Just in: Prints by Raoul Dufy, Henri Matisse, Alexander Calder, Louise Breslau, Georges Braque, Josef Albers, Alfred Stevens, Salvador Dali, Charles Cottet, Eugene Bejot, Joan Miro, Henri Lebasque, Zao Wou-ki, Alexander Calder, Edouard Manet, Yaacov Agam, Pablo Picasso, Georges Braque, Maurice Utrillo, Fernand Leger, Louis Charlot, David Roberts, Edgar Degas, Kathe Kollwitz, Joan Miro, Max Ernst, J. F. Raffaelli, Jean Dubuffet and Matisse; color silkscreens by Victor Vasarely; etchings by Gerald Brockhurst and Otto Bacher.
Recently acquired: a Charles Meryon etching; silkscreens by Jasper Johns, Josef Albers and Robert Indiana; lithographs by Antoni Tapies, Andre Masson, Wassily Kandinsky and Jean-Paul Riopelle. Silkscreens by Sophie Taeuber-Arp, Juan Gris and Alberto Magnelli; lithographs by Miro and Ellsworth Kelly; a drypoint by Jacques-Louis David, an original Rembrandt etching, a Marc Chagall lithograph and a signed drypoint by Southwestern artist George Elbert Burr.
Fresh inventory comes in frequently -- BOOKMARK THIS PAGE and check back every week to see what's new!
Medium: original etching. Catalogue reference Bartsch 118 (final state); also sometimes called "Jacob and Laban". This is the 1868 Hamerton edition, and is a good impression on laid paper. Plate size: 5 5/8 x 4 7/16 inches (145 x 114mm). Unlike many other Rembrandt compositions, this etching did not suffer from over-printing through the centuries. Philip Gilbert Hamerton, who was himself an etcher in addition to being a scholar, was a particular perfectionist about the quality of printing. Hamerton was able to find Rembrandt's original copper plate, in very fresh condition and without significant wear, so the impressions he pulled from it for this 1868 edition are of excellent quality.
Medium: original etching and aquatint. Catalogue reference: Harris 85 iii/iii. This is a fine impression from the 1884 Bazire edition, printed on laid paper. Plate size: 5 x 4 inches; 127 x 103mm. Not signed. In good condition, with some minor foxing.
Medium: original etching. Executed in 1880 and printed on heavy wove paper with full original margins. Plate size: 4 1/2 x 7 1/4 inches (115 x 183mm). Signed in the plate (not by hand). One of Otto Bacher's beautiful (but not often seen) Venice etchings.
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.
Medium: collotype (after the drawing). Issued in 1933 in an edition of 1000 for the rare "Dix Reproductions 1933" portfolio. Published jointly by Editions J. Bucher and Editions J. Becker. A quality printing on Arches wove paper with deckle edges, bearing the JB dry stamp and the publisher's provenance label on verso. Sheet size: 16 x 20 1/2 inches. Not signed.
Medium: lithograph. Published in Paris by Teriade for Verve (Vol. 1, No. 4) in 1938, and printed by Mourlot. Matisse had done earlier compositions of this same theme as paintings before it was executed as a lithograph for Verve; the lithograph can be considered a fresh version as it differs from the earlier paintings. Sheet size: 14 x 20 3/4 inches (355 x 525 mm) with center fold and other Matisse designs on verso, as published. Not signed. Condition: thee is minor foxing in the margins and a bump to the bottom edge; most notably there is a small stain in the green area near the center of the image. This work perfectly is intact and uncut (scarce in this condition as many impressions were ruined when back issues of Verve were bound together). A Fauvist classic.
Medium: lithograph (after the drawing). Published in Paris in 1943 by Teriade for Verve (Volume IV, No. 13). This composition was executed by Matisse for the special "De la Couleur" issue, now very rare. Sheet size: 13 3/4 x 10 1/4 inches (350 x 260 mm). Condition: there is age-toning to the paper. Signed in the plate (not by hand).
Medium: pochoir (after the linocut). Published in 1944 by Cahiers d'Art. Seldom seen on the market, this is a rich and magnificent impression on smooth wove paper, with a printed text inscription beneath the image, as originally issued. Image size: 10 1/4 x 7 1/2 inches (260 x 190mm). Not signed. Cahiers d'Art was published in Paris from 1926-1960 by Greek art collector, writer and art critic Christian Zervos. From a print collector's viewpoint, this art revue is most famous for the pochoirs which were commissioned for some of the issues. Zervos had high technical standards, and these works are truly stunning.
Medium: original lithograph. Signed in pencil. Published in 1959 by the New York Graphic Society for Joan Miró Dibujos y Litografías, Los Papeles de Son Armadans. This was one of three Miro lithographs that was issued joined together and folded in the form of a triptych, but has since been separated from the other two; of the three compositions this was the only one signed in pencil. 700 were issued for this first and only edition. Sheet size: 13 x 9 1/2 inches (334 x 240mm). In good condition (with the remains of tape hinges on the back) and a center fold, as originally published. Catalogue reference: Cramer 56.
Medium: pochoir (after the watercolor). Published in Paris in 1929 by Charles Moreau in a limited edition for L'Art Cubiste. This is a magnificent and rich impression printed by pochoir master Daniel Jacomet; it is presumed that no more than 1000 impressions were printed and this edition is now rare. Image size: 7 3/4 x 5 5/8 inches (190 x 145 mm); the artist's name is printed in text beneath the image. Signed in the plate (not by hand).
Medium: pochoir (after the watercolor). Published in Paris in 1929 by Charles Moreau in a limited edition for L'Art Cubiste. This is a magnificent and rich impression printed by pochoir master Daniel Jacomet; it is presumed that no more than 1000 impressions were printed and this edition is now rare. Image size: 7 x 6 inches (180 x 160 mm); the artist's name is printed in text beneath the image. Signed in the plate (not by hand). Condition: some wear in the margin, and a few minor stains.
Medium: original lithograph. Executed for Derrière le Miroir (No. 168) in 1967, and published in Paris by Maeght. Sheet size: 15 x 22 inches (380 x 560 mm); with center fold and text on verso, as issued. Not signed. Derrière le Miroir was the legendary art revue published in Paris by Aime Maeght, from 1946 through 1982. Some of the artists who contributed original lithographs were Chagall, Miro, Braque, Giacometti, Kelly, Tapies, Riopelle, Pol Bury, Calder, Alechinsky, Ubac and Palazuelo. Often known by collectors simply as DLM, all issues of Derrière le Miroir are now scarce, and many have become quite valuable and highly prized.
Medium: original lithograph. Executed for Derrière le Miroir (No. 175) in 1968, and published in Paris by Maeght. Sheet size: 22 x 15 inches (560 x 380 mm); with center fold and text on verso, as issued. Not signed.
Medium: original lithograph. Executed for Derrière le Miroir (No. 175) in 1968, and published in Paris by Maeght. Sheet size: 15 x 22 inches (380 x 560 mm); with center fold and text on verso, as issued. Not signed.
Medium: original etching. Executed in 1865; Catalogue reference: Schneiderman 94 vii/vii. This fanciful and magnificent etching depicts the headquarters of the Admiralty in Paris, under attack by a legion of flying creatures. Printed by Delâtre and published in 1866 by Cadart and Luquet for the Société des Aquafortistes. Plate size: 6 5/8 x 5 1/2 inches (168 x 140 mm). This impression on cream laid paper is in good condition, with good margins. Signed in the plate with Charles Meryon's monogram (not hand-signed).
Medium: lithograph. This is one of the famous David Roberts lithographs from the Egypt & Nubia suite, printed in 1846 and published by F. G. Moon of Threadneedle Street, London. The lithography was done by Louis Haghe, and the piece was subsequently hand colored. Image size: 13 x 20 inches; the total sheet measures 17 1/4 x 24 inches. The publisher's inscription is printed beneath the image. In very good condition overall, with only a minor mat stain and pinholes in the margin from a previous mounting. This is a beautiful impression with magnificent and richly detailed coloring. David Roberts prints have become highly sought after.
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.
Medium: original lithograph. Printed in Paris by A. Clot. Published in 1903 by Gazette des Beaux Arts. Image size: 5 5/8 x 7 7/8 inches (143 x 200 mm) on simili japon paper. Signed in the plate, not by hand. The Gazette des Beaux Arts was a Parisian art revue founded in 1859. From a print collector's point of view, it is much treasured for the original etchings and lithographs published during the 19th Century and early years of the 20th Century.
Medium: original silkscreen. This is Jasper Johns' famous original silkscreened cover of the Field catalogue (reference: Field S-13). Printed on Patapar parchment paper by Simca Print Artists and issued in 1977 in an edition of 3000 by Brooke Alexander of New York. Sheet size: 9 3/4 x 10 inches (250 x 255 mm). Not signed. A strong, rich impression with good, bright color. Condition: the paper has aged as is typically the case with this piece. This is an excellent value: an identical impression of this work from the same edition was auctioned at Christie's (New York) on November 11, 2009 for $11,000.
Medium: original lithograph. Catalogue reference: Mourlot 352. Executed for Derrière 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 10 3/4 inches (380 x 272mm). Not signed.
(Standing Mother feeding her Child); Medium: original etching. Catalogue reference: Klipstein 247. A good impression of this iconic Kollwitz etching, with plate tone. Plate size: 195 x 153mm (7 3/4 x 6 inches) with full margins. Printed in Munich in 1922 on wove paper with the Van der Becke blind stamp.
(Four Men in the Pub); Medium: original soft-ground etching and aquatint. Catalogue reference: Klipstein 12. Plate size: 125 x 153mm (5 x 6 inches) with good margins. Printed in Munich in 1922 on wove paper with the Van der Becke blind stamp.
Medium: original etching and drypoint. Published in 1889 by Gazette des Beaux Arts. Image size: 5 x 8 1/8 inches (128 x 205 mm) on cream wove paper. Signed in the plate, not by hand. The Gazette des Beaux Arts was a Parisian art revue founded in 1859. From a print collector's point of view, it is much treasured for the original etchings and lithographs published during the 19th Century and early years of the 20th Century.
Medium: original lithograph. Issued for XXe Siecle in 1980, published in Paris by San Lazzaro. Sheet size 12 1/4 x 9 1/4 inches (310 x 233 mm). A nice impression, as one expects from XXe Siecle-- this institution has become one of the most respected publishers of original prints. Not signed.
Medium: original lithograph. Issued for XXe Siecle in 1980, published in Paris by San Lazzaro. Sheet size 12 1/4 x 9 1/4 inches (310 x 233 mm). A nice impression, as one expects from XXe Siecle-- this institution has become one of the most respected publishers of original prints. Not signed.
Medium: original serigraph. Printed in Paris for XXe Siecle in 1971 by Ateliers Arcay. Sheet size 12 1/8 x 28 inches (310 x 710mm); issued as a folded sheet with two folds. 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.
Medium: original lithograph. Executed in 1971 for XXe Siecle (No. 37) and printed in Paris by Mourlot Frères. Sheet size 12 1/8 x 9 1/2 inches (317 x 240mm). 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.
Medium: original etching. Published in 1878 by Gazette des Beaux Arts. Catalogue reference Sanchez & Seydoux 1878-5. Image size: 7 x 4 1/8 inches (180 x 104 mm) on cream laid paper. Signed in the plate, not by hand. The Gazette des Beaux Arts was a Parisian art revue founded in 1859. From a print collector's point of view, it is much treasured for the original etchings and lithographs published during the 19th Century and early years of the 20th Century.
Medium: original lithograph. Printed in Paris in 1966 by the legendary atelier of Fernand Mourlot. Published in a limited edition of 1500 impressions on Chiffon de Mandeure wove paper. Sheet size: 10 x 7 1/2 inches (255 x 185mm); text on verso (as issued). Not signed. There is some minor age-toning to the paper. This original Ellsworth Kelly lithograph is from the very scarce and lavishly produced limited edition catalogue, published by Maeght and London's Redfern Gallery on the occasion of a major 1966 exposition at the Redfern. The print was executed by the artist as an original contribution expressly for this catalogue.
Medium: pochoir (after the watercolor). Published in Paris in 1925 by Albert Morancé for "L'Art d'Aujourd'hui", and now very scarce. The publisher's provenance inscription is printed beneath the image. Image size: 8 7/8 x 5 inches (225 x 128). Not signed.
Medium: lithograph (after the maquette for the stained glass window at the Chapelle St. Bernard). Executed for Derrière 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 10 3/4 inches (380 x 272mm). Signed in the plate (not by hand).
Medium: lithograph (after the original). Executed for Derrière le Miroir (No. 138 -- Papiers Colles Cubistes) in 1963, and published in Paris by Maeght. Sheet size: 14 1/2 x 10 1/2 inches (370 x 268 mm); with text on verso, as published. Not signed. Derrière le Miroir was the legendary art revue published in Paris by Aime Maeght, from 1946 through 1982. Some of the artists who contributed original lithographs were Chagall, Miro, Braque, Giacometti, Kelly, Tapies, Riopelle, Pol Bury, Calder, Alechinsky, Ubac and Palazuelo. Often known by collectors simply as DLM, all issues of Derrière le Miroir are now scarce, and many have become quite valuable and highly prized.
Medium: lithograph (after the original). Executed for Derrière le Miroir in 1963, and published in Paris by Maeght. Not signed. Sheet size: 15 x 22 inches; there is printed text on verso with a center fold, as published.
Medium: original etching and drypoint. Executed in 1809 and published in Paris by H. Floury. Plate size: 5 1/2 x 7 3/4 inches (142 x 197mm). Not signed.
Medium: original lithograph. Executed for Derrière le Miroir in 1971, and published in Paris the same year by the highly regarded Maeght atelier. Sheet size: 15 x 11 inches (375 x 275 mm); with text on verso, as originally published. Not signed. A richly inked impression.
Medium: original lithograph. Executed for Derrière le Miroir in 1967, and published in Paris by the Maeght atelier. Sheet size: 15 x 11 inches (375 x 275 mm); with text on verso, as originally issued. Not signed.
Medium: silkscreen / serigraph. This is one of the silkscreens from the important Albers project "Interaction of Color", published in 1963 by Yale University Press in an edition of 2000. The total sheet measures 13 x 10 inches (330 x 255 mm). Not signed. This is a fine impression printed in rich, vibrant color. Condition: there is a black line to the right of the bottom white rectangle; there is also some wear and scuffing to the silkscreened surface.
Medium: silkscreen (after the painting). Printed in Paris at the studio of Arcay and published in 1953 by Editions d'Art d'Aujourd'hui, of Boulogne. Sheet size, including margins: 11 3/4 x 8 3/4 inches (300 x 225 mm). Not signed. This is a very richly inked impression on wove paper; there is some scuffing to the surface, with a few minor handling creases.
(Numbers Zero through Nine) This is the complete suite of ten original serigraphs. These original Robert Indiana silkscreens were published in an edition of 2500 by Domberger Stuttgart of Germany, in 1968. Size is 10 x 8 inches each (255 x 210mm). A Pop Art classic, these are beautiful, rich impressions in electric 1960's colors (each in a different color variation). Offered as a complete set. Condition: the silkscreen images are mint but there is a bit of glue residue from the binding in the left margins. Not signed. Only one photo is posted here; the other nine photos can be emailed upon request.
Medium: silkscreen (after the painting). Printed in Paris at the studio of Arcay and published in 1953 by Editions d'Art d'Aujourd'hui, of Boulogne. Sheet size: 11 3/4 x 8 3/4 inches (300 x 225 mm). Not signed. A richly inked impression on wove paper.
