Lithograph. 1835. 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”.
1798–1863 Charenton-Saint-Maurice, France
Lioness Clawing an Arab’s Chest, 1849
Paris Lioness Clawing an Arab’s Chest.
Soft-ground etching and roulette. 1849. Delteil 25 I (of III), before letters. 213 x 280 mm (plate).
Lioness is Eugène Delacroix’ last print and his only soft-ground etching. The artist used this technique to produce the illusion of a soft chalk or crayon drawing. The smooth aspect of the soft-ground etching is especially well visible in the rare first state, making it by far the most desirable. Delacroix’s Romantic fascination with the Oriental and the savagery of nature comes to the forefront in this delicate etching in which a turbaned Arab becomes a lioness’s prey.
Signed in plate, left below middle: "Eug. Delacroix 1849" A fine early impression with complete visible plate mark. Rare.
Un Forgeron/A Blacksmith, 1833
Aquatint, drypoint, between third and fourth states of six, 1833.
Lettered in plate, upper right, ED Delteil 19.iii-iv (state with initials 'E.D.' but without other letters); Delteil/Strauber 19.iii-iv (state with initials 'E.D.' but without other letters) Dimensions: 6 5/16 x 3 7/8 inches, 160 x 98 mm, on full sheet
The brilliant use of aquatint is demonstrated by showing dramatic gradations of tone, from the black beard to the white hot piece of iron, achieved by leaving a section of the plate un-inked. Provenance. Henri M. Petiet, with his monogram stamp on verso (not in Lugt). Note: This print is based on a lost painting from c 1825
Rouen 1791-1824 Paris France
The English Blacksmith/Le Maréchal Anglais, 1822
Lithograph, 1822. Géricault del. Lith de Villain. chez Gihaut, boulevard des Italiens No. 5. Paris. Delteil 91 I (of II). Plate: 11 1/16 x 14 7/16 in; 281 x 366 mm Sheet: 16 7/16 x 22 13/16 in; 417 x 579mm Provenance: Collection Dr. Arnim Winkler, Berlin 1904-1989
From one of Géricault’s most important series Etudes de Chevaux (D. 80-92), executed in 1822 and consisting of 1 title and 12 plates representing horses. Six of these subjects are mirror images of the famous Série Anglaise (D. 29-41) which was published the previous year. The French public had taken to Géricault’s lithographs and the publishers, the brothers Gihaut, asked for a repetition of the great ‘English Series’, in particular of the subjects showing horses.
The present lithograph is the mirror image of D. 39, The English Farrier (1821), however, without the figure of the second blacksmith and with a slightly different background.
(French, Paris 1837–1880 Paris)
Huit études et Compositions de Fleurs, 1862
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.
der Polster (The Cushion), 1903
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.
(American, Rutherford, New Jersey 1870–1953 Cape Split, Maine)
L'Opera, Paris, 1903
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
(French, Le Cateau-Cambrésis 1869–1954 Nice)
Dancer at the Mirror, 1927
Lithograph, 1927, One of five trial proofs on chine, signed and annotated in pencil, “Essai Henri Matisse”on full sheet in fresh condition. Duthuit 490. Image: 397 x 284 mm. Provenance: Henri M Petiet (1894 – 1980)
(b. Wichita KS, 1948)
Mezzotint, 1997, 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.”