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Cavalcade. 1888. Etching. Wisselingh 107. 4 5/8 x 4 (sheet 11 5/8 x 8 3/4). Edition 100, #46. A richly inked impression printed on Strasbourg cream laid paper. Printed on the full sheet with deckel edges on two sides. Good condition apart from slight creasing in the margins and remnants of a hinge stain along the top margin. Initiated and annotated 'No 46' in pencil by the artist. Housed in a 20 x 16-inch archival mat. $340.
A Fairy Tale. 1897. Etching. Wisselingh 18. 2 3/4 x 4 3/8 (sheet 5 9/16 x 7 5/8). Edition 100, #51. A rich impression printed on cream laid paper. Signed and numbered in pencil. $250.
An Indian Fortune Teller. 1926. Etching. Wisselingh 265. 4 x 4 3/4 (sheet 8 x 8 3/8). Edition 100, #29. A rich impression printed on Japanese mulberry paper. Signed and numbered in pencil. $300.
Leaving the Mosque. 1892. Etching. 4 7/8 x 5 7/8 (sheet 8 3/4 x10 5/16). Number 78. A rich, tonal impression printed on cream laid paper. Signed and numbered in pencil. $350.
Market Day. 1889. Etching and drypoint. Wisselingh 42. 7 5/8 x 5 13/16 (sheet 8 3/8 x 6 3/8). Edition 100. Printed on cream laid paper. Mat burn and toning in the margins and on the verso. Initialed in pencil. $225.
An Oriental Shop. 1890. Etching. Wisselingh 11. 5 5/8 x 4 1/8 (sheet 12 9/16 x 9 1/8). Number 21. A rich, tonal impression printed on Strasbourg cream laid paper with a partial watermark on the full sheet with deckle edges. $350.
sStreet in Smyrna. 1889. Etching. Wisselingh 34. 7 x 5 1/4 (sheet 12 7/8 x 8 7/8).Edition 100, number 49. A rich, tonal impression printed on Strasbourg cream laid paper on the full sheet with deckle edges. Good original condition Initiated and annotated 'No 49' in ink by the artist. Housed in a 20 x 16-inch archival mat. $400.
A Turkish Funeral. 1889. Etching. Wisselingh 60. 3 3/4 x 5 1/2 (sheet 8 3/4 x 11 7/8). Edition 100, #9. A richly inked impression printed on Strasbourg cream laid paper. Printed on the full sheet with deckel edges. Good original condition. Initiated and annotated 'No 9' in pencil by the artist. Housed in a 20 x 16-inch archival mat. $340.
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. $1,250.
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. $1,250.
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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.
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 fine yellow/tan paper. Unsigned. On the drawing, lower right, is a pencilled number, presumably inventory: C38695. $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; otherwise good condition. Signed, annotated and dated in the plate. Also annotated 'A II' in pencil in the top right-hand sky, presumably an inventory annotation to keep the pair totether. On the verso of the etching is pencilled C38698. 2,750 the pair. ( 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. $1,750 the pair.
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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. $500.
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. $500.
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 $500.
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. $500.
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. $500.
- 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. $640.
John Bull jure qu'il est attaché au fils de Théodoros par un lien indissoluble. (John Bull vows that he is tied to the son of Theodorus by an indissoluble band.) 1868. Lithograph. Delteil 3657.ii/ii (with letters). 9 5/8 x 8 1/4 (sheet 12 x 11 3/16). Series: Actualités, (News of the Day), plate 189. Published in Le Charivari August 22, 1868. Text: lower left:A.de Vresse,r. Rivoli 55.; lower right: Lith.Destouches, r. Paradis Pre.28. Unobtrusive fold marks; sheet trimmed. Initialed in the stone, lower left. $320.
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.
The Entombment of Christ. c.1471-1528. Engraving. 9 1/4 x 7 (236 x 177 mm). Collector's seal verso: Knoedler and Co. OE (Old engravings Lugt 2007). Inscriptions: Rim of sarcophagus: 1507; tree: cartello with monogram; above, left, cartello: SICVT IN ADA OM/NES MORIVNTVR/ITA ET IN CHRISTO/OMN TYPE. Signed in the plate with false monogram and date AD 1507. Provenance: Dr. Eugene A. Noble. $1,250.
[Justice a[Justice avocat. (LAWYER)]. "N'y a pas de doute, mon Président, qu'à ma place vous n'auriez pas abimé, comme c' homme là vous !...." (There is no doubt, my President, that in my place you would not have wrecked, like that, that man near you! ... ")1857. Lithograph. Image 8 x 6 5/8, image with text 10 1/4 x 7 3/8, sheet 15 3/8 x 11 1/8. Armelhault and Bocher 1269.ii. Bohêmes (Bohemians), from Masques et Visages by Paul Gavarni, New Series. Physionomies Parisiennes, plate 13. The series of 20 lithographs was published in 1857 by Lemercier & Cie, Paris. The figures were half-length or three quarter-length. This is an impression apart from the daily magazine, printed sur blanc. Accompanied by the original lithographic stone: image 8 x 6 5/8, stone 13 x 9 5/8 x 1 1/2 inches and weighs 19 pounds, 2 ounces. Price upon request.
It is interesting to note that the stone contains only the image, not the text, which was later added when the complete lithograph was printed. Addit6ionally, the image is presented in the same direction on the stone and in the lithograph.
Masques et visages was published in 1857 by Paulin et Lechevalier, Paris.
(L'amant): Nymphes des Bois, connaissez vous Adèle? (Le Dictionnaire des Rimes): Adèle! Pastourelle, charnelle, onzelle, matérielle, récelle, sempiternelle, femelle....Qu'elle demoiselle!
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. $125.
The comparisons become increasingly less flattering. A parody on the overblown descriptions of amateur poets.
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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La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed on white wove paper with full margins. Provenance: Richard Green, London; This portrait is the artist's masterwork. Signed in pencil, lower right. Housed in a silk mat with a gold liner, in a stunning 31 1/2 x 22 1/2-inch gold leaf frame. Price upon application.
Madame Helleu Looking at Watteau drawings at the Louvre. (En regardant les Watteau de Louvre). c. 1895. Drypoint printed in 2 colors - black and sepia. 11 3/4 x 15 7/8. Goncourt 3, de Montesquiou LXI, Bibliothèque National Inventaire 48. Printed with light plate tone on Van Gelder Zonen laid paper with large, full margins, signed in red chalk The plate is also known as Les Trois Crayons de Watteau. Helleu places his wife, Alice Guérin, before the elegantly-framed Watteau watercolors. Housed in a gold-lipped silk mat and a 20 x 24 1/2-inch gold leaf frame suggestove of those in the Louvre. $10,000.
Le Noeud Bleu (The Hat with the Blue Bow). c. 1905. Drypoint printed in four colors (black, brown, blue, red). Montesquiou 40. 21 x 13 (sheet 27 1/8 x 18 7/8). Edition 80. A fine impression with subtle colors. Signed in pencil. Housed in a classic gold leaf frame with an archival French mat. This portrait of Miss Madeleine Dolley, a famous beauty, comedienne, and dancer from the Folies-Bergėre, is one of Helleu's most delightful images. $4,400.
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.
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.
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.
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Au Café -- La Negresse. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 x 5 5/8 (sheet 17 3/8 x 11 1/8). 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 center margin, well outside the image; otherwise very good condition. A rich impression with drypoint burr printed on laid paper countermarked 'Pellet et Legrand', on the full sheet with deckle edges. Ex-collection: Vincent Price. Signed and numbered '26/30' in pencil under the image. Titled 'La negresse" in the lower right-hand margin, possibly in another hand. This is the most important image of the series. Housed in a 22 x 16-inch archival mat, suitable for framing. $1,900.
English Bar. 1908. Etching and drypoint. Exsteens 275.ii. 8 1/8 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 1/4 x 5 3/4 (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.
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. $240.
Portrait of George Frederick Watts (1817-1904. 1879. Etching. Béraldi 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.
La Capeline de Paille d'Italie (The Italian Straw Hat). 1923. Lithograph. Duthuit 430. 17 3/4 x 15 3/4 (sheet 23 1/8 x 17 7/8). Trial proof, apart from the published edition of 50. A tonal impression printed on chine volant paper with full margins. Signed and inscribed 'Essai' (trial proof) in pencil by the artist. Housed in an archival French mat and an exquisite 30 1/2 x 26 1/8 x 1 1/2-inch gold leaf frame. Price upon request.
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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 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.
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.ii/iii. 6 3/4 x 4 3/8 (sheet 7 x 4 5/8). Printed on white wove paper trimmed to the platemark. Impressions of states one and two are rare. Early impressions were often printed by Millet. Unsigned. $3,750.
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 13 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). Total edition 303. 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. Housed in a striking 32 1/2 x 28 1/2-inch modernist stepped gold leaf frame. 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). Heliogravure printed in colors by Albert-Emmanuel Bertrand (1864-1912) after Rops, Exsteens 864. Image: 10 1/8 x 7; Plate: 12 x 8 1/8; sheet: 17 x 12 3/4. Edition 100. Series: Les Sataniques. An atmospheric, tonal impression printed on simili-japon paper. Red seal of the publisher, Gustave Pellet, lower right; remarque, lower right; both are faded. Unsigned. $4,000.
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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 g a stunning gold leaf frame (32 x 37).$22,500.
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. $1,500.
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.
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. Each plate is housed in a 20 x 16-inch archival mat. The matted prints are, in turn, housed in two archival boxes. $7,500 the complete set. (The plates are not sold individually.)
Illustrations for Richard Lesclide's play La Maison de fous.
L'esclave du Devoir. (A Slave to Duty.) 1876. Etching. 4 3/16 x 2 5/8 (sheet 11 7/16 x 7 3/4). Printed by Delâtre on cream laid paper with one side deckle edge. Illustration for Richard Lesclide's play
Les Fous. (Crazy People.) 1876. Etching. 3 5/8 x 2 3/8 (sheet 11 1/2 x 8). Printed by Delâtre on cream laid paper. Illustration for Richard Lesclide's play, La Maison de fous. Published in Paris à l'eau-forte. Signed in the plate. Extremely scarce. $175.
Le Mariage. (The Wedding.) 1876. Etching. 3 5/8 x 2 5/16 (sheet 11 3/8 x 7 7/8). Printed by Delâtre on cream laid paper with one side deckle edge. Illustration for Richard Lesclide's play La Maison de fous. Published in Paris à l'eau-forte. Signed in the plate. Extremely scarce. $175.
Le poète. (The Poet.) 1876. Etching. 3 5/8 x 2 3/8 (sheet 10 3/4 x 7 5/8). Printed by Delâtre on cream laid paper. Illustration for Richard Lesclide's play, La Maison de fous. Published in Paris à l'eau-forte. Signed in the plate. Extremely scarce. $175.
Rosine et le Docteur. (Rosine and the Doctor.) 1876. Etching. 3 1/2 x 2 3/8 (sheet 11 7/16 x 7 7/8). Printed by Delâtre on cream laid paper with one side deckle edge.
Illustration for Richard Lesclide's play La Maison de fous. Published in Paris à l'eau-forte. Signed in the plate.Extremely scarce. $175.
Les Solutions Conjugales. (Conjugal Solutions.) 1876. Etching. 4 1/4 x 2 5/8 (sheet 9 15/16 x 7 5/16). Illustration for Auguste Sauliëre Les solutions conjugales. Printed by Delâtre on cream laid paper. Published in Paris à l'eau-forte. Signed in the plate. Extremely scarce. $175.
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. $43,750.
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. $3,750.
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. $35,000.
Le hamac (The Hammock). 1880. Etching and drypoint. Tissot 41, Béraldi 37, 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. $2,750.
Octobre. (October). 1878. Etching and drypoint. Tissot 29; Béraldi 26 (as L'automne, ou, Octobre) ; Wentworth 33. 21 1/2 x 11. Edition of approximately 100. A brilliant, richly-inked impression with strong contrasts and deep black, velvety burr throughout, printed on cream laid paper, printed on cream laid paper with full margins. Signed in pencil, lower right. With the artist's red monogram ink stamp (Lugt 1545, lower right recto). Housed in an archival French mat and a stunning 31 1/4 x 21 1/4 x 1 1/2-inch gold leaf frame. $30,000.
Querelle d'amoureux. (Quarreling). 1870. Etching and drypoint. Tissot 11, Béraldi 11,Wentworth 18. 11 7/8 x 7 1/2 (sheet 13 1/2 x 8 7/16). Edition 50: 25 published in Ten Etchings and 25 separate. A rich tonal impression printed on cream laid paper. Signed and dated in the plate, and with Tissot's red stamp (Lugt 1545) in the plate. $ 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. $3,000.
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.
Skerikulla. 1912. Etching. Asplund 247.ii; Hjert and Hjert 159.ii. 9 3/4 x 7 3/4 (sheet 15 5/8 X 12 5/8). Toned, in the image otherwise good condition. A fine impression printed on cream-colored Van Gelder Zonen laid paper on the full sheet with deckle edges. Frederick Keppel & Co., Inc. label. Signed in pencil. $1,250.
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. $9,500.
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