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Questions about antiques.com? Call our customer service line at 1-800-ANTIQUES http://www.antiques.com//images/antiques_logo.jpg http://www.antiques.com/ Mary Cassatt margot Wearing A Bonnet Etching-drypoint http://www.antiques.com/classified/1127234/Antique-Mary-Cassatt----Margot-Wearing-a-Bonnet----Etching-Drypoint Here we have a good strong impression with good drypoint of margot wearing a bonnet , created in c.1902, this work is presumably an early impression from the only state created of the image. The work is occasionally printed in black and white; other examples of this work can be found in the collections of the delaware art museum, amherst college massachusetts, the cincinnati art museum, and the wadsworth athenaeum connecticut. Please note the fine printing the burr of the drypoint . this is a work listed in the breeskin catalogue , # 179 , printed on early laid paper . The work measure 6 by 8.75 inches with good plate tone . There is a resored area of the paper out side of the etched work with little discoloartion far from the work and can be matted over with a proper matting.

Item Price : $2500.00
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Peter Moran harvest In San Juan, New Mexico Pencil Signed Etching http://www.antiques.com/classified/1127235/Antique-Peter-Moran----Harvest-in-San-Juan--New-Mexico----Pencil-Signed-Etching Peter moran âharvest in san juan, new mexicoâ pencil signed etching peter moran one of americaâs leading nineteenth century etchers of animals and landscapes, peter moran immigrated with his family to the united states at the age of three. At the age of sixteen he was apprenticed to the lithographic firm of herline and hersel, drawing mostly advertisements. A year later he began to study art under his elder brothers, edward (1829 â 1901) and thomas (1837 â 1926). Thomas moran and his wife, mary nimmo moran, both became very influential etchers. Peter moran concluded his education by visiting england in 1863. He was particularly influenced there by the animal and landscape art of edwin landseer, rosa bonheur and constant troyon. Peter moran was a full member of the new york etching club and the philadelphia art club. He also served as president of the american society of etchers. peter moran first gained national recognition in 1864 when he visited the territory of new mexico. He was in fact the first non-native artist to portray aspects of the life and culture of the pueblo indians. During the 1870âs and 1880âs he returned to both new mexico and arizona, creating a great legacy of both paintings and etchings of these areas. In 1890 peter moran traveled as the official artist for the bureau of indian affairs. here we have a very rare impression of peter moran âharvest in san juan, new mexicoâ listed work in the catalogue refer: keppel 74. Executed in 1883; this is a rich impression on wove paper of a earlier pull with rich dry point before the un signed editions were pulled . The etching measures 6 x 12.25 inches . Framed size 15 by 20.50 inches, recently framed. Not examined outside of the frame. signed in the plate and in pencil. This is considered one of peter moran's masterpieces and rare to find in the pencil signed on japon paper .
Item Price : $2500.00
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James J. Tissot portrait Of Jules De Concourt Etching-drypoint http://www.antiques.com/classified/1127236/Antique-James-J--Tissot----Portrait-of-Jules-De-Concourt----Etching-Drypoint James j. Tissot âportrait of jules de concourtâ etching-drypoint james jacques joseph tissot (october 15, 1836 â august 8, 1902) was a frenchpainter etcher and illustrator. tissot was born at nantes. He studied at the Ãcole des beaux-arts in paris underingres, flandrin and lamothe, and exhibited in the paris salon for the first time at the age of twenty-three. In 1861 he showed the meeting of faust and marguerite, which was purchased by the state for the luxembourg gallery. His first characteristic period made him a painter of the charms of women. Demi-mondaine would be more accurate as a description of the series of studies which he called la femme a paris. it was many years before he turned to the chief labor of his career, the production of a series of 700 watercolor drawings to illustrate the life of christ and the old testament. He disappeared from paris, whither he had returned after the death of kathleen newton, and went to palestine. In 1896 the series of 350 drawings of incidents in the life of christ was exhibited in paris, and the following year found them on show in london. They were then published by the firm of lemercier in paris, who had paid him 1,100,000 francs for them. (over 500 related drawings, watercolors and oils are now in the collection of the brooklyn museum.) here we have a great impression of james tissot âportrait of jules de concourtâ, etching-drypoint, plate signed from a edition of 550. This and the second work were published 1884 by g. Charpentier, paris. Each work measures 5.50 by 3.75 inches on antique laid paper in good condition
Item Price : $2500.00
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James J. Tissot renee Crying At The Piano Etching-drypoint http://www.antiques.com/classified/1127237/Antique-James-J--Tissot----Renee-Crying-at-the-Piano----Etching-Drypoint james jacques joseph tissot (october 15, 1836 â august 8, 1902) was a frenchpainter etcher and illustrator. tissot was born at nantes. He studied at the Ãcole des beaux-arts in paris underingres, flandrin and lamothe, and exhibited in the paris salon for the first time at the age of twenty-three. In 1861 he showed the meeting of faust and marguerite, which was purchased by the state for the luxembourg gallery. His first characteristic period made him a painter of the charms of women. Demi-mondaine would be more accurate as a description of the series of studies which he called la femme a paris. it was many years before he turned to the chief labor of his career, the production of a series of 700 watercolor drawings to illustrate the life of christ and the old testament. He disappeared from paris, whither he had returned after the death of kathleen newton, and went to palestine. In 1896 the series of 350 drawings of incidents in the life of christ was exhibited in paris, and the following year found them on show in london. They were then published by the firm of lemercier in paris, who had paid him 1,100,000 francs for them. (over 500 related drawings, watercolors and oils are now in the collection of the brooklyn museum.) here we have a great impression of james tissot ârenee crying at the pianoâ, etching-drypoint, plate signed from a edition of 550. This and the second work were published 1884 by g. Charpentier, paris. Each work measures 5.50 by 3.75 inches on antique laid paper in good condition
Item Price : $2500.00
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H. Goltzius schmerzensmann; Christ On The Cross Engraving http://www.antiques.com/classified/1127238/Antique-H--Goltzius----Schmerzensmann--Christ-on-the-Cross----Engraving Hendrik goltzius (january or february 1558 â january 1, 1617, haarlem), was a dutch printmaker, draftsman, and painter. He was the leading dutch engraver of the early baroque period, or northern mannerism, noted for his sophisticated technique and the âexuberanceâ of his compositions. According to a. Hyatt mayor, goltzius âwas the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copyâ. In middle age he also began to produce paintings. hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin goltzius is said to rival that of dürerâs. He made engravings ofbartholomeus sprangerâs paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver jacob matham. h. Goltzius âschmerzensmann; christ on the crossâ engraving recorded in both catalogue resumes ref; barsch 48 and hollstein . 48 . This work measures 7.25 in x 5 in on antique laid paper with two 18th century collectors marks on the verso and re margined in otherwise good condition .
Item Price : $1900.00
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H. Goltzius schmerzensmann; Christ On The Cross Engraving http://www.antiques.com/classified/1127239/Antique-H--Goltzius----Schmerzensmann--Christ-on-the-Cross----Engraving Hendrik goltzius (january or february 1558 â january 1, 1617, haarlem), was a dutch printmaker, draftsman, and painter. He was the leading dutch engraver of the early baroque period, or northern mannerism, noted for his sophisticated technique and the âexuberanceâ of his compositions. According to a. Hyatt mayor, goltzius âwas the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copyâ. In middle age he also began to produce paintings. hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin goltzius is said to rival that of dürerâs. He made engravings ofbartholomeus sprangerâs paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver jacob matham. h. Goltzius âschmerzensmann; christ on the crossâ engraving recorded in both catalogue resumes ref; barsch 48 and hollstein . 48 . This work measures 7.25 in x 5 in on antique laid paper with two 18th century collectors marks on the verso and re margined in otherwise good condition .
Item Price : $1900.00
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Outstanding James Whistler draped Figure Reclining Lithotint http://www.antiques.com/classified/1127240/Antique-Outstanding-James-Whistler----Draped-Figure-Reclining----Lithotint Outstanding james whistler âdraped figure recliningâ lithotint we are privileged to offer, âdraped figure recliningâ (way 156) lithograph printed in black, and multi colors. Published by the kennedy gallery in 1914 of an edition of 400. Sheet measures 7 6/8 inches by 10 1/2 inches. lovely image in good condition and signed with the artist monogram (the butterfly) and the âkâ from the kennedy edition, new york city. this and others are all from a bound portfolio with the library collection of the frick library, nyc. james mcneill whistler (1834â1903), a towering figure in nineteenth-century art, is also one of the most important and beloved of american artists. He was first introduced to the lithographic medium in 1855 before leaving america. He returned to the medium and explored its full range in london in 1878-79, but abandoned it after finding that the market was undermined by prejudice against lithography as a commercial rather than a fine art medium. Most of his lithographs were done in london and paris between 1887 and 1897, with an extraordinary concentration of works accomplished from 1894 to 1896. In 1890 he began to experiment with color lithography, probably to produce prints that resembled drawings colored with chalk, pastel, or watercolors. the years of whistlerâs greatest interest in lithography correspond to the beginning of the lithographic revival in britain and to the happy period of his marriage to beatrix philip (from 1888 until her death in 1896) and their sojourn in paris. â¨in the late 1880s and 90s whistler made numerous pastel drawings and lithographs of dancers and figures draped in transparent fabric. He was partly inspired by greek âtanagraâ figurines, which his friends were collecting around 1890. whistler made seven colour lithographs in paris with the printer henry belfond in 1891â3. This image was developed as a colour print using first three and then up to six additional stones, but impressions like this were printed using only the main stone (keystone); missing elements (such as the feet) were added in the colour stones or in later states of the keystone. between 1878 and 1897 whistler developed a growing enthusiasm for and commitment to this delicate, evanescent medium. He challenged himself and the medium to create the most distilled images of his career, works that capture the unfettered essence of his subject matter. At a time when lithography was generally associated with commercial printing and the garish hues of chromolithography, whistlerâs airy âdrawings,â as he thought of them, were as innovative as his nearly abstract painted nocturnes. His work encompassed direct and transfer lithography as well as litho-tint.
Item Price : $3500.00
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Jan Both landscape With Ruins And Two Cows At The Waterside Etching http://www.antiques.com/classified/1127241/Antique-Jan-Both----Landscape-With-Ruins-And-Two-Cows-At-The-Waterside----Etching landscape with ruins and two cows at the waterside, hollstein 8iii (of vi); burke 8iii (of vi). Etching with engraving, 201 x 276 mm ( 7 15/16 x 10 7/8â), trimmed outside borderline. A fine impression. Paper slightly toned and little discoloration on verso. From the series of six landscapes of the environs of rome. Purchased by the ft worth museum in 1954 (inscribed on verso; no photo of this is available) in good condition. provenance: decommissioned from the ft. Worth museum of texas graphic department and sold through sothebyâs. jan dirksz both (between 1610 and 1618, utrecht â august 9, 1652, utrecht), brother of andries both, was a dutch painter and etcher of a few and very rare italian subjects. from 1634 to 1637, he was taught by bloemaert and the painter gerard van honthorst before travelling to rome ca. 1637. There he met the french painter claude lorrain, with whom he collaborated on a series of landscape paintings. His landscapes are typically peopled by peasants driving cattle or travellers gazing on roman ruins in the light of the evening sun the everyday life of the streets of rome became a favorite theme in his works. On his return to utrecht after the death of his brother in 1642, he stopped producing genre pieces and focused instead on pictures of italian landscapes bathed in a warm, golden light. This theme was adopted by several other dutch painters, the italianites.
Item Price : $1500.00
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Gainsborough portrait Of Mrs Andrew Color Mezzotint Engraving http://www.antiques.com/classified/1127242/Antique--Gainsborough----Portrait-of-Mrs-Andrew----Color-Mezzotint-Engraving Thomas gainsborough âportrait of mrs andrewâ color mezzotint engraving thomas gainsborough (christened 14 may 1727 â 2 august 1788) was one of the most famous portrait and landscape paintersâ etcher and draughtsman of 18th century britain. thomas gainsborough was born in sudbury, suffolk, england. His father was a weaver involved with the wool trade. At the age of thirteen he impressed his father with his penciling skills so that he let him go to london to study art in 1740. in london he first trained under engraver hubert gravelot but eventually became associated with william hogarth and his school. Year later he would work in executing a small numbers of original etched work of landscape studies. thomas gainsborough âportrait of mrs andrewâ first pained in 1748â49 and later engraved by clifford r. James , published in a rare and limited edition of color mezzotint engraving, london 1923. This treasure measures 12.50 inches by 19.50 approximately and in good condition. Little discoloration on verso with a light spot of foxing, not visible on the front side of the art work. Pencil signed by the engraver. clifford r. James was among a handful of mezzotint engravers of the earlier 20th century mezzotint engravers and was considered among one of the best of the period.
Item Price : $1500.00
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Childe Hassam venice Pair Rare Aquatints http://www.antiques.com/classified/1127243/Antique-Childe-Hassam----Venice----Pair-Rare-Aquatints- childe hassam american impressionist painter, lithographer, watercolorist and etcher (known to all as childe, pronounced like child) left high school without graduating, and ended up working for a wood engraver. He attended drawing classes at the lowell institute, a division of mit, and was a member of the boston art club. He began his artistic career as an illustrator and watercolorist. By 1882, hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the williams and everett gallery in boston. The following year, his friend celia thaxter convinced him to drop his first name and thereafter was known simply as âchilde hassamâ. Having had little formal art training previously, hassam went to paris in 1886 to study figure drawing and painting at the académie julian. He studied under gustave boulanger and jules joseph lefebvre. However, he later considered the education he received there âsuperfluous.â what had a greater influence on hassamâs work was the art he was exposed to in the cityâs museums and galleries, especially the works of the impressionists. Hassam returned to america and settled in new york city in 1889. He soon became close friends with fellow artists j. Alden weir and john henry twachtman, whom he met through the american watercolor society. Hassam enthusiastically painted the genteel urban atmosphere he discovered in new york, which he greatly preferred to paris. During his time in new york, hassam made summer painting excursions to thaxterâs home on appledore island, maine, the largest of the isles of shoals; and to gloucester, massachusetts; cos cob, connecticut; and old lyme, connecticut. outstanding childe hassam (noted american impressionist master) was commissioned to execute and publish a series of venetian watercolors for âvenetian life, 1889â. executed in the medium color aquatint, employing multi plates for various colors and tonal effects. These beautiful works were conceived and printed under the supervision of hassan and took place at the riverside press in riverside new york, 1889. because of the high cost of published these works in high quality, the technique soon was ended by the first of the 19th century. sheet size: 4.50 by 7 inches on wove paper; framed size 11.50 by 13 inches each. This is an exceptional antique multi-stone aquatint has the look of an actual watercolor and of a limited edition. Professionally framed and are truly beautiful works that will give you many years of great enjoyment. the publication of these works became one of the finest aquatints in color produced in the period and best among the finest aquatint printing of the period in america , here childe hassam works in watercolors became strong, brilliant, and individual. Among the best examples are his american water colors. today these examples are becoming very rare to find on the open market and are often overlooked by collectors of hassamâs fine print-making.
Item Price : $1500.00
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Jacques Callot les Fantasies Etching Complete Set http://www.antiques.com/classified/1127244/Antique-Jacques-Callot----Les-Fantasies----Etching--Complete-Set- callot (1592â1633), a native of nancy, france, trained in florence, taking up etching and introducing the technical innovation of using a very hard ground on the plate, thus making it possible to vary the thickness of the line, modeling it along its whole course with a dependable ground to work on, he became the first specialist virtuoso etcher [this work provides] the first unromantic pictures of war, exposing its impersonal cruelty, casual violence, and senseless destruction his records of war-torture, rape, burning at the stake, the firing squad-are strikingly believable because he observed decorum, viewed events as dispassionately as only a frenchman can, and made his figures move as delicately and precisely as deadly insects. Through his technical innovations and the excellence of his drawing he exerted an influence more profound than that of many greater artists. rare complete set plus title page. Each etching measures 2 5/8 x 3 3/8 inches with narrow with thread margins. Printed ca. Early 18th century on laid paper. Recorded in the catalogue lieure 868, 870-880. prov: purchased in the 1980 from a well-respected new york gallery, âassociated american artistâ in 1980.
Item Price : $1500.00
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James Tissot mon Jardin A S. Johns Wood Etching-drypoint http://www.antiques.com/classified/1127245/Antique-James-Tissot----Mon-Jardin-a-S--John---s-Wood----Etching-Drypoint Rare james tissott âmon jardin a s johnâs woodâ etching on japon paper this is a great impression of james tissot âmon jardin a s. Johnâs woodâ etching-drypoint, plate signed from an edition of 100. This is a rare edition on japon, laid work measures 4 3/8 inches by by 7 1/2 inches on antique japon (tissue laid paper) paper in good condition .
Item Price : $1500.00
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Charles Saint-mmin thomas Jefferson Portrait http://www.antiques.com/classified/1127246/Antique-Charles-Saint-M--min----Thomas-Jefferson----Portrait Here we have on from a collection of rare portraits, saint-mémin âpresident thomas jeffersonâ portrait, printed on antique wove paper measuring 2.50 by 3 inches approximate and in good clean condition with good margins. these works are rare and are to be found in the collections of the national gallery of art and the new york public library. historical notes: when the french emigre charles fevret de saint-memin introduced physiognotrace portraits to the united states in 1797 jefferson was already acquainted with the use of a mechanical device to trace a sitter's profile. Eight years earlier in paris, jefferson sat for a life-size crayon physiognotrace portrait by the machine's inventor, gilles-louis chrietien. Using a pantograph, chretien then reduced the original profile to a miniature copperplate from which multiple engravings could be printed. jefferson was probably the first american to have his profile taken by the physiognotrace. He and gouverneur morris went together to the palais royal on april 22, 1789 to purchase tickets for sittings. The next day jefferson sat for chretien and his partner edme quenedey (1756-1830) at their studio. Six days later jefferson picked up the copperplate of his portrait and twelve prints taken from it. Curiously, jefferson made no further reference to these prints, and none are known to survive with his family. on the other hand, the portrait of jefferson done by saint-memin in 1804 was widely distributed both by the artist and jefferson, and it became one of the best-known likenesses of jefferson in his day. Saint-memin came to the united states from dijon, france in 1793. the cost and size of saint-memin's engravings made them immensely popular gifts among friends, relatives, and colleagues. Jefferson's print collection included at least a dozen of the artist's miniatures, many of which were exhibited in the tea room. For twenty-five dollars ($250 today) a gentleman could purchase his original crayon drawing, the engraved copperplate, and twelve engravings. The cost for ladies was ten dollars more, and an additional twelve prints cost only one dollar and fifty cents. jefferson's children entreated their father to have his portrait taken by the frenchman. In february 1804, maria jefferson , the younger of jefferson's two daughters, wrote to her father in washington from her sickbed: "we had both thought you had promised us your picture if ever st. Mimin went to washington. If you did but know what a source of pleasure it would be to us while so much so separated from you to have so excellent a likeness of you you would not i think refuse us. It is what we have allways most wanted all our lives and the certainty with which he takes his likenesses makes this one request i think not unreasonable." maria did not live long enough to see her father's portrait, but her sister martha was very fond of the likeness. Both she and her eldest daughter, anne cary bankhead, requested additional prints for friends and associates near monticello. Jefferson purchased a total of forty-eight prints from saint-memin after his november sitting, which he gave to his family, members of his cabinet, and friends, including the comte de volney and the marquis de lafayette saint-memin produced additional prints in an oval frame on the eve of jefferson's second inauguration for sale to the public. between 1796 and 1810, charles balthazar julien févret de saint-mémin (1770â1852) created some of the most memorable images in the history of american portraiture. Nearly a thousand americans sat for portraits, among them thomas jefferson, paul revere, mother seton, meriwether lewis, and charles willson peale. Saint-méminâs popularity rested on a growing appreciation for profiles as a particularly truthful form of portraiture, and his distinctive images have come to epitomize federal america. a member of the french hereditary nobility, saint-mémin came to new york city in 1793, at the age of twenty-three. He was a former military officer exiled by the events of the french revolution. In new york, saint-mémin turned to the arts to support himself, his parents, and his sister. With some training in drawing and an aptitude for precision, he taught himself the art of engraving. First, he made a few landscapes and city plans. Then, in 1796 he took up the profession of portraitist. His partner was thomas bluget de valdenuit (1763-1846), also of the french military. saint-mémin and valdenuit followed the same practice in their new york partnership. Their first advertisement appeared in the new york daily advertiser in january 1797. valdenuit made the drawings, usually on a buff- or cream-colored paper that measured about 50 by 38 cm. (20 by 15 in.) and was coated with a pink wash. Next, saint-mémin made the engravings. The sitter received the drawing, the plate, and a dozen engravings, a unique portrait package offered in the united states only by french émigré artists. By the time the two men ended their partnership in september 1797, when valdenuit returned to france, they had made about sixty large profile portraits, most of which were engraved, and they had also engraved five silhouettes. saint-mémin continued the business on his own, making an additional sixty portraits in new york city in the following year, a pace that he maintained throughout his american career. In 1798 he moved the portrait business to philadelphia, and his parents and sister settled in nearby burlington, new jersey. In philadelphia, and later in washington, d.C., saint-méminâs sitters often included senators, congressmen, and cabinet members in the federal government. He also attracted local merchants and landowners, french émigrés like himself, and members of the united states army, navy, and marines. Most of his patrons were men; when women were portrayed, they were usually the wives or other close relatives of his sitters. William barton, a philadelphia lawyer, described saint-mémin in 1802 as an âingenious artist.â he continued: âm. St. Méminâs profiles are, generally, striking likenesses; and, considering the excellence of the workmanship, his price is very moderate.â by 1802, saint-méminâs drawing technique had evolved from the light touch characteristic of his new york portraits to a more emphatic style, with strong contrasts. Saint-mémin rarely signed his drawings; his engravings include his name and address under the image, a practice he later discontinued, perhaps because it became too time-consuming. The artist stated his terms in a newspaper advertisement that appeared in the philadelphia aurora and general advertiser from december 22, 1801, through march 11, 1802: âthe original portrait, plate and twelve impressions, shall be delivered for the moderate price of twenty five dollars for gentlemen, and thirty five dollars for ladies; the portrait without engraving may be had for 8 dollars.â (the engravings of women were undoubtly more expensive because the intricate details of their clothing and hair required more work.) saint mémin also provided frames for some of the protraits. Many drawings are still in these frames, which were gilded and included a glass decorated with black paint and gold leaf. after making about 270 portraits in philadelphia, including two memorial images of george washington, saint-mémin became an itinerant artist in 1803. That year witnessed a heightened interest in all types of profile portraits, a phenomenon that painter charles willson peale described as the ârage for profiles.â by this time louis lemet (circa 1779-1832), a french émigré who had served as saint-méminâs assistant, was making portraits in philadelphia, in a style very similar to saint-méminâs. from 1803 until 1809, saint-mémin traveled south, working in baltimore, maryland; washington, d.C., richmond,virginia; and charleston, south carolina; and returning to burlington during the hot summer months to engrave the copperplates and print the engravings. He also offered watercolor portraits for the first time, perhaps in response to competition from other artists. Between 1803 and 1807, he made about 100 portraits in baltimore and about 130 in washington. One of his sitters was massachusetts congressman nahum mitchell, who sent an engraving of his portrait to his wife on february 26, 1804. saint-mémin also portrayed several indian visitors to washington, most of whom came to the capital after the louisiana purchase of 1803. saint-méminâs visit to richmond in 1807â1808 was particularly successful. He made more than 120 portraits in less than a year, a record number for him. His arrival in the summer of 1807 was undoubtedly timed to coincide with the trial of aaron burr for treason, which began on august 3; burr was acquitted in september. During this period, the population of the city almost doubled with witnesses, burr partisans, and curious spectators. Many of them commissioned the artist to make their portraits, including john marshall, the presiding judge at the trial. In the winter of 1808 -1809, saint-mémin made a brief visit to charleston. After his return to burlington in 1809, he made very few portraits. saint-mémin returned to france in 1810 but came back to new york in 1812. He and his family returned permanently to france in 1814, after the overthrow of napoleon and the restoration of the bourbon monarchy. When saint-mémin finally left the united states, he destroyed his physiognotrace and ended his career as an artist. He did not abandon his interest in the arts, however. In 1817, after he and his family were reinstated on their property in dijon, he was named director (conservateur) of the dijon museum. He held this position for the rest of his life, except for one brief, politically motivated interruption in 1848, when, during the second french republic, he was dismissed because of his royalist political views. in france, saint-mémin proudly displayed the duplicate engravings that he had kept from his years in america. several large sets of engravings were later compiled from the hundreds of duplicates that the artist owned. The two largest setsâat the national portrait gallery and the corcoran gallery of artâhave inscriptions that provide the identifications for many of the portraits. Within the restricted format of the profile portrait, saint-méminâs drawings and engravings offer an immediacy and realism that is, simultaneously, a stylized and a literal account of many of the residents of federal america.
Item Price : $1500.00
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Hendrik Goltzius the Shepard And His Flock Engraving http://www.antiques.com/classified/1127247/Antique-Hendrik-Goltzius----The-Shepard-and-His-Flock----Engraving Hendrik goltzius (january or february 1558 â january 1, 1617, haarlem), was a dutch printmaker, draftsman, and painter. He was the leading dutch engraver of the early baroque period, or northern mannerism, noted for his sophisticated technique and the âexuberanceâ of his compositions. According to a. Hyatt mayor, goltzius âwas the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copyâ. In middle age he also began to produce paintings. goltzius was born near venlo in bracht or millebrecht, a village then in the duchy of julich, now in the municipality brüggen in north rhine-westphalia. His family moved to duisburg when he was 3 years old. After studying painting on glass for some years under his father, he learned engraving from the dutch polymath dirck volkertszoon coornhert, who then lived in cleves. In 1577 he moved with coornhert to haarlem. In the same town, he was also employed by philip galle to engrave a set of prints of the history of lucretia. goltzius had a malformed right hand from a fire when he was a baby (his drawing of it is below), which turned out to be especially well-suited to holding the burin; âby being forced to draw with the large muscles of his arm and shoulder, he mastered a commanding swing of lineâ. his portraits, though mostly miniatures, are masterpieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His masterpieces, so called from their being attempts to imitate the style of the old masters, have perhaps been over praised. goltzius brought to an unprecedented level the use of the âswelling lineâ, where the burin is manipulated to make lines thicker or thinner to create a tonal effect from a distance. He also was a pioneer of âdot and lozengeâ technique, where dots are placed in the middle of lozenge shaped spaces created by cross-hatching to further refine tonal shading. hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. in his command of the burin goltzius is said to rival that of dürerâs. He made engravings ofbartholomeus sprangerâs paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver jacob matham. hendrik goltzius âthe shepard and his flockâ engraving. This is an original antique print of the shepherd and his flock, by m. De vos (invent) and goltzius (sculp from the very rare bible theatrum biblicum hoc est historiae sacrae â veteris et novi testamenti tabulis aeneis expressae, published by nicolaum johannis piscatorum (n. J. Visscher). This antique copper engraving was printed in 1674 and is in fine condition. The engraved work measures 14 x 12 inches. The image size is print is 10 x 8 1/4 inch.
Item Price : $1300.00
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Camille Corot Boetzel Plate Signed Etching-drypoint http://www.antiques.com/classified/1127248/Antique-Camille-Corot-Boetzel-Plate-signed-Etching-Drypoint Camille corot "boetzel" plate signed etching-drypoint on antique laid paper titled in the center, plate signed corot, published by cadart in good condition and a rare image to find. Plate size 6" x 9.5" on full sheet measuring 11.25" x 15". jean-baptiste-camille corot (july 17, 1796[1] â february 22, 1875) was a french landscape painter and printmaker in etching. Corot was the leading painter of the barbizon school of france in the mid-nineteenth century. He is a pivotal figure in landscape painting and his vast output simultaneously references the neo-classical tradition and anticipates the plein-air innovations of impressionism.
Item Price : $1200.00
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Rare James Whistler yellow House #2 Lithotint http://www.antiques.com/classified/1127249/Antique-Rare-James-Whistler----Yellow-House-----2-Lithotint Rare james whistler âyellow houseâ #2 lithotint we are privileged to offer, âthe yellow house, lannonâ (way 101; levy 196) lithograph printed in black, grey, green and ochre, 1893, one of a small number of impressions printed in paris , on laid light beige paper with a small nick on the outer side of the sheet. Image measures 5 by 8 inches on a sheet measuring 7 6/8 inches by 10 1/4 inches. lovely image in good condition and signed with the artist monogram (the butterfly) and the âkâ from the 1914 kennedy edition , new york city in a edition of 400. this and others are all from a bound portfolio with the library collection of the frick library, nyc. james mcneill whistler (1834â1903), a towering figure in nineteenth-century art, is also one of the most important and beloved of american artists. He was first introduced to the lithographic medium in 1855 before leaving america. He returned to the medium and explored its full range in london in 1878-79, but abandoned it after finding that the market was undermined by prejudice against lithography as a commercial rather than a fine art medium. Most of his lithographs were done in london and paris between 1887 and 1897, with an extraordinary concentration of works accomplished from 1894 to 1896. In 1890 he began to experiment with color lithography, probably to produce prints that resembled drawings colored with chalk, pastel, or watercolors. the years of whistlerâs greatest interest in lithography correspond to the beginning of the lithographic revival in britain and to the happy period of his marriage to beatrix philip (from 1888 until her death in 1896) and their sojourn in paris. â¨in the late 1880s and 90s whistler made numerous pastel drawings and lithographs of dancers and figures draped in transparent fabric. He was partly inspired by greek âtanagraâ figurines, which his friends were collecting around 1890. whistler made seven colour lithographs in paris with the printer henry belfond in 1891â3. This image was developed as a colour print using first three and then up to six additional stones, but impressions like this were printed using only the main stone (keystone); missing elements (such as the feet) were added in the colour stones or in later states of the keystone. between 1878 and 1897 whistler developed a growing enthusiasm for and commitment to this delicate, evanescent medium. He challenged himself and the medium to create the most distilled images of his career, works that capture the unfettered essence of his subject matter. At a time when lithography was generally associated with commercial printing and the garish hues of chromolithography, whistlerâs airy âdrawings,â as he thought of them, were as innovative as his nearly abstract painted nocturnes. His work encompassed direct and transfer lithography as well as litho-tint.
Item Price : $1500.00
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Charles Meryon Portrait Of De Casimir Le Conte Etching http://www.antiques.com/classified/1127251/Antique-Charles-Meryon-Portrait-of-De-Casimir-Le-Conte-Etching A rare charles meryon portrait of de casimir le conte plate inscribed work as c. Meryon del aqua forte 1856, apre g.B.(boulanger). This large work measures 10.5" x 13.5" on a larger sheet of thin antique laid paper (17" x 23") in very good condition. recored in the artist catalogue of detail # 77. eugène-casimir villatte, comte d'oultremont (14 april 1770 - 14 may 1834) fought in the french army during the wars of the french revolution and the napoleonic wars. He rose to command a division at many of the important battles in the peninsular war. His is one of the names inscribed under the arc de triomphe. charles méryon (23 november 1821 â 13 february 1868), was a french artist, who worked almost entirely in etching, as he suffered from colour-blindness. Although now little-known in the english-speaking world, he is generally recognised as the most significant etcher of 19th century france. He also suffered from mental illness, dying in an asylum. His most famous work is a series of views of paris.
Item Price : $1200.00
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Pencil Signed seymour Haden Mytton Hall Etching http://www.antiques.com/classified/1127252/Antique-Pencil--Signed----Seymour-Haden-----Mytton-Hall----Etching Sir francis seymour haden (september 16, 1818 â june 1, 1910), was an english surgeon, best known as an etcher. he was born in london, his father, charles thomas haden, being a well-known doctor and lover of music. He was educated at derby school, christâs hospital, and university college, london, and also studied at the sorbonne, paris, where he took his degree in 1840. He was admitted as a member of the college of surgeons in london in 1842. hadenâs printmaking was invigorated by his much younger brother-in-law, james whistler, at the haden home in sloane street in 1855. A press was installed there and for a while haden and whistler collaborated on a series of etchings of the thames. The relationship and project did not last. haden followed the art of original etching with such vigor that he became not only the foremost british exponent of that art but brought about its revival in england. His strenuous efforts and perseverance, aided by the secretarial ability of sir wr drake, resulted in the foundation of the royal society of painter-etchers and engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. notwithstanding his study of the old masters of his art, hadenâs own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after j.M.W. Turnerâs âcalais pier,â which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large âbreaking up of the agamemnon.â an early plate, rare and most beautiful, is âthames fishermanâ. âmytton hallâ is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. This is among one of the rarest and most beautiful of his plates is notable examples of his genius. a catalogue of his works was begun by sir william drake and completed by harrington in 1880. During later years haden began to practise the sister art of mezzotint engraving, with a measure of the same success that he had already achieved in pure etching and in dry-point. here we have a lovely impression of seymour haden pencil-signed âmytton hallâ etching and dry point. signed in pencil. Catalog reference s19. Executed in 1859, this is a rich, dark impression on thin japon paper. Size: 4 7/8 x 10 3/4 inches; faint light foxing and comes professionally framed, ready to grace your halls for many years of great enjoyment.
Item Price : $1000.00
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Jean Louis Forain miracle At Lourdes Pencil Signed Etching http://www.antiques.com/classified/1127253/Antique-Jean-Louis-Forain----Miracle-At-Lourdes----Pencil-Signed-Etching Jean louis forain âmiracle at lourdesâ pencil signed etching jean louis forain âmiracle at lourdesâ pencil signed etching and published in paris in 1920, pencil signed. Printed on laid arches paper and also signed in the plate. Plate measuring 5.75 x 3.75 inches. Printed on a large sheet (originally used without crease when the outer sides were folded and slight discoloration on verso not effecting the image side. provenance: decommissioned from the ft. Worth museum of texas graphic department and sold through sothebyâs. jean-louis forain (october 23, 1852 â july 11, 1931) was a french impressionist painter, lithographer, watercolorist and etcher. forain was born in reims, marne but at age eight, his family moved to paris. He began his career working as a caricaturist for several paris journals but wanting to expand his horizons, enrolled at the Ãcole des beaux arts, studying under jean-léon gérôme as well as another sculptor/painter, jean-baptiste carpeaux. in 1891 forain married the painter jeanne bosc with whom he had a son, born in 1895. forain was greatly influenced by honoré daumier plus friend and artist, edgar degas. He participated in four impressionist exhibitions between 1879 and 1884. In his later years, forain created numerous scenes of the law courts and other parisian institutions plus social satires and anti-semitic caricatures on late 19th and early 20th century french life. In 1931, shortly before his death, he was made a member of the royal academy of arts in london.
Item Price : $1000.00
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Pablo Picasso color Sketch Profile #1 Lithograph http://www.antiques.com/classified/1127254/Antique-Pablo-Picasso----Color-Sketch-Profile--1----Lithograph the work measures 13 by 9 inches approximate (sheet). Framed in a lovely gold frame, double matted with plexiglass. Frames size is 19 by 23 inches. This is published during the artistâs lifetime with his supervision and in good condition. this recorded works, in the cramer catalogue resume, goeppert/cramer, edition of 666. Printed-published by cercle dâart, paris. Publication issued in 1970. there is no coa. Numbered 506 / 666 in pencil. Sold as is. pablo ruiz picasso (october 25, 1881 â april 8, 1973) was a spanish painter, draughtsman etcher, lithographer and sculptor.â¨â¨as one of the most recognized figures in twentieth-century art, he is best known for co-founding the cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-cubist les demoiselles dâavignon (1907) and his depiction of the german bombing of guernica during the spanish civil war, guernica (1937).
Item Price : $1000.00
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Outstanding James Whistler the Red House, Lannon Lithotint http://www.antiques.com/classified/1127255/Antique-Outstanding-James-Whistler----The-Red-House--Lannon----Lithotint Outstanding james whistler âthe red house, lannonâ lithotint we are privileged to offer, âthe red house, lannonâ (way 156) lithograph printed in black, grey, green and ochre. Published by the kennedy gallery in 1914 of an edition of 400. Sheet measures 7 6/8 inches by 10 1/2 inches. lovely image in good condition and signed with the artist monogram (the butterfly) and the âkâ from the kennedy edition, new york city. this and others are all from a bound portfolio with the library collection of the frick library, nyc. james mcneill whistler (1834â1903), a towering figure in nineteenth-century art, is also one of the most important and beloved of american artists. He was first introduced to the lithographic medium in 1855 before leaving america. He returned to the medium and explored its full range in london in 1878-79, but abandoned it after finding that the market was undermined by prejudice against lithography as a commercial rather than a fine art medium. Most of his lithographs were done in london and paris between 1887 and 1897, with an extraordinary concentration of works accomplished from 1894 to 1896. In 1890 he began to experiment with color lithography, probably to produce prints that resembled drawings colored with chalk, pastel, or watercolors. the years of whistlerâs greatest interest in lithography correspond to the beginning of the lithographic revival in britain and to the happy period of his marriage to beatrix philip (from 1888 until her death in 1896) and their sojourn in paris. â¨in the late 1880s and 90s whistler made numerous pastel drawings and lithographs of dancers and figures draped in transparent fabric. He was partly inspired by greek âtanagraâ figurines, which his friends were collecting around 1890. whistler made seven colour lithographs in paris with the printer henry belfond in 1891â3. This image was developed as a colour print using first three and then up to six additional stones, but impressions like this were printed using only the main stone (keystone); missing elements (such as the feet) were added in the colour stones or in later states of the keystone. between 1878 and 1897 whistler developed a growing enthusiasm for and commitment to this delicate, evanescent medium. He challenged himself and the medium to create the most distilled images of his career, works that capture the unfettered essence of his subject matter. At a time when lithography was generally associated with commercial printing and the garish hues of chromolithography, whistlerâs airy âdrawings,â as he thought of them, were as innovative as his nearly abstract painted nocturnes. His work encompassed direct and transfer lithography as well as litho-tint.
Item Price : $1000.00
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Francisco Goya Bein Te Se Esta Plate # 6 From Los Desastres De La Guerra http://www.antiques.com/classified/1127257/Antique-Francisco-Goya-Bein-te-se-esta--plate---6-from-Los-Desastres-de-la-Guerra Francisco goya bein te se esta plate # 6 from los desastres de la guerra,later edition and inscribed with the title and plate number outside of the engraved area with a good plate mark. The etched work measures 7.25 by 5.75 inches and plate mark measures 6.50 by 8 inches and in good condition. the first edition los desastres de la guerra was first printed posthumous in 1863, some 35 years after goya's death. The second edition appeared in 1892, the third in 1903 and the fourth appeared in 1906. Several others appeared after till the spanish civil war in 1935, often with the blind stamp of goya profile in the print totaling seven editions. the fourth edition impressions are referred to being better quality than the third edition. Printed by calcografia, madrid, spain. the disasters of war (spanish: los desastres de la guerra) are a series of 82 prints created between 1810 and 1820 by the spanish painter and printmaker francisco goya (1746â1828). Although goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 dos de mayo uprising, the subsequent peninsular war of 1808â14 and the setbacks to the liberal cause following the restoration of the bourbon monarchy in 1814. During the conflicts between napoleon's french empire and spain, goya retained his position as first court painter to the spanish crown and continued to produce portraits of the spanish and french rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the french and restored bourbons. In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set. francisco josé de goya y lucientes (30 march 1746 â 16 april 1828) was a spanish romantic painter and printmaker regarded both as the last of the old masters and the first of the moderns. Goya was a court painter to the spanish crown, and through his works was both a commentator on and chronicler of his era. The subversive and imaginative element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably manet, picasso and francis bacon.
Item Price : $1000.00
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Paul Gauguin auti Te Pape Limited Edition Woodcut http://www.antiques.com/classified/1127258/Antique-Paul-Gauguin----Auti-Te-Pape----Limited-Edition-Woodcut Eugène henri paul gauguin (june 7, 1848 â may 8, 1903) was a leading post-impressionist painter. His bold experimentation with coloring led directly to the synthetist style of modern art while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to primitivism and the return to the pastoral. He was also an influential exponent of wood engraving and woodcuts as art forms. paul gauguin was born in paris, france to journalist clovis gauguin and half-peruvian aline maria chazal, the daughter of proto-socialist leader flora tristan. In 1851 the family left paris for peru, motivated by the political climate of the period. Clovis died on the voyage, leaving three-year old paul, his mother and his sister to fend for themselves. They lived for four years in lima, peru with paulâs uncle and his family. The imagery of peru would later influence paul in his art. in 1891, gauguin, frustrated by lack of recognition at home and financially destitute, sailed to the tropics to escape european civilization and âeverything that is artificial and conventional.â living in mataiea village in tahiti, he painted âfatata te mitiâ (âby the seaâ), âia orana mariaâ (ave maria) and other depictions of tahitian life. He moved to punaauia in 1897, where he created the masterpiece painting âwhere do we come fromâ and then lived the rest of his life in the marquesas islands, returning to france only once. his works of that period are full of quasi-religious symbolism and an exoticized view of the inhabitants of polynesia. In polynesia, he sided with the native peoples, clashing often with the colonial authorities and with the catholic church. During this period he also wrote the bookavant et après (before and after), a fragmented collection of observations about life in polynesia, memories from his life and comments on literature and paintings. it was during this period paul gauguin, executed his wood cuts of this series and several others. paul gauguin ânave nave fenueâ limited edition woodcut, recorded in the catalogue guerin catalogue of gauguinâs works #29. This rare work and others are woodcuts after the original edition, all published by the grabhorn press, 1943 in a limited edition of 250 copies. Bright and in fine condition. Each sheet measures 15.25 by 15 and the image is 8.25 by 14 and printed on a very fine japon-rice paper in excellent condition.
Item Price : $1200.00
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Logge Di Rafaele Nel Vaticino raphael Engraving http://www.antiques.com/classified/1127260/Antique-Logge-di-Rafaele-nel-Vaticino----Raphael-Engraving raphael sanzio (italian: raffaello april 6 or march 28, 1483 â april 6, 1520) usually known by his first name alone, was an italian painter and architect of the high renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with michelangelo and leonardo da vinci, he forms the traditional trinity of great masters of that period. raphael was enormously productive, running an unusually large workshop, and despite his death at thirty-seven, a large body of his work remains. Many of his works are found in the apostolic palace of the vatican, where the frescoed raphael rooms were the central, and the largest, work of his career. After his early years in rome, much of his work was designed by him and executed largely by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival michelangelo was more widespread until the 18th and 19th centuries, when raphaelâs more serene and harmonious qualities were again regarded as the highest models. his career falls naturally into three phases and three styles, first described by giorgio vasari: his early years in umbria, then a period of about four years (from 1504â1508) absorbing the artistic traditions of florence, followed by his last hectic and triumphant twelve years in rome, working for two popes and their close associates. raphaelâs vatican frescoes; plate 22, engraved by giovanni ottaviani after gaetano savorelli and pietro camporesi. These magnificent plates depict the decorations in the private loggia of pope leo x in the vatican, designed and executed (with some assistance) in 1517â19 by raphael. each contain a large, well-realized biblical scene at the top center, depicting old testament moments (the influence of michelangeloâs recently completed sistine chapel is obvious) plus the last supper. In addition to these scenes, the decorations constitute an extraordinarily delightful repository of various figures and motifs, ranging from grotesques, mythological characters, and fabulous beasts to luscious clumps of fruit and naturalistic depictions of birds and other animals, with many of the designs being taken from ancient gems and statues, or inspired by the wall paintings of neroâs golden house. Our engravings are of particular interest today because the frescoes they depict are now damaged beyond recognition, the loggia walls having been for many years exposed to the elements. (in fact, for the present work, the decision was made to appropriate certain elements from raphaelâs vatican tapestries to âfill inâ areas of the original frescoes that were no longer visible.) the âlogge di rafaele nel vaticanoâ was published in three parts, with a first volume issued in 1772 and a third in 1777 (a fourth part, said to be printed in 1790. here we have raphaelâs vatican frescoes; (jacob and rachel) plate 22, engraved by giovanni ottavia. Engraving from a early impression on antique laid paper. the work measure 8.75 by 11.50 inches (plate mark measurement) with wide margins. Approximately one to one and a quarter inch margins. There is a partial watermark in the paper of a âcrown of lorraineâ watermark (attributed to ), 17th century impression (no image available of the partial watermark). published as inscribed in the lower corner of the engraved work (see second image) this is in good condition with minor foxing on verso not effecting the engraved work.
Item Price : $800.00
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Pablo Picasso Self Portrait -colored Sketch Lithograph http://www.antiques.com/classified/1127261/Antique-Pablo-Picasso-----Self-Portrait--Colored-Sketch----Lithograph Pablo ruiz picasso (october 25, 1881 â april 8, 1973) was a spanish painter, draughtsman etcher, lithographer and sculptor.â¨â¨as one of the most recognized figures in twentieth-century art, he is best known for co-founding the cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-cubist les demoiselles dâavignon (1907) and his depiction of the german bombing of guernica during the spanish civil war, guernica (1937). â¨â¨here we are offering pablo picasso âcolored sketchâ lithograph, in great condition, professionally framed and ready for many years of enjoyment.⨠â¨the work measures 13 by 9 inches approximate (image). Framed in a lovely gold frame, double matted with plexiglass. Frames size is 19 by 23 inches. This is published during the artistâs lifetime with his supervision and in good condition. this and the other four are recorded works, in the cramer catalogue resume, goeppert/cramer, edition of 666. Printed-published by cercle dâart, paris. Publication issued in 1970. there is no coa. Numbered 506 / 666 in pencil. Sold as is.
Item Price : $1000.00
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Pablo Picasso the Lovers Lithograph http://www.antiques.com/classified/1127262/Antique-Pablo-Picasso----The-Lovers----Lithograph Pablo picasso âthe loversâ lithograph â¨pablo ruiz picasso (october 25, 1881 â april 8, 1973) was a spanish painter, draughtsman etcher, lithographer and sculptor.â¨â¨as one of the most recognized figures in twentieth-century art, he is best known for co-founding the cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-cubist les demoiselles dâavignon (1907) and his depiction of the german bombing of guernica during the spanish civil war, guernica (1937). the work measures 12 by 9.75 inches approximate (image in the mat open). Framed in a lovely brown carved frame. Single matted with plexiglass. Frames size is 26 by 22 inches. This is published during the artistâs lifetime with his supervision and in good condition. this and the other four are recorded works, in the cramer catalogue resume, goeppert/cramer, edition of 666. Printed-published by cercle dâart, paris. Publication issued in 1970. there is no coa. Numbered 506 / 666 in pencil. Sold as is.
Item Price : $1000.00
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Pablo Picasso the Lovers Lithograph http://www.antiques.com/classified/1127263/Antique-Pablo-Picasso----The-Lovers----Lithograph Pablo picasso âthe loversâ lithograph â¨pablo ruiz picasso (october 25, 1881 â april 8, 1973) was a spanish painter, draughtsman etcher, lithographer and sculptor.â¨â¨as one of the most recognized figures in twentieth-century art, he is best known for co-founding the cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-cubist les demoiselles dâavignon (1907) and his depiction of the german bombing of guernica during the spanish civil war, guernica (1937). the work measures 12 by 9.75 inches approximate (image in the mat open). Framed in a lovely brown carved frame. Single matted with plexiglass. Frames size is 26 by 22 inches. This is published during the artistâs lifetime with his supervision and in good condition. this and the other four are recorded works, in the cramer catalogue resume, goeppert/cramer, edition of 666. Printed-published by cercle dâart, paris. Publication issued in 1970. there is no coa. Numbered 506 / 666 in pencil. Sold as is.
Item Price : $1000.00
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Schussele george Washington And His Family Engraving http://www.antiques.com/classified/1127264/Antique-Schussele----George-Washington-And-His-Family----Engraving Christian schussele, artist, born in guebvillers, alsace, 16 april, 1824; died in merchantville, new jersey, 20 august, 1879. He studied under adolphe yvon and paul delaroche in 1842-â8, and then came to the united states. Here, for some time, he worked at chromo-lithography, which he had also followed in france, but later he devoted himself almost entirely to painting. His best known works are âclear the trackâ (1851) ; âfranklin before the lords in councilâ (1856); âmen of progress â (1857), in cooper institute, new york ; âzeisberger preaching to the indians â (1859) ; âthe iron-worker and king solomonâ (1860); âwashington at valley forgeâ (1862) ; and âhomo on furloughâ and âmcclellan at antietam â(1863) about 1863 he was attacked by palsy in the right hand, and in 1865 he went abroad, undergoing severe treatment, with no apparent benefit on his return, in 1868, he was elected to fill the chair, then founded, of drawing and painting in the pennsylvania academy, which he held until his death. During this period he produced â queen esther denouncing haman,â owned by the academy (1869), and âthe alsatian fairâ (1870). Most of the paintings that have been named became widely known through the large prints by john sartain and other engravers. âwashington and his familyâ original engraving on steel after the oil executed by g. Schussele and published in philadelphia: bradley & co., 1884. Engraved image measure 19.25 inches by mezzotint by william sartain. Excellent impression with little even discoloration of the paper with good margins. inscribed: âwashington and his familyâ in the center, left is "pinx g. Schussele" and on the right is "published in philadelphia: bradley & co., 1884" a large steel mezzotint engraving by william sartain of george washington and his family. The âfather of the countryâ sits in uniform surrounded by his family and symbols of american life. On a table, center, lies a copy of the official plan of the city of washington. To the right the general has laid aside his sword, and to the left is an olive plant representing peace. Martha sits across the table of washington and her two grandchildren flank their step-grandfather. Coming in the door is washingtonâs servant, william lee. The handsome figures with calm demeanors, rich clothing and furniture, and many symbols graphically illustrate the ideals of american life in the nineteenth century.
Item Price : $800.00
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Francis Seymour Haden Pencil Signed egham Lock Etching Dry Point http://www.antiques.com/classified/1127265/Antique-Francis-Seymour-Haden-Pencil-Signed----Egham-Lock----Etching-Dry-Point Sir francis seymour haden pencil signed âegham lockâ etching dry point sir francis seymour haden (september 16, 1818 â june 1, 1910), was an english surgeon, best known as an etcher.â¨â¨ he was born in london, his father, charles thomas haden, being a well-known doctor and lover of music. He was educated at derby school, christâs hospital, and university college, london, and also studied at the sorbonne, paris, where he took his degree in 1840. He was admitted as a member of the college of surgeons in london in 1842.â¨â¨ hadenâs printmaking was invigorated by his much younger brother-in-law, james whistler, at the haden home in sloane street in 1855. A press was installed there and for a while haden and whistler collaborated on a series of etchings of the thames. The relationship and project did not last.â¨â¨ haden followed the art of original etching with such vigor that he became not only the foremost british exponent of that art but brought about its revival in england. His strenuous efforts and perseverance, aided by the secretarial ability of sir wr drake, resulted in the foundation of the royal society of painter-etchers and engravers. As president he ruled the society with a strong hand from its first beginnings in 1880.â¨â¨ notwithstanding his study of the old masters of his art, hadenâs own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after j.M.W. Turnerâs âcalais pier,â which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large âbreaking up of the agamemnon.ââ¨â¨ an early plate, rare and most beautiful, is âthames fishermanâ. âmytton hallâ is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. This is among one of the rarest and most beautiful of his plates is notable examples of his genius.â¨â¨a catalogue of his works was begun by sir william drake and completed by harrington in 1880. During later years haden began to practice the sister art of mezzotint engraving, with a measure of the same success that he had already achieved in pure etching and in dry-point.â¨â¨ âegham lockâ measuring 5 7/8â x 8 7/8â image, 10â x 14â sheet, is pencil signed on lower right. Signed and titled in the plate on lower left. It is in good condition with very little foxing on verso.
Item Price : $750.00
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Lucas Van Leyden Saint Micheal Etching-engraving http://www.antiques.com/classified/1127267/Antique-Lucas-Van-Leyden-Saint-Micheal-Etching-Engraving here have a lovely impression of what we believe to be a early impression of lucas van leyden "saint michael" etching-engraving on antique laid paper trimmed outside of the boarded and in the pate mark (no platemark) measuring 9.25 by 6.75 inches and is plate signed l. Van leyden f. Otherwise in good condition. lucas van leyden (leiden, 1494 â 8 august 1533 in leiden), also named either lucas hugenszor lucas jacobsz, was a dutch engraver and painter, born and mainly active in leiden. Van leyden was among the first dutch exponents of genre painting and is generally regarded as one of the finest engravers in the history of art. in basic painting technique van leyden was the pupil of his father, from whose hand no works are known] and of cornelis engelbrechtsz, but his precocious originality was paramount. Where he learnt engraving is unknown, but he took advantage of the works of marcantonio raimondi, whose motifs are reworked in lucas' engravings and paintings, and became highly skilled in that art at a very early age: the earliest known print by him (mohammed and the murdered monk) dates from 1508, when he was perhaps only 14, yet reveals no trace of immaturity in inspiration or technique.
Item Price : $750.00
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Winslow Homer a Voice From The Cliffs Etching http://www.antiques.com/classified/1127268/Antique-Winslow-Homer----A-VOICE-FROM-THE-CLIFFS----Etching Winslow homer âa voice from the cliffsâ etching a voice from the cliffs. Etched by james david smillie and plate signed by both homer and smillie on laid paper, in mint condition. smillie made this etching directly from the original watercolor, and homer signed about ten proofs as indication of his approval of the etching. homer later made his own etching of this subject. âin 1886, with homerâs blessing, james d. Smillie made a skillful reproductive etching of the watercolor for use as a plate in s.R. Koehlerâs american art.â recorded in the witthoftâs catalogue raisonné, #42. Etching measure 6 3/4â x 9 7/8 on laid paper and in great condition.
Item Price : $750.00
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Mary Moran twixt The Gloaming And The Mirk Etching http://www.antiques.com/classified/1127269/Antique-Mary-Moran----Twixt-the-Gloaming-and-the-Mirk----Etching Mary nimmo moran was born in strathaven, scotland in 1842. As a child she came to america, where she would later meet her husband and teacher, the well-known landscape painter thomas moran. They married in 1862. Mary did not emerge as an artist until learning painting from her husband. Although she was not well known for her paintings, she did develop a talent for capturing romantic landscape, which would later become her signature subject. mary nimmo moran lived most of her adult life on the east coast, spending about a decade in newark, new jersey during the 1870s and 1880s. She and her husband often visited east hampton, long island, where they purchased land in 1882. They built a summer home at east hampton that they would use as a base while painting and etching the meadows and pastures they came to love. 1878 was a big year for moran. During that year, her husband introduced her to the etching press and urged her to experiment with it while he was away on a trip to the west coast. When her husband returned, he was so impressed with her work that he sent four of prints etchings to the new york etching club, which later elected her as a member. Those same etchings also gained her acceptance into the royal society of painter-etchers in london. moran began to leave her mark on american art as a painter and especially as a printmaker. But moran was more than an artist; she also managed her husbandsâ career. Their daughter ruth later said, âwithout mother, father could never have become what he did. She never allowed any barrier to come between him and his destiny â which was to paint ceaselessly.â moran also made etchings of many of her husbandâs paintings âto help promote them and to serve as illustrations at exhibits, as well as managing all of her husbandâs commissions.â moran did leave the east coast on a few occasions. She traveled to california twice with her husband, once in 1874 when she painted âyosemite fallsâ and once in 1891 when she painted âbeached whale boat, santa barbara.â both were painted with water colors. moran died in east hampton, new jersey in 1899. She was buried in east hampton by goose pond, a pond she had painted some nineteen years before. mary nimmo moran âtwixt the gloaming and the mirkâ original etching, roulette, mezzotint, and sandpaper in sepia ink. Executed in 1883, this impression is on wove paper. One of mary nimmo moranâs nicest compositions. Signed in the plate measuring 8 x 11.50 inches (plate).
Item Price : $950.00
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Jacques Callot escarmouche Dans Un Cirque; Les Caprices Etching http://www.antiques.com/classified/1127270/Antique-Jacques-Callot----Escarmouche-dans-un-Cirque--Les-Caprices----Etching Jacques callot âescarmouche dans un cirque; les capricesâ etching callot (1592â1633), a native of nancy, france, trained in florence, âtaking up etching and introducing the technical innovation of using a very hard ground on the plate, thus making it possible to vary the thickness of the line, modeling it along its whole course with a dependable ground to work on, he became the first specialist virtuoso etcher ââ¬Â¦ [this work provides] the first unromantic pictures of war, exposing its impersonal cruelty, casual violence, and senseless destruction his records of war-torture, rape, burning at the stake, the firing squad-are strikingly believable because he observed decorum, viewed events as dispassionately as only a frenchman can, and made his figures move as delicately and precisely as deadly insects. Through his technical innovations and the excellence of his drawing he exerted an influence more profound than that of many greater artistsâ jacques callot, âescarmouche dans un cirque; les capricesâ etching, measures 2.25 by 3 inches approximate on early antique laid paper trimmed to the plate mark. Early and very fine impression of this most sought image from âle capricesâ.
Item Price : $500.00
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Mortimer Luddington Menpes the Cradle Pencil Signed Etching http://www.antiques.com/classified/1127271/Antique-Mortimer-Luddington-Menpes----The-Cradle----Pencil-Signed-Etching mortimer luddington menpes (february 22, 1855 port adelaide, south australia â april 1, 1938 pangbourne), was a war artist and engraver, author, printmaker and illustrator. menpes was born at port adelaide on 22 february 1855, the second son of property developer james menpes, who with his wife, ann, had settled in australia in 1839. educated at a private school, he attended classes at the adelaide school of design, but his formal art training began at the south kensington school of art in 1878, after his family had moved back to england in 1875. Edward poynter was a fellow student at the school. Menpes first exhibited at a royal academy exhibition in 1880. Over the following 20 years 35 of his paintings and etchings appeared at the academy. he set off on a sketching tour of brittany in 1880 and thereby met james mcneill whistler, becoming his pupil and at one stage sharing a flat with him at cheyne walk on the embankment in london. Here he was taught etching by whistler, whose influence, together with that of japanese design, is evident in his later work. his 1887 trip to japan led to his first one-man exhibition at dowdeswellâs gallery (1878-1912) in london. Menpes bought a property at 25 cadogan gardens in sloane square in 1888 and decorated it in the japanese style. Whistler and menpes quarreled in 1888 over the interior design of the house, which whistler felt was a brazen copying of his own ideas. The house was sold in 1900, and menpes retired to kent. in 1900, after the outbreak of the boer war, menpes was sent to south africa as a war artist for the weekly black and white. With the warâs end in 1902 he travelled widely, visiting burma, egypt, france, india, italy, japan, kashmir, mexico, morocco, and spain and producing illustrated books of those countries. His book on the delhi darbar of illustrated curzonâs grand spectacle of 1903. he married rosa mary grosse in london in 1875. She too, was from australia and died 23 august 1936. They produced a son, mortimer james (b. 1879) and two daughters, rose maud goodwin and dorothy whistler. Dorothy, whistlerâs godchild, married a mr. Flower and died in minehead in july 1973 aged 89. for the last 30 years of his life, menpes retired to iris court, pangbourne from where he managed his purley-on-thames business, âmenpes fruit farmsâ. He built 40 large greenhouses in which to grow carnations and 8 cottages to accommodate the farm workers. here we have a are, example of the artistâs outstanding oriental subject, etched while traveling to the far east. âcradleâ pencil signed etching original etching and drypoint. Signed in pencil. A seldom-seen mortimer menpes drypoint, this is a rich, dark impression on japan paper. The etched work measure 11 3/4 x 7 13/16 inches (plate) with good margins.
Item Price : $500.00
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Peter Moran the Flock Pencil Sign Etching On Japon Paper http://www.antiques.com/classified/1127272/Antique-Peter-Moran----The-Flock----Pencil-Sign-Etching-on-Japon-Paper â¨peter moran one of americaâs leading nineteenth century etchers of animals and landscapes, peter moran immigrated with his family to the united states at the age of three. At the age of sixteen he was apprenticed to the lithographic firm of herline and hersel, drawing mostly advertisements. A year later he began to study art under his elder brothers, edward (1829 â 1901) and thomas (1837 â 1926). Thomas moran and his wife, mary nimmo moran, both became very influential etchers. Peter moran concluded his education by visiting england in 1863. He was particularly influenced there by the animal and landscape art of edwin landseer, rosa bonheur and constant troyon. Peter moran was a full member of the new york etching club and the philadelphia art club. He also served as president of the american society of etchers.â¨â¨ peter moran first gained national recognition in 1864 when he visited the territory of new mexico. He was in fact the first non-native artist to portray aspects of the life and culture of the pueblo indians. During the 1870âs and 1880âs he returned to both new mexico and arizona, creating a great legacy of both paintings and etchings of these areas. In 1890 peter moran traveled as the official artist for the bureau of indian affairs.â¨â¨ here we have a very rare impression of peter moran âthe flock.â published by gebbie and co. Executed in 1887. This is a rich impression on japon paper of an earlier and very small edition. The etching measures 9.50 x 14.50 inches. â¨â¨there is slight discoloring (even foxing on verso and two tape stains, not effecting the work) with good margins, printed on japon paper and attached on the wove paper with good plate mark, pencil signed, and with a second (remarque sketch in the plate of a beautiful dog) and signed below the work plus plate signed. signed in the plate and below the image by the artist. This is considered among one of peter moranâs masterpieces and rare to find in the pencil signed. this state with pencil signiture, on japon paper and a small etched sketch in the work below the main etching are very rare and published in a very small edition. Most dealers will tell you, most often in an edition of 150 or so.
Item Price : $1500.00
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Jan Vondrous venezia; Browning House Inscribed Signed Etching http://www.antiques.com/classified/1127273/Antique-Jan-Vondrous----Venezia--Browning-House----Inscribed-Signed-Etching- Jan vondrous âvenezia; browning houseâ inscribed signed etching⨠jan vondrous ( 1884â1956) born in czechoslovakia, jan vondrous moved to the united states at an early age. He studied in new york at the national academy of design, taking classes there in etching under james d. Smillie. His first etchings were published during the first world war and were mainly architectural views of new york and vicinity. After the end of the war (1918), vondrous spent much of the following decade etching architectural scenes of major european cities, particularly bruges and venice. He still maintained both his permanent home and studio in long island at this time. Bruges #5 was created at this time and is illustrative of his great talents as a major architectural etcher. â¨by 1929 jan vondrous returned to his native czechoslovakia and lived and worked in prague. During the following years he continued to both etch and paint the people and architecture of this city. Jan vondrous was a full member of the chicago society of etchers, the print makersâ society of california and the hollar society of prague. Examples of his original etchings are included in the following collections; the modern gallery of prague, the art institute of chicago, the congressional library, washington, dc, the new york public library, the kupferstich kabinett, berlin, and the victoria and albert museum and the british museum, london. here we have a rare impression of jan vondrous âvenezia; browning houseâ inscribed signed etching on japon paper, signed in pencil browning house; venice edition 75, artist signed and with imp in pencil. This is in good condition. this image is offered on the internet by retail galleries at the $650.00 to 750.00 range.
Item Price : $475.00
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Toulouse Lautrec moulin Rouge, La Goulue Et Sa Soeur Limited Edition Lithograph http://www.antiques.com/classified/1127274/Antique-Toulouse-Lautrec----Moulin-Rouge--La-Goulue-et-Sa-Soeur----Limited-Edition-Lithograph Lautrec âmoulin rouge, la goulue et sa soeurâ limited edition lithograph henri marie raymond de toulouse-lautrec-monfa or simply henri de toulouse-lautrec (november 24, 1864 â september 9, 1901) was a french painter, printmaker, draftsman, and illustrator, whose immersion in the colorful and theatrical life of fin de siècle paris yielded an oeuvre of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-lautrec is known along with cézanne, van gogh, and gauguin as one of the greatest painters of the post-impressionist period. In a 2005 auction at christie's auction house a new record was set when "la blanchisseuse", an early painting of a young laundress, sold for $22.4 million u.S. throughout his career, which spanned less than 20 years, toulouse-lautrec created 737 canvases, 275 watercolors, 363 prints and posters, 5,084 drawings, some ceramic and stained glass work, and an unknown number of lost works. Toulouse-lautrec is known along with cezanne, van gogh, and gaugin as one of the greatest painters of the post-impressionist period. His debt to the impressionists, in particular the more figurative painters manet and degas, is apparent. In the works of toulouse-lautrec can be seen many parallels to manetâs bored barmaid at a bar at the folies-bergère and the behind-the-scenes ballet dancers of degas. He excelled at capturing people in their working environment, with the colour and the movement of the gaudy night-life present, but the glamour stripped away. He was masterly at capturing crowd scenes in which the figures are highly individualized. At the time that they were painted, the individual figures in his larger paintings could be identified by silhouette alone, and the names of many of these characters have been recorded. His treatment of his subject matter, whether as portraits, scenes of parisian night-life, or intimate studies, has been described as both sympathetic and dispassionate. toulous-lautrecâs skilled depiction of people relied on his painterly style which is highly linear and gives great emphasis to contour. He often applied the paint in long thin brushstrokes which often leave much of the board on which they are painted showing through. Many of his works may best be described as drawings in colored paint. after toulouse-lautrecâs death, his mother, the comtesse adèle toulouse-lautrec, and maurice joyant, his art dealer, promoted his art. His mother contributed funds for a museum to be built in albi, his birthplace, to house his works. As of 2005, his paintings had sold for as much as us$14.5 million. lithographed after the larger posters of by the renowned french artist, toulouse lautrec. In an edition of 999, printed on special watermarked arches paper and issued by the albi museum (largest collection of latrec works. special edition supervised and published by the estate of the artist and the lautrec museum, albi, france in a limited edition on arches paper. the image-sheet measure 19.50 by 14.25 inches and in good condition, this and others are all from the same portfolio and the colophon can be downloaded for your purchase from this listing . Numbered only in the colophon , a edition of 999!
Item Price : $450.00
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Otto Bacher fondamenta Delle Zattere Venice Etching http://www.antiques.com/classified/1127275/Antique-Otto-Bacher----Fondamenta-delle-Zattere-----Venice----Etching Otto bacher âfondamenta delle zattere â veniceâ etching signed in the plate only, titled, and dated in the plate. Bacher left cleveland for studies in munich in 1878, and this etching represents his happy experience in germany as a youth tramping along the danube river from one small town to another. after his studies in munich, bacher went with frank duveneckâs âboysâ to venice in 1880 where he fell under the spell of whistler. This etching is printed on laid, a delicate process much-loved in the 1880s. This is in beautiful condition. âview in veniceâ also called âfondamenta delle zattereâ; 7 x 10.25 inches. Etching in good condition and published by the american art review in 1880.
Item Price : $450.00
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Eugene Delacroix Jacob Wrestling With The Angel Original Etching http://www.antiques.com/classified/1127276/Antique-Eugene-Delacroix-Jacob-Wrestling-with-the-Angel-Original-Etching Eugene delacroix jacob wrestling with the angel original etching here we are offering a very fine and rare etched image of eugene delacroix "jacob wrestling with the angel" original etching etched by greuze, a practice totally accepted by delacriox and other artist of the period for work in oils to be etched by well respected engravers working with the artist . This work measure 9 by 12.5 inches (plate mark) and in excellent condition, inscribed as shown. among the subjects painted by delacroix for the chapelle des saints-anges (the chapel of the guardian angels) at the church of saint sulpice in paris, jacob wrestling with the angel is without doubt one of his most powerful compositions. The scheme for the chapel murals - also including heliodorus driven from the temple, and st michael defeating the devil - presents three biblical scenes featuring angels as warrior-like messengers of the redeeming power of god. At first glance, jacob wrestling with the angel (as related in genesis: 32) celebrates the beauty of nature, with its huge trees and twisted trunks. But its chief subject remains the strange pair of wrestlers, their struggle a symbol of manâs spiritual quest, during which jacob is injured but not defeated. In this late work, finished in 1861, delacroix embarks on his own, ultimate aesthetic quest. delacroix received the commission to decorate a chapel in the church of saint sulpice in paris by decree of the préfecture de seine, on april 28, 1848, issued by the fine arts division and its director, antoine varcolliers. Unexpectedly, he changed the original theme to the guardian angels, noting in his diary that the decision was taken "on their very feast day," october 2, 1849. Interrupted by other more urgent projects - notably the central section of the ceiling in the apollo gallery at the louvre (1850-51), the paintings for paris city hall (1852-54) and the great retrospective of his work for the universal exhibition of 1855 - and further complicated by the technical difficulty of the work, the decorations for the chapel (the first on the right entering through the west door) were finally inaugurated on july 31, 1861, two years before the artistâs death. the study for jacob wrestling with the angel in the musée delacroix was probably executed in 1850, when the painter recorded that he was at work on "sketches for saint sulpice, to be submitted to the préfecture" (journal, february 27, 1850). Other preparatory studies are scattered in several different collections, including the fogg art museum in cambridge (massachusetts, usa), where the combatants are reversed, to the right of the picture; an ink transfer by delacroix, now in the musée delacroix, shows the same arrangement. Here, jacobâs frontal attack, with his knee raised high, shows his absolute courage and determination: the definitive composition retains the same attacking posture. The artist suggests the figuresâ almost dance-like movement, using light, rapid pencil strokes: the lightly-sketched angel fends off the attack and wounds jacob in the thigh. But this figure shows none of the serene, implacable equilibrium embodied by the nameless angel in the finished painting on the chapel wall, his wings held firmly upright after the long nightâs struggle. delacroix was maybe inspired by lamartineâs poetical meditations, which describe the two beings entwined like the knotted trunks of the trees looming . the official opening of the chapel lasted a week, from july 31 to august 6, 1861, but not all of the invited guests responded. Delacroixâs artist friends came, however, prompting him to observe: "i was assured on all sides that i was not yet dead." (correspondance générale, joubin, 1935, iv, p.269-270). Articles of high praise by théophile thoré and charles baudelaire were countered by critical reviews from emile galichon or louis vitet. "this is a great religious subject," wrote barrès, "the fury of the brave figure diving to wrestle with his ideal is a powerful exaltation of the human soul in all its mystery." it should be noted that delacroix invariably favored scenes highlighting trials of faith, evoking his own religious skepticism (numerous images of christ on the cross, christ at the column, and the pilgrims at emmaus; several versions of christ on the lake of gennesaret). At the end of his life, this spiritual anguish, rooted in his agnostic youth, naturally led him to the celebrated but dark, mysterious episode of jacobâs struggle with the angel. throughout his life, delacroix engaged in the artistâs solitary struggle, constantly measuring and challenging his own creative powers, and - why not? - pitting himself against god the creator, in the person of the angel. Like jacob on the night before crossing the ford over the jabboq river, he is alone. Like the son of isaac, delacroixâs struggle is a form of exaltation: "in truth, painting taunts and torments me in a thousand ways, like the most demanding of mistresses," as he confided in his journal on january 1, 1861, in the midst of work on the chapel at saint sulpice. "for four months, i have scurried away at first light, rushing to continue this enchanting work, as if at the feet of the most beloved mistress; things that seemed - at a distance - to be the easiest to overcome in fact present appalling, interminable difficulties. How is it, then, that instead of casting me down, this eternal combat uplifts me; not discouraging, but consoling me here we have a rare etching after delacroix work first executed in oil and etched with the artist approval by jean-baptiste greuze was born at tournus, saône-et-loire. He is generally said to have formed his own talent; this is, however, true only in the most limited sense, for at an early age his inclinations, though thwarted by his father, were encouraged by a lyonnese artist named grandon, or grondom, who enjoyed during his lifetime considerable reputation as a engraver of works by leading artist of his day abd in his own right ,portrait-painter. Grandon not only persuaded the father of greuze to give way to his sons wishes, and permit the lad to accompany him as his pupil to lyon, but, when at a later date he-himself left lyon for paris â where his son-in-law grétry the celebrated composer enjoyed the height of favour â grandon carried young greuze with him. settled in paris, greuze worked from the living model in the school of the royal academy (paris), but did not attract the attention of his teachers; and when he produced his first picture, "le père de famille expliquant la bible a ses enfants," considerable doubt was felt and shown as to his share in its production. By other and more remarkable works of the same class greuze soon established his claims beyond contest, and won for himself the notice and support of the well-known connoisseur la live de jully, the brother-in-law of madame d'epinay. In 1755 greuze exhibited his "aveugle trompé," upon which, presented by pigalle the sculptor, he was immediately agréé by the academy. towards the close of the same year he left france for italy, in company with the abbé louis gougenot, who had deserted from the magistrature â although he had obtained the post of conseiller au châtelet in order to take the petit collet. Gougenot had some acquaintance with the arts, and was highly valued by the academicians, who, during his journey with greuze, elected him an honorary member of their body on account of his studies in mythology and allegory; his acquirements in these respects are said to have been largely utilized by them, but to greuze they were of doubtful advantage, and he lost rather than gained by this visit to italy in gougenot's company. He had undertaken it probably in order to silence those who taxed him with ignorance of great models of style, but the italian subjects which formed the entirety of his contributions to the salon of 1757 showed that he had been put on a false track, and he speedily returned to the source of his first inspiration. greuze wished to be received as a historical painter, and produced a work which he intended to vindicate his right to despise his qualifications as a peintre de genre. This unfortunate canvas "sévère et caracalla" (louvre) was exhibited in 1769 side by side with greuze's portrait of "jeaurat" (louvre) and his admirable "petite fille au chien noir". The academicians received their new member with all due honours, but at the close of the ceremonies the director addressed greuze in these words "monsieur, l'académie vous a reçu, mais c'est comme peintre de genre; elle a eu égard à vos anciennes productions, qui sont excellentes, et elle a fermé les yeux sur celle-ci, qui n'est digne ni d'elle ni de vous." (sir, the academy has accepted you, but only as peintre de genre; the academy has respect for your former productions, which are excellent, but she has shut her eyes to this one, which is unworthy, both of her and of you yourself.) greuze, greatly incensed, quarrelled with his confreres, and ceased to exhibit until, in 1804, the revolution had thrown open the doors of the academy to all the world. in the following year, on 4 march 1805, he died in the louvre in great poverty. He had been in receipt of considerable wealth, which he had dissipated by extravagance and bad management (as well as embezzlement by his wife), so that during his closing years he was forced even to solicit commissions which his enfeebled powers no longer enabled him to carry out with success. The brilliant reputation which greuze acquired seems to have been due, not to his accomplishments as a painter for his practice, but is evidently that current in his own debut to the character of the subjects which he treated. That return to nature which inspired rousseau's attacks upon an artificial civilization demanded expression in art.
Item Price : $375.00
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Thomas Girtin landscape With A Study Of Clouds Etched Mezzotint http://www.antiques.com/classified/1127277/Antique-Thomas-Girtin----Landscape-With-a-Study-of-Clouds----Etched-Mezzotint Thomas girtin âlandscape with a study of cloudsâ etched mezzotint thomas girtin (february 18, 1775 â november 9, 1802), was an english painter and etcher, who played a key role in establishing watercolor as a reputable art form. He was born in southwark, london, the son of a well-to-do brushmaker of huguenot descent in. His father died while thomas was a child, and the widow married a mr. Vaughan, a pattern-draughtsman. Girtin learnt drawing as a boy (attending classes with thomas malton), and was apprenticed to edward dayes (1763â1804), a topographical watercolorist. He is believed to have served out his seven year term, although there are unconfirmed reports of clashes between master and apprentice, and even that dayes had girtin imprisoned as a refractory apprentice. Certainly dayes did not fully appreciate his pupilâs talent, and he was to write dismissively of girtin after his death. while still a youth girtin became friends with j. M. W. Turner and the two teenagers were employed to color prints with watercolor. Girtin exhibited at the royal academy from 1794. His architectural and topographical sketches and drawings soon established his reputation, his use of watercolor for landscapes being such as to give him the credit of having created romantic watercolor painting. He went on several sketching tours, visiting the north of england, north wales and the west country. By 1799 he had acquired influential patrons such as lady sutherland, and the art collector sir george beaumont. He was the dominant member of the brothers, a sketching society of professional artists and talented amateurs. in 1800 girtin married mary ann borrett, the sixteen year old daughter of a well-to-do city goldsmith, and set up home in st georgeâs row, hyde park, next door to the painter paul sandby. By 1801 he was a welcome houseguest at his patronsâ country houses such as harewood house and mulgrave castle, and was able to charge 20 guineas for a painting, but his health was deteriorating. In late 1801 to early 1802 he spent five and a half months in paris, where he painted watercolors and made a series the pencil sketches which he engraved on his return to london. They were published as twenty views in paris and its environs after his death. In the spring and summer of 1802, girtin produced a panorama of london, the âeidometropolisâ, 18 feet high and 108 feet in circumference which was exhibited with success that year. It was notable for its naturalistic treatment of urban light and atmosphere. That november girtin died in his painting room; the cause was variously reported as asthma or âossification of the heart.â girtinâs early landscapes are akin to 18th-century topographical sketches, but in later years he developed a bolder, more spacious, romantic style, which had a lasting influence on english painting. The scenery of the north encouraged him to create a new watercolor palette of warm browns, slate greys, indigo and purple. He abandoned the practice of undershadowing in grey wash and then adding pastel patches of color, in favor of broad washes of strong color, and experimented with the use of pen, brown ink and varnish to add richer tones. Girtinâs early death from consumption led indeed to turner saying, âhad tom girtin lived i should have starved.â the british museum, tate britain, and the victoria and albert museum have collections of his work. samuel william reynolds (july 7, 1773â1835) was mezzotint engraver and painter. His son had the same name and followed the same profession. Reynolds was a popular engraver in both britain and france and he has over 400 examples in the national portrait gallery in london. here is a rare thomas girtin âlandscape with a study of cloudsâ etched mezzotint based on his work in watercolor and etched by s, w. Reynolds. Etching-mezzotint on watermarked (w king) watermark laid paper measuring 6 by 9 inches (plate mark) and in good condition. this is one of a series of 12 plates from drawings by thomas girtin. They were engraved by s. W. Reynolds in 1823 â 1824. except for a few proof proofs these were not published until 1883 by neill & son london for the fine art society. 250 impressions were printed and the plates were then destroyed.
Item Price : $350.00
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Jean Raffaelli le Marchand Dhabits Etching http://www.antiques.com/classified/1127278/Antique-Jean-Raffaelli----Le-Marchand-D---Habits----Etching Jean raffaelli âle marchand dâhabitsâ etching jean-françois raffaëlli (april 20, 1850 - february 11, 1924) was a french realist painter, sculptor, and printmaker who exhibited with the impressionists. He was also active as an actor and writer. he was born in paris, and showed an interest in music and theatre before becoming a painter in 1870. One of his landscape paintings was accepted for exhibition at the salon in that same year. In october 1871 he began three months of study under jean-léon gérôme at the ecole des beaux-arts in paris; he had no other formal training. raffaëlli produced primarily costume pictures until 1876, when he began to depict the people of his timeâparticularly peasants, workers, and rag-pickers seen in the suburbs of parisâin a realistic style. His new work was championed by influential critics such as j.-k. Huysmans, as well as by edgar degas. degas invited raffaëlli to participate in the impressionist exhibitions of 1880 and 1881, an action that bitterly divided the group; not only was raffaëlli not an impressionist, but he threatened to dominate the 1880 exhibition with his outsized display of 37 works. Monet, resentful of degas's insistence on expanding the impressionist exhibitions by including several realists, chose not to exhibit, complaining, âthe little chapel has become a commonplace school which opens its doors to the first dauber to come along.â after 1890 raffaëlli shifted his attention from the suburbs of paris to city itself, painting street scenes that were well received by the public and the critics. In the later years of his life, he concentrated on color printmaking. He died in paris in 1924. jean-francoise raffaelli âle marchand dâhabitsâ original etching. A nice impression in excellent condition, with no aging or foxing, printed on laid paper. executed in 1895; catalogue reference delteil 24, final state on laid paper. Not signed. Plate size: 5.50 x 3 .75 inches.
Item Price : $375.00
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Pierre-auguste Renoir eu Fant Au Biscuit Stone Col Lithograph http://www.antiques.com/classified/1127279/Antique-Pierre-Auguste-Renoir----Eu-fant-au-Biscuit----Stone-Col-Lithograph pierre-auguste renoir (february 25, 1841âdecember 3, 1919) was a french artist who was a leading painter in the development of the impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that ârenoir is the final representative of a tradition which runs directly from rubens to watteauâ. lithographed by mourlot after his lithographed portrait. Sheet size 11 by 8.25 inches. these were redrawn with the supervision of the artist estate and published in a limited edition. Generally 90 percent the size of the images work of the vollard edition, with little text on verso. Sheet size are 8.75 by 11.5 inches, with title of preceding work on verso with plate number not effecting the lithographed side. these are lovely lithographs re-created by the master printed at mourlot, paris and very fine works for those not fortunate to own the impressions from the small and very expensive vollard edition! Those sell from $35,500.00 to $45,000 and more for his colored works
Item Price : $350.00
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Annibal Carracci galeria Nel Palazzo Farnese In Roma Etching http://www.antiques.com/classified/1127280/Antique-Annibal-Carracci----Galeria-Nel-Palazzo-Farnese-in-Roma----Etching annibale carracci (1560â1609) leading prominent figure at the end of the 16th century in the movement against the prevailing mannerist artificiality of italian painting. carracci and his cousin they worked together early in their careers, and it is not easy to distinguish their shares in, for example, the cycle of frescos in the palazzo fava in bologna (c.1583â84). In the early 1580s they opened a private teaching academy, which soon became a center for progressive art. It was originally called the accademia dei desiderosi (âdesiderosiâ meaning âdesirous of fame and learningâ), but later changed its name to academia degli incamminati (academy of the progressives). In their teaching they laid special emphasis on drawing from the life (all three were outstanding graphic artists) and clear draughtsmanship became a quality particularly associated with artists of the bolognese school, notably domenichino and reni two of the leading members of the following generation who trained with the carracci. here we have a lovely work from âgaleria nel palazzo farnese in romaâ plate 26 executed in etching and etched by the noted giuseppe maria crespi (1665â1747). Printed on nice wove paper with good margin measuring 3.75 by 5.50 inches tall and in good condition. Inscribed in the plate amm carracci inv and crespi and numbered plate no 26. giuseppe maria crespi (march 14, 1665 â july 16, 1747), nicknamed lo spagnuolo (âthe spanish oneâ), was an italian late baroque painter-engraver of the bolognese school. His eclectic output includes religious paintings and portraits, but he is now most famous for his genre paintings.
Item Price : $350.00
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Mary- Thomas Moran interior Of A California Forest Etching http://www.antiques.com/classified/1127281/Antique-Mary--Thomas--Moran----Interior-of-a-California-Forest----Etching Mary moran âinterior of a california forestâ etching mary moran was among several members of the new york etching club included charles adams platt, thomas moran, mary nimmo moran, samuel colman, kruseman van elten, william merritt chase, frederick stuart church, stephen parrish, joseph pennell, and thomas waterman wood. For most members, etching was an important side-interest to their main occupation as painters. the new york etching club held regular exhibitions through the early 1890s in which members and invited guests displayed their etchings for sale to the general public. From 1879 to 1881, works by members of the new york etching club were also featured in a periodical called âthe american art reviewâ. Published under the leadership of sylvester rosa koehler, the first curator of prints at the museum of fine arts, boston, it further popularized etching as a medium and the new york etching club as a professional organization. The success of the new york etching club helped spawn similar organizations in other major american cities in the late 19th century. mary moran âinterior of a california forestâ, 1888. Recorded in the klackner catalogue of her works, # 57. Signed in the plate. etched after a sketch by her husband, thomas moran. It was commissioned for publication in âpicturesque california,â a monumental two-volume publication of great renown. Plate signed by both thomas moran and mary moran. Etching on fine antique paper measuring 9 by 13 inches in good condition.
Item Price : $350.00
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Paul Cezanne armand Guillaumin Etching http://www.antiques.com/classified/1127282/Antique-Paul-Cezanne----Armand-Guillaumin----Etching paul cézanne (january 19, 1839 â october 22, 1906) was a french artist and post-impressionist painter etcher and lithographer whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century impressionism and the early 20th centuryâs new line of artistic enquiry, cubism. The line attributed to both matisse and picasso that cézanne âis the father of us allâ cannot be easily dismissed. cézanneâs work demonstrates a mastery of design, colour, tone, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey cézanneâs intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. here we have paul cezanne etched portrait of artist âarmand guillauminâ printed on laid handmade paper, recently professionally clean. The etched work measures 6 1/8â x 4 5/8â. Total framed dimension is 14 3/8â x 12 3/8â. In good condition with a slight repaired outside of the plate mark, otherwise in good condition. paul cézanne (january 19, 1839 â october 22, 1906) was a french artist and post-impressionist painter etcher and lithographer whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century impressionism and the early 20th centuryâs new line of artistic enquiry, cubism. The line attributed to both matisse and picasso that cézanne âis the father of us allâ cannot be easily dismissed. cézanneâs work demonstrates a mastery of design, colour, tone, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey cézanneâs intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. here we have paul cezanne etched portrait of artist âarmand guillauminâ printed on laid handmade paper, recently professionally clean. The etched work measures 6 1/8â x 4 5/8â. Total framed dimension is 14 3/8â x 12 3/8â. In good condition with a slight repaired outside of the plate mark, otherwise in good condition.
Item Price : $350.00
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D Y Cameron Pencil Signed Etching the Itchen, Near Winchester http://www.antiques.com/classified/1127283/Antique-D-Y-Cameron-Pencil-Signed-Etching----The-Itchen--Near-Winchester David young cameron rightly regarded as one of the greatest masters of the british school of landscape and architectural etching, david young cameron started his career in business while studying part-time at the glasgow school of art. He abandoned his career in commerce at the age of twenty and produced his first etching two years later (1887). By the time he created his last etching (1932), cameron had left an oeuvre of exactly 500 works of art, many of which are now considered as masterworks of original etching and engraving. David young cameron was a full member of the royal academy, the royal scottish academy and the royal engravers. He was also knighted for his contribution to british art. Most of cameronâs early works of art, committed purely in etching, depict scottish scenes. Such is the case with glasgow scene, which may have been created for a 1891 series of twenty-three etchings depicting old glasgow buildings. From 1892 to 1909 the artist frequently visited the continent and created many architectural views in holland, france, italy and egypt. After 1911 cameron again almost entirely devoted his art to the scottish landscape. Unlike his earlier scottish views, âby 1905 cameron was making drypoint additions to his etching in order to achieve a greater depth and richness in the shadows, and soon drypoint was to take over, culminating in the scottish landscapes.â âthe itchen, near winchesterâ from the set of twenty etchings, pencil signed etching and dry point, printed and signed by d y cameron. Most of his pencil signed works are approximate 220. This is a signed impression before the larger unsigned works were published in collection of twenty original engravings by d. Y. Cameron. this portfolio published in the unsigned edition, included winchester cathedral; almshouses, st cross hospital; on the wye at haddon; on the test; old farm; distant view of winchester and st cross; the deanery, winchester; ware; the chapel, haddon hall; the lea, near ryehouse; the lea above hare; beaufortâs tower, st cross; the itchen, near winchester; dovedale; the valley of the lathkill; on the bradford; the lea, near ware; the windings of the wye; near braseford; kingsgate, winchester. it measures 3.5 by 6 inches and in good condition, recently lifted from being lain down and professionally cleaned ($150.00 value).
Item Price : $350.00
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Sir Anthony Van Dyck hans Snellings Engraving http://www.antiques.com/classified/1127284/Antique-Sir-Anthony-van-Dyck----Hans-Snellings----Engraving sir anthony van dyck (many variant spellings; march 22, 1599 â december 9, 1641) was a flemish baroque artist who became the leading court painter in england. He is most famous for his portraits of king charles i of england and scotland and his family and court, painted with a relaxed elegance that was to be the dominant influence on english portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draftsman, and was an important innovator in watercolor and etching. here we have a lovely image âhans snellings; painterâ (fec.) weffs and engraved by (del) sir anthony van dyck , noted and very respected portrait engraver of the 18 th century, measuring 6.50 by 7.50 inches. This image is a lovely 18 th century impression on nice laid paper and in good condition. take note: the only impression of this work is listed on the internet at $1,299.99.
Item Price : $350.00
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Robert Swain Gifford blakemoor Etching On Japon Paper http://www.antiques.com/classified/1127285/Antique-Robert-Swain-Gifford----Blakemoor----Etching-on-Japon-Paper Robert swain gifford âblakemoorâ etching on japon paper robert swain gifford one of americaâs most influential etchers of the nineteenth century, robert swain gifford first studied art under albert van beest in new bedford. In 1864 he moved to boston and two years later moved to new york where he established his studio. Gifford first exhibited his art at the prestigious national academy of design in 1864 and was elected an associate in 1867 and an academician in 1878. A leading educator, robert swain gifford taught at new yorkâs cooper union from 1877 to 1896. Robert swain gifford was a full member of the society of american artists, the american water color society, the national arts club, and the royal society of painters and etchers, london, england. Along with james d. Smilie, robert swain gifford co-founded the long lived new york etching club in 1879. robert swain gifford first experimented with the art of etching as early as 1857. During the following years gifford traveled extensively and both painted and etched scenes in oregon, alaska, europe and north africa. robert swain gifford âblakemoorâ etching is plate signed. Etching measuring 8 by 6.50 inches on japon paper and mounted onto a wove paper, deluxe edition of 250 and in mint condition.
Item Price : $350.00
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Manet la Parisenne Woodcut Engraving http://www.antiques.com/classified/1127286/Antique-Manet----La-Parisenne-----Woodcut-Engraving Manetâs âla parisenneâ engraving after the work, represents a portion of a painted portrait of nina de callias entitled woman with the fans, which is housed at the louvre museum. created in 1874, this work is from the second state of two and was printed by prunaire. The printerâs and artistâs signatures appear in the plate in the lower left and lower right. This woodcut is from an edition published in manet and the french impressionists by duret in 1910, and is the second version of two with an added fan in the background. through the use of varying tones, patterns and composition, the artistâs captures the sitterâs attitude of repose. However with her smart attire, delicate features and penetrating dark eyes, the young female figure commands the attention of the viewer. This seeming contradiction causes the viewer to further explore the work creating a personal connection with the subject. jean c. Harris stated of this work: âthis wood engraving appeared in âla revue du monde nouveauâ as an accompaniment to a poem by charles cros entitled âscene in the studioâ (âscène dâatelierâ). The poem describes nina posing for manet at the end of 1873â¦as in the portraits of berthe morisot, manet made use of the device of juxtaposing areas of sharply contrasting value in order to focus attention upon the silhouette. There is little modeling or textural variation within the silhouette and only three values, black, white, and gray, are used. The drawing of form is restricted to a few bold areas so that only the image as a whole is emphasized.â (harris 221) manetâs âla parisenneâ wood cut engraving after the work is being offered, printed on smooth finish vellum finished wove paper. The work measures 4 by 6 inches, image signed only by both manet and the engraver a. Prinaire s.C. Light color discoloration on the outer edges but otherwise in good condition.
Item Price : $250.00
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J. M. W. Turner colored Mezzotint On Japon Paper http://www.antiques.com/classified/1127287/Antique-J--M--W--Turner----Colored-Mezzotint----on-Japon-paper J. M. W. Turner âcolored mezzotintâ on japon paper here we have a beautifully executed and rare impression of âvenice; sunrise,â well executed after the original oil by turner and engraved by the master mezzotint artist, skrimshire, alfred j. (printmaker) british mezzotinter; fl. 1872â1927. Published by museum galleries of london, and measures 13.75 by 19 inches on japon paper attached to a wove paper as published, inches plus margins. In good condition. Signed in pencil by the artist skrimshire. extremely rare work published on japon paper and attached to a wove paper as published in edition less than 250. joseph mallord william turner ra (april 23, 1775 â december 19, 1851) was an english romantic landscape painter, water colorist and printmaker. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting. although renowned for his oil paintings, turner is also one of the greatest masters of british watercolor landscape painting. He is commonly known as âthe painter of lightâ and his work regarded as a romantic preface to impressionism. turnerâs major venture into printmaking was the liber studiorum (book of studies), a set of seventy prints that the artist worked on from 1806 to 1819. The liber studiorum was an expression of his intentions for landscape art. Loosely based on claude lorrainâs liber veritatis (book of truth), the plates were meant to be widely disseminated, and categorized the genre into six types: marine, mountainous, pastoral, historical, architectural, and elevated or epic pastoral.
Item Price : $650.00
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