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Auction Description for Swann: THE ARMORY SHOW AT 100
Viewing Notes:
Exhibition & Sale Schedule: Sale 2329 - The Armory Show At 100 - begins at 1:30pm in New York on Tues, November 5. All material in Sale 2329 on display at our premises in New York City, 104 East 25th Street, as follows: Thurs, Oct 24: 10am to Noon - Fri, Oct 25: 10am to 6pm - Sat, Oct 26: Noon to 5pm - Mon, Oct 28: 10am to 6pm - Tues, Oct 29: 10am to 6pm - Wed, Oct 30: 10am to 6pm - Thurs, Oct 31: 10am to 6pm - Fri, Nov 1: 10am to 6pm - Sat, Nov 2: Noon to 5pm - Mon, Nov 4: 10am to 6pm - Tues, Nov 5: 10am to Noon.

THE ARMORY SHOW AT 100

by Swann Auction Galleries

Platinum House

229 lots with images

November 5, 2013

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

229 Lots
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FRANCISCO JOSÉ DE GOYA Francisco Goya Y Lucientes, Pintor.

Lot 1: FRANCISCO JOSÉ DE GOYA Francisco Goya Y Lucientes, Pintor.

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Description: FRANCISCO JOSÉ DE GOYA Francisco Goya Y Lucientes, Pintor. Aquatint and etching, 1799. 220x153 mm; 8 5/8x5 1/8 inches, full margins. Second edition (of 12), with only the upper and lower sections of the plate beveled. A very good impression with little to no sign of wear. According to Harris, the second edition, published around 1855, was "well printed and the plates still show relatively little wear." He also notes that the size of the edition, "appears to have been very small." Delteil 38; Harris 36.

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FRANCISCO JOSÉ DE GOYA A group of 6 etchings with aquatint and drypoint executed in Bordeaux between 1824 and 1828.

Lot 2: FRANCISCO JOSÉ DE GOYA A group of 6 etchings with aquatint and drypoint executed in Bordeaux between 1824 and 1828.

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Description: FRANCISCO JOSÉ DE GOYA A group of 6 etchings with aquatint and drypoint executed in Bordeaux between 1824 and 1828. Each on ivory wove paper, with an additional suite of the 6 etchings with aquatint on ivory wove paper (12 total), 1824-28 (printed later). Each approximately 190x120 mm; 7 1/2x4 3/4 inches, full margins. Each in the final state. Each an edition of 150. Each printed by Emiliano Sorini, 1971. Among these extremely scarce subjects, only a handful of prints are known in lifetime impressions (Harris 32 and 34). According to Harris, a very small posthumous edition on heavy laid paper was printed at the Calcografiá, Madrid, in 1859 for John Savile Lumley. Subsequently, 3 impressions of each subject were made for the dealers Colnaghi, London, when they acquired the plates in 1926. The plates were then acquired by the American collector Philip Hofer, who had Sorini print this edition in 1971 (as well as a smaller edition of 7 printed by Russell T. Limbach, Middletown, Connecticut, in 1960). Delteil 25-29; Harris 30-34 (Harris describes the 6th print in his footnote for number 34, but like Delteil does not give the print a separate number in his catalogue).

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FRANCISCO JOSÉ DE GOYA El Agarrotado.

Lot 3: FRANCISCO JOSÉ DE GOYA El Agarrotado.

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Description: FRANCISCO JOSÉ DE GOYA El Agarrotado. Etching printed in black on cream wove paper, 1778-80. 325x212 mm; 12 3/4x8 3/8 inches, full margins. Third edition (of 4), though with the vertical wiping scratches upper left and lower right that appear in the first and second editions and with the rework in the hair evident in the second and subsequent edition. A very good, dark and evenly-printed impression of this extremely scarce etching. The third edition (after the plate was beveled) was printed in 1868 and advertised for sale by the Calcografia, Madrid, on the back cover of the 1868 edition of Los Caprichos. According to Harris, the third edition is very small. Harris notes that, "This appears to be Goya's first distinctive composition in etching and is the earliest plate which really records his genius." We have found fewer than 12 comparable impressions at auction in the past 25 years. Delteil 21; Harris 21.

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FRANCISCO JOSÉ DE GOYA Dos a Uno, Meten la Paja en el Culo.

Lot 4: FRANCISCO JOSÉ DE GOYA Dos a Uno, Meten la Paja en el Culo.

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Description: FRANCISCO JOSÉ DE GOYA Dos a Uno, Meten la Paja en el Culo. Aquatint and etching, circa 1824. 245x355 mm; 9 5/8x14 inches, full margins. First published edition. Published by L'Art, Paris. From Los Proverbios. A superb, dark impression with all the subtle aquatint grains distinct. Delteil 220; Harris 266.

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EUGÈNE DELACROIX Juive d'Alger.

Lot 5: EUGÈNE DELACROIX Juive d'Alger.

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Description: EUGÈNE DELACROIX Juive d'Alger. Etching printed in black on cream laid paper, 1833. 213x173 mm; 8 1/2x6 7/8 inches, full margins. First state (a) (of 4), before letters. Edition of 50. Numbered "32" with an ink stamp, upper right. Aquafortistes watermark. Printed by Delâtre, Paris. Published by Cadart and Luquet, Paris, for the Société des Aquafortistes. A brilliant, wrichly-inked and early impression, extremely scarce in this state. Delacroix (1798-1863) died at his studio on the rue de Furstenberg, Pris, on August 13th. Among its contents were a handful of proofs printed by Frédéric Villot from six etched copper plates by Delacroix. These plates, including the one for Juive d'Alger, were auctioned in Paris in 1865 along with other property belonging to the printer Villot and purchased by the publishers Cadart and Luquet. The latter issued impressions from these plates in an album on May 1865 under the title Oeuvre unique à l'eau-forte d'Eugène Delacroix in an edition of 50 for the French etching group known as the Société des Aquafortistes, of which Delacroix had been a member. Delteil 18.

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EUGÈNE DELACROIX Arabes d'Oran.

Lot 6: EUGÈNE DELACROIX Arabes d'Oran.

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Description: EUGÈNE DELACROIX Arabes d'Oran. Etching on Chine collé, 1833. 143x190 mm; 5 5/8x7 1/2 inches, full margins. Fourth state (of 6). Printed by Delâtre, Paris. Published by Cadart and Luquet, Paris, for the Société des Aquafortistes. A superb impression. Delteil 20.

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EUGÈNE DELACROIX Le Caïd Mohammed-Ben-Abou (Chef Maure à Meknez).

Lot 7: EUGÈNE DELACROIX Le Caïd Mohammed-Ben-Abou (Chef Maure à Meknez).

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Description: EUGÈNE DELACROIX Le Caïd Mohammed-Ben-Abou (Chef Maure à Meknez). Etching on cream laid paper, 1833. 145x215 mm; 5 3/4x8 1/2 inches, full margins. Second state (of 2). Ex-collection Fréderic Masson (Lugt 1031 and 1032, on the original mat). A superb impression of this very scarce etching, with strong contrasts and no sign of wear. We have found only 4 other impressions at auction in the past 25 years. Delteil 22.

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EUGÈNE DELACROIX Hamlet.

Lot 8: EUGÈNE DELACROIX Hamlet.

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Description: EUGÈNE DELACROIX Hamlet. Complete set of 16 lithographs printed in black on smooth, cream wove paper, 1834-43. 540x360 mm; 21 1/4x14 1/4 inches (sheets), full margins. Second edition. Edition of 200. Published by Dusacq, Lévy and Pagnerre, Paris. Original printed paper title page wrapper. Superb impressions and scarce as a complete set. Delteil 103-118.

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ÉDOUARD MANET Le Guitarero (ou Le Chanteur Espagnol).

Lot 9: ÉDOUARD MANET Le Guitarero (ou Le Chanteur Espagnol).

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Description: ÉDOUARD MANET Le Guitarero (ou Le Chanteur Espagnol). Etching and roulette printed in black on cream laid paper, 1861-62. 298x245 mm; 11 3/4x9 5/8 inches, small margins, as issued. Fifth state (of 6). Printed by Delâtre, Paris. From L'Artiste. A superb, richly-inked impression with warm plate tone. Guérin 16; Harris 12.

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ÉDOUARD MANET Lola de Valence.

Lot 10: ÉDOUARD MANET Lola de Valence.

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Description: ÉDOUARD MANET Lola de Valence. Etching and aquatint on cream wove paper, 1863. 260x185 mm; 10 1/4x7 1/4 inches, full margins. Sixth state (of 8), the first printing of two in this state with "Ed. Manet sculpt" lower left. Printed by Delâtre, Paris. Published by Cadart and Luquet, Paris, for the Société des Aquafortistes, Paris. A superb, evenly-printed impression. Guérin 23; Harris 33.

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ÉDOUARD MANET Au Prado II.

Lot 11: ÉDOUARD MANET Au Prado II.

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Description: ÉDOUARD MANET Au Prado II. Aquatint and etching printed in dark, brownish black on cream laid Japan paper, 1863-67. 222x155 mm; 8 3/4x6 1/8 inches, full margins. Second state (of 2). The Porcaboeuf edition of approximately 12, aside from the Manet edition of perhaps only several. A superb, richly-inked impression of this extremely scarce etching. We have found only 11 other impressions at auction in the past 25 years. Harris notes that the 1863 Manet edition consisted of, "An edition of between 5 and 28 sets of 15 etchings, printed on Chine paper for friends and patrons of the artist . . . Later sets of the edition might have included State I of Au Prado II, which is known in proofs on Chine." As this subject was not originally included in the 1863 Manet edition, it seems likely that most, if not all, of the impressions to have appeared at auction over the past 25 years are from the Porcaboeuf edition. Guérin 46; Harris 45.

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ÉDOUARD MANET Fleur Exotique (La Femme a la Mantille).

Lot 12: ÉDOUARD MANET Fleur Exotique (La Femme a la Mantille).

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Description: ÉDOUARD MANET Fleur Exotique (La Femme a la Mantille). Etching and aquatint on cream laid paper, 1868. 173x115 mm; 6 3/4x4 1/2 inches, full margins. Third state (of 3). Edition of 350. Published by Lemerre, Paris. From Sonnets et eaux-fortes. A very good impression. Guérin 51; Harris 57.

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JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie.

Lot 13: JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie.

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Description: JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie. Etching and drypoint printed in black on cream laid paper, 1863. 294x220 mm; 11 5/8x8 3/4 inches, full margins. A brilliant, richly-inked impression. Delteil 5; Melot 5.

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JAMES A. M. WHISTLER Street at Saverne.

Lot 14: JAMES A. M. WHISTLER Street at Saverne.

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Description: JAMES A. M. WHISTLER Street at Saverne. Etching printed in dark brownish black on Chine collé, 1858. 208x158 mm; 8 1/8x6 1/4 inches, full margins. MacDonald's third state (of 4), witht he printer's name still in the plate lower edge and with the addition of the short vertical lines at the top of the lantern. Printed by Delâtre, Paris. From Twelve Etchings from Nature. A brilliant, early and richly-inked impression with all the fine details distinct and no sign of wear. Kennedy 19; Glasgow 14.

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JAMES A. M. WHISTLER Maison, Rue Orbe, Rouen.

Lot 15: JAMES A. M. WHISTLER Maison, Rue Orbe, Rouen.

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Description: JAMES A. M. WHISTLER Maison, Rue Orbe, Rouen. Pencil on cream wove paper, circa 1857-58. 188x105 mm; 7 1/2x4 1/4 inches. Signed and titled in pencil, lower left and lower right respectively. Ex-collection Mrs. Charles Thynne, the artist's niece, received directly from the artist; private collection, Paris, sold Christie's, London, December 19, 1972, lot 89; private collection, New York. Exhibited, "Memorial Exhibition of the Works of the Late James McNeill Whsitler, First President of the International Society of Sculptors, Painters, and Gravers," February 22-April 15, 1905, New Gallery, London; and "Works on Paper," November 20, 2008-January 3, 2009, Spanierman Gallery, New York, pages 14-15, number 5 (illustrated). Published in MacDonald, James McNeill Whistler: Drawings, Pastels and Watercolors: A Catalogue Raisonné, New Haven, 1995, pages 68-69, number 224 (illustrated). Drawn during Whistler's sketching tour of Northern France and the Rhine Valley, with fellow artist Ernest Delannoy, during which he compiled numerous studies drawn directly from nature which would be used for his Douze Eaux-Fortes d'après Nature (Twelve Etchings from Nature), also known as the French Set, his first collected series of etchings printed in Paris and London in 1858.

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JAMES A. M. WHISTLER Upright Venice.

Lot 16: JAMES A. M. WHISTLER Upright Venice.

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Description: JAMES A. M. WHISTLER Upright Venice. Etching printed in dark brownish black on cream wove Japan paper, circa 1879-80. 256x179 mm; 10 1/8x7 inches, full margins. MacDonald's seventh state (of 8), with the figure of the gondolier on the gondola stern still partially visible. A brilliant, crisp, early impression, with the multitude of delicate vertical scratches from wiping and every detail distinct and with sharp, inky plate edges Kennedy 205; Glasgow 232.

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JAMES A. M. WHISTLER The Fishing Boat.

Lot 17: JAMES A. M. WHISTLER The Fishing Boat.

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Description: JAMES A. M. WHISTLER The Fishing Boat. Etching and drypoint printed in dark brownish black on thin, cream laid paper, 1879-80. 152x231 mm; 6x9 inches. MacDonald's sixth state (of 6), with the man's head and body shaded. Edition of approximately 30, a selected proof according to Whistler's inscription verso. Signed with the butterfly and inscribed "imp" in pencil on the tab lower left, signed with the butterfly and inscribed "Gorgeous" in pencil verso. From Twenty-Six Etchings. A brilliant, carfeully-wiped impression of this selected proof with burr throughout and all the fine lines distinct. Kennedy 208; Glasgow 198.

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JAMES A. M. WHISTLER The Smithy.

Lot 18: JAMES A. M. WHISTLER The Smithy.

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Description: JAMES A. M. WHISTLER The Smithy. Etching and drypoint printed in dark brown on cream laid paper, 1880. 177x229 mm; 7x9 inches. Sixth state (of 6). Signed with the butterfly and inscribed "imp." in pencil, lower left. A very good impression of this extremely scarce etching. We have found only 7 other impressions at auction in the past 25 years. MacDonald cites 20 known impressions, including those at the Art Institute of Chicago, the Baltimore Museum of Art, the Cleveland Museum of Art, the Freer Gallery of Art, Washignton, D.C., the Library of Congress, Washington, D.C. and the National Gallery of Art, Washington, D.C. According to MacDaonald, though he worked on this subject through six different states Whistler, "never resolved the right side of the composition. He used etching and then combined it with drypoint to refine and enhance the shading of the ceiling, the objects in the room and the dark shadows. However, the sketchy figure to the left of the anvil in the first state, although later removed, was never replaced, leaving a white unetched area on that part of the image." Kennedy 240; Glasgow 239.

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JAMES A. M. WHISTLER Little Court.

Lot 19: JAMES A. M. WHISTLER Little Court.

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Description: JAMES A. M. WHISTLER Little Court. Etching printed in brownish black on antique cream laid paper, 1880-81. 124x173 mm; 4 7/8x6 3/4 inches. Second state (of 2), with the drypoint shading on the left leg of the man in the doorway. Edition of approximately 30. Signed and inscribed "imp." in pencil, on the tab lower left. Ex-collection Walter Sickert, London; and P&D Colnaghi, London, according to a typed note on the mat from the previous owner, who acquired this impression directly from P&D Colnaghi, London. From A Set of Twenty-six Etchings. A superb impression of this very scarce print. Kennedy 236.

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JAMES A. M. WHISTLER The Little Nude Model, Reading.

Lot 20: JAMES A. M. WHISTLER The Little Nude Model, Reading.

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Description: JAMES A. M. WHISTLER The Little Nude Model, Reading. Lithograph on thin, antique, cream laid paper, 1889-90. 167x179 mm; 6 5/8x7 1/8 inches, full margins. Edition of only approximately 28. Signed with the butterfly in pencil, lower left. Indiscernible counter mark to an unknown watermark (initials I V I with an arrow, not in Spink). A superb impression of this extremely scarce, important lithograph. Among the artist's most commercially successful lithographs, only one impression remained in his estate in 1903. We have found only 4 other signed, lifetime impressions at auction in the past 25 years. Way 29; Levy 43; Spink 33.

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CLAUDE MONET Egalité, ne l'oublions pas est un principe de la Déclaration des droits de l'Homme .

Lot 21: CLAUDE MONET Egalité, ne l'oublions pas est un principe de la Déclaration des droits de l'Homme .

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Description: CLAUDE MONET Egalité, ne l'oublions pas est un principe de la Déclaration des droits de l'Homme . Watercolor and brush and ink and wash on cream wove paper. 225x120 mm; 8 7/8x4 3/4 inches. Signed in ink, lower left, and titled in ink, lower margin. With a preliminary pen and ink and watercolor sketch, verso.

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CLAUDE MONET and GEORGE W

Lot 22: CLAUDE MONET and GEORGE W

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Description: CLAUDE MONET and GEORGE W. THORNLEY/span Fillette, dans l'allée d'un parc, portant des bouquets. Lithograph printed in violet-rose on cream Chine appliqué, circa 1892. 178x228 mm; 7x9 inches, full margins. Artist's proof, aside from the edition of 25. Signed by both Monet and Thornley in pencil, lower margin. Printed by Belfond, Paris. A superb, richly-inked impression of this very scarce Impressionist lithograph.

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CAMILLE PISSARRO Mère et Enfant.

Lot 23: CAMILLE PISSARRO Mère et Enfant.

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Description: CAMILLE PISSARRO Mère et Enfant. Etching and aquatint on cream laid paper, 1882. 141x101 mm; 5 1/2x4 inches, full margins. Eighth state (of 8). One of only 4 lifetime impressions in this state (there are approximately only 14 lifetime impressions in all eight states combined). Signed and annotated in ink, lower margin. A very good impression of this scarce etching. Delteil 38.

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CAMILLE PISSARRO Crépuscule (avec Meules).

Lot 24: CAMILLE PISSARRO Crépuscule (avec Meules).

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Description: CAMILLE PISSARRO Crépuscule (avec Meules). Aquatint and etching on cream laid paper, 1879. 115x180 mm; 4 1/2x7 inches, full margins. Third state (of 3). Numbered 11/50 in pencil and with the artist's initials ink stamp (Lugt supplement 613f, lower right recto). A superb, luminous impression of this scarce, important aquatint. Delteil 23.

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CAMILLE PISSARRO Une Rue à Rouen (Rue des Arpents).

Lot 25: CAMILLE PISSARRO Une Rue à Rouen (Rue des Arpents).

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Description: CAMILLE PISSARRO Une Rue à Rouen (Rue des Arpents). Etching and drypoint on cream laid paper, 1887. 163x113 mm; 6 1/2x4 1/2 inches, wide margins. Third state (of 3). With the artist's initials ink stamp (Lugt 613f) and numbered 6/20 in pencil, lower margin. A superb, well-inked impression. Delteil 68.

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CAMILLE PISSARRO Rue Sanit-Romain, à Rouen, 2e planche.

Lot 26: CAMILLE PISSARRO Rue Sanit-Romain, à Rouen, 2e planche.

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Description: CAMILLE PISSARRO Rue Sanit-Romain, à Rouen, 2e planche. Lithograph printed in black on smooth, cream wove paper, 1896. 190x140 mm; 7 1/2x5 1/2 inches, full margins. First state (of 2), with the clouds in the sky upper center complete. One of only 2 known impressions in the first state (there are approximately only 5 known lifetime impressions in the second state). Signed, titled and inscribed "No. 1" in pencil, lower margin. A superb impression of this exceedingly scarce, early proof. Delteil 177.

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CAMILLE PISSARRO La Charrue.

Lot 27: CAMILLE PISSARRO La Charrue.

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Description: CAMILLE PISSARRO La Charrue. Color lithograph on cream wove paper, 1898-1901. 215x151 mm; 8 1/2x6 inches, full margins. Third state (of 3), with the artist's printed signature lower right. From Les Temps Nouveaux. A very good impression with strong colors. Delteil 194.

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EDGAR DEGAS Femme nue debout à sa toilette.

Lot 28: EDGAR DEGAS Femme nue debout à sa toilette.

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Description: EDGAR DEGAS Femme nue debout à sa toilette. Lithograph printed in black on smooth, cream wove paper, 1891-92. 333x245 mm; 13 1/2x9 3/4 inches, full margins. Sixth state (of 6). One of approximately 12 impressions in this state (from a combined approximately 40 impressions in all 6 states). Signed or inscribed with Degas's name in pencil, lower left. Printed by Auguste Clot, Paris. Ex-collection the printer, Auguste Clot, Paris, with a signed attestation by the printer's grandson, Guy Georges, dated May 1, 1996. According to Reed/Shapiro, perhaps half of the known "edition" of this lithograph in all 6 states were located in the 1950s by E. W. Kornfeld, "In the hands of Maurice Exsteens, who had acquired them from his father-in-law, the Parisian collector and publisher Gustave Pellet (1859-1919). Pellet had evidently obtained them sometime between 1900 and 1910 and is said to have had them signed by Degas." N. G. Stogdon notes that, "The question of the name of Degas in a hard pencil on impressions of some of the prints has also arisen . . . Those we have observed on [Reed/Shapiro] catalogue numbers 61 and 65 are in hard pencil and are not typical of Degas's hand in his later years," (Edgar Degas, Catalogue XII, 2006, catalogue number 16). Delteil 65; Adhémar 63; Reed/Shapiro 61.

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EDGAR DEGAS Au Louvre, la peinture, Mary Cassatt.

Lot 29: EDGAR DEGAS Au Louvre, la peinture, Mary Cassatt.

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Description: EDGAR DEGAS Au Louvre, la peinture, Mary Cassatt. Etching and drypoint on heavy, cream wove paper, circa 1879-80. 301x125 mm; 11 7/8x5 inches, full margins. Twenty-first state (of 21), after cancellation. Edition of approximately 150. Published by Vollard, Paris. A dark and richly-inked impression, with the cancellation lines very unobtrusive. Delteil 29; Adhémar 54.

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MARY CASSATT Margot Wearing a Large Bonnet, Seated in an Armchair.

Lot 30: MARY CASSATT Margot Wearing a Large Bonnet, Seated in an Armchair.

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Description: MARY CASSATT Margot Wearing a Large Bonnet, Seated in an Armchair. Drypoint, circa 1904. 296x238 mm; 11 3/4x9 3/8 inches, full margins. Edition of 50. Signed and inscribed "no. 9" in pencil, lower margin. A superb impression with richly-inked burr. Breeskin 192.

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MARY CASSATT Feeding the Ducks.

Lot 31: MARY CASSATT Feeding the Ducks.

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Description: MARY CASSATT Feeding the Ducks. Color aquatint and soft-ground etching with drypoint on cream laid paper, circa 1894. 295x393 mm; 11 5/8x15 1/2 inches, wide margins. Third state (of 3). Edition of approximately only 25. Signed in pencil, lower right. A very good impression of this extremely scarce, important color print. We have found fewer than 5 other impressions at auction in the past 25 years. Breeskin 158.

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PIERRE-AUGUSTE RENOIR La Danse à la Campagne, 2e planche.

Lot 32: PIERRE-AUGUSTE RENOIR La Danse à la Campagne, 2e planche.

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Description: PIERRE-AUGUSTE RENOIR La Danse à la Campagne, 2e planche. Soft ground etching on cream wove paper, circa 1890. 222x137 mm; 8 7/8x5 1/2 inches, full margins. With the artist's ink stamp signature, lower right. A superb, well-inked impression with strong contrasts, warm plate tone and crisp, inky plate edges. Delteil 2.

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PIERRE-AUGUSTE RENOIR Odalisque.

Lot 33: PIERRE-AUGUSTE RENOIR Odalisque.

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Description: PIERRE-AUGUSTE RENOIR Odalisque. Lithograph printed in black on cream wove China paper, 1904. 80x125 mm; 3 3/8x5 inches, full margins. With the artist's lithograph signature, lower right. A superb, dark impression of this scarce print. According to Delteil, the published edition of 75 was printed in bistre and there only were a handful of proofs printed in other colors (including black). Delteil 35.

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PIERRE-AUGUSTE RENOIR Baigneuse assise.

Lot 34: PIERRE-AUGUSTE RENOIR Baigneuse assise.

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Description: PIERRE-AUGUSTE RENOIR Baigneuse assise. Soft-ground etching printed in brownish black on cream wove paper, circa 1897. 220x140 mm; 8 5/8x5 1/2 inches, full margins. Edition of 525. From Art et Nature. A very good, well-inked impression. Delteil 11.

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PIERRE-AUGUSTE RENOIR (after) Nu

Lot 35: PIERRE-AUGUSTE RENOIR (after) Nu

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Description: PIERRE-AUGUSTE RENOIR (after) Nu. Color aquatint and etching, 1923. 725x550 mm; 28 1/4x21 3/8 inches, full margins. Etched by Jacques Villon. Published by the Calcographie du Louvre, Paris. A very good impression. Ginestet/Pouillon 637 (Villon).

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PIERRE-AUGUSTE RENOIR L'Album des Douze Lithographies Originales.

Lot 36: PIERRE-AUGUSTE RENOIR L'Album des Douze Lithographies Originales.

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Description: PIERRE-AUGUSTE RENOIR L'Album des Douze Lithographies Originales. Complete set of 12 lithographs on warm, cream Japan paper, 1904-19. 365x265 mm; 14 1/2x10 1/2 inches (sheets), full margins, loose as issued. The deluxe edition of 50 on Japan paper, aside from the regular edition of 950 on wove paper. Signed by Renoir in ink and numbered 26 on the justification page, verso of the original printed title page. Published by Vollard, Paris. Superb impressions; extremely scarce in this issue on Japan paper. Delteil 37-48.

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PIERRE-AUGUSTE RENOIR Paul Cézanne.

Lot 37: PIERRE-AUGUSTE RENOIR Paul Cézanne.

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Description: PIERRE-AUGUSTE RENOIR Paul Cézanne. Lithograph on Japan paper, 1902. 260x240 mm; 10 3/8x9 1/2 inches, full margins. Edition of 100. Printed by Auguste Clot, Paris. Published by Vollard, Paris. A superb impression of this scarce lithograph. Delteil 34.

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PAUL CÉZANNE Les Baigneurs (grande planche).

Lot 38: PAUL CÉZANNE Les Baigneurs (grande planche).

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Description: PAUL CÉZANNE Les Baigneurs (grande planche). Lithograph on cream laid paper, 1896-97. 410x503 mm; 16 1/8x19 3/4 inches, full margins. Edition of fewer than 100. Printed by Auguste Clot, Paris. Published by Vollard, Paris. From the unrealized L'Album d'Estampes Originales de la Galerie Vollard. A superb impression of this scarce lithograph. Johnson cites other impressions printed in black (there is also an edition of 100 printed in colors), at the Brooklyn Museum of Art; the Clark Art Institute, Williamstown; and the Yale University Art Gallery, New Haven. Based on Cézanne's ealier painting, Baigneurs au repos, 1875-76, now in the Barnes Foundation, Philadelphia.

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PORTFOLIO Cézanne.

Lot 39: PORTFOLIO Cézanne.

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Description: PORTFOLIO Cézanne. Volume with complete text, 1 etching printed in sepia and 5 lithographs, 1914. 380x283 mm; 15x11 1/4 inches (sheets), full margins. One of 400 numbered copies on papier à grain, of a total edition of 600. Numbered 600 on the justification page. Published by Bernheim-Jeune, Paris. Includes prints by CÉZANNE (Venturi 1161), VUILLARD (Roger-Marx 51), BONNARD (Bouvet 82), DENIS (Cailler 135), MATISSE and ROUSSEL.

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PAUL CÉZANNE Tête de Jeune Fille.

Lot 40: PAUL CÉZANNE Tête de Jeune Fille.

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Description: PAUL CÉZANNE Tête de Jeune Fille. Etching printed in black on cream wove paper, 1873. 132x109 mm; 5x4 inches, full margins. Third state (of 3). Numbered 42/50 and inscribed "Edition speciale--limité a 50 examplaires fait sous la supervision de Jean Pierre Cézanne" in pencil, lower margin. Published by Jean Pierre Cézanne, the artist's grandson, Paris. A superb, well-inked impression. Cherpin 4.

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PAUL CÉZANNE (after) Les Joueur des Cartes

Lot 41: PAUL CÉZANNE (after) Les Joueur des Cartes

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Description: PAUL CÉZANNE (after) Les Joueur des Cartes. Aquatint, 1929. 600x482 mm; 23 5/8x19 inches, full margins. Artist's proof, aside from the color aquatint edition of 200. Signed by Villon and numbered 2/21 in pencil, lower right. Etched by Jacques Villon, Paris. Published by Galerie Bernheim-Jeune, Paris. A superb impression. Ginestet/Pouillon 662 (Villon).

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PAUL CÉZANNE (after) Les Joueur des Cartes

Lot 42: PAUL CÉZANNE (after) Les Joueur des Cartes

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Description: PAUL CÉZANNE (after) Les Joueur des Cartes. Color aquatint, 1929. 600x482 mm; 23 5/8x19 inches, full margins. Signed by Villon, inscribed "d'après Cézanne' and numbered 129/200 in pencil, lower right. Etched by Jacques Villon, Paris. Published by Galerie Bernheim-Jeune, Paris. A superb impression with strong colors. Ginestet/Pouillon 662 (Villon).

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VINCENT VAN GOGH (after) Le Paysan

Lot 43: VINCENT VAN GOGH (after) Le Paysan

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Description: VINCENT VAN GOGH (after) Le Paysan. Color aquatint, 1928. 400x316 mm; 15 7/8x12 1/2 inches, full margins. Signed by Villon and numbered 40/200 in pencil, lower left. Etched by Jacques Villon. Published by Bernheim-Jeune, Paris. A very good impression with strong colors. Villon's interpretation of Van Gogh's Portrait of Patience Escalier, a shepherd in Provence, painted at Arles in 1888 and now in the Niarchos collection. Ginestet/Pouillon 653.

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PAUL GAUGUIN Mahna no Varua Ino.

Lot 44: PAUL GAUGUIN Mahna no Varua Ino.

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Description: PAUL GAUGUIN Mahna no Varua Ino. Woodcut printed in ochre on cream wove China paper, 1893-94. 202x352 mm; 8x14 inches, full margins. Fourth state (of 4). A proof in this state, printed before the Pola Gauguin edition of 100 published in 1921 (impressions of which were printed in black). A superb, richly-inked, dark and evenly-printed impression of this very scarce proof. This impression, unrecorded by Kornfeld, is likely unique. Kornfeld notes two impressions of other Noa Noa subjects printed before 1904 by Tony or Jacques Beltrand for Eugène Druet and neither of these is in ochre ink (Kornfeld 20 and 22). According to Kornfeld, Eugène Druet acquired 8 of the Noa Noa wood blocks sometime around 1914-18 and had Beltrand print impressions. In 1921, Druet sold the wood blocks to the artist's son, Pola Gauguin, and he prodcued the edition of 100 impressions of each. The Pola Gauguin printings, as well as many of the Beltrand impressions, are evidenced by the splits in the blocks (which are particularly noticeable in the 1921 impressions). The current impression has no signs of splitting in the block and is likely an early impression from the 1890s or early 1900s. An impression of L'Univers est Crée printed in ochre on China paper, and an impression of Nave Nave Fenua, printed in ochre on Japan paper, both from Noa Noa, were sold at Sotheby's, London (1998) and Drouot, Paris (1989( respectively. Kornfeld 19.

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PAUL GAUGUIN La Femme aux Figues.

Lot 45: PAUL GAUGUIN La Femme aux Figues.

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Description: PAUL GAUGUIN La Femme aux Figues. Etching on cream laid paper, 1894-95. 268x420; 10 1/2x16 1/2 inches, wide margins. Second state (of 2), after the reduction of the plate at right. A very good, dark impression. According to Boyle-Turner, "This controverisal print has been assigned to Seguin, to Gauguin, and even to a collaboration of both artists." The artist Armand Seguin (1869-1903) was a close friend of Gauguin during the late 1880s/early 1890s. Based on the etched inscrption upper right, "Chez Seguin à St. Julien," the scene takes place at Seguin's Breton home in Pouldu. Current scholarship regarding authorship for the print leans toward Gauguin, in its similarities to other of his Breton female portrait compositions. Kornfeld 25.

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HENRI TOULOUSE-LAUTREC Aristide Bruant.

Lot 46: HENRI TOULOUSE-LAUTREC Aristide Bruant.

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Description: HENRI TOULOUSE-LAUTREC Aristide Bruant. Lithograph on smooth, cream wove paper, 1893. 346x269 mm; 13 1/2x10 1/2 inches, full margins. Edition of 500. Published by L'Estampe Originale, Paris. From Le Café Concert. A superb impression. Deteil 34; Adhemar 22; Adriani 24.

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HENRI TOULOUSE-LAUTREC Jane Avril.

Lot 47: HENRI TOULOUSE-LAUTREC Jane Avril.

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Description: HENRI TOULOUSE-LAUTREC Jane Avril. Lithograph printed in black on cream wove paper, 1893. 266x215 mm; 10 1/2x8 1/2 inches, full margins. First state (of 3). Edition of 500. Printed by Ancourt & Cie., Paris. Published by L'Estampe Originale, Paris. From Le Café Concert. A very good impression with strong contrasts and all the subtle tonal variations distinct. Delteil 28; Adhémar 28; Adriani 16.

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HENRI TOULOUSE-LAUTREC Folies Bergère, les Pudeurs de Monsieur Prudhomme.

Lot 48: HENRI TOULOUSE-LAUTREC Folies Bergère, les Pudeurs de Monsieur Prudhomme.

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Description: HENRI TOULOUSE-LAUTREC Folies Bergère, les Pudeurs de Monsieur Prudhomme. Lithograph printed in black and gray on smooth, cream wove paper, 1893. 375x270 mm; 14 3/4x10 5/8 inches, full margins. Edition of 100. Numbered "82" in pencil, lower left. With the artist's monogram red ink stamp (Lugt 1338, lower left recto). A superb, dark and well-inked impression. Delteil 46; Adhémar 49; Adriani 51.

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HENRI TOULOUSE-LAUTREC A la Gaieté Rochechouart: Nicolle.

Lot 49: HENRI TOULOUSE-LAUTREC A la Gaieté Rochechouart: Nicolle.

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Description: HENRI TOULOUSE-LAUTREC A la Gaieté Rochechouart: Nicolle. Lithograph, 1893. 14 7/8x11 inches; 380x280 mm, full margins. Edition of 100. With the artist's red monogram ink stamp (Lugt 1338, lower left recto). Printed by Ancourt, Paris. Published by Kleinmann, Paris. From L'Escarmouche. A superb impression. Delteil 48; Adhémar 51; Adriani 53.

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HENRI TOULOUSE-LAUTREC La Coiffure, Programme du Théâtre Libre.

Lot 50: HENRI TOULOUSE-LAUTREC La Coiffure, Programme du Théâtre Libre.

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Description: HENRI TOULOUSE-LAUTREC La Coiffure, Programme du Théâtre Libre. Color lithograph on smooth, cream wove paper, 1893. 330x255 mm; 13x10 1/8 inches, full margins. Second state state (of 3), before text. Edition of 100. Inscribed "No. 69" in red pencil, lower left. Published by Kleinmann, Paris, with the blind stamp (Lugt 1573, lower left recto). A very good, early impression with strong colors. Delteil 14; Adhémar 40; Adriani 40.

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