Description:
Paris: Cadart & Luquet, 1870. Etching with engraving on Chine-collé mounted to wove paper, 14 1/4 x 9 5/8 inches (360 x 244 mm) full margins. In good condition with some marginal wear along the lower sheet edge, as well as some scattered surface soiling. The impression is rich and well inked. Printed by Delâtre, Paris. From a volume published by the Société des Aquafortistes containing sixty prints by various artists including Delacroix, Jongkind, Corot, Courbet and Bracquemond. Published in Paris by Cadart et Luquet, 1867. Each image with artist and titles at front, and with the publisher's blindstamp. Xavier de Dananche born in Saint Amour (Jura) in 1828 and died 1894. A little-known painter, he is the author of one hundred and twenty-six etchings. Danache's early landscapes, such as this work, were heavily influenced by Camille Corot, of whom he was a student.
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Sous Bois
by Dananche, Xavier de (after)
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Le Ruisseau Dans La Clairière (The Brook in the Clearing)
by Daubigny, Charles François
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Paris, 1862. Cliché-verre on lightweight photosensitive wove paper, 8 3/4 x 7 1/8 inches (220 x 180 mm) (sheet), full margins. Signed in the plate, lower right. Because this impression is printed on lightweight photosensitive paper, lacks a cancellation mark, and does not have 20th century publisher's seal; our opinion is that this is a lifetime impression. [Deltiel 137]. Daubigny was one of the first artists to explore the qualities of changing daylight and the effect it had on natural landscapes. In 1842 he began to travel frequently, and spent time in the woods of Fontainebleau and later in Burgundy, where he befriended Jean-Baptiste-Camille Corot. The two painted together in Switzerland and the Dauphiné. In 1857, Daubigny purchased a boat on which he built a floating studio. His mobile studio on the water gave him enormous freedom to select the optimal viewpoints for rendering landscapes in relation to shifting light, and he spent hours upon hours exploring the delights of the Oise, the…
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Croix De Royat
by Dauzats, Adrien
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1835. Lithograph on cream wove paper, 12 3/4 x 9 1/8 inches (322 x 231 mm), margins trimmed. Some scattered light foxing on the verso, handling creases, and adhesive residue along the top sheet edge, and left sheet edge, verso. Recto is clean. Born in Bordeaux in 1804, Adrien Dauzats is most celebrated for his Orientalist subject matter. His Romantic depictions of Arab life and culture swept France by storm in mid the and late 19th century, specifically his masterpiece landscapes of Cairo, Ancient Egyptian ruins, and the inhabitants of the Nile River Valley. Dauzats was one of the true pioneers of this genre. In 1844 he relocated to the rue Notre-Dame de Lorette, in Paris, and befriended fellow French Romantic master Eugene Delacroix, who became his neighbor and close colleague. The two forged a friendship so profound that Delacroix named Dauzats as one of the executors of his will. Works by Dauzats may be found in the permanent collections of the Louvre, the Palace of Versailles, the Victoria and…
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The Ship Builder and His Wife
by de Frey, Johannes Pieter (after Rembrandt)
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Amsterdam, 1800. Etching with engraving on cream laid paper which is watermarked with a fancy "M," 9 1/2 x 12 3/16 inches (240 x 308 mm), narrow margins. In good condition with some scattered light areas of discoloration, lower margin trimmed to exclude text. An impression of this work may be viewed in the permanent collection of the Philadelphia Museum of Art, accession number: 1985-52-7522.
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Place de la Concorde, Paris
by De Nittis, Guiseppe (Joseph)
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Paris: Gebbie & Co, 1895. Photogravure and engraving on cream wove paper, 6 11/16 x 9 5/8 inches (169 x 244 mm), full margins. In good condition with minor toning and three scattered spots of light discoloration in the margins, outside of the image area. There is some minor surface soiling on the verso. A beautiful cityscape highlighting one of the major public squares in Paris. The Place de la Concorde was the location of several notable public executions, including those of King Louis XVI, Marie Antoinette, and Maximilien Robespierre. In the distance is the Luxor monument; an architectural relic dating to the era of Ramesses II which was gifted to France by the Egyptian government in 1829.
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Selected Tales of Guy de Maupassant, the complete portfolio
by Dehn, Adolph
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1945. Portfolio containing 20 lithographs based on selected tales by de Maupassant, printed on handmade Lawrence Barrett paper. Each lithograph measures 21 1/4 x 16 15/16 inches (540 x 430 mm), with full margins, and is signed, titled, and numbered by Dehn. Presented along with a signed and numbered limitation page identifying the portfolio as being number 160/250 in the series. Lacking the cloth case; each impression in excellent condition, the complete set. [Lumsdaine/O'Sullivan 1987, 390]. A native Minnesotan, Dehn is remembered as a prolific artist of great range. His artworks are held in over 100 museums (including the National Gallery of Art, National Portrait Gallery, Metropolitan Museum, Museum of Modern Art, and Whitney Museum of American Art); over 25 museums hold extensive collections of his work. "Many of Dehn's prints are made using tusche, a liquid lithographic medium which allows for fluid effects. He has been called the "Debussy of American lithography" and "Dean of American…
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Tigre Couché à l'Entrée de son Antre
by Delacroix, Eugène
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1830. Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of the fine lines printing clearly. Plate is inky and well-wiped. Scattered light surface soiling, age tone, and mat tone. Several scattered spots of foxing, all outside of image area. Issued 1908, as the frontispiece in Le Peintre-Graveur Illustre (third volume: Ingres and Delacriox). Sixth state (of 6). [Delteil 12].
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Jeune Tigre jouant avec sa mère
by Delacroix, Eugène
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1831. Lithograph on on white wove paper, 4 1/2 x 7 3/8 inches (112 x 187 mm), wide margins. First state (of 6). A very good impression with minor scattered spots of very light discoloration. [Delteil 91.1]. At an early age Delacroix became a lover of music and literature and had been drawing from the time he entered school. He expected painting would be a hobby, but on the death of his father he found he had to make his own way in life. In 1817 he entered the studio of Pierre-Narcisse Guerin; amongst his fellow pupils was Gericault. His first exhibited work was Dante and Virgil in 1822 in the Salon. His success in 1822 having brought him fame, Delacroix for a time led a busy social life. He was a friend of Richard Parkes Bonington, who frequented the studio of Gros, and he became acquainted with Thales Fielding. Tradition has it that after seeing one of Constable's landscapes at a Parisian art dealer's, in the four days remaining before the opening of the Salon, Delacroix re-painted the…
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Faust, Méphistophélès et le Barbet ; Faust, Méphistophélès and the Water Spaniel
by Delacroix, Eugène
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- 9781924101479
- ISBN 10
- 1924101475
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London: C.Motte, 1828. Lithograph on Chine appliqué, 9 1/4 x 8 1/8 inches (235 x 206 mm), full margins. First state (of 4). Extremely minor uniform age tone, otherwise in good condition. A superb, richly-inked impression. [Delteil 61.1]. At an early age Delacroix became a lover of music and literature and had been drawing from the time he entered school. He expected painting would be a hobby, but on the death of his father he found he had to make his own way in life. In 1817 he entered the studio of Pierre-Narcisse Guerin; amongst his fellow pupils was Gericault. His first exhibited work was Dante and Virgil in 1822 in the Salon. His success in 1822 having brought him fame, Delacroix for a time led a busy social life. He was a friend of Richard Parkes Bonington, who frequented the studio of Gros, and he became acquainted with Thales Fielding. Tradition has it that after seeing one of Constable's landscapes at a Parisian art dealer's, in the four days remaining before the opening of the…
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Caltanissetta. Un aspetto del quartiere Provvidenza (A view in the Provvidenza neighborhood of Caltanissetta, Sicily)
by Delcanale, Alessandro
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1977. Fine. Vintage gelatin silver print. Image dimensions 12 x 7 3/4 in. (302 x 195 mm), printed to edge. Photographer's copyright stamp and credit sticker on verso. A typical cobbled street in Caltanissetta, at the heart of Sicily, by photojournalist Alessandro Delcanale.
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Caltanissetta. Un aspetto del quartiere Provvidenza. (A view in the Provvidenza neighborhood of Caltanissetta, Sicily)
by Delcanale, Alessandro
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1977. Fine. Vintage gelatin silver print. Image dimensions 12 x 7 7/8 in. (302 x 200 mm), printed to edge. Photographer's copyright stamp and credit sticker on verso, with date 10/77. Photo depicting a people in a narrow street of Caltanissetta, Sicily by photojournalist Alessandro Delcanale.
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Caltanissetta. Un aspetto del quartiere Provvidenza (A view in the Provvidenza neighborhood of Caltanissetta, Sicily)
by Delcanale, Alessandro
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1977. Fine. Vintage gelatin silver print. Image dimensions 12 x 7 7/8 in. (302 x 200 mm), printed to edge. Photographer's copyright stamp and credit sticker on verso, with date 10/77. A beautifully composed image of a Sicilian town in the 1970's by photojournalist Alessandro Delcanale.
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Le Matin
by Delâtre, Auguste (1822-1907)
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Paris: Cadart & Luquet, 1865. Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper, 9 5/8 x 12 3/4 inches (243 x 322 mm), full margins with three deckle edges. In very good condition with some minor toning at the extreme edges of the support sheet, as well as some edge wear at the left sheet edge. With the Cadart blindstamp in the lower-center margin. Printed by Delâtre, Paris. From a volume published by the Société des Aquafortistes containing sixty prints by various artists including Delacroix, Jongkind, Corot, Courbet and Bracquemond. Published in Paris by Cadart et Luquet, 1867. Each image with artist and titles at front, and with the publisher's blindstamp.
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Study for Assumption of the Virgin
by DeMin, Giovanni (1786 - 1859), attributed to
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1849. Graphite on hand made, fibrous wove paper, finished with gray wash. 6 3/8 x 4 3/8 inches (160 x 110 mm). Unevenly trimmed sheet edges, non-archival tape remnants at all four corners, recto, well outside of image area. Horseshoe-shaped area of light discoloration that extends significantly into the figure's face, beneath the lips, and up over the rear of the head, dog-eared right lower corner with associated light discoloration at crease. DeMin and Belluno inscribed in graphite, verso. A detailed study showing 'primo pensiero' for Giovanni DeMin's large scale fresco, Assumption of the Virgin. The fresco is located in Comelico Superiore parish church, Belluno province, Veneto, Italy.
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Don Quixote and Sancho Panza Witness the Attack on Rocinante
by Denon, Baron Dominique Vivant (after Jean-Honoré Fragonard)
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Paris, 1900. Etching on a large sheet of light cream wove paper, 4 3/4 x 3 1/2 inches (120 x 90 mm), full margins. In good condition with minor edge wear, well outside of image area. An etching after the c1780 illustration by Fragonard, likely printed early 20th century. The British Museum offers the following biographical information regarding the artist: "Painter, draughtsman, etcher, curator and author. Worked as a diplomat in Naples (1779-85), where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793, prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business, and published two catalogues of his work (in 1793 and in 1803). Appointed in 1803 as (first) director of the Louvre, and put in charge of the Gobelins, Sèvres and the Monnaie; for this created a Baron. In charge of deciding the works to be removed from occupied Europe for the Louvre.…
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Don Quixote Reading
by Denon, Baron Dominique Vivant (after Jean-Honoré Fragonard)
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Paris, 1900. Etching on a large sheet of light cream wove paper, 4 3/4 x 3 1/2 inches (120 x 90 mm), full margins. In good condition with minor edge wear, well outside of image area. An etching after the c1780 illustration by Fragonard, likely printed early 20th century. The British Museum offers the following biographical information regarding the artist: "Painter, draughtsman, etcher, curator and author. Worked as a diplomat in Naples (1779 - 1785), where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793, prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business, and published two catalogues of his work (in 1793 and in 1803). Appointed in 1803 as (first) director of the Louvre, and put in charge of the Gobelins, Sèvres and the Monnaie; for this created a Baron. In charge of deciding the works to be removed from occupied Europe for the Louvre.…
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View of Arona
by Denon, Baron Dominique Vivant
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Paris, 1788. Etching on light cream wove paper, 5 1/2 x 8 1/2 inches (140 x 215 mm), full margins. Some minor toning at the top margin, as well as small losses at the lower right extreme sheet edge. The plate is printed on an oversize sheet of paper (15 1 /2 x 12 inches), and all condition points are well outside of the image area. The impression is finely printed and well inked. Likely printed 19th century. An impression of this work may be found in the permanent collection of the British Museum, object number 1989,0930.247. The British Museum offers the following biographical information regarding the artist: "Painter, draughtsman, etcher, curator and author. Worked as a diplomat in Naples (1779-85), where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793, prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business, and published two catalogues…
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Don Quixote
by Denon, Baron Dominique Vivant (after Jean-Honoré Fragonard)
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Paris, 1900. Etching on a large sheet of light cream wove paper, 4 3/4 x 3 1/2 inches (120 x 90 mm), full margins. In good condition with minor edge wear, well outside of image area. An etching after the c1780 illustration by Fragonard, likely printed early 20th century. The British Museum offers the following biographical information regarding the artist: "Painter, draughtsman, etcher, curator and author. Worked as a diplomat in Naples (1779-85), where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793, prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business, and published two catalogues of his work (in 1793 and in 1803). Appointed in 1803 as (first) director of the Louvre, and put in charge of the Gobelins, Sèvres and the Monnaie; for this created a Baron. In charge of deciding the works to be removed from occupied Europe for the Louvre.…
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Elegante Eventail
by Desaille, Antoinette
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1900. Etching with drypoint on cream laid paper with a partial watermark, 11 x 5 1/4 inches (280 x 133 mm), full margins. Signed in pencil, titled, and inscribed "ep. No. 3," in pencil, lower margin. A rare image by a lesser-known female impressionist artist and contemporary of Berthe Morisot and Mary Cassatt. Wife of internationally-acclaimed interior designer, decorator and ceramacist, George Hoentschel, Antoinette Desaille is sometimes referenced with her husband's surname. Desaille, a well-known impressionist who was heavily influenced by Paul Helleu, is buried alongside her husband in a family plot in Père-Lachaise cemetery in Paris where she was interred after her death in 1905.
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The Smoker at the Window
by Deuchar, David (after van Ostade)
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Edinburgh, 1800. Etching on cream laid paper, 4 1/2 x 4 inches (119 x 100 mm), thread margins. Left top corner expertly repaired, right top corner with some adhesive residue. Notations in pencil on the verso. Condition consistent with age. A reverse image copy etched by David Deuchar afer Ostade, from A Collection of Etchings After the Most Eminent Masters of the Dutch and Flemish Schools particularly Rembrandt, Ostade, Cornelius Bega and Van Vliet, Edinburgh: 22 December, 1803. [Godefroy 10; Hollbein 11 copy].
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