches, full margins. Second state (of 5), with the address and price. Fleur-de-lys in a double circle watermark (Hind 3). From Vedute di Roma. A brilliant, richly-inked impression with very strong contrasts. Hind 26.
Estimate
$1,200 – $1,800
Giovanni b. piranesi
Veduta della Piazza del Popolo.
Etching, 1750. 403x542 mm; 16x21⅜ inches, wide margins. Fifth state (of 7). Coat-of-arms watermark. From Vedute di Roma. A very good, dark and richly-inked impression with strong contrasts. Hind 14.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Veduta di Piazza Navona sopra le Rovine del Circo Agonale.
Etching, 1751. 410x547 mm; 16⅛x21⅝ inches, wide margins. Fifth state (of 6), with the artist’s address lower right. From Vedute di Roma. A superb, dark and richly-inked impression with very strong contrasts. Hind 16.
Estimate
$2,500 – $3,500
Giovanni b. piranesi
Veduta della Basilica di Sta. Maria Maggiore.
Etching, 1749. 400x545 mm; 15⅞x21½ inches, wide margins. Fourth state (of 6). From Vedute di Roma. A very good impression with strong contrasts. Hind 9.
Estimate
$1,000 – $1,500
Giovanni b. piranesi
Veduta del Romano Campidoglio con Scalinata che va alla Chiesa d’Araceli.
Etching, 1775. 406x551 mm; 16x21¾ inches, small margins. Third state (of 5). From Vedute di Roma. A superb, richly-inked impression with very strong contrasts and all the fine details distinct. Hind 38.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Two etchings from Vedute di Roma.
Teatro di Marcello, 1757. 400x548 mm; 15¾x21½ inches, full margins. Fifth state (of 7), with the price erased but before the numbers. Large crowned fleur-de-lys with three smaller fleur-de-lys watermark (Hind 5). * Veduta del Romano Campidoglio con Scalinata che va alla Chiesa d’Araceli, 1775. 406x551 mm; 16x21¾ inches, full margins. Third state (of 5). Coat-of-arms watermark. Both very good, well-inked impressions with strong contrasts. Hind 33 and 38.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Veduta della Basilica, e Piazza de S. Pietro in Vaticano.
Etching, 1748. 401x512 mm; 15¾x21⅛ inches, wide margins. Fifth state (of 7). From Vedute di Roma. Fleur-de-lys in a double circle watermark (Hind 3). A very good, dark and evenly-printed impression with strong contrasts. Hind 3.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Veduta dell’Esterno della Gran Basilica di S. Pietro in Vaticano.
Etching, 1748. 397x600 mm; 15⅝x23⅝ inches, full margins. First state (of 7), before the address. Fleur-de-lys in a circle watermark (Hind 1, which he notes for “early states before Piranesi’s address and price”). From Vedute di Roma. A superb, early impression with strong contrasts and no sign of wear. Hind 5.
Estimate
$1,200 – $1,800
Giovanni b. piranesi
Veduta delle due Chiese . . . presso la Colonna Trajana.
Etching, 1762. 425x685 mm; 16¾x27 inches, full margins. First state (of 4), with the address and price. Ex-collection Francis Patrick Garvan (Lugt 1041a, verso). From Vedute di Roma. A superb, richly-inked, early impression with the guide lines for the text in the lower margin distinct. Hind 66.
Estimate
$1,200 – $1,800
Giovanni b. piranesi
Veduta del Prospetto Principale della Colonna Traiana.
Etching on 5 sheets (the top plate lacking and supplied in facsimile), circa 1775. 2850x465 mm; 112⅛x18⅜ inches, wide margins. From Trofeo o Sia Magnifica Colonna Coclide. A very good impression of this monumental etching. Ficacci 703.
Estimate
$4,000 – $6,000
Giovanni b. piranesi
Veduta della Cascata di Tivoli.
Etching, 1765. 475x703 mm; 18⅝x27⅝ inches, wide margins. First state (of 5). A brilliant, richly-inked impression with very strong contrasts and no sign of wear. From Vedute di Roma. Hind 75.
Estimate
$1,500 – $2,500
Giovanni d. tiepolo
Turco visto di spalle.
Etching, 1770. 120x79 mm; 4¾x3¼ inches, small margins. Second state (of 2), with the number lower left. From Raccolta di Teste. A brilliant, richly-inked impression with very strong contrasts and no sign of wear. DeVesme 163; Rizzi 207.
Estimate
$2,000 – $3,000
Giovanni d. tiepolo
The Triumph of Hercules.
Etching, circa 1780. 690x508 mm; 27¼x20 inches, wide margins. Third state (of 3), with the number upper left. Crowned coat-of-arms with a hand and sword watermark with a triple crescent countermark. A very good impression of this large, important and scarce etching, with strong contrasts.
We have found only 8 other impressions at auction in the past 30 years.
This etching is based on Giovanni B. Tiepolo’s ceiling fresco in the Royal Palace, Madrid. DeVesme 101; Rizzi 147.
Estimate
$2,500 – $3,500
Jean-honoré fragonard (after sebastiano ricci)
The Institution of the Eucharist.
Etching, 1764. 123x96 mm; 5x4 inches, full margins. First state (of 2), before the number lower right. Partial proprietary watermark. A very good impression of this extremely scarce etching. Wildenstein 18.
Estimate
$1,000 – $1,500
Gabriel de saint-aubin
Frontispiece pour le “Receuil de Poésies” de Sedaine.
Etching, 1757. 144x189 mm; 5¾x7½ inches, small to narrow margins. A very good impression of this extremely scarce etching. Dacier 14a.
Estimate
$1,500 – $2,500
"Prud'hon's style has a much wider impact than his small oeuvre would suggest; his tonal etching style is almost a prototype for the romantic lithography of the early 19th century."
151
Pierre-paul prud’hon
Phrosine et Mélidore.
Etching, stipple-work, roulette and engraving, 1797. 343x251 mm; 13½x9¾ inches, wide margins. Sixth state (of 6). Ex-collection Victor Conard (Lugt 5549, lower right recto). A very good impression of this scarce print.
According to Fisher, this is one of only a few prints with authorship firmly ascribed to Prud'hon (1758-1823), the bulk of his graphic work consisting of designs drawn for other printmakers. Fisher notes, "This print is brilliantly executed entirely with gentle modeling in stipple . . . The stipple work is achieved partly with the etching needle and partly with a wide, irregular roulette. [Barthélemy] Roger (who assisted Prud'hon with the completion of the plate) and Prud'hon's first engraver, Jacques-Louis Copia, were carefully trained by Prud'hon in this stipple technique, which was essential to the interpretation of a painting style so indebted to the supple brushwork of Correggio (1489-1534). In this way, Prud'hon's style has a much wider impact than his small oeuvre would suggest. For Prud'hon's tonal etching style . . . is almost a prototype for the romantic lithography of the early 19th century, especially for the prints of Chasseriau and Delacroix (Regency to Empire, French Printmaking 1715-1814, Minneapolis, 1984, page 312).
The etching illustrates a romantic episode from a poem by Gentil Bernard, in which Phrosine, driven by her passion and exhausted after having drifted across the sea to her lover Mélidore's island of exile, is awakened by his embrace and kisses.
Estimate
$1,000 – $1,500
Francisco josé de goya
Felipe III.
Etching printed in black on heavy cream laid paper, 1778-79. 370x310 mm; 14½x12¼ inches, wide margins. First edition. A very good, dark and early impression with very strong contrasts and crisp plate edges.
According to Harris, the first edition “appears to have been small.”
Felipe IV (1605-1665) ruled Spain at the height of its empire. He was the son of Felipe III and Margarita de Austria. Goya (1746-1828) based this portrait, as well as that of Margarita, Felipe’s wife, on paintings by Velázquez (1599-1660) now in the Prado, Madrid. Delteil 6; Harris 5.
Estimate
$2,000 – $3,000
Francisco josé de goya
Un Enano (Sebastián de Morra).
Etching, circa 1778-79. 205x155 mm; 8¼x6¼ inches, wide margins. First edition. A superb, well-inked impression of this extremely scarce, early etching, with strong contrasts and no sign of wear.
One of several early etchings by Goya (1746-1828) based on paintings by Diego Velázquez (the current work of Velázquez is in the Prado, Madrid). This is a portrait of Sebastián de Morra, a court dwarf and jester at the court of Philip IV of Spain. The painting by Velázquez, 1599-1660, dates from around 1644. Delteil 18; Harris 15.
Estimate
$1,500 – $2,500
Francisco josé de goya
Aquellos polbos.
Aquatint and etching, circa 1799. 216x150 mm; 8⅝x6 inches, full margins. First edition. From Los Caprichos. A superb, richly-inked, early impression with the burnishing on the platform and the front of the pulpit distinct, with strong highlights and no sign of wear. Delteil 60; Harris 58.
Estimate
$2,500 – $3,500
Francisco josé de goya
Ni mas ni menos.
Aquatint, etching, drypoint and burin, circa 1799. 200x150 mm; 8x6 inches, full margins. First edition. A superb, early impression with traces of burr in the drypoint on the donkey’s nose.
With—Y aun no se van!, aquatint and etching, circa 1799. 215x150 mm; 8½x6 inches, full margins. Both from Los Caprichos. Delteil 78 and 96; Harris 76 and 94.
Estimate
$3,000 – $5,000
Francisco josé de goya
Hasta la muerte.
Aquatint and etching, circa 1799. 215x150 mm; 8½x6 inches, wide margins. First edition. From Los Caprichos. A brilliant, early, richly-inked impression with the different aquatint tones distinct and with the drypoint on the maid’s right cheek and the burnishing on the two men standing behind the dressing table undiminished, consistent with the earliest impressions of this subject. Delteil 92; Harris 90.
Estimate
$2,500 – $3,500
Francisco josé de goya
Three aquatints with etching from Los Caprichos.
Muchachos al avio * Se repulen * Mejor es holgar. Each circa 1799. Each from the first edition. Very good impressions with strong contrasts and no sign of wear. Various sizes and conditions. Delteil 48, 88 and 110; Harris 46, 86 and 108.
Estimate
$2,500 – $3,500
Francisco josé de goya
Three aquatints with etching from Los Caprichos.
Bien Tirada Está * Le Descañona * Si Amanece, Nos Vamos. Each circa 1799. Each from the second edition. Very good impressions with the subtle aquatint tones distinct. Delteil 50, 68 and 69; Harris 52, 70 and 71.
With–Group of 6 additional aquatints with etching from Los Caprichos. Each from the third edition. Various sizes and conditions. Delteil 47, 51, 55, 70, 94 and 109; Harris 45, 49, 53, 70, 94 and 109.
Estimate
$1,500 – $2,500
Francisco josé de goya
El amor y la muerte.
Aquatint and etching, circa 1799. 215x145 mm; 8½x5¾ inches, full margins. First edition. From Los Caprichos. A very good, early impression, with the diagonal burnishing strokes on the man’s left thigh distinct. Delteil 47; Harris 45.
Estimate
$1,500 – $2,500
Francisco josé de goya
No Quieren.
Etching and aquatint, 1808-23. 155x205 mm; 6¼x8¼ inches, wide margins. First edition a (of b), an early first edition impression before “quiren” in the inscription was corrected to “quieren.” Ex-collection Roger Passerson (Lugt 4096, verso). A superb, early impression.
With–Escapan entre la Ilamas, etching and aquatint, 1808-23. 160x234 mm; 6½x9¼ inches, wide margins. First edition. Ex-collection Roger Passerson (Lugt 4096, verso).
Both from Los Desastres de la Guerra. Delteil 128 and 160; Harris 129 and 161.
Estimate
$2,000 – $3,000
Francisco josé de goya
Que Valor!
Etching and aquatint, 1808-23. 155x205 mm; 6¼x8¼ inches, wide margins. First edition. Ex-collection Roger Passerson (Lugt 4096, verso). From Los Desastres de la Guerra. A superb, early impression. Delteil 126; Harris 127.
Estimate
$2,000 – $3,000
Francisco josé de goya
Two aquatints with etching from Los Desastres de la Guerra.
Esto es lo peor! * Murío la Verdad. Both circa 1808-23. Both approximately 175x225 mm; 7x9 inches, wide margins. Both from the first edition. The first with a partial Palmette watermark. Both very good impressions. Delteil 193 and 198; Harris 194 and 199.
Estimate
$2,000 – $3,000
Francisco josé de goya
Hizonos Dios Y Maravillamos Nos.
Etching and aquatint, circa 1824. 245x355 mm; 9⅝x13⅞ inches, wide margins. First edition. From Los Proverbios. A very, richly-inked and dark impression with the false-biting above the shoulder of the man with the spear. Delteil 207; Harris 253.
Estimate
$1,500 – $2,500
Francisco josé de goya
Disparate de Miedo.
Aquatint and etching, circa 1824. 245x350 mm; 9¾x14 inches, full margins. First edition. The letter J. G. O. watermark (which Harris cites for first edition impressions). From Los Proverbios. A richly-inked impression with considerable tone on the highlights of the phantom and with burr throughout, consistent with the earliest impressions of this subject. Delteil 203; Harris 249.
Estimate
$1,500 – $2,500
Francisco josé de goya
Modo de Volar.
Aquatint and etching, circa 1824. 245x350 mm; 9¾x13¾ inches, wide margins. First edition, before the number and with the scratches on the left side of the plate and the legs of the main flying figure distinct. From Los Proverbios. A superb, richly-inked impression of this important print, with all the details distinct and no sign of wear. Delteil 214; Harris 260.
Estimate
$7,000 – $10,000
Francisco josé de goya
Dos a Uno, Meten la Paja en el Culo.
Aquatint and etching printed in dark brownish black on thin, cream laid paper, circa 1824. 245x355 mm; 9⅝x14 inches, full margins. A proof before letters and the first published edition by L’Art, Paris. From Los Proverbios. A brilliant, richly-inked and dark impression with all the aquatint tones distinct. Delteil 220; Harris 266.
Estimate
$2,500 – $3,500
19th Century
"Mer de Glace, Valley of Chamonix, Savoy is part of a series of 81 mezzotints created by Turner (1775-1851) and other printmakers, after his oils, that have come to be known as the Liber Studiorum. These mezzotints are based on original watercolors by Turner, which are turn derived from his paintings, essentially a visual catalogue raisonné of all his works."
167
Joseph m. w. turner
Mer de Glace, Valley of Chamonix, Savoy.
Mezzotint and engraving printed in dark brownish black on cream laid paper, circa 1817-18. 220x298 mm; 8¾x11¾ inches, full margins. First state (of 6). From the Liber Studiorum. A superb, richly-inked impression.
Mer de Glace, Valley of Chamonix, Savoy is part of a series of 81 mezzotints created by Turner (1775-1851) and other printmakers, after his oils, that have come to be known as the Liber Studiorum. These mezzotints are based on original watercolors by Turner, which are turn derived from his paintings, essentially a visual catalogue raisonné of all his works. It’s assumed that Turner approved of the mezzotint process as it simulated the appearance of watercolor on moist paper and, in recognition of their commercial viability. The 1820 introduction of steel mezzotint plates (as opposed to copper, which produced very limited quality impressions before the plate wore down and required reworking) may have prompted him to issue these prints.
The Liber Studiorum series was produced primarily by Charles Turner and other engravers under the direction of J.M.W. Turner, with Turner himself working on 11 of the plates (including this one). Turner also produced the 12 additional plates which comprise the Little Liber Studiorum, a series of prints that was a sequel to the Liber Studiorum. The Liber Studiorum encompassed the entire oeuvre of Turner’s work by mixing historical, pastoral, architectural and landscape scenes, while the Little Liber Studiorum presents ethereal atmospheric landscapes, representative of the iconic paintings for which he is now famous. Finberg 50.
Estimate
$1,500 – $2,500
Joseph m. w. turner
Pembury Mill, Kent.
Mezzotint and engraving printed in dark brownish black, circa 1817-18. 210x290 mm; 8¼x11½ inches, full margins. From the Liber Studiorum. A very good, richly-inked impression.
Estimate
$1,000 – $1,500
William blake
And When They Lifted Up Their Eyes Afar Off.
Engraving on Chine collé, 1825. 217x170 mm; 8⅝x6¾ inches, wide margins. Edition of 215, with the word “Proof” engraved in the plate lower right. Published by the artist and J. Linnell, London. From Illustrations of the Book of Job. A very good, richly-inked impression with strong contrasts and crisp plate edges. Bindman 631.
Estimate
$2,500 – $3,500
Jean-françois millet
La Cardeuse.
Etching printed in dark brownish black on cream laid Japan paper, 1855-56. 256x177 mm; 10¼x7 inches, full margins. A very good, richly-inked impression with strong contrasts. Delteil 15; Melot 15.
Estimate
$1,200 – $1,800
Jean-françois millet (after)
Becheur en repos.
Woodcut printed in reddish brown on antique cream laid paper, circa 1865. 188x131 mm; 7½x5¼ inches, full margins. Second state (of 3), with the artist's name added lower left. A very good impression of this extremely scarce woodcut.
According to Melot, Millet (1814-1875) created the design for this woodcut and the block was cut by the artist's brother, the painter Jean-Baptiste Millet (1831-1906). The work was included in Delteil's catalogue raisonné since he believed that Millet made the drawing directly on the block, which his brother later cut.
We have not found another impression at auction in the past 30 years. Melot cites only 4 other impressions in public institutions. Delteil 34; Melot 34.
Estimate
$1,500 – $2,500
Charles-françois daubigny
Voyage en bateau.
Group of 12 (of 16) etchings on Chine collé, 1861. Printed by Delâtre, Paris. Published by A. Cadart & F. Chevalier, Paris.
With— Couverture (Eaux-fortes par Daubigny), etching on Chine collé, 1850. Ninth state (of 11). Printed by Delâtre, Paris. From Eaux-fortes par Daubigny. Various sizes and conditions. Very good impressions. Delteil 66, 99, 101, 102, 104, 106, 107, 109, 110 and 112-115; Melot 66, 99, 101, 102, 104, 106, 107, 109, 110 and 112-115.
Estimate
$1,500 – $2,500
Jean-baptiste-camille corot
Environs de Rome.
Etching on Japan paper, 1866. 284x210 mm; 11¼x8¼ inches, full margins. Third state (of 3). A very good, richly-inked and dark impression with all the details distinct. Delteil 6; Melot 6.
Estimate
$1,500 – $2,500
Jean-baptiste-camille corot
Le Bouquet de Belle Forière.
Cliché-verre, 1858. 155x232 mm; 6¼x9¼ inches. First state (of 2), before the spots in the sky. A very good, early impression of this extremely scarce print. Delteil 71; Melot 71.
Estimate
$1,500 – $2,500
Jean-baptiste-camille corot
Environs de Gênes.
Cliché-verre, 1860. 206x158 mm; 8⅛x6⅛ inches, full margins. A very good, early impression of this scarce print.
We have found only one other impression at auction in past 30 years.
A cliché-verre, also known as a glass print, is made by placing photographic paper beneath a glass plate on which a design has been scratched through a coating of an opaque substance and then exposing it to light. The fluid lines achieved with cliché-verre prints are reminiscent of etched lines as well as ink drawings and paintings. Delteil 80; Melot 80.
Estimate
$1,500 – $2,500
Charles meryon
L’Abside de Notre-Dame.
Etching with engraving and drypoint on cream laid paper, 1854. 165x300 mm; 6½x11¾ inches, full margins. Fourth state (of 9), with the artist’s name and address lower margin and before the addition of the title. Printed by Beillet, Paris. A very good, early impression with strong contrasts. Schneiderman 45.
Estimate
$3,000 – $5,000
Charles meyron
La Galerie Notre-Dame.
Etching and engraving, 1853. 280x172 mm; 11x6¾ inches, wide margins. Fourth state (of 6). A superb, richly-inked, early impression with strong contrasts. Schneiderman 29.
Estimate
$1,500 – $2,500
Charles meryon
Two etchings.
La Tour de l’Horloge, etching and engraving on Chine collé, 1852. 261x185 mm; 10¼x7¼ inches, full margins. Seventh state (of 10). Edition of 600 * La Rue des Toiles, à Bourges, etching and drypoint on cream laid paper, 1853. 212x119 mm; 8⅜x4⅝ inches, full margins. Fifth state (of 9), before the title lower center. Very good impressions. Schneiderman 23 and 31.
Estimate
$1,000 – $1,500
James a. m. whistler
The Unsafe Tenement.
Etching printed in dark brownish black on Japan paper, 1858. 160x228 mm; 6 ⅜x9 inches, full margins. MacDonald’s fourth state (of 4), with pentimenti of the standing woman replaced by the pitchfork leaning against the wall at left and with remnants of the burnished-out sky still printing. From Twelve Etchings from Nature. A brilliant, richly-inked impression with all the details distinct. Kennedy 17; Glasgow 18.
Estimate
$1,200 – $1,800
James a. m. whistler
The Dog on the Kennel.
Etching printed in black on cream wove ledger paper, 1858. 71x89 mm; 2¾x3½ inches, wide margins. MacDonald’s second state (of 2), with the shading lines above the dog reduced. A superb, richly-inked impression of this very scarce, early etching, with crisp, inky plate edges.
MacDonald cites 20 known impressions; we have found only 9 impressions at auction in the past 30 years. Kennedy 18; Glasgow 19.
Estimate
$2,000 – $3,000
"This still-life study, which stands alone in Whistler's etched oeuvre, was made shortly after his return to London from Paris upon the completion of the Douze eaux-fortes d'après Nature, also known as the 'French Set.' Whistler and his brother-in-law worked closely for several months during this time at the latter's house on Sloane Street, London, where Haden had installed his own etching press."
181
James a. m. whistler
The Wine Glass.
Etching on cream laid paper, 1859. 83x55 mm; 3¼x2⅛ inches, wide margins. MacDonald’s second state (of 2), with the additional vertical shading lines in the background. A superb, richly-inked impression of this very scarce, early etching, with all the details distinct and with very strong contrasts.
As Getscher notes in The Stamp of Whistler, “Whistler was a very social animal,” (Oberlin, 1977, page 13). His social ease was a great aid during his early years in Paris from 1855 to 1859. Through his short training in the studio of Parisian artist Charles Gleyre (1806-1874), he met a group of local artists who helped him adapt to life in the new city. His friendship with the artist Henri Fantin-Latour, which developed while they were copying paintings by the masters in the Louvre, led him into an artistic circle that included luminaries of French painting at the time such as Gustave Courbet (1819-1877), Carolus-Duran (1837-1917) and Édouard Manet (1832-1883). Another associate of this group was the influential Parisian author and critic Charles Baudelaire (1821-1867), who was an early champion of Whistler’s work.
Whistler also visited London frequently from 1855 to 1858, mainly to see his half-sister Deborah, who had married the artist Francis Seymour Haden (1818-1910), and her family. These visits provided the subjects for more of his etchings from this time and prepared the way for his move to London in 1859.
This still-life study, which stands alone in Whistler’s etched oeuvre, was made shortly after his return to London from Paris upon the completion of the “French Set” or Douze eaux-fortes d’après Nature. Whistler and his brother-in-law worked closely for several months during this time at the latter’s house on Sloane Street, London, where Haden had installed his own etching press. Kennedy 27; Glasgow 38.
Estimate
$5,000 – $8,000
James a. m. whistler
Annie, Seated.
Etching on antique cream laid paper, 1858-59. 129x96 mm; 5⅛x3¾ inches, full margins. MacDonald’s third state (of 3). A very good impression. Kennedy 30; Glasgow 32.
Estimate
$1,500 – $2,500
James a. m. whistler
Bibi Lalouette.
Etching and drypoint printed in black on cream laid Japan paper, 1859. 230x153 mm; 9x6 inches, full margins. MacDonald’s second state (of 2), with pentimenti of the heads lower left and lower right still visible. A superb, early, richly-inked impression with partially inky plate edges and all the fine details distinct. Kennedy 51; Glasgow 33.
Estimate
$2,000 – $3,000
James a. m. whistler
Black Lion Wharf.
Etching on antique, cream laid paper, 1859. 150x225 mm; 5⅞x8⅞ inches, full margins. MacDonald’s fourth state (of 4). A brilliant, richly-inked impression with very strong contrasts. Kennedy 42; Glasgow 54.
Estimate
$2,000 – $3,000
James a. m. whistler
Thames Police.
Etching and drypoint on thin, cream laid Japan paper, 1859. 151x221 mm; 5⅞x8⅞ inches, full margins. MacDonald’s fifth state (of 5), with rounded plate corners. A brilliant, richly-inked impression with very strong contrasts. Kennedy 44; Glasgow 53.
Estimate
$1,500 – $2,500
James a. m. whistler
Limehouse.
Etching on Japan paper, 1859. 126x200 mm; 5x7 7/8 inches, full margins. MacDonald’s sixth state (of 6). Ex-collection Otto Gerstenberg (Lugt 2785, lower center recto). A superb, richly-inked impression, with all the fine lines distinct and no sign of wear. Kennedy 40; Glasgow 48.
Estimate
$1,500 – $2,500
James a. m. whistler
The Tiny Pool.
Etching and drypoint on cream wove paper, 1876-78. 98x67 mm; 3⅞x2⅝ inches, full margins. MacDonald’s third state (of 3), with Whistler’s butterfly signature almost imperceptible. Kennedy 173; Glasgow 167.
Estimate
$1,000 – $1,500
James a. m. whistler
The Forge.
Drypoint on antique cream laid paper, 1861. 190x311 mm; 7½x12¼ inches, full margins. MacDonald’s fourth state (of 6). The name D C Blauw watermark (MacDonald cites this watermark for impressions in the fourth state issued in the Thames Set). A brilliant, richly-inked, luminous impression with velvety burr. Kennedy 86; Glasgow 68.
Estimate
$1,500 – $2,500
James a. m. whistler
Doorway and Vine.
Etching printed in dark brownish black on antique cream laid paper, 1879-80. 233x170 mm; 9¼x6¾ inches. MacDonald’s sixteenth state (of 18). Edition of approximately only 30. Signed with the butterfly and inscribed “imp” in pencil on the tab, lower left. From Twenty-Six Etchings. A very good impression of this scarce etching. Kennedy 196; Glasgow 191.
Estimate
$7,000 – $10,000
James a. m. whistler
The Little Lagoon.
Etching and drypoint printed in dark brownish black on antique cream laid paper, 1880. 230x153 mm; 9⅛x6 inches. MacDonald’s fourth state (of 4). Signed with the butterfly and inscribed “imp” in pencil on the tab, lower right. From Twelve Etchings. A superb, richly-inked impression with selective wiping in the lower half of the image to convey the ripples and reflection of the water. Kennedy 186; Glasgow 216.
Estimate
$8,000 – $12,000
"Whistler (1834-1903) and his then model and mistress Maud Franklin arrived in Venice in September 1879 and remained there until November 1880. During this time, he produced far more than the dozen etchings stipulated by the Fine Art Society of London commission; he returned from Venice with over 50 etchings, several nocturne paintings and around a hundred pastels."
191
James a. m. whistler
Long Lagoon.
Etching and drypoint printed in dark brownish black on cream laid paper, 1879-80. 154x228 mm; 6¼x9 inches. MacDonald’s second state (of 2), before cancellation. Edition of approximately 30. Signed with the butterfly and inscribed “imp” in pencil on the tab, lower left. From Twenty-Six Etchings. A superb, warm impression of this very scarce etching, with selective wiping in the water and inky plate edges.
In July 1879, the Fine Art Society of London commissioned Whistler (1834-1903) to visit Venice and return by December with a set of 12 etched plates. Whistler eagerly accepted the commission, which gave him the chance to recoup his losses from the Ruskin trial and cover costs on the design of his “White House” in Chelsea (the house and contents were auctioned after he declared bankruptcy in 1879) and likely also the means to remove himself from London. One of the ironies of the Ruskin libel case is that the Fine Art Society had organized a collection to pay for Ruskin’s legal costs; they subsequently gave Whistler the Venice commission and with it the opportunity to get out of the debt incurred by the trial.
Whistler and his then model and mistress Maud Franklin arrived in Venice in September 1879 and remained there until November 1880. During this time, he produced far more than the dozen etchings stipulated by the commission; he returned from Venice with over 50 etchings, several nocturne paintings and around a hundred pastels.
The Venice etchings are in many ways a continuation of the themes he had been exploring in his 1860s/late 1870s etchings and lithographs of London and The Thames. These repeat characteristics include a sketch-like, drawn from nature quality, with an indifference to topographical accuracy and depth. Many of the Venice etchings, with watery foregrounds and high horizon lines, or directly frontal views of building facades, seem very two-dimensional. A number of the Venice scenes have a vignette-like appearance, with central compositions and considerable blank space at the edges of the sheet. Kennedy 203; Glasgow 243.
Estimate
$7,000 – $10,000
James a. m. whistler
Upright Venice.
Etching and drypoint printed in dark brownish black on antique cream laid paper, circa 1879-80. 256x179 mm; 10⅛x7 inches. MacDonald’s seventh state (of 8), with the figure of the gondolier on the gondola stern center left still partially visible. Edition of approximately only 30. Signed with the butterfly and inscribed “imp.” in pencil on the tab, lower left. From Twenty-Six Etchings. A superb, crisp, early impression, with warm plate tone and all the fine details distinct. Kennedy 205; Glasgow 232.
Estimate
$8,000 – $12,000
James a. m. whistler
The Village Sweet Shop.
Etching printed in dark brownish black on cream laid paper, 1886. 82x124 mm; 3¼x4⅞ inches. Edition of approximately only 14. Signed with the butterfly and inscribed “imp” in pencil on the tab, lower left. A superb impression of this extremely scarce etching.
We have found only 5 other impressions at auction in the past 30 years. Kennedy 251; Glasgow 266.
Estimate
$5,000 – $8,000
James a. m. whistler
Savoy Pigeons.
Lithograph on cream laid paper, 1896. 199x138 mm; 7⅞x5⅜ inches, full margins. Edition of approximately only 23, aside from the edition of approximately 3,000 published by The Studio, London. Printed by Way, London. A very good, early impression. Way 118; Levy 164; Chicago 154.
With—DAVID YOUNG CAMERON, Isles of Loch Maree. Etching and drypoint on tan laid paper, 1923. 175x350 mm; 7x13¾ inches, full margins. Signed in pencil, lower right. Rinder 469.
Estimate
$1,500 – $2,500
James a. m. whistler
Beatrix Whistler.
Lithograph on cream wove paper, 1893. 173x90 mm; 6⅞x3½ inches, full margins. Edition of only 17. Printed by Goulding, London, in 1903 (there were no lifetime impressions according to Spink, et als). A superb impression of this extremely scarce lithograph, with strong contrasts and the tonal nuances distinct.
We have found only 3 other impressions at auction in the past 20 years.
Beatrice (or Beatrix), affectionately known to him as “Trixie,” was Whistler’s wife who died of cancer in 1896. This lithograph was printed by Goulding under the direction of Rosalind Bernie Philip, Beatrix’s sister and executor of Whistler’s estate. Levy 64; Spink 80.
Estimate
$3,000 – $5,000
"At the end of the 19th century, Monet (1840-1926), Edgar Degas (1834-1917) and Camille Pissarro (1830-1903) rediscovered lithography as a medium both to recreate their artistic conceptions on paper and simultaneously achieve widespread distribution of and acclamation for their work. These artists, who had invented new ways of transmitting impressions of light and color, changing the course of art, engaged George William Thornley (1857-1935), an accomplished English lithographer and admirer of the Impressionists, to translate their designs into lithographs. The prints that emerged from these collaborative efforts are the only lithographs in color, save one by Pissarro, by these great Impressionist artists."
196
Claude monet and george w. thornley
Fillette, dans l’allée d’un parc, portant des bouquets.
Lithograph printed in grayish violet on cream Chine appliqué, 1894. 183x228 mm; 7¼x9 inches, full margins. Edition of 100. Printed by Belfond, Paris, with the blind stamp lower right. Published by Goupil, Paris. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet. A very good impression.
Estimate
$4,000 – $6,000
Claude monet and george w. thornley
Les Falaise dans la mer.
Lithograph printed in dark green cream Chine appliqué, 1894. 190x262 mm; 7½x10½ inches, full margins. Edition of 100. Signed by Thornley in pencil, lower right. Printed by Belfond, Paris, with the blind stamp lower right. Published by Goupil, Paris. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet. A superb, richly-inked impression.
Estimate
$3,000 – $5,000
Claude monet and george w. thornley
Vue d’une côte avec des voiliers.
Color lithograph, circa 1894. 203x292 mm; 8x11½ inches, full margins. Artist's proof, with the color names printed in the lower margin. Inscribed "Monet" in pencil, verso. A superb impression of this extremely scarce, possibly unique proof with strong colors.
This appears to be a color lithograph conceived for but not included in the Monet and Thornley collaborative series L'Album de 20 lithographies d'apres les tableaux de Claude Monet, printed by Belfond, Paris, and published by Goupil, Paris, in 1894.
Estimate
$5,000 – $8,000
Claude monet and george w. thornley
Paysage avec une anse dans un arbre.
Color lithograph printed in violet, red and green on bluish gray wove paper, 1894. 228x293 mm; 8⅛x11½ inches, full margins. Artist's proof, printed in colors, aside from the deluxe edition of 25 and the regular edition of 100 (both of which were printed in dark blue on light blue wove paper). Printed by Belfond, Paris. Published by Goupil, Paris. From L'Album de 20 lithographies d'apres les tableaux de Claude Monet. A superb, richly-inked impression of this extremely scarce proof, with strong colors.
Estimate
$5,000 – $8,000
Pierre-auguste renoir
Le Chapeau Épinglé (1e planche).
Etching, circa 1894. 111x83 mm; 4⅜x3¼, full margins.
With—Sur la Plage, à Berneval, drypoint, circa 1892. 140x95 mm; 5½x3¾ inches, full margins. Third state (of 3) * Buste d’enfant, tourné a droite, soft-ground etching, circa 1908. 137x90 mm; 5⅜x3⅝ inches, wide margins. Very good impressions. Delteil 5, 6 and 22.
Estimate
$1,500 – $2,500
Pierre-auguste renoir
Enfants Jouant à la Balle.
Lithograph, 1898-1900. 600x510 mm; 23⅝x20⅛ inches, full margins. Edition of 200. Printed by Auguste Clot, Paris. Published by Vollard, Paris. A superb impression of this large, important lithograph, with strong contrasts. Delteil 32.
Estimate
$6,000 – $9,000
Pierre-auguste renoir
La Pierre au Trois Croquis.
Lithograph, 1904. 225x290 mm; 8⅞x11½ inches, full margins. Second state (of 2), with the signature lower left. Edition of 950. Published by Vollard, Paris. From L’Album des Douze Lithographies Originales. A very good impression. Delteil 41.
Estimate
$1,000 – $1,500
Pierre-auguste renoir
Femme couchée (tournée à gauche).
Etching, 1906. Second state (of 2). 139x192 mm; 5½x7¾ inches, full margins. Second state (of 2).
With—Femme nue Assise, soft-ground etching, 1906. 188x149 mm; 7⅜x5⅞ inches, full margins * Baigneuse debout, à mi-jambe, etching, circa 1910. 165x112 mm; 6½x4⅜ inches, wide margins. Very good impressions. Delteil 12, 15 and 23.
Estimate
$1,500 – $2,500
Edgar degas
Danseuse mettant son chausson.
Etching on cream laid paper, circa 1892. 176x116 mm; 7x4⅞ inches, wide margins. Second state (of 2), after cancellation, though with the cancellation marks masked out in the printing and unobtrusive. A very good impression. Delteil 36; Adhémar 60.
Estimate
$1,500 – $2,500
Edgar degas and george w. thornley
L’Attente de la Chanteuse.
Color lithograph printed in dark mauve on rose-toned Chine appliqué on greenish gray wove paper, circa 1888. 248x140 mm; 9¾x5½ inches, wide margins. Artist's proof, from the deluxe edition of 25, before the edition of 100 with text in the lower margin. Signed by both Degas and Thornley, lower margin, and annotated in pencil, lower margin. With Thornley's blind stamp twice, lower center and lower right. Printed by Atelier Becquet, Paris. Published by Boussod-Valadon, Paris. From Quinze Lithographies. A very good impression.
Degas (1834-1917) was likely influenced to collaborate with the lithographer Thornley by Theo Van Gogh, the influential director of the Boussod-Valadon Gallery in Paris, and as a result of Thornley's masterful lithographic interpretations of drawings by Puvis de Chavannes. By 1888, Degas and Thornley were working together to produce a portfolio of 15 lithographs based on drawings by Degas. The portfolio was issued in 1889 in an edition of 100, plus an additional deluxe edition of 25 with each of the prints signed by both artists. Reed/Shapiro p. lvii.
Estimate
$6,000 – $9,000
Mary cassatt
Knitting in the Glow of a Lamp.
Soft-ground etching, circa 1880. 294x278 mm; 11⅜x9 inches, full margins. Second state (of 2), the darker plate with the sitter’s glasses indistinct. A superb, dark and richly-inked impression of this scarce etching. Breeskin 31.
Estimate
$1,500 – $2,500
Mary cassatt
Two Ladies in a Loge, Facing Left (no.2).
Soft-ground etching on laid paper, circa 1882. 210x157 mm; 8¼x3⅛ inches, full margins. Second state (of 4). Signed in pencil, lower right. A very good impression of this extremely scarce, early print.
We have only found one other impression, a later printing in the fourth state, at auction in the past 30 years. Breeskin 17.
Estimate
$10,000 – $15,000
"An early work, created at the height of Impressionism, In the Opera Box (No. 3) is among Cassatt's most technically complex and celebrated etchings from her first decade as a printmaker and shows a clear affinity to Degas' teaching her etching, aquatint and other techniques."
208
Mary cassatt
In the Opera Box (No. 3).
Etching, aquatint and soft-ground etching on cream laid Japan paper, circa 1880. 212x192 mm; 8½x7¾ inches, full margins. Fourth state (of 4). Edition of approximately only 50. Signed in pencil, lower left. A superb, well-inked impression of this very scarce, important Impressionist etching.
Born in Philadelphia into a well-to-do family, Cassatt (1844-1926) spent most of her adult life in Europe (Paris mainly) and, along with Berthe Morisot, went on to become one of the most celebrated female Impressionist artists. Edgar Degas served as her artistic mentor for some time and in 1876 invited her to show in the next Impressionist exhibition, noting chauvinistically that, “Most women paint like they are trimming hats, (but) not you.”
Cassatt and Degas initially had a close friendship (though they later had a falling out, not atypical of Degas’ relationships) and it was under Degas’ guidance that Cassatt developed her techniques in pastels and printmaking. Cassatt made 220 etchings, drypoints and aquatints between the mid-1870s and early 1900s. Most of her prints were pulled in editions of 25 or fewer, rarely was any of her printed oeuvre published.
An early work, created at the height of Impressionism, In the Opera Box (No. 3) is among Cassatt’s most technically complex and celebrated etchings from her first decade as a printmaker and shows a clear affinity to Degas’ teaching her etching, aquatint and other techniques.
Cassatt also played an important role as an art advisor to wealthy American collectors, particularly during the early 1900s, helping to promote the reputation of Degas and other fellow Impressionists in the United States. In 1901, she accompanied Mr. and Mrs. H.O. Havemeyer on a collecting trip in Italy and Spain (she had known Mrs. Havemeyer before her marriage). Cassatt was instrumental in shaping the Havemeyer Collection, with its strength in French Impressionist works, most of which is now in the collection of the Metropolitan Museum of Art, New York. Breeskin 22.
Estimate
$20,000 – $30,000
Mary cassatt
Sara Wearing her Bonnet and Coat.
Lithograph, circa 1904. 507x408 mm; 20x16¾ inches, full margins.
With—Margot Wearing a Bonnet (No. 1), drypoint on cream laid paper, circa 1902. 235x165 mm; 9x6 inches, full margins. Both very good impressions.
Sara Wearing her Bonnet and Coat is one of only two known lithographs by Cassatt (1844-1926). The sitter was a model Cassatt used frequently after 1900. According to Breeskin, Sara was a granddaughter of one of the former presidents of France, Emile Loubet. Breeskin 179 and 198.
Estimate
$3,000 – $5,000
Camille pissarro and george w. thornley
Jeune Paysanne.
Lithograph printed in violet on Chine appliqué, circa 1900. 235x197 mm; 9⅛x7¾ inches, full margins. Edition of 108. Signed by both Pissarro and Thornley in pencil, lower margin. Published by Hessèle, Paris. From 25 Lithographies. A very good impression.
Pissarro likely acted on the advice of Edgar Degas, who had collaborated with Thornley on a suite of lithographs after his drawings (Reed/Shapiro 25b; see lot 205) during the late 1880s, when he decided to create the current work.
Estimate
$2,500 – $3,500
Camille pissarro and george w. thornley
Jour de foire à Pontiose.
Lithograph printed in brown on Chine appliqué, circa 1900. 190x233 mm; 7½x9⅛ inches, full margins. Edition of 108. Signed by both Pissarro and Thornley in pencil, lower margin. Published by Hessèle, Paris. From 25 Lithographies. A very good impression.
Pissarro likely acted on the advice of Edgar Degas, who had collaborated with Thornley on a suite of lithographs after his drawings (Reed/Shapiro 25b; see lot 205) during the late 1880s, when he decided to create the current work.
Estimate
$3,000 – $5,000
Camille pissarro andgeorge w. thornley
Pont à Rouen.
Lithograph printed in dark brownish black on Chine appliqué, circa 1900. 217x275 mm; 8⅝x10⅞ inches, full margins. Edition of 108. Signed by Pissarro in pencil, lower left, and annotated in pencil, lower margin. Published Hessèle, Paris. From 25 Lithographies. A very good impression of this scarce lithograph.
With--The original justification folder signed by both Thornley and Pissarro in pencil.
Pissarro likely acted on the advice of Edgar Degas, who had collaborated with Thornley on a suite of lithographs after his drawings (Reed/Shapiro 25b; see lot 205) during the late 1880s, when he decided to create the current work.
Estimate
$3,000 – $5,000
Camille pissarro
Place de la République, à Rouen (avec Tramway).
Etching and drypoint, 1883. 170x165 mm; 5½x6½ inches; wide margins. Second state (of 2). Edition of 40. With the artist’s monogram blue ink stamp (Lugt 613d, lower right recto) and titled and inscribed “no. 17” in pencil, left. A very good impression. Delteil 65.
Estimate
$1,500 – $2,500
Camille pissarro
Notre Dame de Bruges.
Etching printed in dark, olive greenish black on rose-toned buff China paper, 1894. 215x143 mm; 8½x5⅝ inches, full margins. Sixth state (of 6). One of approximately only 13 impressions in this state, from a total of approximately 20 impressions in all six states combined. With the artist’s initials dark gray ink stamp (Lugt 613e, lower right recto) and inscribed “No. 9” in pencil, upper right. Also inscribed “6 épreuves sur ce papier et de ce format. Puis 6 en supplement commandés par M. Rodo” in pencil, lower center (referring to the artist’s fourth son Lodovico Rodo Pissarro). A superb, well-inked impression of this extremely scarce etching. Delteil 109.
Estimate
$1,500 – $2,500
Paul cézanne (after)
La Montagne Sainte-Victoire.
Color aquatint, 1923-24. 436x605 mm; 17⅛x23⅞ inches, full margins. Inscribed "Paul Cézanne" by the artist's son and numbered 25/200 in ink, lower margin. Etched by Jacques Villon. Published by Galerie Bernheim-Jeune, Paris. A very good impression with strong colors. Ginestet/Pouillon 639 (Villon).
Estimate
$2,000 – $3,000
Frits thaulow
Ponte Pietra, Verona.
Color aquatint, circa 1899. 483x610 mm; 19⅛x24⅛ inches, full margins. Signed and inscribed "No. 87" in black crayon, lower margin. Published by Georges Petit, Paris, with the blind stamp lower left. A very good impression.
Estimate
$2,000 – $3,000
Anders zorn
Summer.
Etching, 1907. 178x121 mm; 7x4¾ inches, full margins. Signed in pencil, lower right. A very good, richly-inked impression with warm plate tone and strong contrasts. Delteil 210; Asplund 211; Hjert/Hjert 248.
Estimate
$1,200 – $1,800
Anders zorn
Two etchings.
The New Maid, 1909. 298x196 mm; 11¾x8 inches, full margins. Sixth state (of 6) *Skerikullla (A Skeri Girl), 1912. 250x198 mm; 9¾x7¾ inches, full margins. Second state (of 2). Both signed in pencil, lower right. Both very good impressions. Asplund 227 and 247; Hjert/Hjert 159 and 228.
Estimate
$2,000 – $3,000
James jacques tissot
Berthe.
Etching and drypoint on cream laid paper, 1883. 362x279 mm; 14¼x11 inches, full margins. A very good impression with a rich velvety burr.
Tissot’s portrait of the artist Berthe Morisot (1841-1895). Wentworth 74.
Estimate
$2,500 – $3,500
Paul césar helleu
Femme endormie sur un canapé.
Drypoint, circa 1900. 347x498 mm; 13¾x19¾ inches, full margins. Signed in pencil, lower right. A very good, richly-inked impression of this extremely scarce print.
Estimate
$1,500 – $2,500
Paul césar helleu
Le Noeud Bleu.
Color drypoint, circa 1905. 540x335 mm; 21x13 inches, full margins. Edition of 80. Signed in pencil, lower right. A superb impression of this large print. Montesquiou 40.
Estimate
$1,500 – $2,500
Paul césar helleu
Le Chapeau à Plume.
Color drypoint, 1900. 580x403 mm; 22⅞x15¾ inches, wide margins. Signed in pencil, lower left. A very good impression of this large print. Montesquiou XXXIX.
Estimate
$1,500 – $2,500
Odilon redon
Il Tombe dans l’Abime, la Tête en bas.
Lithograph on Chine volant, 1896. 278x210 mm; 11x8¼ inches, full margins. Edition of 50. Printed by Blanchard, Paris. Published by Vollard, Paris. From Tentation de Saint-Antoine, Troisème serié. Mellerio 150.
Estimate
$1,500 – $2,500
Paul gauguin
Mahna No Varua Ino.
Color woodcut on imitation Japan paper, 1893-94. 207x356 mm; 8¼x14¼ inches, wide margins. Edition of approximately 25-30. Printed by Louis Roy, 1894. A very good, early impression of this scarce color woodcut. Kornfeld 19.
Estimate
$12,000 – $18,000
Peter behrens
Der Kuss.
Color woodcut on Japan paper, 1898. 272x216mm; 10¾x8½ inches, full margins. Edition of 1100. From Pan. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Henri toulouse-lautrec
La Coiffure, Programme du Théâtre Libre.
Color lithograph, 1893. 330x255 mm; 13x10⅛ inches, full margins. Third state (of 3), with the printed text. A very good impression with strong colors. Delteil 14; Adhémar 40; Adriani 40.
Estimate
$2,000 – $3,000
Henri toulouse-lautrec
Yvette Guilbert, “Chanson Ancienne.”
Lithograph printed in black with a beige tint stone, 1898. 324x365 mm; 12¾x14⅜ inches, full margins. Second state (of 2). Edition of 350. Published by Bliss, Sand & Co., London. From Album Yvette Guilbert. A very good impression. Delteil 257; Adhémar 313; Adriani 255.
Estimate
$1,500 – $2,500
Henri toulouse-lautrec
Mademoiselle Marcel Lender, en buste.
Color lithograph, 1895. 329x244 mm; 13x9⅝ inches, wide margins. Fourth state (of 4). Edition of 1100. Printed by Ancourt, Paris. Published in Pan, Berlin, volume I, no. 3. Delteil 102; Adhémar 131; Adriani 115.
Estimate
$4,000 – $6,000
Henri toulouse-lautrec
Zamboula-Polka.
Lithograph, 1901. 263x210 mm; 10½x8¼ inches, full margins. Second state (of 3), with the letters. A proof in this state, on large-size paper, aside from the edition of approximately 300 for the song-sheet cover. A very good impression of this scarce lithograph.
This is Toulouse-Lautrec’s last documented lithograph. According to Adriani, “It was made between the end of April and 15 July 1901, during Lautrec’s last visit to Paris; it was printed by Crevel, Paris. Désiré Dihau had asked his cousin and friend [Lautrec], now fatally ill, for a title page for this comic song to a text by P. Valfé, to be published by Georges Ondet.” Delteil 334; Adhémar 369; Adriani 360.
Estimate
$1,500 – $2,500
Suzanne valadon
Louise Nue sur un Canapé.
Soft-ground etching, 1895. 250x285 mm; 9⅞x11¼ inches, full margins. Signed and dated in pencil, lower right. A very good, richly-inked impression. Pétridès 4.
Estimate
$1,500 – $2,500
Pierre bonnard
La toilette assise.
Lithograph on cream wove paper, 1925. 330x235 mm; 13x9¼ inches, full margins. Third state (of 3), with the monogram in the stone lower right. Signed and numbered 81/100 in pencil, lower margin. Published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris, with the blind stamp lower right. A very good impression. Bouvet 96.
Estimate
$1,500 – $2,500
American
Thomas moran
The Much Resounding Sea.
Etching, roulette and drypoint with sandpaper ground on Japan paper, 1886. 370x827 mm; 14¾x32⅝ inches, wide margins. Second state (of 2), with the shark remarqué lower right. Signed in pencil, lower left. A superb, richly-inked impression of this large etching.
Based on the same-titled oil painting, an East Hampton seascape from 1884 in the collection of the National Gallery of Art, Washington, D.C. (Anderson 66). Klackner 45.
Estimate
$4,000 – $6,000
Thomas moran
Two etchings.
Passaic Meadows (In the Newark Meadows), 1880. 146x230 mm; 5¾x8¾ inches, full margins. Signed in pencil, lower left * The Castle of San Juan de Ulna, Vera Cruz, 1884. 200x280 mm; 7⅞x11 inches, wide margins. Signed in pencil, lower left. Both very good impressions.
Estimate
$1,000 – $1,500
John marin
Ponte Ghetto, Venice.
Etching on Japan paper, 1907. 239x189 mm; 9⅜x7½ inches, full margins. Edition of approximately only 30. Signed in pencil, lower right. A superb, richly-inked impression of this extremely scarce etching.
Zigrosser cites only 4 impressions in public collections. We have found only 2 other impressions at auction in the past 30 years. Zigrosser 69.
Estimate
$1,500 – $2,500
Childe hassam
Washington’s Birthday, Fifth Avenue and 23rd Street.
Etching on antique cream laid ledger paper, 1916. 323x187 mm; 12¾x7 inches, full margins. Second state (of 2). Signed with the artist’s cypher and inscribed “imp” in pencil, lower right. A superb impression of this very scarce, important etching with crisp, partially inky plate edges and the artist’s tack holes for drying at the sheet edges.
We have found only 4 other impressions at auction in the past 30 years. Cortissoz/Clayton 68.
Estimate
$8,000 – $12,000
Childe hassam
Fifth Avenue, Noon.
Etching, 1916. 251x190 mm; 9⅞x7½ inches, full margins. First state (of 2), before the slight reduction of the plate along the left edge. Artist’s proof, aside from the edition of approximately only 20. Signed with the artist’s cypher and inscribed “imp” in pencil, lower right. A brilliant, richly-inked impression of this very scarce etching, with sharp plate edges, printing ink finger-print smudges at the sheet edges and strong plate tone.
A view of Fifth Avenue, New York, drawn from life, looking north from 34th Street (from the site of the Empire State building today). Cortissoz/Clayton 77.
Estimate
$5,000 – $8,000
Childe hassam
Cos Cob.
Etching and drypoint, 1915. 177x127 mm; 6⅞x5 inches, full margins. Edition of 400. Signed with the artist’s cypher in pencil, lower right. Printed by Peter J. Platt, New York. Published by The American Academy of Arts and Letters, New York, bound as issued in The Etchings and Drypoints of Childe Hassam, N.A. A very good impression. Cortissoz/Clayton 32.
Estimate
$1,000 – $1,500
Joseph pennell
The Marble Hall, Pennsylvania Station, New York.
Etching on laid paper, 1919. 300x253 mm; 11¾x10 inches, wide margins. Edition of approximately 50. Signed and inscribed “Inside the P.R.R. Station, N.Y.C.” in pencil, lower margin. A very good richly-inked impression. Wuerth 704.
Estimate
$1,000 – $1,500
George bellows
Solitude.
Lithograph on Japan paper, 1917. 435x393 mm; 17x15⅜ inches, full margins. First state (of 2). Edition of 60. Inscribed “No. 47” in pencil, lower left. Signed “Geo Bellows J. B. B.” by the artist’s daughter, Jean Bellows Booth, in pencil, lower right. A brilliant, richly-inked, dark and luminous impression. Mason 37.
Estimate
$1,200 – $1,800
George bellows
Family.
Lithograph, 1916. 117x177 mm; 4⅝x7 inches, full margins. Edition of 87. Signed, titled and inscribed “No. 62” in pencil, lower margin. A superb, richly-inked impression of this scarce, early lithograph. Mason 10.
Estimate
$1,000 – $1,500
George bellows
Workman’s Kitchen.
Lithograph on thin wove paper, 1917. 157x185 mm; 6¼x7¼ inches, wide margins. Second state (of 2). Edition of 39. Signed and titled in pencil, lower margin. A very good, dark impression of this scarce lithograph. Mason 36.
Estimate
$1,000 – $1,500
George bellows
Morning, Nude Sketch.
Lithograph on thin cream wove paper, 1921. 243x183 mm; 9½x7¼ inches, full margins. Edition of 48. Signed in pencil, lower right, and signed by the printer, Bolton Brown, and inscribed “imp” in pencil, lower left. A very good impression. Mason 75.
Estimate
$1,000 – $1,500
Marsden hartley
Pomegranate, Pear and Apple.
Lithograph, 1923. 258x370 mm; 10⅛x14½ inches, full margins. Edition of 25. Signed and dated in pencil, lower right. A very good impression of this scarce lithograph.
We have found only 2 other impressions at auction in the past 30 years. University of Kansas 6.
Estimate
$2,500 – $3,500
Marsden hartley
Pears in a Basket.
Lithograph, 1923. 340x460 mm; 13⅜x18⅛ inches, full margins. Edition of 25. Signed and dated in pencil, lower right. A very good impression of this scarce lithograph. University of Kansas 2.
Estimate
$2,500 – $3,500
Marsden hartley
Dreitorspitze.
Lithograph, 1933-34. 315x400 mm; 12½x15¾ inches, full margins. Signed, dated, titled and inscribed “#2” in pencil, lower margin. A superb, dark and well-inked impression of this very scarce lithograph. University of Kansas 15.
Estimate
$3,000 – $5,000
Rockwell kent
Starry Night.
Wood engraving, 1933. 177x125 mm; 7x5 inches, full margins. Edition of 1750. Signed in pencil, lower right. Published by the Literary Guild of America. A very good, evenly-printed and dark impression. Burne-Jones 103.
Estimate
$1,000 – $1,500
Rockwell kent
Group of 28 Proofs for Doremus & Company.
Woodcuts on thin wove paper, 1929-30. Printed by J.J. Lankes, Newport News. Published by Doremus & Company, New York. Various sizes and conditions.
Doremus & Company was an advertising agency for clients United Founders Corporation and American Founders Group, banking and investment companies. Doremus employed Kent (1882-1971) to draw advertisements for the firms showing American industry and Lankes (1884-1960) to cut the series of woodblocks. From October 1929 through December 1931, the prints appeared in more than thirty cities and some of the most popular magazines, including Forbes, Harpers Magazine, and Time. Burne-Jones 595, 596, 598, 602-606, 610-612, 615, 616, 618, 639, 670, 671, 694, 696 and 697.
Estimate
$3,000 – $5,000
Paul landacre
Three Kids and a Horse.
Wood engraving, 1941. 190x256 mm; 7½x10 inches, full margins. Signed, titled and numbered 66/100 in pencil, lower margin. A very good impression. Wien 246.
Estimate
$3,000 – $5,000
Gustave baumann
Cottonwoods.
Color woodcut on cream laid paper, circa 1931. 270x240 mm; 10⅝x9½ inches, full margins. Edition of approximately 37 (from an intended edition of 120). Signed, titled and numbered 25/100 in pencil, lower margin. With the artist’s ink stamp, lower right. A very good impression. Chamberlain 119.2.
Estimate
$5,000 – $8,000
Frances gearhart
In the Sun.
Color woodcut on Japan paper, circa 1930. 226x222 mm; 8⅞x8¾ inches, full margins. Signed and titled in pencil, lower margin. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Frances gearhart
The Portal.
Color woodcut on Japan paper, circa 1930. 300x257 mm; 11¾x10⅛ inches, full margins. Signed and titled in pencil, lower margin. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Frances gearhart
Wilderness.
Color woodcut on Japan paper, circa 1930. 300x252 mm; 11¾x9⅞ inches, full margins. Signed in pencil, lower left. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Frances gearhart
Autumn Crowned.
Color woodcut on Japan paper, circa 1930. 240x203 mm; 9½x8 inches, full margins. Signed and titled in pencil, lower margin. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Luigi rist
Two color woodcuts.
Roses #2, 1946. 180x230 mm; 7⅛x9 inches, wide margins. Signed in ink, lower right and titled in pencil, lower left * Peperoni, 1951. 205x260 mm; 8⅛x10¼ inches, full margins. Signed in ink lower right and titled in pencil lower left. Both an edition of 150. Very good impressions with strong colors. Williams 20 and 30.
Estimate
$1,500 – $2,500
Thomas hart benton
White Calf.
Lithograph, 1945. 253x325 mm; 10x12⅞ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 67.
Estimate
$1,500 – $2,500
Thomas hart benton
Gateside Conversation.
Lithograph, 1946. 251x355 mm; 9⅞x14 inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, well-inked impression. Fath 69.
Estimate
$2,000 – $3,000
Thomas hart benton
Aaron.
Lithograph, 1941. 326x242 mm; 12¾x9⅝ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 42.
Estimate
$1,500 – $2,500
Thomas hart benton
Old Man Reading.
Lithograph, 1941. 253x310 mm; 10x12¼ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 44.
Estimate
$1,500 – $2,500
Thomas hart benton
I Got a Gal on Sourwood Mountain.
Lithograph, 1938. 315x232 mm; 12½x9⅛inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb impression. Fath 19.
Estimate
$4,000 – $6,000
Thomas hart benton
Ten Pound Hammer.
Lithograph, 1967. 350x250 mm; 13¾x9¾ inches, full margins. Edition of 300. Signed in pencil, lower right. A very good impression of this scarce lithograph with strong contrasts.
While Fath cites an edition of 300, we have found only 21 other impressions at auction in the past 30 years, indicating that the edition was likely significantly fewer. Fath 79.
Estimate
$5,000 – $8,000
John steuart curry
Baptism in Big Stranger Creek.
Lithograph, 1932. 252x345 mm; 9⅞x13⅝ inches, full margins. Edition of 25. Signed in pencil, lower right. A very good, well-inked impression of this extremely scarce lithograph.
We have found only 5 other impressions at auction in the past 30 years. Cole 13.
Estimate
$1,000 – $1,500
John steuart curry
Circus Elephants.
Lithograph, 1936. 230x323 mm; 9x12⅛ inches, full margins. Edition of 250. Signed, titled “Elephants” and dated in pencil, lower margin, and signed by the artist’s wife, Kathleen Curry, in pencil lower center. Published by Associated American Artists, New York. A very good, dark impression. Cole 28.
Estimate
$1,500 – $2,500
Grant wood
Honorary Degree.
Lithograph, 1938. 300x177 mm; 11¾x6⅞ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Cole 4.
Estimate
$1,200 – $1,800
Howard cook
Pueblo Moonlight (Taos Pueblo, Moonlight).
Woodcut, 1927. 305x377 mm; 12x14⅞ inches, full margins. Edition of only 35 (from an intended edition of 50). Signed and inscribed “imp” in pencil, lower right. A very good impression of this scarce woodcut.
We have found only 3 other impressions at auction in the past 30 years. Duffy 53.
Estimate
$2,000 – $3,000
Howard cook
Greetings From the House of Weyhe.
Wood engraving on Japan paper, 1929. 195x114 mm; 7⅝x4½ inches, full margins. Edition of 100. Signed and dated in pencil, lower right. A very good, dark and evenly-printed impression.
Cook’s view of the Weyhe Gallery, which operated in the same New York location, a brownstone at 794 Lexington Avenue, from 1923 to 1994. The Weyhe Gallery held a one-man exhibition of Cook’s prints and drawings in February 1929. Duffy 111.
Estimate
$1,500 – $2,500
Howard cook
Trinity Church (New York).
Color linoleum cut, 1950. 580x248 mm; 22¾x9½ inches, wide margins. Edition of 15. Signed, dated and inscribed “imp” in pencil, lower right. A very good impression of this extremely scarce print.
We have not found another impression at auction in the past 30 years. Duffy 217.
Estimate
$2,000 – $3,000
Fritz eichenberg
The Steps.
Wood engraving, 1934. 160x122 mm; 6¼x4¾ inches, full margins. Edition of 200. Signed, titled and inscribed “Ed. 200” in pencil, lower margin. Published by Associated American Artists, New York. A very good impression.
With— The Stock Market, circa 1972. Signed, titled and numbered 57/100 in pencil, lower margin * The Artist and the Seven Deadly Sins, 1975. Signed, titled and numbered 90/100 in pencil, lower margin. Both wood engravings. Various sizes and conditions.
Estimate
$1,200 – $1,800
Fritz eichenberg
Subway (Sleep).
Wood engraving, 1934. 160x122 mm; 6¼x4¾ inches, full margins. Edition of 200. Signed, titled and inscribed “Ed. 200” in pencil, lower margin. Published by Associated American Artists, New York. A very good impression.
Estimate
$1,200 – $1,800
Paul cadmus
Horseplay.
Etching, 1935. 231x122 mm; 9x4¾ inches, full margins. Second edition. Signed, titled, numbered I/X and inscribed “II” in pencil, lower margin. A superb impression of this scarce etching with strong contrasts. Davenport 39.
Estimate
$5,000 – $8,000
Paul cadmus
Study for Serigraph of “Mobile” (Head only).
Color screenprint on brown wove paper, 1953. 314x240 mm; 12½x9½ inches (sheet), full margins. Signed and numbered 1/10 in pencil, and titled, dated and inscribed “Edition of 10” in white pencil, lower margin. A very good impression of this extremely scarce print. Davenport 49.
Estimate
$1,500 – $2,500
Robert riggs
On the Ropes.
Lithograph, circa 1932-33. 377x500 mm; 14⅞x19⅝ inches, full margins. Edition of 50. Signed, titled and numbered “12” in pencil, lower margin. A very good, richly-inked impression with strong contrasts. Bassham 27.
Estimate
$1,500 – $2,500
Raphael soyer
Farewell.
Lithograph, 1943. 412x321 mm; 16x12½ inches, full margins. Signed and titled in pencil, lower margin. A very good impression of this extremely scarce lithograph.
Cole notes an edition of approximately 100, but we have found only one other impression at auction in the past 30 years, indicating a significantly smaller edition. Cole 61.
Estimate
$1,500 – $2,500
Raphael soyer
Waitresses.
Lithograph, 1954. 292x240 mm; 11½x9½ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Cole 71.
Estimate
$1,000 – $1,500
Milton avery
Nude Combing Hair.
Drypoint, 1950. 218x156 mm; 8½x6⅛ inches, wide margins. Signed, dated and numbered 48/90 in pencil, lower margin. A superb, well-inked impression of this scarce print.
We have found only 9 other impressions at auction in the past 30 years. Lunn 30.
Estimate
$2,000 – $3,000
Milton avery
Standing Nude.
Drypoint printed in dark brown on cream wove paper, 1941. 364x195 mm; 14¼x7¾ inches, full margins. Signed, dated and numbered 53/60 in pencil, lower margin. A brilliant, richly-inked impression with strong contrasts, warm plate tone and crisp plate edges. Lunn 21.
Estimate
$1,500 – $2,500
Milton avery
Reclining Nude.
Drypoint printed in dark brownish black, 1941. 92x188 mm; 3⅝x7⅜ inches, full margins. Signed, dated and numbered 3/100 in pencil, lower margin. A superb, dark, evenly-printed impression of this scarce print. Lunn 22.
Estimate
$1,500 – $2,500
Milton avery
Nude with Long Torso.
Drypoint printed in dark brownish black, 1948. 150x377 mm; 5⅞x14⅞ inches, full margins. Edition of 100. Signed in pencil, lower right. Published by Laurel Gallery, New York. From Laurel. A very good impression of this scarce print.
We have found only 7 other impressions at auction in the past 30 years. Lunn 29.
Estimate
$1,500 – $2,500
Ralston crawford
Cologne Landscape #4.
Lithograph, 1951. 270x440 mm; 10⅝x17⅜ inches, full margins. Signed and numbered 4/15 in pencil, lower left. Printed by Desjobert, Paris. A very good impression of this extremely scarce lithograph.
We have not found another impression at auction in the past 30 years. Freeman 51.7.
Estimate
$2,000 – $3,000
European
"Coinciding with his Rose Period (or Circus Period) of painting, Picasso's first series of etchings in 1905, generally known as La Suite des Saltimbanques, and created at the outset of his career at only 24 years old, are mostly candid representations of the lives and private moments of acrobats and gypsies. During his early years in Paris, newly transplanted from Barcelona, Picasso frequently attended the Cirque Médrano in Montmartre, near his studio."
279
Pablo picasso
Tête de Femme.
Etching, 1905. 121x90 mm; 4x3½ inches, full margins. Edition of 250. Printed by Louis Fort, Paris. Published by Vollard, Paris. From Saltimbanques. A very good, dark and richly-inked impression of this early etching with strong contrasts.
Coinciding with his Rose Period (or Circus Period) of painting, Picasso’s first series of etchings in 1905, generally known as La Suite des Saltimbanques, and created at the outset of his career at only 24 years old, are mostly candid representations of the lives and private moments of acrobats and gypsies. During his early years in Paris, newly transplanted from Barcelona, Picasso frequently attended the Cirque Médrano in Montmartre, near his studio, and associated with the circus performers. Bloch 2; Geiser 3.
Estimate
$6,000 – $9,000
Pablo picasso
Les Saltimbanques.
Drypoint, 1905. 286x330 mm; 11¼x13 inches, full margins. Edition of 250. Van Gelder Zonen watermark. Printed by Louis Fort, Paris. Published by Vollard, Paris. From La Suite des Saltimbanques. A superb impression with strong contrasts, burr and crisp, partially inky plate edges. Bloch 7; Geiser 9.
Estimate
$5,000 – $8,000
Pablo picasso (after)
L’Arlequin et sa Compagne.
Estimate
$15,000 – $20,000
Pablo picasso (after)
Femme en Buste.
Color lithograph, 1955. 314x410 mm; 12⅜x16⅛ inches, full margins. Proof before letters, aside from the published poster edition of 500. Signed in red crayon, lower right. Printed by Mourlot, Paris, with the watermark, for the exhibition "Masters of Modern Art," Galerie Beyeler, Basel, June-August 1955. A very good impression of this scarce proof with strong colors. Czwiklitzer 90.
Estimate
$6,000 – $9,000
Pablo picasso
Le Viol, VII.
Aquatint, etching and drypoint, 1933. 198x278 mm; 7⅞x11 inches, full margins. The deluxe edition of 50 on the large sheet of Montval paper, aside from the regular edition of 260. Signed in pencil, lower right. Printed by Lacourière, Paris. Published by Vollard, Paris. A very good, strong and dark impression. Bloch 202; Geiser 378.
Estimate
$5,000 – $8,000
Pablo picasso
Rembrandt à la palette.
Etching, 1934. 278x198 mm; 11x7¾ inches, full margins. Edition of 260. Signed in pencil, lower right. Picasso watermark. Printed by Lacourière, Paris. Published by Vollard, Paris. A superb, dark and richly-inked impression with very strong contrasts. Bloch 208; Geiser 406.
Estimate
$8,000 – $12,000
Pablo picasso
Femme nue assise et Trois Têtes barbues.
Etching and aquatint on laid paper, 1934. 130x180 mm; 5⅛x7 inches, wide margins. Edition of 260. Signed in pencil, lower right. Printed by Lacourière, Paris. Published by Vollard, Paris with the watermark. A superb, richly-inked impression.
One of 100 different etchings from the Vollard Suite, a series Picasso (1881-1977) produced from 1930 to 1937 for Parisian publisher Ambroise Vollard. While over 300 sets were printed, complete suites are exceedingly rare, instead the prints from this series now are often found individually. Bloch 216; Baer 416.
Estimate
$5,000 – $8,000
Pablo picasso
Feuille d’Etudes à Deux Têtes.
Aquatint, 1939. 397x197 mm; 15⅝x7¾ inches, full margins. One of only 5 artist’s proofs, aside from the edition of 50. Vollard watermark. Printed by Lacourière, Paris. A very good impression of this extremely scarce proof. Bloch 319; Baer 666.
Estimate
$3,000 – $5,000
Pablo picasso
Buste de Femme.
Aquatint and engraving, 1955. 647x495 mm; 25½x19½ inches, full margins. Signed and numbered 31/50 in pencil, lower margin. A superb impression of this large, scarce print. Bloch 771; Baer 771.
Estimate
$20,000 – $30,000
Pablo picasso (after)
Cavalier de cirque II.
Color lithograph, 1954. 240x320 mm; 9⅜x12½ inches, full margins. The deluxe edition signed and numbered 34/75 in pencil, lower margin. Published by Editions Verve, Paris, with the blind stamp lower left. From Suite de 180 Dessins. A very good impression.
Estimate
$4,000 – $6,000
Pablo picasso
Personnages et Nu.
Etching, 1960. 267x210 mm; 10½x8¼ inches, full margins. Signed and numbered 48/50 in pencil, lower margin. A very good impression. Bloch 986; Baer 1071.
Estimate
$2,500 – $3,500
Pablo picasso
L’Étreinte, I.
Linoleum cut printed in cream white and then washed in black India ink and rinsed (rincée) so that the lines become black, 1963. 530x640 mm; 20⅞x25¼ inches, full margins. Artist’s proof, aside from the edition of 50. Printed by Arnéra, Vallauris. Published by Galerie Louise Leiris, Paris. A very good impression.
Picasso conceived the process of rinsing prints, known as épreuves rincées, in the early 1960s. After printing a heavy deposit of ink, often white, onto the paper, the entire sheet is rinsed with water based dye which adheres only to the areas left blank and creates shadowy, sometimes uneven effects in the lines and at the borders. Bloch 1150; Baer 1344.
Estimate
$5,000 – $8,000
Pablo picasso
Fumeur à la Cigarette Rouge.
Color aquatint, 1964. 415x315 mm; 16⅜x12⅝ inches, full margins. Signed and numbered 23/50 in pencil, lower margin. A very good impression. Bloch 1167; Baer 1167.
Estimate
$25,000 – $35,000
Pablo picasso
Face No. 130.
Glazed terre-de-faïence plate painted in blue, yellow, red, green and black, 1963. 250 mm; 9⅞ inches (diameter). Inscribed “No. 130 Edition Picasso Madoura” and numbered 25/500 in black on the base. Ramié 479.
Estimate
$5,000 – $8,000
Pablo picasso
Picador II.
Color lithograph, 1961. 208x268 mm; 8½x10⅝ inches, full margins. Signed and numbered 36/50 in pencil, lower margin. Published by André Sauret, Monte Carlo. From A los Toreros avec Picasso. A superb impression with vibrant colors. Bloch 1017; Mourlot 350; Reuße 788.
Estimate
$10,000 – $15,000
Pablo picasso (after)
Grande Maternité.
Color lithograph, 1963. 790x600 mm; 31¼x23¾ inches, full margins. Signed and numbered 66/200 in pencil, lower margin. Published by Yamet Fine Arts, New York. A very good impression of this large print.
Estimate
$8,000 – $12,000
Pablo picasso (after)
La Ronde de la Jeunesse.
Color lithograph, 1961. 445x450 mm; 17x18 inches, full margins. The deluxe edition, before letters. Signed and numbered 61/200 in pencil, lower right. A very good impression.
Estimate
$3,000 – $5,000
Pablo picasso
Sable Mouvant.
Portfolio with complete text and 10 aquatints, 1966. 480x380 mm; 19x15 inches (sheets), full margins, loose as issued.
Edition of 255. Signed in pencil and numbered “177” on the justification page. Printed by Crommelynck, Paris. Published by Louis Broder, Paris.
Original paper and vellum wrappers and linen cover and slipcase. Superb impressions. Bloch 1183-92; Baer 1152-61.
Estimate
$12,000 – $18,000
Pablo picasso
Portrait de Pierre Crommelynck.
Etching and aquatint, 1966. 565x394 mm; 22¼x15½ inches, full margins. Artist’s proof, aside from the edition of 50. Signed in pencil, lower right. A very good impression. Bloch 1378; Baer 1400.
Estimate
$5,000 – $8,000
Pablo picasso
Series 347:002 (Écuyères et jugleuse).
Etching, 1968. 392x565 mm; 15⅜x22¼ inches, full margins. One of only 17 artist’s proofs, aside from the edition of 50. Signed in pencil, lower right. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. A very good impression. Bloch 1482; Baer 1497.
Estimate
$4,000 – $6,000
Pablo picasso
Series 347:038 (Peintre Songeant à une Grande Toile représentant trois Femmes).
Aquatint and drypoint, 1968. 317x392 mm; 12½x15⅜ inches, full margins. One of only 17 artist’s proofs, aside from the edition of 50. Signed in pencil, lower right. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. A very good impression. Bloch 1518; Baer 1534.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:045 (Caricature du Général de Gaulle, et deux Femmes).
Aquatint and drypoint, 1968. 315x395 mm; 12⅜x15½ inches, full margins. One of only 17 artist’s proofs, aside from the edition of 50. Signed in pencil, lower right. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. A very good impression. Bloch 1525; Baer 1541.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:156 (Maja et cavalier).
Aquatint, 1968. 60x85 mm; 2⅜x3⅜ inches, full margins. Signed and numbered 31/50 in pencil, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. A very good impression. Bloch 1636; Baer 1652.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:168 (Jeux de Gladiateurs).
Etching, 1968. 146x206 mm; 5¾x8¼ inches, full margins. Signed and numbered 26/50 in pencil, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. A very good impression with strong contrasts. Bloch 1646; Baer 1664.
Estimate
$5,000 – $8,000
Pablo picasso (after)
Le Clown.
Color lithograph, 1968. 319x319 mm; 12½x12½ inches, full margins. Signed and numbered 214/300 in pencil, lower margin. A very good impression with strong colors.
Estimate
$4,000 – $6,000
Pablo picasso
Series 156:025 (La diseuse de Bonne Aventure).
Aquatint, 1970. 205x150 mm; 8⅛x5⅞ inches, full margins. Numbered 23/50 in pencil and with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 156 Gravures. A very good impression. Bloch 1880; Baer 1886.
Estimate
$3,000 – $5,000
Pablo picasso
Series 156:122 (Barbu fantasmant, femmes, homme, et homme Grec au corps de femme).
Etching, 1971. 365x490 mm; 14⅜x19¼ inches, full margins. Numbered 5/50 in pencil and with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 156 Gravures. A very good impression. Bloch 1977; Baer 1986.
Estimate
$2,000 – $3,000
The following collection, lots 306-336 of scarce, early proofs, as well as a maquette for an original ceramic, was painstakingly built by a California connoisseur and now appearing at auction for the first time. Swann Auction Galleries is pleased to offer this significant collection. While there are proofs from the 1940 and 1950s, the core of the collection consists of prints that Picasso created for his two major career-end series, 347 Gravures and 156 Gravures, working with the Crommelynck master printers.
Brothers Aldo, Piero, and Milan Crommelynck were responsible for printing an astonishing 45 percent of Pablo Picasso’s intaglio prints. Piero, the youngest brother, who bore a resemblance to Don Quixote (see image above), has appeared in numerous Picasso portraits and his likeness was used for Picasso’s bearded musketeer who appears frequently in the Celestine images of the 347 Gravures. The Crommelynck family were instrumental in Picasso’s late career productivity and kept up with the aging artist’s relentless pace.
Picasso had met the Crommelyncks while the printers were working as apprentices at Roger Lacourière’s workshop in Paris. Lacourière collaborated closely with Picasso on his “Vollard Suite” during the 1930s and frequent projects thereafter. In 1956, the brothers set up their own workshop in Paris. Their father, Fernand Crommelynck, was a well-known playwright and his artist friends Georges Braque (see lots 341-348) and Joan Miro (see lots 387-398) were among their first clients. Picasso began his close collaboration with the Crommelynck atelier in the 1960s, after settling in the south of France. He’d grown weary of lithography and found long distance printmaking partnerships difficult when approving proofs. In 1963, Picasso was able to return to intaglio in earnest when Aldo Crommelynck installed a workshop in an old bakery in Mougins, close to Picasso’s villa. Unaware how long their project with Picasso would last, the brothers overlooked heating in the workshop and used secondhand equipment. However improvised, proximity to the retro-fitted bakery atelier and expert printers allowed Picasso to work unfettered; his final decade was his most active period of printmaking. Piero Crommelynck and his family would spend half of their year in Mougins assisting Picasso in the makeshift workshop. The worn path between Picasso’s residence and the Crommelynck’s workshop was called “The Copper Trail” by the brothers who frequented the path carrying proofs and plates. The Crommelynck families were among the few who had deep personal and lasting relationships with Picasso late into his career.
The Mougins output began in October 1963 with a small series of etchings of rape scenes (Étreinte). After a brief recovery period from surgery in 1965, Picasso returned to intaglio with as much vigor as before. Picasso’s 347 Gravures (see lots 298-302 and 313-331), among his most iconic graphic work, was created between March and October 1968, producing 347 prints in a mere 204 days. During his busiest creative flashes, Picasso would produce as many as three plates a day. Piero and Aldo Crommelynck’s efficiency and technical expertise kept pace with Picasso’s fervor and imagination as he experimented with crayon over aquatint, various size of grounds, and the use of different varnish, greases and intaglio tools.
The series is a testimonial summary of Picasso’s career frequently seen through voyeuristic and erotic fantasies. At 87 years old, Picasso explored the humor in aging and inevitable death while he celebrated life and love. Within the series are a multitude of stories, such as La Célestine and Raphael et la Fornarina, with recurring characters, in which Picasso frequently disguised himself. Though completed at the end of a prolific career, 347 Gravures is considered a career masterpiece and is among his most original and inventive works. In his words, the series was his “most sought after–and possibly scandalous–work.”
Printed in an edition of 50, collectors in 1968 paid approximately $10 million for the complete set of 347 etchings–a record at the time for any work of art (Picasso had pre-sold all of the editions before he had even completed the series). However, the reception of his works was not always as enthusiastic. In November 1968, the etchings were shown at the Art Institute of Chicago and at Galerie Louise Leiris in Paris. Due to provocative subjects of many of the prints “impossible to show to the general public,” before the debut, art dealer Daniel-Henry Kahnweiler suggested that the Director of the Art Institute of Chicago keep the offending, erotically-charged prints (the majority of the Raphael et la Fornarina series) in a separate portfolio, not to be available to the general public, but only to a few in the Institute’s circle. The prints would also be kept out of the catalogue and only illustrated in separate leaflets. To avoid U.S. Customs, Aldo Crommelynck brought the specially printed leaflets in his baggage on his flight to Chicago. Most art critics disapproved of the Institute’s censorship and fueled a debate on art versus pornography. The French show, also censored, exhibited the same prints. Overall, the public reacted favorably to the series, with over 50,000 attendees in Chicago. The Raphael et la Fornarina series was ultimately shown to the public without censorship at Waddington Galleries, London in 1972.
After turning 90, Picasso embarked on another massive project with the Crommelynck printer-collaborators. He began to add 156 prints to his oeuvre, which became known as the 156 Gravures (see lots 304, 305 and 332-336). Completed in 1972, less than a year before his death, this final series was also self-referential and had similar themes as the 347 Gravures. These were not published until after Picasso’s death. Piero Crommelynck worked with Picasso most closely during this series.
The Mougins workshop remained open for a year after Picasso’s death in 1973. Piero and Aldo returned to Paris, where they continued their collaborations with André Masson, Marino Marini (see lots 434-438), and Hans Hartung. Recognized for their renowned talent as intaglio printers, the Crommelyncks attracted the talents of contemporary artists Louise Bourgeois, David Hockney, Jasper Johns, Alex Katz, and Jim Dine. Aldo eventually relocated to New York and partnered with Pace Prints and Piero opened his own studio in Paris in the 1980s and continued printing into the 1990s.
Pablo picasso
Carmen, de Profil.
Aquatint, 1949. 345x275 mm; 13½x10⅞ inches, full margins. One of only 7 proofs before the steel-facing, aside from the published edition of 11. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “23489” in pencil, verso. From Carmen. A very good impression. Bloch 572; Baer 835.
Estimate
$5,000 – $8,000
Pablo picasso
Le Carmen des Carmen.
Aquatint, 1949. 405x305 mm; 16x12 inches, full margins. A unique impression of the cancelled plate only issued in the first of 30 deluxe editions. Printed by Lacourière and Crommelynck, Paris. Published by Éditions Français Réunis, Paris. From the same-titled suite. A very good impression of this extremely scarce aquatint.
According to Cramer, “Copy No. I contains an additional impression from the cancelled plate of each of the four aquatints and the drypoint, as well as an impression of the lithograph, printed in black and in ocher, with the image partially effaced by a cross.” See Bloch 1001; Baer 874; Cramer Books 126.
Estimate
$1,500 – $2,500
Pablo picasso
Jeunesse.
Lithograph, 1950. 500x645 mm; 19½x25½ inches, full margins. Artist’s proof, aside from the edition of 50. Before Mourlot’s first state (of 2). Inscribed “188 entre 1 et 2 etat”, lower margin. A very good impression.
According to Reuße, there are only two known impressions in this state. He remarks, “That the proof was pulled before and not after Mourlot’s first state can be seen on the two spots of the girl’s left upper arm which are visible in both Mourlot’s first and second state.” Bloch 675; Mourlot 188; Reuße 543.
Estimate
$5,000 – $8,000
The unique prototype molded and painted by Picasso.
309
Pablo picasso
Picador.
Glazed terre-de-faïence plate painted in green, blue, yellow and white, 1953. 235 mm; 9¼ inches (diameter). The unique prototype molded and painted by Picasso before the edition of 300. With the Madoura Plein Feu and Empreinte Originale de Picasso stamps, verso.
Ex-collection Succession Picasso, Jacqueline Picasso, Mougins; thence by descent to Catherine Hutin, Paris; acquired from the former by Ernst Beyeler, Riehen; sold Christie’s, London, June 21, 2011, sale 7976, lot 301 to Leslie J. Sacks, Los Angeles; Estate of Leslie J. Sacks, Los Angeles, 2013.
Exhibited Galerie Beyeler, Basel, “Pablo Picasso, Keramik und Grafik,” October 2008-January 2009, no. 16 (illustrated).
Claude Picasso has confirmed that this is a unique work and comes from the Succession Picasso. Ramié 202.
Estimate
$20,000 – $30,000
Pablo picasso
Toros en Vallauris.
Color linoleum cut, 1960. 635x525 mm; 25x20¾ inches, full margins. Signed and numbered 48/185 in pencil, lower margin. A very good impression with strong colors. Bloch 1291; Baer 1269.
Estimate
$6,000 – $9,000
Pablo picasso
Au Theatre: Couple Avec un Flutiste et un Petit Chien.
Etching, drypoint and aquatint, 1966. 220x320 mm; 8⅝x12⅝ inches, full margins. One of only 3 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 15 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil and with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 60 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “27569” in pencil, verso. A richly-inked impression. Bloch 1431; Baer 1459.
Estimate
$3,000 – $5,000
Pablo picasso
Reflexion du Peintre sur la Vie.
Drypoint, 1967. 345x295 mm; 13⅝x11⅝ inches, full margins. One of only 3 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 15 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 60 Gravures. Ex-collection Marina Picasso, with the black ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “27703” in pencil, verso. A richly-inked impression. Bloch 1446; Baer 1481.
Estimate
$5,000 – $8,000
Pablo picasso
Series 347: 013 (Quatre Hommes en Costume Rembranesque).
Etching, 1968. 410x315 mm; 16⅛x12½ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “27892” in pencil, verso. A very good impression. Bloch 1493; Baer 1509.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:025 (Cirque et Catch).
Etching, 1968. 315x410 mm; 12½x16⅛ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “28016” in pencil, verso. A very good impression. Bloch 1505; Baer 1521.
Estimate
$4,000 – $6,000
Pablo picasso
Series 347:030 (Télévision Combat de Chars à l’Antique).
Etching, 1968. 315x410 mm; 12½x16⅛ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the blue ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “28007” in pencil, verso. A very good impression. Bloch 1510; Baer 1526.
Estimate
$4,000 – $6,000
Pablo picasso
Series 347:073 (Courtisane au Lit avec un Visiteur).
Etching, 1968. 412x487 mm; 16¼x19¼ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “28523” in pencil, verso. A very good impression. Bloch 1553; Baer 1569.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:088 (Cape et épée: Poursuite I).
Aquatint, 1968. 170x205 mm; 6¾x8⅛ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the blue ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “28670” in pencil, verso. A very good impression. Bloch 1568; Baer 1584.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:098 (Rapt, avec Celestine, Ruffian, Fille et Seigneur avec son Valet).
Aquatint, 1968. 297x344 mm; 11¾x13½ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris, with the inventory number “28780” in pencil, verso. A very good impression. Bloch 1578; Baer 1594.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:113 (Vieux beau saluant très bas une pupille de la Célestine).
Sugarlift and aquatint, 1968. 60x120 mm; 2⅜x4¾ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “28941” in pencil, verso. A very good impression. Bloch 1593; Baer 1609.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:120 (Maja et Célestine).
Sugarlift and aquatint, 1968. 120x60 mm; 4¾x2⅜ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “29030” in pencil, verso. A very good impression. Bloch 1602; Baer 1617.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:164 (Prostituée et marins).
Etching, 1968. 206x150 mm; 8⅛x5⅞ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist's proofs. Inscribed "épreuve avant aciérage" in pencil with the artist's signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the blue ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number "29446" in pencil, verso. A very good impression. Bloch 1644; Baer 1660.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:177 (Jeune Prostituée et Mousquetaire).
Aquatint, 1968. 205x150 mm; 8⅛x5⅞ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the black ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “29555” in pencil, verso. A very good impression. Bloch 1656; Baer 1673.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:190 (La Célestine, sa Protégée, et un Jeune Gentilhomme).
Sugarlift and aquatint, 1968. 90x122 mm; 3½x4¾ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “29700” in pencil, verso. A very good impression. Bloch 1670; Baer 1686.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:222 (Homme avec Deux Femmes Nues).
Aquatint, 1968. 315x395 mm; 12⅜x15½ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the blue ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “30041” in pencil, verso. Bloch 1702; Baer 1718.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:254 (Jeune Seigneur Fantoche avec un Reître, et Deux Femmes Nues).
Etching, 1968. 210x265 mm; 8¼x10⅜ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “30370” in pencil, verso. A very good impression. Bloch 1734; Baer 1751.
Estimate
$4,000 – $6,000
Pablo picasso
Series 347:283 (Télévision, gymnastique au sol).
Etching, 1968. 205x155 mm; 8¼x6⅛ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “30621” in pencil, verso. A very good impression. Bloch 1763; Baer 1780.
Estimate
$4,000 – $6,000
Pablo picasso
Series 347:268 (La Démesure du Peintre).
Etching, 1968. 137x110 mm; 5⅜x4⅜ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the blue ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “30511” in pencil, verso. A very good impression. Bloch 1748; Baer 1765.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:285 (Deux Femmes batifolant sur un Matelas de Plage.
Etching, 1968. 196x320 mm; 7¾x12⅝ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “30690” in pencil, verso. A very good impression. Bloch 1765; Baer 1782.
Estimate
$4,000 – $6,000
Pabo picasso
Series 347:291 (Écuyère de Cirque, Homme Rembanesque et Spectateur mal Rasé).
Etching, 1968. 280x388 mm; 11x15¼ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “30751” in pencil, verso. A very good impression. Bloch 1771; Baer 1788.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:311 (Raphael et la Fornarina XVI).
Etching, 1968. 150x206 mm; 7⅝x8⅛ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “30950” in pencil, verso. A very good impression. Bloch 1791; Baer 1808.
Estimate
$3,000 – $5,000
Pablo picasso
Series 347:323 (Jeune Femme et Gentilhomme: Sculpture égyptienne au socle peint).
Etching, 1968. 210x265 mm; 8¼x10⅜ inches, full margins. One of only 5 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 17 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 347 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “31070” in pencil, verso. A very good impression. Bloch 1803; Baer 1820.
Estimate
$3,000 – $5,000
Pablo picasso
Series 156:002 (Vieux Peintre et Vieux Modele).
Etching, 1969. 225x326 mm; 8⅞x12⅞ inches, full margins. One of only 3 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 15 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 156 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “31329” in pencil, verso. A very good impression. Bloch 1459; Baer 1862.
Estimate
$3,000 – $5,000
Pablo picasso
Series 156:100 (Femme au Lit vec Visiteurs en Costume du XVII Siècle).
Etching, 1971. 362x485 mm; 14¼x19⅛ inches, full margins. One of only 3 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 15 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 156 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “31714” in pencil, verso. A very good impression. Bloch 1956; Baer 1965.
Estimate
$4,000 – $6,000
Pablo picasso
Series 156:120 (Filles Entre Elles: La Récréation en Musique).
Etching, 1971. 365x490 mm; 14⅜x19¼ inches, full margins. Numbered 5/50 in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 156 Gravures. A very good impression. Bloch 1975; Baer 1984.
Estimate
$3,000 – $5,000
Pablo picasso
Series 156:128 (La Fête de la patronne, fleurs et Baisers, Degas s’amuse).
Etching, 1971. 365x486 mm; 14⅜x19⅛ inches, full margins. One of only 3 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 15 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 156 Gravures. Ex-collection Marina Picasso, with the violet ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “01169” in pencil, verso. A very good impression. Bloch 1983; Baer 1993.
Estimate
$3,000 – $5,000
Pablo picasso
Series 156:144 (Belle Jeune Femme à sa Toilette).
Etching, 1971. 365x485 mm; 14¼x19 inches, full margins. One of only 3 proofs before the steel-facing and beveling of the plate, aside from the published edition of 50 and 15 artist’s proofs. Inscribed “épreuve avant aciérage” in pencil with the artist’s signature ink stamp, lower margin. Printed by Crommelynck, Mougins. Published by Galerie Louise Leiris, Paris. From 156 Gravures. Ex-collection Marina Picasso, with the red ink stamp (Lugt 3698, verso) and registered with the Picasso Archives, Paris with the inventory number “31836” in pencil, verso. A very good impression. Bloch 1998; Baer 2008.
Estimate
$4,000 – $6,000
Ángel zárraga
Profond Aujourd’hui by Blaise Cendrars.
Bound volume with complete text and 5 color illustrations (2 hors-texte, 2 en-texte and one on the front cover), 1917. 187x180 mm; 7½x7 inches (sheets), full margins.
One of 250 numbered copies on Arches, from a total numbered edition of 305 (plus 26 lettered copies). Numbered 210 on the justification page. Printed by François Bernouard, Paris. Published by La Belle Edition, Paris.
Zárraga (1886-1946) was a Mexican artist who studied at the at the Escuela Nacional de Bellas Artes, Mexico City, and moved to Paris in 1911. He only returned to Mexico once at the outbreak of World War II for a short time. During the mid-1910s, Zárraga painted in a Cubist style and was also an early influence on the Surrealist movement.
Estimate
$1,500 – $2,500
El lissitzky
Wendingen, Volume 5, Number 11.
Volume with complete text, 21 photogravures of Frank Llyod Wright’s work and color lithograph cover by El Lissitzky, 1921. 330x330 mm; 13x13 inches (sheets), bound as issued. Published by De Hooge Brug, Amsterdam. Original wrappers and raffia sewn spine. A very good impression of the lithograph cover with vibrant colors.
Estimate
$3,000 – $5,000
Marcel duchamp
Coffee Mill.
Etching, 1947. 180x80 mm; 7 1/8x3 1/8 inches, full margins. Second state (of 2), after cancellation. Numbered 51/200 in pencil, lower left. A very good, evenly-printed impression.
Duchamp etched this print in 1947, for inclusion in the Gleizes/Metzinger book Du Cubisme, after the same-titled painting he had made in 1911 for his sculptor brother, Raymond Duchamp-Villon. His brother was married in 1911 and had asked his artist friends to make him small paintings with which to decorate his kitchen.
Estimate
$1,500 – $2,500
Juan gris
Nature morte.
Color pochoir, 1922. 165x250 mm; 6½x9⅞ inches, full margins. Signed in pencil, lower right. Published by L’Esprit Nouveau, Paris. A very good impression of this scarce print with strong colors. Kahnweiler 34.
Estimate
$5,000 – $8,000
Georges braque (after)
Hommage à J. S. Bach.
Color aquatint and etching, 1950. 440x590 mm; 17¾x23¼ inches, full margins. Signed by Braque and numbered 120/300 in pencil, lower margin. Etched by Georges Visat, Paris. Published by Maeght, Paris. A superb, richly-inked impression with strong colors. Maeght 1019.
Estimate
$4,000 – $6,000
Georges braque (after)
La Palette au Fond Gris, Galerie Maeght, Paris.
Color lithograph, 1959. 484x625 mm; 19x24¾ inches, full margins. Signed and numbered 51/300 in pencil, lower margin. Published by Maeght, Paris. A very good impression.
Estimate
$2,000 – $3,000
Georges braque
Tête verte.
Color etching, 1950. 325x206 mm; 12¾x8⅛ inches, full margins. Signed and numbered 10/30 in pencil, lower margin. Printed by Signovert, Paris. Published by Maeght, Paris. A very good impression of this scarce etching with strong colors. Vallier 58.
Estimate
$2,500 – $3,500
Georges braque (after)
Les Marguerites.
Color aquatint, circa 1950. 625x405 mm; 24⅝x15⅞ inches, full margins. Signed and numbered 289/300 in pencil, lower margin. Published by Maeght, Paris, with the blind stamp lower left. A very good impression of this large print with strong colors. Maeght 1002.
Estimate
$1,500 – $2,500
Georges braque
Arthur Rimbaud vu par les Peintres Contemporains.
Color lithograph, 1958. 170x230 mm; 6⅝x9 inches, full margins. Signed and numbered 18/97 in pencil, lower margin. Printed by Mourlot, Paris. Privately published. From the same-titled portfolio. A good impression. Vallier 133.
Estimate
$2,500 – $3,500
Georges braque
L’Oiseau Blanc.
Color lithograph, 1961. 360x292 mm; 14¼x11½ inches, full margins. An hors commerce impression, aside from the edition of 75. Signed and inscribed “HC V/VIII” in pencil, lower margin. Printed by Mourlot, Paris. A very good impression with strong colors. Vallier 159.
Estimate
$3,000 – $5,000
Georges braque (after)
La Chaise.
Color lithograph on cream wove paper appliqué on cream wove paper, as issued, circa 1960. 370x280 mm; 14⅝x11⅛ inches, full margins. Signed and numbered 287/300 in pencil, lower margin. Published by Maeght, Paris, with the blind stamp lower left on the support sheet. A very good impression with vibrant colors. Maeght 1046.
Estimate
$1,500 – $2,500
Georges braque (after)
Le Viaduc de L’Estaque.
Color aquatint and engraving, circa 1950. 425x525 mm; 16¾x20¾ inches, full margins. Signed and numbered 101/150 in pencil, lower margin. A very good impression with strong colors.
Based on Braque's (1882-1963) same-titled oil painting from 1908, now in the Musée National d'Art Moderne, at Le Centre Pompidou, Paris.
Estimate
$3,000 – $5,000
Henri matisse (after)
L’Espagnole à la Mantille.
Color aquatint and etching, 1925. 396x275 mm; 15¾x10⅞ inches, full margins. Signed by Matisse and numbered 45/200 in pencil, lower margin. Etched by Jacques Villon. Published by Galerie Bernheim-Jeune, Paris. A superb impression with strong colors. Duthuit II; Ginestet/Pouillon (Villon) 645.
Estimate
$15,000 – $20,000
Henri matisse
Odalisque au Collier.
Lithograph, 1923. 235x308 mm; 9¼x12⅛ inches, full margins. One of 10 numbered artist’s proofs, aside from the edition of 50. Signed, inscribed “Epr. d’artiste” and numbered 10/10 in pencil, lower margin. A superb, richly-inked impression of this scarce lithograph, with strong contrasts. Duthuit 434.
Estimate
$8,000 – $12,000
Henri matisse
Poèmes de Charles d’Orléans.
Portfolio with complete text and 54 color lithographs hors-texte and numerous en-texte illustrations, 1950. 406x264 mm; 16x10⅜ inches (sheet), full margins, loose as issued.
Edition of 1200. Signed in pencil and numbered “374”on the justification page. Published by Tériade, Paris.
Original printed paper wrappers with lithograph covers and gray linen slipcase. Superb impressions. Duthuit Books 28.
Estimate
$2,500 – $3,500
Henri matisse
Martiniquaise.
Etching on annam appliqué, 1946. 250x190 mm; 9⅞x7½ inches, full margins. Signed and numbered 15/25 in pencil, lower right. From the same-titled suite. A very good impression. Duthuit 279.
Estimate
$10,000 – $15,000
Henri matisse
Etude pour la Vierge, Tête voilée.
Lithograph on annam appliqué, 1950-51. 276x195 mm; 10⅞x7⅝ inches, full margins. Signed and numbered 55/200 in pencil, lower right. A very good impression. Duthuit 641.
Estimate
$7,000 – $10,000
Gerald l. brockhurst
The Black Silk Dress (Anais).
Etching, 1927. 222x186 mm; 8¾x7⅜ inches, full margins. Fourth state (of 9). Edition of 111. Signed in pencil, lower right. A very good, early impression with strong contrasts and with the uncleaned margins. Fletcher 58.
Estimate
$1,200 – $1,800
Gerald l. brockhurst
Young Womanhood (Anais).
Etching, 1931. 230x175 mm; 9x7 inches, full margins. Seventh state (of 7). Edition of 111. Signed in pencil, lower right. Fletcher 70.
Estimate
$1,000 – $1,500
Christopher r. w. nevinson
Making the Engine.
Lithograph, 1917. 403x303 mm; 15¾x11⅞ inches, full margins. Edition of 200. Signed, dated and numbered “95” in pencil, lower right. From The Great War: Britain’s Efforts and Ideals, Building Aircraft. A very good, dark impression of this scarce lithograph. Leicester Gallery 27.
Estimate
$4,000 – $6,000
"Automne is Rouault's tour-de-force and a secular stand-out in a printmaking oeuvre with a concentration on religious, spiritual and Biblical themes. It is among his most colorful, technically complex and largest prints, as well as a precursor to the large aquatints favored by Picasso and Matisse from the 1950s and 1960s."
357
Georges rouault
Automne.
Color aquatint, 1938. 510x665 mm; 20⅛x26¼ inches, wide margins. Signed in ink and numbered 66/175 in pencil, lower right. Printed by Lacourière, Paris. Published by Vollard, Paris. A brilliant, richly-inked impression of this large important print, with vibrant colors.
Rouault (1871-1958) was among the foremost printmakers of the early 20th century, translating his heavily-contoured, colorful paintings into richly-inked, painterly aquatints with the help of the Parisian master-printer, Roger Lacourière. In the late 1880s, Rouault had trained as an apprentice with a glass painter and restorer and, in the early 1890s, studied at the École des Beaux-Arts, Paris, under the symbolist master, Gustave Moreau (1826-1898). Both these experiences certainly influenced his style, as did his friendships at the turn-of-the-century with some of the leading Fauves, including Henri Matisse, Albert Marquet and Henri Manguin.
Automne is Rouault’s tour-de-force and a secular stand-out in a printmaking oeuvre with a concentration on religious, spiritual and Biblical themes. It is among his most colorful, technically complex and largest prints, as well as a precursor to the large aquatints favored by Picasso and Matisse from the 1950s and 1960s. Chapon/Rouault 288; Wofsy 285.
Estimate
$8,000 – $12,000
Georges rouault
Two color aquatints.
Le Petit Nain, 1934. 311x213 mm; 12¼x8¼ inches, full margins. Edition of 280. Printed by Lacouriére, Paris. Published by Vollard, Paris. From Cirque de l’Étoile Filante * Courtisane aux yeux baissés, 1937. 299x215 mm; 11¾x8½ inches, full margins. Edition of 250. Printed by Lacourière, Paris. Published by Vollard, Paris. From Les Fleurs du Mal. Both superb, crisp impressions with vibrant colors. Chapon/Rouault 243 and 276; Wofsy 322 and 273.
Estimate
$2,000 – $3,000
Georges rouault
Two color aquatints from Cirque.
Clown au timbale, 1930. 312x211 mm; 12¼x8⅜ inches, full margins * Parade, circa 1930. 300x267 mm; 12x10½ inches, full margins. Both an edition of 270. Both printed by Maurice Potin, Paris. Both published by Vollard, Paris. Both very good impressions with strong colors. Chapon/Rouault 200 and 203; Wofsy 209 and 211.
Estimate
$2,000 – $3,000
Georges rouault
Enfant de la Balle.
Color aquatint, 1935. 311x210 mm; 12¼x8¼ inches, full margins. Edition of 280. From Cirque de l’Étoile Filante.
With— Ecce Homo. Color aquatint, 1935. 315x205 mm; 12½x8⅛ inches, full margins. Edition of 245. Both from Passion. Both printed by Lacourière, Paris. Both published by Vollard, Paris. Very good, richly-inked impression with vibrant colors. Chapon/Rouault 249 and 263; Wofsy 328 and 343.
Estimate
$1,500 – $2,500
Maurice de vlaminck
Jeune Fille se coiffant.
Woodcut on Japan paper, 1906. 332x228 mm; 13¼x9 inches, full margins. Edition of 100. Signed and numbered “73” in blue crayon, lower margin. Printed by Erkerpresse, St. Gallen. Published by Bodensee-Verlag, Amriswil with the blind stamp lower left. A superb impression of this scarce, early woodcut. Walterskirchen 3.
Estimate
$1,500 – $2,500
Kees van dongen (after)
Céres (Buste de Femme).
Color heliogravure and offset lithograph, 1948. 577x461 mm; 22¾x18⅛ inches, full margins. Signed and numbered 116/200 in pencil, lower margin. Published by Éditions Carmen Guillard, Paris. A very good impression with strong colors. Juffermans JM 8.
Estimate
$2,500 – $3,500
Lesser ury
Dutch Studies.
Portfolio with 7 etchings, 1921. 350x260 mm; 13¾x10¼ inches (sheets), loose as issued. Each print signed in pencil, lower left. Published by A. Rissling, New York. Original paste board portfolio case. Very good impressions.
Estimate
$2,000 – $3,000
Wilhelm lehmbruck
Weiblecher Torso, ohne Kopf, linkes Bein eingebogen.
Drypoint, 1914. 260x177 mm; 10¼x7 inches, full margins. With the artist’s estate ink stamp (Lugt 1664h, lower right recto) and signed by the artist’s widow, Anita Lehmbruck, in pencil, lower right. A very good impression. Petermann 105.
Estimate
$1,500 – $2,500
Wilhelm lehmbruck
Untergehende Menschen.
Drypoint on Japan paper, 1914. 450x258 mm; 17¾x10¼ inches, full margins. Second state (of 2). One of only several known proofs. With the artist’s estate ink stamp (Lugt 1664h, lower right recto) and signed by the artist’s widow, Anita Lehmbruck, in pencil, lower right. A superb, dark impression of this extremely scarce print, with crisp, inky plate edges.
We have found only one other impression of this subject at auction in the past 30 years. Petermann 126.
Estimate
$1,200 – $1,800
Emil nolde
Dr. L (Portrait Dr. Leber).
Woodcut on Japan paper, 1912. 297x197 mm; 11¾x7¾ inches, full margins. Edition of approximately only 11. Signed and inscribed “I. 12” in pencil, lower margin. A very good impression of this extremely scarce woodcut.
We have found only 6 other impressions at auction in the past 30 years. Schiefler/Mosel 103.
Estimate
$4,000 – $6,000
Max beckmann
Die Fürstin: Illustration zu Kapitel 3.
Drypoint, 1917. 187x142 mm; 7½x5⅝ inches, full margins. Edition of 130. Signed in pencil, lower right. Published by Gustav Kiepenheuer, Weimar. From Die Fürstin. A very good, richly-inked impression. Hofmaier 114.
Estimate
$1,500 – $2,500
George grosz
Ich will alles um mich her ausrotten, was mich einschränkt, daß ich nicht Herr bin.
Photolithograph, 1922. 575x425 mm; 22⅝x16¾ inches, full margins. Edition of 100. Signed and inscribed “1” in pencil, lower margin. Published by Malik-Verlag, Berlin. From Die Räuber. A very good impression. Dückers M V 1.
Estimate
$1,500 – $2,500
George grosz
Plauderstunde.
Photolithograph, 1922. 215x300 mm; 8½x11¾ inches, full margins. From the deluxe edition of 50. Signed in pencil, lower right. Published by Malik-Verlag, Berlin. From Ecce Homo. A very good impression. Dückers SI 36.
Estimate
$1,000 – $1,500
Käthe kollwitz
Selbstbildnis.
Etching printed in dark brownish black, 1921. 217x266 mm; 8⅝x10½inches, full margins. Sixth state (of 6). With the artist’s signature ink stamp, lower right.
With—Ende, etching, aquatint and engraving, 1893-97. 247x307 mm; 9¾x12¼ inches, full margins. Signed in pencil, lower right, and signed by the printer, Otto Felsing, in pencil, lower left * Frau an de Wiege, etching and drypoint, 1897. 275x145 mm; 10⅞5¾ inches, full margins. Very good impressions. Klipstein 37, 38 and 155; Knesebeck 38, 40 and 171.
Estimate
$1,500 – $2,500
Käthe kollwitz
Mutter mit Kind auf dem Arm.
Etching and drypoint printed in dark brown on cream wove paper, 1910. 195x128 mm; 7⅝x5 inches, wide margins. Fourth state (of 7), before the printed text in the lower margin. Signed in pencil, lower right, and signed by the printer, Otto Felsing, in pencil, lower left. A very good impression. Klipstein 110; Knesebeck 114.
Estimate
$1,500 – $2,500
Käthe kollwitz
Selbstbildnis.
Lithograph, 1919. 340x290 mm; 13⅜x11½ inches, full margins. First state (of 2), before the signature in the stone lower right. Edition of 175. Signed in pencil, lower right. A very good impression. Klipstein 133.
Estimate
$3,000 – $5,000
Käthe kollwitz
Tod packt eine Frau.
Lithograph, 1934. 507x365 mm; 20x14⅜ inches, full margins. Edition of 100. Signed and numbered 59/100 in pencil, lower margin. From Tod. A very good impression. Klipstein 259; Knesebeck 267.
Estimate
$3,000 – $5,000
Otto mueller
Zwei stehende und ein sitzendes Mädchen.
Lithograph on cream wove paper, 1922-25. 395x300 mm; 15⅝x12 inches, full margins. Signed and numbered 19/60 in pencil, lower margin. A superb, dark impression of this large, scarce lithograph. Karsch 128.
Estimate
$10,000 – $15,000
Max pechstein
Sitzende Paulerinnen (Südsee).
Lithograph, 1919. 125x205 mm; 5x8¼ inches, full margins. The deluxe edition of 50. Signed in pencil, lower right. Published by Paul Cassirer, Berlin. From Südsee. A very good impression. Krüger 356.
Estimate
$1,200 – $1,800
Max pechstein
Yali und sein Weisses Weib .
Complete set of 8 etchings with drypoint, roulette and aquatint on Japan paper, 1923. Each 239x180 mm; 9⅜x7 inches, full margins. Edition of 220. Each initialed in pencil, lower right. Printed by Fritz Voigt, Berlin. Published by Fritz Gurlitt, Berlin. Superb, dark and richly-inked, proof-like impressions.
According to Heather Hess, the Museum of Modern Art, New York, German Expressionist Digital Archive Project, Yali und sein Weisses Weib (Yali and his White Wife) is a fictional story of an innocent European woman in a fantastical exotic land. She is a survivor of a shipwreck, and is then subsequently spared from massacre by the Ona tribe, who kill the rest of the survivors. The Ona tribe raises her as one of their own. She flees when Yali, a warrior in the tribe, attempts to abduct her, living happily alone in nature until she is recaptured and forced to marry Yali. Though the story is set in South America, Pechstein’s drawings are based on his experience in the South Pacific. Both the text and the illustrations emphasize the woman’s snow-white purity and depict the tribespeople as animalistic, hypersexual and uncivilized, typical of the European view of foreign lands in the 1920s. Krüger 136-144.
Estimate
$4,000 – $6,000
Max pechstein
Untergehende Sonne (Ostseestrand).
Woodcut on tan wove paper, 1948. 210x300 mm; 8¼x11¾ inches, full margins. Edition of 100. Signed and numbered “26” in pencil, lower margin. Published by the Horst Boettcher Kunstverlag, Berlin. From Boettcher—Mappe. A very good impression. Krüger 312.
Estimate
$1,000 – $1,500
Lyonel feininger
Dorfkirche.
Woodcut on light tan paper, 1920. 145x175 mm; 5¾x6⅞ inches, full margins. One of only 5 known proofs. Signed in pencil, lower left. A very good impression of this exceedingly scarce woodcut. Prasse 210.
Estimate
$3,000 – $5,000
Fernand léger
Femme sur fond jaune.
Color lithograph, 1952. 411x330 mm; 16⅛x13 inches, full margins. Edition of 150. Signed in ink, lower right. Printed and published by Mourlot, Paris.
With— FERNAND LÉGER (after). Les Dominos, color etching and aquatint, circa 1950. 425x323 mm; 16¾x12¾ inches, full margins. Signed and numbered 65/150 in ink, lower margin. Very good impressions. Saphire 118 and E 15.
Estimate
$1,500 – $2,500
Fernand léger (after)
Two color screenprints.
Composition géométrique * Composition avec formes jaune et rouge. Both 1954-55. Both 560x380 mm; 22x15 inches (sheets), full margins. Both signed in ink and numbered 34/200 in pencil, lower margin. Both printed by Jean Bruller, Paris. Both published by La Guilde Internationale de la Gravure, Paris. Both from Album of 10 Serigraphs. Very good impressions with strong colors. Saphire E 6 and E 10.
Estimate
$2,500 – $3,500
Fernand léger (after)
Fernand Léger.
Bound volume with complete text and 5 color pochoirs, 1928. 282x230 mm; 11¼x9¼ inches (sheets), full margins. One of 748 copies on Vélin de Torpes, from a total edition of 800. Numbered 562 on the justification page. Published by Éditions Cahiers d'Art, Paris. Original printed paper wrappers.
Includes the pochoirs: Peinture murale, 1924 * L'Accordéon, 1926 * Composition à la feuille, 1927 * Nature morte, 1927 * Coquille et feuille, 1927. Very good impressions with vibrant colors.
Estimate
$1,500 – $2,500
Fernand léger (after)
Entretien de Fernand Léger avec Blaise Cendrars et Louis Carré sur Le Paysage dans l’oeuvre de Léger.
Portfolio with complete text and 6 color lithographs, 1956. 270x190 mm; 10½x7⅜ inches (sheets), full margins, bound as issued. Edition of 750. Printed by Mourlot, Paris. Published by Louis Carré, Paris. Very good impressions.
Estimate
$1,000 – $1,500
Fernand léger (after)
Trois Soueurs sur fond Rouge.
Color screenprint, 1954-55. 455x340 mm; 18x13½ inches, full margins. Signed in ink and numbered 34/200 in pencil, lower margin. Printed by Jean Bruller, Paris. Published by La Guilde Internationale de la Gravure, Paris. From Album of 10 Serigraphs. A superb, richly-inked impression with vibrant colors. Saphire E 11.
Estimate
$2,000 – $3,000
Jacques lipchitz
Couple et Enfant.
Etching, engraving and aquatint, circa 1940. 300x224 mm; 11¾x8⅞ inches, full margins. Edition of 85. Signed and numbered –/65 in pencil, lower margin (the first number of the edition erased). Published by Curt Valentin, New York. From The Drawings of Jacques Lipchitz. A superb, richly-inked impression of this very scarce print.
Estimate
$1,000 – $1,500
La Carte Surréaliste, Première Série.
Set of 21 collotypes printed in black on light green card stock with original blue paper title label, 1937. 143x92 mm; 5¾x3¾ inches (sheets), full margins.
Edition of 60 on green paper, from a total edition of 360 (on 6 different color papers). Published by Georges Hugnet, Paris. Paper folder and marble paste board slipcase.
Includes cards by Pablo Picasso, René Magritte, Dora Maar, Max Ernst, Joan Miró, Andre Breton, Marcel Duchamp, Salvador Dalí, Man Ray, Yves Tanguy, Paul Eluard, Meret Oppenheim, Hans Bellmer, Roland Penrose, Nusch Eluard, Georges Hugnet, Hans Arp, Marcel Jean, Jacqueline Breton, Wolfgang Paalen and Oscar Dominguez.
Estimate
$3,000 – $5,000
Yves tanguy
Sans Titre (Le Mythe de la Roche Percée).
Etching, 1947. 190x145 mm; 7½x5¾ inches, full margins. Edition of 100. Signed in pencil, lower right. Printed by Atelier 17, New York. Published by Editions Hémisphères, Paris. Contained in the bound volume Le Mythe de la Roche Percée, with complete text. A superb, richly-inked impression of this very scarce etching with strong contrasts and crisp, inky plate edges. Wittrock 14 B.
Estimate
$4,000 – $6,000
Joan miró
Femme et Oiseau devant la Lune.
Etching, aquatint and embossing, 1947. 113x149 mm; 4½x5⅞ inches, full margins. Signed, dated and numbered 135/300 in pencil, lower margin. Printed by Atelier 17, New York. Published by Laurel Gallery, New York. From Laurels Number One. A very good, dark impression. Dupin 51.
Estimate
$2,000 – $3,000
Joan miró
Figure et Oiseau.
Color lithograph, 1948. 575x415 mm; 22¾x16⅜ inches, full margins. Signed, dated and numbered 6/75 in pencil, lower margin. Printed by Mourlot, Paris. Published by Maeght, Paris. Mourlot 68.
Estimate
$5,000 – $8,000
Joan miró
Un Jour Entier.
Engraving printed in reddish pink, 1960. 218x215 mm; 8¾x8½ inches, full margins. An hors commerce impression, aside from the edition of 60 printed in black. Signed and inscribed “H.C.” in pencil, lower margin. Printed and published by PAB, Alès. A very good impression of this scarce print. Dupin 290.
Estimate
$2,000 – $3,000
Joan miró
Sans le Soleil, Malgré les Autres Astres, il Ferait Nuit.
Aquatint and etching, 1965. 220x285 mm; 8¾x11¼ inches (sheet), full margins. Signed and numbered 23/25 in pencil, lower margin. Printed and published by Maeght, Paris. From the same-titled series. A very good impression of this extremely scarce print. Dupin 408.
Estimate
$1,500 – $2,500
Joan miró
Obra inèdita recent.
Color lithograph, 1968. 305x438 mm; 12x17¼ inches (sheet), full margins. Initialed and numbered 19/100 in pencil, lower margin. Published by Sala Gaspar, Barcelona. From the same-titled suite. A very good impression. Cramer 95.
Estimate
$1,200 – $1,800
Joan miró
Le Rebelle.
Color etching, aquatint and carborundum, 1967. 935x640 mm; 36¾x25¼ inches, full margins. Signed and numbered 40/75 in pencil, lower margin. Printed and published by Maeght, Paris. A superb, well-inked impression of this large etching with strong colors. Dupin 439.
Estimate
$25,000 – $35,000
Joan miró
La Captive.
Color aquatint, etching and carborundum, 1969. 735x570 mm; 27x22½ inches, full margins. Signed and numbered 44/50 in pencil, lower margin. Printed and published by Maeght, Paris. A superb impression of this large print with strong colors. Dupin 489.
Estimate
$12,000 – $18,000
Joan miró
Album 21.
Color lithograph, 1978. 485x575 mm; 19⅛x22⅝ inches, full margins. One of 15 hors commerce impressions, aside from the edition of 75. Signed and numbered XIV/XV in pencil, lower margin. Printed by Mourlot, Paris. Published by Maeght, Paris. From the same-titled suite. A very good impression. Mourlot 1144; Cramer 241.
Estimate
$2,000 – $3,000
Joan miró
Affiche pour l’Exposition Homenatge à Joan Prats.
Color lithograph, 1971. 747x580 mm; 29⅜x22⅞ inches (sheet), full margins. First state (of 2). Signed and numbered 115/150 in pencil, lower margin. Printed by Polígrafa, Barcelona. Published by Sala Gaspar, Barcelona. A very good impression with strong colors. Mourlot 735.
Estimate
$1,500 – $2,500
Joan miró
Cèramiques.
Color lithograph, 1974. 420x620 mm; 16½x24⅛ inches, full margins. Signed and numbered 31/50 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression. Mourlot 928.
Estimate
$3,000 – $5,000
Joan miró
Le Marteau sans Maître.
Color aquatint and etching on Japon nacré, 1976. 285x230 mm; 11¼x9 inches, full margins. The deluxe edition of 50 on Japon nacré, aside from the edition of 125. Signed and numbered I/L in pencil, lower margin. Printed by Morsang, Saint Michel sur Orge. Published by Le Vent d’Arles, Paris. A superb impression with fresh colors. Dupin 957.
Estimate
$4,000 – $6,000
Roberto matta
The New School.
Portfolio with complete set of 10 etchings and the title page etching with hand coloring in watercolor, 1943-44 (printed in 1980). 283x380 mm; 15x11¼ inches (sheets), full margins, loose as issued.
One of 70 numbered copies from the first published edition (only some proofs printed contemporaneously with the making of these prints in 1943-44, they were however considered too provocative for their time and were specifically commissioned by a collector but never published until 1980). Numbered 26 on the justification page. Each etching except the title page signed and numbered 26/70 in pencil, lower margin. Printed and published by Éditions Sabatier-Satié, Paris.
Although printed in 1980, the etchings were created in 1944, under the direction of Stanley W. Hayter, at the New School of Social Research, New York. Sabatier 1-7 (4 prints not recorded by Sabatier).
Estimate
$4,000 – $6,000
Stanley w. hayter
Untitled (Facile proie).
Engraving, 1938. 174x114 mm; 6⅞x4½ inches, full margins. Artist's proof with two additional drawings in ink in the left margin, aside from the edition of approximately 50. Signed, titled and dated in pencil, lower margin. Published by Guy Levis Mano, Paris. From the same-titled portfolio. A superb impression of this embellished print.
Ex-collection Dolan/Maxwell Gallery, Philadelphia, with the label on the frame back; Zabriskie Gallery, New York, with the label on the frame back; Sylvan Cole Gallery, New York, with the label on the frame back; sold Swann Auction Galleries, New York, "The Sylvan Cole Collection of American Prints & Drawings," March 6, 2006, sale 2069, lot 134 to current owner, private collection. Black/Moorhead 119.
Estimate
$1,500 – $2,500
Stanley w. hayter
Water Veiled.
Engraving, 1959-60. 593x398 mm; 23½x15¾ inches, full margins. Third state (of 3). Signed, titled, dated and numbered 29/50 in pencil, lower margin. A superb, richly-inked impression of this large, scarce engraving. Black/Moorhead 255.
Estimate
$1,500 – $2,500
Stanley w. hayter
La Noyée.
Color engraving and soft-ground etching, 1955. 362x484 mm; 14¼x19⅛ inches, full margins. Fourth state (of 4). Signed, titled, dated and numbered 163/175 in pencil, lower margin. Published by L’Œuvre Gravée, Zurich, with the blind stamp lower left. A very good impression with strong colors. Black/Moorhead 222.
Estimate
$1,200 – $1,800
Salvador dalí
The Face in the Windmill.
Color lithograph, 1965. 513x667 mm; 20¼x26¼ inches, full margins. Edition of 150. Signed and numbered 13/15 in pencil, lower margin (the edition number written incorrectly or the “0” erased). Published by Sidney Z. Lucas, New York, with the black ink stamp lower left recto. A very good impression of this large lithograph. Michler/Löpsinger 1146; Field 65-1.
Estimate
$4,000 – $6,000
Salvador dalí
Nu au sopha.
Lithograph printed in reddish brown, 1970. 560x745 mm; 22x29⅜ inches, full margins. Artist’s proof, aside from the edition of 120. Signed and inscribed “E.A.” in pencil, lower margin. Printed by Desjobert, Paris. From Nudes. A very good impression. Michler/Löpsinger 1375; Field 70-8 G b.
Estimate
$2,000 – $3,000
Salvador dalí
Faust by Goethe.
Set of 11 color drypoints hors-texte on Japon nacré, 1969. Each 378x280 mm; 14⅞x11 inches (sheets), full margins, loose as issued. Each signed and numbered 64/95 in pencil, lower margin. Each with the Dalí signature blind stamp, lower right. Printed by Etienne-Denis Braillard, Geneva. Published by Éditions Argillet, Paris. Superb, richly-inked impressions. Michler/Löpsinger 309-318; Field 69-1 A-K.
Estimate
$8,000 – $12,000
Salvador dalí
The Song of Songs of King Solomon.
Portfolio with complete text and 12 color etchings with gold dust on Japan paper, 1971. 560x376 mm; 22⅛x14⅞ inches (sheets), full margins, loose as issued.
Edition of 50 on parchment and Japan paper. Numbered “XIX” on the justification page. Each print signed in pencil, lower right. Printed by David and Jacomet, New York. Published by Leon Amiel, New York.
Original blue portfolio and slipcase. Very good impressions. Michler/Löpsinger 468-479; Field 71-17.
Estimate
$8,000 – $12,000
Salvador dalí
Abricot chevalier.
Color lithograph with drypoint, 1969-70. 565x370 mm; 22¼x14½ inches, full margins. Signed and numbered 119/200 in pencil, lower margin. Printed by Ateliers Rigal and Matthieu, Paris. Published by Werbungs- und Commerz Union Anstalt, Vaduz. A very good impression. Michler/Löpsinger 347; Field 69-11 D.
Estimate
$2,000 – $3,000
Salvador dalí
Gladiolus.
Color lithograph and drypoint, 1972. 555x356 mm; 22x14¼ inches, full margins. Signed and numbered 225/350 in pencil, lower margin. Printed by Ateliers Rigal, Fontenay-aux-Roses. Published by Editions Graphiques Internationales, Paris. From Florals. A very good impression with strong colors. Michler/Löpsinger 541; Field 72-7 G.
Estimate
$1,500 – $2,500
Salvador dalí
Hommage à Mercure.
Drypoint with color pochoir, 1973. 590x395 mm; 23¼x15½ inches, full margins. Signed and numbered 72/150 in pencil, lower margin. Printed by Ateliers Rigal, Paris. Published by Joseph Foret, Paris. A very good impression with strong colors. Michler/Löpsinger 678; Field 73-15.
Estimate
$1,500 – $2,500
Salvador dalí
Two etchings with color pochoir.
La machine à coudre. 365x505 mm; 14⅜x19⅞ inches, full margins * La fusée. 507x363 mm; 20x14¼ inches, full margins. Both 1975. Both an edition of 450. Both printed by Ateliers Rigal, Paris. Both published by Transworld Art, New York. Both from Hommage à Leonardo da Vinci. Both very good impressions. Michler/Löpsinger 811 b and 812; Field 75-8D and G.
Estimate
$1,500 – $2,500
"Dalí's printed masterpiece, for which he had all of Goya's etchings with aquatint from the circa 1799 seminal Los Caprichos series reproduced as heliogravures, subsequently reworking each of the heliogravure plates with Surrealist drypoint additions which were embellished with stencil coloring."
411
Salvador dalí
Les Caprices de Goya.
Portfolio with 80 heliogravures from Goya's etchings with aquatint from Los Caprichos reworked by Dalí with drypoint and with stencil coloring, 1977. 450x315 mm; 17¾x12½ inches (sheets), full margins, loose as issued.
Each print signed and numbered 97/200 in pencil, lower margin. Printed by Rigal, Paris. Published by Berggruen, Paris. Superb impressions with strong colors.
Dalí's printed masterpiece, for which he had all of Goya's etchings with aquatint from the circa 1799 seminal Los Caprichos series (see lots 154-159) reproduced as heliogravures, subsequently reworking each of the heliogravure plates with Surrealist drypoint additions which were subsequently embellished with stencil coloring. Extremely scarce as a complete set. We have found only 21 other complete sets at auction in the past 30 years. Michler/Löpsinger 848-927; Field 77-3.
Estimate
$25,000 – $35,000
Salvador dalí
The Surrealist Eyes.
Bronze and plastic illuminated with light bulbs and electrical plug, 1980. 345 mm; 13⅝ inches (height). Numbered 271/999 and twice incised with the artist’s signature, verso. With the Dalart stamp on the base, verso. Cast by Venturi Arte, with the foundry mark, verso.
Estimate
$8,000 – $12,000
René magritte
L’Oeil.
Color aquatint and etching on Japon nacré, 1969. 175x143 mm; 6⅞x5⅝ inches, full margins. Artist’s proof, aside from the edition of 300. With the artist’s signature ink stamp and blind stamp, lower right, and inscribed “e.a” in pencil, lower left. Printed and published by Georges Visat, Paris. From Le Lien de Paille. A superb impression with fresh colors. Kaplan/Baum 17.
Estimate
$6,000 – $9,000
René magritte (after)
La Valse Hésitation.
Color aquatint and etching, 1968. 480x580 mm; 19x22¾ inches, full margins. Signed by the artist's widow, Georgette Magritte, and numbered 4/150 in pencil, lower margin. A very good impression with strong colors.
Based on the artist's same-titled oil on canvas, 1950.
Estimate
$2,000 – $3,000
René magritte
Poèmes 1923-1958 by E. L. T. Messens.
Bound volume with complete text and 10 hors-texte illustrations by Magritte, 1959. 280x210 mm; 11x8¼ inches (sheets), full margins.
One of 40 deluxe copies on Marais paper, from a total edition of 1050. Signed by the author and numbered “XXXI” in ink on the justification page. Published by Le Terrain Vague, Paris. Original printed paper wrappers.
Estimate
$1,500 – $2,500
Marc chagall
Der Talmudlehrer.
Etching and drypoint, 1922. 245x185 mm; 9¾x7 inches, full margins. Signed and numbered 31/110 in pencil, lower margin. Published by Paul Cassirer, Berlin. From Mein Leben. A very good impression. Kornfeld 9.
Estimate
$3,000 – $5,000
"In 1910, having found a patron to support him, Chagall (1887-1985) moved from Russia to Paris and settled within the bohemian avant-garde community of painters and poets in Montparnasse."
417
Marc chagall
Selbstbildnis mit lachendem Gesicht.
Etching and drypoint, 1924-25. 275x215 mm; 10¾x8¼ inches, full margins. One of only several known artist’s proofs, aside from the edition of 100. Signed and inscribed “2 essai” in pencil, lower margin. A superb impression.
Chagall (1887-1985) was born in present-day Belarus, then part of the Russian Empire, to a devoutly Jewish family. He learned to draw in primary school and from a local artist before continuing his studies in St. Petersburg. In 1910, having found a patron to support him, Chagall moved to Paris and settled within the bohemian avant-garde community of painters and poets in Montparnasse. Under the influence of the Expressionist and Cubist artists, in addition to the Fauves and Impressionists he viewed in the museums, in Paris Chagall was encouraged to explore his nontraditional style.
During the 1910s, Chagall’s palette grew more colorful and saturated and he became known for his figurative elements in arbitrary, dreamlike compositions inspired by Russian or Yiddish folklore and culture. Chagall held his first solo exhibition in Berlin in 1914 and continued to paint through World War I. After migrating between Russia and Berlin, Chagall and his family again settled in Paris, where he learned engraving. Ambroise Vollard commissioned him to create a series of etchings in 1923 and after the initial project, Chagall returned to printmaking throughout his long and prolific career. Kornfeld 42.
Estimate
$8,000 – $12,000
Marc chagall
L’Apparition, I.
Etching and aquatint, 1924-25. 372x273 mm; 14¾x10¾ inches, full margins. Third state (of 3). Signed and numbered 63/100 in pencil, lower margin. Printed by Louis Fort, Paris. A superb, richly-inked impression of this extremely scarce, early etching.
Like many of Chagall’s (1887-1985) prints from the outset of his career, L’Apparition, I (or The Vision) is based on an earlier oil on canvas which dates from 1917. After Chagall moved to Paris in 1923, he created new versions of many of the works he had made in Russia. L’Apparition, I depicts the young painter at his easel being visited by an angel. Chagall’s paintings were often inspired by his dreams, and the winged angel is only one of many fabulous beings replete in his compositions. Chagall recognized that through his art he could escape into his imagination. He later said that painting, “Appeared to me like a window through which I could fly away toward another world.” Kornfeld 44.
Estimate
$5,000 – $8,000
Marc chagall
Josué arrête le Soleil.
Etching with hand coloring in watercolor, 1931-39. 290x240 mm; 11½x9½ inches, full margin. Initialed and numbered 59/100 in pencil, lower margins. Printed by Haasen, Paris. The project initiated by Vollard and published by Tériade, Paris. From Bible. A very good impression. Vollard 246.
Estimate
$2,500 – $3,500
Marc chagall
La Tombe de Rachel.
Etching with hand coloring in watercolor, 1931-39. 237x300 mm; 9⅜x11¾ inches, full margins. Initialed and numbered 47/100 in pencil, lower margin. Printed by Haasen, Paris. The project initiated by Vollard and published by Tériade, Paris. From Bible. A very good impression. Vollard 229.
Estimate
$2,000 – $3,000
Marc chagall (after)
Femme de Cirque.
Color lithograph and pochoir on heavy cream wove paper, circa 1960. 595x455 mm; 23½x18 inches, full margins. Signed and numbered 82/150 in pencil, lower margin. Published by Guy Spitzer, Paris, with the blind stamp lower right. A superb impression with vibrant colors.
Estimate
$7,000 – $10,000
Marc chagall (after)
Maternité.
Color lithograph, 1954. 520x670 mm; 20½x26⅜ inches, full margins. Artist's proof, aside from the edition of 300. Signed and inscribed "épreuve d'artiste" in pencil, lower margin. Printed by Mourlot, Paris. Published by Maeght, Paris. Lithographed by Charles Sorlier, Paris. A very good impression with strong colors. Mourlot CS 7.
Estimate
$8,000 – $12,000
Marc chagall (after)
Les Coquelicots.
Color lithograph, 1949. 555x410 mm; 21⅞x16⅛ inches, full margins. Signed and numbered 368/400 in pencil, lower margin. Printed by Mourlot, Paris. Lithographed by Charles Sorlier, Paris. A superb impression with vibrant colors. Mourlot CS 2.
Estimate
$15,000 – $20,000
Marc chagall (after)
Bouquet.
Color lithograph, 1955. 640x500 mm; 25x19½ inches, full margins. Signed and numbered 192/300 in pencil, lower margin. Lithographed by Charles Sorlier, Paris. Printed by Mourlot, Paris. A very good impression with strong colors. Mourlot CS 8.
Estimate
$8,000 – $12,000
Marc chagall
Ulysse Devant Nausicaa.
Color lithograph on Japon nacré, circa 1960. 430x645 mm; 17x25½ inches, full margins. The deluxe edition, aside from the book edition of 270. Signed and numbered 21/30 in pencil, lower margin. From L’Odyssée. A very good impression with strong colors. Mourlot 767.
Estimate
$10,000 – $15,000
Marc chagall
Printemps au Pré.
Color lithograph, 1961. 420x640 mm; 16⅝x25¼ inches, full margins. . The deluxe edition of 60, aside from the book edition of 250. Signed and numbered 55/60 in pencil, lower margin. Printed by Mourlot, Paris. Published by Tériade, Paris. From Daphnis et Chloé. A very good impression. Mourlot 314.
Estimate
$20,000 – $30,000
Marc chagall
Sacrifice aux Nymphes.
Color lithograph, 1961. 420x320 mm; 16⅝x12⅝ inches, full margins. The deluxe edition of 60, aside from the book edition of 250. Signed and numbered 32/60 in pencil, lower margin. Printed by Mourlot, Paris. Published by Tériade, Paris. From Daphnis et Chloé. A very good impression with vibrant colors. Mourlot 330.
Estimate
$10,000 – $15,000
Marc chagall
Enlèvement de Chloé.
Color lithograph, 1961. 420x645 mm; 16⅝x25⅜ inches, full margins. The deluxe edition of 60, aside from the book edition of 250. Signed and numbered 45/60 in pencil, lower margin. Printed by Mourlot, Paris. Published by Tériade, Paris. From Daphnis et Chloé. A very good impression with strong colors. Mourlot 327.
Estimate
$20,000 – $30,000
Marc chagall
La Famille d’Arlequin.
Color lithograph, 1965. 670x510 mm; 26½x20¼ inches, full margins. Signed and numbered 5/50 in pencil, lower margin. A superb, richly-inked impression of this large lithograph with strong colors. Mourlot 430.
Estimate
$6,000 – $9,000
Marc chagall (after)
Romeo and Juliet.
Color lithograph, 1964. 635x990 mm; 25x39 inches, full margins. Edition of 5000. Printed by Mourlot, Paris. Published by the French Tourist Bureau, Paris. A superb impression with vibrant colors. Sorlier 96.
Estimate
$1,500 – $2,500
Marc chagall (after)
Carmen.
Color lithograph, 1966. 1005x650 mm; 39x25⅜ inches (sheet), full margins. Edition of 3000. Printed by Mourlot, Paris. Published by Editions of the Metropolitan Opera, New York. A very good impression with strong colors. Sorlier 39.
Estimate
$1,500 – $2,500
Marc chagall (after)
The Magic Flute.
Color lithograph, 1967. 1010x660 mm; 39¾x25⅞ inches (sheet), full margins. Edition of 3000. Printed by Mourlot, Paris. Published by Editions of the Metropolitan Opera, New York. A superb impression with vibrant colors. Sorlier 38.
Estimate
$1,500 – $2,500
Giorgio morandi
Natura morta con pane e limone.
Etching, 1921. 35x72 mm; 1½x3 inches, full margins. Artist's proof (there was no published edition). Printed by Carlo Alberto Petrucci, Rome. Ex-collection Carlo Alberto Petrucci, Rome; gift from Petrucci to private collection; to the current owner, private collection. A very good impression of this extremely scarce, early etching, with strong contrasts.
We have found fewer than 15 other impressions at auction in the past 30 years. Vitali 13.
Estimate
$4,000 – $6,000
Marino marini
Idea del Cavaliere.
Etching, 1963. 345x308 mm; 13¾x12⅛ inches, full margins. Signed and numbered 8/90 in pencil, lower margin. Printed by Wilhelm Schneider & Co., Berlin. Published by Graphis Arte, Livorno, and Toninelli Arte Moderna, Milan. From Selezione II. A very good impression. Guastalla A72.
Estimate
$1,000 – $1,500
Marino marini
Chevaux et Cavaliers IV.
Color lithograph, 1972. 385x495 mm; 15⅛x19½ inches, full margins. Signed and numbered 38/50 in pencil, lower right. Printed by Mourlot, Paris. Published by XXe Siècle, Paris. A very good impression with strong colors. Guastalla 107.
Estimate
$1,500 – $2,500
Marino marini
Marino from Shakespeare I.
Color aquatint, 1977. 472x382 mm; 18⅞x15¼ inches, full margins. Signed and numbered 26/75 in pencil, lower margin. Printed by Labyrinth, Florence. Published by ZWR, London. From the same-titled portfolio. A superb impression with strong colors. Guastalla L187.
Estimate
$2,000 – $3,000
Marino marini
Marino from Shakespeare II.
Color aquatint, 1978. 483x380 mm; 19x15 inches, full margins. Signed and numbered XXIII/L in pencil, lower margin. Printed by Labyrinth, Florence. Published by ZWR, London. From the same-titled portfolio. A very good impression with strong colors. Guastalla A216.
Estimate
$2,000 – $3,000
Marino marini
Miracolo.
Color aquatint and etching, 1971. 398x270 mm; 15⅝x10⅝ inches, full margins. An hors commerce impression from a total edition of 107. Signed and inscribed “H.C.” in pencil, lower margin. Printed by Lacouriére, Paris. Published by XXe Siècle, Paris and Léon Amiel, New York. From Tout Pres de Marino. A very good impression. Guastalla 134.
Estimate
$1,000 – $1,500
Marino marini
Tre Grazie.
Color etching and aquatint, 1975. 525x420 mm; 20⅜x16⅝ inches, full margins. Artist’s proof, aside from the edition of 75. Signed and inscribed “PA” in pencil, lower margin. Printed by Il Cigno, Rome. Published by Albra, Turin. From München 1976. A very good impression with strong colors. Guastalla A181.
Estimate
$1,000 – $1,500
Gino severini
Arlecchino e Pedrolino.
Color lithograph, 1963-64. 650x502 mm; 25⅝x19¾ inches, full margins. Artist’s proof, aside from the edition of 120. Signed and inscribed “Epreuve d’artiste” in pencil, lower margin. Printed by Michael Cassé, Paris. Published by L’Œuvre Gravée, Paris. A superb, richly-inked impression with vibrant colors. Meloni 41.
Estimate
$1,500 – $2,500
Giorgio de chirico
Piazza d’Italia.
Color lithograph, 1969. 490x690 mm; 19¼x27¼ inches, full margins. Signed, titled and numbered 11/99 in pencil, lower margin. With the artist’s blind stamp lower left. Published by Alberto Caprini, Rome, with the blind stamp lower right. A very good impression. Brandani 69.
Estimate
$2,000 – $3,000
Giorgio de chirico
Gli Archeologi.
Color lithograph, 1970. 763x622 mm; 30x24½ inches, full margins. Signed, titled and numbered 52/95 in pencil, lower margin. With the artist’s blind stamp lower left. Published by Alberto Caprini, Rome, with the blind stamp lower right. A very good impression of this large lithograph with strong colors. Brandani 100.
Estimate
$1,500 – $2,500
Giorgio de chirico
Trovatore.
Color lithograph, 1973. 460x370 mm; 18x14½ inches, full margins. Artist’s proof, with different color combinations from the published edition, aside from the edition of 100. Signed in pencil, lower right. With the artist’s blind stamp lower left. Published by Alberto Caprini, Rome, with the blind stamp lower right. A superb impression of this scarce proof, with the color green used on the figure’s armor, as opposed to the yellow in the published edition. Brandani 181.
Estimate
$1,200 – $1,800
Le corbusier
Unité XV.
Color aquatint and etching, 1953. 415x315 mm; 16¼x12⅜ inches, full margins. Signed and numbered 74/130 in pencil, lower margin. Published by Alain C. Mazo, Paris. From the same-titled suite. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Le corbusier
Petite Confidences.
Portfolio with complete text and 10 lithographs, 1957. 570x460 mm; 22 ½x18 inches (sheets), full margins, loose as issued.
One of 125 numbered copies. Signed and numbered 67 in pencil, on the title page verso. Printed and published by Mourlot, Paris. Original red linen portfolio. Very good impressions.
Estimate
$3,000 – $5,000
Le corbusier
La Mer est Toujours Présente.
Portfolio with complete text and 10 lithographs, 1962. 560x490 mm; 22x19¼ inches (sheets), full margins, loose as issued.
One of 120 numbered copies, from a total edition of 190. Numbered 75 in pencil on the justification page. Published by Editions Forces-Vives, Paris. Original green linen portfolio. Very good impressions.
Estimate
$3,000 – $5,000
Massimo campigli
Donne su Fondo Verde.
Color lithograph, 1960. 495x660 mm; 19½x26 inches, full margins. Artist’s proof, aside from the edition of 100. Signed, dated and inscribed “Epreuve d’artiste” in pencil, lower margin. Printed by Desjobert, Paris. Published by L’Œuvre Gravée, Paris, with the blind stamp lower left. A very good impression with strong colors. Meloni/Tavola 177.
Estimate
$1,200 – $1,800
Massimo campigli
Two color lithographs.
Donne Fiori, 1957. 575x392 mm; 22¾x15½ inches, wide margins. Signed, dated and numbered 2/175 in pencil, lower margin * Donna in Blu, 1959. 640x492 mm; 25¼x19⅜ inches, wide margins. Signed, dated and numbered 27/100 in pencil, lower margin. Both printed by Desjobert, Paris. Both published by L’Œuvre Gravée, Paris and Zurich. Very good impressions. Meloni/Tavola 164 and 175.
Estimate
$1,500 – $2,500
Henry moore
Draped Reclining Figure.
Aquatint and etching on cream Japan paper, 1951. 150x200 mm; 6x8 inches, full margins. Signed and numbered 10/50 in pencil, lower margin. Printed by Lacourière and Frélaut, Paris. Published by Gérald Cramer, Geneva. A very good impression of this scarce, early etching. Cramer 33.
Estimate
$1,500 – $2,500
Henry moore
Seventeen Reclining Figures with Architectural Background.
Color lithograph, 1963. 513x678 mm; 20¼x26¾ inches, full margins. Signed, dated and numbered 36/75 in pencil, lower margin. Printed and published by Curwen Prints, Ltd., London, with the blind stamp lower left. A very good impression of this early lithograph. Cramer 47.
Estimate
$2,000 – $3,000
Henry moore
Two Reclining Figures.
Color lithograph, 1973. 437x353 mm; 17¼x13⅞ inches, full margins. Artist’s proof, aside from the edition of 100. Signed and numbered IV/XV in pencil, lower margin. Printed by Curwen Prints, Ltd., London. Published by Niels Onstad Foundation, Oslo. A very good impression. Cramer 308.
Estimate
$1,500 – $2,500
Henry moore
Two Seated Figures with Children.
Color lithograph, 1976. 219x267 mm; 8⅝x10½ inches, full margins. Signed and numbered 42/50 in pencil, lower margin. Printed by Curwen Prints, Ltd., London. Published by Université Libre de Bruxelles Clinique Neurochirurgicale, Brussels. A very good impression of this scarce lithograph with strong colors. Cramer 441.
Estimate
$1,200 – $1,800
Man ray
Cela vit (Portrait of Marcel Duchamp).
Etching and aquatint, 1971. 187x152 mm; 7⅜x6 inches, full margins. Signed and numbered 117/125 in pencil, lower margin. A very good impression. Anselmino 21.
Estimate
$2,500 – $3,500
Man ray
Le Violin d’Ingres.
Color lithograph, 1969. 492x356 mm; 19¼x13⅞ inches, full margins. Signed and numbered 67/150 in pencil, lower margin. Published by Edition Kung, Tokyo.
This lithograph is based on the artist’s same-titled photograph from 1924. A very good impression with strong colors. Anselmino 84.
Estimate
$2,500 – $3,500
Man ray
Bon Soir, Man Ray.
Engraving, 1972. 215x142 mm; 8½x5¾ inches (sheet), full margins. Signed and numbered 117/150 in pencil, lower margin. Published by Pierre Belfond, Paris. A very good impression.