Gentleman Wearing a Jacket. c.1969. Pen and ink drawing. 11 5/8 x 9 (sheet 13 3/4 x 11). Drawn on wove paper from a spiral bound drawing pad. Ex-collection of Eugene A. Noble. Signed and dated in pencil. $175.
German World War I Officer. c. 1914. Charcoal drawing. 18 1/3 x 6 5/8 (sheet 18 7/8 x 7). Drawn on cream laid paper watermarked "France". Signed lower left; estate stamp verso. The soldier is wearing a spiked helmet. $500.
Dans les Cendres (In the embers). 1887. Delteil 67. Etching, drypoint and roulette. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). 16 3/4 x 12 1/8 (sheet 19 1/2 x 14). Edition 50. Illustrated: Print Collector's Quarterly 9 (1921): 254. A very rich impression with plate tone and drypoint burr, printed on simili-japon. This is one of the artist's most striking images. Signed in pencil. $1,750.
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Illustrations for the Fables of Jean de la Fontaine. 1886. Three of the six etchings for the series, each mounted on its original support sheet and signed in pencil by Bracquemond. Each has the oval blindstamp as first issued by Boussod, Valadon & Co., the year in which Moreau's watercolors of of these subjects were exhibited. Moreau was one of the fathers of the Symbolist movement in France.
"Le singe et le chat" (The Monkey and the Cat). 1886. Etching. Béraldi 796. Published state. Image: 11 7/8 x 8 15/16; plate: 15 1/8 x 10 1/2. Illustrations for the Fables of Jean de la Fontaine. Printed on the full sheet of imperial japon paper. Issued by Boussod, Valadon & Co., the year in which Moreau's watercolors of these subjects were exhibited. Signed in pencil. $975.
La tête et la queue du serpent (The Countryman and the Serpent -- the Head and Tail of a Serpent). 1886. Etching. Béraldi 801.vii. Published state. Image: 11 1/2 x 8; plate: 15 x 10. Illustrations for the Fables of Jean de la Fontaine. Printed on the full sheet of imperial japon paper. Issued by Boussod, Valadon & Co., the year in which Moreau's watercolors of these subjects were exhibited. Signed in pencil. $975.
Femme assise sur un rocher. (after Louise Abbéma. 1847-1898.). c. 1874. Ink study for the etching. 4 1/8 x 3 1/2 (image and sheet). Drawn on yellow/tan colored paper. Unsigned. $2,750 the pair.
Femme assise sur un rocher. (after Louise Abbéma. 1847-1898.). c. 1874. Etching. Bourcard-Goodfriend 46. 5 1/8 x 6 7/8 (sheet 8 1/2 x 12 3/16). Printed on cream laid paper. Soiling in the right-hand margin, well outside the image. Signed, annotated and dated in the plate. $2,750 the pair.
La petite marine -- Souvenir de Medway. (Little Seascape, a Remembrance of the Medway). 1879. Etching, drypoint, false biting, aquatint and stop-out. Bourcard-Goodfriend 153.vi. 6 1/2 x 8 9/16 (sheet 9 3/8 x 11 1/2). Very fine impression of the completed state on tan Van Gelder laid paper with full margins. Signed with the red owl stamp, signed and annotated 'épreuve d'artist' in pencil. Housed in a 13 x 14 1/2 gold and grey wood frame. $1,800.
Westminster Palace. 1884. Etching with drypoint and aquatint. Bourcard-Goodfriend 155.vi/vii, before effacement of the words 'in progress for 'lower left. 11 1/2 x 15 11/16 (sheet 14 x 19 1/4). A rich impression with plate tone, printed in brownish/black on cream laid paper. Westminster Palace is one of Buhot’s masterpieces. Signed with the artist's red owl stamp. (Lugt 977) and in pencil. $3,500.
Studî della piccola Simonella (Sketches of little Simonella). August 28, 1942. Pencil drawing. 5 1/8 x 7 13/16. Rubbing to the corner, otherwise good condition. Signed, dated and titled in pencil. Housed in an archival French mat and a 14 1/4 x 16 1/4-inch black and gold leaf frame. A charming set of studies of a sleeping child, probably the artist's daughter. $650.
Seattle - The Puget Sound. Un nouvo Moudo de esplorare -- assimilore. (A new way to explore -- assimilate). 1955-65 Collage with pen and ink, on wove paper mounted on masonite. 16 3/4 x 12 (sheet 19 11/16 x 13 3/4). Signed and dated in ink. $350.
Les Baigneurs (grande planche) ( The Bathers, large plate). 1896-c.1898. Druick I; Venturi 1157. Lithograph printed in colors. 16 3/4 x 20 1/4" (42.6 x 51.5 cm); sheet: 19 x 24 13/16" (48.3 x 63 cm). A iich impression with strong colors printed on the full sheet of 'MBM' countermarked laid paper. Publisher: Ambroise Vollard, Paris. Printer: Atelier Clot, Paris. Housed in a 27 x 31-inch elaborate wood carved gold leaf fame. $40,000.
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Etching
Lever de Lune Sur Bords de l'Oise (Moonrise along the banks of the Oise River). 1875. Etching. Delteil, Melot 123.iii. 4 3/8 x 6 5/8 (sheet 7 7/8 x 11 1/8). As published in Frédéric Henriet, C. Daubigny et son oeuvre gravé, Paris: A. Lévy, 1875. A rich impression printed on cream laid paper with deckle edges on three sides. Signed, dated and titled in the plate. $225.
Cliché-Verres
Le marais aux canards (Swamp with Ducks). 1862. Original cliché-verre. Delteil, Melot 133. 6 1/2 x 7 7/8 (image and sheet). Edition 150, #85. Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec on photo-sensitive vellum paper, with their violet seal verso (Lugt 1766a). Signed in the plate in reverse. $750.
Le gué (The Ford). 1862. Original cliché-verre. Delteil, Melot 139. 11 1/2 x 14 1/4 (image and sheet). Edition 150, #71. Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec on photo-sensitive vellum paper, with their violet seal verso (Lugt 1766a). Signed in the plate in reverse. $1,250.
La Fenaison (The Hay Harvest). 1862. Original cliché-verre. Delteil, Melot 142. 8 7/16 x 13 7/16 (sheet 11 z 14 1/4). Edition 150, #71. Reversed print, Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec on photo-sensitive vellum paper, with their violet seal verso (Lugt 1766a). Signed in the plate in reverse $1,250.
L'Âne au pré (Donkey in the Field). 1862. Original cliché-verre. Delteil, Melot 143. 6 5/8 x 8 (image and sheet). Edition 150, #71. Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec on photo-sensitive vellum paper, with their violet seal verso (Lugt 1766a). Signed in the plate in reverse. $750.
Le bouquet d'aunes (The Clump of Alders). 1862. Original cliché-verre. Counterproof. Delteil, Melot 145. 6 1/2 x 8 3/4 (image and sheet). Edition 150, #71. Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec on photo-sensitive vellum paper, with their violet seal verso (Lugt 1766a). Signed in the plate in reverse. $750.
La Machine hydraulique (The Hydraulic Machine). 1862. Original cliché-verre. Delteil, Melot 147. Delteil 147. 8 3/8 x 13 1/2 (sheet 11 x 14). Edition 150, #85. Posthumous impression from the 1921 edition of 150 printed in Paris by Sagot-Le Garrec on photo-sensitive vellum paper, with their violet seal verso (Lugt 1766a). Signed in the plate. $1,250
- Dites donc, président, impossible d'attraper un lièvre cette année ci..... ils ne restent plus en place..... - Ça tient à ce que le gouvernement a oublié de les rendre inamovibles......
(- I tell you Mr President.... it is quite impossible to trap a hare this year...... - It's of course the fault of the government,... as usual, they forgot to make them irremovable in time.)
1849. Lithograph. Delteil 1946.ii/ii (with letters). RARE. 9 5/8 x 8 (sheet 13 7/8 x 9 1/2). Series: Croquis Charivariques (Charivari Sketches), plate 2. Published in Le Charivari September 25, 1849. Lower left: Chez Aubert, Pl.de la Bourse.; lower right:Imp. Aubert & Cie. Central horizontal fold and allover mottling. Initialed 'h.d.' in the stone, lower left. $250.
"- Quand après dix assauts infructueux on arrive enfin à conquérir une place dans un wagon on éprouve un premier et bien vif plaisir."
(Having found a seat after ten desperate attempts to board the train, a first tender feeling of holiday relaxation emerges.)
1864. Lithograph. Delteil 3295.ii/ii (with letters). 9 5/8 x 8 3/4 (sheet 11 13/16 x 12 1/16). Series: Croquis, - par Daumier, (Sketches by Daumier), plate one. The series consisted of 4 prints which appeared in the CHARIVARI between August 6, 1864 and June 6, 1866. This image was published in Le Charivari August 6, 1864. Text: lower left: Mon-Martinet,172 r.Rivoli et 41,r.Vivienne; lower right: Lith. Destouches,28,r.Paradis Pre. Slight foxing; one vertical and one horizontal fold; sheet trimmed. A delightful early railroad image. Initialed in the stone, lower left. $750.
La Rentrée.
C'est drôle, je ne vois pas revenir la petite Confiance.
(The return
It's strange that , I don't seem to see little Confiance return.)
1868. Lithograph. Delteil 3669.iii/iii (with letters). 9 7/8 x 8 3/8 (sheet 11 3/4 x 11 3/16). Series: Actualités, (News of the Day), plate 220. Published in Le Charivari October 12, 1868. Text: lower left: A.de Vresse,r. Rivoli 55; lower right: Lith.Destouches, r. Paradis Pre.28. Vertical and horizontal folds; minor scattered foxing; sheet trimmed. Initialed in the stone, lower left. $125.
Ils brûlent, ces gros-là, ils brûlent!
---
Chauds les gros! Chauds!...
(They scorch these big ones, they burn!
---
Big hot ones! Hot!)
1868. Lithograph. Hazard 3673.iii/iii (with letters). Not in Delteil 3673. 9 1/2 x 8 7/8 (sheet 11 3/4 x 11 3/4). Series: Actualités, (News of the Day), plate 222. Published in Le Charivari November 14, 1868. Text: lower left: A.de Vresse, R. Rivoli 55 lower right: Lith Destouches R.Paradis Pre. 28. Vertical and horizontal folds; sheet trimmed. Initialed in the stone, lower left. $175.
Les augures de la diplomatie n'osant ouvrir l'oiseau-Prussien pour savoir à quoi s'en tenir.
(The augures of diplomacy, don't dare to open the Prussian bird, to find what it might contain.)
Having found a seat after ten desperate attempts to board the train, a first tender feeling of holiday relaxation emerges.)
1867. Lithograph. Hazard 3965.i/i (with letters). Not in Delteil. 10 1/8 x 9 (sheet 11 1/2 x 11 5/16). Series: Actualités, (News of the Day), plate 179. Published in Le Charivari October 3, 1867. Text: lower left: Lith. Destouches, r. Paradis Pre.28; lower right: A.de Vresse Edr. rue du Rivoli 55. Center vertical fold and minor water stains on the left. This is a one of Daumier's rare and notable images. $300.
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Frauen am Tempel. (Women at the Temple). 1908. Linoleum cut. Lang 20. 13 3/4 x 9 3/4 (sheet 23 1/2 x 18 3/8). Edition size not stated. Lang was unable to obtain an image of this early state for the catalogue. He illustrates only the 1965 edition with the title in woodcut added in the blank space lower left. A rare working proof, retouched by the artist with his ink changes. Printed on on soft antique japan, with ample margins. Signed "Heinz Ehmsen," dated and annotated "D.dorf" (Dusseldorf) in pencil. $500.
Satyr (also Liebesleben) 1907. Woodcut ( Lang classifies the work as a linocut). Lang 13. 6 x 5 7/8 (sheet 12 1/2 x 10 1/8). Edition about 8. A proof on soft antique japan, ample margins, initialed and dated in the block; signed "Heinz Ehmsen," dated, and annotated "holzschnitt" (woodcut) by the artist in pencil, as is characteristic of the early impressions. A glowing impression of this rare image. $450.
Der Teufel (The Devil). 1906/07. Woodcut with hand coloring. Lang 2. 8 7/8 x 8 9/16 (sheet 22 1/8 x 17). Edition size unknown. Printed on heavy card with laid lines, ample margins. Initialed in the block, and signed "Heinz Ehmsen" in ink, beneath the image lower right, as is characteristic of the early impressions. Lang (p. 68) states that early impressions carry the signature Heinz Ehmsen; whereas later impressions carry only the signature 'Ehmsen'. Inscribed and dated in pen by the artist. An uncatalogued and perhaps unique hand colored example. $750.
Trauernde. (Mourning). Linoleum cut. Lang 6. Edition about 15. 7 x 9 5/16 (sheet 8 5/8 x 10 7/8).Printed on soft antique japan, with ample margins. Signed "Heinz Ehmsen," and annotated "D.dorf 1909" in pencil. An early printing of this rare image. $450.
L'amant et le dictionnaire des rimes. (The Lover and the Rhyming Dictionary) July 7, 1839. Lithograph. 7 7/8 x 6 1/4 (image), 10 1/3 x 9 (border), 14 5/8 x 10 (sheet). A fine impression printed on newsprint as published in Le Charivari. Good condition apart from a center fold. Signed in reverse in the stone. A parody on the excesses of amateur poets:
(L'amant): Nymphes des Bois, connaissez vous Adèle? (Le Dictionnaire des Rimes): Adèle! Pastourelle, charnelle, onzelle, matétielle, récelle, sempiternelle, femelle....Qu'elle demoiselle!
The comparisons become increasingly less flattering. $125.
Le Comte Robert de Montesquiou-Fezensac. c. 1894. Etching with drypoint and roulette. 9 1/8 x 4 1/4 (10 1/2 x 7 1/8). As published in the Gazette des Beaux-Arts in 1903. A fine impression printed by Porcabeuf on cream laid paper. Signed in the plate. $175.
La vieille eglise de Xhignesse, Vaux-Chavanne. (Belgium). c. 1920. Etching. 3 3/8 x 7 5/16 (sheet 79/16 x 11 3/16). A rich impression with plate tone printed on cream wove paper. Titled in the plate; signed in pencil. $275.
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Alexandra of Denmark, Queen of England. c. 1912. Drypoint printed in colors. 21 3/8 x 13 3/4 (sheet 27 1/4 x 18 5/8). An excellent impression with subtle plate tone, printed on white wove paper. Signed in pencil. $4,500.
La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 3/8 x 12 3/4). Housed in a silk mat with a gold liner, in a gold leaf frame that measures 31 1/2 x 22 1/2. A rich impression printed on white wove paper with full margins. This portrait is the artist's master work. Signed in pencil in the image. Housed in 33 1/2 x 24 1/4-inch antique black lacquer and gilt picture frame with applied gilt decorations. $19,000.
Lady Carnarvon. c. 1901. Drypoint. 15 1/8 x 10 1/4 (sheet 17 5/8 x 12 5/8). A rich impression printed on white wove paper. Signed, numbered in pencil and annotated 'Tireé à 10, planche detruite'. Edition 10, #3. Housed in an archival French mat and a 25 1/2 x 20-inch silver leaf frame. $3,750.
Le Noeud Bleu (The Hat with the Blue Bow). c. 1905. Drypoint printed in four colors (black, brown, blue, red). Montesquieu 40. 21 x 13 (sheet 21/1/4x 13 1/4). Edition 80, # 6. A fine impression with subtle colors. Signed in pencil. Housed in a classic 28 1/2 x 21 1/2 -inch gold leaf frame. $4,000. This portrait of Miss Madeleine Dolley, a dancer from the Folies-Bergere, is one of Helleu's most delightful images.
Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the canceled plate (there were only 28 impressions before the plate was canceled), printed on cream laid paper. A delightful portrait of Helleu's colleague and friend, Whistler. $1,750.
Le Pope Niemetsky. Prisonnier de guerre au camp de Halle (Prusse), 1915. (Pope Niemetsky, Prisoner of war in the Halle Camp, Prussia). 1915. Drypont. Printed by Vernant and Dollé, and published in Revue de l'Art ancien et moderne. Unsigned. $65.
War Sketches. New York: Wood, 1916. Edition 300. Slim folio, original dark gray paper portfolio containing 20 original lithographs “drawn from life on the battle front of France,” each printed on cream wove paper, mounted on cardstock along the top margin. Each signed and numbered in pencil by the artist, who was “one of the official painters attached to the historical section of the Musée de l’Armée.” Title page and prospectus laid in; original slipcase. $1,600.
War Sketches. New York: Wood, 1916. Edition 300. Slim folio, original dark gray paper portfolio containing 20 original lithographs “drawn from life on the battle front of France,” each printed on cream wove paper, mounted on cardstock along the top margin. Each signed and numbered in pencil by the artist, who was “one of the official painters attached to the historical section of the Musée de l’Armée.” Title page and prospectus laid in; original slipcase. $1,600.
1. The Old Bridge at Meaux. Sept., 1914.
2. Refugees on the Road between Château-Thierry and Mont Montmirail. Sept., 1914.Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 44, and annotated "The Retreat from Charleroy to the Marne."
3. La Trétoire on the Petit Morin. Sept., 1914.
4. An Arabian Chief. Oct., 1914. Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 44, and annotated "Amed-Ben Mohamed, Nini's Arab, who belonged to our Moroccan troops."
5. Prisoners in Flanders. Road to Ramscapelle. Nov., 1914. Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 74, and annotated The Retreat from Charleroy to the Marne.
6. Algerian Spahis in Artois. Nov., 1914. Spahis" were a member of a body of native Algerian cavalrymen in the French armed forces. They were disbanded after Algerian War of Independence which began in 1954 and ended in 1962; ending more than 130 years of French colonial rule over Algeria.
7. Battery on a Road in Artois. Dec., 1914. Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 214, and annotated "The loneliness of the roads -- in peace times always alive with traffic and pleasure-cars."
8. Trench in the Snow. Artois, Dec. 1914.
9. On the Way to the Trenches. Perryse, Dec., 1914.
10. Belgian Street Sentries at Nieuport. Dec., 1914.
11. A Street at Nieuport. Dec., 1914.
12. Types in the British Camp. Dec., 1914.
13. Observation Post near the Aisne. Jan., 1915.
14. Dawn in the Trenches near Berry au Bac. Jan., 1915.
15. Bouffignereux Woods. Feb., 1915.
16. 'Un Poilu' on the Road from Soissons to Venizel. Jan., 1915.
17. Second Line Trenches near Vie sur Aisne. Feb., 1915.
18. A Kitchen in the Ruins. Soissons, Feb., 1915.
19. Soissons Cathedral. March, 1915.
20. Kamarad. March, 1915.
Twelve Etchings Made on the Front by Ch. Huard July 1916. Edition 150 printed on 'Arches' laid paper. Charles Huard's wife, Francis Wilson, lectured in America during the war and sold the etchings. The proceeds were used for maintaining a hospital in France.
Algerian Spahi in Cellar. 6 7/8 X 4 7/8 (sheet 9 5/8 X 8 1/4). Etching printd in black ink. Series: Twelve Etchings Made on the Front by Ch. Huard July 1916. Edition 150 printed on Arches laid paper. Signed in pencil. $250.
Algerian Spahi in Cellar. 6 7/8 X 4 7/8 (sheet 9 5/8 X 8 1/4). Etching printed in sepia ink. Series: Twelve Etchings Made on the Front by Ch. Huard July 1916. Edition 150 printed on Arches laid paper. Signed in pencil. $250.
Courtyard of a house, rue du Tribunal, Soissons. Etching printed in black ink. 5 7/8 x 3 7/8 (sheet 9 5/8 x 8 1/8). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $125.
A Fruit Seller, rue du Commerce, Soissons. 6 7/8 x 4 7/8 (sheet 9 3/4 x 8 1/8). Edition 150. Etching printed in sepia ink. Printed on 'Arches' laid paper. Signed in pencil. $275.
The Market at Rheims. Etching printed in sepia ink. 5 7/8 x 3 7/8 (sheet 9 5/8 x 8). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $275.
Ruins of Fontenay. Etching printed in sepia ink. 5 7/8 x 7 7/8 (sheet 8 1/4 x 9 3/4). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $350.
Sketch of a door near the cathedral, Soissons. 1916/ Etching printed in sepia ink.6 7/8 x 4 7/8 (sheet 9 5/8 x 8 1/9). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $275.
View of the enemy's trenches from a periscope, near Soissons. Etching printed in black ink. 4 7/8 x 6 7/8 (sheet 8 1/4 x 9 3/4). Printed on 'Arches' laid paper. Signed in pencil. $300.
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Au Café -- La Negresse. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 x 5 5/8. Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch at the foot of the image (total edition 95). Light stain from a previous hinge in the top margin, well outside the image; otherwise excellent condition. A rich impression with drypoint burr printed on laid paper watermarked 'Pellet et Legrand', on the full sheet with deckle edges. With the red Pellet stamp, lower right. Ex-collection: Vincent Price. Signed and numbered '36/40' in pencil. $2,000.
English Bar. 1908. Etching and drypoint. Exsteens 275.ii. 11 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. Edition 65 in this state (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed and numbered in pencil. $1,500.
Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch at the foot of the image (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed in pencil. $1,500.
Le bouleaux: bord de l'eau, effect du matin. (Birches: along the water, effect of morning). Etching. Bliss 325.iii/iv. 4 7/8 x 7 7/8 (sheet 9 x 11 9/16). Edition 42 in this state (total 98 proofs in 3 states plus an unrecorded edition in state 4 in which the plate was reduced). Printed with plate tone on 'O.W.P.L.' cream laid paper with full margins. Signed in pencil. $350.
Chercheurs du Trésor (Treasure Hunters). Etching. Wright 697. 4 3/8 x 5 3/4 (sheet 5 5/8 x 6 3/4). Printed with plate tone on antique cream laid paper. Possibly the treasure is the wild truffle. Signed in pencil. $325.
La Lisière de Fôret. (The Edge of the Forest). Etching. Bliss 504. 8 x 12 1/2 (sheet 9 1/4 x 13 5/8). A rich impression printed on cream laid paper. A large, impressive plate with subtle inking. $275.
Pont de Moulin. (Mill Near the Bridge). Etching. Bliss 480 iv/vii. 4 7/8 x 6 1/8 (sheet 6 7/16 x 7 1/2). Printed with subtle plate tone on cream laid paper. Signed in pencil. $325.
Portrait of George Frederick Watts (1817-1904. 1879. Etching. Beraldi 198.iii/iv; Wright 198 iii; Bliss 198. 7 1/8 x 5 1/4 (sheet 11 7/8 x 8). As published the Revue de l'Art ancien et moderne May 10, 1900. A fine impression printed on the full sheet of cream wove paper. Signed in the plate. $225.
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La Galerie Notre-Dame. 1853. Etching with engraving. Schneiderman 29.iv/vi. 11 1/8 x 6 15/16 (14 3/8 x 9 3/8). A rich impression printed in warm black/brown ink on cream laid paper. Collector's seal: Alfred Morrison (Lugt 151). Signed and dated in the plate. $6,500.
Le Grand Châtelet à Paris, vers 1780. 1861. Etching and drypoint. Schneiderman 74.iv. 9 3/16 x 11 3/4 (sheet 13 1/2 x 19 1/4). Edition 100 in this state. A fine impression printed on laid paper with the letters 'A&M' in a crown. Initialed in the plate. The etching was done after an old drawing in the collection of Monsieur Bérard. It was exhibited at the Salon of 1863. Initialed in the plate, lower left. $750.
La Morgue (The Mortuary, Paris). 1865. Etching. Delteil-Wright vi/vii; Schneiderman 42.vi/vii. 6 5/8 x 5 3/4 (sheet 17 7/8 x 142 3/16). The inscriptions of state iv removed and new inscriptions added in block letters: 'LA MORGUE./1850./A DELATRE IMP R St JACQUES 265' lower center; and 'SABRA./DENTISTE/DU/PEUPLE.' on the house to the right; and 'HOTEL DES TROIS BALANCES MUEBLE.' on one to the left; and the monogram, upper left. Series: Eaux-Fortes sur Paris. A rich impression printed on 'HUDELIST' laid paper. Provanance: C.W. Dowdeswell. $5,000.
Nouvelle-Calédonie: Grande case indigène sur le chemin de Ballade à Poépo (New Caledonia: New Caledonia : Large native hut the road from Ballade to Popéo). 1863. Etching. Delteil 67, Schneiderman 87.v. Image: 5 x 8 7/8; plate: 5 7/8 x 9 5/8; sheet: 7 7/8 x 11 5/8. Series: A voyage to New Zealand. A rich impression printed on cream laid paper with full margins. Monogrammed in the plate. $2,250.
Le Petit Pont (Le Petit Pont, Paris). 1858. Etching and engraving. Delteil-Wright 24.v; Schneiderman 20.vi/x. 10 3/8 x 7 3/8 (sheet 13 x 9 1/2). Edition of 600 for L'Artiste (vol IV #14, 1858) in this state. Schneiderman writes, 'In some proofs the full inscription has not been inked but is still still discernible' (p. 38). Series: Eaux-Fortes sur Paris. Illustrated: Prints vol. VI, no. 2, 1935, page 95. A rich impression printed on black/brown ink on cream laid paper. Monogrammed in the plate. upper right. $3,000.
La Pompe Notre Dame. (The Pump, Notre Dame). 1861. Etching. Delteil-Wright 31.ix; Schneiderman 26.x. 6 3/4 x 10. Edition 30 in this state. Series: Eaux-Fortes sur Paris Initialed in the plate. Ex-collection: Louis Conrad Rosenberg, the American architrctural etcher. $2,750.
La Rue des Chantres.1862. Etching. Schneiderman 85.v/vi. 11 3/4 x 5 7/8 (sheet 16 1/4 x 9). Edition 100 in this state (total printing unknown). the dolphin atop the spire has been replaced by a weathercock. A rich impression printed on cream wove paper. Provenance: deacession of Baldwin-Wallace College, Berea, Ohio. $2,750.
Saint-Etienne-Du-Mont. 1852 and later. Etching. Delteil-Wright 30; Schneiderman 25.v/viii. 9 15/16 x 5 1/8 (sheet 13 3/8 x 8 1/4). Series: Eaux-Fortes sur Paris. A rich lifetime impression printed on white laid paper. Monogrammed in the plate. $2,750.
La Tour de l'Horloge. (The Clock Tower). 1858. Etching. Delteil-Wright 28.vi/x. Schneiderman 23.vi/x. Edition of 600 for l'Artiste volume 5, number 9,é October, 1858. 10 1/4 x 7 5/16 (sheet 12 1/4 x 18 5/8). Series: Eaux-Fortes sur Paris. Illustrated: Keppel, The Golden Age of Engraving; Salaman, Modern Masters of Etching: Meryon. Monogrammed in the plate, upper right. A glowing impression printed on warm brown India appliqué mounted on white wove paper. Initialed in the plate. $3,000.
La Baratteuse (Woman Churning). 1855. Etching. Delteil, Melot 10.i/iii. 6 3/4 x 4 3/8 (sheet 7 x 4 5/8). An extremely rare early printing, before the additional hatching on the wall and ground at right, and before the etched lines were stengthened and before Delâtre's address was added (in state iii). Described by Delteil as 'De tout rareté'. Printed on white wove paper. The impression was probably printed by Millet. Unsigned. $4,500.
Les Bêcheurs (The Diggers). 1855-56. Etching. Delteil, Melot 13.iii/iv. 9 1/4 x 14 (sheet 12 3/8 x 15 7/8). State with the name and address of the printer, "Paris Imp Aug Delâtre R St Jacque 171" lower right. Illustrated: Leipnik, A History of French Etching; Salaman, The Great Painter-Etchers from Rembrandt to Whistler. A fine impression with plate tone printed in black/brown ink on cream-colored laid paper with full full margins. Unsigned. $4,500.
La Cardeuse (Woman Carding Wool). c. 1858. Etching. Delteil, Melot 15. only state. 10 x 7 (sheet 12 3/8 x 9 1/2). Illustrated: Print Collector's Quarterly 25 (1938): 146; Keppel, The Golden Age of Engraving; Leipnik, A History of French Etching. An extremely rich, well-inked impression with plate tone, printed on antique laid papier vedâtre paper. Unsigned. $3,000.
A Woman Sewing. 1855-56. Etching. Delteil, Melot 9.iii. 4 1/8 x 3 (sheet 8 1/4 x 6). A rich impression printed on papier vedâtre. An extremely scarce etching. Unsigned. $3,500.
Homme dévoilant une Femme. (Man uncovering a woman). 1933. Etching. Bloch 138; Baer 203 B.d. 14 1/2 x 11 3/4 (sheet 17 1/2 x 11 3/4). Series: Suite Vollard, plate 5. From the edition of 250 on petit papier vergé Montval paper (there was also an edition of 50 on grand papier vergé Montval that same year, and 3 on parchment). Printed by: Lacourière, Paris. A rich impression with drypoint burr, printed on laid paper countermarked 'Vollard' on the full sheet with deckle edges. Signed in pencil. Price upon request.
Moses Breaking the Tablet of the Law. c.1860. Pencil drawing mounted onto paper. 12 1/4 x 3 3/4 inches. Collector's seal verso: Gustav Grunwald, Lugt 1155b. Monogrammed 'DR' (Nagler 582), lower right. Housed in an archival French mat and a 20 X 11 1/2-inch carved wood frame. $1,750.
The drawing is based upon the famous vault painting by Parmigianino in the church of Santa Maria della Steceta in Parma.
Melonen-kaufer (Melon Seller). c. 1921. Etching printed in greygreen. 5 1/4 x 7 (sheet 9 3/4 x 12 5/8). A fine impression with plate tone printed on cream wove paper. Signed and titled in pencil. $175.
Wald c. 1923. Etching printed in grey-green. 7 5/4 x 5 3/4 (sheet 12 1/2 x 9 1/2). A fine impression with plate tone printed on watermarked cream wove paper. Ex-collection Eugene A. Noble'. Signed and titled in pencil. $175.
Satan sement l'ivraie (premier planche). (Satan Sowing Tares). 1878. Heliogravure touched with soft-ground etching. Exsteens 927.i/iv. Image: 9 1/2 x 6 3/8; Plate: 10 7/8 x 8; sheet: 17 1/8 x 12 3/8. Series: Les Sataniques. An atmospheric, tonal impression printed on Japanese vellum. Signed in red pencil. $5,000.
Satan sement l'ivraie (premier planche). (Satan Sowing Tares). c.1878. Heliogravure printed in colors. Not in Exsteens 927 with these measurements. Image: 10 1/8 x 7; Plate: 12 x 8 1/8; sheet: 17 x 12 3/4. Series: Les Sataniques. An atmospheric, tonal impression printed on cream wove paper. Red seal of the publisher, Gustave Pellet, lower left; blindstamp, lower right. Unsigned. $5,750.
Click on the titles for images.
Automne (Autumn).c. 1938. Aquatint print in colors. Chapon/Rouault 288C. 19 1/2 x 25 1/2 (sheet 22 5/8 x 30 3/4). Edition 175, #58. Published by Vollard. A rich impression with bright, fresh colors printed on watermarked Montval paper, on the full sheet with deckle edges. Signed in ink, numbered in pencil. Housed in a silk mat and gold leaf frame (32 x 37). Price upon request.
Le Jongleur (The Minstrel). 1930. Etching and aquatint printed in colors. Chapon/Rouault 199 d. 12 1/4 x 8 1/2 (sheet 17 1/4 x 13 1/8). Series: Cirque plate 2. Edition 270. Initialed and dated in the plate, as issued. $1,750.
Notre Dame de la Fin des Terres. (Our Lady of the End of the World). Woodblock cut by Georges Aubert after a drawing by Rouault for the book Cirque de l'Étoile Filante (Circus of the Shining Star). (Paris, 1938), page 155. 6 x 7 3/4. Signed and dated in the block. $2,5000.
Qui ne se Grime Pas?(Who Does Not Wear a Mask?) A Self Portrait. 1923. Original etching with aquatint and mixed techniques over heliogravure in black ink. Chapon/Rouault 61c. Series: Miserere, plate 8. 22 3/16 x 17 (sheet 25 5/8 x 19 3/4). Intended for issue by Vollard c.1930 but not in fact issued until 1948. Printed by Jacquemin, published by Édition de L'Étoile Filante, Paris. in an edition of 425 (there were also 25 hors commerce copies). Printed on Arches laid paper, with the watermark Ambroise Vollard, with full margins and deckle edges. Illustrated: Passeron, French Prints of the Twentieth Century; Hults The Print in the Western World. Signed and dated in the plate lower left. (No impressions in the published edition were pencil signed). Housed in a simple but elegant 32 x 25-inch silver wood frame. $5,750.
"Obéissant jusqu'&à la morte et à la morte de la croix." (Phillippians 2.8). ("Obedient unto death, and to death on the cross.") 1923. Original etching with aquatint and mixed techniques over heliogravure in black ink. Chapon/Rouault 110b. 22 3/16 x 17 (sheet 25 5/8 x 19 3/4). Series: Miserere, plate 57. Intended for issue by Vollard c.1930 but not in fact issued until 1948. Printed by Jacquemin, published by Édition de L'Étoile Filante, Paris. Paris. in an edition of 425 (there were also 25 hors commerce copies). Printed on Arches laid paper, with the watermark Ambroise Vollard, with full margins and deckle edges. Signed and dated in the plate lower left. (No impressions in the published edition were pencil signed). Housed in a simple but elegant 32 x 25-inch silver wood frame.$2,000.
Réincarnations du Père Ubu. 1918-19. Etching, sugar-lift aquatint, roulette and woodcut. Chapon-Rouault 8-30. Sheet size: 17 x 12 3/4. Complete set of twenty-two etchings and aquatints, hors-texte, and 104 wood engravings en-texte by Georges Aubert after drawings by Rouault. Example number 179 from the edition of 200 on papier àla marque de la Manufacture Royale de Vidalon avec la suite sur Arches et Rives (total edition 305). Initialed and dated in the plate or the block. $7,500 the complete set. (The plates are not sold individually.)
[View of the Kagermeer, the Netherlands]. c. 1785. Ink and watercolor on paper. 3 1/2 x 5 1/4. Unsigned. Excellent condition on cream laid paper, tipped onto a backing sheet at the top corners. Annotated, probably in another hand, "Tavernier" verso, and "Hendr. Tavernier" on the mount. A delightful composition. Tavenier worked extensively in the Netherlands, where he did many water views. $1,250.
Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot 79, Béraldi 66, Wentworth 75.ii/iii. 16 1/2 x 22 1/8 (sheet 21 1/2 x 28 1/2). Edition about 500 in three states. Printed in brown / black ink on chine appliqué (China paper mounted on stiff wove paper). Signed and titled in the plate. Housed in a 27 x 35-inch burled wood frame with a silk mat and gold liner. $4,500.
En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge stains on the upper sheet corners, well outside the image. A rich impression with plate tone printed on laid paper. The plate was included in A portfolio of Autograph Etchings, published by James R. Osgood and Co., Boston, 1881. Impressions from this portfolio are signed in pencil and have the artist's red stamp (Lugt 1545). Housed in an archival mat and a classical 17 1/2 x 21 1/2-inch gold Whistler style frame. $4,500.
La Galerie du 'Calcutta' (Souvenir d'un Bal à Bord). (The Gallery of H.M.S. Calcutta - Souvenir of a Ball on Shipboard). 1898. Drypoint. Wentworth 25. 10 3/8 x 14 1/4 (sheet 14 5/8 x 19). Edition of 25 in Ten Etchings and 25 separate plates; total edition 50. A rich impression with drypoint burr printed on cream laid paper. Signed in pencil, lower left, and with the artist's red stamp (Lugt 1545) in the image lower right. Price upon request.
Le hamac (The Hammock). 1880. Etching and drypoint. Wentworth 46. 10 5/16 x 7 1/4 (sheet 14 1/2 x 9 7/16). Edition of about 100. Illustrated: Calloway, English Prints for the Collector, p. 160. A rich impression with drypoint burr printed on cream laid paper with a partial Strasbourg Lily watermark. Signed and dated in the image, lower left; signed in pencil and and with the artist's red stamp (Lugt 1545) in the image lower right. Housed in an 21 x 17 x 2-inch carved classic colonial style gold leaf frame, $4,750.
Le hamac (The Hammock). 1880. Etching and drypoint. Wentworth 46. 10 5/16 x 7 1/4 (sheet 13 5/8 x 10). Edition of about 100. Illustrated: Calloway, English Prints for the Collector, p. 16 A rich impression printed on cream wove paper. Signed in the plate. Housed in an archival French mat and an 18 3/4 x 17 1/4-inch champagne gold frame. $3,000.
Printemps (Spring). 1878. Etching and drypoint. Tissot 30, Béraldi 27, Wentworth 34. 15 5/8 x 6 (sheet 24 x 10 1/8). Edition about 100. Slight mat stain; otherwise fine condition. A rich impression printed on cream 'Van Gelder Zonen' laid paper, on the full sheet with deckle edges. Housed in a gold-leaf Whistler-type frame with a silk mat (Frame size 31 1/2 x 18). Signed in the plate, upper right. $4,500.
Cléo de Mérode. 1898. Crayon lithograph with scraper. Delteil 152; Adhémar 174; Adriani 268; Wittrock 258. 11 x 9 1/2 (sheet 15 3/8 x 12). Series: Portraits d'Acteurs & d'Actrices: Treize Lithographies. A fine impression printed on china paper (chine volant). From the first edition of about 400, printed before 1906 (40 impressions were printed for Les XX in 1913. Monogrammed in the stone. Housed in an elegant French mat and a 20 x 17-inch black and gold leaf wood frame. $4,500.
Jane Avril. 1899. Brush lithograph printed in four colours from three stones. Delteil 367, Adhémar 323, Adriani 354.iii, Wittrock P29 B. 22 x 14 7/8 (image and sheet). Provenance: Far Gallery, New York; estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex, Connecticut. Sheet professionally backed with Japan paper. The red is attenuated; the other colors are bright. A three-inch repaired diagonal tear just to the left of the skirt; the lower right-hand corner repaired. With name of the printer, 'H. Stern, Paris'. Titled, dated and monogrammed in the stone. Housed in a silk mat with a gold liner and a 34 x 27-inch art nouveau style gold leaf frame. Price upon request.
Dornröschen (Sleeping Beauty.) 1897. Etching with drypoint and aquatint. Reif 20.IIc(of e). 10 5/8 x 9 3/4 (sheet 19 X 12 3/4). Slight scattered foxing in the margins, away from the image. A rich, tonal impression printed on sturdy wove paper. Proof aside from the published edition issued in Aus Worpswede. Signed and titled in pencil. $1,250.
Click on the titles for images.
Omnibus. 1892. Etching. Asplund 72.iii; Hjert and Hjert 183.iii. 10 3/4 x 7 3/4 (sheet 17 5/8 x 12 1/2). Edition 75. "Extremely rare." Plate destroyed. Exhibited: Peintres-Graveurs Français, 1893. A rich impression printed on Van Gelder Zonen cream laid paper with a partial crown watermark, with wide margins. Signed in pencil. Housed in a stunning 23 3/4 x 19 3/4-inch beaded gold leaf frame. Price upon request.
Skerikulla. 1912. Etching. Asplund 247.ii; Hjert and Hjert 159.ii. 9 3/4 x 7 3/4. An unobtrusive 1 1/4-inch printing fold in the loft-hand margin, extending into the image, otherwise fine condition. A bright impression printed on cream-colored Van Gelder Zonen laid paper on the full sheet of with deckle edges. Signed in pencil. $1,500.
President William H. Taft II. 1911. Original etching. Hjert and Hjert 165.iv. 9 7/8 x 8 (sheet 14 3/8 x 11 7/8). A fine impression with plate tone, printed on cream laid 'Van Gelder Zonen' paper with full margins. Signed in pencil by Zorn; dedicated in ink 'For Laurence Bradman with best wishes of Wm H Taft Jany 20, 1922.' $3,250.
The Waltz. 1891. Etching. Hjert and Hjert 178.iii. Edition 40 in this state (proofs in the first two states are "very rare"). 13 5/8 x 8 13/16 (sheet 23 1/2 x 18). Illustrated: Print Collector's Quarterly 1 (1911): 613; Salaman, Modern Masters of Etching, Zigrosser, Six Centuries of Fine Prints. (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. Elegantly presented, housed in a silk mat wit a gold lip, and a 24 1/2 x 18 1/2-inch 22-karat gold leaf frame with fleur-de-lys on each corner. Price upon request.
Zorn and His Wife. 1890. Etching. Hjert and Hjert 31.ii. 12 1/2 x 8 3/8 (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. Price upon request.
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