Old Master Through Modern Prints
Officers
Todd Weyman
Vice President & Director, Prints & Drawings
tweyman@swanngalleries.com
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Lisa Crecenzo
Dept. Manager & Client Relations
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Meagan Gandolfo
Cataloguer
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Sarah McMillan
Cataloguer
smcmillan@swanngalleries.com
(212) 254-4710 ext. 28
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
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Ariel Kim
Client Accounting
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Diana Gibaldi
Operations Manager
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Kelsie Jankowski
Communications Manager
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Old Master Prints
Martin schongauer
St. Thomas .
Engraving, circa 1480. 90x51 mm; 3½x2¼ inches. From the Twelve Apostles . With thread margins or trimmed on the plate mark. A very good, richly-inked impression of this extremely scarce, early engraving, with strong contrasts.
St. Thomas is frequently shown holding a lance. Based on traditional accounts, he traveled outside the Roman Empire to preach the Gospel, voyaging as far as Tamilakam in South India. According to one story, he converted and baptized the wife of an Indian king, Misdai. The Indian king was outraged and had Thomas killed by the thrust of a lance. Bartsch 44; Lehrs 46.
Estimate
$3,000 – $5,000
Israel van meckenem
St. Simon and St. Matthew .
Engraving, circa 1480-85. 217x143 mm; 8¾x7 inches, thread margins. First state (of 2). A brilliant, richly-inked impression of this extremely scarce engraving, with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject.
Provenance: N.G. Stogdon, Middle Chinnock, Somerset; private collection, New York.
Published: Stogdon, Early Northern Engravings , catalogue XI, number 25 (illustrated).
From the Twelve Apostles , the engravings in this series show the Apostles in pairs, standing behind balustrades under which their creeds appear on scrolls in elaborate Gothic lettering. Bartsch 83; Lehrs 298.
Estimate
$15,000 – $20,000
Andrea mantegna and workshop
Descent into Limbo .
Engraving, circa 1475-80. 446x338 mm; 17¾x13½ inches. With thread margins or trimmed on the plate mark, with the complete composition preserved. A superb, well-inked impression of this exceedingly scarce, early engraving with strong contrasts.
We have not found another impression of this engraving at auction in the past 30 years.
According to the Art Institute of Chicago, which has in their collection a similar impression of this subject, “In this deeply engraved, drawing-like print, Christ strides over the demolished gates of hell, carrying a victory standard. On the right, Adam and Eve are seen with their righteous son Abel, while Cain has been left in hell for murdering his brother. The demons that represent the torments of hell herald Christ’s arrival. These devils, with their scales and reptilian tails, resemble dragons, and have elf-like ears. They seem to be flying, one of them distractedly doing acrobatic tricks instead of blowing his horn.”
Oberhuber and Sheehan note that this is likely one of four subjects in an incomplete series of similar size, large upright format engravings done in the studio of Mantegna (1431-1506) and, “Like the others in the series, it was probably executed around the middle of the 1470s by the engraver whom we suspect to have been Zoan Andrea, copied from a drawing by Mantegna dating about two decades earlier. There is a drawing very similar to the print in the École des Beaux-Arts, Paris, in the same sense and of nearly equal size. The drawing differs from the engraving in a number of details which it has in common with a painting of the subject by Giovanni Bellini in the Bristol City Art Gallery, for which it clearly served as a model. Byam Shaw consequently considered it to be Bellini’s copy of the print, preparatory for the picture. Robertson, on the other hand, has made a number of compelling observations in favor of the attribution of the drawing to Mantegna” (see Early Italian Engravings from the National Gallery of Art , Washington, D.C., 1973, page 208). Bartsch 5; Hind 9.
Estimate
$7,000 – $10,000
Giulio campagnola
Saint John the Baptist .
Engraving and stipple-engraving, circa 1505. 283x232 mm; 11¼x9¼ inches. Bull’s head with a cross and the letters S M in a circle watermark (Briquet 15396, which dates from circa 1500-10 and is found on imprints from Treviso and Innsbruck at this time). Trimmed on or just inside the plate mark on three sides and inside the plate mark in the upper blank space, with the subject preserved. A good and early impression of this exceedingly scarce, Italian Renaissance engraving.
We have found only one other impression at auction in the past 30 years, a later impression with a watermark from the second half of the 16th century (sold Christie’s, London, March 31, 2010, lot 36).
Campagnola’s (1482-1515) importance as an early printmaker and Renaissance artist owes to his introduction of the stipple-engraving technique, which produced shading using dots made by the point of the graver on the metal plate. According to Landau and Parshall, “The innovation allowed a much greater range of tone from white to black, and at the same time a more controllable graduated transition between lighter and darker areas of the image. The disadvantages of the technique were that it was immensely more time-consuming than ordinary engraving, that the dots produced, unless of sufficient size, would wear down quite quickly, and, finally, that it was extremely difficult to freshen-up a tired-looking plate by re-engraving it–a common strategy in printmaking. Whereas pushing the burin along the existing, shallowed grooves was a well-tried and effective method of freshening worn plates, hitting again the myriad of of existing dots was an impossible task, and creating new dots would easily produce patches of ink where new and old dots joined together. This is precisely why there are no known instances of Giulio’s plates being reworked in later states by retouching the dotted areas of the image,” (Landau and Parshall, The Renaissance Print , New Haven/London, 1994, page 261).
It has been widely accepted that Campagnola adapted the figure of Saint John the Baptist from a now lost drawing by Andrea Mantegna (1431-1506) while the landscape was supplied contemporaneously by Giorgione (circa 1477/78-1510) working closely with the Campagnola. There is an ink drawing now in the Louvre, Paris, with the landscape rendered in reverse of the print, by Giorgione, that is believed to be the source for Campagnola’s landscape in Saint John the Baptist . It appears that Giorgione intentionally left the space for the figure blank in his landscape drawing, as Campagnola already had his figure from a design by Mantegna engraved on the plate, and that sometime thereafter none other than Titian (1488-1576) drew in his own representation of Saint John the Baptist on the Louvre, Paris sheet. Bartsch 3; Hind 12.
Estimate
$8,000 – $12,000
Cristofano di michele martini, il robetta
The Adoration of the Magi .
Engraving, circa 1496-1500. 303x280 mm; 12x11¼ inches, narrow margins. Cross on a mound watermark. A very good impression of this scarce, early engraving, with strong contrasts and little to no sign of wear.
This engraving is based on Filippino Lippi's (1457-1504) painting of the same subject, which dates from 1496 and is now in the Uffizi Gallery, Florence. Robetta (circa 1462-circa 1535) also adopted passages from other contemporaneous prints. The hat above his signature, for instance, is copied from Martin Schongauer's Adoration of the Magi , engraving, circa 1475 (Lehrs 6), as are the heads of the ox and ass to the viewer's right of the Virgin and Child. Meanwhile, the landscape derives from prints by Albrecht Dürer and the sky is based on his Virgin and Child with the Monkey (Bartsch 42, see lot 14) and The Sea Monster (Bartsch 71). The original copper plate for The Adoration of the Magi is now in the British Museum, London, and many extant impressions were printed during the 19th century; earlier printings such as the current work are extremely scarce. Bartsch 6; Hind 10.
Estimate
$1,500 – $2,500
Albrecht dürer
The Martyrdom of the Ten Thousand .
Woodcut, 1497. 385x280 mm; 15¼x11¼ inches, thread margins. A very good, evenly-inked and dark Meder b impression before the two small breaks in the king’s mantel lower left, with little to no wear in the composition, with strong contrasts and with the relief from the wood block distinct on the verso. Bartsch 117; Meder 218.
Estimate
$2,000 – $3,000
Albrecht dürer
The Martyrdom of St. Catherine .
Woodcut, 1498. 395x291 mm; 15⅝x11½ inches, thread margins. A very good, well-inked Meder d impression, with strong contrasts, little sign of wear and the relief from the wood block still distinct on the verso. Bartsch 120; Meder 236.
Estimate
$2,000 – $3,000
Albrecht dürer
The Seven Angels with the Trumpets .
Woodcut, 1498. 394x280 mm; 15½x11¼ inches, narrow margins. A very good impression from the 1511 Latin text edition, with strong contrasts. From The Apocalypse . Bartsch 68; Meder 170.
Estimate
$4,000 – $6,000
Albrecht dürer
St. Michael Fighting the Dragon .
Woodcut, 1498. 391x273 mm; 15½x10¾ inches. A superb, dark, richly-inked and dark impression, with strong contrasts, from the 1511 Latin text edition. Flower with a shovel watermark (Meder 127, which he dates from 1471-1524). From the Apocalypse . Trimmed on the outside of the border line.
Provenance: Unidentified collector, ink stamp verso (Lugt 82a). Bartsch 72; Meder 174.
Estimate
$8,000 – $12,000
Albrecht dürer
Samson Fighting with the Lion .
Woodcut, circa 1496-97. 383x274 mm; 15¼x10¾ inches, small margins. A very good, dark and evenly-printed Meder d impression, with the scattered breaks in the border line but little to no wear in the image, with strong contrasts and with the relief from the wood block distinct on the verso. Indiscernible watermark (possibly a snake, Meder 100, which he dates from circa 1585 to 1605).
Provenance: Unknown collector, ink stamp verso (Lugt 1521a). Bartsch 2; Meder 107.
Estimate
$5,000 – $8,000
Albrecht dürer
The Monstrous Pig of Landser .
Engraving, circa 1496. 120x128 mm; 4¾x5 inches. A superb, dark and richly-inked Meder a impression, with very strong contrasts and no sign of wear, and with the delicate wiping scratches that quickly disappear in later impressions, all consistent with the earliest impressions of this subject. With thread margins or trimmed on the plate mark.
According to Bartrum, “The pig represented here refers to The Monstrous Pig of Landser born on March 1, 1496 at Landser in Alsace, which is represented in a broadside by Sebastian Brant published in German and Latin editions by the Basel publisher, Johann Bergmann von Olpe: ‘In the year 1496 a wondrous sow was born in the village of Landser with one head, four ears, two bodies, eight feet, on six of which it stood, and with two tongues.’ Dürer (1471-1528) could not have seen this pig which only lived for one day, but he knew the broadside: the pig is shown in a different position to that crudely cut image, but the building in the background represents the castle in Landser illustrated by the Basel woodcutter,” (Bartrum, Albrecht Dürer and his Legacy , London, 2002, pages 112-13).
Provenance: Karl Eduard von Liphart, Bonn (Lugt 1687, verso); Count Alexandre Borisovitch Lobanoff-Rostovsky, St. Petersburg (Lugt 2005, verso). Bartsch 95; Meder 82.
Estimate
$5,000 – $8,000
Albrecht dürer
The Holy Family with the Three Hares .
Woodcut, circa 1498. 395x284 mm; 15½x11¼ inches, small margins. A very good, dark and evenly-printed Meder h impression with strong contrasts, and with the breaks in the border line but with less wear in the subject. Bartsch 102; Meder 212.
Estimate
$3,000 – $5,000
Albrecht dürer
The Penance of St. John Chrysostom .
Engraving, circa 1497. 182x120 mm; 7¼x4¾ inches, thread margins. A brilliant, richly-inked, early Meder a impression with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bull’s head watermark (Meder 62; which he dates from the late 1400s until around 1520).
Provenance: Wilhelm Eduard Drugulin, Leipzig (Lugt 2612, verso); his sale Sotheby’s, London, June 11, 1866, lot 298; Karl Eduard von Liphart, Bonn (Lugt 1687, verso); his sale Boerner, Leipzig, December 5, 1876, lot 446; with Colnaghi & Co., London, with their stock numbers in pencil, verso (see Lugt 2075). Bartsch 63; Meder 54.
Estimate
$12,000 – $18,000
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. Proprietary watermark. Bartsch 42; Meder 30.
Estimate
$4,000 – $6,000
Albrecht dürer
The Witch .
Engraving, circa 1500. 115x70 mm; 4½x2¾ inches. A very good, well-inked Meder a impression, before retouching of the witch’s hair, with strong contrasts. With thread margins or trimmed on the plate mark.
Provenance: Otto Hermann Pauly, Aumühle (Lugt 4830, verso). Bartsch 67; Meder 68.
Estimate
$5,000 – $8,000
Albrecht dürer
The Nemesis .
Engraving, circa 1501-02. 327x231 mm; 13x9¼ inches. A superb, dark, richly-inked and early Meder II a impression, with the short vertical scratch under the center of the bridge, with burr in the heavily shaded parts of the mountains, notably at the right, with the delicate horizontal scratch between the drapery and the upper left thigh, with several delicate scratches in the upper feathers, with particularly strong contrasts and no sign of wear, consistent with the earliest lifetime impressions in this state. Partial bull’s head (?) watermark at the extreme lower edge of the sheet (Meder 62, which he dates from the mid to late 1400s). Trimmed on the plate mark. An extremely scarce impression in this quality, with the wings black and great clarity in the landscape, with every detail distinct.
The early 1500s was a period of dramatic growth in Dürer’s (1471-1528) career and the fuller recognition of Italianate influence in his art. His workshop expanded with his increasing popularity, enhanced significantly by the wide-scale distribution of his engravings and woodcuts throughout Europe, with the addition of three young artists: Hans Baldung Grien (1480-1545), Hans van Kulmbach (circa 1485-1522) and Hans Schäufelein (circa 1482-1539/40). Dürer was preoccupied with a focus on the construction and proportion of the human figure at this time too, doubtlessly on account of his knowledge of Italian Renaissance art and recent travel to northern Italy, creating numerous drawings of standing female nudes and two of his most important engravings on the subject, The Nemesis and Adam and Eve , 1504.
According to Bartrum, there is a preparatory ink drawing for The Nemesis , now at the British Museum, London, which, “Is the earliest occasion that a proportionately constructed figure appears in one of his prints . . . The drawing also shows that Dürer originally planned a smaller, different type of wing, with the tips hanging down,” (Bartrum, Albrecht Dürer and his Legacy , London, 2002, page 73). A separate study of wings on the same sheet shows how he ultimately intended to make them on the engraving, larger and much more intricately detailed. Dürer’s handling of the figure of The Nemesis or Fortune was striking and revolutionary for its time, starkly silhouetted against the blank white background of the sheet of paper and floating ethereally along a drapery-like cloud lining above a minutely detailed landscape.
Bartrum notes that the subject, “Comes from the Latin poem Manto (Mantua) written by the Italian poet and philosopher Angelo Poliziano (1454-1494) and printed by Aldus Manutius in Venice in 1498. Dürer probably became acquainted with it through Pirckheimer (the humanist and Nuremberg friend of the artist). Nemesis, the classical god of retribution, whose goblet and bridle represent reward and castigation, is combined with the traditional winged figure of Fortune standing on a globe. The landscape beneath has been identified as a view of Chiusa in the southern Tyrol (Alto Adige), of which Dürer had presumably made a drawing during his journey to Italy in 1494-95, although no record survives,” (Bartrum, page 140). Bartsch 77; Meder 72.
Estimate
$70,000 – $100,000
Albrecht dürer
Coat of Arms with a Lion and a Cock .
Engraving, circa 1503. 185x120 mm; 7¼x4¾ inches, thread margins. A brilliant, dark, richly-inked Meder a impression with very strong contrasts, with the delicate horizontal scratches lower left and with no sign of wear, consistent with the earliest impressions of this engraving. High crown watermark (Meder 20, which he dates from 1480 to 1525).
Dürer’s (1471-1528) first engraved coat-of-arms; he made one other in addition to several woodcuts like this subject. This arms was likely not intended for a specific family, but rather a creation of pure fantasy by Dürer; the elaborate foliage and additional details allowing him to display his virtuoso engraving skills.
Provenance: Count Antoine Seilern (1901-1978), Surrey and London; his sale Christie’s, London, July 8, 1998, lot 24; August Laube & Co., Zurich, with their stock number in pencil, verso; Samuel Josefowitz, Pully; his sale Christie’s, New York, January 29, 2013, lot 29. Bartsch 100; Meder 97.
Estimate
$25,000 – $35,000
Albrecht dürer
Saints Stephen, Sixtus and Lawrence .
Woodcut, circa 1504-5. 215x148 mm; 8½x5¾ inches, narrow to thread margins. A very good, dark and evenly-printed Meder d impression, with strong contrasts and little to no sign of wear, and with the relief from the wood block distinct on the verso.
Provenance: Adalbert Freiherr von Lanna, Prague (Lugt 2773, verso). Bartsch 108; Meder 235.
Estimate
$1,500 – $2,500
Albrecht dürer
Pilate Washing His Hands .
Woodcut, circa 1509-11. 127x98 mm; 5¼x4 inches, thread margins. A brilliant, richly-inked and dark 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. Bartsch 36; Meder 145.
Estimate
$1,500 – $2,500
Albrecht dürer
Ecce Homo .
Woodcut, 1509-11. 130x103 mm; 5x4 inches. A very good, richly-inked, evenly-printed impression from the 1511 Latin text edition with strong contrasts and little to no sign of wear. With thread margins or trimmed on the outside of the border line. Bartsch 35; Meder 144.
Estimate
$1,500 – $2,500
Albrecht dürer
The Penitent .
Woodcut, 1510. 195x132 mm; 7¾x5½ inches, small margins. A superb, dark Meder c-d impression with the several small breaks in the border line but with little to no wear in the subject, with strong contrasts and with the relief from the wood block distinct on the verso.
A scarce woodcut; we have found fewer than 15 other impressions at auction in the past 30 years.
According to the Minneapolis Institute of Art, which has another impression of this subject, “Though the image obviously shows a repentant man flagellating himself, more specific identification remains elusive. The image is sometimes described as a self-portrait; indeed, the man’s features are not unlike the artist’s, and Dürer did have a penchant for self-portraiture, both explicit and disguised. The ark on the altar has prompted another plausible suggestion–that the figure is David, the Old Testament king who repented and whose penitential prayer is Psalm 51. If so, Dürer appears to have followed the spirit rather than the letter of the second book of Samuel 11-12, which records the story of the king’s repentance after his sinful treatment of Bathsheba, and her husband Uriah. The account makes no mention of self-flagellation. Still, the lack of Christian symbols couple with a temple-like setting suggest an Old Testament subject.” Bartsch 119; Meder 108.
Estimate
$3,000 – $5,000
Albrecht dürer
The Nativity .
Woodcut, circa 1503. 297x212 mm; 11¾x8½ inches. A very good, dark impression from the 1511 Latin text edition. Trimmed on the border line with portions of the border line preserved on all four sides. Bartsch 85; Meder 199.
Estimate
$4,000 – $6,000
Albrecht dürer
Joachim and Anna at the Golden Gate .
Woodcut, 1504. 297x211 mm; 11¾x8½ inches, small margins. A very good Meder h impression after the 1511 Latin text edition, with strong contrasts with little to no sign of wear. Fish bladder watermark (Meder 309). Bartsch 79; Meder 191.
Estimate
$1,500 – $2,500
Albrecht dürer
The Sojourn of the Holy Family in Egypt .
Woodcut, circa 1504. 300x213 mm; 11¾x8½ inches. A very good, well-inked Meder i impression after the 1511 Latin text edition with strong contrasts. Coat-of-arms with a band watermark (Meder 246, which he dates from around 1600). With thread margins or trimmed on the outer edge of the border line. Bartsch 90; Meder 202.
Estimate
$1,500 – $2,500
Albrecht dürer
The Adoration of the Magi .
Woodcut, 1511. 292x219 mm; 11½x8¾ inches, narrow to thread margins. A superb, dark, richly-inked Meder (a) proof impression before the Latin text edition with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bull’s head watermark (Meder 62, which he dates from the late 1400s to around 1519).
Provenance: Unknown collector, ink stamp verso (Lugt 2509); P. & D. Colnaghi & Co., London, with their stock numbers in pencil verso (see Lugt 2075); M. Knoedler & Co., Inc., with the label. Bartsch 3; Meder 208.
Estimate
$8,000 – $12,000
Albrecht dürer
Virgin and Child Seated by the Wall .
Engraving, 1514. 149x100 mm; 5¾x4 inches, narrow margins. First state (of 2), with the horizontal scratch between the tower and the building upper center and with the diagonal scratch in the drapery of the knee. A brilliant, dark and richly-inked Meder I b impression with very strong contrasts and all the details distinct. Bartsch 40; Meder 36.
Estimate
$8,000 – $12,000
Albrecht dürer
St. Anthony Reading .
Engraving, 1519. 101x143 mm; 4x5¾ inches, narrow to thread margins. A superb Meder a impression, with the vertical lines that extend into the sky at the far right, representing traces of a projected building, distinct, before the scratches to the left of the cross, with strong contrasts, no sign of wear and crisp, partially inky plate edges, consistent with the earliest impressions of this subject.
Dürer’s (1471-1528) engraving of St. Anthony , dating from the height of his career, shows the saint hunched over and reading on the outskirts of a fortified city (identified by the art historian Tietze as combining elements of Trent, Innsbruck and Nuremberg, though recognized by the Dürer scholar Thausing as adopted from a drawing titled Pvpila Avgvsta made by Dürer some 20 years earlier). The setting is in stark contrast to other contemporaneous Renaissance images of St. Anthony, more commonly depicting the saint tormented by demons, enduring Satan’s temptation.
Dürer must have been particularly proud of this engraving, as he gave it as a gift — along with impressions of his more famous St. Jerome in his study — to several prominent figures on at least six occasions during his 1520-21 trip to the Low Countries. In his diary entry for September 3, 1529, from Antwerp, he wrote, “I gave Wilhelm Hauenhut, equerry of Duke Frederick Palatine, an engraved ‘St. Jerome’ and the two new half-sheets: The Virgin and ‘Anthoni’.”
Scholars from Panofsky onward have remarked on the “modern” aspect of the composition, in which the huddled form of St. Anthony echoes that of the walled city behind him. “The scenery almost dominates the composition. It is here a ‘cubistic’ phenomenon, exclusively composed of such clear-cut stereometric solids as prisms, cubes, pyramids, and cylinders which bring to mind a cluster of crystals,” (Panofsky, 1943, volume I, p. 201). In this context, one cannot help but to recall Cézanne’s pre-cubistic landscape renderings of Mont Sainte-Victoire, which in turn so profoundly influenced Picasso and Braque and the foundations of 20th century modern art.
Provenance: With Auguste Laube, Zurich. Bartsch 58; Meder 51.
Estimate
$30,000 – $50,000
Albrecht dürer
Cardinal Albrecht of Brandenburg .
Engraving, 1519. 146x96 mm; 5¾x3¾ inches. A superb, dark and richly-inked Meder I a impression, with the letter A in the word PRIMAS (fifth line, last word) still showing the corrected prior letter V, with very strong contrasts and no sign of wear. With thread margins outside the narrow black border line.
Provenance: With Auguste Laube, Zurich. Bartsch 102; Meder 100.
Estimate
$5,000 – $8,000
Johannes wiericx (after dürer)
Melencolia I .
Engraving, 1602. 240x187 mm; 9½x7½ inches, thread margins. Corned coat-of-arms watermark. A superb, well-inked impression of this scarce engraving with strong contrasts, with all the details distinct and with Wiericx’s name and date on the lower edge of the plate preserved.
Provenance: Naudet, Paris (Lugt 1938, verso). Mauquoy-Hendrickx 1556.
Estimate
$3,000 – $5,000
Johannes wiericx (after dürer)
Adam and Eve.
Engraving, 1566. 245x192 mm; 9¾x7¾ inches, narrow margins. Strasburg Lily watermark. A superb, dark and richly-inked impression of this scarce engraving with very strong contrasts. Mauquoy-Hendrickx 54.
With—Three additional engravings after Dürer. Coat of Arms with a Skull * The Virgin and Child with the Monkey , 2 impressions. Various sizes and conditons.
Wiericx (1549-1620), an artistic prodigy from a family of artists and engravers, made several ambitious copies of famous Dürer engravings during his teens and at the beginning of a productive artistic career.
Estimate
$2,000 – $3,000
Lucas van leyden
Solomon’s Idolatry .
Engraving, 1514. 171x130 mm; 6¼x5¼ inches. Trimmed on the plate mark. A very good, well-inked and early impression of this scarce engraving, with strong contrasts.
According to the Art Institute of Chicago, where there is another impression of this subject, “King Solomon, famed for possessing the wisdom of God, kneels at the feet of an idol of Moloch, a pagan god represented as a nude man astride an orb, holding a skull. One of Solomon’s 700 wives and 300 concubines points to the statue, instructing Solomon to adore Moloch. By adorning the domineering woman with a feathered hat, Lucas van Leyden (1494-1533) emphasized her foreignness and dangerous heretical beliefs. Despite Solomon’s wisdom, his female consort, possibly the Queen of Sheba, turns his heart away from God.” Bartsch 30; Hollstein 30; Volbehr 28.
Estimate
$1,000 – $1,500
Albrecht altdorfer
Solomon’s Idolatry .
Engraving, circa 1520-26. 60x40 mm; 2½x1½ inches, narrow margins. A superb, well-inked, early Winzinger a-b impression of this very scarce engraving. Bartsch 4; Winzinger 136.
Estimate
$1,000 – $1,500
Albrecht altdorfer
Christ on the Mount of Olives .
Woodcut, circa 1513. 73x48 mm; 3x2 inches, narrow margins. From The Fall and Salvation of Mankind Through the Life and Passion of Christ . A brilliant, early, dark, well-inked impression with no sign of wear and very strong contrasts. Bartsch 18; Winzinger 44.
Estimate
$1,000 – $1,500
Daniel hopfer
The Last Judgment .
Etching, circa 1525. 312x455 mm; 12¼x17¾ inches, thread margins. First state (of 2). A brilliant, richly-inked impression of this large, early etching, with very strong contrasts and no sign of wear.
Provenance: Max Williams, New York.
We have found only 6 other early, first state impressions at auction, consistent with the current impression, in the past 30 years. Bartsch 15.
Estimate
$5,000 – $8,000
Hans sebald beham
The Holy Family beneath a Canopy .
Woodcut, circa 1520. 125x85 mm; 5x3½ inches, narrow to thread margins. A very good, evenly-printed impression of this extremely scarce, early woodcut with strong contrasts, no sign of wear and the relief from the wood block distinct on the verso.
We have found only 5 other impressions of this woodcut at auction in the past 30 years. Bartsch 121; Pauli 890.
Estimate
$1,000 – $1,500
Hans sebald beham
The Seven Liberal Arts .
Set of 7 engravings, circa 1520. Each approximately 92x57 mm; 3¾x2¼ inches. With thread margins or trimmed on the plate marks. Superb, richly-inked impressions with little to no sign of wear, extremely scarce together as a set.
We have found only 12 other sets at auction in the past 30 years. Bartsch 121-127; Pauli 123-129.
Estimate
$4,000 – $6,000
Hans sebald beham
The Lady and Death .
Engraving, 1541. 77x50 mm; 3¼x2 inches. Third state (of 3). A very good, evenly-printed impression of this extremely scarce engraving.
We have found fewer than 10 other impressions at auction in the past 30 years. Bartsch 149; Pauli 150.
Estimate
$1,500 – $2,500
Barthel beham
Halberdier on Horseback .
Engraving, circa 1525. 64x46 mm; 2½x1¾ inches, thread margins. A very good, well-inked and evenly-printed impression of this extremely scarce engraving, with very strong contrasts and no sign of wear. Bartsch 49; Pauli 53.
Estimate
$1,000 – $1,500
Heinrich aldegrever
Abduction of a Woman .
Engraving, 1530. 150x114 mm; 6x4½ inches. Trimmed on the plate mark. A good impression of this very scarce, early engraving. Bartsch 67.
Estimate
$1,000 – $1,500
Heinrich aldegrever
The Expulsion from Paradise .
Engraving, 1540. 87x65 mm; 3½x2¾ inches. With thread margins or trimmed on the plate mark. A very good impression of this scarce engraving.
Provenance: Craddock & Barnard, London, in their original mat with pencil notations. Bartsch 5.
Estimate
$1,000 – $1,500
Heinrich aldegrever
Death and the Bishop .
Engraving, 1541. 75x53 mm; 3x2¼ inches. Trimmed on the plate mark. A very good impression of this extremely scarce engraving. Bartsch 141.
Estimate
$1,000 – $1,500
Heinrich aldegrever
Three engravings from The Story of the Good Samaritan .
The Good Samaritan Treating his Wounds with Oil and Wine * The Good Samaritan Loading him on his Donkey * The Good Samaritan Delivering him at the Inn . Each 1554. Each approximately 83x111 mm; 3½x4½ inches. Trimmed on the plate marks. Each good impressions. Bartsch 41-43.
Estimate
$1,000 – $1,500
Heinrich aldegrever
The Story of Lot .
Set of 4 engravings, 1555. Each approximately 115x80 mm; 4¾x3¼ inches, thread margins. Very good impressions, scarce as a complete set.
Provenance: Pierre Mariette II, Paris, dated 1668 in ink, verso of one sheet (Lugt 1788, verso). Bartsch 14-17.
Estimate
$2,000 – $3,000
Heinrich aldegrever
Couple Embracing .
Engraving, 1538. 117x80 mm; 4¾x3¼ inches. With thread margins or trimmed on the plate mark. From the Large Wedding Dancers . A very good impression of this scarce engraving.
Provenance: Ducs d’Arenberg, Brussels (Lugt 567, verso). Bartsch 165.
Estimate
$1,000 – $1,500
Heinrich aldegrever
Two engravings from the Large Wedding Dancers .
Both 1538. Both approximately 115x80 mm; 4¾x3¼ inches. Bartsch 160 and 162.
Estimate
$1,000 – $1,500
Lucas cranach, the younger
John Frederick I the Magnanimous, Elector of Saxony .
Woodcut, circa 1550. 332x217 mm; 13¼x8¾ inches, thread margins. Crowned double-headed eagle watermark. A very good impression of this extremely scarce woodcut, with strong contrasts.
John Frederick I the Magnanimous (1503-1554), the elder son of the elector John the Steadfast, succeeded his father as Elector of Saxony in 1532. He was last elector of the Ernestine branch of the Saxon House of Wettin and leader of the Protestant Schmalkaldic League. His wars against the Holy Roman emperor Charles V and his fellow princes caused him to lose both the electoral rank and much of his territory.
Cranach, the Younger (1515-1586) made several woodcut portraits of John Frederick I as well as several oil painted portraits of the leader, one of which is now in the collection of the Staatliche Kunstsammlungen Dresden, Rüstkammer.
Provenance: Joseph Maberly, London (Lugt 1845, lower right recto). Bartsch 141.
Estimate
$1,500 – $2,500
Georg pencz
Samson and Delilah .
Engraving, circa 1530. 49x78 mm; 2x3¼ inches, thread margins. A brilliant, richly-inked and early impression of this very scarce engraving, with strong contrasts and no sign of wear, consistent with the earliest impressions of this subject.
Provenance: Ludwig Yorck von Wartenburg, Silesia (Lugt 2669, verso); Franz Rechberger, Vienna (Lugt 2133, verso). Bartsch 28; Landau 30.
Estimate
$1,000 – $1,500
Georg pencz
David and Bathsheba .
Engraving, circa 1531. 48x78 mm; 2x3¼ inches. First state (of 2). Trimmed on the plate mark. A brilliant, richly-inked and early impression of this very scarce engraving with strong contrasts and no sign of wear. Bartsch 21; Landau 20.
Estimate
$1,000 – $1,500
Georg pencz
Diana and Actaeon .
Engraving, circa 1535. 48x77 mm; 2x3¼ inches, thread margins. First state (of 2). A superb, dark impression of this very scarce, early engraving.
Provenance: Peter Lely (1618-1680), the artist, London (Lugt 2093, lower center recto). Bartsch 91; Landau 79.
Estimate
$1,000 – $1,500
Georg pencz
Artemisia.
Engraving, circa 1539. 193x135 mm; 7½x5½ inches. First state (of 2). With thread margins or trimmed on the plate mark. A very good, dark and evenly-printed impression with strong contrasts and little to no sign of wear.
Provenance: Richard Holtkott, Bedburg (Lugt 4266, verso). Bartsch 83; Landau 91.
Estimate
$1,000 – $1,500
Hans brosamer
Nude Couple with a Child .
Woodcut, circa 1540. 285x183 mm; 11¼x7¼ inches (sheet). A very good, evenly-printed impression of this extremely scarce, early woodcut.
We have found only one other impression at auction in the past 30 years.
Little more is known of Brosamer (late 1490s-circa 1554) aside from he was active in Fulda from 1536 to 1545, and later worked in Erfurt, now part of central Germany, as a draughtsman, printmaker and painter of the northern Renaissance period. Many of his engravings, both religious and secular in subject, of which Hollstein lists 38 different subjects, are small in size and thereby place Brosamer among the German “Little Master” printmakers. Contrary to this and aside from the numerous woodcut book illustrations, his single-sheet woodcuts, like the current work, are considerably larger and many were undoubtedly meant to be pasted onto walls as decoration. One of his woodcuts, David and Bathsheba , 1554, his last dated work, was printed on nine sheets of paper joined together. He also made scathing, hostile images of Martin Luther, including the Caricature of Luther with Seven Heads , woodcut, 1529.
Provenance: Friedrich August II, Dresden (Lugt 971, lower right recto). Hollstein 443.
Estimate
$1,500 – $2,500
Marcantonio raimondi (after raphael)
The Judgment of Paris .
Engraving, circa 1510-20. 292x434 mm; 11½x17 inches, thread margins. First state (of 2), before the address of Salamanca. A very good, dark and well-inked impression of this important Renaissance engraving.
Of the nearly 250 engravings created by Raimondi (circa 1480-circa 1534), approximately 50 are known to be based on designs by the iconic Renaissance artist Raphael (1483-1520). The 16th century Florentine artist and chronicler Giorgio Vasari credited Raimondi and Raphael with inventing “reproductive printmaking” and thereby the market for prints made after famous paintings and sculpture, which is still thriving to this day. Vasari claimed that Raimondi’s engravings were produced after paintings and frescoes by Raphael and that Raphael had a significant role in the production and marketing of these engravings, though recent scholarship has shown that for the most part Raimondi (and his “school” or workshop, including Agostino Veneziano and Marco Dente) worked from drawings by Raphael and that the engraver took the lead in popularizing these prints. Nevertheless, Raphael and Raimondi were clearly close collaborators. Raimondi was depicted as a sediario in Raphael’s fresco in the Stanza di Eliodoro , 1511, of the famous Vatican Stanze ; he acted as a witness in Raphael’s purchase of two houses in Rome in 1515; and Raimondi engraved an intimate portrait of Raphael around 1518 (Bartsch 496).
The Judgment of Paris is based on a small grisaille painting by a member of Raphael’s school in the Stanza della Segnatura of the Vatican Stanze and the existence of several copies of lost drawings of this composition indicate more direct ties to Raphael himself. This famous composition has been appropriated, in whole and parts, by many artists over the centuries, most notably by Édouard Manet in Le Déjeuner sur l’herbe , 1862-63, now in the Musée d’Orsay, Paris. Bartsch 245.
Estimate
$2,000 – $3,000
Marco dente (after raphael)
The Fire in the Borgo .
Engraving, circa 1516. 423x575 mm; 16¾x22¾ inches. First state (of 6), before the addresses of Salamanca (second state) and Thomassin (third state), and the subsequent deterioration and heavy reworking of the plate. Trimmed on the plate mark. A very good impression of this large, scarce engraving, with strong contrasts and all the details distinct.
This engraving by Marco Dente (1493-1527) was based on Raphael’s (1493-1520) fresco to decorate one of the rooms that are now known as the Stanze di Raffaello , in the Apostolic Palace in the Vatican, Rome. The fresco was completed between 1514 and 1517 and though it is assumed that Raphael did make the designs for the complex composition, the fresco was most likely painted and completed by his assistant Giulio Romano (1499-1546). The scene depicts Pope Leo IV halting a fire in 847 with a benediction from a balcony in front of the Old St. Peter’s Basilica, Rome. Bartsch 6.
Estimate
$2,000 – $3,000
Italian school, 16th century (after michelangelo)
Soldiers Bathing in the Arno (Climbers) .
Engraving, after 1524. 330x446 mm; 13¾x17½ inches, thread margins. A brilliant, richly-inked, dark impression with very strong contrasts.
This engraving is based on another engraving, with the subject in the opposite direction, by Agostino Veneziano (see Bartsch 423). Both engravings derive from a now lost cartoon for a fresco drawn by Michelangelo (1475-1564) illustrating a scene from the Battle of Cascina (July 28, 1364), which celebrated the Florentine victory of Siena, for a competition against Leonardo da Vinci (1452-1519) in the Salone dei Cinquecento of the Palazzo Vecchio, Florence.
Estimate
$2,500 – $3,500
Antonio da trento (after parmigianino)
Man Seated Viewed from behind (Narcissus at the Well) .
Chiaroscuro woodcut printed in brown and black, circa 1525. 285x180 mm; 11¼x7 inches. Trimmed on the outside or on the black border line. A very good, richly-inked impression of this very scarce, early woodcut.
According to the Metropolitan Museum of Art, New York, which has in the collection a similar impression of this woodcut, “Upon returning to Bologna after the Sack of Rome in 1527, Parmigianino (1503-1540) started working with the printmaker Antonio da Trento (1520-1550), who, according to the 16th century artist and biographer Giorgio Vasari, also lived with the artist. Their collaboration led to highly skilled compositions, including Narcissus from Ovid’s Metamorphoses . Two blocks inked with different hues of brown provide the middle tones, the outlines from the keyblock are printed in black, and the exposed white of the paper creates the highlights. Though the relationship between Parmigianino and Antonio da Trento was initially productive, it soon ended when, in Vasari’s telling, the printmaker left the artist’s home one morning having stolen numerous prints and drawings. Bartsch 13.
Estimate
$1,500 – $2,500
Giovanni francesco maria mazzola, il parmigianino
A Young Man Seated with Two Old Men .
Etching, circa 1528. 120x92 mm; 4¾x3¾ inches, small margins. A very good impression of this extremely scarce etching.
We have found only 3 other impressions at auction in the past 30 years.
Provenance: William Esdaile, London (Lugt 2617, lower right recto); William Bell Scott, the artist, Edinburgh (Lugt 2607, lower right recto); William S. Brough, London (Lugt 2652). Bartsch 13.
Estimate
$1,500 – $2,500
Giovanni battista franco
Virgin and Child with St. John the Baptist .
Engraving and etching, circa 1540. 251x370 mm; 10x14¾ inches, thread margins. Second state (of 2), with the artist’s name lower center. Crown with a five-pointed star and sphere watermark. A very good impression of this scarce, early engraving.
Battista Franco, also known as il Semolei (before 1510–1561) was an Italian Mannerist painter and printmaker active in Rome, Urbino and Venice in the mid 16th century. Born in Venice, he visited Rome from the 1530s into the early 1540s, where he painted an Allegory of the Battle of Montemurlo now in the Pitti Palace (1537) and a fresco of the Arrest of St. John the Baptist for the Oratory of San Giovanni Decollato (1541). From 1545–51 he was in Urbino, and may have been, along with Girolamo Genga (circa 1476-1551), one of the mentors of Federico Barocci (circa 1535-1612). Franco’s painting, in the Mannerist style, was heavily indebted to Michelangelo (1475-1564). Bartsch 29.
Estimate
$1,000 – $1,500
Giorgio ghisi (after giulio romano)
The Death of Procris .
Engraving, circa 1540. 400x565 mm; 15¾x22¼ inches, wide margins. Tenth state (of 10), with the address of Rossi. A very good, dark and evenly-printed impression of this large engraving with strong contrasts. Bartsch 61; Lewis 5.
Estimate
$1,200 – $1,800
Giovanni battista scultori (after giulio romano)
Naval Battle between Trojans and Greeks .
Engraving, 1538. 408x583 mm; 16¼x23 inches. Second state (of 5 or 6), before the address of Van Aelst. With thread margins or trimmed on the plate mark. A brilliant, richly-inked, early impression of this large, extremely scarce engraving with very strong contrasts and little to no sign of wear. Bartsch 20.
Estimate
$1,200 – $1,800
Jacobus bos
The Farnese Hercules .
Engraving, 1562. 450x301 mm; 17¾x12 inches, small margins. Cardinal’s hat (?) in a circle watermark. Published by Antonio Salamanca and Antonio Lafreri, Rome. From Speculum Romanae Magnificentiae . A superb, evenly-printed and dark impression of this very scarce engraving, with strong contrasts and little to no sign of wear.
According to the Metropolitan Museum of Art, New York, which has in the collection another impression of this engraving, “This print comes from the museum’s copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence). The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers–who worked together between 1553 and 1563–initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in seven different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus.
Bos’ (circa 1520-circa 1580) engraving depicts the famous Ancient Roman marble sculpture of the hero Hercules, originally made for the Baths of Caracalla in Rome. This massive sculpture got its current name after its rediscovery in 1546, when it entered the collection of Cardinal Alessandro Farnese, grandson of Pope Paul III. Hollstein 15
Estimate
$1,500 – $2,500
Tiziano vecellio, called titian (after)
Landscape with a Horseman and His Groom .
Etching, after 1560. 337x446 mm; 13½x17½ inches. Three crescents watermark. With thread margins or trimmed on the plate mark. A very good impression of this extremely scarce etching.
Formerly attributed to Titian himself (1485/90-1576), this image has subsequently been considered the work of the Venetian printmaker Battista Franco (circa 1510-1561), though more recent scholarship by Zoltán Kárpáti, Curator of Italian Drawing and Prints, Museum of Fine Arts, Budapest, has disputed the attribution to Battista Franco and pointed to a still unknown Venetian printmaker, following a design by Titian ( An Undescribed Version of “Landscape with a Horseman and his Groom” after Titian), Bulletin du Musée Hongrois des Beaux-Arts, 2013, pages 101-107). The current etching shows the subject illustrated in Bartsch (as Battista Franco) with the composition in reverse. See Bartsch 8.
Estimate
$2,000 – $3,000
Pieter bruegel (after)
The Wedding of Mopsus and Nisa (The Dirty Bride) .
Engraving, 1570. 223x289 mm; 9x11½ inches, narrow margins. Second state (of 5), with the address of Hieronymus Cock (additionally with the inscription “Heronimo Koko excuto” by an early hand in ink, lower left recto). Engraved by Pieter van der Heyden. Indiscernible sphere (?) watermark. A superb, early, richly-inked impression of this very scarce engraving, with strong contrasts and no sign of wear.
According to Bassens and Van Grieken, this scene is based on an early Shrove Tuesday play and can also be seen in Bruegel’s popular 1559 oil painting The Battle between Carnaval and Lent . They note, “Sixteenth century folk culture included an extensive repertoire of popular games and plays performed in the period around Shrove Tuesday. The subject matter often related to the ‘driving out’ or ‘fleeing’ of winter. For the most part, it is hard to work out nowadays precisely how these plays were performed, and we are equally ignorant as to their content, since a great many of the texts have failed to survive. The story of The Dirty Bride (‘Vuyl Bruyt’) seems to hark back to an earlier variation, in which a ‘vuyle druyt’ or ‘dirty vagrant’ personifying winter was driven out of a hedge to herald spring. Over time, the figure changed sex, until spring was announced by the first call of the cuckoo and the dirty bride leaving her ramshackle home.” Hollstein 80; Bastelaer 216; Lebeer 80; Bassens and Van Grieken 22.
Estimate
$5,000 – $8,000
Pieter bruegel (after)
Temperance .
Engraving, 1559. 225x287 mm; 9x11¼ inches. Engraved by Philips Galle. With thread margins outside the border line and with the complete text preserved below. From the Seven Virtues . A brilliant, early, richly-inked impression with very strong contrasts and with the guide lines for the text in the lower margin distinct. Hollstein 138; Bastelaer 138; Lebeer 37; Bassens and Van Grieken 13g.
Estimate
$5,000 – $8,000
Pieter bruegel (after)
The Battle about Money .
Engraving, after 1570. 240x310 mm; 9½x12¼ inches, narrow to thread margins. Third state (of 3), with the address of Galle. Engraved by Pieter van der Heyden. A very good, dark, well-inked impression of this scarce engraving with strong contrasts.
According to Bassens and Van Grieken, this engraving, “Is often given titles that suggest its theme is a battle between money bags or piggy banks on the one hand and strong boxes on the other, with the former alluding to people of modest means and the latter to the rich and powerful. Yet this is actually a free-for-all, piggy banks (or rather spaarpotjes –literally savings pots), strong boxes, money bags, purses and barrels of cash against each other. Some of these combatants have heads, while others do not; but they are all heavily armed and have limbs with which they lay about one another fiercely . . . A theme such as greed–and above all the contrast between personal enrichment on the one hand and pursuit of common good on the other–was particularly relevant in the metropolis of Antwerp, with its rapidly emerging merchantile elite.” Hollstein 146; Bastelaer 146; Lebeer 54; Bassens and Van Grieken 35.
Estimate
$4,000 – $6,000
Pieter bruegel (after)
The Parable of the Blind Leading the Blind .
Engraving, circa 1643. 180x228 mm; 7¼x9 inches, thread margins. First state (of 2), before the number and Bible verse designation lower right. Partial crowned jug with two handles and a fleur-de-lys watermark. Published by Claes Jansz. II Visscher. A very good, well-inked impression of this extremely scarce engraving.
According to the Rijksmuseum, Amsterdam, where there are two impressions of this subject, the etching was made by an anonymous 17th century printmaker, published by Amsterdam printseller, Claes Jansz. II Visscher, and based on Bruegel’s (1525/30-1569) De parabel der blinden , distemper on linen canvas, 1568, now in the collection of the Museo di Capodimonte, Naples. Etched in reverse of the painting, it employs the same composition with blind men, dressed like vagrants and holding long wooden canes, following a diagonal line across the image to a river in which they will soon fall. As in the painting, there is a village in the background with a church steeple. While there are only three blind men in the engraving, instead of six in Bruegel’s painting, the one at the front (who has already fallen in the Bruegel painting) wears a similar hurdy gurdy player as in the painting.
Estimate
$8,000 – $12,000
Theodor de bry
Arrogance and Folly .
Engraving, 1558. 121 mm; 4¾ inches (diameter), small margins. Second state (of 2), with the foolscap on the head of the pope and the change in the title. A very good, dark impression.
Provenance: Heinrich Füssli (Lugt 1008, verso). Hollstein 180.
With— William I of Orange , engraving, 1577-78. 118 mm; 4¾ inches (diameter). Trimmed on the plate mark. From a series of four Tazza Designs by De Bry (1528-1598). A superb, dark impression.
Provenance: Heinrich Stiebel (Lugt 1367, verso). Hollstein 178.
Estimate
$1,500 – $2,500
Theodor de bry (after hans sebald beham)
The Fountain of Youth and a Bath House .
Engraving, circa 1560. 88x210 mm; 3½x8½ inches. A very good impression of this scarce engraving.
De Bry (1528-1598) based this engraving on the same-titled woodcut by Hans Beham (1500-1550) from 1536 (see Bartsch 165).
Provenance: Frederic Robert Halsey, New York (Lugt 1308, verso). Hollstein 11.
With—AGOSTINO VENEZIANO. Psyche in the Women’s Bath , engraving, circa 1530. 195x233 mm; 7¾x9¼ inches. From the Story of Cupid and Psyche . A very good, strong impression.
Estimate
$1,000 – $1,500
Étienne delaune
A Triumphal Procession .
Engraving, circa 1570. 70x223 mm; 3x9 inches. First state (of 4). From the Combats and Triumphs series. With thread margins outside the narrow black border line. A brilliant, richly-inked, early impression of this very scarce engraving.
Delaune (1518-1595) was born in either Paris or Orléans. He trained as a medalist and worked as a goldsmith in Paris in the 1540s-50s. In 1552, he was appointed to the royal mint, however, he left this position after just six months following a wage dispute. Nevertheless, during his employment at the mint, Delaune was able to forge connections with the French court and king allowing him to obtain royal commissions, notably for the design of intricately detailed royal armor, medals and other decorative metalwork. He was said to have been mentored by the Italian goldsmith and sculptor Benvenuto Cellini (1500-1570), who was at the time living in Paris. There are six designs by Delaune in the Musée du Louvre, Paris; two of them are for circular dishes representing the stories of Moses and of Samson. Delaune’s engravings, which are generally small, were executed with great dexterity of handling and are very highly finished. Robert-Dumesnil 282.
With—CORNELIS CORT. Christ Presented to the People (Ecce Homo) , engraving, 1572. Small mountain in a shield watermark * ABRAHAM DE BRUYN. Dress of the Ottoman Court , engraving, circa 1580. Various sizes and conditions.
Estimate
$1,000 – $1,500
Martino rota (after michelangelo)
The Last Judgment .
Engraving, 1569. 323x230 mm; 12¾x9¼ inches, thread margins. First state (of 2), with the address of Luca Guerinoni. Anchor or cardinal's hat in a circle watermark. A superb, richly-inked, early impression of this scarce engraving, with very strong contrasts and no sign of wear.
This is among the earliest engravings of Michelangelo's (1475-1564) fresco on the altar wall of the Sistine Chapel, which took four years for him to complete between 1536 and 1541. Rota (1520-1583) was a draughtsman and engraver. He was born in Sabenico, Dalmatia, and was active in Rome during the 1540s-1560s, after which he moved to Florence and then Venice. Rota used etching and engraving together in his plates and while few original compositions are known by his hand, his near-contemporary, meticulously-rendered prints after paintings by Italian Renaissance masters were extremely important for the dissemination of these images through Europe during the mid to late 1500s. By 1568, Rota was employed at the imperial Hapsburg court in Vienna and moved to Prague in the late 1570s when Rudolf II relocated the court.
Provenance: John Postle Heseltine (Lugt 1508, verso). Bartsch 28.
Estimate
$1,500 – $2,500
Johannes wiericx (after cornelis cort)
The Adoration of the Trinity .
Engraving, circa 1575. 522x374 mm; 20½x15 inches, thread margins. A good impression of this large engraving.
Both this engraving, and the one by Cort which Wiericx copied, were based on Titian’s (1488/90-1576) Adoration of the Trinity (La Gloria) , oil, painted for the Holy Roman Emperor Charles V in 1550 or 1551 and completed in 1554, now in the Museo del Prado, Madrid. New Hollstein 82 (Cort).
With–PIETRO SANTI BARTOLI (after Albani). The Birth of the Virgin , engraving and etching, circa 1675 * DIONIGO VALESI (after Francesco Guardi). Sottoportico di Palazzo Ducale, Venezia , engraving, 1778. Various sizes and conditions.
Estimate
$1,000 – $1,500
Annibale carracci
The Holy Family with Saint John the Baptist .
Etching and engraving, 1590. 164x219 mm; 6½x8¾ inches. First state (of 3). With thread margins or trimmed on the plate mark. A very good, early impression of this extremely scarce etching.
According to DeGrazia, in The Holy Family with Saint John the Baptist , Annibale purposely left his contour lines broken and discontinuous to merge his figures with the surrounding atmosphere. This is especially evident in the left arm of the Virgin, which is almost part of the foliage in the background. These broken contour lines also add to the effect of movement of the forms, giving a kind of shimmering quality to the whole.” Bartsch 11; DeGrazia 11.
Estimate
$1,000 – $1,500
Agostino carracci
Mercury and the Three Graces .
Engraving, 1589. 199x255 mm; 7¾x10¼ inches, narrow margins. First state (of 3). Indiscernible, letter A (?), watermark. A good impression of this scarce engraving with strong contrasts. Bartsch 117; DeGrazia 149.
Estimate
$1,000 – $1,500
Pietro francesco alberti
Academia D’Pitori .
Etching. 405x528 mm; 16x21 inches. Fleur-de-lys in a circle watermark. With thread margins or trimmed on the plate mark. A very good impression of this large, scarce etching.
According to Nicolaas Teeuwisse, Berlin, who offered another impression of this subject in Selected Works XVII catalogue, 2017, “The painter and engraver Pietro Francesco Alberti (1584-1638) was a descendant of a large, well-known family of artists who originated from Borgo San Sepolcro. He worked almost exclusively in Rome, where he was a member of the Accademia di S. Luca . This delightful, large-scale depiction of a painting academy is the only print the artist ever made and therefore a precious rarity.
The composition owes its appeal to the wealth of sensitively and humorously observed details. We see a spacious hall in which students and teachers, in keeping with the artistic theories of the Renaissance, are engaged in a large number of different disciplines, such as mathematics, anatomy, architecture, sculpture and drawing. Through the wide-open window daylight streams into the sparsely furnished interior. On the left, a young student presenting a letter of recommendation is being admitted to the vast classroom. Fragments of ancient sculpture and plaster casts stand on a shelf or are fastened to the wall by a nail. The three paintings hanging on the wall symbolize the different genres of religious painting, portraiture and landscape painting. In an exemplary way the individual disciplines are shown, which art students had to complete in order to develop into artists with an all-round humanist education.”
Alberti’s choice of subject might have also tied into the popular contemporaneous artists’ academy in Bologna founded around 1582 by the Carracci family: Annibale, Agostino and Ludovico. Initially named the Accademia dei Desiderosi (Academy of the Desirous), the school most likely began as an informal gathering of young artists in Ludovico Carracci’s studio. Around 1590, the academy was renamed the Accademia degli Incamminati (Academy of Those who are Making Progress or Academy of the Journeying), and adopted a more didactic academic program. There is some debate regarding the school’s organization and academic structure. However, it is likely that the academy functioned as a combination of a painters’ workshop and a formal institution, and was attended by both students and established artists alike. Bartsch 1.
Estimate
$1,500 – $2,500
Hendrick goltzius
The Circumcision .
Engraving, 1594. 480x356 mm; 19x14¼ inches. Third state (of 5), with the number lower left but before the address of Visscher. Partial Strasburg Lily watermark. With thread margins or trimmed on the plate mark. A very good, evenly-printed impression with strong contrasts and little to no sign of wear. Bartsch 18; Hollstein 12.
Estimate
$1,500 – $2,500
Hendrick goltzius
Three Goddesses Seated in the Clouds .
Set of 3 engravings, 1596. Each 342x262 mm; 13½x10½ inches, narrow to thread margins. Each with small shield of crowned coat-of-arms watermark. Superb, early, richly-inked impressions, with very strong contrasts and no sign of wear, consistent with the earliest impressions of these engravings; extremely scarce in the complete set.
These engravings of goddess — Pallas (Athena), Venus (and Cupid), and Juno–formerly attributed to Jan Saenredam (1565-1607) are now believed to be by Goltzius (1558-1617). Hollstein 63-65 (Saenredam); New Hollstein 141-143 (Goltzius).
Estimate
$5,000 – $8,000
Hendrick goltzius
The Great Standard-Bearer .
Engraving, 1587. 288x195 mm; 11½x7¾ inches. Eagle watermark. Trimmed on the plate mark, with thread margins outside the narrow black border line. A superb, dark and evenly-printed impression of this scarce engraving with very strong contrasts and no sign of wear.
Provenance: Frederic Robert Halsey, New York (Lugt 1308, verso). Bartsch 125; Hollstein 255.
Estimate
$3,000 – $5,000
Hendrick goltzius
Young Man Standing in Fluttering Dress .
Woodcut, circa 1590-1600. 111x65 mm; 4½x2¾ inches. First state (of 2). With thread margins or trimmed on the outside of the black border line. A superb, richly-inked and early impression of this extremely scarce woodcut with very strong contrasts, no sign of wear and the relief from the wood block distinct on the verso. Bartsch 240; Hollstein 376; Bialler 53.
Estimate
$5,000 – $8,000
Aegidius sadeler
Portrait of Bartholomeus Spranger with an Allegory on the Death of His Wife, Christina Müller .
Engraving, 1600. 255x365 mm; 10¼x14½ inches. Presumably the first state (of 2), before the address of Marco Sadeler. Imperial eagle watermark, also found on other first state impressions. Trimmed on the thin black border line. A very good, evenly-printed and dark impression of this scarce engraving. Hollstein 332.
Estimate
$2,000 – $3,000
Jan saenredam (after hendrick goltzius)
The Fool .
Engraving, circa 1595. 257x180 mm; 10¼x7¼ inches, wide margins. Third state (of 4). A very good impression of this scarce engraving. Bartsch 103; Hollstein 123
Estimate
$1,000 – $1,500
Crispijn van de passe i
The Five Senses .
Complete set of 6 engravings including the engraved title page, circa 1600. Each approximately 97 mm; 4 inches (diameter). Each with thread margins or trimmed on the outer border lines. Superb, dark impressions of these extremely scarce engravings.
We have not found another complete set of this series at auction in the past 30 years. Hollstein 499-504.
Estimate
$3,000 – $5,000
Jan sadeler i (after hans bol)
Landscape with a Moated Castle .
Engraving, circa 1575. 208x270 mm; 8¼x10¾ inches, small margins. From the Four Landscapes . A very good impression of this scarce engraving. Hollstein 576.
With—ANTHONIE WATERLOO. A Churchyard near a Waterside , etching, circa 1650. 98x142 mm; 4x5¾ inches, narrow margins. A superb, early impression of this scarce landscape etching.
Provenance: John Sheepshanks, London (Lugt 2333, verso); the British Museum, London (Lugt 305 and 2285, verso). Duthuit 22.
Estimate
$1,500 – $2,500
Jan van de velde ii
The Village Festival .
Etching. 181x260 mm; 7¼x10¼ inches, thread margins. Foolscap with a 7-pointed collar watermark. A good impression of this scarce, early etching. Hollstein 138.
Estimate
$1,000 – $1,500
Jusepe de ribera
The Drunken Silenus .
Etching, 1628. 268x346 mm; 10¾x13¾ inches. Second state (of 3), before the address of the publisher, Rossi, lower left. Trimmed on the plate mark. A very good impression of this scarce etching with strong contrasts. Bartsch 13; Brown 14.
Estimate
$1,500 – $2,500
Jacques callot
L’Enfant Prodigue .
Set of 10 etchings and the etched title page (2 impressions), 1635. Each approximately 63x82 mm; 2½x3¼ inches, wide margins. Each in the second state (of 3). Superb, early impressions with strong contrasts and with traces of the guidelines for the text in the lower margins. Lieure 1404-1414.
Estimate
$1,200 – $1,800
Jacques callot
Les Grandes Misères de la Guerre .
Complete set of 18 etchings, 1633. Each approximately 52x185 mm; 2¼x7¼ inches, narrow to thread margins. 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. Very good, richly-inked impressions with strong contrasts and little to no sign of wear.
Provenance: Giral, dated 1707 in ink, title plate lower center (not in Lugt). Lieure 1339-1356.
Estimate
$3,000 – $5,000
Jacques callot
La Tentation de Saint-Antoine .
Etching, 1635. 358x467 mm; 14¼x18½ inches, narrow to small margins. Fifth state (of 5). A very good impression of this important etching. Lieure 1416.
According to the Art Institute of Chicago, Callot (1592-1635) studied painting in his native Lorraine before relocating to Italy. He worked first in Rome, and was later appointed to the Florentine court, where he made etchings associated with the Medici festivals and theatrical productions. He returned to Nancy in 1621, renowned as a printmaker of innovative technique. His oeuvre consists of more than 1,400 prints. Callot returned to this ambitious, cataclysmic subject, which he had treated first in 1617, just before his death. It may reflect his horror at the plague that had taken his father’s life in 1631, or his own battle with stomach cancer.
With—Collection of 14 etchings from Les Misères de la Guerre , 1633. Various sizes and conditions.
Estimate
$1,500 – $2,500
François chauveau
Divers Masques .
Group of 17 (of 19) etchings including the title page etching, circa 1635-45. Each approximately 55x45 mm; 2½x2 inches. Published by Jacques Van Merlen, Antwerp. Very good impressions of these extremely scarce etchings.
Chauveau (1613-1676) was born in Paris, the son of the impoverished noble, Lubin Chauveau and of Marguerite de Fleurs. He studied in the studio of the French Baroque painter Laurent de La Hyre (1606-1656) and specialized in ornamental etching. Louis XIV granted him a pension and the title of Graveur du Roi (King’s engraver) in 1662. Chauveau was the first printmaker to become a member of the Académie royale de peinture et de sculpture on April 14, 1663.
We have not found another set of these etchings at auction in the past 30 years.
Estimate
$3,000 – $5,000
Claude gellée, le lorrain
L’Enlèvement d’Europe.
Etching, 1634. 200x259 mm; 7¾x10¼ inches, narrow margins. Seventh state (of 7). A very good, dark and well-inked impression of this scarce etching. Mannocci 14.
Estimate
$1,500 – $2,500
Claude gellée, le lorrain
La Fuite en Egypte .
Etching, circa 1630-33. 106x171 mm; 4¼x6¾ inches, thread margins. First state (of 4), with the blank spaces along the upper border line and with the border line incomplete. A very good, early impression of this extremely scarce etching. Mannocci 9.
Estimate
$2,000 – $3,000
Claude gellée, le lorrain
La Danse sous les arbres .
Etching, circa 1637. 139x198 mm; 5½x7¾ inches, thread margins. Fifth state (A) (of 7), before the curved scratch in the sky upper center. A very good, well-inked impression of this scarce etching. Mannocci 19.
Estimate
$1,500 – $2,500
Rembrandt van rijn
A Cavalry Fight .
Etching, 1629. 108x83 mm; 4½x3½ inches, thread margins. Biörklund’s second state (of 3), with the delicate wiping scratches in the background distinct; Usticke’s first state (of 2); White and Boon’s second state (of 2); New Hollstein’s second state (of 2); after the reduction of the plate. A superb, richly-inked, early impression of this exceedingly scarce etching, with strong contrasts, uneven partially inky plate edges and no sign of wear, consistent with the earliest impressions of this subject.
There is only one known first state impression, now in the collection of the Rijksmuseum, Amsterdam. We have found approximately only 12 other impressions at auction in the past 30 years.
Provenance: Heneage Finch, Earl of Aylesford, London (Lugt 58, verso). Bartsch 117; Biörklund 32-7; Hollstein (White and Boon) 117; New Hollstein 27.
Estimate
$15,000 – $20,000
Rembrandt van rijn
Old Man Seen from behind, Profile to Right: Half Figure .
Etching, circa 1629. 71x43 mm; 2¾x1½ inches, thread margins. Biörklund’s fifth state (of 6); Usticke’s fifth state (of 6); White and Boon’s third state (of 3); New Hollstein’s seventh state (of 7), with the delicate shading lines added to the cheek and temple. A very good, dark and richly-inked impression of this scarce, early etching. Bartsch 143; Biörklund 31-3; Hollstein (White and Boon) 143; New Hollstein 33.
Estimate
$1,500 – $2,500
Rembrandt van rijn
A Beggar with a Wooden Leg .
Etching, circa 1630. 114x66 mm; 4½x2¾ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s second state (e) (of 3); New Hollstein’s third state (of 4). A very good, well-inked impression with crisp plate edges and strong contrasts.
Provenance: Kupferstichkabinett der Staatliche Museen zu Berlin, duplicate impression ink stamp (Lugt 1633 and 2398, verso); Adam Gottlieb Thiermann, Berlin (Lugt 2434, verso). Bartsch 179; Biörklund 30-4; Hollstein (White and Boon) 179; New Hollstein 49.
Estimate
$3,000 – $5,000
Rembrandt van rijn
An Old Beggar Woman with a Gourd .
Etching, circa 1629. 95x47 mm; 3¾x1¾ inches. Biörklund’s second state (of 2); Usticke’s only state (e); White and Boon’s second state (of 2); White and Boon’s second state (of 2), and early impression in this state with rough plate edges; New Hollstein’s second state (of 2). A superb, early impression, with the diagonal scratch through the gourd distinct, and with inky plate edges on three sides, trimmed just inside the plate mark lower edge. Bartsch 168; Biörklund 30-16; Hollstein (White and Boon) 168; New Hollstein 40.
Estimate
$1,500 – $2,500
Rembrandt van rijn
Sheet of Studies .
Etching, circa 1632. 77x47 mm; 3¼x1¾ inches. Biörklund’s second state (of 2); Usticke’s second state (of 4); White and Boon’s second state (of 2); New Hollstein’s second state (of 2). The lower half of the print only, the portrait of Rembrandt trimmed. Bartsch 363; Biörklund 32-1; Hollstein (White and Boon) 363; New Hollstein 115.
Estimate
$4,000 – $6,000
Rembrandt van rijn
Two Tramps, a Man and a Woman .
Etching, circa 1634. 74x58 mm; 2¾x2 inches. Usticke’s only state (e), with irregular, inky plate edge at left; New Hollstein’s first state (of 2). With thread margins or trimmed on the plate mark.
According to Usticke, “A very rare little plate” (RRR). We have found approximately only 12 other impressions at auction in the past 30 years. Bartsch 144; Biörklund 34-2; Hollstein (White and Boon) 144; New Hollstein 130.
Estimate
$8,000 – $12,000
Rembrandt van rijn
The Rat Catcher .
Etching and drypoint, 1632. 141x127 mm; 5¾x5¼ inches, small margins. Biörklund’s third state (of 3); Usticke’s first state (e) (of 2), with the diagonal line through the rat catcher’s shoe and shin distinct; White and Boon’s third state (of 3); New Hollstein’s third state (of 3). Double-headed eagle watermark (Hinterding volume 2, page 109, variant A.a.b.; volume 3, page 177, illustrated; which he dates from 1632-34). A superb, dark, early impression of this very scarce etching, with crisp, partially inky plate edges, with the delicate tonal areas (possibly sulphur tint) and fine horizontal lines on and around the barrel undiminished, with no sign of wear, consistent with the earliest impressions.
The watermark in this impression is known to Hinterding only in the unique, second state impression in the Rothschild collection now in the Musée du Louvre, Paris, confirming this is among the earliest known impressions in this final state. Hinterding cites only three known impressions in the first and second states combined: two in the first state and one in the second state.
Provenance: P. & D. Colnaghi & Co., London, with their stock numbers in pencil, verso; private collection; sold Sotheby’s, London, March 19, 2013, lot 52. Bartsch 121; Biörklund 32-C; Hollstein (White and Boon) 121; New Hollstein 111.
Estimate
$25,000 – $35,000
Rembrandt van rijn
Bust of a Man Wearing a High Cap, Three-Quarters Right (The Artist’s Father ?) .
Etching and drypoint, 1630. 106x86 mm; 4¼x3½ inches, thread margins. Biörklund’s second state (of 2); Usticke’s second state (of 7), with parts of the scratch extending off the right ear still distinct; White and Boon’s second state (of 2); New Hollstein’s third state (of 6), before the added shading on the right ear. A very good, dark impression with strong contrasts and little to no sign of wear, the heavily shaded areas with ink wash additions (Hinterding and Rutgers note several impressions in this early state also with ink wash additions). Bartsch 321; Biörklund 30-F; Hollstein (White and Boon) 321; New Hollstein 57.
Estimate
$3,000 – $5,000
Rembrandt van rijn
The Holy Family .
Etching and drypoint, circa 1632. 95x73 mm; 3¾x3 inches, narrow to thread margins. 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. 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; New Hollstein 114.
Estimate
$15,000 – $20,000
Rembrandt van rijn
Self Portrait with Cap Pulled Forward .
Etching, circa 1631. 50x42 mm; 2x1¾ inches, narrow to thread margins. Biörklund’s third state (of 5), after the reduction of the plate; Usticke’s fourth state (of 7); White and Boon’s third state (of 5); New Hollstein’s fourth state (of 10), before the addition of the line to define the lower left shoulder. A very good impression of this extremely scarce etching, with strong contrasts.
According to Usticke, “An extremely rare, small self portrait, RRR+” (Usticke illustrates an impression in reverse, which is evidently either a counter proof from the original plate or the reverse copy he notes in his catalogue).
We have found only 15 other impressions at auction in the past 30 years. Bartsch 319; Biörklund 31-10; Hollstein (White and Boon) 319; New Hollstein 71.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Saint Jerome Reading .
Etching, 1634. 109x89 mm; 4½x3½ inches, narrow to thread margins. Usticke’s first state (e) (of 2); White and Boon’s second state (of 2); New Hollstein’s second state (of 3). A very good, well-inked impression of this extremely scarce etching with all the fine lines distinct and little to no sign of wear.
Provenance: Pierre Sentuc, Montrouge (Lugt 3608, verso). Bartsch 100; Biörklund 34-H; Hollstein (White and Boon) 100; New Hollstein 126.
Estimate
$10,000 – $15,000
Rembrandt van rijn
The Return of the Prodigal Son .
Etching and drypoint, 1636. 158x136 mm; 6¼x5½ inches, thread margins. Usticke’s first state (e) (of 4), with the toe of the boot at the far right still complete; New Hollstein’s first state (of 3). Double-headed eagle with letters ID and crozier watermark (similar to Hinterding subvariant C.a.a., which he dates from 1632-37). A superb, early impression, with very strong contrasts and no wear in the densely cross-hatched areas to the right of the son’s nose, and with the faint landscape and buildings in the left background distinct, with the deposits of ink in the lower right corner and partially inky upper left plate edges, consistent with the earliest impressions of this subject. Bartsch 91; Biörklund 36-D; Hollstein (White and Boon) 91; New Hollstein 159.
Estimate
$25,000 – $35,000
Rembrandt van rijn
Self Portrait in a Cap and Scarf with the Face Dark: Bust .
Etching, 1633. 132x103 mm; 5¼x4 inches, narrow margins. Biörklund’s third state (of 3); Usticke’s third state (of 5); New Hollstein’s third state (of 5), with the fine vertical shading to the upper lid of the left eye. Partial Seven Provinces watermark (Ash/Fletcher 34; they note, “The Seven Provinces watermark does not appear in documents in North Holland until 1656, according to Voorn and Churchill.”). A superb, richly-inked impression with little to no sign of wear, even in the most densely cross-hatched areas such as the shadow on the face, the beret and the cloak.
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, just 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, expressive, frontal poses of his self-portraits he made from the mid-to-late-1630s.
Provenance: State Hermitage Museum, Saint Petersburg, duplicate ink stamp (Lugt 5184, verso). Bartsch 17; Biörklund 33-G; Hollstein (White and Boon) 17; New Hollstein 120.
Estimate
$30,000 – $50,000
Rembrandt van rijn
Joseph Telling his Dreams .
Etching, 1638. 111x80 mm; 4½x3¼ inches, narrow margins. Biörklund’s third state (of 4); Usticke’s second state (of 5); White and Boon’s second state (of 3); New Hollstein’s third state (of 6), before the added shading on the table at the right. A superb, well-inked and early impression with all the fine lines distinct and with little to no sign of wear, with crisp, inky and uneven plate edges. Bartsch 37; Biörklund 38-E; Hollstein (White and Boon) 37; New Hollstein 167.
Estimate
$20,000 – $30,000
Rembrandt van rijn
The Death of the Virgin .
Etching and drypoint, 1639. 394x313 mm; 15½x12½ inches, narrow margins. Biörklund’s third state (of 4); Usticke’s third state (e) (of 5), with traces of burr on the upper part of the large open book on the table at the left and before the Basan rework; White and Boon’s second state (of 3); New Hollstein’s second state (of 5), before the strengthening of the shadows with mezzotint. Circle with a cross and the letters IHS watermark. A very good, well-inked impression of this large etching with strong contrasts and little to no sign of wear.
Provenance: George Guy, fourth Earl of Warwick (Lugt 2600, verso). Bartsch 99; Biörklund 39-A; Hollstein (White and Boon) 99; New Hollstein 173.
Estimate
$5,000 – $8,000
Rembrandt van rijn
The Raising of Lazarus: The Larger Plate .
Etching, engraving and drypoint, circa 1632. 370x261 mm; 14½x10¼ inches, narrow margins. Biörklund’s ninth state (of 9); Usticke’s eighth state (e-i) (of 10), after the Watelet rework; White and Boon’s tenth state (of 10); New Hollstein’s seventh state (of 9). A very good, well-inked, dark and evenly-printed impression with strong contrasts. Bartsch 73; Biörklund 32-4; Hollstein (White and Boon) 73; New Hollstein 113.
Estimate
$3,000 – $5,000
Rembrandt van rijn
The Descent from the Cross: Second Plate .
Etching and engraving, 1633. 523x405 mm; 20¾x16 inches, small margins. Biörklund’s fifth state (of 5); Usticke’s fourth state (of 5); White and Boon’s fifth state (of 5); New Hollstein’s sixth state (of 8), with the address of Danckerts in the lower margin burnished but still partially showing. A good, dark impression of this large etching, with strong contrasts. Bartsch 81; Biörklund 33-C; Hollstein (White and Boon) 81; New Hollstein 119.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Study of a Prophet or Apostle (St. Peter) .
Pen and dark brownish black ink and wash on blue laid paper, circa 1634. 205x130 mm; 8¼x5¼ inches (irregular edges).
This drawing has recently been attributed to Rembrandt (1606-1669) by Martin Royalton-Kisch, The Drawings of Rembrandt, A Revision of Otto Benesch’s Catalogue Raisonné , online catalogue (https://rembrandtcatalogue.net), as the original study of another drawing catalogued by Benesch as Rembrandt (Benesch 0124).
Royalton-Kisch notes, “In style it is reminiscent of works by Govert Flinck (1615-1660); yet the latter’s Rembrandtesque drawings generally have a more hesitant or fragmented style, less fluid and confident than the approach here (cf. Benesch 0061-62 and Benesch 0079-80, as well as his Musketeer in Copenhagen , Sumowski 953x and Benesch 0656). Furthermore, there are analogies with Rembrandt’s own works, especially with the documentary drawing of 1634 in the Burchard Grossmann album (Benesch 0257): the zigzag hatching to the right of the figure’s feet resembles that in the right background of Benesch 0257; similarly, the hatching in the figure’s drapery is generally a close match between the two drawings. The effect of the shading is subtler and less harsh than the shading in Flinck’s drawings in Rembrandt’s manner (cf. Benesch 0002, Benesch 0048 and Benesch 0111-12). The hooked line around the back of the collar that runs over the nearer shoulder also resembles Rembrandt’s touch in the nearer sleeve of the Grossmann album drawing. The latter also employs an unusual ‘blocking out’ of the facial features with bold touches of the pen, which is not unlike the approach in the present drawing, although in Benesch 0257 the light rakes across the face, highlighting the features clearly, whereas here the light comes from behind the head, casting the face as a whole into shadow. This dark chiaroscuro, with the face almost in darkness, is a bold experiment; and the similarly inky-black shadows in the shoulder and in the nearer, right sleeve also have their counterparts in Benesch 0257, in the nearer sleeve and in both edges of the collar. A comparable effect occurs in Benesch 0049. In the present drawing, the contrasts appear stronger–blotchier, even–perhaps because of the darkened overall condition of the paper as well as the use of a darker shade of ink. On close inspection, the artist has left some glimmer of light in the nearer eye, on the further brow, and in the tip of the nose. The drapery sketch at the top left should be compared with Rembrandt’s collar in Benesch 0432, which exhibits a similar approach with untouched areas firmly ‘closed’ by strong and clear penlines (though the chiaroscuro is lessened here because of the drawing’s condition). In sum, the attribution of the present drawing to Rembrandt rather than Flinck appears to be more than adequately supported by the stylistic evidence.”
There are also similarities in this drawing to the extremely scarce, early, sketch-like etching of St. Peter and St. John at the Gate of the Temple: Roughly Etched , circa 1629 (Bartsch 95; New Hollstein 15).
Provenance: Private collection, Brittany, France; private collection, Pennsylvania.
Estimate
$30,000 – $50,000
Rembrandt van rijn
Three Heads of Women: One Asleep .
Etching, 1637. 143x86 mm; 5¾x3⅜ inches. Usticke’s first state (e) (of 3); New Hollstein’s first state (of 3). With thread margins or trimmed just inside the plate mark with the entire subject preserved. A superb, richly-inked and early impression with strong contrasts, before any sign of wear, with the horizontal line lower center distinct and with the delicate vertical wiping scratches in the upper background. Bartsch 368; Biörklund 37-D; Hollstein (White and Boon) 368; New Hollstein 161.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Self Portrait Wearing a Soft Cap: Full Face, Head Only .
Etching, circa 1634. 50x50 mm; 2x2 inches. Usticke’s second state (of 2), still with some of the delicate diagonal shading on the left side of the face. With thread margins or trimmed on the plate mark. A very good, evenly-printed and dark impression of this extremely scarce etching.
According to Usticke, “A rare and famous small self portrait (RRR).” Hinterding and Rutgers cite only approximately 45 impressions in public collections. We have found only 6 other impressions at auction in the past 30 years. Bartsch 2; Biörklund 38-B; Hollstein (White and Boon) 2; New Hollstein 133.
Estimate
$15,000 – $20,000
Rembrandt van rijn
A Young Man in a Velvet Cap (Ferdinand Bol) .
Etching and drypoint, 1637. 96x83 mm; 3¾x3¼ inches, thread margins. Biörklund’s second state (of 2); Usticke’s only state (e), with burr around the mouth and tips of the hair; White and Boon’s second state (of 2); New Hollstein’s second state (of 2), with the delicate second outline on the upper right hand side of the cap and the dotted shading on the sitter’s left cheek removed. A superb, richly-inked and early impression of this scarce etching, with very strong contrasts and no signed of wear.
Provenance: P. & D. Colnaghi & Co., London, with their stock number in pencil, verso (see Lugt 2075). Bartsch 268; Biörklund 37-C; Hollstein (White and Boon) 268; New Hollstein 164.
Estimate
$8,000 – $12,000
Rembrandt van rijn
Manasseh Ben Israel.
Etching, 1636. 150x108 mm; 6x4¼ inches, narrow margins. Biörklund’s second state (of 4); Usticke’s second state (of 4); New Hollstein’s third state (of 5). A very good impression with heavy plate tone.
There are similar impressions of this subject, also printed with heavy plate tone, for the 18th century Amsterdam collector Jean de Bary, who owned the copper etching plate for this portrait and some 28 additional Rembrandt plates, at the Kunstsammlung der Veste, Coburg; the British Museum, London; and the State Hermitage Museum, Saint Petersburg. According to Hinterding and Rutgers, “The sale catalogue of the estate of Jean de Bary, a jeweller and art dealer, sheds light on a sizeable number of posthumous impressions of Rembrandt’s etchings with heavy, irregular plate tone. When de Bary dies in Amsterdam in 1759, he had in his possession twenty-nine original copper plates by Rembrandt and one copy.”
Provenance: Probably Jean de Bary (died 1759), Amsterdam; Gustav Friedrich Konstantin Parthey, Berlin (Lugt 2014, verso); the Duke of Buccleuch, London and Dalkeith (Lugt 402, verso). Bartsch 269; Biörklund 36-C; New Hollstein 156.
Estimate
$8,000 – $12,000
Rembrandt van rijn
Jan Cornelis Sylvius, Preacher .
Etching, drypoint and engraving, 1623. 166x142 mm; 6¾x5½ inches, narrow to thread margins. Biörklund’s second state (of 2); Usticke’s second state (of 3), before the significant reworking of the plate and its issue in 200 Etchings ; White and Boon’s second state (of 2); New Hollstein third state (of 3). A very good, dark and well-inked impression with strong contrasts.
Sylvius (1563/64-1638) was a learned Mennonite preacher, related to Rembrandt’s (1606-1669) wife Saskia van Uylenburgh, who Rembrandt was courting when this portrait was done (they married in 1634), and was the godfather of their first child, their son Rumbartus (who died just two months after his birth in 1635). Having served as a minister for the Dutch Reformed Church in several Frisian communities, he was called to Sloten near Amsterdam and the Gasthuiskerk in the city itself in 1610, and after 1622 was employed at the Oude Kerk. Rembrandt made another, posthumous portrait etching of Sylvius in 1646 (see Bartsch 280). Bartsch 266; Biörklund 33-H; Hollstein (White and Boon) 266; New Hollstein 124.
Estimate
$2,000 – $3,000
Rembrandt van rijn
Jan Uytenbogaert, Preacher of the Remonstrants .
Etching and drypoint, 1635. 226x187 mm; 9x7½ inches, narrow to small margins. Biörklund’s sixth state (of 6), with the horizontal shading lines on the chest below the ruffled collar though with the uneven lower right edge of the octagonal border still uneven; Usticke’s fourth state (of 6); White and Boon’s sixth state (of 6); New Hollstein’s sixth state (of 9). A superb, richly-inked and early impression, with traces of burr in the curtain upper right and in the letter “f.” after the artist’s signature upper left, and with the delicate horizontal wiping scratches in the black border spaces lower center and upper right distinct. Bartsch 279; Biörklund 35-D; Hollstein (White and Boon) 279; New Hollstein 153.
Estimate
$5,000 – $8,000
Rembrandt van rijn
The First Oriental Head .
Etching, 1635. 151x126 mm; 6x5 inches, small margins. Biörklund’s third state (of 3); Usticke’s only state (l); White and Boon’s third state (of 3); New Hollstein’s fifth state (of 5). A very good, richly-inked impression with strong contrasts. Bartsch 286; Biörklund 35-E; Hollstein (White and Boon) 286; New Hollstein 149.
Estimate
$2,000 – $3,000
Rembrandt van rijn
Old Man with a Divided Fur Cap .
Etching and drypoint, 1640. 151x137 mm; 6x5½ inches, narrow margins. Biörklund’s first state (of 3); Usticke’s first state (of 3); White and Boon’s first state (of 3); New Hollstein’s first state (of 2). A superb, richly-inked, crisp and early impression with burr on the thumb of the right hand, on the mouth and nose, on the horizontal lines at the lower edge of the plate and on the lower right edge of the robe. Bartsch 265; Biörklund 40-A; Hollstein (White and Boon) 265; New Hollstein 182.
Estimate
$8,000 – $12,000
Rembrandt van rijn
Self Portrait with a Raised Sabre .
Etching, 1634. 120x98 mm; 4¾x3¾ inches, thread margins. Biörklund’s second state (of 2); Usticke’s second state (of 2); New Hollstein’s second state (of 2). Arms of Württemberg watermark (Hinterding, Variant A.a.c., which he dates 1634 and cites for early impressions of this subject). A superb, richly-inked, early impression of this very scarce etching, with the fine horizontal wiping scratches in the collar and to the left of the right shoulder distinct, with the signature bold and clear and with no sign of wear, consistent with the earliest impressions of this subject.
Provenance: J. F. Linck (Lugt 1684, verso); and Hans von und zu Aufsess (Lugt 2749, verso). Bartsch 18; Biörklund 34-A; Hollstein (White and Boon) 18; New Hollstein 134.
Estimate
$30,000 – $50,000
Rembrandt van rijn
Old Bearded Man in a High Fur Cap, with Eyes Closed.
Etching, circa 1635. 113x103 mm; 4¾x4¼ inches, narrow to thread margins. New Hollstein’s second state (of 4), with the delicate vertical wiping scratches upper left and before the strong horizontal shading in the lower right corner. A very good, dark, well-inked impression with strong contrasts and no sign of wear. Bartsch 290; Biörklund 35-3; Hollstein (White and Boon) 290; New Hollstein 148.
Estimate
$5,000 – $8,000
Rembrandt van rijn
A Student at a Table by Candlelight .
Etching, circa 1642. 148x135 mm; 5½x5⅜ inches, narrow margins. Usticke’s first state (e-i) (of 3), before the outline of the right edge of the candle flame and before the mezzotint additions; New Hollstein’s first state (of 2). A superb, dark and richly-inked impression with all the subtle tonal variations and shaded forms distinct, consistent with the earliest impressions. Bartsch 148; Biörklund 42-6; Hollstein (White and Boon) 148; New Hollstein 213..
Estimate
$3,000 – $5,000
Rembrandt van rijn
Cornelis Claesz Anslo, Preacher.
Etching and drypoint on Chine collé , 1641. 190x160 mm; 7½x6¼ inches, narrow margins. Biörklund’s fourth state (of 4); Usticke’s third state (of 6), with the nail in the wall still partially visible; New Hollstein’s fifth state (of 5). A very good impression of this extremely scarce portrait with all the fine lines in the background and the dense cross-hatching distinct.
Cornelis Claesz Anslo (1592-1646) was a prominent Mennonite preacher in Amsterdam who was portrayed by Rembrandt several times in paintings, drawings and this etching. He was the fourth son of the Norwegian born Dutch cloth merchant Claes Claesz Anslo, whose other sons all entered the family cloth business. Anslo’s father founded a hofje (or courtyard with almshouses) in Amsterdam that the Anslo brothers managed during their lifetime. The hofje was partially demolished and rebuilt on the original location, today’s Eglantierstaat 52, nearby the Anne Frank house and a short walk across the city from Rembrandt’s house. Bartsch 271; Biörklund 41-J; Hollstein (White and Boon) 271; New Hollstein 197.
Estimate
$4,000 – $6,000
Rembrandt van rijn
The Presentation in the Temple: Oblong Print .
Etching on thin, cream laid paper, circa 1640. 215x292 mm; 8½x11½ inches, narrow margins. Biörklund’s third state (of 3); Usticke’s fourth state (e) (of 6), likely before or from the earliest Basan edition; White and Boon’s third state (of 3); New Hollstein’s fifth state (of 5). Shield (?) with the word Paris and the date 1680 watermark (Ash/Fletcher 39 A). A very good, strong impression of this large etching, with strong contrasts and with the robes of Simeon and Mary dark and distinct. Bartsch 49; Biörklund 40-1; Hollstein (White and Boon) 49; New Hollstein 184.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Christ Crucified between the Two Thieves: An Oval Plate .
Etching and drypoint, circa 1641. 136x102 mm; 5½x4⅛ inches, small to narrow margins. Biörklund’s second state (of 2); Usticke’s second state (e) (of 3); White and Boon’s second state (of 2); New Hollstein’s second state (of 3), with the two dots upper center but before the mezzotint reworking of the plate. A very good, richly-inked impression with subtle tonal variations, with partially inky, uncleaned plate edges and with burr in the shadows. Bartsch 79; Biörklund 41-2; Hollstein (White and Boon) 79; New Hollstein 196.
Estimate
$5,000 – $8,000
Rembrandt van rijn
Medea: or the Marriage of Jason and Creusa .
Etching, 1648. 230x178 mm; 9½x7 inches. Biörklund’s fifth state (of 5); Usticke’s fifth state (of 5); White and Boon’s fifth state (of 5); New Hollstein’s fifth state (of 5). With thread margins or trimmed on the plate mark. A very good, richly-inked impression with strong contrasts and little to no sign of wear.
According to the Dallas Museum of Art, there is an impression of this subject in the collection, “The story depicted in this etching revolves around Jason, the leader of the Argonauts, and his abduction of Creusa, the beautiful, young and wealthy daughter of Creon, King of Corinth. When Jason’s wife, the sorceress Medea, learns of Jason’s plans to marry Creusa, she seeks revenge by poisoning Creusa and her father and killing her own two sons. In this illustration, Rembrandt took considerable artistic liberties as he invented a scene that is not described in any line of the play, Medea: or the Marriage of Jason and Creusa . Set in a church, the subject might be mistaken for a Biblical scene if it were not for the female figure in the foreground, who holds Medea’s trademark weapons of a dagger and a container of poison. Bartsch 112; Biörklund 48-E; Hollstein (White and Boon) 112; New Hollstein 241.
Estimate
$10,000 – $15,000
Rembrandt van rijn
Christ Receiving the Children and Healing the Sick (The Hundred Guilder Print) .
Etching, engraving and drypoint, circa 1648. 279x388 mm; 11¼x15¼ inches, small margins. Biörklund’s second state (of 2), with the Baillie rework; Usticke’s fifth state (of 5); White and Boon’s second state (of 2); New Hollstein’s third state (of 4); before the plate was cut into several pieces by Baillie. Strasburg Lily (?) watermark (Ash/Fletcher 36). A very good, dark and richly-inked impression of this large, scarce, important etching, with burr on the head and back of the woman holding the baby before Christ’s outstretched right arm.
The original copper plate for this etching was owned by a Dutch collector after Rembrandt’s (1606-1669) death and was sold to the American artist John Greenwood (1727-1792) around 1775. Greenwood originally worked in Boston and during the early 1770s relocated to London, where in addition to continuing to practice as a portrait painter and engraver, he became a successful art dealer. He owned The Hundred Guilder Print plate for just a short time, selling it to Captain William Baillie (1723-1810), an officer in the English army and a professional printmaker, who after acquiring the plate, reworked it and issued an “edition” of some 100 impressions before ultimately cutting up the plate, and further printing impressions from four different pieces of the plate.
According to a summary of this important etching by Luijten, “That it is known in only two 17th century states, with the minor difference between them of additional shading over the neck of the donkey on the right and the far wall of the archway, belies the exceptional effort that the plate represents in terms of imaginative power, technical brilliance and pictorial finish. Rembrandt applies every tool at his command and in a variety of styles, from the freely outlined Pharisees in debate on the left, flooded in light, to the precise rendering of the textures that apparel the figures who enter from the right. All the groups are subjugated to the overriding chiaroscuro , which ranges from the deep blacks into which Christ’s halo melts away, to the areas left white which suggest a sudden source of startling illumination. The play of shadows is nowhere made more manifest than by the dark silhouette cast on Christ’s robe by the central figure with praying hands,” ( Rembrandt the Printmaker , London, 2000, pages253-54). Bartsch 74; Biörklund 49-1; Hollstein (White and Boon) 74; New Hollstein 239.
Estimate
$30,000 – $50,000
Rembrandt van rijn
The Raising of Lazarus: Small Plate .
Etching and drypoint, 1642. 151x115 mm; 6x4½ inches, narrow to thread margins. Biörklund’s first state (of 2); Usticke’s first state (i) (of 3), before the vertical shading lines on Lazarus’s forehead; White and Boon’s first state (of 2); New Hollstein’s first state (of 2). A very good, crisp impression with strong contrasts and little to no sign of wear. Bartsch 72; Biörklund 42-B; Hollstein (White and Boon) 72; New Hollstein 206.
Estimate
$4,000 – $6,000
Rembrandt van rijn
Abraham and Isaac .
Etching, 1645. 157x130 mm; 6¼x5¼ inches, small margins. Biörklund’s second state (of 2); Usticke’s second state (i-l) (of 3); New Hollstein’s second state (of 2). A very good, well-inked, dark impression with strong contrasts. Bartsch 34; Biörklund 45-D; Hollstein (White and Boon) 34; New Hollstein 224.
Estimate
$3,000 – $5,000
Rembrandt van rijn
A Blind Hurdy-Gurdy Player and Family Receiving Alms .
Etching and drypoint, 1648. 165x128 mm; 6½x5¼ inches, narrow to thread margins. Biörklund’s third state (of 3); Usticke’s fourth state (of 6); White and Boon’s third state (of 3); New Hollstein’s third state (of 5). A superb, richly-inked impression with very strong contrasts and little to no sign of wear.
Provenance: Unknown collector, blind stamp with the initials FB (Lugt 976, lower center recto). Bartsch 176; Biörklund 48-C; Hollstein (White and Boon) 176; New Hollstein 243.
Estimate
$5,000 – $8,000
Rembrandt van rijn
A Hurdy-Gurdy Player Followed by Children at the Door of a House (“The Schoolmaster”) .
Etching, 1641. 95x63 mm; 3¾x2½ inches, thread margins. Biörklund’s first state (of 2); Usticke’s first state (of 3); New Hollstein’s first state (of 4), before the added line on the lower part of the woman’s ear. A superb, richly-inked and early impression with strong contrasts and before any wear in the densely cross-hatched areas. Bartsch 128; Biörklund 41-N; Hollstein (White and Boon) 128; New Hollstein 191.
Estimate
$4,000 – $6,000
Rembrandt van rijn
A Beggar Woman Leaning on a Stick .
Etching, 1646. 75x46 mm; 2¾x1½ inches. Biörklund’s second state (of 2); Usticke’s third state (of 6); likely New Hollstein third or fourth state (of 4). Trimmed just inside the plate mark, with the subject preserved. A very good, crisp impression. Bartsch 170; Biörklund 46-A; Hollstein (White and Boon) 170; New Hollstein 229.
Estimate
$1,500 – $2,500
Rembrandt van rijn
The Flute Player .
Etching and drypoint, 1642. 114x143 mm; 4½x5¾ inches, small margins. Biörklund’s fifth state (of 5); Usticke’s fifth state (of 5); New Hollstein’s fourth state (of 4). Partial Strasburg Lily watermark (Ash/Fletcher 36). A very good, well-inked impression of this scarce etching 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.
Provenance: Unknown collector, ink stamp verso (Lugt 4786). Bartsch 188; Biörklund 32-D; Hollstein (White and Boon) 188; New Hollstein 211.
Estimate
$10,000 – $15,000
Rembrandt van rijn
The Rest on the Flight: A Night Piece .
Etching, circa 1644. 93x60 mm; 3¾x2½ inches, narrow to thread margins. Biörklund’s third state (of 4); Usticke’s third state (of 8), before the retouching of the plate by Watelet (?) and others; White and Boon’s sixth state (of 8); New Hollstein’s third state (of 9), in this state a lifetime impression before any posthumous rework. A very good, clearly-printed impression with strong contrasts and all the details and highlights distinct. Bartsch 57; Biörklund 44-2; Hollstein (White and Boon) 57; New Hollstein 216.
Estimate
$7,000 – $10,000
Rembrandt van rijn
The Angel Departing from the Family of Tobias .
Etching and drypoint, 1641. 105x156 mm; 4x6¼ inches, wide margins. Biörklund’s sixth state (of 6); Usticke’s fifth state (i) (of 7); White and Boon’s fourth state (of 4); New Hollstein’s eighth state (of 9). A very good, well-inked impression with strong contrasts and crisp, partially inky plate edges. Bartsch 43; Biörklund 41-G; Hollstein (White and Boon) 43; New Hollstein 189.
Estimate
$2,000 – $3,000
Rembrandt van rijn
The Flight into Egypt: Crossing a Brook .
Etching and drypoint, 1654. 95x143 mm; 3¾x5¾ inches, small margins. Usticke’s second state (of 3); New Hollstein’s only state, before the scratches on the Virgin’s knee and lap and before the later 18th century Basan impressions. A very good, dark, crisp impression with strong contrasts. Bartsch 55; Biörklund 54-D; Hollstein (White and Boon) 55; New Hollstein 277.
Estimate
$2,500 – $3,500
Rembrandt van rijn
Christ and the Woman of Samaria: An Arched Print .
Etching and drypoint, 1657-58. 125x160 mm; 5x6¼ inches, narrow to small margins. Biörklund’s third state (of 3); Usticke’s fourth state (i) (of 5), with the horizontal line across the spire upper right distinct; White and Boon’s third state (of 3); New Hollstein’s fourth state (of 5). A very good, richly-inked impression with strong contrasts and traces of burr on the woman and the figure group directly behind her.
Provenance: Unknown collector, initials W. J. in ink verso (not in Lugt). Bartsch 70; Biörklund 57-B; Hollstein (White and Boon) 70; New Hollstein 302.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Nude Man Seated and Another Standing with a Woman and a Baby .
Etching, circa 1646. 195x130 mm; 7¾x5¼ inches, narrow margins. Biörklund’s third state (of 4); Usticke’s third state (of 7); New Hollstein’s fifth state (of 7), with the vertical shading covering the white patch on the seated man’s right shoulder, with the Watelet (?) rework and likely before the Basan impressions. A very good impression with crisp, partially inky plate edges. Bartsch 194; Biörklund 46-1; Hollstein (White and Boon) 194; New Hollstein 233.
Estimate
$2,000 – $3,000
Rembrandt van rijn
The Bathers .
Etching, 1651. 107x138 mm; 4¼x5½ inches, small margins. Biörklund’s second state (of 2), with the pale circular corrosion spot upper center; Usticke’s third state (of 3); White and Boon’s second state (of 2); New Hollstein’s third state (of 3). A very good, dark impression with strong contrasts. Bartsch 195; Biörklund 51-B; Hollstein (White and Boon) 195; New Hollstein 258.
Estimate
$1,500 – $2,500
Rembrandt van rijn
Reclining Female Nude (“La Negresse couché”) .
Etching, drypoint and engraving, 1658. 82x157 mm; 3¼x6¼ inches, thread margins. Biörklund’s third state (of 3); Usticke’s third state (e) (of 5); White and Boon’s third state (of 3); New Hollstein’s fourth state (of 6). Small bunch of grapes watermark (Ash/Fletcher 21 C.a.). A very good, richly-inked and dark impression, the woman’s figure with volume and depth and little to no sign of wear. Bartsch 205; Biörklund 58-E; Hollstein (White and Boon) 205; New Hollstein 308.
Estimate
$3,000 – $5,000
Rembrandt van rijn
A Scholar in his Study (“Faust”).
Etching, engraving and drypoint, circa 1652. 213x163 mm; 8½x6½ inches, small margins. Biörklund’s fourth state (of 4); Usticke’s fourth state (of 7); White and Boon’s fourth state (of 4); New Hollstein’s sixth state (of 7). A very good, well-inked impression, with traces of burr on the right shoulder and sleeve and in the folds on the lower left sleeve. Bartsch 270; Biörklund 52-4; Hollstein (White and Boon) 270; New Hollstein 270.
Estimate
$5,000 – $8,000
Rembrandt van rijn
The Star of Kings: A Night Piece.
Etching and drypoint, circa 1651. 94x142 mm; 3¾x5⅝ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s third state (of 7), with burr on the star and the column to the left of the star; New Hollstein’s third state (of 4). A good, well-inked and dark impression. Bartsch 113; Biörklund 51-I; Hollstein (White and Boon) 113; New Hollstein 263.
Estimate
$2,000 – $3,000
Rembrandt van rijn
The Goldsmith .
Etching and drypoint, 1655. 80x58 mm; 3¼x2¼ inches, narrow margins. Biörklund’s second state (of 2); Usticke’s third state (of 3); White and Boon’s second state (of 3); New Hollstein’s third state (of 3). A very good, dark impression with strong contrasts. Bartsch 123; Biörklund 55-D; Hollstein (White and Boon) 123; New Hollstein 289.
Estimate
$1,500 – $2,500
Rembrandt van rijn
The Descent from the Cross by Torchlight .
Etching and drypoint, 1654. 210x163 mm; 8¼x6½ inches. Biörklund’s first state (of 2); Usticke’s first state (of 3), before the diagonal shading in the upper right corner; New Hollstein’s first state (of 4). With thread margins or trimmed on the plate mark. A brilliant, richly-inked impression with selective wiping and significant burr throughout, consistent with the earliest impressions of this subject, notably on the chest of the figure pulling down the cloth from the cross, on Christ’s beard, on the back of the figure supporting Christ’s body and on the lines in the cross to the left of the torch.
Provenance: Sophie Rosenwald Adler, Los Angeles, the aunt of Lessing Rosenwald (see Lugt 1760b). Bartsch 83; Biörklund 54-G; Hollstein (White and Boon) 83; New Hollstein 286.
Estimate
$40,000 – $60,000
Rembrandt van rijn
The Adoration of the Shepherds: A Night Piece .
Etching, engraving and drypoint, circa 1657. 152x197 mm; 6x7¾ inches. Biörklund’s sixth state (of 8); Usticke’s sixth state (of 10); White and Boon’s sixth state (of 8); New Hollstein’s eighth state (of 11). With thread margins or trimmed on the plate mark. A brilliant, luminous and richly-inked impression with selective wiping, very strong contrasts and no sign of wear, all the figures distinct and burr throughout the image.
Fine lifetime impressions of this subject, like the current work, are extremely scarce. We have found only two other similar impressions at auction in the past 30 years (one sold Christie’s, New York, December 10, 1991, lot 44; the other, on Japan paper, sold Kornfeld, Bern, September 17, 2021, lot 115).
The current impression has been selectively wiped to create bright highlights of the lantern, as well as the face to its left and that of Mary and the sleeping Christ child to the right. Bartsch 46; Biörklund 52-1; Hollstein (White and Boon) 46; New Hollstein 300.
Estimate
$40,000 – $60,000
Rembrandt van rijn
Clement de Jonghe, Printseller .
Etching and drypoint, 1651. 208x161 mm; 8¼x6¼ inches, thread margins. Biörklund’s sixth state (of 6); Usticke’s fifth state (of 9); White and Boon’s sixth state (of 6); New Hollstein’s eighth state (of 10), before the extensive reworking. A very good, crisp, dark and well-inked impression, with strong contrasts, and little to no sign of wear.
Clement de Jonghe (1624/25-1677) was among the largest Amsterdam print and map dealers and publishers during the mid-17th century and would certainly have been associated with Rembrandt (1606-1669), though there is no indication, through letters or in the inventory drawn up after Clement de Jonghe’s death, that this was a commissioned portrait. De Jonge’s business prospered from at least around 1647 to 1679, run posthumously for a couple of years following his death by his widow Jacomijntje Jacobs, until his stock was sold at auction. De Jonghe acquired at least 74 of Rembrandt’s original etched copper plates, probably during Rembrandt’s lifetime, and these were all sold in the contents of his estate auction. Bartsch 272; Biörklund 51-C; Hollstein (White and Boon) 272; New Hollstein 264.
Estimate
$3,000 – $5,000
Rembrandt van rijn
Jan Lutma, Goldsmith .
Etching, engraving and drypoint, 1656. 196x150 mm; 7¾x6 inches, narrow to thread margins. Biörklund’s second state (of 3), before the cross-hatch shading in the small triangular space on the upper right side of the window border; Usticke’s second state (e) (of 6); White and Boon’s second state (of 3); New Hollstein’s third state (of 5). A superb, richly-inked, dark impression with strong contrasts and with burr on and around the vest opening, on the sleeves of the robe, on Lutma’s right hand and the statue he is holding and on and around the hammer and other objects on the table at the right.
Provenance: Karl Ferdinand Friedrich von Nagler, Berlin (Lugt 2529, verso); Kupferstichkabinett Staatliche Museen zu Berlin, duplicate impression ink stamp (Lugt 1606, verso). Bartsch 276; Biörklund 56-C; Hollstein (White and Boon) 276; New Hollstein 293.
Estimate
$7,000 – $10,000
Rembrandt van rijn
Abraham Francen, Apothecary .
Etching, circa 1657. 156x208 mm; 6¼x8¼ inches, small margins. Biörklund’s tenth state (of 10), with the horizontal parallel shading lines on the tree tops through the window, 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 tenth state (of 10); New Hollstein’s eleventh state (of 12). A very good, dark and well-inked impression, with the landscape through the window still distinct.
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 well-to-do 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, and in this collecting eclecticism he and Rembrandt surely had a kinship.
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 only child (of four) to survive into adulthood, Titus (1641-1668). 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; New Hollstein 301.
Estimate
$2,000 – $3,000
Ferdinand bol
The Holy Family in the Room .
Etching and drypoint, 1645. 185x217 mm; 7¼x8¾ inches, narrow to thread margins. Partial crowned coat-of-arms with an eagle (?) watermark. A brilliant, richly-inked and early impression with strong contrasts and no sign of wear.
Provenance: John Barnard, London (Lugt 1420, verso); John Postle Heseltine, London (Lugt 1508, verso). Bartsch 4; Hollstein 4.
Estimate
$3,000 – $5,000
Adriaen van ostade
The Dance in the Inn .
Etching and drypoint, 1652. 254x316 mm; 10x12½ inches, wide margins. Seventh state (of 9), before the completion of the right border line. Large partial coat-of-arms (or Arms of Amsterdam ?) watermark. A very good, dark impression with strong contrasts and with all the tonal nuances distinct. Bartsch 49; Godefroy 49.
Estimate
$1,500 – $2,500
Adriaen van ostade
The Anglers .
Etching, circa 1653. 115x166 mm; 4¾x6½ inches, narrow margins. Sixth state (of 7), with the delicate horizontal lines in the sky upper right distinct. A very good, well-inked impression. Bartsch 26; Godefroy 26.
Estimate
$1,500 – $2,500
Cornelis visscher
The Large Cat .
Etching and engraving, circa 1657. 145x188 mm; 5¾x7½ inches, narrow to thread margins. Second state (of 2). A very good, dark and well-inked impression with strong contrasts.
Widely-collected for his detailed engraved portraits of prominent figures of his day, Visscher’s (1629-1658) skill as a printmaker is evident in this image which captures the essence of a resting cat, its slumber not distracted by the cunning mouse in the background. Hollstein 42.
Estimate
$3,000 – $5,000
Jacob van ruisdael
Landscape with Two Men and a Dog (The Large Beech Tree) .
Etching, circa 1650. 193x280 mm; 7¾x11¼ inches, thread margins. Second state (of 2). A very good impression with strong contrasts and no sign of wear.
Provenance: Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco (Lugt 3a, verso). Hollstein 2.
Estimate
$1,500 – $2,500
Stefano della bella
Death Carrying Off a Woman .
Etching, circa 1648. 190x152 mm; 7½x6 inches. Third state (of 4). Trimmed on or just inside the plate mark, the entire subject preserved. A very good impression of this extremely scarce etching. DeVesme 90.
Estimate
$1,000 – $1,500
Stefano della bella
Death Carrying off a Child .
Etching, circa 1648. 187x152 mm; 7½x6¼ inches. Second state (of 3). Small figure in a circle watermark. From the Five Deaths series. A very good impression of this scarce etching with strong contrasts.
According to the Metropolitan Museum of Art, New York, which has both an impression of this subject and a preparatory drawing for the etching, “Della Bella (1610-1664) was supported by the Medici for many years, primarily in Florence, but also in Rome, where his patron Lorenzo sponsored a period of study in the mid-1630s. In 1639, Della Bella traveled to France with the ambassador of the grand duke of Tuscany and remained there for over a decade.
It was probably during his last years in France that Della Bella began an updated version of the Dance of Death . This typically Northern and medieval subject usually showed Death in a variety of situations, carrying away victims of every age and walk of life. While in France, Della Bella etched four oval scenes of Death’s conquest, including this print Death Carrying off a Child , three of which take place in cemeteries and the fourth on the battlefield. A horizontal version of Death triumphing in war probably also dates to these years. At the end of his life, Della Bella took up the theme again, creating three more episodes in the oval format—two of these were left incomplete at his death. In the early prints particularly, Death is as energetic as he is ruthless—here he rushes into the cemetery bearing a screaming and struggling child. The setting is the Cemetery of the Innocents in Paris, a site with which Della Bella was undoubtedly familiar, since many publishers and print dealers had their shops on the ground floor of the charnel houses.” DeVesme 89.
Estimate
$1,000 – $1,500
Bartolomeo coriolano (after guido reni)
The Fall of the Giants .
Chiaroscuro woodcut printed on 4 joined sheets in dark reddish brown, light brown and tan, 1641. 873x616 mm; 34½x24¼ inches (overall), narrow to thread margins. Second state (of 2). A very good impression of this large, extremely scarce woodcut with strong colors.
A scarce, important woodcut; we have found only three other impressions at auction in the past 30 years. Bartsch 12.
Estimate
$3,000 – $5,000
Salvator rosa
The Fall of the Giants .
Etching and drypoint, 1663. 720x475 mm; 28½x19 inches, wide margins. Second state (of 2), an early impression in this state with the added drypoint distinct, with strong contrasts and little to no sign of wear.
According to Wallace, “Rosa (1615-1673) clearly borrowed the overall composition of [Bartolomeo Coriolano’s, 1599-1676, same-titled woodcut, a piled up, cone-like mass of intermingled boulders and bodies capped with clouds surrounding the flying figure of Zeus. In addition the figure supporting a boulder at the lower right corner of Rosa’s etching and the very similar running figure at the center of the lower left corner of the [chiaroscuro woodcut] print are both very like the rock-bearing figure near the left center of the woodcut.” Bartsch 21; Wallace 115.
Estimate
$3,000 – $5,000
Salvator rosa
The Crucifixion of Polycrates .
Etching, circa 1662. 475x723 mm; 17x28½ inches, small margin. Second state (of 2), with added drypoint. A very good impression of this large, scarce etching with strong contrasts and little to no sign of wear.
Polycrates was the tyrant of the Greek island of Samos from the 540s BC to 522 BC. He had a reputation as both a fierce warrior and an enlightened ruler. Polycrates met his end during the Persian invasion of Greece in 1522. He was double-crossed by the Persian leader Oroetes and assassinated. The historian Herodotus is vague about the manner of Polycrates’ death, saying only that it was an undignified end for a glorious ruler; he may have been impaled and his dead body was crucified. Rosa (1615-1673) captures this undignified manner of death in his representation.
There is an oil painting by Rosa of the same subject, on which the etching is loosely-based, in the Art Institute of Chicago. There is also a finished study for the etching, done in chalk, by Rosa in the Uffizi Gallery, Florence. Bartsch 10; Wallace 111.
Estimate
$1,000 – $1,500
Giovanni cesare testa (after domenichino)
The Last Communion of St. Jerome .
Etching, circa 1670-75. 537x361 mm; 21¼x14¼ inches. Fleur-de-lys in a double circle surmounted by the letter V watermark. With narrow to thread margins outside of the thin black border line. A very good, dark impression of this large, scarce etching with strong contrasts. Le Blanc 5; Nagler 2.
Estimate
$1,000 – $1,500
Bartolomeo coriolano (after guido reni)
Two chiaroscuro woodcuts.
A Sybil , printed in light greenish blue and black, circa 1650. 255x192 mm; 10x7½ inches, thread margins * A Sybil (in Profile with a Putto holding a Tablet) , printed in blue and black, circa 1640. 284x189 mm; 11¼x7½ inches, thread margins. Both very good, richly-inked impressions. Bartsch 2 and 4.
Estimate
$1,500 – $2,500
Antonio maria zanetti (after parmigianino)
The Virgin and Child with Saint John the Baptist .
Chiaroscuro woodcut printed in dark blue, light blue and tan, 1722. 242x141 mm; 9¾x5¾ inches, thread margins. A superb, well-inked impression of this very scarce woodcut with strong colors. Bartsch 34.
Estimate
$1,200 – $1,800
Antonio maria zanetti (after parmigianino)
The Virgin and Child with the Infant Saint John the Baptist and Saint John the Evangelist .
Chiaroscuro woodcut printed in light blue, blue and dark blue, 1723. 258x183 mm; 10¼x7¼ inches, narrow margins. A superb, richly-inked impression with strong colors. Bartsch 38.
Estimate
$1,500 – $2,500
Jacob gole
Collection of 13 mezzotints.
Each circa 1690-1710. Each approximately 255x185 mm; 10x7½ inches.
Including four subjects from the series of the Five Senses ; four subjects from the series of the Seven Virtues ; three subjects from the Greek and Roman goddesses series; two subjects from the Seven Continents ; and Dame travaillant en Tapisserie . Very good impressions.
Gole (1660-1737) worked with the prominent Dutch artist Cornelis Dusart (1660-1704) and became a proficient and early practitioner of the mezzotint printmaking process.
Estimate
$1,500 – $2,500
Jean couvay (after grégoire huret)
Le Beau Séjour des Cinq Sens .
Engraving, circa 1650. 266x335 mm; 10½x13¼ inches. Small bunch of grapes watermark. Trimmed on the plate mark, with the complete engraved frame preserved. A very good impression of this extremely scarce engraving.
Provenance: Frederic Robert Halsey, New York (Lugt 1308, verso). Inventaire du Fonds Français 56.
Estimate
$1,000 – $1,500
Giovanni battista falda
Prospetto della nobil Piazza Navona con li nuovi edifici et col’lago delle fontane et passeggio della carroezze in tempo dell’estate .
Etching, circa 1677. 343x506 mm; 13½x20 inches, wide margins. Anchor or fleur-de-lys in a double circle watermark. From Prospectus locorum urbis Romae . A very good, richly-inked impression with strong contrasts and no sign of wear.
Estimate
$1,500 – $2,500
Balthazar moncornet (after françois lefebvre)
Livre Nouveau de toutes sortes d’ouvrages d’Orfevries receuillies des meilleurs ouvriers de ce temps .
Group of 10 engravings (of 12), circa 1650-1665. Each approximately 170x133 mm; 7x5¼ inches. Very good impressions of these extremely scarce engravings.
This series is composed of engravings representing various jewelry designs for earrings, bracelets, necklaces and pendants, paired below with views of various cities and gardens, including Notre-Dame de Paris, the Pont Neuf, Paris, Saint-Denis, the Château de Rueil and Rome. The engravings are based on the jewelry designs of François Lefebvre who worked in Paris during the first half of the 17th century.
Estimate
$1,500 – $2,500
Antonio da canal, il canaletto
Mountain Landscape with Five Bridges .
Etching, circa 1740. 143x210 mm; 5¾x8 inches, small margins. Second state “A” (of 2 “B”). Coat-of-arms with the letters V F watermark (Bromberg 24). A very good, richly-inked impression of this scarce etching with strong contrasts and no sign of wear. DeVesme 19; Bromberg 22.
Estimate
$2,000 – $3,000
Antonio da canal, il canaletto
Landscape with a Woman at a Well .
Etching, circa 1740. 133x200 mm; 5½x8¼ inches, small margins. Second state “A” (of 3), with the artist’s initials lower left still distinct. Partial letter A surmounted by an ornament watermark (Bromberg 44). A very good, richly-inked impression of this scarce etching with strong contrasts and no sign of wear. DeVesme 26; Bromberg 29.
Estimate
$2,000 – $3,000
Antonio da canal, il canaletto
View of a Town with a Bishops Tomb .
Etching, circa 1740. 300x301 mm; 12x11¾ inches, thread margins. Second state (of 2). A superb, richly-inked impression with very strong contrasts and no sign of wear. DeVesme14; Bromberg 16.
Estimate
$2,000 – $3,000
Antonio da canal, il canaletto
View of a Town on a River Bank .
Etching, circa 1740. 305x435 mm; 12x17¼ inches, wide margins. First state (of 2). A brilliant, richly-inked and early impression with crisp, partially inky plate edges, very strong contrasts, no sign of wear and all the details distinct.
Provenance: William M Ivins, Jr., the founding Keeper of Prints at the Metropolitan Museum of Art, New York. DeVesme 9; Bromberg 9.
Estimate
$5,000 – $8,000
Antonio da canal, il canaletto
House with the Inscription (Imaginary View of Venice) .
Etching, circa 1740. 297x214 mm; 12x8½ inches, narrow to thread margins. A very good, well-inked impression with dark contrasts.
Originally a single composition consisting of the Imaginary View of Venice , the plate was divided by Canaletto for unknown reasons prior to its publication in 1741. DeVesme 12; Bromberg 13.
Estimate
$2,000 – $3,000
Antonio da canal, il canaletto
S. Giustina in Prà della Vale e Prà della Valle .
Two etchings, circa 1740. Both approximately 298x428 mm; 11¾x17 inches, both with full margins. Both in the second state (of 2), with the numbers lower right. Both very good impressions, scarce with the pair.
According to Bromberg, “No record exists of their ever having been printed as one undivided plate. The partial outline of a man’s coat printed beyond the right borderline of S. Giustina in Prà della Vale , repeated on the left of Prà della Valle , seems to confirm the belief that the two etchings were intended to be joined after printing.” DeVesme 8 and 9; Bromberg 7 and 8.
Estimate
$4,000 – $6,000
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 Bellotto dit Canalletto 1748.” Pine cone 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.
Bellotto (circa 1721/22-1780), was a northern Italian painter or vedutista and printmaker, famous for his etched vedute of European cities such as Dresden, Vienna, Turin and Warsaw. He was the student and nephew of Antonio da Canal, Il Canaletto, and sometimes used his uncle’s illustrious name, signing as Bernardo Canaletto. In Germany and Poland, Bellotto simply called himself by his uncle’s name, Canaletto, causing some confusion. Bellotto’s style was characterized by elaborate representation of architectural and natural vistas, and by the specific quality of each place’s lighting. It is plausible that Bellotto, and other Venetian masters of vedute at this time, may have used the camera obscura in order to achieve superior precision of urban views. DeVesme 11.
Estimate
$4,000 – $6,000
Giovanni d. tiepolo
Arrivo della Sacra Famiglia alla porta di una città .
Etching, 1753. 187x241 mm; 7½x9¼ inches, narrow margins. From Fuga in Egitto . A superb impression with strong contrasts and crisp, sharp, partially inky plate edges. DeVesme 27; Rizzi 93.
Estimate
$2,000 – $3,000
Giovanni d. tiepolo
La Sacra Famiglia passa davanti ad una Statua la cui Testa si stacca e cade a Terra .
Etching, 1753. 189x241 mm; 7¾x9½ inches, wide margins. Shield with a six-pointed star watermark. From Fuga in Egitto . A very good, richly-inked impression with strong contrasts, crisp plate edges and no sign of wear. DeVesme 22; Rizzi 88.
Estimate
$2,000 – $3,000
Giovanni d. tiepolo
Figure di nani e cani * Figure di nani e di cani .
Two etchings printed on one sheet, circa 1770. Both approximately 200x300 mm; 8x12 inches, wide margins. Both in the second state (of 2), with the number “7” upper right. Both superb impressions with strong contrasts and no sign of wear.
Provenance: M. Knoedler & Co., Inc., New York, with the label. DeVesme 106 and 107; Rizzi 151 and 152.
Estimate
$5,000 – $8,000
Giovanni d. tiepolo
Armi e insigne romane * Teste di satiri e altre teste grottesche .
Two etchings printed on one sheet, circa 1770. One 213x274 mm; 8½x11 inches, wide margins; the other 66x169 mm; 2¾x6¾ inches, wide margins. Both in the second state (of 2), with the number “7” upper right. Both superb impressions with strong contrasts and no sign of wear.
Provenance: M. Knoedler & Co., Inc., New York, with the label. DeVesme 112 and 113; Rizzi 155 and 156.
Estimate
$3,000 – $5,000
Giovanni d. tiepolo
Vecchio a capo scoperto .
Etching, 1770. 149x113 mm; 6x4½ inches, small margins. First state (of 2), before the number upper right. From Raccolta di Teste . A brilliant, richly-inked impression with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject.
Provenance: With P. & D. Colnaghi & Co., London, with their stock number in pencil, verso. DeVesme 129; Rizzi 173.
Estimate
$2,000 – $3,000
Giovanni b. tiepolo
Two etchings from Vari Capricci .
Giovane seduto, appoggiato ad un’urna , before 1749. 140x180 mm; 5½x7 inches, narrow margins * La morte dà udienza , before 1749. 140x176 mm; 5½x7 inches, narrow margins. Both very good impressions with strong contrasts. DeVesme 3 and 10; Rizzi 29 and 36.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
The Skeletons .
Etching, engraving and drypoint, circa 1750. 395x555 mm; 15½x21¾ inches, wide margins. Third state (of 5); Robison’s second edition, sixth issue, through third edition, first issue, printed from the mid-1770s to the late 1780s. Fleur-de-lys in a double circle watermark (Robison 36, which he dates from around 1760 to 1780). From Grotteschi . A superb, richly-inked impression with strong contrasts. Robison 21.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
The Monumental Tablet .
Etching with engraving, drypoint and burnishing, circa 1750. 396x547 mm; 15¾x21¾ inches, full margins. Third state (of 4); Robison’s third edition, second issue through early printings of the fifth edition, printed circa 1790-1835. From Grotteschi . A superb impression with very strong contrasts. Robison 24.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Carceri d’Invenzione: titolo .
Etching and engraving, 1749-50. 553x419 mm; 21¾x15½ inches, wide margins. Sixth state (of 9); Robison’s second edition, second issue, printed during the early to mid 1760s. From Carceri d’Invenzione . A superb, richly-inked impression with very strong contrasts. Robison 29.
Estimate
$2,500 – $3,500
Giovanni b. piranesi
The Round Tower.
Etching, engraving, sulphur tint/open bite etching and burnishing, 1749-50. 556x418 mm; 22x16½ inches, full margins. Fifth state (of 6); Robison's second edition, fourth issue through early printings of fifth edition, printed from the mid 1770s to circa 1835. From Carceri d'Invenzione. A brilliant, richly-inked and early impression, with very strong contrasts and no sign of wear. Hind 3; Robison 30.
Estimate
$7,000 – $10,000
Giovanni b. piranesi
The Drawbridge .
Etching and engraving, 1749-50. 561x415 mm; 22¼x16¼ inches, full margins. Fourth state (of 6); Robison’s second edition, third issue, printed during the 1760s-1770s. From Carceri d’Invenzione . A superb, richly-inked, dark impression with very strong contrasts and no sign of wear. Robison 33.
Estimate
$7,000 – $10,000
Giovanni b. piranesi
The Staircase with Trophies .
Etching and engraving, 1749-50. 557x406 mm; 22x16 inches, wide margins. Fourth state (of 6); Robison’s second edition, third issue, printed during the 1760s-1770s. From Carceri d’Invenzione . A brilliant, richly-inked and dark impression with very strong contrasts and no sign of wear. Hind 8; Robison 34.
Estimate
$7,000 – $10,000
Giovanni b. piranesi
The Sawhorse .
Etching, engraving and open-bite, 1749-50. 417x564 mm; 16½x22¼ inches, wide margins. Fourth state (of 6); Robison’s second edition, second through third issues, printed from the early 1760s to the early 1770s. Proprietary watermark. From the Carceri d’Invenzione . A superb, dark, richly-inked impression with very strong contrasts and no sign of wear. Robison 38.
Estimate
$5,000 – $8,000
Giovanni b. piranesi
The Gothic Arch .
Etching, engraving, sulphur tint and open-bite etching and burnishing, 1749-50. 417x556 mm; 16½x22 inches, wide margins. Fourth state (of 6); Robison’s second edition, second through third issues, printed during the 1760s-1770s. From Carceri d’Invenzione . A superb, richly-inked impression with strong contrasts. Hind 14; Robison 40.
Estimate
$7,000 – $10,000
Giovanni b. piranesi
The Pier with a Lamp .
Etching, engraving and burnishing, 1749-50. 410x545 mm; 16¼x21½ inches, wide margins. Fourth state (of 7); Robison’s second edition, second issue, printed during the early to mid 1760s. From Carceri d’Invenzione . A brilliant, richly-inked and early impression with very strong contrasts and no sign of wear. Robison 41.
Estimate
$5,000 – $8,000
Giovanni b. piranesi
The Lion Bas-Reliefs .
Etching, engraving and drypoint, 1749-50. 570x416 mm; 22½x16½ inches, full margins. Second state (of 3), with the Roman numeral upper left; Robison’s second edition, second issue, through early printings of the fifth edition, printed from the early 1760s to circa 1835. From Carceri d’Invenzione . A superb, richly-inked impression with very strong contrasts. Robison 44.
Estimate
$3,000 – $5,000
Giovanni b. piranesi
Veduta del Ponte e Castello Sant’Angelo .
Etching, 1754. 383x595 mm; 15¼x23½ inches, wide margins. Fourth state (of 6), with the price erased. From Vedute di Roma . A superb, richly-inked impression with strong contrasts and all the details distinct.
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 29.
Estimate
$3,000 – $5,000
Giovanni b. piranesi
Veduta della Basilica, e Piazza de S. Pietro in Vaticano .
Etching, 1748. 401x512 mm; 15¾x21¼ 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
$2,000 – $3,000
Giovanni b. piranesi
Veduta dell’insigne Basilica Vaticana coll’ampio Portico, e Piazza adjacente .
Etching, 1775. 475x710 mm; 18½x27¾ inches, wide margins. First state (of 3), before numbers. A superb, richly-inked impression with strong contrasts.
With– Veduta dell’Esterno della Gran Basilica di S. Pietro in Vaticano , etching, 1748. 397x600 mm; 15½x23½ inches, wide margins. Third state (of 7), with the address and price. Both from Vedute di Roma . Hind 120 and 5.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Arco di Settimio Severo .
Etching, 1759. 378x585 mm; 14¾x23 inches, wide margins. Third state (of 6), with the address and price. Fleur-de-lys in a double circle watermark (Hind 3). From Vedute di Roma . A very good, richly-inked impression with strong contrasts and no sign of wear. Hind 54.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Veduta dell’Arco di Settimio Severo .
Etching, 1772. 470x710 mm; 18½x28 inches, wide margins. First state (of 3). From Vedute di Roma . A superb, richly-inked, early impression with very strong contrasts and with the guide lines for the text in the cartouche lower right distinct. Hind 99.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Veduta dell’Anfiteatro Flavio, detto il Colosseo .
Etching, 1757. 440x697 mm; 17¼x27½ inches, wide margins. First state (of 4), with the address and price. Fleur-de-lys in a double-circle watermark (Hind 3). From Vedute di Roma . A superb, dark and richly-inked impression with very strong contrasts. Hind 57.
Estimate
$2,500 – $3,500
Giovanni b. piranesi
Colonna Antonina .
Etching, 1758. 556x403 mm; 21½x15¾ inches, full margins. Third state (of 7), with the address and price. From Vedute di Roma . Fleur-de-lys in a double circle watermark (Hind 3). A superb, dark and richly-inked impression with very strong contrasts.
With— Obelisco Egizio , etching, 1759. 550x410 mm; 21¾x16¼ inches, wide margins. Second state (of 5), with the address and price. From Vedute di Roma . Hind 52 and 53.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Veduta di Piazza Navona sopra le Rovine del Circo Agonale .
Etching, 1751. 410x547 mm; 16¼x21¾ inches, wide margins. Fourth state (of 6), with the address and price. Fleur-de-lys in a single circle watermark (Hind 1, which he notes for early impressions). From Vedute di Roma . A superb, dark and richly-inked impression with very strong contrasts and no sign of wear. Hind 16.
Estimate
$3,000 – $5,000
Giovanni b. piranesi
Veduta della Piazza del Campidoglio .
Etching, 1774. 443x695 mm; 17½x27⅜ inches, wide margins. First state (of 3), before numbers. From Vedute di Roma . A brilliant, richly-inked impression with crisp, partially inky plate edges, very strong contrasts and no sign of wear. Hind 111.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Veduta in Prospettiva della gran Fontana dell’Acqua Vergine detta di Trevi .
Etching, 1773. 475x715 mm; 18¾x28¼ inches, wide margins. First state (of 3), before numbers. From Vedute di Roma . A superb, dark and richly-inked impression of this large etching with very strong contrasts and no sign of wear. Hind 104.
Estimate
$2,500 – $3,500
Giovanni b. piranesi
Veduta della vasta Fontana de Trevi anticamente detta l’Acqua Vergine .
Etching, 1751. 403x554 mm; 16x21¾ inches, wide margins. Fifth state (of 7), with the price erased. Large coat-of-arms with a lion watermark (Hind 4). From Vedute di Roma . A very good impression with strong contrasts. Hind 19.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Veduta di Piazza di Spagna .
Etching, 1751. 405x600 mm; 16x23¾ inches, wide margins. Fifth state (of 8). Large coat-of-arms with a lion watermark (Hind 4). From Vedute di Roma . A very good, richly-inked impression with strong contrasts and no sign of wear. Hind 18.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Veduta del Palazzo Farnese .
Etching, 1773. 413x655 mm; 16¼x25¾ inches, small margins. First state (of 3), before numbers. From Vedute di Roma . A superb, richly-inked and early impression of this large, scarce etching, with very strong contrasts.
First designed in 1517 for the Farnese family, this important Renaissance palace was greatly expanded following the sack of Rome in 1527 and Cardinal Alessandro Farnese’s ascension to become Pope Paul III in 1534. Its building history involved some of the most prominent architects of the 16th century, including Antonio da Sangallo the Younger, Michelangelo (who significantly redesigned Sangallo’s façade) and Giacomo della Porta. Today the palace houses the French embassy. Hind 107.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Veduta dell’Isola Tiberina .
Etching, 1775. 475x712 mm; 18¾x28⅛ inches, small margins. First state (of 3), before numbers. From Vedute di Roma . A brilliant, richly-inked impression, with all the finest details and some of the guidelines for the text lower center distinct. Hind 121.
Estimate
$1,500 – $2,500
Giovanni b. piranesi
Veduta del Porto di Ripa Grande * Veduta del Porto di Ripetta .
Two etchings, 1757 and 1753 respectively. The first 402x615 mm; 15¾x24¼ inches, wide margins. Second state (of 6), with the large barge loaded with wood in the center of the canal and with the address and price * The second 15½x23½ inches, wide margins. Fourth state (of 8), with the address and price. Both from Vedute di Roma . Both superb, richly-inked impressions with very strong contrasts.
The Porto di Ripa Grande was the river port of ancient Rome, just downstream from the former Pons Sublicius , where the wares, going up and down the Tiber River towards the dock of Fiumicino (at the sea), were handled. The building of the muraglioni (massive flood prevention walls) at the end of the 19th century has since erased the existence and function of the Porto di Ripa Grande . The Porto di Ripetta was a port in the city of Rome, located in front of the church of San Girolamo degli Schiavoni, designed and built in 1704 by the Italian Baroque architect Alessandro Specchi. Situated on the left bank of the Tiber River (facing south), this was the place to alight for travel downriver; as the Porto di Ripa Grande on the other bank in Trastevere served travel from the seaward side of the city. The Ponte Cavour was constructed across the Tiber and opened in 1901, at which point the Porto di Ripetta was demolished. Hind 27 and 28.
Estimate
$2,500 – $3,500
Giovanni b. piranesi
Veduta della Villa Estense in Tivoli .
Etching, 1773. 472x712 mm; 18½x28¼ inches, small margins. First state (of 3), before numbers. From Vedute di Roma . A brilliant, richly-inked impression with very strong contrasts, consistent with the earliest impressions of this subject. Hind 105.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Three etchings from Vedute di Roma .
Veduta sul Monte Quirinale del Palazzo dell’Eccellentissima Casa Barberini , circa1749. First state (of 5). Fleur-de-lys in a double circle watermark (Hind 3) * Veduta degli avanzi superiori delle Terme di Diocleziano , 1774. First state (of 3), before numbers * Villa Panfili , 1776. First state (of 3), before numbers. Various sizes and conditions. Superb, richly-inked and early impressions with very strong contrasts and no sign of wear. Hind 25, 115 and 124.
Estimate
$2,000 – $3,000
Giovanni b. piranesi
Veduta delle Cascatelle a Tivoli .
Etching, 1769. 483x708 mm; 19x27¾ inches, full margins. First state (of 4). Fleur-de-lys in a double circle watermark (Hind 3). From Vedute di Roma . A brilliant, richly-inked, early impression with very strong contrasts and no sign of wear, with crisp, partially inky plate edges. Hind 92.
Estimate
$1,500 – $2,500
Maria katharina prestel (after belanger)
A View of the Loss of the Rhone (Vue de la Perte du Rhone) .
Color aquatint and etching with hand coloring in watercolor, 1791. 550x705 mm; 21¾x28 inches, wide margins. A superb, richly-inked impression of this large, scarce etching with strong colors.
Prestel (1747-1794) was born in Nuremberg where she apprenticed with the artist Johann Gottlieb Prestel. She married Prestel in 1769 but the couple separated in 1786, after which she moved to London with her daughter. Prestel worked in London for the publisher John Boydell and had a successful career as a printmaker, creating more than seventy prints after paintings by German, Italian and Dutch artists. She was celebrated for her large aquatint prints, like the current work, in which she skillfully replicated subtle details of romanticized landscape paintings. Nagler 61; Le Blanc 61; Schwaighofer 3.
With–PHILIBERT-LOUIS DEBUCOURT. Paysage, effet de neige , color aquatint and etching with hand coloring in watercolor, 1811. 292x393 mm; 11¾x15½ inches, wide margins. A very good impression of this scarce etching.
Estimate
$1,000 – $1,500
Jean-baptiste pillement (after)
Cahier de Six Noeuds de Rubans .
Complete set of 6 color crayon manner engravings printed in red and black, 1770. Each approximately 245x165 mm; 9¾x6 inches, small margins. Engraved by Louis Gautier-Dagoty and Arnaud-Eloi Gautier-Dagoty. Published by Leviez, Paris. Very good impressions of these extremely scarce Rococo ornamental engravings.
Louis Gautier-Dagoty (1746-after 1787) and Arnaud-Eloi Gautier-Dagoty (1741-1771) were the sons of the notable French anatomist, painter and printmaker Jacques Fabien Gautier d’Agoty (1716–1785), a rival with his teacher, Jacob Christoph Le Blon, for title of the invention of a method of an color-printing method based on etching and mezzotint engraving.
Estimate
$1,500 – $2,500
Jean-baptiste pillement (after)
Cahier de Fleurs Singulieres .
Set of 6 etchings, circa 1770. Each approximately 365x255 mm; 14½x10 inches, small margins. Etched by Jean-Jacques Avril. Published by Dalmon and Chereau, Paris. Very good impressions of these extremely scarce Rococo etchings with crisp, partially inky plate marks.
With— Cahier de Six Noeuds de Rubans , set of 6 etchings with roulette, circa 1770. Each approximately 245x165 mm; 9¾x6½ inches, wide margins. Etched by Louis Dagoty, Paris. Proof impressions printed in black, before the artist’s names. Very good, early impressions.
Pillement (1728-1808) was a French painter and designer, known for his exquisite and delicate landscapes, but whose importance lies primarily in the engravings done after his drawings, and their influence in spreading the Rococo style and particularly the taste for chinoiserie throughout Europe. He was a very well-traveled and cosmopolitan 18th century artist, living and working in Paris, Madrid, Lisbon, London, Vienna, Warsaw, Milan, Rome and Venice. In 1768-1780 Pillement moved to Versailles, where he produced decorations for Marie Antoinette in the Petit Trianon.
Estimate
$1,500 – $2,500
Philibert-louis debucourt
La Promenade Publique .
Color aquatint, etching and engraving printed in carmine, dark pink, yellow, blue and black, 1792. 460x644 mm; 18¼x25½ inches (sheet). Third state (of 3). Trimmed on the plate mark, with the complete composition, border line, text and registration marks in each center margin preserved. A superb, well-registered impression of this extremely scarce, important print, with strong and bright colors, the usually fugitive pinks and roses still distinct and the foliage in the upper portion of the plate particularly strong.
Debucourt’s (1755-1832) La Promenade Publique was published in Paris in the first half of 1792. The second half of the same year saw riots, the August 10, 1792 massacre of Louis XVI’s Swiss Guards, the descent into chaos of the Legislative Assembly, foreign invasion, the abolition of the monarchy and with that the abolition of the year itself: September 22, 1792 became day one of month one of year one of the new Republican Calendar. Debucourt’s print shows the Parisian aristocrats at play before the French Revolution erupted and their demise: dancing, gambling and gossiping.
According to Ittmann, “The fops vie with the infamous beauties of the day, innocently unaware of the impending massacres of September 1792. Debucourt dared to include portraits of the little, pink-clad duc d’Aumount indolently sprawling across three chairs and the future Louis XVIII, then the duc de Chartres, simpering on tiptoe to blow a kiss to an admiring friend, little more than a year before the execution of his father, Philippe-Egalité. Probably for this reason, Debucourt chose to issue this print without the usual fanfare of a press announcement and inscribed it with the address of the printseller Depeuille instead of his own,” ( Regency to Empire, French Printmaking 1715-1814 , Minneapolis, 1984, p. 290). Fenaille 33.
Estimate
$1,500 – $2,500
John hamilton mortimer
Self Portrait in Character .
Etching, circa 1775. 420x305 mm; 16¾x12¼ inches. Proof before letters, with the titled added in pencil in the blank lower margin. A superb impression.
According to the Royal Collection Trust, London, “This etching corresponds, in reverse, with a drawing in the Victoria and Albert Museum, itself a version of an oil by Mortimer in the Towner Art Gallery, Eastbourne (Victoria and Albert Museum, E.328–1961; for the painting see Sunderland 1986, number 107). Another etching after the same drawing, by Mortimer’s collaborator Robert Blyth and published in 1782, has been claimed to be a later state of the present print, but is from a different plate: as well as many differences of detail, the tonalities capture none of the dramatic atmosphere and stark lighting. Mortimer did not make many prints, but in 1775–76 he produced a set of 12 heads of figures from Shakespeare that have very much the same character and technique seen here. It seems therefore that the present plate was etched by Mortimer himself and that Blyth made his own version for publication a few years later.”
With—WENZEL HOLLAR. Pietro Aretino , etching, 1649. Pennington 1348 * GÉRARD EDELINCK. Portrait of Aegidius Sadeler, Engraver , etching and engraving, circa 1700. Proof, before letters and the completion of the composition. Various sizes and conditions.
Provenance: Frederic Robert Halsey, New York (Lugt 1308, versos).
Estimate
$1,000 – $1,500
George stubbs (after)
A Tigress .
Mezzotint, 1800. 492x585 mm; 19¼x23½ inches. Third state (of 3). With narrow margins three sides, the left and right margins partially made up, trimmed on the plate mark lower margin, with the text preserved. Engraved by Robert Laurie, London. Published by Laurie and Whittle, London. A brilliant, richly-inked impression of this extremely scarce print, with velvety, strong contrasts and no sign of wear, consistent with the earliest impressions of this subject.
Stubbs (1724-1806) painted at least three versions of this tiger. The famous Bengal tigress was presented to George Spencer, 4th Duke of Marlborough, for his personal menagerie at Blenheim Palace in Oxfordshire, by Lord Clive, Governor of Bengal, when, in March 1762, he was made Baron Clive of Plassey. Archives, in the form of bills from the butcher, show the cat consumed more than twenty pounds of meat every few days, at a cost of three shillings per delivery, with an occasional head thrown in for fourpence.
This mezzotint was based on an earlier one, engraved by John Dixon (1740-1801), exhibited at the Society of Artists, London, in 1769 as A Tyger , and subsequently at the Society of Arts, London, in April 1773 as A Tygress after G. Stubbs . Dixon’s plate was destroyed in a fire towards the end of the 18th century and, in 1800, Robert Laurie (1755-1836) made a replacement engraving. Lennox-Boyd 139.
Estimate
$3,000 – $5,000
Luigi rados (after gaspare galliari)
Group of 5 aquatints with etching from Invenzioni Teatrali .
Each circa 1814. Each approximately 348x440 mm; 13¾x17½ inches, small to narrow margins outside the border lines. Very good impressions of these extremely scarce prints.
Rados (1773-1840) was born in Parma and became an incredibly skilled aquatint printmaker, as evidenced by this group, from a series of 24 stage settings based on the works of the theatrical designer Galliari (1716-1818) who was active most of his career in Milan.
Estimate
$2,000 – $3,000
Francisco josé de goya
El Sueño de la Razon Produce Montruos .
Aquatint and etching, circa 1799. 215x150 mm; 8½x6 inches, wide margins. Fifth edition, with the plate bevelled. From Los Caprichos . A very good, well-inked and dark impression with the aquatint tones distinct and the title on the side of the desk still legible. Delteil 80; Harris 78.
Estimate
$1,500 – $2,500
Francisco josé de goya
Alegrias Antruejo, que Mañana seras Ceniza .
Etching and aquatint, circa 1815. 245x355 mm; 9¾x13¾ inches, full margins. Second state (of 3). The first published edition, before the plate number upper right. From Los Proverbios . A very good, well-inked and early impression, with no sign of wear and the burnished highlights distinct. Delteil 215; Harris 261.
Estimate
$2,000 – $3,000
Francisco josé de goya
Dos a Uno, Meten la Paja en el Culo .
Aquatint and etching on thin Japan paper, circa 1824. 245x355 mm; 9½x14 inches, full margins. Proof before letters and the first published edition by L’Art, Paris, and likely before steel facing of the plate. From Los Proverbios . A brilliant, richly-inked impression with strong contrasts and all the aquatint tones distinct.
According to Harris, “The proofs on Japan are clean-wiped, more lightly inked than the first edition impressions and are almost identical with the working proof.” Delteil 220; Harris 266.
Estimate
$3,000 – $5,000
Francisco josé de goya
Los Proverbios: Additional Plates .
Complete set of 4 aquatints with etching. Dos a Uno, Meten la Paja en el Culo * Bailando en una Cuerda Floja * Quien se pondrá el cascabel al gato? * Al Toro y al Aire Darles Calle (Lluvia de Toros) . Each circa 1824. Each approximately 240x350 mm; 9½x13¾ inches, small to wide margins. Each from the first published edition. Published by L’Art, Paris. Superb, well-inked impressions with very strong contrasts. Delteil 220-223; Harris 266-269.
Estimate
$5,000 – $8,000
Francisco josé de goya
Los Proverbios .
Complete set of 18 aquatints with etching, circa 1824. Each approximately 255x355 mm; 10x14 inches, narrow to thread margins. Second edition, with numbers and the plates bevelled. Superb, richly-inked impressions with strong contrasts.
This series was first published by the Royal Academy of Fine Arts of San Fernando, Madrid in 1864 (the second edition appeared in 1875) under the title Los Proverbios , or Proverbs, previously known only in a handful of early 19th century proofs by Goya (1746-1828). The series is an enigmatic album of 22 prints (originally 18; 4 works were added later) which is the last major series of prints by Goya, created during the end of his career. The scenes of the Disparates , as Goya referred to many of the subjects in the series, which are difficult to explain, include dark, dream-like scenes that scholars have related to political issues, traditional proverbs and the Spanish carnival. Delteil 202-219; Harris 248-265.
Estimate
$8,000 – $12,000
Francisco josé de goya
Al Toro y al Aire Darles Calle (Lluvia de Toros) .
Etching and aquatint, circa 1824. 245x350 mm; 9¾x13¾ inches, wide margins. First published edition. Published by L’Art , Paris. From Los Proverbios . A very good, well-inked impression with strong contrasts. Delteil 223; Harris 269.
Estimate
$2,000 – $3,000
Francisco josé de goya
Los Moros hacen otro Capeo en Plaza con su Albornoz .
Aquatint and etching printed in dark brownish black, circa 1815. 245x350 mm; 9¾x13¾ inches, full margins. Third edition. From Tauromaquia . A very good impression with all the highlights and burnishing still distinct. Delteil 229; Harris 209.
Estimate
$1,000 – $1,500
Francisco josé de goya
Two aquatints with etching from La Tauromaquia .
Origen de los Arpones ó Banderillas . Fourth edition * Pepe Illo Haciendo el Recorte al Toro . Second edition. Both circa 1816. Both very good, well-inked impressions. Delteil 230 and 252; Harris 210 and 232.
Estimate
$1,500 – $2,500
19 Century Prints
Jean-auguste-dominique ingres
Odalisque.
Lithograph, 1825. 130x210 mm; 5⅛x7¼ inches, full margins. A very good impression of this scarce lithograph.
Now an exalted centerpiece of the French 19th century collection at the Louvre, Paris, Ingres’ (1780-1867) Odalisque (or La Grande Odalisque ) created a scandal when the painting was first exhibited at the Paris Salon of 1819. Critics lambasted Ingres for his rebellious lack of realism and the elongated proportions of the figure. While likely deliberate distortions on the part of Ingres, the figure was shown to have several too many vertebrae and was drawn with a curvature of the spine and rotation of the pelvis impossible to replicate in life.
The painting was commissioned from Ingres by Napoleon’s sister, Queen Caroline Murat of Naples, and completed in 1814. This lithograph, one of fewer than ten different lithographs created by Ingres, was published shortly after the painting had been widely exhibited in order to further promote the scandalous image at the time. Delteil 9.
Estimate
$4,000 – $6,000
Honoré daumier
Ah! tu veux te frotter à la presse!!
Lithograph, 1833. 230x205 mm; 9x8⅛ inches, wide margins. From the deluxe edition sur blanc , before the large published edition with text verso. Printed by Becquet, Paris. Published by Aubert et Cie, Paris. From La Caricature . A very good impression. Delteil 71.
Estimate
$1,000 – $1,500
Honoré daumier
Monseigneur s’ils persistent nous mettrons Paris en état de siege.
Lithograph with hand coloring in watercolor, 1831. 260x230 mm; 10⅜x9 inches, wide margins. The Daumier Register’s first state (of 2), before the reduction of the stone. From the deluxe edition sur blanc , before the large published edition with text verso. Printed by Delaunois, Paris. Published by Aubert et Cie., Paris. From Caricatures . A very good impression with strong colors.
Daumier (1808-1879) was one of the leading draftsmen of controversial and highly critical political caricatures that cleverly captured the political strife prevalent throughout France in the 19th century. Born in Marseilles and raised in Paris, Daumier began studying art in 1822 under painter Alexandre Lenior, thereafter he enrolled for a short time in the Académie Suisse, and continued training as an apprentice under master lithographer Zépherin Belliard. By 1830 he was producing caricatures depicting the foibles of the bourgeoisie and the corruption of the government for Charles Philipon’s satirical political newspaper Le Caricature . The scathing political caricatures Daumier produced for Le Caricature and Philipon’s other publications were often fined and censored by King Louis-Philippe’s officials, in fact the cartoons were so offensive that a single caricature depicting Louis-Philippe as Gargantua resulted in Daumier receiving a sentence of 6 months in prison. The current lithograph was made at the outset of Daumier’s long, prolific career, when he was just 23 years old. Delteil 24.
Estimate
$1,500 – $2,500
Honoré daumier
Et ces deux grands débris se consolaient entre eux.
Lithograph, 1866. 235x215 mm; 9¼x8½ inches, full margins. A scarce proof with both the censor’s approval in red crayon, upper left, and “certificate de tirage” with the printer’s signature and date in ink, lower right, for the deluxe edition sur blanc , before the large published edition with text verso. Printed by Destouches, Paris. Published by Arnaud de Vresse, Paris. From Actualités . A very good impression of this extremely scarce lithograph.
Provenance: R. Gaston-Dreyfus, Paris, with the ink stamp verso (not in Lugt); Henri M. Petiet, Paris, with the ink stamp (Lugt 5031 verso). Delteil 3500.
Estimate
$1,000 – $1,500
Honoré daumier
Three lithographs.
Un Français peint par lui-même , 1849. The deluxe edition sur blanc , before the large published edition with text verso. Printed and published by Aubert et Cie, Paris. From Scènes d’Ateliers * En Chemin de Fer . . . Un Voisin agréable , 1862. The deluxe edition sur blanc , before the large published edition with text verso. Printed by Bertauts, Paris. From Souvenirs d’Artistes * Mission pénible et délicate du professeur de dessin . . . , 1853. The deluxe edition sur blanc , before the large published edition with text verso. Printed and published by Aubert et Cie, Paris. From Profésseurs et Moutards . Very good impressions. Delteil 2526, 3252 and 1468.
With–Collection of 12 lithographs, including three with hand coloring in watercolor. Each from the deluxe edition sur blanc , before the large published editions with text verso. Various sizes and conditions. Very good impressions. Delteil 66, 109, 591, 656, 1220, 1504, 1546, 1670, 2582, 3231, 3417 and 3437.
Estimate
$2,000 – $3,000
Rodolphe bresdin
Intérieur flamand .
Etching on Chine appliqué , 1856. 228x140 mm; 9x5½ inches, full margins. Fourth state (of 8), with the burnishing partially erasing the three woodchucks to the left of the foot of the chair and without the title inked lower margin. A brilliant, richly-inked, early impression of this extremely scarce etching with all the details distinct and no sign of wear.
Van Gelder cites only one other impression in the fourth state, also printed on Chine appliqué . Van Gelder 86.
Estimate
$3,000 – $5,000
Rodolphe bresdin
Le Bon Samaritain .
Lithograph on two Chine appliqués , 1861. 564x444 mm; 22¼x17½ inches, full margins. Préaud’s first state B (of 2), with the “white bird” lower left and before the transfer to another stone in 1868. Edition of approximately 200 lifetime impressions. Printed by Lemercier, Paris. Signed and dedicated by the artist’s daughter, Rodolphine Bresdin, in pencil, lower right. A superb, richly-inked impression of this important lithograph with very strong contrasts and all the details distinct.
Lifetime impressions, such as the current work, are exceedingly scarce. There is also a more common, posthumous edition of approximately 800 impressions (printed after the transfer of the subject to another stone).
Despite his technically complex and highly imaginative printed work, the self-taught Bresdin (1822-1885) remained in obscurity and penniless throughout most of his career. Disregarded by many of his contemporaries due to his eccentricity, he was referred to as “le chien-caillou” (“the stone dog”). Some critics and artists, however, recognized and respected his genius, including Victor Hugo and Charles Baudelaire (Bresdin was also Odilon Redon’s mentor).
One of the most visionary printmakers since Rembrandt, he was clearly a devotee of the master’s work, evidenced both in his early engravings and lithographs of intimate interior genre scenes and by a comparison of the current work. Like Rembrandt’s The Angel Appearing to the Shepherds , etching, 1634, Bresdin’s tour-de-force lithograph shows a dark landscape rendered by a complex system of densely overlapped lines and varied tonalities. Van Gelder 100; Préaud 29.
Estimate
$10,000 – $15,000
Jean-françois millet
Les Bêcheurs .
Etching, 1855-56. 237x337 mm; 9½x13½ inches, full margins. Fourth state (of 4). A superb, richly-inked and early impression in this state, before the later printings by Keppel. Delteil 13; Melot 13.
Estimate
$2,000 – $3,000
Jean-françois millet
Le Bêcheur au travail.
Woodcut on tissue-thin cream laid paper, 1863. 141x106 mm; 5½x4⅛ inches, full margins. First state (of 2), before the removal of the background. A superb impression of this extremely scarce woodcut.
We have found only 3 other impressions at auction in the past 30 years.
According to Melot, Millet (1814-1875) created this woodcut to illustrate an unrealized edition of Theocritus . This is one of only 3 or 4 known woodcuts by Millet; the current woodcut is the most complete and developed subject in this medium by the artist. Delteil 31; Melot 31.
Estimate
$1,500 – $2,500
Jean-françois millet
La Cardeuse.
Etching printed in dark brown on thin 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
$1,000 – $1,500
Jean-françois millet
La Grande Bergère .
Etching printed in dark brown on Japan paper, 1862. 310x228 mm; 12¼x9 inches, full margins. Printed by Delâtre, Paris. Published by Cadart, Paris. A superb, richly-inked impression.
There are preparatory drawings for this etching by Millet (1814-1875) in the Museum of Fine Arts, Boston, and the Art Institute of Chicago. Millet made an oil on panel of this subject, after the etching, from around 1868-72, that is now in the Art Institute of Chicago. Delteil 18; Melot 18.
Estimate
$2,000 – $3,000
Jean-baptiste-camille corot
Souvenir d’Italie .
Etching and drypoint, 1863. 294x220 mm; 11⅝x8¾ inches, full margins. Fourth state (of 4). A brilliant, richly-inked impression.
Provenance: F. Masson, Paris (Lugt 1031, verso). Delteil 5; Melot 5.
Estimate
$1,000 – $1,500
Jean-baptiste-camille corot
Two etchings.
Ville d’Avray, le Bateau sous les Saules (Effet du Matin) , 1857. Second state (of 2). 72x121 mm; 2⅞x4¾ inches, full margins * Environs de Rome , 1866. 290x215 mm; 11⅜x8½ inches, full margins. Third state (of 3). Very good impressions. Delteil 2 and 6; Melot 2 and 6.
Estimate
$1,500 – $2,500
Jean-baptiste-camille corot
Dans les Dunes, Souvenir du Bois de la Haye.
Etching, 1869. 120x190 mm; 4¾x7½ inches, full margins. Second state (of 2), with the asterisk upper right near the plate mark. Edition of 350. From Sonnets et eaux-fortes . A very good impression. Delteil 9; Melot 9.
Estimate
$1,000 – $1,500
Charles-françois daubigny
La Fenaison .
Cliché-verre , 1862. 280x365 mm; 11x14⅜ inches, full margins. Edition of 150. Numbered 48/150 in pencil verso. Published by Le Garrec, Paris, with the blind stamp verso. A very good impression. Delteil 142; Melot 142.
Estimate
$1,000 – $1,500
Félix bracquemond
Portrait of the Painter, Charles-Francois Daubigny .
Etching, 1853. 180x115 mm; 7⅛x4½ inches, full margins. Edition of approximately only 20. A very good impression of this extremely scarce etching.
Provenance: Alexis Hubert Rouart, Paris, with the blue ink stamp (Lugt 2187a, lower right recto). Beraldi 26.
Estimate
$1,000 – $1,500
Charles meryon
Tourelle de la Rue de la Tixéranderie.
Etching printed in dark brownish black on papier verdâtre , 1852. 250x131 mm; 9¼x5⅛ inches, wide margins. Second state (of 5), before the inscriptions. A brilliant, richly-inked and early impression.
Provenance: Ministère de l’Intérieur, Paris (Lugt 1816d); Henri Beraldi, Paris (Lugt 230, verso). Schneiderman 24.
Estimate
$1,500 – $2,500
Charles meryon
La Morgue.
Etching and drypoint, 1854. 230x207 mm; 9x8¼ inches, full margins. Sixth state (of 7). Hudelist watermark. A very good impression with strong contrasts. Schneiderman 42.
Estimate
$4,000 – $6,000
Charles meryon
La Pompe Notre-Dame.
Etching printed in dark brownish black on papier verdâtre , 1852. 172x252 mm; 6¾x10 inches, wide margins. Seventh state (of 10), with the cursive inscription lower left and the faint drypoint lines in the cloud. A superb, early impression with all the fine lines distinct, with strong contrasts and no sign of wear. Schneiderman 26.
Estimate
$1,500 – $2,500
James a. m. whistler
The Lime-Burner.
Etching and drypoint printed in black on tissue-thin, cream laid Japan paper, 1859. 249x179 mm; 9¾x7 inches, full margins. MacDonald’s first state (of 2), with the second signature in the plate extreme lower left. A brilliant, luminous, richly-inked and early impression with all the details distinct, with the drypoint signature lower left showing clearly and with additional touches of drypoint throughout. Kennedy 46; Glasgow 55.
Estimate
$5,000 – $8,000
James a. m. whistler
Rotherhithe.
Etching and drypoint on Japan paper, 1860. 273x207 mm; 10¾x7¾ inches, full margins. MacDonald’s sixth state (of 6), with the drypoint lines across the chest and pipe of the man smoking at left. A superb, richly-inked impression with velvety burr, the multitude of delicate lines in the sky all distinct and with very strong contrasts. Kennedy 66; Glasgow 70.
Estimate
$7,000 – $10,000
James a. m. whistler
Rag Pickers, Quartier Mouffetard, Paris .
Etching printed in dark brownish black on antique cream laid paper, 1858. 154x90 mm; 6⅛x3½ inches, wide margins. MacDonald’s fifth state (of 5). A very good impression. Kennedy 23; Glasgow 29.
Estimate
$1,000 – $1,500
James a. m. whistler
The Kitchen .
Etching and drypoint printed in dark, brownish black on Chine collé , 1858. 225x155 mm; 8⅞x6⅛ inches, full margins. MacDonald’s second state (of 3), with the address of Delâtre, rue St. Jacques, lower right. Printed by Delâtre, Paris. Edition of approximately 36 in this state. From Douze Eaux-fortes d’après Nature . A brilliant, luminous and richly-inked impression of this very scarce etching. Kennedy 24; Glasgow 16.
Estimate
$5,000 – $8,000
James a. m. whistler
The Wine Glass .
Etching, 1859. 83x55 mm; 3¼x2¼ inches, full margins. MacDonald’s second state (of 2), with the additional vertical shading lines in the background. A very good, richly-inked impression of this scarce, early etching, with all the details distinct and with strong contrasts.
As Getscher notes in The Stamp of Whistler , “Whistler was a very social animal,” (see Oberlin, 1977, page 13). His extrovert character was an important asset 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
$7,000 – $10,000
James a. m. whistler
The Title Page for ‘Douze Eaux Fortes d’après Nature’ (Whistler Sketching) .
Etching and drypoint on Chine collé , 1858. 113x147 mm; 4½x5¾ inches, wide margins. Printed by Delâtre, Paris. A superb, richly-inked, early impression of this scarce etching.
There are only approximately 50 or 56 impressions known according to Kennedy and MacDonald respectively. According to Kennedy, early impressions were all usually printed on Chine collé , a customary practice with the printer Delâtre at this time. Kennedy 25; Glasgow 22.
Estimate
$1,200 – $1,800
James a. m. whistler
En Plein Soleil .
Etching on Chine volant , 1859. 100x135 mm; 4x5⅜ inches, full margins. MacDonald's third state (of 3), with the address of Delâtre; an early impression in this state with the upside down signature in the plate upper left and the diagonal scratch through the clouds at right distinct, and with the plate corners still sharp (according to MacDonald, they were clipped off before the printing of the later impressions and those plate corners are blunt diagonals). From Douze eaux-fortes d'après Nature . A superb, early impression with warm plate tone and crisp, partially inky plate edges. Kennedy 15; Glasgow 11.
Estimate
$1,500 – $2,500
James a. m. whistler
Billingsgate.
Etching and drypoint, 1859. 148x224 mm; 5¾x8½ inches, full margins. McDonald’s ninth state (of 9), before cancellation. A very good impression with strong contrasts. Kennedy 47; Glasgow 51.
Estimate
$1,200 – $1,800
James a. m. whistler
Adam & Eve, Old Chelsea .
Etching and drypoint on Japan paper, 1878. 176x303 mm; 7x12 inches, full margins. MacDonald’s second state (of 3), with the artist’s butterfly signature in the sky above the tower. A very good impression with strong contrasts. Kennedy 175; Glasgow 182.
Estimate
$1,500 – $2,500
James a. m. whistler
Drury Lane .
Etching printed in dark brownish black on antique cream laid paper, 1880-81. 164x103 mm; 6½x4 inches. MacDonald’s first state (of 2), before cancellation. Edition of approximately only 30. Signed with the butterfly and inscribed “imp” in pencil on the tab, lower left. From Twenty-Six Etchings. A brilliant, early, richly-inked impression of this extremely scarce etching.
Provenance: Otto Gerstenberg, Berlin (Lugt 2785, verso). Kennedy 237; Glasgow 243.
Estimate
$6,000 – $9,000
James a. m. whistler
Old Battersea Bridge.
Etching and drypoint printed in dark brownish black on antique, cream laid paper, 1879. 202x293 mm; 8x11½ inches (sheet), full margins. MacDonald’s fifth state (of 7), with the faint butterfly lower right. Signed with the butterfly and inscribed “imp.” in pencil on the tab, lower left. A very good impression of this scarce etching.
MacDonald cites approximately 50 impressions of this subject. We have found fewer than 15 impressions at auction in the past 30 years.
According to MacDonald, “Nearly 50 impressions of Old Battersea Bridge have been recorded, though not all have been located. Whistler was expected to print 25 for the Fine Art Society, and Frederick Goulding (1842-1909) was to print the remaining 25. However, Whistler had not completed the edition before he left for Venice in September 1879. On his return from Venice he apparently started printing again, and sold 21 impressions to the Fine Art Society on 8 April 1881. This actually suggests that Whistler decided to print them all himself.” Kennedy 177; Glasgow 188.
Estimate
$7,000 – $10,000
James a. m. whistler
Hurlingham .
Etching and drypoint, 1879. 135x199 mm; 5¼x7¾ inches, full margins. MacDonald’s fourth state (of 4), with the delicate horizontal shading on the second house from the left distinct. A very good, well-inked impression with strong contrasts. Kennedy 181; Glasgow 184.
Estimate
$1,500 – $2,500
James a. m. whistler
Little Putney Bridge .
Etching on antique cream laid paper, 1879. 132x205 mm; 5¼x8¼ inches, wide margins. MacDonald’s fourth state (of 5), with the shaded butterfly lower right, and with the delicate lines in the water and some indication of the clouds above the bridge. A very good, richly-inked and early impression. Kennedy 179; Glasgow 186.
Estimate
$1,200 – $1,800
James a. m. whistler
Tatting.
Etching and drypoint printed in dark brownish black on Japan paper, 1873. 125x75 mm; 5x3 inches, full margins. Inscribed “11” in pencil, lower left. A superb, warm impression of this very scarce etching.
Provenance: Jules Gerbeau, Paris (Lugt 1166, lower right recto). Kennedy 112; Glasgow 130.
Estimate
$2,000 – $3,000
James a. m. whistler
La Belle Dame Paresseuse.
Lithograph on Japan paper, 1894. 236x175 mm; 9⅜x7 inches, full margins. Edition of approximately only 28. Signed with the butterfly in pencil, lower right. A superb, richly-inked impression of this extremely scarce lithograph, with the “test marks” from Whistler’s lithographic crayons upper right and upper left distinct and with all the tonal nuances clear.
We have found only 10 other impressions at auction in the past 30 years.
Whistler (1834-1903) was particularly proud of this lithograph, both in the quality of the impressions and the papers selected for printing, when he wrote to his London printer Thomas Way, “Take a fine proof of this and put it beside any one of the old lithographs out of your portfolio—and then see how this ‘belle dame’ looks fair and silvery, and beautiful in the quality of blacks! Indeed far and away more like the charcoal drawing itself of the painter—than anything that has ever been printed!—It is really also quite velvety —like . . . the burr in a drypoint!,” (Spink, The Lithographs of James McNeill Whistler , Chicago, 1998, volume I, page 306).
The sitter is Whistler’s wife Beatrix. She appears in several other lithographs drawn by Whistler in August/September 1894 similarly at rest and casually posed, perhaps signaling the onset of her fatal illness which was diagnosed as cancer at the end of the year. Way 62; Levy 93; Spink 98.
Estimate
$2,500 – $3,500
Frank duveneck
San Pietro in Castello .
Etching printed in dark brownish black on light tan Chine collé on ivory wove paper, 1883. 280x338 mm; 11x13½ inches, full margins. A brilliant, richly-inked impression of this extremely scarce etching.
We have found only one other impression at auction in the past 30 years. Poole 18.
Estimate
$1,500 – $2,500
Francis seymour haden
Two etchings.
Windsor , printed in dark brown, 1878. 330x445 mm; 13x17½ inches, full margins. Schneiderman’s eighth state (of 12). Edition of approximately 25. Signed in pencil, lower right * Greenwich , printed in dark brownish black, 1879-80. 340x517 mm; 13⅜x20½ inches, full margins. Schneiderman’s seventh state (of 9). Edition of 125. Signed in pencil, lower right. Both very good, richly-inked impressions. Schneiderman 186 and 187.
Estimate
$1,500 – $2,500
Félix buhot
La Place Pigalle en 1878.
Etching, aquatint, drypoint and roulette on tissue-thin Japan paper, 1878. 241x340 mm; 9⅝x13⅜ inches, full margins. An intermediary state between the fifth and sixth states (of 6). Signed and inscribed "État intermédiare non publiée avant le coin a droit effacé" in pencil, lower right. With the artist's red ink stamp (Lugt 978, lower right recto). A very good impression with strong contrasts. Bourcard/Goodfriend 129.
Estimate
$1,500 – $2,500
Édouard manet
Les Gitanos .
Etching, 1862. 320x236 mm; 12½x9¼ inches, full margins. Second state (of 2). The first printing in this state, with the address of the publishers Cadart and Chevalier, Paris, and their blind stamp (Lugt 3270, lower center recto). A superb, richly-inked impression with very strong contrasts and all the fine details distinct.
This is Manet’s (1832-1883) first published etching. It was based on an oil painting of the same subject by Manet, exhibited in 1863 at the Galerie Martinet, Paris, and in 1867 at the temporary pavilion he erected on the avenue de l’Alma near the Exposition Universelle. He subsequently cut the canvas into several fragments, evidently in response to the negative criticism it received. The etching is the only record of the full composition of this now destroyed painting. Guérin 21; Harris 18.
Estimate
$1,500 – $2,500
Édouard manet
L’Enfant aux Bulles de Savon .
Etching and aquatint, 1868-69. 254x215 mm; 10x8½ inches, full margins. Fourth state (of 4). A very good, dark impression. Guérin 54; Harris 63.
Estimate
$1,000 – $1,500
Édouard manet
La Toilette .
Etching printed in dark brownish black, 1861. 285x225 mm; 11¼x8¾ inches, full margins. Second state (of 3). Partial fleur-de-lis watermark. A very good, dark impression with crisp plate edges. Guérin 26; Harris 20.
Estimate
$1,000 – $1,500
Edgar degas
Au Louvre, la peinture, Mary Cassatt .
Etching, aquatint and drypoint, circa 1879-80. 301x125 mm; 11¾x5 inches, wide margins. Twenty-first state (of 21), after cancellation. Edition of approximately 150. Published by Vollard, Paris. A superb, dark and richly-inked impression with very strong contrasts and the cancellation lines unobtrusive. Delteil 29; Adhémar 54.
Estimate
$3,000 – $5,000
Edgar degas and george w. thornley
Chez la modiste.
Lithograph printed in blue on greenish gray wove paper, circa 1888-89. 235x270 mm; 9¼x10⅝ inches, full margins. Edition of 100. 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 (1857-1891), 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 (1824-1898). 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
$1,500 – $2,500
Edgar degas
Les Marlous .
Monotype, circa 1880. 125x175 mm; 4⅞x6⅞ inches, full margins. A very good impression of this extremely scarce print.
Provenance: The estate of the artist, Paris, with the red ink stamp (Lugt 657, verso); sold in the fifth posthumous Atelier Degas sale, Galerie Manzi-Joyant, Paris, November 22-23, 1918, lot 266; sold Gutekunst & Klipstein, Bern, 1954; Fritz Gross Collection, London, with the violet ink stamp verso (not in Lugt); sold Bonhams, London, December 18, 2018, lot 35; sold Bonhams, London, December 9, 2021, lot 77.
Estimate
$2,500 – $3,500
Mary cassatt
Preparing Bill for an Outing .
Soft-ground etching printed in dark brownish black on antique cream laid paper, circa 1889. 162x123 mm; 6½x4¾ inches, full margins. Second state (of 2). Edition of 25. Initialed in pencil, lower right, and inscribed “II. No. 19” in pencil, lower left. A very good impression of this extremely scarce etching, with crisp, inky plate edges.
We have not found another impression at auction in the past 30 years. Breeskin 106.
Estimate
$4,000 – $6,000
Mary cassatt
The Picture Book (No. 2).
Drypoint printed in black on light blue laid paper, circa 1910. 206x144 mm; 8⅛x5¾ inches, full margins. Signed in pencil, lower right. A brilliant, richly-inked and early impression of this exceedingly scarce print, with strong contrasts.
We have found only two other impressions at auction in the past 30 years. Breeskin 214.
Estimate
$3,000 – $5,000
Pierre-auguste renoir
La Danse à la Campagne, 2e planche .
Soft-ground etching printed in dark brownish black, 1890. 220x135 mm; 8⅝x5⅜ inches, full margins. With the artist’s signature ink stamp (Lugt 2137a, lower right recto). A superb, richly-inked impression with strong contrasts and crisp, partially inky plate edges. Delteil 2.
Estimate
$6,000 – $9,000
Pierre-auguste renoir
Baigneuse, debout, en pied.
Color lithograph, 1896. 415x355 mm; 16⅜x14 inches, full margins. Edition of 100. With the justification text printed lower right. Printed by Auguste Clot, Paris. Published by Vollard, Paris. Intended for the L’Album d’estampes originales de la Galerie Vollard . A superb impression with fresh colors. Delteil 28.
Estimate
$7,000 – $10,000
Pierre-auguste renoir
Étude de Femme Nue, Assise.
Lithograph, 1904. 193x165 mm; 7¾x6 ½ inches, full margins. Edition of 950. With the artist’s signature ink stamp (Lugt 2137a, lower right recto). Published by Vollard, Paris. From L’Album des Douze Lithographies Originales. A very good, dark impression. Delteil 42.
Estimate
$1,000 – $1,500
Camille pissarro
Femmes Nues .
Lithograph printed in black on light tan Chine appliqué , circa 1896. 210x285 mm; 8¼x11¼ inches, full margins. Numbered 2/18 in pencil, lower right, and with the artist’s initials ink stamp (Lugt 613e, lower left recto). A very good impression of this scarce lithograph. Delteil 157.
Estimate
$1,500 – $2,500
Camille pissarro
La Femme sur la Route .
Aquatint and etching, 1879. 158x210 mm; 6¼x8¼ inches, full margins. Fourth state (of 4). Inscribed “no. 12” in pencil, lower right, and with the artist’s initials ink stamp (Lugt 613, lower left recto). A superb, well-inked impression of this scarce, early Impressionist print.
We have found only 10 other impressions at auction in the past 30 years. Delteil 18.
Estimate
$3,000 – $5,000
Camille pissarro and george w. thornley
Paysage à Varengeville .
Lithograph printed in dark brownish black on Chine appliqué , circa 1900. 220x272 mm; 8¾x10¾ inches, full margins. Edition of 108. Signed by Pissarro in pencil, lower left, and annotated in pencil, lower margin. With Thornley’s blind stamp, lower center. 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.
Estimate
$3,000 – $5,000
Camille pissarro and george w. thornley
Fête du Jubilé de la Reine à Bedford Park, Londres .
Lithograph printed in light brown on Chine appliqué , circa 1890. 190x223 mm; 7½x8¾ inches, full margins. The deluxe edition of 25. Signed by both Pissarro and Thornley in pencil, lower margin. Printed by Atelier Belfond, Paris. Published by Hessèle, Paris. From 25 Lithographies . A superb, dark and evenly-printed impression of this very scarce lithograph.
This lithograph is based on Pissarro’s (1830-1903) same titled oil painting from 1897. Pissarro escaped to London during the Franco-Prussian War, 1870-71, and returned to London frequently during the last decade of his career (his son Lucien settled permanently in London in 1890).
Estimate
$3,000 – $5,000
Paul cézanne
Autoportrait.
Lithograph printed in black on cream laid paper, 1896-97. 325x250 mm; 12¾x9¾ inches, full margins. Printed by Auguste Clot, Paris. Published by Vollard, Paris. A very good, richly-inked impression.
According to Johnson, approximately 300 impressions were printed in black and approximately 200 impressions were printed in gray. Cherpin 12.
Estimate
$1,000 – $1,500
Paul cézanne
Les Baigneurs (grande planche).
Color lithograph, circa 1896-98. 410x505 mm; 16x20 inches, full margins. Druick’s third state (of 3). Edition of approximately 100. Printed by Auguste Clot, Paris. Published by Vollard, Paris. A superb, richly-inked impression of this large, important lithograph, with strong colors, and with particularly rich blue color throughout.
Cézanne (1839-1906) based this iconic color lithograph on his earlier painting, Baigneurs au repos , 1875-76, now in the Barnes Foundation, Philadelphia. There is also a watercolor and gouache maquette for the color lithograph at the National Gallery of Canada, Ottawa. Cherpin 7; Druick I.
Estimate
$20,000 – $30,000
Paul cézanne (after)
La Montagne Sainte-Victoire.
Color aquatint, 1923-24. 435x605 mm; 17¼x23¾ inches, full margins. Artist’s proof, with color variations, aside from the edition of 200. Signed by Villon and annotated in pencil, lower margin. Etched by Jacques Villon. Published by Galerie Bernheim-Jeune, Paris. A very good impression with vibrant colors. Ginestet/Pouillon 639 (Villon).
Estimate
$3,000 – $5,000
Paul signac
Au Temps d’Harmonie .
Color lithograph, 1895-96. 380x505 mm; 14⅞x19¾ inches, wide margins. A very good impression of this scarce lithograph.
According to Kornfeld/Wick, only proofs of this work are known; there was no published edition. They cite 6 proofs in public and private collections. We have found another 10 impressions at auction over the past 30 years. Kornfeld/Wick 14.
Estimate
$2,000 – $3,000
Henri-edmond cross
Les Champs Élysées.
Color lithograph, 1897. 200x257 mm; 7¾x10¼ inches, full margins. Edition of 1100. From Pan . A very good impression.
Cross (1856-1910), along with Georges Seurat (1859-1891) and Paul Signac (1863-1935), was one of the best known practitioners of Pointillism, an artistic style following Impressionism that was prevalent in France during the last two decades of the 19th century.
Estimate
$1,500 – $2,500
Anders zorn
The Omnibus.
Etching, 1892. 275x196 mm; 10⅞x7¾ inches, full margins. Third state (of 3). Edition of 75. Signed in pencil, lower right. A superb, well-inked impression of this early, important etching, with strong contrasts.
Provenance: Thomas Fortune Ryan, New York, with the ink stamp (Lugt 2431, lower left, faded). Delteil 71; Asplund 72; Hjert/Hjert 183.
Estimate
$5,000 – $8,000
Anders zorn
The New Maid .
Etching printed in dark brownish black, 1909. 296x194 mm; 11¾x7¾ inches, full margins. Sixth state (of 6). Signed in pencil, lower right. Fortuna watermark (Spink 151). A very good impression. Asplund 227; Hjert/Hjert 228.
Estimate
$1,500 – $2,500
Anders zorn
Water-Nymphs .
Etching printed in dark brownish black, 1918. 157x234 mm; 6¼x9¼ inches, full margins. Signed in pencil, lower right. A superb, richly-inked impression. Asplund 282; Hjert/Hjert 288.
Estimate
$1,500 – $2,500
Henri toulouse-lautrec
Femme sur le dos-Lassitude .
Color lithograph on Japan paper, 1896. 395x515 mm; 15½x20¼ inches, full margins. Edition of 100. Inscribed “Serie no. 43 Gp” in ink, lower right recto. G. Pellet/T. Lautrec watermark. Published by Gustave Pellet, Paris, with the ink stamp (Lugt 1194, lower right recto). From Elles . A very good impression of this scarce color lithograph.
Provenance: Gross, ink stamp verso (not in Lugt). Delteil 189; Adhémar 210; Adriani 187.
Estimate
$6,000 – $9,000
Henri toulouse-lautrec
Lugné-Poë et Berthe Bady, dans “Au-Dessus des Forces Humaine” .
Lithograph, 1894. 287x237 mm; 11¼x9⅜ inches, full margins. Edition of 50. With the artist’s monogram red ink stamp (Lugt 1338, lower right recto). Published by Kleinmann, Paris. A very good impression of this scarce lithograph.
The actor and actress are shown in Björnstjerne Björnson’s play Au-dessus des Forces Humaines , which was performed at the Théâtre de l’Œuvre, Paris. Delteil 55; Adhémar 63; Adriani 62.
Estimate
$2,000 – $3,000
Henri toulouse-lautrec
Divan Japonais.
Color lithograph on cream wove paper mounted on linen, 1892-93. 795x611 mm; 31½x24 inches. Printed by Ancourt, Paris. A very good impression of this important lithograph, with the registration marks preserved upper and lower center and with the printed address of Ancourt, lower right.
The Divan Japonais was a small café-concert at 75 rue des Martyrs, Paris, where Yvette Guilbert began her career. This is Toulouse-Lautrec’s only poster to show both Jane Avril and Yvette Guilbert, the two Montmartre demimondes who were both his friends and major inspirations. Jane Avril, the star dancer at the Moulin Rouge, is in profile seated next to the literary critic, Édouard Dujardin. On stage in the background, Guilbert is depicted from the neck down, recognizable by her trademark long black gloves. The composition is arranged along the diagonal of the stage and the orchestra pit in the style of Japanese Ukiyo-e woodcuts that were so fashionable in Paris at the end of the 19th century and from which artists from the Impressionists to Gauguin and Van Gogh drew influence. Delteil 341; Adhémar 11; Adriani 8.
Estimate
$15,000 – $20,000
Henri toulouse-lautrec
Miss Ida Heath, Danseuse Anglaise.
Lithograph, 1894-96. 340x245 mm; 13¼x9¾ inches, full margins. Edition of 40. Published by Sagot, Paris. A very good impression of this scarce lithograph. Delteil 165; Adhémar 77; Adriani 99.
Estimate
$2,000 – $3,000
Henri toulouse-lautrec
Aristide Bruant dans son cabaret .
Color lithograph on cream wove paper mounted on linen, 1893. 1359x978 mm; 53½x38½ inches (sheet), full margins. First state (of 2). Printed and published by Charles Verneau, Paris.
Bruant was one of Lautrec’s (1864-1901) earliest supporters. One year after Lautrec designed his first poster for the Moulin Rouge, Bruant recognized the potential that such potent artwork could have for his own career. The success of their first work (which Bruant had to force on the manager of the Ambassadeurs as he considered it too vulgar) led to many more commissions. This is Lautrec’s third poster for the performer. The broad strokes, flat colors, detailed representation of the singer’s face, and the implied arrogance of the performer who would turn his back on his public all served to make this an iconic image. The poster originally appeared without text; when the second edition with text was printed (“Aristide Bruant dans son Cabaret,”) it was done so by a different printer, Edward Ancourt. Delteil 348; Adhémar 151 I; Adriani 12 I; Wittrock P9 A.
Estimate
$15,000 – $20,000
Henri toulouse-lautrec
Group of 4 lithographs from Le Café Concert .
Mary Hamilton , printed in olive green * Madame Abdala * Ducarre aux Ambassadeurs * Une Spectatrice . Each 1893. Each 443x318 mm; 17½x12½ inches (sheet), full margins. Each an edition of 550. Each published by André Marty, L’Estampe Originale , Paris. Each printed by Ancourt & Cie., Paris. Each a very good impression.
Le Café Concert was commissioned by André Marty for the publication L’Estampe Originale . Lautrec (1864-1901) had to share the commission with the more popular caricaturist Henri Gabriel Ibels (1867-1936). The complete series of 22 lithographs depicts scenes from the Paris cafés concert . Delteil 31, 33, 36 and 37; Adhémar 31, 33, 35 and 37; Adriani 20, 22, 25 and 26.
Estimate
$2,500 – $3,500
Henri toulouse-lautrec
Le Jockey.
Color lithograph on Chine volant , 1899. 510x355 mm; 20⅛x14 inches (sheet), full margins. Second state (of 2). Edition of approximately 112. Printed by Stern, Paris. Published by Pierrefort, Paris. A superb impression of this scarce lithograph with strong colors.
Toulouse-Lautrec (1864-1901) created this lithograph (also published in an edition of approximately 100 in black), along with three other equestrian racing subjects, while undergoing treatment at a private psychiatric hospital at Neuilly for his worsening health, hallucinations and severe depression. These were likely intended to be published altogether as a larger series, as suggested by the printer Stern, but the project never came to fruition as a result of the artist’s sickness. Delteil 279; Adhémar 365; Adriani 345.
Estimate
$20,000 – $30,000
James jacques tissot
Le Banc de Jardin .
Mezzotint on Chine-collé , 1883. 415x560 mm; 16⅜x22⅛ inches, full margins. Second state (of 3). A very good, dark, richly-inked impression of this large print. Wentworth 75.
Estimate
$2,000 – $3,000
James jacques tissot
La plus jolie Femme de Paris .
Etching and drypoint, 1885. 400x254 mm; 15¾x10 inches, full margins. A superb, richly-inked impression of this very scarce etching.
Though Wentworth notes that Tissot (1836-1902) announced this etching to be issued in an edition of 500, it seems that much fewer than the entire edition were actually printed.
We have found only 6 other impressions at auction in the past 30 years.
This etching is based on Tissot’s same titled oil painting from 1883-85 now in the collection of the Musée d’art et d’histoire, Geneva. According to Paquette, “Immediately after Tissot’s mistress and muse Kathleen Newton died of tuberculosis in November, 1882, he abandoned his St. John’s Wood [London] home and moved back to Paris, which he had left following the bloody aftermath of the Franco-Prussian War in 1871. During his eleven years in London, he had declined Edgar Degas’ invitation to show his work with the artists who became known as the Impressionists.
Tissot exerted himself to re-establish his reputation in Paris with a series of fifteen large-scale pictures called La Femme à Paris (The Parisian Woman). Painted between 1883 and 1885, they portrayed the fashionable parisienne in various incarnations using brighter, modern colors than he had in his previous work.
The pictures were exhibited at the Galerie Sedelmeyer, Paris, from April 19 to June 15, 1885, as “Quinze Tableaux sur la Femme à Paris,” and at Arthur Tooth and Sons, London, in 1886 as “Pictures of Parisian Life by J.J. Tissot.”
La Femme à Paris was poorly received. A critic for La Vie Parisienne complained that the women in the series were “always the same Englishwoman”–some say the faces all resembled Kathleen Newton. Another reviewer dismissed Tissot’s modern urban women as “gracious puppets.” Some found both the poses and compositions awkward and disconcerting.
Tissot made etchings only of the first five of the paintings in the series, L’Ambitieuse , Ces dames des chars , Sans dot , La Mystérieuse and La Plus jolie Femme de Paris , planning to sell sets to collectors, but they never were published.
La Plus jolie Femme de Paris , was to be written about by Edgar Degas’ old schoolmate, the playwright and novelist Ludovic Halévy. In a story with that title later published, translated into English, the wife of a Parisian lawyer is determined to be the most beautiful woman in Paris–until the next day, when a musical comedy actress becomes the focus of the fickle public’s attention,” Paquette, “Tissot’s La Femme à Paris series,” The Hammock, 2013. Wentworth 81.
Estimate
$1,500 – $2,500
Ker-xavier roussel
Dans la Neige .
Color lithograph, 1893. 326x189 mm; 12⅞x7½ inches, full margins. Edition of 100. Signed and inscribed “No. 74” in pencil, lower left. Published by L’Estampe Originale , Paris, with the blind stamp lower right. A superb impression. Salomon 10; Stein/Karshan 76.
Estimate
$3,000 – $5,000
Édouard vuillard
Intérieur aux Teintures Roses I.
Color lithograph on Chine volant , 1899. 340x272 mm; 13½x10¾ inches, full margins. Fourth state (of 4). Edition of 100. Printed by Auguste Clot, Paris. Published by Vollard, Paris. From Paysages et Intérieurs. A very good impression. Roger-Marx 36.
Estimate
$4,000 – $6,000
Pierre bonnard
Maison dans la Cour.
Color lithograph, 1899. 350x260 mm; 13¾x10¼ inches, full margins. Edition of 100. Signed and inscribed “No. 28” in pencil, lower right. Printed by the artist and Auguste Clot, Paris. Published by Vollard, Paris. From Quelques aspects de la vie de Paris. A very good impression of this scarce lithograph with strong colors. Bouvet 61.
Estimate
$7,000 – $10,000
Henri martin
Indécision.
Lithograph on cream wove paper, circa 1896. 263x351 mm; 10½x13⅞ inches, full margins. Artist’s proof, with the holly leaves remarqué in the left margin. Signed in ink, lower right, and with the “Epreuve No.” ink stamp, lower left. Published by the Sociétè des Peintres-Lithographes, Paris. From L’Album des Peintres-Lithographes. A very good impression.
Estimate
$1,500 – $2,500
Edmond françois aman-jean
La Rieuse: Madame Albert Besnard .
Color lithograph, 1897. 425x345 mm; 16¾x13½ inches, full margins. Signed and numbered 61/90 in pencil, lower margin. A very good impression of this scarce lithograph.
Aman-Jean’s (1860-1936) of his friend and fellow artist, Albert Besnard’s (1849-1934) wife, the sculptor Charlotte Dubray (1854-1931). She was an avid and well-known artist in her own right, between 1869 and 1912 she exhibited at 37 Salons in 44 years, though she predominantly focused on advancing her husband’s career and caring for their four children. Dubray became interested in the teaching art, and achieved a reform in the way that drawing was taught, abandoning the linear method in favor of freer and more spontaneous processes. In 1908 she organized an exhibition of women painters in Paris in the salons of the Lyceum. Following a journey to India, she wrote in Femina in 1911 about the condition of women in Egypt and India. From 1913 to 1921 Besnard was Director of the French Academy in Rome, and Dubray acted as a mentor and chaperone to the female students at the Villa Medici.
Estimate
$1,000 – $1,500
Louis valtat
La Critique .
Color lithograph printed in blue, 1896. 570x450 mm; 22½x17¾ inches, wide margins. A very good impression of this extremely scarce lithograph.
The magazine La Critique , founded in 1895, was a leading avant-garde publication that covered politics, theatre, music and the wider art scene in Paris. In 1888, Valtat (1869-1952) studied at the Académie Julian with Pierre Bonnard (1867-1947) and Éduoard Vuillard (1868-1940), and both influenced Valtat’s work. In 1895 he worked with Toulouse-Lautrec and Albert André on the stage designs for La Chariot de Terre Cuite . Valtat ultimately settled in the south of France and became a prominent founding member, along with Henri Matisse, André Derain, Maurice de Vlaminck and others, of the Fauvist movement.
Estimate
$1,500 – $2,500
Louis valtat
Femme pensive.
Lithograph, circa 1903-05. 92x153 mm; 3¾x6 inches, wide margins. Signed in pencil, lower right. A very good impression of this extremely scarce lithograph.
Estimate
$1,000 – $1,500
Manuel robbe
Le Printemps de Rodin .
Color aquatint and etching, circa 1900. 415x246 mm; 16½x9¾ inches, full margins. Signed and numbered 20/35 in pencil, lower margin. A very good, richly-inked impression of this scarce print.
The marble sculpture on the table top is a version of Rodin’s (1840-1917) L’Éternel Printemps , circa 1884, which he had originally designed to be a part of his iconic The Gates of Hell monumental bronze sculptural group. Rodin made several different versions of L’Éternel Printemps in marble and bronze during the late 1800s and early 1900s. Robbe (1872-1936) paid homage to Rodin in this print and also his Le Dernier Roman (Devant “Le Baiser” de Rodin) , color aquatint, circa 1907.
With— Le Cabinet de Toilette , color aquatint, circa 1900. Signed and inscribed “specimen pour le timbrage” in pencil, lower margin * La Niege , color aquatint, circa 1900. Signed and inscribed “No. 78” in pencil, lower margin. Various sizes and conditions.
Estimate
$1,500 – $2,500
Manuel robbe
Visite Matinale .
Color aquatint, 1901. 405x315 mm; 6x12⅜ inches, full margins. Signed in black crayon, lower right, and numbered 37/60 in pencil, lower left. Published by Sagot, Paris. A very good impression. Merrill/Chase 95.
Estimate
$1,200 – $1,800
John singer sargent
Head of a Young Woman (Portrait of Beatrice Stewart).
Lithograph on thin wove paper, double-sided with the impression of the subject on both sides, 1905-1925. 597x455 mm; 23¾x17½ inches (sheet), wide margins. Artist’s proof. One of only 4 known impressions.
Provenance: Albert de Belleroche (1864-1944), the artist and friend of Sargent, Southwell, Nottingham; thence by descent to William de Belleroche and Gordon Anderson, Brighton; private collection, New York.
Welsh-born artist Albert de Belleroche (1864-1944), credited as one of the greatest lithographers of the 20th century, was instrumental in Sargent’s (1856-1925) foray into lithography. The two met in Paris while both studying under Carolus-Duran (1837-1917) in 1882. They created several portraits of each other; Sargent’s 1883 oil on canvas portrait of Belleroche, now at the Metropolitan Museum of Art, New York, remained in Sargent’s possession throughout his life. After Sargent moved to London following the Madame X scandal, he was introduced to lithography by Frederick Goulding, and no doubt encouraged by Belleroche. When in 1905, Belleroche asked Sargent to draw his portrait on transfer paper with lithographic crayon to accompany an article in the Gazette des Beaux-Arts , Sargent liked the printed proofs from Paris so much so that he and Belleroche arranged for Beatrice Stewart to model for the present lithograph. Dodgson 6.
Estimate
$7,000 – $10,000
Auguste rodin
Buste de Bellone.
Drypoint on Japan paper, 1882-85. 148x100 mm; 5¾x3¾ inches, full margins. Third state (of 3), after the beveling of the plate. Signed in pencil, lower right. A brilliant, richly-inked impression with the delicate vertical polishing scratches distinct and warm plate tone.
Based on Rodin’s (1840-1917) bronze bust Bellona , the goddess of war symbolizing the French Republic. The model for Bellona was Rose Beuret, who had lived with Rodin since 1864 as the artist’s mistress before they were married in 1917. According to Thorson, “Rodin softened the stormy, brooding allegory of war to achieve a more intimate portrait of his wife in the drypoint.” Delteil 3; Thorson 3.
Estimate
$3,000 – $5,000
Auguste rodin
Le Printemps.
Drypoint, 1882-88. 148x100 mm; 5¾x4 inches, full margins. A superb, richly-inked impression. Delteil 4.
Estimate
$1,000 – $1,500
Odilon redon
L’Intelligence fut a moi! Je devins le Buddha .
Lithograph on Chine appliqué , 1896. 313x221 mm; 12⅜x8¾ inches, full margins. Edition of 50. Printed by Blanchard, Paris. Published by Vollard, Paris. From La Tentation de Saint-Antoine (Troisième série) . A very good impression. Mellerio 145.
Estimate
$1,500 – $2,500
Odilon redon
Two lithographs from Tentation de Sainte-Antoine.
The Sphinx , 1889. 283x204 mm; 11⅛x8 inches, full margins. Edition of 60. Printed by Becquet, Paris. Published by Dumont, Paris * Antoine, quel est le but de tout Cela? Le diable: il n’y a pas de but! , 1896. 311x250 mm; 12¼x9⅞ inches, full margins. Edition of 50. Printed by Clot and Blanchard, Paris. Both on Chine appliqué . Both very good impressions. Mellerio 99 and 151.
Estimate
$2,000 – $3,000
Odilon redon
Two lithographs from Tentation de Sainte-Antoine.
Frontispiece , 1889. 281x203 mm; 11x8 inches, full margins. Edition of 60. Printed by Becquet, Paris * La Mort: C’est moi qui te rends sérieuse; enlaçonsnous , 1896. 302x211 mm; 11⅞x9⅜ inches, full margins. Edition of 50. Printed by Blanchard, Paris. Published by Vollard, Paris. Both on Chine appliqué . Both very good impressions. Mellerio 94 and 153.
Estimate
$2,000 – $3,000
James ensor
Le Bal Fantastique.
Etching and drypoint on imitation Japan paper, 1889. 75x115 mm; 3x4⅝ inches, full margins. Second state (of 2). Signed, titled and dated in pencil, lower margin, and countersigned in pencil, verso. A very good impression. Delteil 75; Taevernier 75; Elesh 75.
Estimate
$2,500 – $3,500
James ensor
Petites Figures Bizarres.
Drypoint and etching on imitation Japan paper, 1888. 131x94 mm; 5¼x3¾ inches, wide margins. Second state (of 2). Signed in pencil, lower right, and countersigned in pencil, verso.. A very good impression. Delteil 53; Taevernier 53; Elesh 53.
Estimate
$2,500 – $3,500
James ensor
La Blague de l’Éléphant.
Etching printed in dark brownish black on imitation Japan paper, 1888. 178x238 mm; 7⅛x9⅜ inches, full margins. Signed and dated in pencil, lower right, and countersigned in pencil, verso. A very good impression.
Provenance: Jacques-Ernst Sonderegger (1882-1956), the artist, Bern, ink stamp verso (not in Lugt). Delteil 51; Taevernier 51; Elesh 51.
Estimate
$3,000 – $5,000
James ensor
Auto-da-fé.
Etching, 1893. 81x116 mm; 3⅜x4¾ inches, wide margins. Signed and dated in pencil, lower right, and countersigned in pencil (erased), verso. A very good impression. Delteil 85; Taevernier 87; Elesh 87.
Estimate
$1,500 – $2,500
James ensor
Masques Scandalisés.
Etching on imitation Japan paper, 1895. 117x80 mm; 4⅝x3⅛ inches, full margins. Signed and dated in pencil, lower right, and countersigned in pencil, verso. A very good impression. Delteil 99; Taevernier 99; Elesh 101.
Estimate
$2,500 – $3,500
Modern American Prints
Thomas moran
Morning .
Etching on Japan paper, 1896. 282x435 mm; 11⅛x17⅛ inches, full margins. Edition of approximately 100. Signed in pencil, lower left. With the lily pad remarqué in red ink, lower right. A superb impression with all the delicate lines distinct.
In 1883 the Rembrandt Club of Brooklyn sponsored a competition for best original etching of at least 10x15 inches. Morning , which evokes Moran’s (1837-1926) vision of deep sublimity through the struggle of natural forces, won first prize. The plate became property of the Club and 100 perfect impressions were pulled from the plate, with each etching signed by Moran with his remarqué . The Rembrandt Club award was one among many awards and invitations to honorable arts organizations that Moran would earn in the decade of the 1880s, establishing his importance to contemporary etching and his growing interest in the print market (Anderson, pages 296-97). Klackner 54.
Estimate
$1,500 – $2,500
Thomas moran (after)
The Gates of Venice.
Etching, drypoint and roulette on imitation Japan paper, 1888. 455x800 mm; 18x31½ inches, full margins. Signed by Moran in pencil, lower left. Published by C. Klackner, New York. A superb, well-inked impression of this large etching with strong contrasts.
Moran (1837-1926) visited Venice for the first time in May 1886 and, like many other artists, was captivated by the color and light, previously only known to him through descriptive Romantic literary works, views by earlier artists like Joseph M. W. Turner and photographs. Moran made numerous sketches in watercolor and oil studies in Venice which he translated into large oil paintings once back in his New York studio. He compounded the popularity of these dramatic oils of Venice among American art patrons by also issuing deluxe editions of etchings, made in collaboration with professional printmakers, which he signed in pencil to give his stamp of approval. Klackner 61.
Estimate
$1,500 – $2,500
Frank w. benson
Bound Home .
Etching, 1918. 230x280 mm; 9x11 inches, full margins. Edition of 150. Signed in pencil, lower left. A very good impression of this scarce, early etching.
According to Paff, “One of Mr. Benson’s most priced etchings is Bound Home . . . two men in a catboat, Frank Benson (1862-1951) and his son George, who handles the tiller.” Paff 134.
Estimate
$3,000 – $5,000
Frank w. benson
Supper .
Etching, 1920. 175x125 mm; 6¾x4¾ inches, full margins. Edition of 150. Signed in pencil, lower left. A superb, richly-inked, luminous impression. Paff 182.
Estimate
$1,500 – $2,500
Childe hassam
Toby’s Cos Cob.
Etching, 1915. 177x225 mm; 7x8⅞ inches, full margins. Signed with the artist’s cypher and inscribed “imp.” in pencil, lower right. A very good, well-inked impression with strong contrasts and the artist’s tackholes for drying at the extreme edges. Cortissoz/Clayton 55.
Estimate
$1,500 – $2,500
Childe hassam
Lion Gardiner House.
Etching, 1920. 253x357 mm; 10x14 inches, full margins. Signed with the artist’s cypher and inscribed “imp” in pencil, lower right. A superb, richly-inked impression of this important etching, with strong contrasts.
Hassam (1859-1935) spent most of his summers outside New York and first visited East Hampton in 1898, where he would return again and again until moving there and buying a home in 1919. The historic, tree-lined streets of the Hamptons provided him with the vistas of contemporary life that he sought to capture without nostalgia, drenched in light and shadows. In this etching from 1920, depicting the Lion Gardiner house in East Hampton, the figure in the foreground, Uncle David Gardiner, was a local descendant of the original owner and the current occupant when Hassam etched him standing among the elms in October of that year. Cortissoz/Clayton 159.
Estimate
$5,000 – $8,000
Childe hassam
The Surf Swimmer .
Etching, 1920. 200x251 mm; 8x10 inches, full margins. One of only several proofs. Signed with the cypher and inscribed “imp” in pencil, lower right. A very good impression of this extremely scarce etching, with the artist’s tack holes for drying at the extreme sheet edges.
We have not found another impression at auction in the past 30 years.
This etching represents a late-summer swimmer on the coast of Easthampton on the South Fork of eastern Long Island, New York. In 1919, Hassam (1859-1935) purchased a home in East Hampton where he lived and worked much of the remainder of his career. Cortissoz/Clayton 180.
Estimate
$2,000 – $3,000
Childe hassam
Wayside Inn—Oaks in Spring .
Etching, 1926. 260x200 mm; 10¼x8 inches, wide margins. Signed with the artist’s cypher and inscribed “imp” in pencil, lower right. A superb impression of this very scarce etching, with strong contrasts.
A landscape etching drawn by Hassam (1859-1935) at Sudbury, Massachusetts.
We have found only 7 other impressions at auction in the past 30 years. Cortissoz/Clayton 261.
Estimate
$1,500 – $2,500
Childe hassam
The Broad Curtain .
Lithotint on Japan paper, 1918. 278x380 mm; 10¾x14¾ inches, full margins. Edition of approximately 55. Signed with the artist’s cypher in pencil, lower right. A superb, richly-inked impression of this very scarce print.
Hassam (1859-1935) made more than 350 etchings; by comparison his lithographed oeuvre of fewer than 50 subjects was considerably smaller. The technical complexity of producing lithographs might have been a determining factor. He could produce etchings on his own in his studio, using minimal materials and with greater spontaneity; for lithography he worked alongside a lithographic printer, using more complicated printing supplies and proofing impressions at a printing workshop.
Hassam produced all of his 45 lithographs during the years 1917-18, working with the printer George Miller in New York. Of these, five were lithotints, like the current work, drawn directly on the stone whereas the lithographs were drawn on transfer paper first and thereafter transferred to the printing stone. Griffith 29.
Estimate
$7,000 – $10,000
Daniel garber
Lambertville.
Etching printed in dark brownish black, 1922. 120x147 mm; 4¾x5¾ inches, full margins. Signed, titled and inscribed “D.G. imp.” in pencil, lower margin. A very good impression.
Estimate
$1,000 – $1,500
Daniel garber
Harmonville.
Etching printed in dark brownish black, 1925. 200x298 mm; 7⅞x11¾ inches, full margins. Signed, titled and inscribed “DG imp” in pencil, lower margin. A very good impression with all the delicate lines distinct.
Estimate
$1,500 – $2,500
George bellows
Splinter Beach .
Lithograph on cream laid Japan paper, 1916. 380x497 mm; 15x19⅝ inches, full margins. Edition of 70. Signed, titled and inscribed “No. 21” in pencil, lower margin. A very good, richly-inked impression of this scarce lithograph.
Splinter Beach was reproduced in The Masses on July 4, 1913. Bellows (1882-1925) characterized this lithograph, “Bathing urchins under the Brooklyn Bridge. An open Brooklyn Public Dock from which many artists have gathered material for pictures.” The artist light-heartedly scratched his name into the top of the charthouse on the passing tugboat. Mason 28.
Estimate
$7,000 – $10,000
John sloan
Night Windows.
Etching, 1910. 136x179 mm; 5¼x7 inches, full margins. Fifth state (of 5). Edition of 110 (from an intended edition of 100). Signed, titled and inscribed “100 proofs” in pencil, lower margin. A brilliant, dark impression with strong contrasts.
Commenting on this etching, Sloan (1871-1951) stated, “The subject of this plate is one which I have had in mind—night, the roofs back of us—a girl in deshabille at a window and a man on the roof smoking his pipe.” It seems that he struggled with the execution of this idea, however; at various points he refers to this plate as “a pretty bad snarl,” and “a mess of line.” After roughly two years of work, he finally deemed the plate fit for publishing. Morse 152.
Estimate
$5,000 – $8,000
John sloan
Fourteenth Street, the Wigwam.
Etching, 1928. 249x178 mm; 9¾x7 inches, full margins. Seventh state (of 7). Edition of 110 (from an intended edition of 100). Signed, titled and inscribed “100 proofs” in pencil, lower margin. A superb, dark impression. Morse 235.
Estimate
$2,000 – $3,000
John sloan
Man, Wife and Child .
Etching, 1905. 127x177 mm; 5x7 inches, full margins. Fifth state (of 5). Edition of 85 (from an intended edition of 100). Signed, titled and inscribed “100 proofs” in pencil, lower margin. A very good impression. Morse 135.
Estimate
$1,500 – $2,500
John sloan
Goldfish.
Lithograph, 1905. 265x356 mm; 10x14 inches, full margins. Edition of approximately only 10. Signed, titled and inscribed in pencil, lower margin. A very good impression of this scarce lithograph.
We have not found another impression at auction in the past 30 years. Morse 133.
Estimate
$3,000 – $5,000
John sloan
Ping Pong Photographs.
Lithograph, 1908. 218x172 mm; 8½x6¾ inches, full margins. Edition of only 15. Signed, titled and inscribed “15 proofs” in pencil, lower margin. A superb, dark impression of this extremely scarce lithograph.
We have found only 3 other impressions at auction in the past 30 years. Morse 147.
Estimate
$3,000 – $5,000
John sloan
Shine, Washington Square.
Lithograph, 1923. 190x227 mm; 7¼x9 inches, full margins. Edition of 25. Signed, titled and inscribed “25 proofs” and signed by the printer, Bolton Brown, in pencil, lower margin. A very good impression of this scarce lithograph. Morse 210.
Estimate
$3,000 – $5,000
John sloan
Easter Eve, Washington Square.
Etching and aquatint, 1926. 253x204 mm; 10x8 inches, full margins. Third state (of 3). Edition of 60 (from an intended edition of 100). Signed, titled and inscribed “100 proofs” in pencil, lower margin. A very good richly-inked impression. Morse 222.
Estimate
$2,000 – $3,000
Ambrose patterson
Native Swimmers, Hawaii.
Woodcut, circa 1925. 265x198 mm; 10½x7⅞ inches, full margins. Signed, titled and numbered 1/25 in pencil, lower margin. A very good impression.
Patterson (1877-1966) arrived in Hawaii in 1916 while traveling from his native Australia to New York. Enamored with the beauty of the islands, he decided to stay with a friend in Honolulu rather than continue his trip. He lived and worked in Hawaii for 18 months, creating numerous prints and paintings of the landscape. His works were included in the Hawaiian Society of Artists Annual in 1917. Prior to his time in Hawaii, Patterson had studied in Melbourne at the National Gallery Art School and in Paris at the Académie Julian and the Académie Colarossi. While in Paris, he exhibited at the first Salon d’Automne in 1905. He eventually settled in Seattle and established the University of Washington School of Painting and Design.
Estimate
$1,000 – $1,500
Rockwell kent
Susanna.
Lithograph, 1929. 195x140 mm; 7¾x5⅝ inches, full margins. Edition of 100. Signed in pencil, lower right. A very good impression. Burne-Jones 38.
Estimate
$1,200 – $1,800
Rockwell kent
Boatman.
Lithograph, 1929. 350x255 mm; 13¾x10 inches, full margins. Edition of 150. Signed in pencil, lower right. A very good impression. Burne-Jones 37.
Estimate
$1,500 – $2,500
Clare leighton
Hop Pickers .
Wood engraving, 1930. 206x266 mm; 8½x10½ inches, full margins. Signed, titled and numbered 47/75 in pencil, lower margin. A very good impression. Fletcher 177.
Estimate
$1,500 – $2,500
Gustave baumann
San Domingo Pueblo.
Color woodcut, 1924. 190x158 mm; 7½x6¼ inches, full margins. Second edition (of 2). Signed, titled and numbered 94/125 in pencil, lower margin (the combined intended editions were 225, though approximately only 141 impressions total were printed from both editions). A superb impression of this very scarce woodcut with strong colors. Chamberlain 98.
Estimate
$4,000 – $6,000
Paul landacre
New Bridge.
Wood engraving on Japan paper, 1936. 184x145 mm; 7¼x5¾ inches, full margins. One of only 5 signed impressions in this state. Signed, titled and numbered 14/60 in pencil, lower margin. A very good impression. Wien 182.
Estimate
$2,500 – $3,500
Louis lozowick
Train and Factory .
Lithograph, 1933. 270x181 mm; 10⅝x7⅛ inches, full margins. Signed, titled, dated and numbered I/X in pencil, lower right. A superb impression of this extremely scarce lithograph. Flint 113.
Estimate
$2,000 – $3,000
Louis lozowick
57th Street.
Lithograph, 1929. 374x190 mm; 14¾x7½ inches, full margins. Edition of 10 printed in 1972, aside from the edition of 40. Signed, dated “ ‘30” and numbered II/X in pencil, lower margin. Printed by George Miller, New York. A superb, luminous impression of this scarce lithograph, with strong contrasts and all the details distinct. Flint 26.
Estimate
$5,000 – $8,000
Armin landeck
North River Vista .
Color lithograph, 1932. 392x258 mm; 15½x10⅛ inches, full margins. Second state (of 3), after the removal of the window sill. Edition of 10 (from an intended edition of 100). Signed, dated and inscribed “2” in pencil, lower margin. Printed by George Miller, New York. A very good impression of this extremely scarce lithograph.
We have found only one other impression at auction in the past 30 years, an impression of the first state, sold at Swann, New York, November 14, 1996, sale 1739, lot 379.
A view of the former Hudson Tubes Terminal, Equitable Life and Singer buildings, looking to the Hudson River (or the North River, an alternative name for the southernmost portion of the Hudson River in the vicinity of New York City). Alternatively titled Looking Down, New York by Kennedy Galleries, Inc.
Provenance: Kennedy Galleries, Inc., New York, with the label; private collection, North Carolina. Kraeft 40.
Estimate
$10,000 – $15,000
Reginald marsh
Union Square .
Lithograph, 1933. 345x215 mm; 13⅝x8½ inches, full margins. Edition of 300. Signed in pencil, lower right. A very good impression. Sasowsky 27.
Estimate
$1,500 – $2,500
Reginald marsh
East Tenth Street Jungle .
Etching, 1934. 203x305 mm; 7⅞x7⅞ inches, full margins. Fourth state (of 4). Edition of approximately 22. Signed and numbered “#16” in pencil, lower margin. A very good impression of this scarce etching.
We have found only 4 other impressions at auction in the past 30 years. Sasowsky 154.
Estimate
$3,000 – $5,000
Reginald marsh
Frozen Custard .
Etching and engraving, 1939. 178x254 mm; 7x10 inches, full margins. Second state (of 2). Edition of approximately only 18. Signed in pencil, lower margin. A very good, dark impression of this extremely scarce etching. Sasowsky 183.
Estimate
$2,000 – $3,000
Reginald marsh
Grand Tier at the Met.
Engraving, 1939. 175x245 mm; 6⅞x9¾ inches, full margins. Third state (of 3). Edition of approximately only 15. Signed in pencil, lower right. A very good impression of this scarce engraving. Sasowsky 190.
Estimate
$1,000 – $1,500
Fritz eichenberg
City Lights.
Wood engraving, 1934. 159x120 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
$1,000 – $1,500
Martin lewis
Butter and Egg Man’s Holiday .
Drypoint and sand ground etching printed in dark brownish black, 1926. 250x175 mm; 9⅞x6⅞ inches, full margins. Edition of approximately only 19. Signed and inscribed “imp” in pencil, lower right. A very good, dark impression of this extremely scarce print.
We have found only 6 other impressions at auction in the last 30 years. McCarron 53.
Estimate
$3,000 – $5,000
Martin lewis
The Lunch Counter.
Etching printed in dark brownish black, 1927. 177x252 mm; 6⅞x9⅞ inches, full margins. Edition of approximately only 12. Signed in pencil, lower right. A superb, dark impression of this extremely scarce etching.
According to McCarron, Lewis made only five prints of interior scenes and, “This plate’s depiction of a still life within the composition is unique among Lewis’s prints.” McCarron 56.
Estimate
$4,000 – $6,000
Martin lewis
Sunday Garden Inspection.
Drypoint, 1927. 300x202 mm; 11¾x8 inches, full margins. Second state (of 2). Edition of 34. Signed and inscribed “imp” in pencil, lower right. A brilliant, richly-inked impression of this scarce print. McCarron 67.
Estimate
$4,000 – $6,000
Martin lewis
Circus Night.
Drypoint and sandpaper ground, 1933. 283x378 mm; 11⅛x14⅞ inches, full margins. Edition of 43. Signed in pencil, lower right. A superb, richly-inked impression of this extremely scarce print.
In 1932, Lewis (1881-1962) moved to Sandy Hook, Connecticut, temporarily leaving New York, to help reduce the cost of living during the Depression years. Residing outside of the city inspired Lewis to explore country life in his work. During this several year hiatus from New York, he created 17 prints, many of which depict rural nocturnes as well as other local scenery, which enabled him to display his virtuoso mastery of tonal values. Circus Night depicts the arrival of Hunt’s Three-Ring Circus to Sandy Hook. McCarron 103.
Estimate
$20,000 – $30,000
Martin lewis
Hi-Li Tournament.
Drypoint, 1937. 214x335 mm; 8⅜x13¼ inches, full margins. Edition of approximately only 13. Signed in pencil, lower right. A superb impression of this extremely scarce print with all the fine lines distinct.
In this scene, Lewis (1881-1962) depicted children in his Upper East Side neighborhood playing paddle ball, known locally as “Hi-Li.” McCarron asserts that the name likely originates from the Basque pelota game Jai Alai.
We have found only three other impressions at auction in the past 30 years. McCarron 122.
Estimate
$7,000 – $10,000
Martin lewis
The Equilibrists .
Drypoint and aquatint, 1939. 253x403 mm; 9⅞x15⅞ inches. First state (of 2), before the reduction of the plate. One of only 5 artist’s proofs from the edition of only 10 in this state. Signed and inscribed “trial proof” in pencil, lower margin. A superb impression of this extremely scarce print.
After the first 10 printings, Lewis (1881-1962) cut the plate into two sections and reworked both as separate compositions. There is only one known impression of each of the two smaller second state plates: states IIA and IIB. The state IIB impression, which was taken from the right side of the plate, is in the collection of the Detroit Institute of Arts.
We have found only one other impression of the complete plate at auction in the past 30 years.
Provenance: Patricia Lewis (the artist’s daughter-in-law), with her ink stamp verso. McCarron 127.
Estimate
$6,000 – $9,000
Thomas hart benton
Jessie and Jake.
Lithograph, 1942. 340x252 mm; 13⅜x10 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 55.
Estimate
$2,000 – $3,000
Thomas hart benton
The Boy .
Lithograph, 1948. 242x350 mm; 9½x13¾ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good, well-inked impression with strong contrasts. Fath 72.
Estimate
$2,000 – $3,000
Thomas hart benton
Edge of Town .
Lithograph, 1938. 225x273 mm; 8⅞x10¾ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, well-inked impression. Fath 22.
Estimate
$2,500 – $3,500
Thomas hart benton
Sunday Morning.
Lithograph, 1939. 245x322 mm; 9⅝x12¾ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression with strong contrasts. Fath 26.
Estimate
$1,500 – $2,500
Thomas hart benton
Instruction .
Lithograph, 1940. 265x315 mm; 10⅜x12⅜ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 41.
Estimate
$2,000 – $3,000
Thomas hart benton
Wreck of the Ol’97 .
Lithograph, 1944. 263x382 mm; 10 ⅜x15 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A brilliant, dark impression with strong contrasts.
The “Ol’ 97,” a Southern Railway locomotive, officially known as the Fast Mail, was en route from Monroe, Virginia, to Spencer, North Carolina, when it derailed at Stillhouse Trestle near Danville, Virginia, in September of 1903. Fath 63.
Estimate
$8,000 – $12,000
John steuart curry
John Brown .
Lithograph, 1939. 378x277 mm; 14¾x11 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, dark impression of this important lithograph. Cole 34.
Estimate
$4,000 – $6,000
Grant wood
Approaching Storm .
Lithograph, 1940. 301x226 mm; 11⅞x8⅞ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Cole 19.
Estimate
$5,000 – $8,000
Grant wood
March .
Lithograph, 1939. 228x302 mm; 9x12 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb impression. Cole 14.
Estimate
$4,000 – $6,000
Grant wood
December Afternoon.
Lithograph, 1941. 228x302 mm; 9x11⅞ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Cole 16.
Estimate
$2,500 – $3,500
Grant wood
January .
Lithograph, 1936. 230x303 mm; 9x12 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Cole 3.
Estimate
$4,000 – $6,000
John rogers cox
Wheat Shocks .
Lithograph, 1951. 223x300 mm; 8¾x11¾ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression.
Estimate
$1,500 – $2,500
Stow wengenroth
Lower Fifth Avenue.
Lithograph, 1959. 261x405 mm; 10⅛x15⅞ inches, full margins. Artist’s proof, aside from the edition of 40. Signed and inscribed “Printer’s proof” in pencil, lower margin. A very good impression of this scarce lithograph, with all the subtle tonal variations distinct. Stuckey 256.
Estimate
$6,000 – $9,000
Stow wengenroth
Serenity .
Lithograph, 1951. 301x454 mm; 11¾x17⅞ inches, full margins. Edition of 100. Signed and inscribed “Ed/100” in pencil, lower margin. A very good impression. Stuckey 199.
Estimate
$1,000 – $1,500
John taylor arms
Two etchings.
Gothic Glory, Sens Cathedral , 1929. 383x230 mm; 15⅛x9⅛ inches, full margins. Second state (of 2). Edition of 140. Signed, dated and inscribed “Second state” in ink, lower margin. Printed by Frederick Reynolds and Peter Platt, New York * In Memoriam (The North Portal of Chartres Cathedral , 1939. 375x303 mm; 14¾x11⅞ inches, full margins. Second state (of 2). Edition of 312. Signed, titled, dated and inscribed “Private collection of John Taylor Arms III” in pencil, lower margin. Printed by David Strang, London. From French Church Series . Very good impressions. Fletcher 218 and 317.
Estimate
$1,500 – $2,500
John taylor arms
Collection of 42 etchings.
Including On the River (Sailing, The East River) , 1916. Edition of 75. Signed, dated and numbered 37/50 in pencil, lower margin. Printed by Frederick Reynolds, New York * The Full Moon , with color aquatint, 1920. Second state (of 2). The only artist’s proof, aside from the edition of 100. Signed, dated, inscribed “Artist’s Proof” and “Printed by Frederick Reynolds” in pencil, lower margin. Printed by Frederick Reynolds, New York * Ausable Lakes , with aquatint, 1921. One of 6 artist’s proofs, aside from the edition of 70. Signed, dated and inscribed “Artist’s Proof” in pencil, lower margin. Printed by the artist and Frederick Reynolds, New York. From Miniature Series * Aspiration, La Madeleine, Verneuil-Sur-Avre Fraternité, Egalité, Liberté , 1939. Fifth state (of 5). Edition of 419. Signed, dated and inscribed “V” in pencil, lower margin. Printed by Charles S. White, New York and David Strang, London. From French Church Series * Cavendish Common, 1938 , 1942. Second state (of 2). Edition of approximately 150. Printed by Charles S. White, New York and David Strang, London. From English Series . Various sizes and conditions. Each a very good impression. Fletcher 2, 21, 36B, 44, 59, 61-62, 66-67, 70-71, 73, 75-76, 80 (2 impressions), 81 (2 impressions), 83, 85, 88, 91, 112, 125, 155, 225, 234, 269, 280, 291-292, 329, 348, 368, 370, 384 (2 impressions), 387-388, 395, 426, 429.
With— Collection of approximately 42 etchings by Robert Nisbet, Samuel Chamberlain (3), Arthur Briscoe, George Stimmel (4), William Walcott (24), Rowland Langmaid and Eugene E. Loving (8). Various sizes and conditions.
Estimate
$2,000 – $3,000
John taylor arms
The Birdman (Fuselage— World War I) .
Color etching with aquatint, 1919. 192x127 mm; 7⅝x5 inches, full margins. Third state (of 3). Edition of 71 printed in colors. Signed and titled in pencil, lower margin. Printed by Frederick Reynolds, New York. A very good impression with strong colors. Fletcher 25.
Estimate
$1,500 – $2,500
Ralston crawford
Grey Street.
Color screenprint, 1940. 307x380 mm; 11⅞x15 inches, full margins. Signed, titled and dedicated in pencil, lower margin. A superb, richly-inked impression of this very scarce print with fresh colors.
Estimate
$4,000 – $6,000
Robert gwathmey
Ring-Around-a-Rosey .
Color screenprint, 1949. 325x402 mm; 12¾x15⅞ inches, full margins. Edition of 200. Signed in ink, upper left. Published by the National Serigraph Society, with the label. A superb, richly-inked impression with fresh, strong colors.
Gwathmey (1903-1988) is one of the most celebrated painter-printmakers of African-American life in the southern United States. As an outsider to the African-American rural communities, his works are that of an observer, picturesque scenes of everyday life. He managed unbiasedly to imbue humanity and an unromanticized dignity into his subjects. Williams 10.
Estimate
$1,500 – $2,500
Paul cadmus
Nudo #1-3 .
Set of 3 etchings, 1984. Each 230x205 mm; 9x8⅛ inches, full margins. Each second state (of 2). Each signed, titled, inscribed “second state” and numbered 17/30 in pencil, lower margin. Each printed by Pelavin Printmaker, New York with the blind stamp lower right. Each published by Midtown Galleries, New York with the labels. Very good impressions. Davenport 58.
Estimate
$3,000 – $5,000
Milton avery
My Wife Sally .
Drypoint printed in dark brown ink, 1934. 140x210 mm; 5⅝x8⅜ inches, full margins. Signed, dated and numbered 20/100 in pencil, lower margin. Printed at Atelier 17, New York. Published by Laurel Gallery, New York. From Laurels Number Two . A superb, evenly-printed impression.
Avery (1885-1965) was sometimes thought of as the “American Matisse.” His work never fully resembled that of his contemporaries, the Cubists or Surrealists, but his palette did. His distinct modernism that eschewed both abstraction and realism is rather more closely related to the Color Field Abstract Expressionists (Mark Rothko, Adolph Gottlieb, Hans Hoffman and Barnet Newman), whose development he likely influenced, through the use of boldly juxtaposed colors in a flat planar style. Many of the subjects within his work, and his prints in particular which first appear in 1933, are of close friends and family. The domesticity of the quiet home and its inhabitants, such as his wife Sally in the present print, very much appealed to Avery.
Avery experimented with drypoint during the early 1930s, foregoing the use of color for which he is more commonly known, to explore the energy of the line through printmaking. His first drypoint scratches were on zinc and copper plates acquired from the refuse scraps of a photoengraver; this accounts for the irregularly-sized plates in his early prints. He proofed the plates roughly and sometimes set them aside until years later when they were printed in numbered editions. Stanley W. Hayter’s Atelier 17 printed My Wife Sally which was issued in a pair of 1947 portfolios published by the Laurel Gallery in New York (along with prints by Joan Miró, Stanley Hayter, Gabor Peterdi, Anne Ryan, Will Barnet and others). Lunn 5.
Estimate
$1,500 – $2,500
Milton avery
Flight .
Color woodcut printed in brown and black on Japan paper, 1953. 180x230 mm; 7x9 inches, full margins. Edition of 100. Signed and dated in pencil, lower left. Published by Collectors of American Art, New York. A very good, richly-inked impression with strong colors. Lunn 51.
Estimate
$2,000 – $3,000
Milton avery
Trees by the Sea .
Color woodcut printed in brown and black on Japan paper, 1953. 248x353 mm; 9¾x13¾ inches, full margins. Artist’s proof, aside from the edition of 20. Signed, dated and inscribed “artist’s proof” in pencil, lower margin. A very good impression of this scarce color woodcut. Lunn 53.
Estimate
$2,000 – $3,000
Werner drewes
Dance of the Mermaid Composition .
Engraving and soft-ground etching, 1945. 300x379 mm; 11¾x15 inches, full margins. Second edition (of 2), printed 1975. Signed, titled, annotated, dated and numbered 24/XXV in pencil, lower margin. A superb, richly-inked impression.
With– Anticipation , color woodcut on Japan paper, 1978. 282x535 mm; 11¼x21 inches, full margins. Signed, titled, dated and numbered 8/XXV in pencil, lower margin. A very good impression with strong colors. Rose 235 and 367.
Estimate
$1,000 – $1,500
Mauricio lasansky
Two engravings.
Doma , 1944. 505x351 mm; 19⅞x13⅞ inches, full margins. Signed, titled and numbered 22/25 in pencil, lower margin * Sol y Luna , with etching and aquatint, 1945. 401x525 mm; 15¾x20⅝ inches, full margins. Signed, titled and numbered 11/25 in pencil, lower margin. Both very good, richly-inked impressions.
Estimate
$1,500 – $2,500
Modern European Prints
Pablo picasso
Le Repas Frugal .
Etching and drypoint, 1904. 463x377 mm; 18¼x14¾ inches, wide margins. Edition of 250. Van Gelder Zonen watermark. Printed by Louis Fort, Paris. Published by Vollard, Paris. From La Suite des Saltimbanques . A superb, dark and evenly-printed impression of this early, important print, with strong contrasts.
Provenance: Richard Cole, brother of the New York art dealer Sylvan Cole, acquired 1965; thence by inheritance to his widow Deborah Cole, in 1969; gifted to her second husband Jack Greenberg, the Director-Counsel of the NAACP Legal Defense Fund (1961-1984), New York.
The austerity and sentimentality of Le Repas Frugal is characteristic of Picasso's (1881-1973) Blue Period (1901-04). During his Blue Period and into his Rose Period, so-called for the principal color palettes that he utilized in his paintings at the time, Picasso's art explored the experiences of those on the fringes of society and those in the poor, bohemian neighborhoods of Spain and Montmartre, Paris, where the artist resided in the early 1900s. Picasso's budget was so limited that he purchased the plate for Le Repas Frugal second-hand (it had been a horizontal landscape etching)—the remnants of the previous etching can be seen in the foliage ghosting through the background in the upper right of the print. After rudimentary instruction in the art of printmaking and having completed just one other print in 1899, Picasso executed this large, ambitious etching of an emaciated, meditative couple and their sparse meal.
During his Blue Period, Picasso utilized Mannerist techniques in his execution of figures; the elongated forms and compositional tension of Mannerism highlights the isolation and austerity of Picasso's subjects. However, the flatness of the scene, the stylized facial features of the woman and the painstaking detail in the hands of the couple indicate that this is not a scene taken from life, but an allegorical scene constructed from the glimpses into the lives of those living in poverty. This is the impact of the Symbolist aesthetic, which encouraged the evocation of emotions over realism and elevated quotidien scenes.
Though this plate was completed in 1904 and Picasso made some initial proofs, it wasn't published as an edition until 1913 when Picasso's then art dealer, Ambroise Vollard, purchased the plate and steel-faced it. This print is part of the La Suite des Saltimbanques , along with 11 drypoints and 2 additional etchings created by Picasso between 1904-06. Bloch 1; Geiser 2.
Estimate
$100,000 – $150,000
Pablo picasso
Two etchings from Le Chef-d’oeuvre inconnu.
Peintre travaillant , 1927. 194x279 mm; 7⅝x11 inches, full margins * Nu assise entouré d’Esquisses de Bêtes et d’Hommes , 1927. 194x278 mm; 7⅝x11 inches, full margins. Both an edition of 340. Both published by Vollard, Paris. Very good impressions. Bloch 89 and 91; Geiser 130 and 132.
Estimate
$1,500 – $2,500
Pablo picasso (after)
Guéridon avec Guitare et Partition .
Color pochoir, circa 1920. 267x205 mm; 10¾x8¼ inches, full margins. Signed and numbered 71/100 in pencil, lower margin. Published by Éditions Galerie Rosenberg, Paris. From Dix Pochoirs . A superb, richly-inked impression of this scarce, early print, with strong colors.
Paul Rosenberg became Picasso’s art dealer in 1918 and represented the artist until 1940. In the early 1920s he published a set of 10 pochoirs, including the current work, after a series of cubist gouaches depicting still life and Commedia dell’Arte motifs that Picasso had made in 1920 (see Zervos 82). Picasso (1881-1973) worked closely with the professional pochoir printmakers to replicate the colors and compositions of his early gouaches, then signed each of the pochoirs in pencil.
Provenance: Marina Picasso, the artist’s granddaughter, Geneva, with the ink stamp (Lugt 3698, verso).
Estimate
$15,000 – $20,000
Pablo picasso
Sculpteur à mi-corps au Travail .
Etching, 1933. 267x193 mm; 10½x7⅝ inches, full 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 (1881-1973) produced from 1930 to 1937 and issued by the Parisian publisher Ambroise Vollard. While over 300 sets were printed, complete suites are exceedingly scarce, instead the prints from this series now are often found individually. Bloch 158; Baer 311.
Estimate
$8,000 – $12,000
Pablo picasso
Garçon et Dormeuse a la Chandelle .
Aquatint and etching, 1934. 235x296 mm; 9¼x11¾ inches, full margins. Edition of 260. Signed in pencil, lower right. Picasso watermark. Printed by Lacourière, Paris. Published by Vollard, Paris. A superb, richly-inked impression.
Garçon et Dormeuse a la Chandelle is one of 100 different etchings from the Vollard Suite, a series Picasso (1881-1973) produced from 1930 to 1937 for Parisian publisher Ambroise Vollard. While over 300 sets were printed, complete suites are exceedingly scarce, instead the prints from this series now are often found individually.
The suite spans Picasso’s passionate, sometimes tumultuous affair with his teenage model and muse Marie-Thérèse Walter. Many of the earlier works in the series portray a sculptor in his studio among his work–alluding to the classical myth of Pygmalion. The later prints become increasingly dark as both his relationship with Marie-Thérèse waned and Europe marched toward World War II.
This particular print marks a turning point in Picasso’s relationship with Marie-Thérèse, as it was made when Picasso learned that she was pregnant with his child in 1934. Her pregnancy marked the end of Picasso’s then marriage to the Ballet Russe dancer Olga Koklova and also the beginning of the end for his relationship with his young model (just one year later he would meet Dora Maar–with whom Marie-Thérèse would become embattled over Picasso’s affection).
This print, however, portrays a tranquil scene of a sleeping woman–Marie-Thérèse–her fertile feminine features illuminated by candlelight, with a young man (likely intended to symbolize Picasso himself) sitting and thoughtfully watching her at rest. A single candle illuminating the scene creates a stillness and chiaroscuro reminiscent of Rembrandt’s nocturnal scenes.
The onset of World War II and the sudden death of the publisher Vollard in a car crash in the south of France in 1939 delayed the distribution of this seminal suite, among the most important modern print series by a single artist, until the 1950s. Bloch 226; Geiser 440.
Estimate
$20,000 – $30,000
Pablo picasso
La Guêpe .
Aquatint and drypoint on Chine volant , 1941-42. 335x220 mm; 13¼x8⅝ inches, wide margins. The deluxe edition of 25 on Chine volant , from the total edition of 225. Printed by Lacourière, Paris. Published by Fabiani, Paris. From Eaux-Fortes originales pour des textes de Buffon . A very good impression.
Eaux-Fortes originales pour des textes de Buffon was Picasso’s (1881-1973) take on the artistic tradition of bestiary series. He began the etchings in 1936 and promised them to his publisher Ambroise Vollard (1866-1939), who died before their completion, leaving Vollard’s associate, Martin Fabiani, to see it to completion. “The master printer Lacourière had introduced Picasso, as well as Rouault and other artists, to the lift-ground or sugar aquatint process, which allowed a variety of tones and textures within a limited range. The spontaneity of the plates is attested by the freehand margins, the rapidly drawn line, and the use of fingerprints for textural variety” (The Artist & Book 231). Bloch 351; Baer 598.
Estimate
$1,500 – $2,500
Pablo picasso
L’Abeille .
Aquatint and drypoint, 1941-42. 416x316 mm; 16⅜x12½ inches, full margins. Edition of 225. Printed by Lacourière, Paris. Published by Fabiani, Paris. From Eaux-Fortes originales pour des textes de Buffon . A very good impression.
Eaux-Fortes originales pour des textes de Buffon was Picasso’s (1881-1973) take on the artistic tradition of bestiary series. He began the etchings in 1936 and promised them to his publisher Ambroise Vollard (1866-1939), who died before their completion, leaving Vollard’s associate, Martin Fabiani, to see it to completion. “The master printer Lacourière had introduced Picasso, as well as Rouault and other artists, to the lift-ground or sugar aquatint process, which allowed a variety of tones and textures within a limited range. The spontaneity of the plates is attested by the freehand margins, the rapidly drawn line, and the use of fingerprints for textural variety” (The Artist & Book 231). Bloch 349; Baer 596.
Estimate
$1,500 – $2,500
Pablo picasso
L’Âge de Soleil .
Portfolio with complete text, one drypoint and one etching by Picasso (along with one lithograph after the etching), 1944-50. 285x230 mm; 11¼x9¼ inches (sheets), full margins, loose as issued.
The deluxe edition of 116 numbered copies with the drypoint, La Torera , from a total edition of 1140. Signed by the author, Robert Godet, and numbered XXIII in ink, on the justification page. The drypoint printed by Lacourière, Paris. Published by Au Dépens de l’Auteur, Paris. Original printed paper covers. Cramer 57; Bloch 369 and 680.
Estimate
$2,000 – $3,000
Pablo picasso
La Mère et les Enfants .
Lithograph, 1953. 482x752 mm; 19¼x29¾ inches, full margins. Artist’s proof, aside from the edition of 50. Signed in pencil, lower left. A superb, richly-inked impression of this large lithograph.
An authentication from Maya Widmaier Picasso, Paris, April 17, 1992, accompanies this lot.
Among Picasso’s (1881-1973) most expressive works are his oeuvre of lithographs, which allowed the artist to see his own evolution of technique and revise compositions fluidly, like drawings. Though Picasso had produced a few lithographs in his early career, it was not until he began his partnership with the printers Mourlot Frères, Paris in November 1945 that the artist rediscovered the medium that he would re-invent at mid-century through his incessant experimentation and creativity. Picasso would challenge the Mourlot printshop with his designs, which sometimes incorporated collage elements and even fingerprints. However demanding, the collaboration would culminate in over 400 prints in 20 years. Picasso was in a state of constant revision and the majority of his lithographs have multiple states, some more than ten. The progressions show Picasso’s creativity at play even with only the subtlest reworkings. He would work for long stints at a time at his lithographs and he would eventually lay claim to a corner of the Mourlot workshop, a refuge from his own notoriety.
The free and buildable nature of lithography allowed Picasso the liberty to explore ideas and follow them to fruition. He remarked that, “The movement of my thought interests me more than the thought itself.” This intimate family scene shows the artist’s then partner, the artist Françoise Gilot (born 1921), resting on a sofa, while their two children, Claude (born 1947) and Paloma (born 1949), play with their toys on the floor. Bloch 739; Mourlot 239; Reuße 625.
Estimate
$12,000 – $18,000
Pablo picasso (after)
Sans titre (Fleur) .
Wood engraving, 1955. 442x325 mm; 17½x13 inches (sheet), full margins. Artist’s proof, aside from the edition of 240. Signed in pencil, lower right. The wood engraving executed by Georges Aubert, Paris. Printed by Fequet and Baudier, Paris. Published by Nouveau Cercle Parisien du Livre under the direction of Vollard, Paris. From Hélène chez Archimède by André Suarès. A very good impression. Johnson (Vollard) 193.
Estimate
$2,000 – $3,000
Pablo picasso (after)
Jacqueline .
Lithograph on light bluish gray Japan paper, 1958. 495x320 mm; 19⅜12½ inches (sheet), full margins. Artist’s proof, aside from the edition of 100. Signed in pencil, lower margin. Printed by Mourlot, Paris. A very good impression.
Estimate
$5,000 – $8,000
Pablo picasso (after)
Le Roi .
Color lithograph, 1951. 480x400 mm; 18<7/8>x15¾ inches, full margins. Signed and dated “Paris 3.5.52” in pencil, lower right. Printed by L’Imprimerie de la Victoire, Nice.
Estimate
$3,000 – $5,000
Pablo picasso
Faun’s Head .
White terre-de-faïence plate with relief design, 1955. 250 mm; 10 inches (diameter). Edition of 150. With the Madoura Plein Feu and Empreinte Originale de Picasso stamps on the base. Ramié 283.
Estimate
$3,000 – $5,000
Pablo picasso
Still Life.
Glazed terre-de-faïence oval dish painted in green, blue, reddish brown, black and white, 1953. 320x390 mm; 12¾x15½ inches. Edition of 400. With the Madoura Plein Feu and Edition Picasso stamps on the base. Ramié 219.
Estimate
$7,000 – $10,000
Pablo picasso
Femme nue à la source .
Color linoleum cut, 1962. 530x637 mm; 20⅞x25⅛ inches, full margins. Signed and numbered 4/50 in pencil, lower margin. Printed by Arnéra, Vallauris. Published by Galerie Louise Leiris, Paris. A very good impression with strong colors. Bloch 1093; Baer 1326.
Estimate
$20,000 – $30,000
Pablo picasso
Femme Couchée et Homme au Grand Chapeau .
Color linoleum cut, 1959. 532x645 mm; 21x25⅜ inches, full margins. Signed and numbered 32/50 in pencil, lower margin. Printed by Arnéra, Vallauris. Published by Galerie Louise Leiris, Paris. A superb, richly-inked impression with strong colors. Bloch 919; Baer 1236.
Estimate
$20,000 – $30,000
Georges braque
Étude de Nu.
Etching and drypoint, 1907-08. 275x197 mm; 10¾x7¾ inches, full margins. Signed and numbered 14/30 in pencil, lower margin. Published by Maeght, Paris. A brilliant, richly-inked impression, with all the fine lines and details distinct and with no sign of wear.
Braque’s (1882-1963) first printed work. After an initial printing of only several trial proofs in 1907-08, Maeght published an edition of 25 impressions on Auvergne paper and 30 impressions on Rives paper in 1953. Vallier 1.
Estimate
$15,000 – $20,000
Georges braque
Héraclite d’Ephèse .
Color etching, 1948. 133x66 mm; 5¼x2⅝ inches, full margins. Signed and numbered 11/15 in pencil, lower margin. Published by Editions Cahiers d’Art, Paris. The frontispiece for the same-titled volume. A very good impression of this scarce etching in this color variation. Vallier 42.
Estimate
$2,500 – $3,500
Georges braque
Uranie II.
Color aquatint and lithograph, 1958. 240x320 mm; 9½x12⅝ inches, full margins. Signed and numbered 4/75 in pencil, lower margin. Printed by Mourlot, Paris, and Crommelynck and Dutrou, Paris. Published Maeght, Paris. A very good impression. Vallier 118.
Estimate
$3,000 – $5,000
Georges braque
Oiseau bistre.
Color lithograph, 1960-61. 257x203 mm; 10x8 inches, full margins. Signed and numbered 36/75 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression. Vallier 151.
Estimate
$2,000 – $3,000
Georges braque
L’Atelier .
Color lithograph, 1961. 425x520 mm; 16¾x20½ inches, full margins. Signed and numbered 55/75 in pencil, lower margin. Printed by Mourlot, Paris. Published by Musées Nationaux, Paris. A very good impression. Vallier 165.
Estimate
$4,000 – $6,000
Georges braque
Oiseau de passage.
Color aquatint and etching, 1961. 590x410 mm; 23¼x16⅛ inches, full margins. Signed and numbered 7/75 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression. Vallier 166.
Estimate
$3,000 – $5,000
Henri matisse
Nu renversé d’une table Louis XV .
Lithograph, 1929. 559x460 mm; 22x18¼ inches, full margins. Signed and numbered 20/50 in pencil, lower right. A very good impression of this large and important lithograph. Duthuit 499.
Estimate
$10,000 – $15,000
Henri matisse
Le Repos du Modèle.
Lithograph on Chine volant , 1922. 223x304 mm; 8¾x12 inches, full margins. First state (of 2), before the reduction of the subject at the left edge. Edition of 85 (from an intended edition of 100). Signed and numbered 21/50 in pencil, lower margin. Published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris. A very good impression. Duthuit 416.
Estimate
$5,000 – $8,000
Henri matisse
Étude de nu renversé.
Etching on Chine collé , 1929. 165x235 mm6½x9⅜ inches, full margins. Signed and numbered 23/25 in pencil, lower right. A very good impression of this scarce etching. Duthuit 166.
Estimate
$10,000 – $15,000
Henri matisse
Odalisque au Collier .
Lithograph, 1923. 235x308 mm; 9¼x12¼ 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
$7,000 – $10,000
Henri matisse
Trois Têtes; À l’amitié (Masques d’Apollinaire, Matisse et Rouveyre) .
Aquatint, 1951-52. 433x348 mm; 17¼x13¾ inches, full margins. With the artist’s initials ink stamp and numbered 15/15 with an ink stamp, lower right. A very good impression of this extremely scarce aquatint.
Matisse (1869-1954) created this work for inclusion in the volume Apollinaire by André Rouveyre, Paris, 1952, but it was not used. Duthuit 826.
Estimate
$3,000 – $5,000
Muirhead bone
Piccadilly Circus .
Drypoint, 1915. 300x380 mm; 11⅞x15 inches, wide margins. Sixth state (of 6). Edition of 105. Signed in pencil, lower right. A superb, richly-inked impression with brilliant contrasts.
In this dramatic night view, made during World War I, Bone (1876-1953) skillfully captured the bustling crowds and traffic moving about Piccadilly Circus, a circular road junction and major public space bordered by stately buildings in London's West End. At the far left, the artist depicted the dominant ediface of the County Fire Office (side view). Search lights illuminate the pitch black sky; Bone rendered the sky by drawing a dense network of lines to hold the ink. Street lamps (particularly the tall one at right) cast light beams downward, as their tops were shaded to be in accordance with war regulations. Visible in silhouette is the popular Shaftsbury Memorial Fountain, graced by the statue of Eros (or Anteros) by Alfred Gilbert. When this print was first exhibited in 1915, it was sold in aid of the Belgian Relief Fund; now it is regarded as one of Bone's masterpieces. Dodgson 332.
Estimate
$1,500 – $2,500
Muirhead bone
Building Ships.
Portfolio with 6 lithographs, circa 1917. 665x530 mm; 26¼x21 inches (sheets), full margins, loose as issued. Edition of 250. Each lithograph signed in pencil, lower right. Printed and published by Avenue Press, London. From The Great War: Britain’s Efforts and Ideals. Very good impressions.
Estimate
$1,500 – $2,500
Robert delaunay
La Femme et la Tour .
Lithograph, circa 1925. 550x330 mm; 21¾x13 inches, full margins. Signed by the artist’s widow, Sonia Delaunay, titled, inscribed “pour Robert Delaunay” and numbered 58/75 in pencil, lower margin. A very good impression.
Estimate
$1,000 – $1,500
Robert delaunay
Saint-Severin.
Lithograph, circa 1925. 565X423 mm; 22¼x18¼ inches, full margins. Signed by the artist’s widow, Sonia Delaunay, titled and numbered 52/75 in pencil, lower margin.
Delaunay (1885-1941) chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of groundbreaking modern paintings, from circa 1909, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture. This lithograph is based on a painting from the series; like many of Delaunay’s lithographs, only proofs were printed during his brief career, the majority were printed posthumously and authorized by his widow, the artist Sonia Delaunay (1885-1979).
Estimate
$1,000 – $1,500
Wassily kandinsky
Zweite Radierung für die Editions “Cahiers d’Art.”
Etching on smooth cream wove paper, 1932. 298x240 mm; 11¾x9½ inches, full margins. Edition of approximately 100. Signed in pencil, lower right. Published by Editions Cahiers d’Art, Paris. A very good, well-inked impression. Roethel 196.
Estimate
$5,000 – $8,000
Marcel duchamp
Coffee Mill .
Etching, 1947. 180x80 mm; 7¼x3¼ inches, full margins. Second state (of 2). Edition of 200. A very good, evenly-printed impression.
Duchamp (1887-1968) etched this print for Du Cubisme after the same-titled oil painting he had made in 1911 for his brother, sculptor Raymond Duchamp-Villon (1876-1918). His brother was married in 1911 and had asked his artist friends to make him small paintings as wedding gifts with which to decorate their newlywed kitchen.
According to Duchamp’s later recollection, “I made this old-fashioned coffee mill for him. It shows the different facets of the coffee grinding operation and the handle on top is seen simultaneously in several positions as it revolves. You can see the ground coffee in a heap under the cogwheels of the central shaft, which turns in the directions of the arrow on top” (d’Harnoncourt/McShine, Marcel Duchamp , 1973, page 256).
Estimate
$2,000 – $3,000
Alexander archipenko
Stilleben .
Lithograph, 1922. 295x390 mm; 11½x15 inches, full margins. Edition of 125. Signed in pencil, lower right. Published by Gustav Kiepenheuer, Weimar. From Die Schaffenden , with the blind stamp upper left. A very good impression. Karshan 28.
Estimate
$1,500 – $2,500
Alexander archipenko
Three Figures, One in Repose .
Lithograph, circa 1921. 265x182 mm; 10½x7¼ inches, full margins. Edition of 100. Signed in pencil, lower right. Published by Goltz-Verlag, Munich. From Der Ararat . A very good impression of this scarce, early lithograph. Karshan 24.
Estimate
$1,500 – $2,500
Tsuguharu foujita
Nu assis .
Color drypoint and etching on Chine collé on Japan paper, 1930. 556x367 mm; 22x14½ inches, full margins. Edition of 100. Signed in pencil, lower right. Published by Apollo Editions Artistiques, Paris. From Femmes . A very good impression with all the details distinct. Buisson 30.35.
Estimate
$3,000 – $5,000
Georges rouault
Nu de profil .
Color aquatint, 1936. 305x205 mm; 12x8 inches, full margins. Edition of 250. Printed by Lacourière, Paris. Published by Vollard, Paris. From Les Fleurs du Mal . A superb impression with strong colors. Chapon/Rouault 274; Wofsy 272.
Estimate
$1,500 – $2,500
Fernand léger (after)
La Parade .
Offset lithograph with pochoir color, 1953. 350x450 mm; 13¾x17¾ inches, full margins. Signed and numbered 48/285 in ink, lower margin (the edition numbers faded but still legible). A superb impression with vibrant colors.
Léger (1881-1955) returned to the parade theme, utilizing horizontal compositions with multiple figures, throughout his career, culminating in his oil painting La grande Parade (état définitif) , 1954, now in the Guggenheim Museum, New York.
Estimate
$3,000 – $5,000
Fernand léger (after)
Tête de Femme avec Composition .
Color screenprint, 1954. 315x410 mm; 12½x16¼ inches, full margins. Signed in ink, lower right, and numbered 34/200 in pencil, lower left. Printed by Jean Bruller, Paris. Published by La Guilde Internationale de la Gravure, Paris. From Album of 10 Serigraphs . A very good impression with strong colors. Saphire E 3.
Estimate
$1,500 – $2,500
Erich heckel
Liegende .
Color woodcut, 1913. 181x107 mm; 7¼x4¼ inches, full margins. Second state (of 2). Signed and dated in pencil, lower right. Published by R. Piper & Co., Marées-Gesellschaft, Munich. From Der Dritten Ganymed-Mappe . A very good, richly-inked impression with strong colors. Dube 259.
Estimate
$4,000 – $6,000
Karl schmidt-rottluff
Melancholie.
Woodcut, 1914. 500x390 mm; 19¾x15½ inches, full margins. Edition of approximately 75. Signed in pencil, lower right. Published by Verlag Graphisches Kabinett I. B. Neumann, Berlin. From 10 Holzschnitte von Schmidt-Rottluff. A superb, dark, richly-inked impression. Schapire 139.
Estimate
$8,000 – $12,000
Otto mueller
Stehendes, sitzendes und badendes Mädchen am Baum .
Lithograph on light tan Japan paper, circa 1920. 257x189 mm; 10¼x7½ inches, full margins. Edition of approximately only 30. Signed in pencil, lower right. Published by Kattowitz, Berlin. From Die Gäste . A superb, richly-inked impression of this extremely scarce lithograph. Karsch 106.
Estimate
$7,000 – $10,000
Max beckmann
Bordell in Hamburg .
Drypoint on imitation Japan paper, 1912. 121x179 mm; 5x7 inches, full margins. Artist’s proof, aside from the editions of 30 (Arabic numerals) and 10 (Roman numerals). Signed, titled, dated and inscribed “Probedruck” in pencil, lower margin. A brilliant, richly-inked, early impression of this exceedingly scarce print.
We have found only three other impressions at auction in the past 30 years.
Provenance: Heinrich Stinnes, Cologne (Lugt 1376a, lower left recto). Hofmaier 52.
Estimate
$4,000 – $6,000
Max beckmann
Selbstbildnis 1918.
Drypoint on Japan paper, 1918. 275x255 mm; 10⅞x10⅛ inches, full margins. Second state (of 2). The deluxe edition of 40 on Japan paper. Signed in pencil, lower right. Published by Marées Gesellschaft, R. Piper & Co., Munich, with the blind stamp lower right. From Gesichter . A very good, dark and richly-inked impression with strong contrasts. Hofmaier 137.
Estimate
$7,000 – $10,000
Conrad felixmüller
Der Sohn .
Etching printed in reddish brown on heavy, cream wove paper, 1919. 245x160 mm; 9¾x6½ inches, full margins. Signed, dated and inscribed “kupferstich” in pencil, lower margin. A superb, richly-inked impression of this scarce etching. Söhn 172.
Estimate
$2,000 – $3,000
Emil nolde
Frau N. (Frau Ada Nolde).
Drypoint and etching, 1911. 232x185 mm; 9¼x7½ inches, full margins. Second state (of 3), with the delicate vertical lines on the forehead but before the further darkening of the hair. One of approximately only 2 known impressions in this state, from a total edition of approximately only 26 in all three states combined. Signed in pencil, lower right. A brilliant, richly-inked impression of this extremely scarce print.
A portrait of the artist’s wife, Ada Vilstrup, the daughter of a Jutland preacher, who married Nolde in 1902.
Provenance: Julius Grober, Jena (Lugt 5741, verso). Schiefler/Mosel 165.
Estimate
$7,000 – $10,000
Käthe kollwitz
Ende .
Etching, aquatint and engraving printed in dark brownish black, 1893-97. 247x307 mm; 9¾x12¼ inches, full margins. Third state (of 5). Signed in pencil, lower right. From Ein Weberaufstand . A superb, dark and richly-inked impression. Klipstein 37; Knesebeck 38.
Estimate
$1,500 – $2,500
Käthe kollwitz
Mutter mit Kind auf dem Arm .
Etching and drypoint printed in dark brownish black, 1910. 195x128 mm; 7¾x5 inches, wide margins. Fifth state (of 7). Signed in pencil, lower right. A very good impression. Klipstein 110; Knesebeck 114.
Estimate
$3,000 – $5,000
Käthe kollwitz
Verbrüderung .
Lithograph, 1924. 235x173 mm; 9¼x6¾ inches, full margins. Edition of 400. Signed in pencil, lower right. A superb, dark impression with strong contrasts. Klipstein 199; Knesebeck 204.
Estimate
$1,500 – $2,500
Käthe kollwitz
Die Freiwilligen .
Woodcut, 1921-22. 350x496 mm; 13¾x19½ inches, wide margins. Fourth state (of 4). Signed and numbered B 74/100 in pencil, lower margin. A good, evenly-printed impression of this scarce woodcut. Klipstein 178; Knesebeck 173.
Estimate
$3,000 – $5,000
Käthe kollwitz
Die Witwe II .
Woodcut on Japan paper, 1922. 300x528 mm; 12x21 inches, full margins. Seventh state (of 7). Signed and numbered 5/100 in pencil, lower margin. Printed by Fritz Voigt, Berlin. Published by Emil Richter, Dresden. From Krieg . A superb, richly-inked impression with strong contrasts. Klipstein 181; Knesebeck 178.
Estimate
$2,500 – $3,500
Max pechstein
Das Vater Unser IX: Sondern erlöse uns von dem Übel .
Woodcut with hand coloring in watercolor, 1921. 396x297 mm; 15⅝x11¾ inches, full margins. The deluxe edition of 50 with hand coloring (from the total edition of 250). Signed in pencil, lower right. Printed by Fritz Voigt, Berlin. Published by Propyläen-Verlag, Berlin. From Das Vater Unser . A very good impression.
According to the Museum of Modern Art, New York, where there is an uncolored impression of this woodcut, the subject of this work illustrates the line from the Lord’s Prayer, “But deliver us from evil.” Pechstein’s (1881-1955) portfolio Das Vater Unser (The Lord’s Prayer) contains twelve different woodcuts. “Promising forgiveness and deliverance from evil, the Lord’s Prayer resonated powerfully in postwar German society, which was saddled with war guilt and reparations, beset by hunger, and racked by civil unrest and political violence. Pechstein illustrated a single verse of the Lord’s Prayer on each of this portfolio’s twelve sheets, following the German translation from Martin Luther’s Small Catechism , which emphasizes the power of individual prayer. Pechstein’s woodcuts contrast God’s grandeur and omnipotence with his humble followers’ modest lives. The artist clothed the faithful in the simple garb of Baltic fishermen, familiar to him from his repeated stays in Nidden on Prussia’s easternmost border. Their masklike faces and blocky, angular bodies combine the styles of medieval German woodcuts and forms sourced from the South Pacific, which Pechstein had visited before World War I, and from Africa.
Pechstein created the portfolio during a time of intense personal and social upheaval. Only two years earlier, he had been an instrumental figure in revolutionary artists’ organizations that had agitated for social reform in Germany’s newly established democracy. But like many others he quickly grew disillusioned, and, it seems, he began looking for change not through politics but through heavenly intervention.” Krüger 265.
Estimate
$2,000 – $3,000
Max pechstein
Selbstbildnis mit Pfeife.
Woodcut, 1921. 342x280 mm; 13⅜x11 inches, wide margins. Edition of 100. Signed in pencil, lower right. Published by Paul Westheim, Euporion-Verlag, Berlin. From Die Schaffenden . A very good impression. Krüger 250.
With– Der Kritiker (Dr. Paul Fechter) , etching and drypoint, 1921. 397x315 mm; 15⅝x12⅜ inches, full margins. The deluxe, signed edition of 100, from a total edition of 275. Signed in pencil, lower right. Published by Arndt Beyer, Leipzig. From Kreis graphischer Künstler und Sammler: Die Künstler der Brücke . A very good, richly-inked impression. Krüger 124.
Estimate
$2,000 – $3,000
George grosz
Selbstbildnis mit Hund vor der Staffelei .
Lithograph on imitation Japan paper, 1926. 402x307 mm; 15⅞x12⅛ inches (sheet), full margins. Edition of 125. Signed in pencil, lower right. Published by Paul Westheim, Euporion-Verlag, Berlin. From Die Schaffenden . A very good impression. Dückers E 101.
Estimate
$1,200 – $1,800
George grosz
Ameisen .
Photolithograph on Japan paper, 1920. 260x377 mm; 10¼x14¾ inches, full margins. The deluxe edition “A” of 100. Signed in pencil, lower right. Published by Malik-Verlag, Berlin. From Im Schatten . A very good impression of this scarce print.
Grosz’s (1893-1959) portfolio Im Schatten (In the Shadows) focuses on the lives of Weimar Germany’s forgotten citizens: the toiling proletariat and crippled veterans who enjoyed none of the glittering pleasures of the postwar metropolis. Grosz presents the monotonous lives of the workers sympathetically, reserving his usual scathing caricature for fat capitalists, petit-bourgeois philistines and pompous army officers. Workers, war invalids and impoverished mothers and widows go about their lives in tattered clothing with quiet dignity. Grosz humanizes the workers, carefully giving each a unique physiognomy and gait, even as they head en masse to the factory. The title of this work, Ameisen (or Ants), alludes to the monotonous routine of these men on their way to work. Dückers MIV I.
Estimate
$1,500 – $2,500
Lyonel feininger
Winternacht.
Etching, 1916-17. 138x216 mm; 5½x8½ inches, full margins. Edition of approximately only 8. Signed and titled in pencil, lower margin. A very good impression of this extremely scarce, early etching.
Provenance: The artist’s collection, New York; the artist’s estate, New York. Prasse 60.
Estimate
$5,000 – $8,000
Lyonel feininger
Kathedrale (Grosser Stock) .
Woodcut, 1919. 304x89 mm; 12x7½ inches, full margins. Second state (of 2). Numbered 30/150 in pencil, lower left. Printed by Gehenna Press, Northampton. Published by Associated American Artists, New York. A very good impression. Prasse 144.
Estimate
$1,500 – $2,500
Lyonel feininger
Häuser.
Woodcut on laid Japan paper, 1919. 73x55 mm; 2⅞x2¼ inches, full margins. Signed in pencil, lower left, and with the artist’s work number “1933” in pencil, lower center. A very good impression.
Provenance: The artist’s collection, New York; the artist’s estate, New York. Prasse 153.
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. From Le Mythe de la Roche Percée . A superb, richly-inked impression of this very scarce etching with strong contrasts and crisp, inky plate edges. Wittrock 14 B.
Estimate
$2,500 – $3,500
Joan miró
Femme-Oiseau II.
Color aquatint and etching, 1960. 345x465 mm; 13⅝x18¼ inches, full margins. Signed and numbered 14/90 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression. Dupin 275.
Estimate
$5,000 – $8,000
Joan miró
Le Prophète Encerclé .
Color aquatint and etching, 1965. 680x530 mm; 26¾x20¾ inches, full margins. Signed and numbered 10/75 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression of this large print with strong colors. Dupin 396.
Estimate
$7,000 – $10,000
Joan miró
L’Inhibé .
Color etching, aquatint and carborundum, 1969. 640x395 mm; 25¼x15½ inches, full margins. Signed and numbered 52/75 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression with strong colors. Dupin 508.
Estimate
$8,000 – $12,000
Joan miró
Série II, bleu vert rouge .
Color lithograph, 1961. 450x600 mm; 17¾x23½ inches (sheet), full margins. Signed and numbered 20/30 in pencil, lower margin. Printed and published by Maeght, Paris. From the same-titled series. A very good impression with strong colors. Mourlot 226.
Estimate
$2,000 – $3,000
Joan miró
Homenatge à Joan Prats .
Color lithograph, 1971. 550x750 mm; 21¾x29½ inches, full margins. Signed and numbered 70/75 in pencil, lower margin. Printed and published by Polígrafa, Barcelona. A very good impression with strong colors. Mourlot 711.
Estimate
$4,000 – $6,000
Joan miró
Miró a l’Encre .
Color lithograph, 1972. 345x260 mm; 13⅝x10¼ inches, full margins. Signed and numbered 15/70 in pencil, lower margin. Printed by Mourlot, Paris. Published by XXe Siècle, Paris. From the same-titled portfolio. A very good impression. Mourlot 837.
Estimate
$1,500 – $2,500
Joan miró
Arlequin Circonscrit.
Color lithograph, 1973. 590x450 mm; 23¼x17¾ inches, full margins. Signed and numbered 12/75 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression. Mourlot 887.
Estimate
$2,000 – $3,000
Joan miró
Céramiques de Miró et Artigas .
Color lithograph, 1974. 460x665 mm; 18x26¼ inches, full margins. Signed and numbered 36/50 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression with strong colors. Mourlot 927.
Estimate
$4,000 – $6,000
Joan miró
Cèramiques.
Color lithograph, 1974. 420x620 mm; 16½x24⅛ inches, full margins. An hors commerce impression, aside from the edition of 50. Signed and inscribed “H.C.” in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression. Mourlot 928.
Estimate
$4,000 – $6,000
Joan miró
Poster for the Exhibition Miró, Foundation Maeght, Saint-Paul-de-Vence .
Color lithograph, 1979. 735x500 mm; 29x19¾ inches, full margins. An hors commerce impression, aside from the edition of 75. Signed and inscribed “H.C.” in pencil, lower margin. Printed by Les Artisans Lithographes, Paris. Published by Fondation Maeght, Saint-Paul-de-Vence. A very good impression of this large lithograph with strong colors. Mourlot 1190.
Estimate
$3,000 – $5,000
Joan miró
La Commedia dell’Arte V .
Color etching and aquatint, 1979. 560x760 mm; 22x29¾ inches (sheet), full margins. Signed and numbered 15/30 in pencil, lower margin. Printed by Joan Barbarà, Barcelona. Published by Maeght, Paris. A very good impression with strong colors. Dupin 1110.
Estimate
$4,000 – $6,000
Stanley w. hayter
Jeux d’eau .
Color engraving and soft-ground etching, 1953. 397x328 mm; 15¾x13 inches, full margins. Signed, titled, dated and numbered 53/200 in pencil, lower margin. Printed at Atelier 17, Paris. Published by L’Œuvre Gravée, Zurich. A very good impression with strong colors.
Black/Moorhead indicate that the color combinations used for this print vary between the lower and higher numbers in the edition (not to mention the various proofs), therefore the actual edition size based on these variations is likely smaller than the overall 200 published impressions. Black/Moorhead 208.
Estimate
$1,500 – $2,500
Max ernst
Ohne Titel.
Color etching and aquatint, 1950. 198x136 mm; 7⅞x5⅜ inches, full margins. Signed and numbered 8/100 in pencil, lower margin. Printed by Georges Visat, Paris. Published by Au dépens d’un amateur, Paris. A very good impression of this scarce print. Spies/Leppien 45.
Estimate
$1,500 – $2,500
Max ernst
Danseuses .
Lithograph, 1950. 493x325 mm; 19½x12¾ inches, full margins. Signed and numbered 172/200 in pencil, lower margin. Printed by Desjobert, Paris. Published by La Guilde de la Gravure, Paris and Geneva, with the blind stamp lower left. A very good, dark impression. Spies/Leppien 46.
Estimate
$1,500 – $2,500
Salvador dalí
Oedipe et le Sphinx.
Color etching, engraving and aquatint on Japon nacré , 1960-64. 495x390 mm; 19½x15½ inches, full margins. Signed and numbered XXVI/C in pencil, lower right. Published by Argillet, Paris. From Mythologie. A very good impression. Michler/Löpsinger 120; Field 63-3 J.
Estimate
$1,500 – $2,500
Salvador dalí
Argus.
Etching, heliogravure and drypoint on Japon nacré , 1963-65. 395x495 mm; 15½x19½ inches, full margins. Signed and numbered V/C in pencil, lower margin. Published by Argillet, Paris. From Le Mythologie. A very good impression of this large, early print. Michler/Löpsinger 116; Field 63-3 A.
Estimate
$4,000 – $6,000
Salvador dalí
Don Quichotte (Horseman).
Etching printed in dark brown, 1964-75. 390x295 mm; 15½x11¾ inches, full margins. Artist’s proof, aside from the edition of 200. Signed and inscribed “p. P.” in pencil, lower margin. Printed by Emiliano Sorini, New York. Published by Levine and Levine, New York. A very good impression.
According to Field, this is the second plate produced of this subject, based on an earlier etching of the same subject from 1964. Field notes that, “An edition of unknown size was printed by Sorini, of which Dalí signed 200 numbered prints.” Michler/Löpsinger 99; Field 64-4 and page 237.
Estimate
$1,500 – $2,500
Salvador dalí
Crazy Horse .
Color lithograph, 1966-68. 725x541 mm; 28½x21¼ inches, full margins. Artist’s proof, aside from the edition of 250. Signed and inscribed “E.A.” in pencil, lower margin. Printed by Desjobert, Paris. Published by Yamet Arts, New York. A very good impression of this large, early lithograph with strong colors. Michler/Löpsinger 1158; Field 68-1.
Estimate
$4,000 – $6,000
Salvador dalí
The Hippies .
Complete set of 11 drypoints with hand coloring on Japon nacré , 1969-70. 650x510 mm; 25⅝x20⅛ inches (sheets), full margins., loose as issued.
The deluxe edition of 100 on Japon nacré , aside from the edition of 145 on Arches. Each print signed and numbered XXVII/C in pencil, lower margin. Published by Argillet, Paris. Very good impressions. Michler/Löpsinger 377-387; Field 69-13 A-K.
Estimate
$15,000 – $20,000
Salvador dalí
A la Plage .
Color lithograph printed in black on pale green background, 1970. 505x715 mm; 20x28¼ inches, full margins. Signed and numbered CVII/CXX in pencil, lower margin. Printed by Desjobert, Paris. A very good impression. Michler/Löpsinger 1378; Field 70-8 B.
Estimate
$2,000 – $3,000
Salvador dalí
La Conquête du Cosmos I & II .
La Conquête du Cosmos I . Group of 5 (of 6) color drypoints with lithograph, embossing and collage on Rives BFK, 1974. 990x700 mm; 39x27½ inches (sheets), full margins. Edition of 585. Each print signed and numbered XXXVII/CLXXXXV in pencil, lower margin, and numbered in pencil on the justification page. Printed by Imprimerie Artisque Bellini, Paris. Published by Levine & Levine Graphics, New York. Original board portfolio box. Lacking Dalí Martian muni d’un double microscope holoelectronique * La Conquête du Cosmos II . Group of 5 (of 6) color drypoints with lithograph, embossing and collage on Arches, 1974. 900x700 mm; 39x27½ inches (sheets), full margins. Edition of 585. Each print signed and numbered CXXVIII/CLXXXXV in pencil, lower margin, and signed by the publisher, Jean Lavigne, Paris, in pencil, lower left. Original blue velvet portfolio. Lacking the justification page and Le sang du yin et le yang . All very good impressions with strong colors.
According to Field, all twelve prints for La Conquête du Cosmos were made in 1974, but were marketed in two separate portfolios: Cosmos I in 1974 and Cosmos II in 1977. Michler/Löpsinger 641-643, 645-651; Field 74-12 A-B and D-K.
Estimate
$15,000 – $20,000
Salvador dalí
Symphony Bicyclette .
Color lithograph, 1970. 762x561 mm; 30⅛x22⅛ inches, full margins. Artist’s proof, from the edition of 220. Signed and inscribed “E.A.” in pencil, lower margin. A very good impression of this large, scarce lithograph.
We have found only 3 other impressions at auction in the past 30 years. Field 70-4.
Estimate
$7,000 – $10,000
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 very scarce, early etching.
Like many of Chagall’s (1887-1985) prints from the early part of his career, L’Apparition, I (The Vision) is based on an oil painting 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 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
$4,000 – $6,000
Marc chagall
Prophétie sur Jérusalem .
Etching with hand coloring in watercolor, 1931-39. 320x247 mm; 12¾x9¾ inches, full margins. Initialed and numbered 82/100 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 287.
Estimate
$3,000 – $5,000
Marc chagall
David montant la Colline des Oliviers .
Etching with hand coloring in watercolor, 1931-39. 320x245 mm; 12¾x9¾ inches, full margins. Initialed and numbered 81/100 in pencil, lower margin. Printed by Haasen, Paris. The project initiated by Vollard and published by Tériade, Paris. From Bible. A very good impression with strong colors. Vollard 269.
Estimate
$3,000 – $5,000
Marc chagall
La Vision d’Ezechiel .
Etching and aquatint with hand coloring in watercolor, 1931-39. 293x242 mm; 11¾x9¾ inches, full margins. Initialed and numbered 90/100 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 300.
Estimate
$2,500 – $3,500
Marc chagall
Les Amoureux aux Soleil Rouge .
Color lithograph, 1960. 380x280 mm; 15x11¼ inches, full margins. Signed and numbered 4/40 in pencil, lower margin. A very good impression with strong colors. Mourlot 285.
Estimate
$5,000 – $8,000
Marc chagall
XXe Siècle—Hommage à Marc Chagall .
Color lithograph, 1969. 322x240 mm; 12¾x9¾ inches, full margins. Signed and numbered 66/75 in pencil, lower margin. Printed by Mourlot, Paris. Published by Maeght, Paris. A very good impression with vibrant colors. Mourlot 572.
Estimate
$5,000 – $8,000
Marc chagall
Les Enchanteurs .
Color lithograph, 1969. 560x380 mm; 22x15 inches, full margins. One of 25 numbered artist’s proofs, aside from the edition of 50. Signed, numbered XII/XXV and inscribed “epreuve d’artiste” in pencil, lower margin. A very good impression. Mourlot 569.
Estimate
$8,000 – $12,000
Marc chagall
Moïse et le Veau d’Or .
Lithograph on Japon nacré , 1976. 400x300 mm; 15¾x11¾ inches, full margins. Signed and numbered 17/50 in pencil, lower margin. A very good impression with strong contrasts. Mourlot 839.
Estimate
$2,000 – $3,000
Marc chagall (after)
The Magic Flute .
Color lithograph, 1967. 1010x660 mm; 39¾x25¾ inches (sheet), full margins. Artist’s proof, aside from the edition of 3000. Signed and inscribed “epreuve d’artiste” in pencil, lower margin. Printed by Mourlot, Paris. Published by Editions of the Metropolitan Opera, New York. A superb impression with vibrant colors. Sorlier 38.
Estimate
$4,000 – $6,000
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
Giorgio de chirico
Autoritratto.
Color lithograph on Japon nacré , 1970. 568x355 mm; 22⅜x14 inches, full margins. Artist’s proof, aside from the edition of 110. Signed, titled and inscribed “P.A.” in pencil, lower margin. With the artist’s blind stamp, lower left. Printed by Alberto Caprini Stampatore, Rome, with the blind stamp lower right. A very good impression. Brandani 112.
Estimate
$1,200 – $1,800
Giorgio de chirico
Trovatore.
Color lithograph with extensive hand coloring in watercolor, gouache and pastel on heavy, cream wove paper, 1969. 585x447 mm; 23x17⅝ inches, full margins. Signed, titled, numbered 33/50 and inscribed “colorato a mano” in pencil, lower margin. With the artist’s blind stamp lower left. Published by Alberto Caprini, Rome, with the blind stamp lower right. A superb impression of this very scarce lithograph with strong colors. Brandani 64.
Estimate
$2,000 – $3,000
Marino marini
Gran Cavaliere .
Color aquatint and etching, 1978. 966x675 mm; 38½x26⅝ inches, full margins. Signed and numbered 57/75 in pencil, lower margin. Printed by Il Cigno, Rome. Published by ZWR, London. A very good impression of this large etching with vibrant colors. Guastalla 220.
Estimate
$3,000 – $5,000
Henry moore
Two Reclining Figures.
Color lithograph, 1973. 437x353 mm; 17¼x13⅞ inches, full margins. One of 15 numbered artist’s proofs, 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
$1,200 – $1,800
Henry moore
Seated Mother and Child .
Color lithograph, 1975. 298x222 mm; 11¾x8¾ inches, full margins. Signed and numbered 70/100 in pencil, lower margin. Printed by the Royal College of Art, London. Published by Gérald Cramer, Geneva. A very good impression of this scarce lithograph with strong colors. Cramer 367.
Estimate
$1,000 – $1,500
Henry moore
Four Mother and Child Studies .
Color etching and aquatint, 1976. 325x240 mm; 12¾x9½ inches, full margins. Signed and numbered 80/100 in pencil, lower margin. Printed and published by Il Bisonte, Florence. A very good impression with strong colors. Cramer 422.
Estimate
$1,500 – $2,500
Henry moore
Reclining Woman II .
Color lithograph, 1980-81. 419x514 mm; 16½x20¼ inches, full margins. Signed and numbered 36/50 in pencil, lower margin. Printed by Curwen Prints, Ltd., London. Published by Raymond Spencer Company, Ltd., for the Henry Moore Foundation, Much Hadham. A very good impression of this large lithograph with strong colors. Cramer 592.
Estimate
$2,000 – $3,000
Henry moore
Reclining Woman on Sea Shore .
Color lithograph, 1980-81. 445x610 mm; 17½x24 inches, full margins. Signed and numbered 11/50 in pencil, lower margin. Printed by Curwen Prints, Ltd., London. Published by Raymond Spencer Company, Ltd., for the Henry Moore Foundation, Much Hadham. A very good impression of this large lithograph with strong colors. Cramer 596.