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Buy Now (58 Items)

by Christopher-Clark Fine Art

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Fine Art (58)
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Jules Chéret, Lithograph: Musée Grévin

Ships From: San Francisco, CA US

Description: An original Jules Chéret Lithograph print.1900Original lithograph poster printed in colors on wove poster paper. Signed and dated on the stone at the center right edge Cheret/1900. A proof impression printed prior to any poster text being added to the stone. Printed at Imprimerie Chaix (Ateliers Chéret).Catalog: Malhotra 267, Broido Pl. 2448 x 34 1/4 inchesChéret created this poster to advertise a production at the Grévin Museum. This venue is a Paris original: a waxworks founded around 1880 by caricaturist Alfred Grévin, it included a 500 seat auditorium where live performances were given to supplement the meager income Grévin was making from admissions to the museum part of the operation. The theater had mirrored walls, and Chéret painted the ceiling. The presentations included a mix of magic shows, revues and concerts - anything to bring the patrons. What is perhaps most amazing is that the Musée Grévin is still in business today.

Condition Report: A superb impression with fresh, brilliant colors printed on a full, untrimmed sheet backed with linen.

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Price: $9,200

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Camille Pissarro, Lithograph: Le Vieux Quartier de Rouen

Ships From: San Francisco, CA US

Description: An original Camille Pissarro Lithograph print.c.1900Original lithograph printed in black ink on chine appliqué on stiff wove paper.A superb impression of the definitive state From the edition of 108 (numbered from the edition). Transcribed onto the lithographic stone by Thornley after the painting of the same subject by Pissarro, under the supervision of Pissarro. Printed by R. Engelmann, Atelier Belford, Paris; published and issued by Ch. Hesséle, 13 rue Lafitte, Paris, circa 1900. Plate 6 from the album 25 Lithographies par W. Thornley d’aprés Pissarro, with the plate number stamped above the upper right corner of the image.7 1/4 x 9 1/16 inchesSheet Size: 15 3/4 x 22 1/2 inches

Condition Report: In excellent condition, the mounting sheet with full margins.

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Price: $1,750

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Camille Pissarro, Lithograph: Portrait De F.C.P

Ships From: San Francisco, CA US

Description: An original Camille Pissarro Lithograph print.c.1900Original lithograph printed in dark umber ink on chine appliqué mounted on stiff wove paper.A superb impression of the definitive state. From the edition of 108 (number 82 from the edition) Transcribed onto the lithographic stone by Thornley after the painting of the same subject by Pissarro, under the supervision of Pissarro. Printed by R.Engelmann, Atelier Belfond, Paris; published and issued by Ch. Hesséle, 13 rue Lafitte, Paris, circa 1890. Plate 25 from the album “25 Lithographies par W. Thornley d’aprés Pissarro”, with the plate number stamped above the upper right corner of the image. 9 13/16 x 8 1/8 inchesSheet Size: 15 3/4 x 22 1/2 inchesThis lithograph is based on Pissarro’s 1881 oil on canvas “Portrait de Félix Pissarro” (Ludovic Rodo Pissarro & Lionelo Venturi, “Camille Pissarro, son art - son oeuvre”, Paris, 1939, no. 550, currently part of the Durand-Ruel Collection in Paris.Félix-Camille Pissarro, known as Titi, was the third son of Camille and Julie Pissarro. He was a painter, engraver, and caricaturist working under the name of Jean Roch. He died in London of tuberculosis on November 26, 1897, aged twenty-four, at Kew while on a visit with his elder brother Georges.

Condition Report: In excellent condition, the mounting sheet with full margins.

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Price: $1,750

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Camille Pissarro, Lithograph: Bateau A Rouen

Ships From: San Francisco, CA US

Description: An original Camille Pissarro Lithograph print.c. 1900Original lithograph printed in brown ink on chine appliqué mounted on stiff wove paper.A superb impression of the definitive state. From the edition of 108 (number 82 from thie edition). Transcribed onto the lithographic stone by Thornley after the painting of the same subject by Pissarro, under the supervision of Pissarro. Printed by R.Engelmann, Atelier Belfond, Paris; published and issued by Ch. Hesséle, 13 rue Lafitte, Paris, circa 1890. Plate 21 from the album “25 Lithographies par W. Thornley d’aprés Pissarro”, with the plate number stamped above the upper right corner of the image. 8 11/16 x 11 1/4 inches Sheet Size: 22 1/2 x 15 3/4 inches

Condition Report: In excellent condition, the mounting sheet with full margins.

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Price: $1,750

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Rembrandt Van Rijn, Etching: Jan Uytenboagert, Preacher of the Remonstrants

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching.1635Original etching and burin printed in black ink on laid paper.Signed and dated in the plate Rembrandt 1635. A fine, strong 18th century impression of Bartsch’s sixth and final state, Usticke's fourth state of six, New Hollstein’s eighth state of nine. Printed after the addition of the long parallel lines of shading between the fur and the right shoulder, but before the late externsive reworking of the plate.Catalog: Bartsch 279 vi/vi; Hind 128; Biorklund-Barnard 35-D; Usticke 279 iv/vi; New Hollstein 153 viii/ix.Sheet size: 8 7/8 x 7 7/16 inchesAs the leader of the Dutch Remonstrants, Uytenbogaert (1577-1644) played a central role in the history of his time. Until his banishment (1618-26), in the wake of the victory of orthodox Calvinism over Remonstrantism, he exercised great political influence, partly in his function as tutor of Prince Frederik Hendrik. After his return to Holland he settled in the Hague, but paid frequent visits to Amsterdam. This portrait of Uytenbogaert was Rembrandt's first official commission for an etched portrait. Until that time he had made portrait etchings only of members of his family. The official nature of this portrait is underlined by its Latin inscription (“He who was honored by the pious and the army was damned by the assembled preachers. Worse handled by fate than by time, he now returns, The Hague, to you.”) Inscriptions such as these were a common feature of formal etched portraits in the 17th century, though a rarity in Rembrandt's own works.

Condition Report: In excellent condition.

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Price: $9,800

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Albrecht Dürer, Engraving: The Virgin with the Dragonfly

Ships From: San Francisco, CA US

Description: An original Albrecht Dürer Engraving.1495Original engraving printed in black ink on laid paper bearing the "Large City Gate with Pointed Roof" watermark (Meder 260). Signed in the plate with the artist’s monogram lower center. A strong, dark 16th century Meder “g” impression, with strong contrasts throughout, showing the horizontal scratch emanating from God the Father’s orb toward the right, printed circa 1560. Catalog: Bartsch 44; Panofsky 151; Meder 42g (of k); Strauss 4; Schoch / Mende / Scherbaum 2Size: 9 5/16 x 7 1/4 inches

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Price: $22,500

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James Abbott McNeill Whistler, Lithograph: Firelight: Joseph Pennell, No. 1

Ships From: San Francisco, CA US

Description: An original James Abbott McNeill Whistler Lithograph print.1896Original transfer lithograph printed in black ink on laid paper bearing the Van Gelder Zonen watermark.Signed on the stone with the butterfly monogram at left.A fine lifetime impression of Spink’s only state from the edition published by T. Fisher Unwin, The Century Company, 1898, as the frontispiece for the book Lithography and Lithographers, by Joseph Pennell and Elizabeth Robins Pennell (the stone was destroyed by Goulding in 1903 and there were no posthumus impressions). Catalog: Levy 152; Way 104; Spink 1446 1/2 x 5 1/2 inches Sheet Size: 13 7/8 x 10 1/16 inchesWhistler selected this portrait of his friend Joseph Pennell to serve as the frontispiece of a forthcoming book on lithography written jointly by Pennell and his wife, Elizabeth Robins Pennell. Whistler drew 4 lithographic portraits of Joseph Pennell and one of Elizabeth Pennell in rapid succession that month during afternoon visits to their Buckingham Street flat. A letter from Whistler to Unwin dated January 20 establishes that by this date he had already produced one lithograph that might be suitable for the frontispiece. By January 30, when the artist wrote to Unwin again, he had produced a version that he preferred.According to Whistler’s printer, T.R. Way, this portrait of Pennell, the artists biographer, is one of a series of works drawn by firelight. This astonishingly evocative portrait with its rich shading is the culmination of the firelight series.

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $1,900

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Rembrandt Van Rijn, Etching: OLD MAN WITH A DIVIDED FUR CAP

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching.1640Original etching with touches of drypoint printed in black ink on laid paper.Signed and dated in the plate upper left Rembrandt f. 1640. A strong, clear 17th century/lifetime impression of Bartsch’s second state of two, Hind, Biorklund-Barnard and Usticke’s second state of three, and New Hollstein’s first state of two, of this rare and beautiful portrait. printed after to the appearance of the short slipt stroke from the cap to the left cheek of the subject, but well prior to the reworking with mezzotint, with traces of burr showing on the thumb of the sitter and the lines in the lower left and right corners.Catalog: Bartsch 265 ii/ii; Hind 170 ii/iii; Biorklund-Barnard 40-A ii/iii; Usticke 265 ii/iii; New Hollstein 182 i/ii. 5 15/16 x 5 7/16 inches 6 1/4 x 5 11/16 inchesIn the years after 1630 Rembrandt drew a series of red chalk drawings of imposing old men. Some of these subjects were later used in paintings of biblical subjects or of meditating old men. There are several etchings closely linked to this series of chalk drawings. The old man here is probably the same model who sat for a number of figure studies of the same period. He appears in the guise of a distinguished old gentleman with a fur cap and cloak. One scholar has pointed out the similarity of this etching to a small red chalk drawing in the Fodor Museum in Amsterdam.This etching is the most fully developed among Rembrandt’s fantasy portraits of old men. Shown in three-quarter profile from a low, close-up point of view, this patriarch could have stepped right from the pages of one of Rembrandt’s beloved Bible stories. The cocked angle of his great fur hat accentuates his sharp eyed gaze and sculptured features. Rembrandt’s swift, confident handling of the needle is especially evident in the mantle covering the richly ornamented clothing. He added tiny, judicious strokes of drypoint to throw the sparely drawn arm and hand into relief. Rembrandt’s 1630’s drawings of actors and his later print for the publication of the play Medea (Bartsch 112) testify to his interest in the theater. The rhetorical bearing of this exotic figure invites the question as to whether this image too might be related to contemporary presentations on stage.

Condition Report: A tiny, expertly repaired and unobtrusive tear at the lower sheet edge, otherwise in excellent condition, printed on a sheet with narrow margins.

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Price: $34,900

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James Abbott McNeill Whistler, Drypoint: FINETTE

Ships From: San Francisco, CA US

Description: An original James Abbott McNeill Whistler Drypoint print.1859Original drypoint printed in black ink on laid paper. Signed and dated in the plate lower left Whistler 1859. A strong, dark impression of Kennedy’s tenth and final state Of this extremely scarce etching, printed after the addition of the vertical lines below the window and the burnishing of the hands, hair and face preparatory to remodeling (which was never done), and the addition of the cancellation lines. Catalog: Kennedy 58 x/x; Mansfield 58; Grolier Club 56; Wedmore 54; Thomas 56.11 3/8 x 7 7/8 inchesSheet Size: 12 5/8 x 9 3/4 inchesAfter spending about two months at Wapping on the Thames in London, Whistler left for Paris on October 6, 1858, remaining there until shortly before Christmas. During this ten-week period he experimented with the drypoint technique for the first time.Whistler greatly admired the special qualities of drypoint, a process more closely related to engraving than etching, in which a steel or diamond tip needle is used to draw on an ungrounded copper plate. Drypoint can be distinguished from other intaglio techniques largely by the distinctive copper ridge, or “burr”, which is forced up on either side of the needle as it is pushed through the copper. This traps the ink and prints with a velvety richness which varies with the depth of the drypoint line.Whistler made three drypoint portraits of women on the trip to Paris, including “Finette.” In these prints Whistler began to explore the decorative possibilities of the full-length portrait, drawing on the tradition of sartorial splendor which he saw in Anthony Van Dyck, Wenceslaus Hollar and Velasquez.Whistler gave his subjects monumentality by selecting a low vantage point and emphasizing the richness of their costume. Of the three drypoints, he preferred “Finette”, and “guarded his proofs jealously.” The dark figure which dominates the picture space recalls Hollar’s 1640 etching “The Winter Habit of an English Gentlewoman,” and impression of which was in his brother-in-law Francis Seymour Haden’s collection. The mask which Whistler included among the items in the prop box to the right of Finette may have been intended for use during the forthcoming carnival season; it recalls the facial masks worn with winter costume in Hollar’s prints, and the miscellaneous accoutrements found in British aristocratic portraiture.

Condition Report: A small tear in the sheet at the left edge well away from the image, minor losses at the extreme sheet edges upper right and lower left, backed with Japan paper for support, otherwise in excellent condition, printed on a sheet with wide margins

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Price: $9,850

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James Abbott McNeill Whistler, Etching: LANDSCAPE WITH HORSES

Ships From: San Francisco, CA US

Description: An original James Abbott McNeill Whistler Etching.1859Original etching printed in black ink on thin laid Japan paper.Signed and dated in the plate lower left Whistler 1859.A dark and richly printed impression of Kennedy and Glasgow’s second and final state of this scarce etching, showing touches of burr, printed after the addition of the heavy sky and second horse to the plate, one of only approximately 20 impressions of this state.Catalog: Kennedy 36 ii/ii; Glasgow 45 ii/ii; Mansfield 35; Grolier Club 48; Wedmore 46; Thomas 2.Platemark: 4 15/16 x 7 15/16 inches Sheet size: 9 1/8 x 12 1/2 inchesThis etching is one of three landscapes etched by Whistler during the midsummer of 1859 during a visit to London by his friend and fellow artist Henri Fantin-Latour from Paris. It predates the Thames etchings of later in the same year and is considerably different than most of his etched work of this period. Landscape with a Horse is realist in both style and subject. The unusual approach to this image and its companions appears to be a product of his conversations with Fantin-Latour who had brought along with him from Paris a copy of an important salon review by Baudelaire in which the poet discussed his attitude toward the “realists” or “positivists”, as he called them, who were perfectly happy to paint nature as they found it, painters such as Courbet, Corot and Alphonse Legros. In Landscape with a Horse Whistler created a sense of recession by placing a figure close to the viewer and by moving the horizon line two thirds of the way up the picture space, a device that would appear in the Thames etchings soon to follow. The realism of men putting up telegraph poles inject a jarring modern note into this rural landscape, and are also prophetic of the wharf side figures soon to appear in the Thames subjects.

Condition Report: In excellent condition, printed on a sheet with wide margins.

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Price: $7,900

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Henri de Toulouse-Lautrec, Lithograph: Au Moulin Rouge, Un Rude! ... Un Vrai  Rude!

Ships From: San Francisco, CA US

Description: An original Henri de Toulouse-Lautrec Lithograph print.1893Original lithograph printed in black ink on wove paper. Signed with the artist's red monogram stamp (Lugt 1338) lower left, also signed on the stone with the monogram lower right. A richly printed impression of Delteil and Wittrock's only state from the edition of 100 (there were three additional trial proofs printed on Japan paper). Published by the periodical L'Escarmouche (reproduced in the December 1893 issue); printed by Edouard Ancourt. Catalog: Delteil 45; Adhémar 48; Wittrock 35; Adriani 5014 5/16 x 10 1/16 inchesSheet Size: 14 13/16 x 11 1/16 inchesAccording to Delteil, this lithograph, which was reproduced with illustrations by Hermann Paul and Pierre Bonnard in L'Escarmouche, No. 5 on December 10, 1893, depicts the artist's father, Count Alphonse de Toulouse-Lautrec, in the foreground, and on his right the lithographer Joseph Albert.

Condition Report: In excellent condition, printed on a full sheet.

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Price: $16,500

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James Abbott McNeill Whistler, Etching: FUMETTE

Ships From: San Francisco, CA US

Description: An original James Abbott McNeill Whistler Etching.1858Original etching printed in black ink on laid paper bearing an unidentified watermark (a fleur-de-lys surmounting the date "1800").Signed in the plate lower right Whistler. A strong and dark impression of Kennedy's fourth and final state, Glasgow’s fifth state of five, with a warm plate tone and showing touches of burr, printed after the addition of the printer's inscription to the plate lower left Imp. Delatre, Rue St. Jacques, 171.  A plate from the series Douze eaux-fortes d’apres Nature (Twelve Etchings from Nature), commonly referred to as “The French Set,” one of only 75 known impressions from this plate.Catalog: Kennedy 13 iv/iv; Glasgow 12 v/v; Mansfield 15; Grolier Club 19; Wedmore 18.Platemark: 6 3/8 x 4 1/4 inches Sheet size: 7 7/8 x 5 1/2 inches Fumette (or Héloïse) was the first of Whistler's European liaisons. She was a milliner, a 'grisette' in the Latin Quarter, who used to carry about with her a little basket containing her crochet work, and a volume of the poems of Alfred Musset, which she knew by heart. She and Whistler lived at a hotel on the rue de St. Sulpice. According to the Pennells, Whistler and Fumette were together for two years, not always happily; one day Fumette destroyed a cache of Whistler's drawings in a fit of anger (she was nicknamed 'the tigress' in keeping with her hot temper). She later lived with a musician, and at the end of her life was living in South America, where she had set up as a modiste.She posed for several etchings, “Fumette” (Kennedy 13), “Fumette Standing (K. 56), Fummette's Bent Head” (K. 57), and possibly for the superb nude study “Venus” (K. 59).Here, Whistler carefully delineates Fumette's dark eyes, sensuous mouth, and shoulder-length hair, sympathetically conveying both the vulnerability of her personality and her quiet mood of the moment. The details of her dress, with its lace collar, may convey her skills in her craft. Fumette always let her hair hang loose, not braided in the usual manner, which excited much comment at the time, and suggested that she was a bohemian or gypsy - beyond the pale of bourgeois respectability. This etching, along with a few others from this same period in Whistler's career, show women of a recognizably low class, working women and beggars. Their clothes and attitudes define their status. In subject and treatment these etchings fit the new Realism of the time.The final states of this and other “French Set” etchings were printed by Auguste Delâtre with nuanced tonal wiping or, as appropriate, an overall residual film of ink that provides and effect of warmth to the surface.

Condition Report: In excellent condition.

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Price: $7,500

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Henri de Toulouse-Lautrec, Lithograph: Luce Myres, De Profil

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Description: An original Henri de Toulouse-Lautrec Lithograph print.1895Original lithograph printed in olive-green ink on wove paper. Signed on the stone with the artists monogram device lower right.A fine, impression of Wittrock and Adriani’s only state of this extremely rare lithograph,. From the edition of approximately only 30 (as of 1985 Wolfgang Wittrock recorded in his catalogue raisonne the 14 of these impressions were represented in public collections worldwide). Published and distributed by Edouard Kleinmann, Paris.Catalog: Delteil 124: Adhemar 140; Wittrock 120; Adriani 1318 11/16 x 8 1/4 inchesSheet Size: 18 5/16 x 13 inchesLuce Myres appeared in Offenbach’s operetta La Perichole at the Theatre des Varietes.

Condition Report: In excellent condition, printed on a sheet with wide margins.

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Price: $9,800

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Henri de Toulouse-Lautrec, Lithograph: Luce Myres, De Face

Ships From: San Francisco, CA US

Description: An original Henri de Toulouse-Lautrec Lithograph print.(Luce Myres, Front View)1895Original lithograph printed in olive-green ink on wove paper. Signed on the stone with the artists monogram device upper right. A fine impression of Wittrock and Adriani’s only state of this extremely rare lithograph. From the edition of approximately only 30 ( as of 1985 Wolfgang Wittrock recorded in his catalogue raisonne that 16 of these impressions were represented in public collections worldwide). Published by Edouard Kleinmann, Paris.Catalog: Delteil 125; Adhemar 139; Wittrock 121; Adrinai 132 14 3/8 x 9 5/8 inchesSheet Size: 20 5/8 x 14 5/8 inchesLuce Myres appeared in Offenbach’s operetta “La Perichole” at the Theatre des Varietes.

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $9,800

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Rembrandt Van Rijn, Etching: Medea; The Marriage of Jason and Creusa

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching.1648Original etching with touches of drypoint printed in black ink on laid paper.A strong, clear and sharp 17th century/lifetime impression of Bartsch, Hind, Biorklund-Barnard, Usticke and New Hollstein’s fourth state of five of this rare etching (characterized by G.W. Nowell-Usticke in his 1967 catalogue Rembrandt’s Etchings: States and Values as “a rather uncommon print), with strong contrasts throughout and showing little or no wear, printed after the signature and verses were added to the plate in the title margin below the image (that title margin has since been removed from this impression).Commissioned by Jan Six to be issued in the 1648 edition of his play Medea. Catalog: Bartsch 112 iv/v; Hind 235iv/v; Biorklund-Barnard 48-E iv/v; Usticke 112 iv/v; New Hollstein 241 iv/v.Size: 9 x 7 inchesJason, who led the Argonauts when they recovered the Golden Fleece, had been helped in that undertaking by the sorceress Medea. He married her but later deserted her for Creusa. Medea took her revenge by sending Creusa a poisoned cloak and jewels as a wedding present. We see Medea in the shadows in the lower right, holding her gifts in one hand and dagger in the other. Rembrandt follows the practice of the theatre of his day, and gives the temple in which the wedding is taking place the form of an ordinary Dutch church. This, the fourth state of the etching, was included in the printed version of Jan Six's play “Medea” of 1648. It is one of only three etching from Rembrandt's entire graphic oeuvre that was intentionally produced as a book illustration. Scholars have pointed out that none of the dramatizations of the story of Medea before 1670 include a scene of the marriage of Jason and Creusa. In other words, the scene depicted by Rembrandt in the etching does not occur in the play it purports to illustrate. One scholar attempts to explain this by supposing that the marriage was staged as a tableau vivant between the second and third acts. The director of the Amsterdam City Theatre who produced Jan Six's play in 1647, Jan Vos, would often intersperse tableaus between the acts of plays. We even know that this was done in the case of Medea, thanks to some handwritten notes in the proof sheets for the printed edition of his play. Among his remarks are some notes on costume as well: “Jason should have the Golden Fleece on a blue ribbon, not on the andirons, and Medea with a figure of the sun embroidered beneath her breast.” Rembrandt has followed the latter instructions.

Condition Report: Trimmed slightly within the platemark at the top edge, down to the platemark on both sides, otherwise in excellent condition.

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Price: $25,000

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James Abbott McNeill Whistler, Etching: HURLINGHAM

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Description: An original James Abbott McNeill Whistler Etching.1879Original etching printed in black ink on Japan paper.Signed in the plate with the artist’s butterfly monogram lower left.A superb, richly printed impression of Kennedy’s third and final state, Glasgow’s fourth state of four, printed after the addition of the fine horizontal drypoint shading to the square building second from the left, one of only 49 known impressions from this plate, from the edition published by Thomas M. McLean of The Printsellers Association, London, 1879Catalog: Kennedy 181 iii/iii; Glasgow 184 iv/iv; Mansfield 178; Grolier Club 148; Wedmore 147.Platemark: 5 5/16 x 7 7/8 inches Sheet size: 6 1/8 x 8 1/2 inchesThis study is one of the finest of the group of Thames studies that Whistler made in 1879 when his financial position was at its worst.  Having fallen out with his patron Fredrick Leyland over Whistler’s decoration of the “Peacock Room” at the Leyland estate, as a result being left without payment of more than £2,000, and with only a moral victory in his libel case against the controversial art critic John Ruskin (Whistler was awarded damages of only one farthing), he was inundated with debts and dunned constantly by his creditors.  In an effort to make some money he returned to Thames subjects for some etchings, knowing that his earlier studies of the areas along the river’s banks had sold so well.In “Hurlingham” the strong emphasis on the sailboats is somewhat unusual for the Thames etchings of the late 1870’s.  In retrospect, this focus sets the stage for some of the Venetian subjects that followed soon after in the same year.  Also seen here is a particularly lovely landscape, evocative of wind rustling through trees and grasses.  To some extent, the rather scratchy line in this etching is reminiscent of landscape elements in Whistler’s etchings of two decades earlier.

Condition Report: In excellent condition, printed on a sheet with 1/4 to 3/8 inch margins all around.

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Price: $7,950

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Pablo Picasso, Drypoint: Sculpteur, Modele et Sculpture: Femme Assise

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Description: An original hand-signed Pablo Picasso Drypoint print.(Sculptor, Model and Sculpture: Seated Woman)March 15,1933Original drypoint printed in black ink on Montval laid paper bearing the "Vollard" watermark.Hand-signed in pencil in the margin lower right Picasso.A superb, richly printed impression of Geiser’s sixth and final state, showing touches of rich burr, printed after the steelfacing of the plate, from the edition of 260 on this paper (apart from the edition of 50 printed on Montval laid bearing the “Montgolfier” watermark, three trial proofs also on Montval laid, and three impression printed on parchment, for an overall edition of 316). Plate 40 of 100 from the Suite Vollard. Published by Ambroise Vollard, Paris, 1939; printed by Roger Lacourirer, Paris.Catalog: Bloch 146; Geiser 297 V.I.B.d12 1/2 x 7 1/4 inchesSheet Size: 17 1/2 x 13 1/4 inchesThe 100 superb etchings made by Picasso between 1930 and 1937 for the great art critic and dealer Ambroise Vollard, who commissioned and published them, have long been recognized as one of the supreme productions of the master's hand. Arising from Picasso's artistic caprice, from his working experience, or from the very depths of his unconscious, these plates show, more than any of his other works, a man at once inspired by and prey to his dazzling imagination and the demands of his inner demon.

Condition Report: In excellent condition, printed on a sheet with wide margins.

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Price: $19,800

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Camille Pissarro, Drawing: Paysanne au Puits

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Description: An original Camille Pissarro Drawing .(Peasant Woman at the Well)c. 1890Charcoal drawing on translucent tissue-weight tracing paper. Signed with the artist’s monogram stamp in grey ink lower right (Lugt 613c, extremely faint).Accompanied by an authenticating letter of expertise from Dr. Joachim Pissaro dated November 22, 2011.9 3/8 x 7 3/4 inches Sheet Size: 12 7/16 x 9 1/2 inchesThe drawing Paysanne aux seaux relates to an oil painting and two subsequent prints Pissarro made based on the earlier painting’s composition. Pissarro painted La Mère Presle portant des seaux dans la cour de la maison de Piette à Montfoucault in 1874, (no. 369 in the Pissarro & Durand-Ruel Catalogue Raisonné), and revisited the subject in two etchings of 1891 titled Paysanne au puits (no. 100 & 101 in the Loys Delteil Prints Catalogue Raisonné). The oil painting, La Mère Presle portant des seaux dans la cour de la maison de Piette à Montfoucault, depicts the well that stood in the courtyard of Ludovic Piette, a close friend of Pissarro’s who lived in the small hamlet of Monfoucault. The same well is also visible in another oil painting, Cour de la maison de Piette à Montfoucault, of 1876 (no. 471 in PDR). Pissarro and his family stayed at the Piette house on six separate occasions between 1864 and 1876. The peasant woman depicted in front of the well, known as Mère Presle, posed for Pissarro on a number of times when the artist was in Monfoucault. Although Pissarro ties to Montfoucault loosened when Ludoic Piette died in 1878, Pissarro revisited some favorite motifs from Montfoucault in his studio later in his career.

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Price: $19,800

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Pablo Picasso, Drypoint: Baigneuses Au Ballon, III

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Description: An original Pablo Picasso Drypoint print.March 9, 1933Original drypoint printed in black ink on laid paper. A superb, richly printed épreuve d’artiste (artist’s proof) impression of Geiser/Baer’s only state printed after the steelfacing of the plate, one of only three such unsigned proofs printed by Jacques Frélaut in 1961, apart from the stamp signed and numbered edition of 50, and 16 additional Roman numeraled artist’s proofs, for a total of 69 impressions printed by Frélaut in that year, published by Galerie Louise Leiris, Paris, 1981. Catalog: Bloch 254; Geiser/Baer 293 B.b.211 x 7 inches Sheet Size: 17 3/4 x 13 inches

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $28,900

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Louis Legrand, Etching, Drypoint, & Aquatint: Le Parisien

Ships From: San Francisco, CA US

Description: An original Louis Legrand Etching, Drypoint, & Aquatint print.(The Parisian Child)1905Original etching, aquatint and drypoint printed in colors on Japan paper. A richly printed impression of Arwas' ninth and final state, printed after the addition of the remarque to the lower edge of the plate, from the edition of 60, numbered by the publisher in pencil lower right. Published by Gustave Pellet, Paris, bearing his monogram stamp (lugt 1193) in red ink jus below the platemark lower right.Catalog: Arwas A251 ix/ix; Exteens 22221 1/16 x 14 1/16 inchesSheet Size: 27 5/8 x 18 15/16 inchesLegrand was one of the most successful printmakers of his period in Paris. He made his reputation with his appealing themes of young ballet dancers, and with the witty but slightly cruel observations made in his café scenes. However, like other artists of his style and generation there were other sides to his art, less well known but very highly accomplished. His quiet intimiste studies of his family are just such an aspect, they also have a stylization which gives them an added appeal.

Condition Report: In excellent condition, with fresh colors, printed on a sheet with full margins.

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Price: $9,800

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Rembrandt Van Rijn, Etching: The Flight Into Egypt: Crossing a Brook

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching.1654Original etching printed in black ink on laid paper. Signed and dated in the plate lower left Rembrandt f. 1654. A fine 18th century impression of Bartsch and New Hollstein’s only state, Usticke’s second state of three. Printed after the addition of the patch of shading below the donkey’s belly to to the right, but prior to the appearance of the horizontal and diagonal scratch over the Virgin’s lap, with delicate plate tone.Catalog: Bartsch 55; Hind 276; Biorklund-Barnard 54-D; Usticke 55 ii/iii; New Hollstein 277.Platemark: 3 3/4 x 5 11/16 inches Sheet size: 4 3/16 x 6 inches “And when they were departed, behold, the angel of the Lord appeareth to Joseph in a dream, saying, Arise, and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word: for Herod will seek the young child to destroy him. When he arose he took the young child and his mother by night, and departed into Egypt; and was there until the death of Herod: that it might be fulfilled which was spoken of the Lord by the prophet, saying, Out of Egypt have I called my son” (Matthew 2:13-15).

Condition Report: In excellent condition, printed on a sheet with 1/8 to 3/16 inch margins all around.

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Price: $9,750

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Henri de Toulouse-Lautrec, Lithograph: Troupe De Mlle. Eglantine

Ships From: San Francisco, CA US

Description: An original Henri de Toulouse-Lautrec Lithograph print.1896Original lithograph printed in three colors (yellow, red, blue) on wove poster paper. Signed on the stone with the artist's script signature and monogram device lower left. A fine impression of Wittrock's state C (of D), Adriani's third and final state, printed after the addition of the poster text to the red stone. Commissioned by Jane Avril; distributed by Edmond-Honoré Sagot.Catalog: Delteil 361; Adhémer 198; Wittrock P21C; Adriani 162 iii/iii24 1/4 x 31 1/2 inchesThis poster, one of the last to have been completed by the artist, is an interesting document of the era in which it was produced. It was commissioned by Eglantine Demay and one of Lautrec's favorite subjects, Jane Avril, to advertise the performance of Demay's dance troupe at the Palace Theatre in London. The fact that they had been booked to perform the Quadrille Naturaliste (a can-can style dance created by Celeste Mogador which was performed in a line formation of four) is testament to the spreading international popularity of the bawdy Parisian dance styles of the period, then considered to be quite risqué because of their exposure of legs and petticoats and even skin. Now that nightclub patrons in cities other than Paris were demanding such performances, no longer was the can-can to be the exclusive property of cabarets such as the Moulin Rouge, the Jardin de Paris, the Frascati and the Elysée Montmartre. In the image are seen the four dancers (Eglantine [“Wild Rose”], Avril, Cléopatre and Gazelle) in the same formation in which they would perform. Though it was one of Lautrec's last poster images, it is one that is known to have influenced many young artists. Picasso is known to have had an impression of the poster hanging in his Montmartre studio. George Braque once stated that as a young boy he laid in wait watching a copy being posted on a Le Havre wall by a bill-sticker, waiting for the opportunity to unglue the poster so that he could paste it to the wall of his own room.The composition is a lively yellow and red, punctuated by red-brown legs stirring petticoats into a calligraphic froth. Although Lautrec made a preparatory oil sketch for the poster, he actually based the poster on a photograph. From both photograph and sketch he extracted the simplified lines of the poster, but maintained the sharp characterization of each dancer. Evidently jealousies divided the dancers into two camps, Avril and Eglantine against Cléopatra and Gazelle, and Lautrec seems to have enjoyed choreographing their squabble.

Condition Report: In excellent condition, with strong, dark colors, printed on a full sheet, linen backed.

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Price: $69,000

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Henri de Toulouse-Lautrec, Lithograph: Une Redoute Au Moulin Rouge

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Description: An original Henri de Toulouse-Lautrec Lithograph print.(A Gala Evening at the Moulin Rouge)1893Original lithograph printed in black ink on wove paper. Signed with the artist's monogram stamp (Lugt 1338) in red ink lower right, also signed on the stone with the monogram lower left. A fine impression of the Delteil and Wittrock's only state of this extremely rare lithograph, from the edition of only 50. Published and distributed by Kleinmann, Paris. Catalog: Delteil 65; Adhémar 54; Wittrock 42; Adriani 4211 5/8 x 18 1/2 inches Sheet Size: 22 x 15 inches In a mock triumphal procession, we see, among others, La Goulue (riding on a donkey) and beside her (also riding) the clown Cha-u-Kao. The occasion for this gala was the autumn celebration at the Moulin Rouge of the Franco-Russian alliance agreed in mid-July 1893 (the event was mentioned to by Lautrec in a letter to his mother written that month). For the occasion, Aristide Bruant wrote his famous song, Vive la Russie, and at the Folies Bergère a new revue was staged to mark the event. Indeed, for several months everyone was caught up in Franco-Russian relations, even in the laundries and bakeries. The last two figures on the left appear in another lithograph, “Au Moulin Rouge, L'Union Franco-Russe,” which appeared in the periodical L'Escarmouche on January 7, 1894 (Wittrock 40). This happy throng is one of Lautrec's very few compositions which deal with current events. Wolfgang Wittrock, in his 1984 catalogue raisonné notes that of the 50 impressions in the published edition, 13 were accounted for in public collections at that time. That number is likely to be higher today, resulting the extreme scarcity of this lithograph.

Condition Report: In excellent condition, printed on a full sheet.

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Price: $97,500

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Marc Chagall, Lithograph: The Angel of Judgement

Ships From: San Francisco, CA US

Description: An original hand-signed Marc Chagall Lithograph print.1974Original lithograph printed in colors on wove paper.Dated and hand signed in lower right lower right 1976 / Marc Chagall.A fine impression of the definitive state. From the edition with poster lettering added produced to advertise an exhibition of the artist’s work at the Musee National Message Biblique, Nice, July-September, 1974 (apart from the edition of 200 printed prior to the addition of the poster lettering).Catalog: Mourlot V CS45; Chagall’s Posters Catalogue Raisonne p. 138 20 3/8 x 17 inches Sheet Size: 30 x 20 5/8 inchesTranscribed by Charles Sorlier from Chagall’s maquette for “Adam and Eve Banished from Paradise,” the stained glass window on the west side of the northern transept of the Cathedral of Metz, with the annotation “CH. SORLIER GRAV.” added to the stone lower left. Published by Editions des Amis du Message Biblique Marc Chagall, Nice, bearings its blindstamp in the sheet upper left; printed at Atelier Mourlot, Paris.

Condition Report: In excellent condition, with strong, fresh colors, printed on a full sheet.

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Price: $6,900

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Rembrandt Van Rijn, Etching: REMBRANDT AND HIS WIFE SASKIA

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching.1636Original etching printed in black ink on laid paper.Signed and dated in the plate upper left Rembrandt f. 1636. A fine 18th century impression of Bartsch’s third and final state, Usticke’s third state of six, New Hollstein’s third state of four, printed after the addition of the patch of heavy cross hatching over the left ear, in which the acid spot to the right of Rembrandt’s collar is still visible, printed by Pierre François Basan circa 1795.Catalog: Bartsch 19 iii/iii; Hind 144; Biorklund-Barnard 36-A; Usticke 19 iii/vi; New Hollstein 158 iii/iv.Platemark: 4 1/8 x 3 5/8 inches Sheet size: 4 1/4 x 4 3/16 inchesRembrandt's vast production of self-portraits is unparalleled in the 17th century - in all the history of art, for that matter. About one-tenth of all the paintings he produced in the course of his career are self-portraits (the etched self-portraits are not as numerous or as chronologically continuous as the painted ones but still number well over twenty). Although it is useless to try to explain this unique phenomenon, it can surely be assumed with safety that the artist, whose profound interest in the human face is amply proved by the rest of his work, found a constant and reliable model in himself.This etching is a true self-portrait, not the sort of egalitarian double portrait of a man and his wife that Remrandt and his colleagues were often commissioned to paint. Here Saskia, the artist's wife of two years, is relegated to the background, where she is duly recorded along with such of the artist's fancy effects as his fancy hat, his expensive garments and his skilled hand. The restrained mood is achieved in part by the formality of the composition: the weave of the horizontals and verticals is enlivened only by the slants of the etching tool, sleeve and hat. In the same year, 1636, Rembrandt painted himself in jubilant spirits, with Saskia observing him (from her background position) with demure bemusement.

Condition Report: In excellent condition, printed on a sheet with 1/4 inch margins outside the platemark on all four sides.

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Price: $16,000

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Pablo Picasso, Etching: BAIGNEUSES A LA PISCINE

Ships From: San Francisco, CA US

Description: An original Pablo Picasso Etching.(Bathers at the Swimming Pool)November 29, 1932Original etching printed in black ink on thin white laid paper.Signed with the artist’s estate stamp signature in the margin lower right.A richly printed impression of Geiser/Baer’s only state, with consistent plate tone throughout From the edition of 50, numbered in pencil in the margin lower left (there were 19 additional artist’s proofs numbered in Roman numerals, and three unsigned and unnumbered proofs in this edition). One of 45 plates from the Caisse a Remourds suite.Catalog: Bloch 242; Geiser 270.B.b.1Platemark: 9 x 7 7/16 inches Sheet: 17 5/8 x 12 7/8 inchesPicasso made no prints during the summer of 1932, but at the end of November and the beginning of December in Paris he revisited the theme of bathing women that he had explored in a series of paintings during that summer, this time on zinc and copper plates. The result was some twenty small images. Here there is a difference with the woman of the canvases: surrounded by curious, even monstrous shapes, Marie-Therese is always there, always beautiful. Although some of the women at the beach remind us of those individuals obsessed by the sea in summer, these beach scenes could also be a response to the austerity of winter, to Picasso’s renewed conjugal existence, to a desire for freedom, nature and fresh air.

Condition Report: Published by Galerie Louise Leiris, Paris, 1981; printed by Freaut, Paris, 1961. In excellent condition, printed on a sheet with full margins.

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Price: $16,900

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Rembrandt Van Rijn, Etching: THE ARTIST'S MOTHER SEATED, IN AN ORIENTAL HEADDRESS: HALF LENGTH

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching.1631Original etching printed in black ink on laid paper.  Signed with the artist’s monogram and dated in the plate lower right RHL 1631. A fine 17th century/lifetime impression of Bartsch’s second state of three, Usticke's third state of four, New Hollstein’s fourth state of six, of this scarce etching. printed after the addition of the short diagonal lines in front of the neck and the strengthening of the right pupil and nostril.Catalog: Bartsch 348 ii/iii; Hind 51; Biorklund-Barnard 31-H; Usticke 348 iii/iv; New Hollstein 86 iv/vi.5 3/4 x 5 1/8 inchesRembrandt's mother, Neeltgen Willemsdochter Zuytbrouck, daughter of a baker, was the mother of nine children, of whom Rembrandt was the eighth. She died in 1640. Rembrandt seems to have recorded her features in a number of etchings, this one included. However, there is no documentary evidence that the old lady in these works is indeed Rembrandt's mother. It was during the 1679 inventory of Clement de Jonghe's estate that these images were assumed to be depictions of the artist's mother.

Condition Report: In excellent condition, trimmed down to but not inside the platemark all around.

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Price: $44,500

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Rembrandt Van Rijn, Etching & Drypoint: CORNELIS CLAESZ ANSLO, PREACHER

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching & Drypoint print.1641Original etching and drypoint printed in black ink on chine applique (China paper mounted on wove paper).Signed and dated in the plate on the dark tablet at the right Rembrandt f. 1641 (indistinct).A fine, clear and clean 19th century impression of Bartsch’s second and final state, Usticke’s fourth state of six, New Hollstein’s fourth state of five. Showing no wear, printed after the blank strip at the lower edge of the plate which had been covered over with shading was burnished clean again by Captain William Baillie to remove this shading.Catalog: Bartsch 271 ii/ii; Hind 187; Biorklund-Barnard 41-I; Usticke 271 iv/vi; New Hollstein 197 iv/v.7 5/16 x 6 1/4 inches Sheet Size: 7 15/16 x 6 13/16 inchesCornelis Claesz Anslo (1592-1646) was the preacher of the Mennonite community of the Waterlanders of Amsterdam. He wrote various theological works in which he defended Mennonite orthodoxy against the attacks of the Socinians. The same year as the completion of this plate, Rembrandt painted a portrait of Anslo with a woman who is probably his wife.Rembrandt makes reference to the sitter’s occupation in the manner of his representation. Anslo hold an upturned book in his right hand, with a pen hel between the fingers, and, with his other hand outstretched in an oratorical gesture, explains a passage from the Bible.The addition to the etching of the framed picture which has been taken down from its nail and turned to face the wall had a symbolic purpose, alluding to the Protestant belief that salvation can only be communicated through the word, thus denying the role accorded the image by Catholics. A similar theme in a different context is echoed in the poem probably composed for this print by Vondel, which although never inscribed on the plate, was written in manuscript on several impressions: “On Cornelis Anslo / O Rembrandt, paint Cornelis voice! / His outward appearance is the least of him. / What is invisible, one can only learn by ear; / He who wants to see Anslo must hear him”.

Condition Report: In excellent condition, printed on a sheet with c. 1/4 inch margins all around.

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Price: $19,850

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Rembrandt Van Rijn, Etching: SELF-PORTRAIT IN A VELVET CAP WITH PLUME

Ships From: San Francisco, CA US

Description: An original Rembrandt Van Rijn Etching.1638Original etching printed in black ink on laid paper.Signed in the plate upper left Rembrandt (signature very faint).A clear and clean 18th century impression of Bartsch’s only state, Usticke’s second state of three, New Hollstein’s third state of four, printed after the appearance of the diagonal scratch running down from the upper left corner, the curved lines of shading on the forehead extend over the brim of the cap, but prior to rebiting of the plate and the re-etching of the signature in the subsequent state.Catalog: Bartsch 20; Hind 156; Biorklund-Barnard 38-B; Usticke 20 ii/iii; New Hollstein 170 iii/iv.Platemark: 5 3/8 x 4 1/8 inches Sheet: 5 3/4 x 4 1/2 inches

Condition Report: In excellent condition, printed on a sheet with small margins all around.

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Price: $17,500

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James Abbott McNeill Whistler, Etching: DROUET

Ships From: San Francisco, CA US

Description: An original James Abbott McNeill Whistler Etching.1859Original etching printed in black ink on laid paper. Signed and dated in the plate lower right Whistler 1859.A strong and dark lifetime impression of Kennedy’s second and final state, Glasgow’s second state (cancelled b); Pelletier’s third state of four, of this rare etching (according to the University of Glasgow’s Whistler Etchings Project there are only 73 known impressions, most of them from the second state after restoration). Printed after the removal of the cancellation lines from the figure’s forehead, eyes and cheek, but prior to those areas being retouched and restored.  Inscribed in the plate below the figure “Drouet Sculpteur,” and in the upper right corner “Whistler Maitre Eaufortier” (extremely faint). Published in the album Cancelled Plates by the Fine Art Society, London, 1879.Catalog: Kennedy 55 ii/ii; Glasgow 35 ii/ii (cancelled b); Pelletier iii/iv; Mansfield 55; Grolier Club 55; Wedmore 53.9 x 6 inchesCharles Drouet (1836-1908) was both sculptor and collector, and among his bequests to the Louvre was the dramatic and realistic “Head of an Old Man Smoking” painted by Whistler about the time of this etched portrait. According to Drouet, his portrait was done in two sittings, of two and a half and one and a half hours.The dynamism of Whistler’s free-flowing drypoint strokes provides bulk to the briefly suggested figure of the sculptor. These bold strokes present a marked contrast to the tightly wrought dash upon dash technique that the artist used to develop his subject’s intense gaze, strong nose, fluffy beard, and jagged architectonic mane of hair. Strength and vitality are among the attributes with which Whistler invested his friend, one of several artistic and literary figures he portrayed on copper in 1899.This three-quarter length, three-quarter view portrait is reminiscent of paintings by Velazquez, whom Whistler greatly admired. In addition its focus on the head recalls the first states of Van Dyck’s etched portraits for his “Iconographia,” and in particular, as Whistler scholar Katherine Lochnan points out, that of Lucas Vosterman, which Whistler could have seen at the Art Treasures Exhibition in Manchester in 1857 or in his brother-in-law Seymour Haden’s collection.Even writers critical of Whistler’s 1874 exhibition at the Flemish Gallery, Pall Mall - his first solo show - gave high praise to his etchings and drypoints, praising them for their “truth and beauty . . . their marvelous technical skill.” One critic singled out “some fine portrait heads, notably that of M. Drouet, the French sculptor.”

Condition Report: In excellent condition, with thread margins outside the platemark on all four sides.

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Price: $5,900

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Albrecht Dürer, Engraving: MADONNA CROWNED BY ONE ANGEL

Ships From: San Francisco, CA US

Description: An original Albrecht Dürer Engraving.1520Original engraving printed in black ink on laid paperDated and signed with the artist’s monogram in the plate on a tablet lower rightA clear and clean 16th century Meder “a” impression of the second and final state, printed after the appearance of the small stroke from the left palm of the angel into the halo. Catalog: Bartsch 37; Panofsky 144; Meder 41.II.a; Strauss 93; Schoch/Mende/Scherbaum 925 3/8 x 3 7/8 inches In this engraving a peculiar impression is created by the white face and the concentration of the light on the skirt. It seems almost as if the scene were illuminated by lightning – the wind-blown hair, the creeping clouds, the upswept drapery of the angel – and in these surroundings sits the Virgin, smiling even though empty of expression, quite serene and aristocratic, idealized in the style of ancient, mild beauty.

Condition Report: Trimmed on the platemark on all four sides, expertly repaired and unobtrusive tears in the sheet at the skirt and halo, slight staining at the crown and drapery of the angel, otherwise in very fine condition.

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Price: $14,750

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Camille Pissarro, Etching: PAYSAGE EN LONG

Ships From: San Francisco, CA US

Description: An original Camille Pissarro Etching.(Landscape Panorama)1879Original aquatint with etching printed in black ink on laid paper bearing a Crowned Shield with letters "HP" surmounting script "Heallines" watermark. Signed with the artist’s estate monogram stamp (Lugt 613.e) just below the platemark lower left.A robust, richly printed impression of Delteil’s third and final state of this extremely rare aquatint, Printed after the additions in aquatint to the foliage of the branch profile against the sky on the left, from the edition of 18 printed sometime between 1922 and 1930, numbered in pencil just below the platemark lower right (apart from approximately only six impression in all three states printed during the artist’s lifetime). Catalog: Delteil 17 iii/iii; Leymarie P17.Platemark: 4 1/2 x 15 1/2 inches Sheet size: 10 3/4 x 17 13/16 inchesThis horizontal panorama displays a spaciousness that is unique in Pissarro’s printed work and unknown in that of other Impressionist printmakers. The format is related to the series of four horizontal panels commissioned by Achille Arosa and painted by Pissarro in 1872-73. They may have been originally inspired by the landscape designs of the Japanese woodblock artist Hiroshige. Admiring Rembrandt as he did, Pissarro must also have been aware of the Dutch landscape etchings in wide format, so obviously appropriate for this genre.

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $11,900

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James Tissot, Drypoint: LE HAMAC

Ships From: San Francisco, CA US

Description: An original James Tissot Drypoint print.(The Hammock)1880Original etching and drypoint printed in black ink on laid paper bearing a portion of the block letter "Van Gelder" watermark. Signed and dated in the plate in the title margin below the image lower left J.J.Tissot / 1880. A richly printed impression of Wentworth’s definitive state from the edition of approximately 100Catalog: Wentworth 46; Tissot 41; Béraldi 37.10 7/8 x 7 1/4 inches Sheet Size: 14 9/16 x 11 1/16 inchesThis etching belongs to a group of works, including three paintings shown in the Grosvenor Gallery exhibition of 1879, that show Kathleen Newton wearing a fashionable black dress and swinging in a hammock in Tissot’s garden in St. John’s Wood. Although no reviewers of the Grosvenor exhibition identified Newton, they appear to have recognized the location as suburban London. As one writer commented, these were “pictures of the ‘detached villa’ kind.” (The phrase refers to the distinctive architectural type of the newly emerging suburbs, the freestanding house.) Despite their apparently innocuous subjects the pictures in question were savaged by the critics. One fumed, “this year [Tissot] tries our patience somewhat hardly, for these ladies in hammocks, showing a very unnecessary amount of petticoat and stocking, and remarkable for little save luxurious indolence and insolence, are hardly fit subjects for such elaborate painting.” To determine why the pictures evoked such anxiety, we need to re-examine the meaning of the phrase “pictures of the ‘detached villa’ kind.”The humorous magazine Punch identified Tissot’s setting as St. John’s Wood and, perhaps insinuating intimate knowledge of Tissot’s personal life – he was, after all, living with Newton outside of matrimony – referred to this suburb in a way that reminded the informed reader that, in addition to being a domain of domesticity, it was also famous for fashionable kept women. As one commentator darkly proclaimed, the female inhabitants of the area were composed of “divorced wives, not married to anyone in particular, mysterious widows whose husbands have never been seen, married women whose better halves were engaged in the City.”Had Tissot overtly represented a prostitute and her clients, his painting would not have been sanctioned by an Establishment institution such as the Grosvenor. Indeed, he seems to have taken some steps to prevent his model being read in this way: in at least one of his Grosvenor pictures – as in the present etching – Newton is clearly wearing a wedding ring. Apparently, neither this sign of respectability, nor the presence of innocent children playing in the background, were enough to render the situation above reproach.For many Victorians the new suburbs were not peaceful havens of domesticity but unintelligible and rather threatening products of the modern age. In 1883 an article in the Architect referred to them as a “terra incognita,” comparing them to the American prairie and their inhabitants to pioneers in a “perfect wilderness.” The speedy growth of the suburbs meant that it was more difficult to define and comprehend suburb and city alike, given the confusion as to where one began and the other left off. The blurring of the previously clear-cut categories of “city” and “country” also prevented the easy description of this novel landscape. Thus the suburban garden became a defining, deceptively attractive element.The ambiguity of the woman in Tissot’s hammock pictures, whose identity as a respectable bourgeois wife was open to question, was inflected by and in turn contributed to the potential disruptiveness of her suburban garden surroundings. According to the reviewer for the Illustrated London News, these images portrayed “the St. John’s-Wood life in conservatory or garden (where the London soot seems to be fast penetrating),” implying with this graphic metaphor that the domain of suburbia had been infiltrated by urban vice.

Condition Report: In excellent condition, printed on a sheet with wide margins.

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Price: $9,800

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Henri de Toulouse-Lautrec, Lithograph: CECY LOFTUS

Ships From: San Francisco, CA US

Description: An original Henri de Toulouse-Lautrec Lithograph print.1895Original lithograph printed in dark green ink on chine appliqué (China paper mounted on stiff wove paper). Signed on the stone with the artist’s monogram upper right.A richly printed impression of the only state of this extremely scarce lithograph from the edition of only approximately 25-35. Published by Kleinmann, Paris. Catalog: Wittrock 113; Delteil 116; Adhémar 105; Adriani 110.14 7/16 x 9 11/16 inchesSheet Size: 19 7/8 x 13 3/8 inchesThis lithograph depicts the singer Marie-Ceclia McCarthy, known as Cecy Loftus, who came from Glasgow.

Condition Report: In excellent condition, printed on a full sheet.

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Price: $21,000

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Giovanni Benedetto Castiglione, Etching: NOAH AND THE ANIMALS ENTERING THE ARK

Ships From: San Francisco, CA US

Description: An original Giovanni Benedetto Castiglione Etching.c.1650-55Original etching printed in black ink on laid paper bearing a Small Bunch of Grapes watermark. Signed in the plate lower left GB Castiglione.A richly printed 17th century impression of the only state of this scarce print, of which the scholar Ann Percy (Castiglione, Philadelphia Museum of Art, 1971) stated “This etching . . . in its dense, controlled use of Rembrandtesque chiaroscuro . . . can also be dated to 1650-55. Catalog: Bartsch 1; Bellini 61; Percy E24.Platemark: 8 x 15 7/8 inches Sheet Size: 8 3/16 x 16 inchesGiovanni Benedetto Castiglione was an Italian Baroque artist, painter, printmaker and draftsman, of the Genoese school. He is best known now for his elaborate etchings, and as the inventor of the printmaking technique of monotype.Castiglione was born in Genoa. His early training is unclear. He may have studied with Sinibaldo Scorza. He has been described as a passionate student of Anthony van Dyck, who arrived in 1621, and Peter Paul Rubens, who stayed in the city in the first decade of the 17th century and whose paintings were readily accessible there. He may have trained under the Genoese Bernardo Strozzi, and certainly encountered the work of Domenico Fetti in Mantua. He lived in Rome from 1634 to about 1645, then returned to Genoa. He was back in Rome in 1647 before moving in 1651 to be court artist in Mantua, where he died. He painted portraits, historical pieces and landscapes, but chiefly excelled in fairs, markets and rural scenes with animals. Noah’s ark and the animals entering the Ark was a favorite subject of his. His paintings are to be found in Rome, Venice, Naples, Florence, and more especially Genoa and Mantua. The Presepio (Nativity of Jesus) for the church of San Luca, Genoa, ranks among his most celebrated paintings, and the Louvre contains eight characteristic examples. He painted a Saints Mary Magdalene and Catharine for the church of the Madonna di Castello in Genoa.He was a brilliant draftsman and pioneered the development of the oil sketch (often using a mixture of mediums) as a finished work — previously they had been used only for working studies for another finished piece, for example by Rubens. He returned to the same subjects over and over again, but with significantly different compositions each time.He also executed a number of etchings. Diogenes searching for a Man is one of the principal of these; others are about religious themes. Some are moralistic stories such as that of the blind leading the blind.The etchings are remarkable for light and shade, and have even earned for Castiglione the name of a second Rembrandt. He was exposed to Rembrandt’s etching by 1630. In about 1648 he invented the monotype, the only printmaking technique to be an Italian invention, making over twenty over the succeeding years. His most popular and influential prints were a series of exotic heads, mostly of vaguely Oriental males, but also of women and in a few cases of animals.

Condition Report: In excellent condition, printed on a sheet with narrow margins outside the platemark on all four sides.

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Price: $13,550

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Henri de Toulouse-Lautrec, Lithograph: LENDER ET AUGUEZ, DANS LA CHANSON DE FORTUNIO

Ships From: San Francisco, CA US

Description: An original Henri de Toulouse-Lautrec Lithograph print.1895Original lithograph printed in olive green on hand-made laid Japan paper Signed on the stone with the artist’s monogram device upper right. A previously unrecorded proof impression of Wittrock and Adriani’s only state Part from the published edition of approximately 25 printed on wove paper (of which Wolfgang Wittrock recorded in his 1985 Toulouse-Lautrec: The Complete Prints, 17 were already in public collections worldwide), and the one similar proof already identified currently in the collection of the Bibliothèque Nationale, Paris. Published and distributed by Edouard Kleinman, Paris. Catalog: Delteil 108; Adhémar 138; Wittrock 108; Adriani 120.14 9/16 x 8 1/2 inchesSheet Size: 22 7/8 x 18 1/8 inchesMarcelle Lender and Numa Auguez were a great success in Offenbach’s operetta La Chanson de Fortunio (Fortunio’s Song) in the spring of 1895 at the Théâtre des Variétés.

Condition Report: In excellent condition, printed on a sheet with full margins and deckled edges.

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Price: $19,500

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James Abbott McNeill Whistler, Etching: The Forge

Ships From: San Francisco, CA US

Description: An original James Abbott McNeill Whistler Etching.1861Original etching with drypoint printed in black ink on laid paper. Signed and dated in the plate lower left Whistler 1861. A superb, richly printed, early impression of Kennedy's third state of fourprinted prior to the white spot behind the head of the blacksmith being filled in with fine lines, with areas of dramatic burr throughout the subject. A plate from the edition of approximately 100 published in 1871 by Messrs. Ellis and Green, London, in the series Sixteen Etchings of Scenes on the Thames and Other Subjects, commonly referred to as the “Thames Set.” Due to the extraordinary, early quality of this impression it is likely that it was printed by the artist himself. Catalog: Kennedy 68 iii/ivPlatemark: 7 9/16 x 12 7/16 inches Sheet size: 10 3/16 x 14 3/16 inches “The Forge” is one of the two plates selected for publication in the “Thames Set” which were not depictions of actual Thames environs (the other being “Becquet”). It was done in September of 1861 after Whistler and Henri Fantin-Latour had returned to France following their visit to the home of fellow artist Edwin Edwards at Sunbury. During the trip Fantin and Whistler accompanied Edwards on camping trip on the covered boat Edwards owned and used for etching expeditions on the river. Due to unusually inclement weather, Whistler's exposure to the elements during the camping trip brought on a serious bout of rheumatic fever. Upon his return to France, Whistler continued on to Brittany to recuperate fully from his illness. While at the seaside in Brittany he completed the above etching which was apparently inspired by the notable Brittany painting by François Bonvin titled “Les Forgerons: Souvenir du Tréport” which he had seen exhibited at the Salon of 1857.Whistler treated the subject of the forge, which was a favorite of the Romantics and Realists, in a new way. Gone were the straining Vulcan-like muscles found in the work of his predecessors; Whistler's smith stands like an alchemist before the forge, observing the glowing metal, while apprentices stand by watching the transformation take place. As with the other subjects chosen for inclusion in the “Thames Set,” Whistler was not concerned with a social message. Rather, his concern was with the dramatic and shifting illumination inside the dusky room, and the way in which forms were rendered ambiguous and insubstantial by the blaze. Whistler was very pleased with this drypoint, and printed all the early impressions himself.

Condition Report: In excellent condition, printed on a sheet with wide margins all around.

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Price: $7,900

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Georges-Henri [Manzana] Pissarro, Oil Painting: Les Baigneuses

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Description: An original hand-signed Georges-Henri [Manzana] Pissarro oil painting.c. 1955Original oil on boardSigned lower right Manzana -Pissarro. 11 x 13 3/4 inches

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Price: $19,800

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Pierre-Auguste Renoir, Lithograph: La Pierre aux Trois Croquis

Ships From: San Francisco, CA US

Description: An original Pierre-Auguste Renoir Lithograph print.(The Stone with three Sketches)c. 1904Original lithograph printed in black ink on wove paper. Signed on the stone lower left Renoir. A fine impression of the second and final state, printed after the addition of the signature to the stone, from the edition of 950 printed on this paper (there were 50 additional impressions printed on Japan paper, for an overall edition of 1000). One of twelve plates from the suite Douze lithographies originales de Pierre-Auguste Renoir. Published by Ambroise Vollard, Paris, 1919; printed by Auguste Clot, Paris. Catalog: Delteil 41; Roger-Marx 16; Stella 41 8 7/8 x 11 1/8 inches Sheet Size: 10 x 13 inches North American collections in which impressions of this lithograph can be found: Art Institute of Chicago, Illinois; Brooklyn Museum, New York; Metropolitan Museum of Art, New York; National Gallery of Art, Washington, D.C.; Philadelphia Museum of Art, Pennsylvania.“La Pierre aux Trois Croquis” is one of the outstanding prints in the series of 12 lithographs which Renoir drew for Ambroise Vollard. It includes studies of Gabrielle and also of Julie Manet (the daughter of Renoir's great friend the painter Berthe Morisot) who was one of Renoir's favorite young models in the years around the turn of the century.

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $18,500

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Henri de Toulouse-Lautrec, Lithograph: Débauche (deuxième planche)

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Description: An original hand-signed Henri de Toulouse-Lautrec Lithograph print.1896Original lithograph printed in three colors (blue, yellow, red) on wove paper. Hand signed in black crayon at the lower right corner of the image HTLautrec, also signed on the stone with the artist's monogram device lower right.A superb impression of Wittrock's second and final state, Adriani's third and final state, of this extremely rare lithograph, from the second edition of 1896 (printed after the addition of the text to the stone), an edition of only 100 impressions (apart from the edition of 50 printed prior to the addition of the text, and the folded catalogue cover edition). Published by A. Arnould, Paris, June, 1896. Catalog: Delteil 178 ii/ii; Adhémar 212; Wittrock 167 ii/ii; Adriani 187 iii/iii9 1/4 x 12 3/4 inches Sheet Size: 11 1/16 x 15 inchesThis lithograph was used in its definitive state as the cover for A. Arnould's Catalogue d'Affiches Artistiques, a sale catalogue of contemporary posters by French and foreign artists in June of 1896.This lithograph is one of the most fluidly drawn of Lautrec's entire graphic oeuvre. Here a sensual arabesque of the red-head in negligee contrasts with the amusing zig-zag of her seducer's legs. The Casanova is another one of Lautrec's jocular miscastings - Maxime Dethomas, a painter-printmaker friend of Lautrec who was known to be proper and restrained. Something of his personality emerges though, in his surprised glance as he hesitatingly proceeds. The lady's champagne gives away the old ploy.

Condition Report: In excellent condition, with strong, fresh colors, printed on a sheet with wide margins.

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Price: $49,000

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Henri de Toulouse-Lautrec, Lithograph: Judic

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Description: An original Henri de Toulouse-Lautrec Lithograph print.1894Original lithograph printed in black ink on wove paper. Signed on the stone with the artists monogram device lower left. A brilliant impression of Wittrock and Adriani's only state of this seldom seen lithograph. From the edition of 100 numbered impressions, numbered “67” in pencil lower left (there were five additional unnumbered impressions each printed in olive-green and black ink on Japan paper, for an overall edition of 110, of which 22 were already represented in public collections worldwide in 1985 as recorded by Wolfganf Wittrock in his catalogue raisonne). Bearing the artists monogram stamp (Lugt 1338) in red ink lower left. Published and distributed by Edouard Kleinmann, Paris. Catalog: Delteil 56; Adhemar 39; Wittrock 54; Adriani 4314 1/2 x 10 1/2 inches Sheet Size: 14 7/8 x 11 inchesThe popular singer of patriotic songs, Anne-Marie-Louise Damiens, known as Anna Judic (1850-1911) is here visited in her dressing room by the composer Desire Dihau, as she tries on a corset. A portrait of her, dawn by Lautrec, appeared on December 9, 1893 in the magazine L'Echo de Paris.

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $9,800

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Pablo Picasso, Etching: Rembrandt Tenant Par la Main une Jeune Femme au Voile

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Description: An original hand-signed Pablo Picasso Etching.(Rembrandt Holding the Hand of a Young Woman with a Veil)January 31, 1934Original etching printed in black ink on on Montval laid paper bearing the "Vollard" watermark. Hand signed in pencil in the margin lower right Picasso, dated in the plate (in reverse) lower right “Paris 31 janvier XXXIX”. A fine impression of the only state, printed after the steel facing of the plate, from the edition of 260 printed on this paper (there were a further 50 impressions printed on Montval laid paper with wider margins bearing the “Montgolfier” watermark, and three impressions printed on parchment). Plate 36 of 100 from the Suite Vollard. Published by Ambroise Vollard, Paris, 1939; printed by Roger Lacourière, Paris. Catalog: Bloch 214; Geiser 413 B.dPlatemark: 10 7/8 x 7 13/16 inches Sheet size: 17 1/2 x 13 5/16 inchesThe earliest reference to Rembrandt that appears in Picasso's work dates from January 27, 1934, and was the result of a technical accident. While working on an etching that later became part of the Suite Vollard, Picasso encountered problems with the etching ground. The following week Picasso's dealer, Daniel-Henry Kahnweiler, recorded in his diary these words of the artist: “Imagine, I made a portrait of Rembrandt. It was another case of the cracking varnish. I had an accident with the plate and said to myself, its ruined so I'll do any old thing on it. I began to scribble and it turned into Rembrandt. I liked it so I continued. I even made a second, with his turban, his fur, and his eyes, those elephant eyes you know them. Now I'm working this plate further to get blacks like his; you don't get that in one sitting.”In Picasso's later years the specific sources in Rembrandt's work are clearly identifiable. However, this first appearance of Rembrandt in Picasso's art is most likely a composite image of Rembrandt summoned from Picasso's deep familiarity with the old master's work.Four days later, on January 31, Picasso made the etching described above. It juxtaposes an extravagantly rendered Rembrandt with a simply drawn classical female. It reveals a number of formal and iconographic issues of ongoing concern in Picasso's art, including the contrasting forces of baroque and classical, light and dark, male and female, and the subject of the artist and model. At the end of his career Picasso returned to all of these issues in the context of his study of Rembrandt's art.

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $29,000

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Pierre-Auguste Renoir, Etching: Baigneuse Assise

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Description: An original Pierre-Auguste Renoir Etching.c. 1897Original softground etching printed in black ink on wove paper. Signed with the artist's signature cachet in the margin lower right, also signed in the plate upper left. A beautifully printed impression of the only state, from the edition published in the Ambroise Vollard book La Vie et l'œuvre de Pierre-Auguste Renoir, Chez Vollard, Paris, 1919 (apart from the edition of 525 printed in dark blue published by G. Boudet, Librairie Artistique, in the L. Roger-Miles book Art et Nature, Paris 1897). Catalog: Delteil 11; Stella 11Platemark: 8 5/8 x 5 3/8 inches Sheet size: 12 3/8 x 9 1/4 inchesThis composition is closely related to the 1881 painting “La Baigneuse”. The model was an Italian girl whom Renoir met while travelling near Naples, but he superimposed on the figure the features of his favorite Parisian model of the period, Gabrielle. There is a sense of light and soft modeling in Renoir's study “Baigneuse Assise” which makes it amongst the most beautiful figure images in his etched oeuvre. Although referred to as a 'Bather', evoking almost classical aesthetic ideas, the study is essentially an expression of the purely realist treatment of the theme of the nude which is so central to impressionist art. Like Degas, Renoir wanted to capture the idea of an actual person in an everyday moment of time.At the same time as seeking to express this concept of a modern 'realism', for Renoir figure studies were also a vehicle for the expression of the visual sensation of light. In the later years of his life Renoir was concentrating on techniques which allowed him to model form almost totally in terms of light rather than contour. The more linear handling seen in the works of the 1860's and 70's gave place to a concentration on tone, and on a depiction of form, in which background shadow and softened contour blend together.

Condition Report: In excellent condition, printed on a sheet with wide margins.

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Price: $14,500

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Rembrandt Van Rijn, Etching & Drypoint: Lieven Willemsz Van Coppenol, Writing-Master

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Description: An original Rembrandt Van Rijn Etching & Drypoint print.c. 1658Original etching, engraving and drypoint printed in black ink on laid paper.A strong and clear 18th century impression of Bartsch’s sixth and final state, Usticke’s ninth state of eleven, New Hollstein’s eighth state of nine. Printed after the reduction of the plate but before the late retouching and rebiting.Catalog: Bartsch 283 vi/vi; Hind 300; Biorklund-Barnard 58-F; Usticke 283 ix/xii; New Hollstein 306 viii/ix.6 1/8 x 5 1/4 inches Sheet Size: 9 3/8 x 7 inchesLieven Willemsz van Coppenol (1599-1667) was the principal of the "French school" in Amsterdam until 1650. An important part of the curriculum in those days was calligraphy, and ordinary schoolmasters were among the most proficient practitioners of this art. When Coppenol suffered a kind of nervous breakdown and was prevented from continuing his work as a schoolmaster, he devoted himself altogether to calligraphy, becoming something of a fanatic about it. He traveled all over the country giving demonstrations and showing off his work, and he soon came to be a well known figure.His fame was due in the first place to his capacity for self-promotion. Among his gimmicks was the commissioning of etched portraits of himself by famous artists (including Cornelis Visscher and Rembrandt) which he would send to as many poets as he could think of with the request to write poems of praise to him or his work. If they insisted upon it, he would even pay them. Given this practice of Coppenol's, it would seem fairly certain that Rembrandt's etched portrait of him was commissioned. There is no evidence that the two men were friends, as is supposed in much of the older literature.

Condition Report: In excellent condition, printed on a sheet with small margins outside the platamark on all four sides.

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Price: $9,800

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Pablo Picasso, Drypoint: Trois Comédiens Avec Buste de Marie-Thérese

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Description: An original hand-signed Pablo Picasso Drypoint print.(Three Actors with the Bust of Marie-Thérese)1933Original drypoint printed in black ink on Montval laid paper bearing the "Picasso" watermark. Hand-signed in pencil in the margin lower right Picasso. A superb impression of Geiser's second and final state, showing touches of rich burr on the beard and the hat of the man on the left, printed after the steelfacing of the plate, from the edition of 260 on this paper (apart from the edition of 50 printed on Montval laid bearing the “Montgolfier” watermark, three trial proofs also on Montval laid, and three impression printed on parchment, for an overall edition of 316). Plate 77 of 100 from the Suite Vollard. Published by Ambroise Vollard, Paris, 1939; printed by Roger Lacourière, Paris. Catalog: Bloch 145; Geiser 296 II.B.d11 x 7 1/8 inches Sheet Size: 17 1/2 x 13 5/16 inches

Condition Report: In excellent condition, printed on a sheet with wide margins.

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Price: $29,500

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Tom Wesselmann, screenprint: Still Life with Red Blowing Curtain

Ships From: San Francisco, CA US

Description: An original hand-signed Tom Wesselmann screenprint print.1999Original screenprint in colors on stiff white Coventry wove paper. Hand-signed in pencil within the image lower right Wesselmann. A superb impression of the definitive state, from the edition of 100, numbered in pencil also within the image lower right. Published by Cooper Square Prints, New York; printed by Steve Maiorano/Screened Images, Port Washington, New York, bearing his blindstamp in the sheet at the lower left corner. 18 7/16 x 23 11/16 inchesSheet Size: 26 x 31 15/16 inches

Condition Report: In excellent condition, with fresh, brilliant colors, printed on a sheet with full margins.

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Price: $14,900

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Pablo Picasso, Etching: Jeune Homme Présentant un Miroir ou un Portrait, A Une Femme

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Description: An original hand-signed Pablo Picasso Etching.(Young Man Presenting a Mirror or a Portrait to a Young Woman)1968Original etching with scraper and drypoint printed in black ink on Rives wove paper bearing the "BFK" watermark. Hand-signed in pencil in the margin lower right Picasso, dated in the plate upper right “6.4.68.III” (in reverse). A superb impression of Baer's second and final state, from the edition of 50 printed after the steelfacing of the plate, numbered in pencil in the margin lower left (there were 17 additional impressions designated artist's proofs, for an overall edition of 67). Plate 19 from the series 347 Gravures. Published by the Galerie Louise Leiris, Paris; printed at Atelier Crommelynck.Catalog: Bloch 1499; Baer 1515 B.b.1; Picasso Project 1499Platemark: 16 5/16 x 12 1/4 inches Sheet size: 22 13/16 x 17 3/4 inches Towards the end of his life, in a now famous example of late creative outpouring, Picasso returned to etching as an image-making process after a lapse of some years. And he did so with a vengeance. Between 16 March and 5 October 1968 - a period of a little more than six months - Picasso, then in his late eighties, produced a total of 347 prints. These went on to become known as the famous 347 Gravures, the largest print series of his career. The series revived many motifs from Picasso's entire career including the bullfight, the circus, the theater, the Commedia dell'Arte, themes from Spanish literature (eg. a group of prints based on Fernando de Roja's Le Celestina of 1499), themes from European painting including subjects inspired by El Greco, Goya, Titian, Poussin, Füssli, Degas, Ingres, Rembrandt and others. The series is also technically a tour de force, a collaboration with the printers Piero and Aldo Crommelynck in their workshop in Mougins, breaking many of the established rules of what supposedly could and couldn't be done in etching.

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $39,800

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James Abbott McNeill Whistler, Drypoint: BATTERSEA DAWN (CADOGAN PIER)

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Description: An original James Abbott McNeill Whistler Drypoint print.1861Original etching and drypoint printed in black ink on laid paper bearing the De Ervin de Blauw beehive watermark (a beehive surmounting the letters DEDB in a flowery shield).Signed in the plate at the lower left corner Whistler.A fine impression of Kennedy’s only state, Glasgow’s second state of two, printed after the addition of the five wavy drypoint line to the sky upper left.  Published in 1871 by Messrs. Ellis and Green, London, in the series Sixteen Etchings of Scenes on the Thames and Other Subjects, commonly referred to as the “Thames Set,” one of only 61 known impressions from this plate.Catalog: Kennedy 75; Mansfield 75; Grolier Club 82; Wedmore 79; Thomas 64; Glasgow 95 ii/ii.4 1/2 x 6 inchesSheet Size: 5 3/8 x 6 13/16 inchesAfter the initial period of two months between August and October of 1859 during which Whistler took up residence in the area of Wapping on the Thames to work on the eight plates that were to become a major portion of the “Thames Set” when they were published over a decade later in 1871, he left for a ten week trip back to Paris where he experimented with the drypoint technique. He returned to London in the spring of 1860 where his initial efforts on the Thames plates were enjoying some success. Encouraged by the success of these etchings, later in the year Whistler returned to the Thames working for extended periods in an inn near the Wapping steamboat pier.During this period Whistler received a visit from Sergeant Thomas, an elderly lawyer who enjoyed patronizing young artists. As a result of this visit the two entered into a contractual agreement through which Thomas agreed to represent and offer Whistler's etchings for sale. They began to make plans for Whistler's first one-man exhibition of etchings which was scheduled to take place the following April at Thomas's premises at 39 Old Bond Street.Early in 1861 Whistler returned to the Thames and began to etch additional views in preparation for his forthcoming exhibition. “Early Morning Battersea” is one of the drypoint produced during this period.

Condition Report: In excellent condition, printed on a sheet with inch margins all around.

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Price: $3,900

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James Abbott McNeill Whistler, Etching & Drypoint: Becquet

Ships From: San Francisco, CA US

Description: An original James Abbott McNeill Whistler Etching & Drypoint print.1859Original etching and drypoint printed in black ink on tissue-weight laid Japan paper. A strong, black, richly printed impression of Kennedy’s fourth and final state, Glasgow’s sixth and final state, printed after the small cross-shaped mark was removed from the upper left corner. One of the plates from the album A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, now commonly referred to as “The Thames Set,” printed by Frederick Goulding in the 1870’s.Catalog: Kennedy 52 iii/iv; Glasgow 62 vi/vi; Mansfield 52; Grolier Club 50; Wedmore 48; Thomas 5410 1/16 x 7 5/8 inchesSheet Size: 12 5/8 x 9 1/4 inchesFollowing Whistler's stay at Wapping where he etched his famous Thames subjects, he left for Paris in October of 1859. During this ten-week period until shortly before Christmas he experimented with the drypoint technique for the first time. Nine of the twelve drypoints which Whistler made while in Paris were portraits of the artist or his friends. This was the first time that he devoted himself seriously to portraiture in printmaking with the intention of bringing out the personality of his sitters. The most impressive of these plates are the male portrait drypoints, “Becquet” (K. 52), “Drouet” (K. 55) and “Astruc, a Literary Man.” (K. 53). Becquet was a musician who lived in his studio among “disorder and his cello.” Whistler's portrait of his friend reveals the artist's interest in 17th century Dutch portrait etching, particularly the work of Van Dyck and Rembrandt.The copper plate on which “Becquet” was etched had been brought to Whistler by a friend. When he received it it had a view of West Point etched on it on which the friend wanted a critical opinion. Whistler's opinion was apparently not particularly complimentary for he burnished out most of the West Point image to free the plate for Becquet's portrait. Traces of the previous composition can just be made out at the upper right corner and the lower right corner where stacked muskets were once depicted.In 1871 when the “Thames Set” was formally published “Becquet” was included under the title “The Fiddler.” Its inclusion, along with “The Forge” (K. 68), illustrate that the “Thames Set” plates were not “about” their subjects, but about different ways of seeing and approaching nature. While the series is best known for the group of realist etchings of 1859 which lie at its core, it documents Whistler's changing approach to his subject as he moved away from realism toward aestheticism, and became increasingly concerned with capturing fleeting impressions of nature rather than documenting concrete realities.

Condition Report: An expertly repaired tear at the sheet edge upper right well away from the image, otherwise in excellent condition, printed on a sheet with wide margins all around.

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Price: $9,800

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Pablo Picasso, Drypoint: Homme Dévoilant Une Femme

Ships From: San Francisco, CA US

Description: An original hand-signed Pablo Picasso Drypoint print.June 20, 1931Original drypoint printed in black ink on Montval laid paper bearing the "Vollard" watermark. Hand-signed in pencil in the margin lower right Picasso, dated in the plate in Roman numerals upper right. A superb, richly printed impression of Geiser's second and final state, showing rich burr throughout, printed after the steelfacing of the plate, from the edition of 260 printed on this paper (there were a further 50 impressions printed on Montval laid paper with wider margins bearing the “Montgolfier” watermark, and three impressions printed on parchment). Plate 5 of 100 from the Suite Vollard. Published by Ambroise Vollard, Paris, 1939; printed by Roger Lacourière, Paris. Catalog: Bloch 138; Geiser 203 II.B.d14 3/8 x 11 9/16 inches Sheet Size: 17 3/8 x 13 3/8 inches

Condition Report: In excellent condition, printed on a sheet with full margins.

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Price: $39,000

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