Dans les Cendres (In the embers). 1887. Delteil 67.iii.; Coppier 57.ii. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). Edition 100 in state ii. Etching, drypoint and roulette. 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. Provenance: Frederick Keppel & Co. This is one of the artist's largest and most striking images. Signed in pencil. $1,250.
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.
Le Hibou (Pauca Paucis) 1883. Etching, drypoint, aquatint and roulette. 1883. B/G 161.v/v. 17 1/2 x 12 3/4 (sheet 19 1/4 x 14 1/2). An atmospheric impression printed in brown/black on cream wove paper. Provenance: Kovler Gallery, Chicago. Unsigned.
The image shows a horse-drawn cab, a sailing ship, a figure from a novel he illustrated, people with umbrellas, gulls, owls, a minstrel and a bit of the church at Valognes. In the central image, the owl, Buhot's alter ego, stands next to an open book and his shadow, cast on the blank page, produces a silhouette portrait of the bearded artist. The words Pauca Paucis (A Few for the Few) are inscribed below the owl and the book. Buhot designed the print to be a cover or title page for a projected album of some of his works. Unfortunately, the project never materialized. The print itself, though, is a major addition to his oeuvre. $4,500.
Le Hibou (Pauca Paucis) c.1883. Pencil, ink and watercolor study for the etching, B/G 161.v/v.Image 16 x 10 3/4 (sheet 19 7/8 x 12 1/4). Provenance: The New Gallery, New York c. 1925); a Long Island, New York, estate. Monogrammed, lower right, with the stamp of The New Gallery Housed in an elegant period frame. $7,500
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). Left-hand platemark strengthened with Japanese mulberry paper. 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. $2,000.
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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. $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.
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). Ihe etching is illustrated in reverse in Salaman, The Great Painter Etchers from Rembrandt to Whistler. 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.
"- 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.
[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.
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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.
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.
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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. $875.
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. $875. 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.
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 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. Illustrated: Leipnik, A History of French Etching; Keppel, The Golden Age of Engraving-; Salaman, The Great Painter Etchers from Rembrandt to Whistler. Initialed in the plate. Ex-collection: Louis Conrad Rosenberg, the American architectural 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: de-acession of Baldwin-Wallace College, Berea, Ohio. $2,750.
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. Illustrated: Salaman, The Great Painter Etchers from Rembrandt to Whistler. 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 Girolamo Francesco Maria Mazzola Parmigianino (1503-1540) in the church of Santa Maria della Steceta in Parma.
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. $2,000.
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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 a stunning 32 x 37-inch gold leaf frame. Price upon application.
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.)
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 a silk mat and gold liner in a 31 1/2 x 36 1/2 x 2-inch burled burled wood 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. Price upon application.
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. Illustrated: Zigrosser, Six Centuries of Fine Prints, #410. 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. Price upon application.
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. Housed in a 21 x 17-inch gold frame.
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.
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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