Triumphal Procession of the Noble Glorious Women, 1549.

Engraving. 24 x 137 mm, thread margins. Reference Hollstein 244, II/III

A very fine impression in excellent condition. Complete, without restoration and evenly printed.

Notes from the MFA, Boston…..Here, sprightly horses pull a carriage bearing a semi-nude couple crowned with laurel wreaths. They are accompanied by fully-clothed woman carrying symbols of glory: torches, palm fronds, and trophies. A woman blowing a trumpet leads the way. To the rear are male warriors on horse and on foot. The wagon itself has an elaborate classicizing design that seems part chariot and part boat.

Though the subject is clearly identified by an inscription, it is unclear if Beham intended a direct literary reference. The print may draw on the idea of the nine worthy women of the Old and New Testaments and the pagan era. It seems to place femininity in a more positive light than Lucas van Leyden did in his earlier series on the power of women.

View of the Belvedere from the Pitti Palace, Florence

pen and brown ink. 4 1⁄8 x 5 1⁄2 in. (10.3 x 14 cm)

PROVENANCE: Charles Noel, 1st Earl of Gainsborough (1781-1866), part of an album; by descent to Lady Catherine Hamilton Noel (1829-1855). James Carnegie (1827-1905), 9th Earl of Southesk, Master of Kinnaird Castle, Scotland. With Arcade Gallery, London, 1946. With Schaeffer Galleries, New York.

Sold as a pair.

The Milk Woman, 1774

Pastel manner; printed in red, blue, and black inks with two colors of applied gold leaf.

Jacques Hérold Louis-Marin Bonnet (1756-1793). Catalogue de l'Oeuvre Gravé. Paris, 1935, cat. no. 294, p. 164.

Margaret Morgan Grasselli Colorful impressions: the printmaking revolution in eighteenth- century France. Washington D.C., 2003, cat. no. 30, pp. 82-83, ill.

The Woman Taking Coffee, 1774

Pastel manner; printed in blue, red, and black inks with two colors of applied gold leaf

Jacques Hérold Louis-Marin Bonnet (1756-1793). Catalogue de l'Oeuvre Gravé. Paris, 1935, cat. no. 294, p. 163.

Margaret Morgan Grasselli Colorful impressions: the printmaking revolution in eighteenth- century France. Washington D.C., 2003, cat. no. 31, pp. 82-83, ill.

Actors at the Hotel de Bourgogne or L'Hôtel de Bourgogne, 1633–34

Etching.

26 x 33.7 cm, 10 1/4 x 13 1/4 in

Reference Duplessis 1268 Blum 944

Armed Four-Master Sailing Towards a Port from The Sailing Vessels, 1561-65

Engraving; second state of four, 1561–65 Watermark: Small Posthorn.
Van Bastelaer 99.ii; NH(Bruegel) 140.63.ii
Sheet: 13 5/16 x 10 1/4 in. (33.8 x 26 cm) In the years 1561-62, Pieter Bruegel made a number of drawings of different types of ships, commissioned by the publisher Hieronymous Cock in Antwerp. Cock used them as models for a series of ships engraved by Frans Huys, which he published around 1565. 

The Temptation of St. Anthony, 1635

Etching; third state of five.

Lieure III.93-95.1416 iii/v; Meaume 139

Israël Henriet (Nancy ca. 1590–1661 Paris), Publisher

Signed in plate, lower left, with text below. 352 x 458 mm

The Portrait of Titian, 1587

engraving

33.3 x 23.7 cm

Ref. B 154 DeGrazia Bohlin 145 II/III

Reclining Female Nude

Signed Th Chasseriau, graphite on tan wove paper, c. 1850, 105 x 165 mm.

Provenance: Gerhard Pinkus, Beverly Hills,

Henri Joachim Delacroix (1873-1937), Paris, Lugt 3604, his stamp, recto, lower left.

Reference: LA Prat Théodore Chassériau

Cahiers du Dessin Français, Paris, 1989, no 95, ill.

from Théodore Chassériau (1819-1856) The Unknown Romantic, MMA, 2002……...(Jean-Louis) Vaudoyer wrote in 1933, that Chassériau, like Botticelli, Leonardo, Bronzino, and Prud’hon had the privilege of endowing the world of art with a female type whose physique and physiognomy had not existed before him…..Chassériau devised a novel and creative synthesis of classical and Renaissance depictions of the nude, which he adapted to the materialism and sensuality of his day...

Touch (Tactus) from the Five Senses

n.d., signed lower right in plate, engraving, first edition, 22 x 26 cm

Ref. NH Collaert VI.81.1368; Hollstein XLIV.1492. 'The concept of the Five Senses personified by women and accompanied by companion animals was established by the Middle Ages, but the specific combinations of women and beasts illustrated in this set date to the mid-sixteenth century.' (Metropolitan Museum of Art)

Provenance Private Collection Chicago

Smell (Odoratus) from the Fives Senses

n.d., signed lower right in plate, engraving, first edition, 22.2 x 26.1 cm

Ref. NH Collaert VI.81.1368; Hollstein XLIV.1492. 'The concept of the Five Senses personified by women and accompanied by companion animals was established by the Middle Ages, but the specific combinations of women and beasts illustrated in this set date to the mid-sixteenth century.' (Metropolitan Museum of Art)

Provenance Private Collection Chicago

Sight (Visus) from the Five Senses

n.d., signed lower right in plate, engraving, first edition, 22.1 x 26 cm

Ref. NH Collaert VI.81.1368; Hollstein XLIV.1492. 'The concept of the Five Senses personified by women and accompanied by companion animals was established by the Middle Ages, but the specific combinations of women and beasts illustrated in this set date to the mid-sixteenth century.' (Metropolitan Museum of Art)

Provenance Private Collection Chicago

Hearing (Auditus) from the Five Senses

n.d., signed lower right in plate, engraving, first edition, 22 x 26.2 cm

Ref. NH Collaert VI.81.1368; Hollstein XLIV.1492. 'The concept of the Five Senses personified by women and accompanied by companion animals was established by the Middle Ages, but the specific combinations of women and beasts illustrated in this set date to the mid-sixteenth century.' (Metropolitan Museum of Art)

Provenance Private Collection Chicago

Taste (Gustus) from the Five Senses

n.d., signed lower right in plate, engraving, first edition, 22.1 x 26.2 cm

Ref. NH Collaert VI.81.1368; Hollstein XLIV.1492. 'The concept of the Five Senses personified by women and accompanied by companion animals was established by the Middle Ages, but the specific combinations of women and beasts illustrated in this set date to the mid-sixteenth century.' (Metropolitan Museum of Art)

Provenance Private Collection Chicago

after Guido Reni (Italian, Bologna 1575–1642 Bologna)

St Jerome in the Desert, 1637

Chiaroscuro woodcut from three blocks in in blue, brown and black.

Bartsch, illustrated 48 33-I (83), Bartsch XII.83.33, Takahatake Version A i/ii

Dimensions: 297 x 222 mm

The Holy Family or Madonna del Gatto

1577

signed lower right in plate, 'Cornelis Cort fec...'

engraving

31.5 x 24 cm

Ref. NH Cort 45.83; Bierens de Haan 44; I/II trimmed text. after Barocci’s painting ‘The Madonna and Child with Saint Joseph and the Infant Baptist’ (‘La Madonna del Gatto’) National Gallery, London.

Ex. coll. A Hunter L. 2306, stamp on backing sheet recto

Lithograph. Delteil 115. I (of III). H. D. 300 I (of III). Chine appliqué on wove paper. 272 x 221 mm

Provenance: G. Cognacq (1880–1951), Paris (Lugt 538d); R. Gaston-Dreyfus (not in Lugt); Henri M. Petiet (not in Lugt)

A fine, rich impression of this rare subject in a first state, with the three stars clearly visible. Published in La Caricature, no. 235, 7 May 1835, plate 488. Delteil describes the first state as “très rare”.

Les Sciences (Rhetoric, Jurisprudence, Theology, Physics, Dialectics, Astronomy)

(Robert-Dumesnil IX, 340-45; Guilmard 5; Berlin Kat. 4513)

The complete set of six engravings, before 1572-73, fine impressions of these rare prints, without watermark, trimmed outside the borderline and text, on wove album sheets, bound in a portfolio.

Dimensions: Album sheets: 8¾ x 5 7/8 in. (222 x 148 mm.) Engravings: 2 7/8 x 2¼ in. (73 x 57 mm.)

Provenance: Arthur and Charlotte Vershbow, August Laube.

These six plates show allegorical figures representing Physics, Theology, Jurisprudence, Dialectics, Rhetoric and Astronomy,: A series of six plates with allegories of six liberal arts and sciences, personified by female figures surrounded by ornamental motifs.

Rene Taze Atelier III

Etching and aquatint, 1981, from the edition of 90 impressions. Signed, titled, dated and numbered 88/90 in pencil. Dimensions: 25 x 19 inches; 64 x 49 cm

Erik Desmazières is considered one of the greatest contemporary printmakers, and has had more than 10 museum retrospectives in Europe, Canada and the United States during the past few years. In 2009 he was elected to the Académie des Beaux-Arts de l'Institut de France.

Desmazières was born in Rabat, Morocco, in 1948 and resides in Paris. He is a graduate of the Institut d'Etudes Politiques de Paris and studied printmaking at the Cours du Soir de la Ville de Paris. He also serves as president of La Societe des Peintres Graveurs Francais.

Erik Desmazières is an intaglio printmaker of the Art Fantastique school, whose artists find their aesthetic antecedents in Bresdin, Piranesi, Callot and Durer. In addition to prints he is well known for his illustrated artist books and portfolios.

St Paul, 1514

Engraving.

Koehler 77; Hollstein VII.41.47; Schoch, Mende, and Scherbaum 74ii, Meder 47, b

Provenance: Colnaghi, London

4 5/8 × 2 7/8 in. (117 × 73 mm)

The Angel with the Key to the Bottomless Pit, 1498

Woodcut.

From the Apocalypse (Revelation 21:9-21).... The Angel with the key seized the dragon, who is Satan, and bound him for a thousand years and threw him into the Abyss .....The Angel then carried me away to a great high mountain and showed me the Holy City of Jerusalem coming down out of Heaven Reference: Meder 178. Bartsch 75. Hollstein VII.143.178 without watermark. Sheet: 15 1/2 x 11 1/8 in; 394 x 282 mm. Clear, fine impression of the final leaf of the series in the original edition of 1498. Provenance: Friedrich Quiring, Eberswalde (L. 1041c), a collection known for its exceptional works by Durer, Altdorfer, van Ostade, and Rembrandt.

“After Durer published his fifteen large woodcuts of the Apocalypse in 1498, neither the woodcut as a graphic medium nor the imagery of St John’s Revelation could ever be regarded as before. Durer elevated both beyond all expectations warranted by his antecedents” …. from Durer in America, His Graphic Work, National Gallery of Art, 1971.

Sunflower (Zonnebloem)

1925. Lithograph. 770 x 545 mm.

Signed on the stone with the artist's monogram, lower left.

Signed with the VAEVO monogram, lower right: "Vereeniging tot Bevordering van het Aesthetisch Element in het Voortgezet Onderwijs, voor schoolversiering," (The Society for Promotion of the Aesthetic Element in Secondary Education)

Adam/Eliens/van den Noort-van Gelder L29, from the edition of 29. Dirk van Gelder's unprecedented technical virtuosity places him in the tradition of famous Dutch printmakers like Hercules Seghers, Rembrandt and Rodolphe Bresdin.

Provenance: Agnes van den Noort-van Gelder

Tobias and the Angel (small plate), 1608.

after Adam Elsheimer (German, Frankfurt 1578–1610 Rome).

Engraving.

Hollstein VIII.151.1, Dutuit IV.1, II/III.

Lettered in plate below image: "Incolumis Raphaele viam monstrante Tobias...."; at lower left: "AElsheimer pinxit"; at lower right: "HGoudt sculpt. Roma 1608"; written in ink in bottom right corner: "19". Plate 138 14.2 x 19.5 cm, 5 5/8 x 7 5/8 in

Forsythia

Green and yellow gouache, pink watercolor and black ink on peach silk, and woodcut stencil fish scale pattern in green and pink ink, signed lower right in black ink, H Guerard. C. 1890 335 x 600 mm

Design for dessert plate /Assiette à dessert

Signed and annotated ink, lower right.

Circular 230 mm

The decorative arts master, Habert-Dys, trained at a ceramic factory in Blois in the 1860’s, then settled in Paris in 1873. He spent four years in the atelier/school of Jean Léon Gérôme and was influenced by the graphic artist, Felix Bracquemond, and the new influx of Japonisme. This is a preparatory drawing for a dessert plate, created while Habert-Dys was designing for the ceramic firm Pillivuyt; he was sought after by all the major ceramic firms and was commissioned to design a table service for the Exposition of 1889.

Chiaroscuro woodcut from 4 blocks. 1739. Le Blanc II, 416,4. 53:38 cm. Fine impression in good condition of a typical large-scale work of John Baptist Jackson, England’s foremost woodblock artist. Best known for his revival of the chiaroscuro woodcut, he went to Florence in 1731, then Venice, where he published a series of chiaroscuro woodcuts after Venetian Renaissance paintings.

The complete set of 8 etchings, including frontispiece, 1862. The plates are various sizes, on same size full sheets: 525 × 355 mm Auguste Delatre, printer, French, 1822 – 1907, Societe des Aquafortistes, publisher, Alfred Cadart, publisher, French, 1828 - 1875

Brilliant impressions, the cover signed, dedicated in pencil to Madame Leroux de Mouzay from Jacquemart and annotated 2ème état sur 3. Reference: Beraldi vol 8 318-325 , II/III with names of printer and publisher on title plate and each plate is numbered 1-8. Inscriptions are added to plates 5 and 6, and the crown on plate 6 is uninscribed.

The March of Silenus, c. 1652

after Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp)
Woodcut, c 1652. Hollstein, IX, p. 188, no. 16, first state of two (before Rubens' address is removed). 445 x 337 mm; based on Rubens’s painting in Munich; the preliminary drawing is in the Louvre,  (inv. 20.288) retouched by Rubens. Provenance: Prosper Henry Lankrink (1618-1680), Lugt 2090, Anne-Marie Logan. 

Notes on Prints, William M Ivins, Jr. New York, 1930, p 95, Drunken Silenus, illustrated p 94: “In addition to publishing engravings of his work, Rubens also issued a series of large woodcuts (cut by Christoffel Jegher) which were the last great woodcuts to be made for a period of almost two hundred years....”

Woodcut printed in colors, 1903, with the original backing sheet attached. Dimensions: 11 1⁄4 x 10 1⁄4 in. A fine impression as published in the Jahrsmapped der Geselleschaft fur Velvielfaltigende Kunst, Vienna. Very fine condition. Full margins. Illustrated on page 241 of Jugendstijl; Graphik und Druchkunst by Hans Hofstatter. This is an iconic image for printmaking in Vienna, circa 1900.

Calla Lily, c. 1933.

Black and white chalk over pencil, on tan paper.
 425 x 285 mm
.

Signed and dedicated, to Ida and Nelson, lower right.

An American realist, known for his still lifes, landscapes, and portraits, Lucioni’s timeless works have appeared in museum exhibitions including A Century of Progress, Chicago 1933, and Youth and Beauty: Art of the American Twenties, organized by the Brooklyn Museum.

Etching, 1908, in black ink. Zigrosser 80; Benson 73, only state. edition of 30. Plate: 273 x 329 mm; One of Marin’s largest plates of Parisien scenes. Provenance Kennedy Galleries NY

Box at the Metropolitan

1934

Etching and engraving. Signed in pencil lower right, and numbered 22 (erased, lower left). Reference: Sasowsky 143, fifth state (of 5).

In very good condition (a few minor stains verso, slight skinning where prior hinging verso), with margins.

A fine impression, printed on a heavy cream wove paper.

Dimensions: 10 x 8 inches, the sheet 11 3/4 x 8 7/8 inches.

Chop Suey Dancers #1, 1929

Hand colored etching. Signed in pencil.

Sasowsky 78, IV/IV, from the edition of 18. Dimensions: 8 x 6 inches. Provenance: Lionel Reiss, (1894-1986) New York painter/illustrator, and friend of Marsh.

Note: According to Marsh’s biographer Lloyd Goodrich, Marsh depicted shop girls dancing during their lunch hour at a cafe known as Chop Suey in the bowery district. Edward Hopper also knew of the restaurant: re: Edward Hopper, Chop Suey, 1929, oil on canvas.

Clairton, 1997

Mezzotint.

Signed, dated, titled on pale green paper, from the edition of 75, published by the Print Club of Cleveland, with their blindstamp on recto. Plate 13 1/2 x 16 3/4 inches; 343 x 425 mm. Sheet 18 3/4 x 23 in; 476 x 584 mm

From “At the Heart of Progress: Coal, Iron, and Steam Since 1750: Industrial Imagery from the John P. Eckblad Collection,” at the Frances Lehman Loeb Art Center, Vassar College: “...the highlight is Craig McPherson’s “Clairton” (1997), a dark, haunting print depicting fire at night at a mill in Pennsylvania that turns coal to coke, the same process that helped start the Industrial Revolution at Coalbrookdale. But much has changed in three centuries, and rather than being a symbol of progress, this plant looks like a dangerous relic from the past.”

The Gallery of Nôtre-Dame, Paris (La Galerie Nôtre-Dame, Paris)

1853

Etching with engraving, 28.3 x 17.5 cm

On pale green laid paper.

Schneiderman 29 (iii/VI), Delteil-Wright 26 (iii/V)

A superb impression of the very rare third state, before the top borderline has been strengthened but with the inscriptions in cursive below, with full margins on all sides.

Provenance: Henri M. Petiet, Paris, his stamp on the verso.

Signed and dated in the plate.

Flower bouquet with lilies in a vase

1680-1690

signed lower right in plate

engraving

48.2 x 37.2 cm

Ref. Robert Dumesnil 19 I. Wm bunch of grapes. From Livres de Plusieurs Vase de Fleurs. A brilliant impression of Monnoyer’s magnificent floral composition.

A Bouquet of Flowers in a Wicker Basket

Etching and engraving; c. 1680

Robert Dumesnil 31 II (of III). Watermark: Grape with inscription margin. A superb and even impression with full margins, and before the address of N. de Poilly was erased. Monnoyer was active at Versailles and other palaces of the French king, Louis XIV. He designed flowers and fruits to ornament the borders of tapestries woven at the Gobelins and Beauvais manufactories. The engravings from his portfolio Le Livre de toutes sortes de fleurs d'après nature (Book of All Kinds of Flowers from Nature), with their botanically accurate images arranged in beautiful displays, were widely copied. In 1690 Monnoyer left France for England, where he died nine years later. 37.7 x 48.4 cm.

The Raising of Lazarus, 1600

after Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht). Engraving, c. 1600. A very fine impression with small margins on all sides. Dimensions: sheet 377 x 495 mmPublisher: Harmen Jansz. Muller (Netherlandish, Amsterdam ca. 1540–1617 Amsterdam)

Watermark: Fleur-de-lys in heraldic shield, surmounted by crown (similar to Churchill 402 and Briquet 7207-7212), visible center, right half of composition on verso.Reference: N.H. (Muller Dynasty) part 2, p.107, 27 II/II

View of Paestum, with the Temple of Hera I, so-called Basilica, seen from the south-west. Behind it, the Temple of Hera II, so called Temple of Poseidon, and in the distance, the Temple of Ceres; other archeological remnant shown in the foreground, 1778

Etching.

47.5 x 67.5 cm

18 3/4 x 26 5/8 in

Speccato interno della Basilica di S. Paolo fuori delle mura. Interior.

Etching. 1749. Hind 7 II (of VII). Wilton-Ely 138. Focillon 792.

Temple of the Sibyl at Tivoli: The Broken side of the Colonnade, from the Vedute di Roma, 1761

Etching.

44.5 x 66 cm

17 1/2 x 26 in

The Pier with Chains

1749-1760

signed lower right in plate, 'Piranesi F. XVI'

etching, engraving, sulfur tint or open bite, burnishing

40.5 x 55 cm

Ref. Robison 42 state VI/VI, no. 364 just to the left of the palm leaf capital; Hind 16 Focillon 39. From the Carceri (Prisons) Plate XVI.

Giovanni Battista Albrizzi, 1750

By Marco Alvise Pitteri (Italian, Venice 1702–1786 Venice)

Engraving

Portrait of Peter Paul Rubens, 1630

after Anthony van Dyck (Flemish, Antwerp 1599–1641 London)
Portrait of Peter Paul Rubens (Flemish, Siegen 1577–1640 Antwerp) Engraving, 1630, Hollstein 85, V/VII, 231 x 157 mm.

Le Ruisseau, 1898

From Les Aspects de la Nature.

A series of sixteen lithographs in twelve colors, edition of 1000, printed by Eugène Verneau. Dm. 545 x 830 mm. Ref: Sueur-Hermel, BNF p. 135-141, Fields 12.

La Plage, 1908

(1899, Fields) from Les Aspects de la Nature.

A series of sixteen lithographs in twelve colors, edition of 1000, printed by Eugène Verneau Dm. 540 x 830 mm, Ref: Sueur-Hermel, BNF p.135-141, Fields 14.

La Falaise, 1897

From Les Aspects de la Nature.

A series of sixteen lithographs in twelve colors, edition of 1000, printed by Eugène Verneau. Dm. 545 x 830 mm, Ref: Sueur-Hermel, BNF p. 135-141, Fields 3.

A Pistoia, 1872

Etching, a proof before letters, on chine.

7 4/5 × 4 4/5 in

19.7 × 12.1 cm

Hand-signed by artist, Initialed with monogram and titled in graphite.

Joseph Adoring the Child Who is Held in Mary’s Arms

c.1750

signed lower center in plate, 'Dom Tiepolo inve et fecit'

etching

19.3 x 24.5 cm

Ref. Rizzi 75. From ‘The Flight into Egypt’.

Provenance Fursten zu Oettingen - Wallerstein, Lugt 2715a

Rest on the Flight into Egypt, 1753

Plate 13 from The Flight into Egypt. Etching, 1753 Rizzi 79, DeVesme 13 193 x 247 mm. Provenance: Naudet, c. 1800, marchand d’estampes, etabli au Louvre, Paris (L 1937)

The Entombment, Stazione Ultima (XIV), 1747-9

from the Stations of the Cross, 16 plates, including the frontispiece and dedication. This series is Giandomenico's  earliest etched work, 1747-9. Reference: Rizzi 54 DeVesme 49 , only state. 280 x 215 mm; 11x 8 1⁄2 in. A brilliant impression, full margins, in excellent condition.
Ex Coll: Tomas Harris, 10 April 1908 - 27 January 1964, (not in Lugt) his signature in brown ink on verso. According to Rizzi, this Rembrandtesque composition demonstrates a new departure for the artist. 

The Holy Family at the Bank of the River
Plate 14 from the series of 27 etchings,
Picturesque Ideas On The Flight into Egypt (Idee Pittoresche Sopra La Fugga in Egitto) Etching, 1753 . Rizzi 186.80, DeVesme 1906.14. Dm: Plate: 184 x 232 mm

The Four Elements: Terra. Aer. Ignis. Aqua.

after drawings by Willem Buytewech, ca. 1585 Rotterdam ca. 1624

Complete set of 4 etchings, in even, early impressions.

Hollstein 33, no 18-21, Franken van der Keller, 134 - 137, all second states, numbered, lower right.

Watermark: Seven-pointed foolscap.

Dimensions: 1. Earth, 192 x 286 mm; 2. Air, 188 x 281 mm; 3. Fire, 185 x 287 mm; 4. Water, 182 x 283 mm