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Medium: engraving in the Crayon Manner (also know as the Chalk Manner). This rare and beautiful engraving by Louis-Marin Bonnet employed a technique used before the advent of lithography, using three plates (black, red chalk and white chalk) to achieve the soft and subtle effect of a chalk drawing. Size: 19 1/2 x 15 inches (plate) with margins; minor repair to the margin and a few areas of minor wear/creasing to the paper (in good condition overall for its age). Printed on laid paper in 1772.
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Medium: original lithograph. Signed in pencil at the lower right and numbered in red crayon "x218" at the lower left, and inscribed on verso "Reverie" in the same red crayon. This proof is printed on a thin vellum-finish wove paper and is presumed to have been hand-pulled by Belleroche, as the artist was known to do.
The image measures approximately 18 x 14 inches (455 x 355 mm); some ink intrudes into the margin consistent with hand-printing. The total sheet measures 20 x 16 1/2 inches (510 x 420 mm) with irregularly cut edges. Condition: there is some skinning to the surface of the paper on the left side (possibly occurring during printing); some creasing; two minor repaired tears; and a 1 cm hole can be seen near the top which has been repaired at an earlier date. A rare and magnificent piece!
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Medium: original etching and drypoint with aquatint and roulette. This is an exquisite impression on japon paper, of what is arguably the most famous Felix Buhot etching. Executed in 1879 and published in Paris in 1881 for L'Art; the catalogue reference is Bourcard/Goodfriend 128. Image size: 9 1/2 x 13 3/4 inches (240 x 350mm). Signed in the plate with the Buhot monogram signature (not by hand). A good price for this impression on special paper, before letters and apart from the standard published edition.
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Medium: original etching with drypoint and aquatint. Executed in 1878; catalogue reference Bourcard/Goodfriend 127 v/viii. This is a fine impression on chine collé paper. This state was printed before Buhot reworked the plate to add aquatint to the symphonic margins (the decorative sketches surrounding the central composition). Plate size: 12 1/2 x 9 5/16 inches (318 x 238mm). The total sheet measures 20 x 14 inches (515 x 360mm). Signed in the plate (not by hand).
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Medium: original etching. From the Environs of Rome suite, this is an 18th Century impression on laid paper. Plate size: 8 x 11 inches (205 x 278mm); not including the small margins. Signed in the plate.
Condition: a few stains, and old tape mounts on back, with skinning and loss to the paper in the two upper corners of the plate.
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Medium: original etching and drypoint with aquatint and roulette. "L’Hiver a Paris" is also known as "La Neige a Paris". Executed in 1879 and published in Paris in 1881 for L'Art; the catalogue reference is Bourcard/Goodfriend 128. Image size: 9 1/2 x 13 3/4 inches (240 x 350mm). Signed in the plate with the Buhot monogram signature (not by hand). A fine impression on watermarked laid paper of this iconic Buhot etching.
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Medium: original etching and drypoint. Catalogue reference: Seeber 194. This impression on japon paper is annotated "trial proof" and pencil-signed and titled in the margin, with George Burr's monogram signature. The published edition consisted of 40 numbered impressions. In excellent condition save for a faint mat stain, and with full original margins. Plate size: 6 7/8 x 9 7/8 inches (175 x 250 mm). American Impressionist George Elbert Burr is best known for Southwestern scenes such as this, and his etchings have become increasingly sought-after.
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Medium: original etching. Signed both in the plate and in pencil. Catalogue reference Fletcher 31. Executed in 1922 and issued in an edition of 76. Plate size: 5 1/4 x 3 7/8 inches (135 x 99 mm). A beautiful and lifelike impression on cream wove paper, quite likely an earlier state before the final published state.
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Medium: original etching and drypoint. Signed in pencil. Catalogue reference D 61. This Blampied drypoint was executed in 1921 and beautifully printed on cream wove paper, in an edition of only 100. Size: 7 3/4 x 11 5/8 inches (plate) with full original margins; some foxing and staining to the margins (but the image is clean and bright). A rich, dark impression showing burr and plate tone. Although Edmund Blampied is not, strictly speaking, considered as an Expressionist artist, this print does have a nice Expressionist flavor.
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Medium: original etching. From the Environs of Rome suite, this is an 18th Century impression on laid paper. Size: 7 5/8 x 10 5/8 inches (193 x 272mm). Signed in the plate.
Condition: the margins have been trimmed, and there is a (repaired) tear.
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Medium: original etching with drypoint and roulette. Catalogue reference Bourcard/Goodfriend 123. This impression on cream laid paper is from the edition for "French Etchers", published in New York in 1884. Plate size: 9 1/4 x 12 1/4 inches (237 x 312mm). Signed in the plate (not by hand). Condition: minor foxing to the margin.
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Original lithograph. A nice impression on wove paper, published in 1938 for the very rare XXe Siecle (issue No. 4). Sheet size 12 1/2 x 9 3/8 inches. . Not signed.
Condition: there are pinholes from the publisher's original binding along the left edge and creasing near the bottom right corner of the sheet (see second photo).
XXe Siecle (Chroniques du Jour) was a deluxe art revue that was the source of many outstanding prints. It was published by Gualtieri di San Lazzaro from 1938-1939, and again from 1951 until 1978 (known as the Nouvelle Serie). Many important artists contributed original prints, including Miro, Picasso, Chagall, Braque, Villon, Matta, Indiana, Rosenquist, Lam, Dali, Zao Wou-ki, Matisse, Delaunay, Ernst, Poliakoff, Soulages, Leger, Moore, Kandinsky, Agam, Arp, Calder, Magnelli, Baj, Marini and Vasarely.
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Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 8 1/4 x 6 1/4 inches (210 x 160mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.
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Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 4 1/2 x 5 3/4 inches (115 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.
Note: unlike the standard edition, this impression on japon paper is completely without printed text. This fact, along with its greater rarity, accounts for the difference in price.
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Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 6 3/8 x 4 7/8 inches (163 x 125mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.
Note: Unlike the standard edition, this impression on japon paper is completely without printed text. This fact, along with its greater rarity, accounts for the difference in price.
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Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 7 x 5 1/2 inches (180 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.
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Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 7 3/8 x 5 3/4 inches (189 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Signed in the plate (not by hand) -- no impressions were hand-signed.
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View in Venice also called "Fondamenta delle Zattere";
Medium: original etching. Executed in 1880, this is a rich, dark impression on laid paper. Size: 7 x 10 1/4 inches (plate). Signed in the plate (not by hand). A well-known Otto Bacher etching.
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Also known as "Le petit enterrement". Medium: original etching and aquatint with drypoint. Catalogue reference Bourcard/Goodfriend 154. Published in 1902 by Revue de l'art ancien et moderne, in a small edition of probably no more than 750 impressions. Plate size: 88 x 112 mm - (3 1/2 x 4 1/2 inches). Signed in the plate with the Buhot owl monogram signature (not hand-signed). A rich impression on wove paper with full margins.
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Medium: original lithograph. This is the second printing (deuxieme tirage) of this striking Georges Braque composition, for the portfolio "San Lazzaro et ses amis", published in Paris. A number of important artists collaborated together on this project, in homage to Gualtieri di San Lazzaro, founder of the deluxe art revuel XXe Siecle (Chroniques du Jour), and an instrumental figure in the Paris art world, as a publisher, critic and friend to many of the 20th Century's great printmakers. Among the artists represented are Pablo Picasso, Georges Braque, Zao Wou-ki, Joan Miro, Marc Chagall, Graham Sutherland, Rene Magritte, Hans Hartung, Lucio Fontana, Alberto Magnelli, Henry Moore, Serge Poliakoff and Max Bill.
This is a fine impression on quality Arches wove paper, printed in Paris in 1975 by Mourlot Freres, in a limited edition of 575. The total sheet measures 14 x 10 1/4 inches (355 x 260mm). Not signed. The first printing was published by XXe Siecle in 1958; interestingly, this second impression is more scarce and printed on a finer quality of paper.
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Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 5 1/2 x 5 3/4 inches (140 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.
Note: unlike the standard edition, this impression on japon paper is completely without printed text. This fact, along with its greater rarity, accounts for the difference in price.
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Medium: original lithograph. This impression is from the edition of 180 printed on Arches cream wove paper (a small edition of 20 were printed on japon paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 8 1/4 x 6 1/4 inches (210 x 160mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.
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Medium: original lithograph. This impression is from the edition of 180 printed on Arches cream wove paper (a small edition of 20 were printed on japon paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 7 3/4 x 5 3/4 inches (198 x 148mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.
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Medium: original lithograph. This impression is from the edition of 180 printed on Arches cream wove paper (a small edition of 20 were printed on japon paper, for a total edition of 200). All were printed by André Clot for the rare "Éloge de Pierre Bonnard" by Léon Werth, published in 1946 by Manuel Bruker.
The lithographs from Éloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 7 3/8 x 5 3/4 inches (189 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Signed in the plate (not by hand) -- no impressions were hand-signed.
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Medium: lithograph (after the gouache). Printed for Derriere le Miroir (No. 144-145-146) in 1964, and published in Paris by the incomparable Maeght atelier. Sheet size: 15 x 10 3/4 inches (378 x 275 mm). Unlike most prints issued by DLM, there is no text on the back. Not signed. Condition: there are slight bumps to the corners of the sheet. This is a magnificent and very richly inked impression.
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Medium: original lithograph. Printed in 1965 by Mourlot, in a limited edition of 1000 on Arches wove paper. Sheet size: 10 x 7 1/4 inches (255 x 186 mm). Signed by Bernard Buffet in the plate (not by hand).
This original print is from the rarest of the Mourlot catalogues of the mid-sixties, published in conjunction with London's prestigious Redfern Gallery on the occasion of a Mourlot exhibition and as an expression of Franco-English friendship.
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Medium: serigraph / silkscreen. This magnificent print was published in Milan in 1954 by Groupe Espace for the very rare Documenti d'arte d'oggi. A beautiful, rich impression! Sheet size 12 1/2 x 8 1/2 inches (318 x 220 mm). Signed in the plate, not hand signed.
The Movimento arte concreta (Concrete Art Movement), also known as MAC, was founded in Milan in 1948 by a group of Italian artists with their own unique aesthetic; principal among them were Atanasio Soldati, Gillo Dorfles, Bruno Munari and Gianni Monnet. The print offered here is a product of this movement, which brought together a number of artists who contributed original lithographs or serigraphs to this 1954 project. Among the artists represented in this portfolio were: Enrico Baj, Enrico Bordoni, Joe Colombo, Nino Di Salvatore, Gillo Dorfles, Asger Jorn, Plinio Mesciulam, Gianni Monnet, Bruno Munari, Bruna Pecciarini, Mauro Reggiani, Atanasio Soldati and Luigi Veronesi. Vintage original prints by many of these artists are rarely encountered today.
Questa stampa è uno degli opere originali -- litografie, serigrafie, xilografie e linoleografie -- che sono stati pubblicato a Milano per Groupe Espace per la rarissima Documenti d'Arte d'Oggi. Le stampe originali in questo portafoglio sono stati creati per il Movimento Arte Concreta.
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Medium: lithograph (after the painting). Executed for Derriere le Miroir in 1966 (issue number 162) and published in Paris by Maeght. This lithograph was done after the Francis Bacon oil painting that was executed the same year for a Paris exhibition. Sheet size: 15 x 10 3/4 inches (380 x 273 mm); with text on verso, as issued. George Dyer was the lover of Francis Bacon for many years until his tragic death in 1971, and the artist painted portraits of him obsessively. Not signed.
Condition: the left margin is narrow.
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Medium: original lithograph. This print is from the very rare 1950 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1950 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses and institutions supporting the Artists Equity Association; these sponsors allowed the artists complete creative freedom of expression. Indeed, it is said that annual Spring Fantasia Masquerade Balls were very wild affairs!
This lithograph was issued in an edition of 2000 and is printed on watermarked, tinted laid paper; the sheet measures 11 5/8 x 8 3/4 inches (295 x 220 mm). Signed by Max Beckmann in the stone (not hand-signed). Beckmann taught at the Brooklyn Museum Art School at the end of his life, and died in 1950, so this is one of his last original prints.
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Medium: original lithograph. Catalogue reference: Sanchez and Seydoux 1908-2. Printed on gray wove paper and published in Paris in 1908 by the Gazette des Beaux Arts. Image size: 8 x 6 1/4 inches (210 x 155mm). Signed by Belleroche in the stone (not by hand).
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Medium: lithograph (after the gouache). Printed in Paris in 1964 by Mourlot Freres and issued in a limited edition of 2000 on Arches wove paper. Sheet size: 10 x 7 1/2 inches (255 x 185 mm). Not signed.
This lithograph is from the scarce and lavishly-produced limited edition catalogue, "Prints from the Mourlot Press". Published in 1964 by Mourlot on the occasion of their landmark traveling exhibition, which was sponsored by the French Embassy and The Smithsonian.
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Medium: original lithograph. Printed by Mourlot Freres in 1940 for Verve (volume 2, number 8), at the start of World War II and just days before the invasion of Paris. According to the publisher, more than half of the edition was lost. Sheet size: 13 7/8 x 20 3/8 inches (353 x 520 mm); with text on verso, as issued. Not signed.
Condition: this is a fine impression of this original Bonnard lithograph, with rich, unfaded color. As it was published as a folded sheet, there remains a pronounced center fold with pinholes along the crease.
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Medium: original lithograph. Printed in Paris in 1968 by the legendary Mourlot atelier for the cover of the Mourlot catalogue raisonné of Bernard Buffet lithographs. Sheet size: 12 1/2 x 20 1/2 inches (318 x 520 mm). Signed by Buffet in the stone, not by hand.
Condition: there is the expected center crease, along with two small tears along the bottom edge of the sheet (repaired and very difficult to see). This is the entire cover (front and back) and this piece is hard to find intact.
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Medium: original etching and drypoint. The full French title is ''La Terrasse De La Villa Brancas", and the catalogue reference is Beraldi 215. Published in Paris in 1876 by L'Art, this is a superb impression on watermarked laid paper printed by A. Salmon. The plate size is 9 7/8 x 13 7/8 inches (250 x 352mm). Signed by Felix Bracquemond in the plate (not by hand).
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Medium: original lithograph. This original Anna-Eva Bergman composition was published in 1970 for the deluxe art revue XXe Siecle (issue No. 35). Sheet size: 12 1/4 x 9 1/4 inches (310 x 235mm). Signed in the plate (not by hand).
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Also known as "Les amis du Saltimbanque". Medium: original etching and aquatint with drypoint. Catalogue reference Bourcard/Goodfriend 76. Published in 1902 by Revue de l'art ancien et moderne, in a small edition of probably no more than 750 impressions. Plate size: 85 x 112 mm - (3 3/8 x 4 1/2 inches). Signed in the plate with the Buhot owl monogram signature (not hand-signed). A rich impression on wove paper with full margins.
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Medium: lithograph (after the maquette for the stained glass window at the Chapelle St. Bernard). Executed for Derriere le Miroir (No. 148) in 1964, and published in Paris by Maeght. This lithograph was published on the occasion of the inauguration of the Fondation Marguerite et Aime Maeght. Sheet size: 15 x 11 inches (380 x 280 mm). Signed in the plate (not by hand).
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Medium: original lithograph. A good impression on wove paper for XXe Siecle, published in Paris in 1958 by San Lazzaro. Sheet size 12 3/8 x 9 1/4 inches; 315 x 235mm. Not signed.
XXe Siecle (Chroniques du Jour) was a deluxe art revue that was the source of many outstanding prints. It was published by Gualtieri di San Lazzaro from 1938-1939, and again from 1951 until 1978 (known as the Nouvelle Serie). Many important artists contributed original prints, including Miro, Picasso, Chagall, Braque, Villon, Matta, Indiana, Rosenquist, Lam, Dali, Zao Wou-ki, Matisse, Delaunay, Ernst, Poliakoff, Soulages, Leger, Moore, Kandinsky, Agam, Arp, Calder, Magnelli, Baj, Marini and Vasarely.
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Medium: original serigraph. Published in Milan by Groupe Espace for the very rare 1958 volume of Documenti d'Arte d'Oggi. Sheet size (slightly trimmed): 11 x 8 3/8 inches (282 x 213mm). Signed in the plate, not hand-signed. There is some minor aging to the paper. A magnificent, rich impression!
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Medium: serigraph / silkscreen. This magnificent print was published in Milan in 1954 by Groupe Espace for the very rare Documenti d'arte d'oggi. A beautiful, rich impression! Sheet size 12 1/2 x 8 1/2 inches (318 x 220 mm). Signed in the plate, not hand signed.
The Movimento arte concreta (Concrete Art Movement), also known as MAC, was founded in Milan in 1948 by a group of Italian artists with their own unique aesthetic; principal among them were Atanasio Soldati, Gillo Dorfles, Bruno Munari and Gianni Monnet. The print offered here is a product of this movement, which brought together a number of artists who contributed original lithographs or serigraphs to this 1954 project. Among the artists represented in this portfolio were: Enrico Baj, Enrico Bordoni, Joe Colombo, Nino Di Salvatore, Asger Jorn, Plinio Mesciulam, Gianni Monnet, Bruno Munari, Bruna Pecciarini, Mauro Reggiani, Atanasio Soldati and Luigi Veronesi. Vintage original prints by many of these artists are rarely encountered today.
Questa stampa è uno degli opere originali -- litografie, serigrafie, xilografie e linoleografie -- che sono stati pubblicato a Milano per Groupe Espace per la rarissima Documenti d'Arte d'Oggi. Le stampe originali in questo portafoglio sono stati creati per il Movimento Arte Concreta.
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