FRENCH PRINTMAKING OF THE
FIN DE SIÈCLE AND BEYOND
C.G. BOERNER in collaboration with MIREILLE MOSLER Ltd.
exhibiting at
JILL NEWHOUSE GALLERY
4 East 81st Street #2B
New York, NY 10128
exhibiting at
JILL NEWHOUSE GALLERY
4 East 81st Street #2B
New York, NY 10128
Tuesday 25 October 9AM-8PM
Wednesday 26 October 9AM-8PM
Thursday 27 October 9AM-8PM
Friday 28 October 9AM-6PM
for inquiries email
Armin Kunz
Wednesday 26 October 9AM-8PM
Thursday 27 October 9AM-8PM
Friday 28 October 9AM-6PM
for inquiries email
Armin Kunz
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APPIAN • BASTIEN-LEPAGE • BESNARD • BRACQUEMOND • BRESDIN • BUHOT • COROT • DAUBIGNY • DEGAS • FANTIN-LATOUR • GUÉRARD • HARPIGNIES • JACQUE • LEGROS • LEPIC • MALARDOT • MANET • MAXENCE • MERYON • MILLET • PICABIA • PISSARRO • RAJON • REDON • ROUSSEL • STEINLEN • WHISTLER
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ADOLPHE APPIAN (1818 – 1898)
Port of San Remo, 1878etching on lightweight Japanese paper; 260 x 356 mm. (10 1/4 x 14 inches)
signed in pencil
Curtis & Prouté 52 second state of three
PROVENANCE
Henri Marie Petiet (1894-1980), Paris (stamp verso)LITERATURE
Atherton Curtis & Paul Proute, Adolphe Appian, son oeuvre grave et lithographie, Paris, 1968 -
ALBERT BESNARD (1849-1934)
A Family (Une Famille), 1890etching on structured wove paper, retouched in pencil; 156 x 118 mm. (6 1/8 x 4 5/8 inches)
signed & dated in pencil and annotated '1re essai. 1re epreuve'
Delteil 94 second state of two
PROVENANCE
Professor and Mrs. Daniel Bell, Cambridge, MA -
ALBERT BESNARD (1849-1934)
In the Ashes (Dans Les Cendres), 1887etching, aquatint and drypoint on laid paper; 423 x 310 mm. (16 5/8 x 12 1/4 inches)
signed in pencil
Delteil 67 third (final) state
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ALBERT BESNARD (1849-1934)
La Lecture, 1892etching on wove paper; 130 x 130 mm. (5 1/8 x 5 1/8 inches)
signed in pencil
Delteil 103
PROVENANCE
Professor and Mrs. Daniel Bell, Cambridge, MA -
ALBERT BESNARD (1849-1934)
Madame Besnard, 1884etching on stiff Japan paper; 267 x 207 mm. (10 1/2 x 8 1/8 inches)
signed in pencil
Delteil 16 only state; Coppier 13
PROVENANCE
Pierre Demany (b. 1887), Paris [Lugt 780]LITERATURE
Louis Godefroy, "Albert Besnard", vol. 30 of Le peintre-graveur illustré by Loys Delteil, Paris, 1906, cat. no. 16, np
André-Charles Coppier, Les eaux-fortes de Besnard. Paris, 1920, cat. no. 12.ii, p. 16 -
ALBERT BESNARD (1849-1934)
The Leaning Muse (La Muse Accoudée), 1884etching on laid paper; 235 x 180 mm. (9 1/4 x 7 1/8 inches)
signed in pencil
Delteil 17 third state of three; Coppier 14
PROVENANCE
Professor and Mrs. Daniel Bell, Cambridge, MA -
ALBERT BESNARD (1849-1934)
The Terrible Year (L'Année Terrible), 1893etching and drypoint on antique green laid paper; 226 x 167 mm. (8 7/8 x 6 5/8 inches)
signed in pencil
Coppler 78 proof before first state
PROVENANCE
The estate of the artist [Lugt 67a] -
ALBERT BESNARD (1849-1934)
Woman in a Cape (La Femme à la Pèlerine), 1889etching, drypoint and aquatint on laid paper; 232 x 156 mm. (9 1/8 x 6 1/8 inches)
signed in pencil
Delteil 86; Coppier 73
PROVENANCE
Marcel Mirault (1860-1929), Tours [Lugt 1892a]
Professor and Mrs. Daniel Bell, Cambridge, MALITERATURE
Louis Godefroy Albert Besnard, vol. 30 of Le peintre-graveur illustré by Loys Delteil. Paris, 1906,
cat. no. 86, np.
André-Charles Coppier Les eaux-fortes de Besnard. Paris, 1920, cat. no. 73, p. 58 -
FELIX BRACQUEMOND (1833-1914)
Birds Nailed to a Barn Door (Le haut d'un battant de porte), 1856etching on laid paper; 300 x 39m. (11 3/4 x 15 1/2 inches)
Beraldi 110 fifth state; Bouillon Ac1 eighth state of ten
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FELIX BRACQUEMOND (1833-1914)
La Seine au Bas-Meudon , 1868etching on laid antique paper; 15.6 x 22.9 cm. (6 1/8 x 9 inches)
signed in pencil
Beraldi 187 first state of four
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FELIX BRACQUEMOND (1833-1914)
Le Pecheur à l'Epervier, 1868etching on laid paper; 150 x 238 mm. (5 7/8 x 9 3/8 inches)
Beraldi 189 first state of three
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FELIX BRACQUEMOND (1833-1914)
Le Pecheur à l'Epervier, 1868etching on antique laid paper; 150 x 238 mm. (5 7/8 x 9 3/8 inches)
Beraldi 189 second state of three
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FELIX BRACQUEMOND (1833-1914)
Meyer-Heine, chef émailleur à la manufacture de Sèvres, gravé d'après nature), c. 1872etching on laid paper; 217 x 244 mm. (8 1/2 x 9 5/8 inches)
signed in pencil and dedicated to the important Italian publisher, author and gallery owner Angelo Sommaruga ( (1857-1941).
Beraldi 80
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FELIX BRACQUEMOND (1833-1914)
Morning Mists (Brumes du Matin), 1882etching on Japan paper; 248 x 346 mm. (9 3/4 x 13 5/8 inches)
signed in pencil
Beraldi 779 undescribed state after final state of eleven
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FELIX BRACQUEMOND (1833-1914)
Le Vieux Coq – The Old Rooster 1882etching on Japan paper; 13 5/8 x 10 5/18 inches (346 x 270 mm)
signed at lower right in pen and ink and annotated in pencil in the lower right corner of the plate No 5
Béraldi 222 first state (of five)
PROVENANCE
Francis Seymour Haden, London and Bramdean near Alresford (his paraphe in pencil, Lugt 3938) -
RODOLPHE BRESDIN (1822-1885)
Entering the Village (Entrée de Village, from La Revue Fantaisiste), 1861etching on chin appliqué; 206 x 136 mm. (8 1/8 x 5 3/8 inches)
Van Gelder 103 first state (of two)
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RODOLPHE BRESDIN (1822-1885)
Hunters Surprised by Death (Les Chasseurs Surpris par la Morte, from La Revue Fantaisisteetching on chine appliqué; 140 x 81 mm. (5 1/2 x 3 1/4 inches)
Van Gelder 88 first state (of four)
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RODOLPHE BRESDIN (1822-1885)
My Dream: second version (Mon Rêve: version II), 1883etching on Japanese paper; 220 x 138 mm. (8 5/8 x 5 3/8 inches)
signed in pencil
Van Gelder 150 second (final) state
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RODOLPHE BRESDIN (1822-1885)
My Dream: second version (Mon Rêve: version II), 1883etching on chine appliqué; 220 x 138 mm. (8 5/8 x 5 3/8 inches)
Van Gelder 150 second (final) state; Préaud third state (of four)
PROVENANCE
André Mellerio (1862-1943), Paris [Lugt 153a]
Henri Marie Petiet (1894-1980), Paris [Lugt 5031] -
RODOLPHE BRESDIN (1822-1885)
The Bather and Time (La Baigneuse et le Temps), 1857lithograph on chine appliqué; 168 x 117 mm. (6 5/8 x 4 5/8 inches)
Van Gelder 89
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RODOLPHE BRESDIN (1822-1885)
The Comedy of Death (La Comédie de la Mort), 1854lithograph on chine collé; 218 x 150 mm. (8 5/8 x 5 7/8 inches)
Van Gelder 84; Prèaud 129 state fifth (final) state
PROVENANCE
Charlotte and Arthur Vershbow, acquired in 1962 -
RODOLPHE BRESDIN (1822-1885)
The Distant City (La Cité Lointaine), 1868etching, drypoint and roulette on chin appliqué; 136 x 210 mm. (5 3/8 x 8 1/4 inches)
Van Gelder 131 third (final) state
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RODOLPHE BRESDIN (1822-1885)
The Good Samaritan (Le Bon Samaritain), 1861lithograph on chine; 563 x 440 mm. (22 1/8 x 17 3/8 inches)
Van Gelder 100; Prèaud 29 first state B with “imp Lemercier Paris” and the “white bird” and “white leaves” noted on the impressions published in 1867 (2nd or 3rd edition)
PROVENANCE
Charlotte and Arthur Vershbow, acquired in 1959 -
RODOLPHE BRESDIN (1822-1885)
The Gorge Creek (Le Ruisseau des Gorges), 1871etching on chine appliqué transferred to lithostone; 111 x 145 cm. (4 3/8 x 5 3/4 inches)
Inscribed 'a mon ami (?) Au retour mon souvenir 1873/ ... la conférence RBresdin'
Van Gelder 130
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RODOLPHE BRESDIN (1822-1885)
The Gorge Creek (Le Ruisseau des Gorges), 1871etching on chine appliqué transferred to lithostone; 111 x 147 mm. (4 3/8 x 5 3/4 inches)
Van Gelder 130
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RODOLPHE BRESDIN (1822-1885)
The Knight and Death (Le Chevalier et la Mort), 1686etching on wove paper; 180 x 250 mm. (7 1/8 x 9 7/8 inches)
Van Gelder 120; Préaud 138 first state (of three)
PROVENANCE
Henry Marie Petiet [Lugt 5031] -
RODOLPHE BRESDIN (1822-1885)
The Knight and Death (Le Chevalier et la Mort, 1866etching on chine appliqué; 180 x 247 mm. (7 1/8 x 9 3/4 inches)
Van Gelder 120 second state (of three)
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RODOLPHE BRESDIN (1822-1885)
The Rest on The Flight into Egypt with a Saddled Donkey (Le Repos en Égypte à L'Âne Bâté), 1871etching on chine appliqué transferred to lithostone; 227 x 197 mm. (9 x 7 3/4 inches)
Van Gelder 138 first state (of two)
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RODOLPHE BRESDIN (1822-1885)
Watermill (Moulin à Eau) (3), 1866A trial proof on chine appliqué
Together with two other impressions, one on chine appliqué (van Gelder second (final) state, the other on wove paper (Préaud third (final) state);
168 x 88 mm. (6 5/8 x 3 1/2 inches)Van Gelder 119 first state (of two)
PROVENANCE
Henri Marie Petiet (1894-1980) [Lugt 5031] -
FELIX BUHOT (1847-1898)
Westminster Palace, 1884etching, drypoint, and roulette on heavy cream/greenish wove paper; 11 1/2 x 15 1/3 inches
signed in pencil and extensively annotated by the artist
Bourcard/Goodfriend 155, Bourcard’s third state (of five), Goodfriend’s fourth state (of seven)
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JEAN-BAPTISTE-CAMILLE COROT (1796-1875)
Environs of Rome, 1866etching on laid paper; 314 x 233 mm. (12 3/8 x 9 1/8 inches)
Delteil 6 first state (of three)
PROVENANCE
Heinrich Stinnes (1867-1932), Cologne [Lugt 4437]
Henri Marie Petiet (1894-1951), Paris [Lugt 5031] -
EDGAR DEGAS (1834-1917)
A Woman in a Ruffled Cap, 1859–60etching on wove paper; 4 11/16 x 3 7/16 inches (119 x 87 mm)
pencil number 26 verso
Delteil 6; Reed & Shapiro 10 second (final) state [recte third [final] state)
PROVENANCE
Degas atelier, red oval stamp (Lugt 657); Vente d’Estampes, possibly lot 7, withdrawn or bought back by
René de Gas, the artist’s brother; by inheritance to his daughter
Odette de Gas and her husband Roland Nepveu; by inheritance to their daughter
Arlette Nepveu-Degas, Mme Robert Devade, and by descent; sale, Paris, Christie’s, 24 May, 2006, lot 19 -
EDGAR DEGAS (1834-1917)
René-Hilaire De Gas, grand-père de l'artiste, 1856etching and drypoint on wove paper; 5 1/8 x 4 3/16 inches (130 x 107 mm)
Delteil 2; Adhémar 6; Minder 4; Reed/Shapiro 4
PROVENANCE
Atelier Degas (Lugt 657)
François Heugel, Paris (Lugt 3373) -
HENRI FANTIN-LATOUR (1836-1904)
A Piece by Shumann (Un Morceau de Schumann), 1864etching on laid paper; 185 x 276 mm. (7 1/4 x 10 7/8 inches)
Beraldi 67; I.f.f. 166 third (final) state: Hédiard-Mason third (final) state (actually fourth state of five)
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HENRI FANTIN-LATOUR (1836-1904)
Prélude to Lohengrin (second plate), 1898Llthograph on wove paper; 489 x 343 mm. (19 1/4 x 13 1/2 inches)
Hédiard 146; Johnson 41
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HENRI-CHARLES GUÉRARD (1846–1897)
Honoré Daumier: Il faut être de son temps, 1879drypoint, aquatint and roulette, printed in two colors; 9 1/4 x 6 1/8 inches (235 x 155 mm)
dedicated in pencil by the artist and with his stamp in red below (Lugt 1157)
Bertin 9; Beraldi 17 -
HENRI-CHARLES GUÉRARD (1846-1897)
L’Infante Marie Thérèse (after VELASQUEZ), before 1888etching and aquatint on laid paper; 7 15/16 x 10 15/16 inches (201 x 278 mm)
Bertin 523 first state
The first-state impression is signed and annotated “1er état Epreuve unique” in pencil, and is stamped with two artist’s red monograms (Lugt 1157 and Lugt 3481).
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HENRI-CHARLES GUÉRARD (1846-1897)
L’Infante Marie Thérèse (after VELASQUEZ), before 1888etching and aquatint on laid paper; 7 15/16 x 10 15/16 inches (201 x 278 mm)
Bertin 523 fourth state
stamped with the artist stamp (Lugt 1157) and with a very unusual golden stamp
Bertin knew only a damaged proof of the fourth state that was used as a plate wrapper.
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HENRI-CHARLES GUÉRARD (1846-1897)
La Balayeuse – The Sweeping Womanzink etching and aquatint on vellum; 4 3/16 x 10 1/16 inches (107 x 256 mm)
annotated "Zinc tiré à 50 / parchemin tiré à 6"
Bertin 89
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JEAN-ÉMILE LABOUREUR (1877-1943)
Le Café du Commerce, 1913etching on a heavy cream/ivory wove paper; 298 x 343 mm. (11 3/4 x 13 1/2 inches)
signed in pencil & numbered '28/35'
Godefroy 126; Sylvain Laboureur 126, only state from the edition of 35 with 4 artist proofs
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ALPHONSE LEGROS (1837-1911)
Death and the Woodcutter (La Mort et le Bûcheron)etching on laid paper, extensively reworked with pen and brown ink and brown wash;
210 x 283 mm. (8 1/4 x 11 1/8 inches)signed in pencil
Malassis-Thibaudeau 670 third state of four
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ALPHONSE LEGROS (1837-1911)
Fisherman with a Hoop-net (La Pêche à la Truble)etching and aquatint on wove paper; 352 x 458 mm. (13 7/8 x 18 inches)
signed in pencil
Malassis 90 second state of three, before the plate is reduced
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ALPHONSE LEGROS (1837-1911)
Head of a Dutchman (Tête de Hollandais)etching on laid paper, extensively reworked with pen and brown ink and brown wash;
219 x 168 mm. (8 5/8 x 6 5/8 inches)signed in pencil
Legros 679 only state
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ALPHONSE LEGROS (1837-1911)
Portrait of Thomas Carlyle in Large Hat, 1877mezzotint, aquatint, drypoint and etching on wove paper; 460 x 350 mm. (18 1/8 x 13 3/4 inches)
signed
Poulet-Malassis/Thibaudaeu 34 third (final) state; Bliss 34 third state of four
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ALPHONSE LEGROS (1837-1911)
Self-portrait – Legros par lui-même, ca. 1894etching, drypoint and stipple with surface tone on laid paper;
302 x 216 mm. (11 7/8 x 8 1/2 inches)with the artist’s monogram stamp in the margin AL [Lugt 140a]
Inventaire du Fonds français 138, Legros 412, Malassis & Thibaudeau 412
PROVENANCE
P.V. Sanchez, Paris [Lugt 3289] -
ALPHONSE LEGROS (1837-1911)
Siesta of a Harvester (Sieste d'un Faucheur), second platedrypoint, extensively touched in gray pen and wash on laid paper;
128 x 187 mm. (5 x 7 3/8 inches)Legros 616 only state; Bliss 616 from a total edition of 6 impressions
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ALPHONSE LEGROS (1837-1911)
The Abbey Farm, ca. 1893etched working proof, extensively retouched in brown pen, ink and wash on laid paper;
146 x 280 mm. (5 3/4 x 11 inches)signed in pen and brown ink 'A. Legros'
Beraldi 503 second state of three
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ALPHONSE LEGROS (1837-1911)
The Philosopher (Le Philosophe)drypoint on laid paper, extensively retouched in ink;
137 x 87 mm. (5 3/8 x 3 3/8 inches)signed in pencil & annotated 'touched proof by Harold Wright'
Lucien Alphonse Legros 289 ii/ii, with reworking and substantially touched in pen and brown ink by Legros Bliss 289
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ALPHONSE LEGROS (1837-1911)
Trout Fishermen (Pecheurs de Truites)etching and drypoint on laid paper; 119 x 198 mm. (4 3/4 x 7 3/4 inches)
signed in pencil
Legros 595 only state; Bliss 595
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LUDOVIC NAPOLÉON LEPIC (1839-1889)
Fisherman in a Boat with his Dog (Pêcheur en Barque avec son Chien, from: Croquis Hollandais et Autres), 1870etching printed with plate tone on chine Volant; 127 x 227 mm. (5 x 9 inches)
signed in blue pencil
Inventaire du Fonds français 53-87
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LUDOVIC NAPOLÉON LEPIC (1839-1889)
Herd of cows and sheep at the watering hole (Troupeau du vaches et moutons à l'abreuvoir), ca. 1866etching on Japan paper; 165 x 365 mm. (6 1/2 x 14 3/8 inches)
signed in blue pencil within the image
Inventaire du Fonds français 23, only state
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CHARLES ANDRÉ MALARDOT (1817-1879)
Fishermen at the Edge of a Woodland Pond (Famille de Pêcheurs au Bord d'un Ruisseau), 1860etching on Chine collé; 457 x 350 mm. (18 x 13 3/4 inches)
Bellevoye 40
PROVENANCE
Dr. Pierre Lafargue, Bordeaux (without mark, not in Lugt)Unknown to Beraldi. Early impression of the great composition which has been long regarded as a genuine work by Bresdin. Printed from the etched plate before Bresdin transferred it to a lithograph stone.
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EDOUARD MANET (1832-1883)
La Petite Fille – The Young Girl, 1861–62etching and drypoint in brownish ink on fine laid paper; 8 1/8 × 4 5/8 inches
Guérin 25 first state (of two); Harris 19 first state (of two); Fisher 3
PROVENANCE
Sam Josefowitz, Pully, Switzerland (not stamped) -
CHARLES MERYON (1821-1868)
Tourelle, rue de la Tixéranderie 1852etching on Japan paper; 9 11/16 x 5 3/16 inches (246 x 131 mm)
Delteil/Wright 29 first state (of five), this impression cited; Schneiderman 24 first state (of five)
PROVENANCE
Francis Seymour Haden, London and Bramdean near Alresford (Lugt 1227)
Wunderlich Gallery, Catalogue of Meryon’s Etchings formely owned by Sir FS Haden, New York, January 1901, no. 13a
Gottfried Eissler, Vienna (Lugt 805b)
P. & D. Colnaghi & Co., London (their stock nos. C.7511, C.8265, and C.28660)
M. Knoedler & Co., New York (their stock no. MK 34016);
Forty Etchings by Charles Meryon, New York 1931 (The Print-Collector’s Bulletin, vol. 2, no. 1), p. 22 -
CHARLES MERYON (1821-1868)
La Tour de l’horloge – The Clock Tower, Paris 1852etching with engraving on very thin Japan paper; 10 1/4 × 7 1/4 inches
Delteil/Wright 28 third state (of ten); Schneiderman 23 third state (of ten)
PROVENANCE
P. & D. Colnaghi & Co., London (with their notation verso) -
CHARLES MERYON (1821-1868)
La Morgue - The Mortuary 1854etching on thin laid paper; 8 3/8 x 7 1/2 inches
Delteil/Wright 36 third state (of seven), Schneiderman 42 third state (of seven)
PROVENANCE
Henri M. Petiet, Paris (Lugt 5031) -
CHARLES MERYON (1821-1868)
Le Petit Pont 1850etching and burin on Japanese paper; 10 ¼ x 7 7/16 inches (260 x 189 mm)
nnotated in pen and black ink: “les tours Notre dame et l’hotel dieu démoli 1854”
Delteil/Wright 24 third state (of six); Schneidermann 20 fourth state (of nine)
PROVENANCE
Jules Gerbeau, Paris (Lugt 1166, this impression mentioned)
Maurice Gobin, Paris (Lugt 1124 a) -
JEAN-FRANÇOIS MILLET (1814-1875)
The Gleaners (Les Glaneuses), 1855etching on heavy wove paper; 190 x 252 mm. (7 1/2 x 9 7/8 inches)
Melot Delteil 12 second (final) state
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FRANCIS PICABIA (1879-1953)
Boat on the Waters Edge (Barque au bord de l’eau), ca. 1905etching on wove paper; 16.8 x 24.7 cm. (6 5/8 x 9 3/4 inches)
signed & numbered 7/10
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CAMILLE PISSARRO (1830-1903)
Repos du dimanche dans le bois – A Peaceful Sunday in the Woods 1891etching, aquatint, and drypoint on laid paper; 6 3/4 x 11 3/8 inches
Delteil 99 third (final) state (but see discussion below)
signed in pencil lower right and inscribed by the artist “2e etat No.2 repos dans le bois” lower left
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CAMILLE PISSARRO (1831-1903)
Château de la Roche-Guyon, 1880etching, acquatint and drypoint on medium weight Dutch laid paper;
166 x 245 mm. (6 1/2 x 9 5/8 inches)signed in pencil & numbered ‘22’
Delteil 27 only state
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CAMILLE PISSARRO (1831-1903)
Enfants causant – Children Talking, 1889etching on laid paper; 4 x 2 1/8 inches (100 x 60 mm)
Delteil 89 third (final) state
signed, titled, and inscribed “No. 6 Epreuve de Artiste.”
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CAMILLE PISSARRO (1831-1903)
Eglise d’Osny, près Pontoise, 1885drypoint and aquatint on laid paper; 120 x 160 mm. (4 3/4 x 6 1/4 inches)
signed in pencil & numbered 'no. 3'
Delteil 62 fourth (final) state
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CAMILLE PISSARRO (1830-1903)
Grand-Mère (effet de lumière) – Grandmother (Light Effect), 1889etching and drypoint on Japanese paper; 6 5/8 x 10 ¼ inches
Delteil 80 second state (of seven)
signed in pencil lower right, titled lower left, inscribed “No 3 – 2e etat” lower left in pencil
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CAMILLE PISSARRO (1831-1903)
Landscape at Osny (Paysage à Osny), 1887drypoint on wove paper; 117 x 156 mm. (4 5/8 x 6 1/8 inches)
signed in pencil & numbered ‘22’
Delteil 70 first state of two
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CAMILLE PISSARRO (1830-1903)
Le Pont de Pierre, à Rouen – The Stone Bridge, Rouen, 1887zinc etching and drypoint on laid paper; 5 x 7 3/4 inches
signed lower right in pencil, annotated lower left “No 4 Epreuve d’artiste Pont de Pierre a Rouen Zinc”
Delteil 66 second (final) state
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CAMILLE PISSARRO (1830-1903)
Petite Rue nationale, à Rouen – Narrow Street in Rouen, 1896zink etching, drypoint, manière grise, and aquatint on laid paper; 6 1/2 x 5 1/8 inches
signed in pencil lower right, numbered (No 6) and annotated “ep defi” (definitive proof) lower left, titled below (and with the added annotation Z)
Delteil 122 third (final) state
PROVENANCE
Henri Petiet, Paris (Lugt 2021a) -
CAMILLE PISSARRO (1831-1903)
Peasant Woman (La Paysanne), 1891etching and drypoint on laid paper; 118 x 80 mm. (4 5/8 x 3 1/8 inches)
stamped with monogram [Lugt 613e], annotated in pencil "102. La Paysanne", & numbered in pencil '2/18'
Delteil 102 2/18
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CAMILLE PISSARRO (1830-1903)
Paysanne au puits – Peasant Woman at the Well, 1891etching and aquatint on laid paper; 9 1/4 x 7 5/8 inches
signed, titled and numbered (3 etat no 2)
Delteil 101 third (final) state
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CAMILLE PISSARRO (1830-1903)
Paysanne donnant à manger à un enfant – Peasant Woman Feeding a Child, 1874zinc etching on wove paper; 4 3/4 x 4 5/8 inches
signed in pencil lower right and inscribed lower left “No 1 – 1er etat”, also titled in pencil with the added annotation “zinc”
Delteil 12 first state (of four)
PROVENANCE
Kennedy Galleries, New York -
CAMILLE PISSARRO (1830-1903)
Paysannes dans un champ de haricots – Peasant Women in a Field of Beans, 1891etching, aquatint, and manière grise on laid paper; 9 1/2 x 6 1/8 inches
titled, signed, annotated 1er etat no. 10, also marked with a large Z by the artist in pencil
Delteil 103, only state
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CAMILLE PISSARRO (1830-1903)
L’Île Lacroix, à Rouen – Lacroix Island, Rouen, ca. 1887etching, aquatint, manière grise, drypoint, and burnishing on laid paper; 4 1/2 x 6 1/4 inches
signed and numbered (No. 1) in pencil lower left, annotated 1er état lower right.
Delteil 69 second (final) state
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CAMILLE PISSARRO (1831-1903)
The Long Landscape (Paysage en long), 1879aquatint on thick wove paper; 115 x 396 mm. (4 1/2 x 15 5/8 inches)
annotated by the artist 'no. 1- 1er etat/paysage en long/zinc'
Delteil 17 first state of two; Shapiro 12 first state of three
PROVENANCE
Marcel Louis Guérin (1873-1948), Paris [Lugt 1872b]
Maurice Gobin (1883-1962), Paris [Lugt 1124a] -
CAMILLE PISSARRO (1831-1903)
The Old Cottage (La Masure), 1879/1923etching and aquatint on wove MBM paper, with watermark and deckled edges;
165 x 170 mm. (6 1/2 x 6 3/4 inches)Artist's monogram stamp [Lugt 613e] numbered in pencil 30/30
Posthumous print of 1923 by Porcaboeuf
PROVENANCE
Professor and Mrs. Daniel Bell, Cambridge, MA -
CAMILLE PISSARRO (1830-1903)
Vielle Rue à Rouen (Rue Malpalue) – An Old Street in Rouen, 1883etching and drypoint on antique laid paper; 5 x 4 7/8 inches
signed in pencil and inscribed “1 Ep d’Etat”
Delteil 41 second (final) state
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CAMILLE PISSARRO (1830-1903)
Femme à la barrière – Woman at the Gate, 1889etching and drypoint on laid ARCHES paper; 6 7/8 x 4 1/8 inches
signed in pencil with the initials CP lower right (annotated “imprime par C.P.”), annotated “No. 3, 6 etat” lower left and also titled “femme a la barriere” (largely erased) lower left
Delteil 84 sixth state (of ten)
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CAMILLE PISSARRO (1831-1903)
Woman taking her shoes off (Femme enlevant ses chaussures), ca. 1894monotype printed in black and ochre on wove paper; 177 x 125 mm. (7 x 4 7/8 inches)
signed in pencil & numbered ‘22’
Delteil 27 only state
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CAMILLE PISSARRO (1830-1903)
Baigneuses à l’ombre des berges boisees – Women Bathing in the Shade of Wooded Banks, 1894lithograph on chine appliqué; 6 1/8 x 8 ½ inches
signed in pencil lower right; as published in L’Estampe originale, with their blind stamp lower right (Lugt 819), edition of 100
Delteil 142 second (final) state
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CAMILLE PISSARRO (1831-1903)
Wooded Landscape at L'Hermitage, Pontoise (Paysage Sous Bois à l'Hermitage, Pontoise), 1879soft ground etching, aquatint and drypoint on thin Japan paper;
220 x 268 mm. (8 5/8 x 10 1/2 inches)signed & titled in pencil
Delteil 16 fifth (final) state; Shapiro sixth (final) state
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PAUL-ADOLPHE RAJON (1842-1888)
Bracquemond in 1873, 1873etching on antique blue laid paper; 295 x 222 mm. (11 5/8 x 8 3/4 inches)
Beraldi 148 proof before letters and additional work
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ODILON REDON (1840-1916)
L’Aile – The Wing, 1893lithograph on chine appliqué; 12 5/8 x 9 3/4 inches
from the edition of 25 printed by Becquet, Parissigned in pencil lower left
Mellerio 122, only state
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KER-XAVIER ROUSSEL (1867-1903)
The Potato Peeler (L'Éplucheuse), 1893lithograph on gray laid paper; 192 x 155 mm. (7 1/2 x 6 1/8 inches)
Salomon 2 only state
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THEOPHILE ALEXANDRE STEINLEN (1859-1923)
Chanson du soir – Evening Song, ca. 1913etching on laid ARCHES paper (with a partial watermark); 11 3/4 x 6 inches
signed in pencil at lower right
not in Crauzat (see below)
PROVENANCE
ex Collection: Forgues, Eugène Daurand (1857-1933) Premier Président de la Cour d’Appel, Paris, with his stamp recto lower right margin (Lugt 743a) -
JAMES MCNEILL WHISTLER (1834-1903)
Bridge, Amsterdam, 1889etching; printed in brown ink on thin laid paper; 6 1/2 × 9 1/2 inches
signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11
Kennedy 409; Glasgow 447 fifth (final) state
PROVENANCE
Vivian and Meyer P. Potamkin, Philadelphia;
sale, Sotheby’s, New York, May 11, 1989, lot 302
Samuel Josefowitz, Pully, Switzerland