https://www.piagallo.com/blog daily 0.75 2021-10-25 https://www.piagallo.com/blog/2021/10/25/prints-at-the-pierre monthly 0.5 2021-10-25 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635175053199-A8TO4NZZ0VY5H9OQN40P/Screen+Shot+2021-10-25+at+10.52.47+AM.png News & Events - Prints at the Pierre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635174755012-7ARKAAAKUY7KTJ9RQCFB/Screen+Shot+2021-10-22+at+11.46.10+AM.png News & Events - Prints at the Pierre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635174714683-6UGQXJUSCBDR61Y216CY/Screen+Shot+2021-10-25+at+10.37.45+AM.png News & Events - Prints at the Pierre - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.piagallo.com/blog/2021/9/15/fine-print-fair monthly 0.5 2021-09-15 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1631737733911-RM52R6YYLTDJ9WN3WKBZ/IMG_1139.jpg News & Events - Fine Print Fair - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1631737763541-WF3470GZ6A58V6NRO1ZL/PCC-logo-120.jpg News & Events - Fine Print Fair - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.piagallo.com/blog/2021/4/11/london-original-print-week monthly 0.5 2021-04-12 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1618249764316-PJKYEP66KL60TCVH6603/Screen+Shot+2021-04-12+at+1.48.43+PM.png News & Events - LOPF Online https://www.piagallo.com/blog/2021/2/18/rome-now-and-then-viewing-rooms monthly 0.5 2021-02-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1613681617729-JFS02PERAHBIEC11AWXB/Screen+Shot+2021-02-18+at+3.51.40+PM.png News & Events - Rome, Now and Then https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1613696140985-XP05QMR3DWCPVWQG1NY4/Screen+Shot+2021-02-18+at+7.55.29+PM.png News & Events - Rome, Now and Then https://www.piagallo.com/blog/2020/11/20/follow-the-line-durer-to-matisse-master-prints-and-drawings monthly 0.5 2020-12-11 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1605904617769-AIHP9FBQ9P2ZP8S76VM6/Screen+Shot+2020-11-20+at+1.23.57+PM.png News & Events - Follow the Line: Durer to Matisse. Master Prints and Drawings https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1605905251170-AXAVJM65V93Q1OK1R8W8/Screen+Shot+2020-11-20+at+3.46.05+PM.png News & Events - Follow the Line: Durer to Matisse. Master Prints and Drawings https://www.piagallo.com/blog/2020/11/20/london-original-print-fair-december-relaunch monthly 0.5 2020-11-20 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1605904414741-30ABCP1WSVFJXH29NP90/Screen+Shot+2020-11-20+at+3.32.08+PM.png News & Events - London Original Print Fair December Relaunch https://www.piagallo.com/blog/2020/9/28/ifpda-fine-art-print-fair monthly 0.5 2020-09-28 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1601321308858-8JVMKMK9G341ZPC10CE0/unnamed-26.jpg News & Events - IFPDA Fine Art Print Fair https://www.piagallo.com/blog/2020/9/18/fine-print-fair-of-cleveland monthly 0.5 2020-10-05 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1600453542234-VU1UQJFU416SRUZURQ1Q/Screen+Shot+2020-09-18+at+2.25.04+PM.png News & Events - Fine Print Fair of Cleveland https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1601915157022-7C8WKPCBC8KR90SPZ9GJ/unnamed-27.jpg News & Events - Fine Print Fair of Cleveland https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1600453095067-A2YOOHRETHT69S7R02PX/PCC-logo-120.jpg News & Events - Fine Print Fair of Cleveland https://www.piagallo.com/blog/2020/8/20/london-original-print-fair monthly 0.5 2020-08-21 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597947961675-S0ED79ES1MERF4ARQWM3/Screen+Shot+2020-08-20+at+2.10.06+PM.png News & Events - The London Original Print Fair https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597948179310-4601XV9QAORKAQH111UU/piagallo_monnoyer.jpg News & Events - The London Original Print Fair https://www.piagallo.com/blog/2020/7/2/pia-gallo-at-ifpda-fine-art-print-fair-online monthly 0.5 2020-07-02 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1593719922845-JN2CI8HVDJXFYT5G40TD/large.jpg News & Events - IFPDA Fine Art Print Fair Online 2020 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1593722319605-8LYTT7QBCKYBQCKWOGNA/2020-ONLINE-LOGO.png News & Events - IFPDA Fine Art Print Fair Online 2020 https://www.piagallo.com/blog/2019/10/13/october-art-week monthly 0.5 2020-03-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584643386919-K7QFSQBCENN7H2984BK3/Jan%2BBoth_Pia%2BGallo%2B%281%29.jpg News & Events - OCTOBER ART WEEK https://www.piagallo.com/blog/2019/10/13/the-new-york-satellite-print-fair monthly 0.5 2020-03-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584643307187-TZK73O5UW0XD891843FM/Bonnet%2B3.jpg News & Events - THE NEW YORK SATELLITE PRINT FAIR https://www.piagallo.com/blog/2019/8/17/2019-fine-print-fair-cleveland-museum-of-art-1 monthly 0.5 2020-03-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584643451950-SD47A5XSGIIY2J59Z0D8/thumb_IMG_2607_1024.jpg News & Events - 2019 Fine Print Fair https://www.piagallo.com/blog/2019/1/22/master-drawings-new-york-2019 monthly 0.5 2020-03-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584644656205-4OWOBXZI6V6MVKYK6WBS/unnamed.jpg News & Events - Master Drawings New York 2019 https://www.piagallo.com/blog/2018/10/26/pia-gallo-booth-at-the-satellite-print-fair monthly 0.5 2020-03-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1541719728318-CT0B0I6Q9JZL66LOKBQ5/satellite+img.jpg News & Events - Pia Gallo Booth at the Satellite Print Fair https://www.piagallo.com/blog/2016/11/3/the-magical-and-the-monumentalthe-eighteenth-century-in-venice-and-rome monthly 0.5 2020-03-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1541720106007-WXLM5Q0WM613SSTA3HHR/graphic_logo-printfair-2016-2.jpg News & Events - THE MAGICAL AND THE MONUMENTAL:THE EIGHTEENTH CENTURY IN VENICE AND ROME https://www.piagallo.com/blog/2018/11/8/master-drawings-new-york-2017 monthly 0.5 2018-11-08 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1541720013255-7Z54N0PDO9JE47RVMJKF/master+drawings.jpg News & Events - Master Drawings New York 2017 https://www.piagallo.com/blog/tag/fairs monthly 0.5 https://www.piagallo.com/old-masters-1 daily 0.75 2021-10-28 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587053473406-R39DVH3PGC52DB1NFCXX/unnamed-2.jpg Old Masters Upper left: Three Strapwork Pendants, each with three pearls. Engraving. 1595. Hollstein 67 150 x 105 mm plate Upper right: Pendant with double Cross at Centre, surrounded by six large table-stones. At bottom three drop pearls, lower left and right two earrings with table-stones set in the form of a cross. Engraving, 1595 Hollstein 90. 145 x 104 mm Lower left: Pendant with two Double Crosses surrounded by six large and many small Table-stones and eleven pearls, below two earrings, the left one with an angel’s head, the right one with five small table-stones set in the form of a cross. Engraving, 1595. Hollstein 96. 145 x 104 mm Lower right: Twelve Studs Engraving. Around 1595. Hollstein 99. Only state 152 x 105 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1589470841638-AVYEQT3AZ63N74DBBYH2/unnamed-1.jpg Old Masters Funerary Urn of Lucius Aurelius Terentus and of his wife Cecelia Ticherna Plate 77 from Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Ornamenti Antichi Etching, 1778/80 535 x 385 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587053300970-2Q7OP2HNV72DRSMKAAWB/unnamed-1.jpg Old Masters God the Father observing the Virgin and Child, Angels To The Right, ca. 1645–47. Etching. Percy E6, Bartsch XXI.15.11, II/II, Bellini 1982, no.19. II/II. Provenance: Richard Houlditch (Lugt 2214), his stamp on verso. Collector of prints and drawings of the highest quality, 1736, UK https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1586428128675-YSS5T1J94IIU75S3LLH0/unnamed-3.jpg Old Masters The Martyrdom of Saint Philip, c. 1510-12. Woodcut. B. 41. Hollstein 57. Without watermark. 162 x 216 mm. A fine proof impression from Martyrdom of the Twelve Apostles in very good condition. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542235554136-2OKE86QZDLQU3DVOJ8HZ/Vicentino.jpeg Old Masters The Death of Ajax, 1525-1527, 1608 After Polidoro da Caravaggio Chiaroscuro woodcut from three blocks, printed in dark grey (line block), light grey and brownish grey (tone blocks). B. XII. 99,9-II. 2nd state with the address of the printer Andrea Andreani -“POLIDORODACARAVAGIO INVENT AAINMANTOUA 1608” in the lower margin. 310 x 410 mm Born in Vicenza, Niccolò Vicentino produced chiaroscuro woodcuts of a discernible character. Working in Rome after Raphael’s death he belonged to the circle of Ugo da Carpi, as a printer and a woodcutter. This chiaroscuro after a drawing by Polidoro di Caravaggio belongs to the early works from Rome but already shows a cursive, elegant line. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1589470738472-IXWPPUIH58HRGY3SH4E5/unnamed.jpg Old Masters One of two identical altars dedicated to Apollo with Greek key motif around the rim and Medusa heads on the bowl, found in the Villa of Pompey the Great in Albano, 1778/80 Etching. Plate 95 from Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Ornamenti Antichi 675 x 420 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587061136147-5CXHLWNU5M2S7CSR792Z/unnamed-1.jpg Old Masters A Portrait of Piazzetta, 1754 By Marco Alvise Pitteri (Italian, Venice 1702–1786 Venice) Engraving. 458 x 350 mm Aldo Ravà Marco Pitteri: Incisore Veneziano. 1922, cat. no. 220, p. 25. George Knox, Adelheid M. Gealt Piazzetta: A Tercentary Exhibition of Drawings, Prints, and Books. Exh. cat., National Gallery of Art, Washington D. C. 1983, cat. no. 27, p. 90, ill. A portrait of Piazzetta at the age of circa 70 engraved by Pitteri soon after the death of the Piazzetta in April 1754. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1603478233796-E93KO5WYU89O1E5O7VLV/f5xh1Ml9o5ou7WRZ.jpg Old Masters Self Portrait (Marco Alvise Pitteri) c. 1750 By Marco Alvise Pitteri (Italian, Venice 1702–1786 Venice) Engraving. 50.8 × 38.1 cm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542235772582-F3POWIGM19JDXF6VU7U9/Canaletto+Porte+del+Dolo+high_res.jpg Old Masters Le Porte di Dolo, 1743/4 Etching. Bromberg 6 II (of III). 300 x 434 mm (plate), 355 x 485 mm (sheet). Watermark: Shield surmounted by a crown, partial. "In this print, executed at the very end of Canaletto’s etching career, he wielded the needle expertly, displaying virtuoso strokes of varying form and intensity. Canaletto reached the full potential of the medium with this most painterly image of striking contrasts. It is one of seven large titled views from nature resulting from Canaletto’s trip to the mainland with his nephew Bernardo Bellotto during the early 1740’s “ from The Glory of Venice. Art in the Eighteenth Century. Andrew Robison, Jane Martineau, Editors, 1994. Cat. no 144. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1585920065484-0N3DZ2Q9O70Y6LUVBX48/unnamed.jpg Old Masters Distribution des Recompenses (Distribution of Rewards), 1633 Etching. Plate 18 from Les Misères et les Mal-Heures de la Guerre (The Miseries and Misfortunes of War) Israël Henriet (French, Nancy ca. 1590–1661 Paris) Publisher Reference: Bibliothèque Nationale II. 237.1339-1356; Lieure III.78.1356 iii/iv; Meaume 581 Watermark: Lieure No 46 Plate: 82 x 185 mm Provenance: British Museum duplicate Lugt 302, 305 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597435119205-YDH3MBRO095MHV2WT3Y3/IMG_3469.jpg Old Masters https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635256870450-0J3MT8G2YO75QM3NJWQ3/piagallollc_piranesi.jpg Old Masters The Pier with Chains 1749-1760 etching, engraving, sulfur tint or open bite, burnishing 41 x 55 cm Ref. Robison 42 state I/VI, without ink dabbing (rare) on the upper left beam. F39 H16. From the Carceri (Prisons) Plate XVI. With two men descending a staircase, center, alone in the foreground. Unsigned until state II https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1541701902016-ELAFHHY6TVFIE90JS3WR/Tiepolo+Three+Graces+and+Mars.jpg Old Masters Mars and the Graces Etching and burin. Ca. 1760. Reference: De Vesme 8 II (of III). Rizzi 229. Succi 7 II (of III). Watermark: Arm with sword (?) and W with open crown and three half moons. Dimensions: 55.6 x 40.1 cm (subject), 61.8 x 45.5 cm (sheet). A very fine impression, rich in tonal values, in the second of three states, after the addition of “39” in the upper left, but before the name of Giambattista and of the engraver Lorenzo. With wide margins beyond the plate mark, which shows traces of the inking, characteristic of early impressions. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635445011062-H2PXFK9PRGV6OVADYA06/Screen+Shot+2021-10-28+at+2.14.41+PM.png Old Masters The Colosseum etching, 1757 from the Vedute di Roma 17 x 27 1/2 in. (43.1 x 70.3 cm) Hind 57, II/IV after the price is erased but before the number is added, upper right. A very fine impression. Some foxing mostly visible on verso and in margins. https://www.piagallo.com/modern-masters daily 0.75 2024-12-06 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1541701187636-P40OWPSPYJ4CDPLPV2B0/Delacroix+Lioness.jpg Modern Masters https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584648317849-N2UW0LMFM55SQYA1MCQM/unnamed-3.jpg Modern Masters L’avaleur de sabres Stencil colour pochoir. 1947. Printer: Edmond Vairel. Duthuit, Books 22. On Arches wove paper. 412 x 645 mm Plate XIII from Jazz, the book edition numbered 77 of 270. Published by Tériade, Paris. The vibrant pochoir from Jazz, a masterpiece of 20th-century art. One of the most sought-after artist’s books of the modern period, Jazz is the only example of the many books illustrated by Matisse for which he provided the text as well as the images. All of the prints are based on arrangements of paper prepared with gouache then cut out and arranged by Matisse between 1943 and 1944; the text he wrote in the summer of 1946. The pochoir or “stencil” printing technique gave Matisse a means of developing print matrixes with master printer Edmond Vairel, which allowed him to translate into graphic form the rhythmic and colorful cut-paper collages that became his focus late in life. (framed) https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1589482231830-DF1GT9AYX35326ODL7J0/unnamed-6.jpg Modern Masters La Montagne Plate 4, from the suite “Les Aspects de la Nature.” Lithograph, 1897, printed in 12 colors. Fresh colors and full margins, from an edition of 1,000 plus 25 on chine Signed on the stone with the artist’s red monogram and signature. Fields p. 76 Dimensions: 545 x 830 mm; 21 1⁄2 x 32 1⁄2 inches with margins. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1603480505533-2M6HVA9P623QM1K8DTFL/TKunBBOfHRtKysyd.jpg Modern Masters Drury Lane 1880-1881 Etching 6 1/2 × 4 1/10 in 16.4 × 10.3 cm Series: Twenty-six Etchings, The Second Venice Set, 1886 Hand-signed by artist, Signed in pencil with the butterfly and inscribed imp in pencil on the tab. Reference: Kennedy 237 Glasgow 243 only state, from the small edition of 26. Drury Lane was first exhibited at the Fine Art Society, London, in 1883. Provenance:Otto Gerstenberg (1848-1935), Berlin .(L2785), his stamp on verso. Douglas Fairbanks, Jr. (1909-2000) https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1589476601695-CWL2ZQEO7IZWP1MGWIVW/unnamed-4.jpg Modern Masters Young Girl Nude, 1935 Etching and drypoint. Signed, annotated, "artist's proof” and dated 1935, in pencil. Plate: 10 x 4 1⁄4 inches. Sheet: 15 x 13 inches. Reference: Lunn 7 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1609525511073-D4ENID827BHGFDVUQS9A/bois.JPG Modern Masters Le Bois de Hetres à Kerzardern, 1917 From Le Beau Pays de Bretagne. A series of twenty lithographs in twelve or fourteen colors, edition of 500, plus 100 numbered and signed. Dm. 230 x 350 mm, Ref: Fields 20. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1609525373656-7KIO6ZIMXHCNH7M3UE0R/loperec.jpg Modern Masters Ruisseau à Lopérec, 1901 From Le Beau Pays de Bretagne. A series of twenty lithographs in twelve or fourteen colors, edition of 100, signed in blue pencil, printed by Eugène Verneau. There was an additional 500 impressions unsigned. Dm. 230 x 350 mm, Ref: Fields 4. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1616106227294-CPIQ4XX4S1VIA6T3HL9I/image-asset.png Modern Masters L’Hiver à Paris/ Winter in Paris, 1879 Etching, aquatint, drypoint sulphur tint, soft ground, roulette height 23.7 cm height 9 3/8 in https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1616103797887-VJHIGJD0P4TE0L82817M/Screen+Shot+2021-03-18+at+4.51.37+PM.png Modern Masters J. Becquet, Sculptor, also known as The Fiddler, 1871 from The Thames Set. Etching and drypoint, printed in black ink on Japan paper, with strong fresh burr lines framing the figure and before any wear in the plate. 25.5 x 19.3 cm, 10 1/8 x 7 5/8 in from the total edition of 96. Copyright The Artist https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1585413593418-424SF7XGCDJDQDMB3SLX/forgeron.jpg Modern Masters 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542234348977-H6VRH4ZZHLWIITHHFZD6/matisse.jpg Modern Masters Dancer at the Mirror, 1927 Lithograph. 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) https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1595519832884-KRBPAY8QOO3T6NXBBXRK/unnamed.jpg Modern Masters The Old Louvre, Paris, after Zeeman, 1866. after Reinier Nooms, called Zeeman (Dutch, Amsterdam ca. 1623–1664 Amsterdam) Etching; seventh state of seven. Dimensions: plate: 165 x 269 mm. Reference: Schneiderman 96 vii/vii ; Delteil. 53 vi Provenance: Otto Gerstenberg (1848-1935), Berlin .(L2785), his stamp on recto, lower right. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635257096342-LMJ2CEW05BH2BTFYWL37/piagallollc_bracquemond_goncourt.jpg Modern Masters Edmond de Goncourt 1882 signed lower left in pencil etching, edition of 150 33.5 x 50.8 cm Ref. Beraldi 54 VIII/IX; on Japan paper. A luminous, brilliant impression of the 8th state. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635257217319-YSRGY2Z5JOW4M89P41W5/piagallollc_meryon_partie.jpg Modern Masters Partie de la Cite vers la fin du VXII e siecle 1861 signed upper right in plate within billboard etching 15 x 32.5 cm Ref. Schneiderman 73 VIII ; B 28 W31 DW 51. VII (VI) The inscription remains: C. MERYON / RESTAURA / PARIS AN GRA MDCCCLXI'. This etching is after a drawing in the collection of Monsieur Bonnardot, not faithfully reproduced. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635452359622-3F8ZT7QTFL9J50U2Q54T/IMG_2240.jpg Modern Masters September 13, 1918, St. Mihiel (The Great Black Cloud) etching, aquatint, and sandpaper ground, 1934. signed ‘Kerr Eby imp’ on lower right in pencil, numbered ‘ed 100’ on lower left, and dedicated ‘To Miss Elizabeth Houghton with the very best wishes of the artist Kerr Eby / I’m fonder of this plate than of any others war or otherwise. K.E.’ Plate: 10 3/8 × 15 7/8 in. (26.3 × 40.3 cm) Sheet: 13 9/16 × 14 15/16 in. (34.5 × 37.9 cm) Reference: Bernadette Passi Giardina Kerr Eby The Complete Prints. M. Hausberg, Bronxville, New York, 1997, cat. no. 182, p. 137. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1644170644751-IS9E8DI95T4XBO8ANROA/IMG_2138.jpg Modern Masters Reine and Margot Seated on a Sofa (No.2) Drypoint, c. 1902 Signed and numbered 'no 18' in pencil, from the edition of 25, on laid paper with watermark A.Porcabeuf. 16 15/18 x 12 7/8 in. (43 x 32.7 cm) on full sheet. Breeskin 177. An extraordinarily fine, rich impression. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1609523888575-0K7FZEPCNEGP47ZMPG0G/unnamed-8.jpg Modern Masters The English Blacksmith/Le Maréchal Anglais 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587053200049-IFJWNFN4KPXE021EY0YA/unnamed.jpg Modern Masters Poppy flowers and butterflies Gouache colors and black ink over pencil painted on pink/white cloth and mounted in a half circle in form of a fan, c. 1890-96. Signed in pen and ink lower right: “H.Guèrard” 300 x 570 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733355094134-82MPTB05M4X8UHT8MN7W/image-asset.jpeg Modern Masters - Mother and Child (Mutter mit Jungen) Lithograph on white wove paper, 1933. Signed in pencil, Kathe Kollwitz, lower right. Knesebeck 258 II a (of III), Klipstein 246, IIa from the edition of c. 100 Image 36.3 x 21.4 cm; Sheet 50 x 38 cm. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733355929609-09ZWVTZ0BGYXRQ6GLCO0/image-asset.jpeg Modern Masters - The Boats at Flushing (Les Bateaux à Flessingue) Lithograph in colors, 1895, on wove paper. 396 x 452 mm. Flushing is a port city in the Netherlands. Primarily a painter, Paul Signac produced about 20 lithographs. He kept his colors apart, attempting to depict all the nuances of light in his seascapes. The delicate color variations of tone give the impression of atmospheric mist. From Pissarro to Picasso, Phillip Dennis Cate, Marianne Grivel, Zimmerli Art Museum, New Jersey, 1992 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733427860762-1ET2WKC1QEVPKPNA5CY4/Odilon+Redon.jpeg Modern Masters - The Old Knight (Vieux Chevalier) from L’Album des Peintres Graveurs Lithograph on Chine appliqué to wove paper, 1896, initialed in pencil. A proof before the addition of text (the edition was 100) published by Ambroise Vollard, Paris. Mellerio 158 Image: 29.9 x 23.5 cm.; Sheet: 57.2 x 43.2 cm. Provenance: Henri M Petiet, Paris. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733428309332-LVN2LL3P32Y29ASFWEP1/Denis.jpeg Modern Masters - Our Souls, in Slow Gestures (Nos Ames, en des gestes lents) from the Amour series. Lithograph in colors on fine wove paper, 1898, signed in pencil. Image: 29.2 x 40.3 cm Sheet: 40.6 x 52.7 cm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733429141611-LSHT5991IG23F3UX9A4B/Vuillard.jpeg Modern Masters - Through the Fields (A Travers Champs) from Paysages et Intérieurs. Lithograph in colors, on Chine, 1899, signed in pencil. Sheet 31.4 x 40.5 cm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733433488424-AW5ILNUCII41T53QWPGE/IMG_3971.jpg Modern Masters - Transversely Severed Column (Colonna recisa trasversalmente) 1970 color lithograph in blue, black and white with silver embossing. Signed, dated and numbered in pencil. 30 1/4 x 22 3/8 in https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733437168955-KCTK17V2A5KJ94B08WOI/IMG_4599.jpg Modern Masters - Child's Play (Jeux d’Enfants) from the second album des Peintres-Graveurs. Lithograph in colors, on Chine, 1897. 42.5 x 57.1 cm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733507178478-26NPDXRBO17636WJPIAF/IMG_1869.jpeg Modern Masters - Street Corner (Coin de Rue) from the series Quelques Aspects de la Vie de Paris. Lithograph in colors, on fine wove paper, 1897. Signed in pencil, from the edition of 100. Image: 27 x 34.9 cm. Sheet: 40.6 x 53.3 cm. Provenance: Ambroise Vollard, Paris. Henri Petiet, Paris, acquired from the estate of the above. https://www.piagallo.com/drawings-1 daily 0.75 2024-12-06 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584644992112-5JTAF0654BZQRTZUB90X/unnamed.jpg Drawings A Vertical River Landscape Pen and brown ink, traces of black chalk, with number '2' in ink, lower right. 381 x 208 mm. Exhibition: Pittsburgh, Frick Art & Historical Center, Pittsburgh Collects: European Drawings, 1500 to 1800, 2004-2005, no. 16 (entry by T. Smart). Provenance: Ann Sutherland Harris, Adolphe Stein, Paris, 1986. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1586431333087-DBGMHEI235CCPR2Y0JT2/Screen%2BShot%2B2020-04-03%2Bat%2B9.50.48%2BAM.png Drawings Procession of Knights on Horseback Fan Shaped Gouache. Signed, lower right, H J Hunt. Dm 255 x 505 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1586431494297-MRTET60CMOVWG6V57WLE/unnamed-1.jpg Drawings Grapevines Blue, brown, and green gouache over pencil cut out and applique on buff silk, with cut outs along the lower center border, c. 1895, Signed lower right in black ink, H Guerard. 300 x 585 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1585919811403-UP30HMLTT7KAAX8ZO6YW/unnamed.jpg Drawings L’Eventail des Roses Gouache in shades of pink, green, light brown, peach and white on lime colored silk with fish scale woodcut stencil pattern in green ink on left, and cut out along the lower border, and top right edge, c. 1895. Signed lower right, H Guerard. 300 x 590 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587053151858-YB5O2VBKMVGRWQ4WUE8J/unnamed.jpg Drawings Poppy flowers and butterflies Gouache colors and black ink over pencil painted on pink/white cloth and mounted in a half circle in form of a fan, c. 1890-96. Signed in pen and ink lower right: “H.Guèrard” 300 x 570 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597948838517-8ENPZEGH47WA9UDWRNSY/piagallo_castle.jpg Drawings A THEATRICAL SET DESIGN OF A CASTLE Bright, leafy green foliage brightens this image producing a backdrop that is spirited and lively. The impressive detailing is visible in the detailed masonry of the castle. Strong use of tonal colors yields a forceful and compelling manipulation of space and depth. All watercolor over black chalk; each signed in black/brown ink, lower right: G. Zuccarelli 187 by 232 mm; 7⅜ by 9⅛ in https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597948586751-9729DWCS8GAZXLT8PF0L/piagallo_semiramide.jpg Drawings A STAGE DESIGN FOR SEMIRAMIDE A stunning piece that focuses on perspective with its strong architectural lines. Horizontal, vertical, and diagonal lines interplay to create a dynamic setting of overlapping planes of space. Golden tones counterplay with the dusky blue atmosphere remarkably capturing the tonal hours of the day. All watercolor over black chalk; each signed in black/brown ink, lower right: G. Zuccarelli 210 by 294 mm; 8¼ by 11½ in https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597948927033-VA28HDANDSFJ5RQ8S38X/piagallo_baroque.jpg Drawings A BAROQUE ROOM Delicate, thin lines gracefully outline the architecture within the image, heavily focusing on attention to form. Extraordinary exquisite treatment is taken with the silhouetting and structuring of the variety of architectural elements captured. All watercolor over black chalk; each signed in black/brown ink, lower right: G. Zuccarelli 128 by 161 mm; 5 by 6¼ in https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597948992409-8EO3V7FKMSRYCQH5XVLL/piagallo_cinderella.jpg Drawings A THEATRICAL SET DESIGN FOR AN INTERIOR OF CINDERELLA Size and proportion are sophisticatedly played with in this image. The magnitude of the space with its high vaulted ceilings perfectly contrasts the smaller objects and female character. All watercolor over black chalk; each signed in black/brown ink, lower right: G. Zuccarelli 188 by 234 mm; 73⁄8 by 91⁄4 in https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584646518671-E36JQT5NJVI0EY7OC7ZO/Jan%2BBoth_Pia%2BGallo%2B%281%29.jpg Drawings Roman Countryside with a Bridge and Figures, c. 1638-41 Bistre wash on paper. 10 1/8 x 15 inches; 258 x 381 mm Provenance: Richard L. Feigen & Co., New York https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1589485946391-XGZQKR6Q2LFBBEVV0JSX/unnamed-7.jpg Drawings Two women, one sitting and holding a child, the other standing under a tree, 1839. Signed and dated 'th. Chassériau 1839' in pencil, heightened with white on brown paper. Part of a series of drawings executed in 1839-40 in pencil heightened with white on brown paper showing women and children in a landscape (Sandoz, 1974, op. cit. , p. 11 and Prat, 1988, op. cit. , nos. 35- 6, 38-9). M. Sandoz, Théodore Chassériau, Catalogue raisonné des peintures et estampes, Paris, 1974, pp. 11 and 20, fig. 2. M. Sandoz, Portraits et visages dessinés par Théodore Chassériau, Paris, 1986, no. 140., L.-A. Prat, Théodore Chassériau 1819-1856, Dessins conservés en dehors du Louvre, Paris, 1988, p. 15, no. 35. Provenance: Private collection, London. 245 x 185 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584648600190-FN90RA4SL93F5YBI71S5/unnamed-4.jpg Drawings A Fern Charcoal drawing on Japan paper. His monogram, lower right. 130 x 215 mm Provenance: Estate of Felix Vallotton https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597434422655-5NUWB12E7Y412XSZR3IJ/IMG_3431.jpg Drawings Seated figure, 1921 Graphite drawing on tan paper. Signed and dated in pencil 1921, lower right. Inscribed “Mrs. W.S. Cline in friendship, Albert Sterner 1923,” lower left. Dimensions: 225 x 172 mm; 9 x 7 inches https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1618170085015-BG3D137XVUGHRYY88UW1/Stella_pia.jpg Drawings Two Magenta Waterlilies, c. 1930 Silverpoint and crayon 35.5 x 28 cm Provenance: The artist; by bequest to his nephew, Sergio Stella Exhibition and Catalogue: No. 40, Richard York Gallery, New York, Passion and Reverence: Joseph Stella and the Natural World, April 29-June 30, 1998 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1586431245997-DEKGH78CA47Z7YME4SE0/unnamed.jpg Drawings A man enveloped in a cloak and wearing a wide brimmed hat sleeping on the ground red chalk, 3 1/4 x 4 1/8 in; 83 x 108 mm Provenance: Christina, Queen of Sweden (1626-1689) and by descent to Cardinal Decio Azzolini (1623-1689) and to his nephew Marchese Pompeo Azzolini (d. 1696). Livio Odescalchi (1652-1713), Duke of Bracciano, Ceri and Syrmia, and by descent to Baldassare Erba-Odescalchi (1683-1746). Literature: Michael Mahoney, The Drawings of Salvator Rosa, New York, London 1977, I, 20.9. This delicate study belongs to a group of chalk drawings by Rosa, dated by Michael Mahoney to the early 1640's (eg: 20.10, provenance, same as above) https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1618251109830-B4UE16KM6M5Z6WXUROMK/Picture2.jpg Drawings View of Urbino with the Ducal Palace pen and brown ink. 5 5⁄8 x 8 5⁄8 in. (14.5 x 22 cm) Inscribed ‘Urbino’ (lower left) PROVENANCE: Schaeffer Galleries, New York. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1636137580235-FFNCLKRRFYCPZP563SME/IMG_2326+2.jpg Drawings Nude Male Figure Stepping on Platform, Seen from Behind Pen and brown ink on early Italian laid paper, backed with two layers exterior layer watermark on verso. D&C BLAUW, 1733-1827. Heawood 3268. Dimensions: 393 x 210 mm. This drawing is after a drawing by Bandini sold at Sotheby’s New York, 21 October, 2003, lot 41, from the Bill Blass Collection. Provenance: Private Collection, Geneva, Switzerland https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1636137724398-FVAV2YLU3NKO0SLVPUYK/IMG_2328+2.jpg Drawings Landscape with a natural bridge. 260 x 419mm Provenance: Dr. John O’Brien, Mr. and Mrs. Christopher Tunnard David M. Stone., Guercino Master Draftsman: Works from North American Collections, Cambridge, MA and Bologna, 1991, p 168 Cat 73; ‘…a…configuration of rocks and mountains is depicted in a very beautiful pen drawing of a Landscape with a Natural Bridge in the Tunnard Collection (260 x 419) which was exhibited at Vassar in 1961. See Centennial Loan Exhibition, Drawings from Alumni Collections, Vassar College, Poughkeepsie, NY, 1961. Cat no 35, illustrated. The late Sir Denis Mahon confirmed the attribution to Guernico, on the basis of a photograph, to Mr and Mrs Tunnard in 1984. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1636138156723-5Y10G9JES1SHAXJ3FDXP/IMG_2330+2.jpg Drawings Madonna and Child appearing to St. Sebastian grisaille, oil on paper 23.5 x 18cm Provenance: Spencer A. Samuels, French and Italian Eighteenth Century Drawings, MH Stolbach, C Von Kohler, March 12-April 13, 1985, No 12, as GA Pellegrini. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1636138411661-02LHVU0P6T7TBVCAUZGX/IMG_2332+2.jpg Drawings Hercules and Omphale Pen and black and gray ink and gray wash; signed in gray ink, lower left: F. Boucher bears inscription on the back of the frame: Hercule aux pieds a Omphale /Dessin original de Boucher/Appartient à Charles Rouvin à Paris 127 by 95 mm; 5 by 3¾ in (oval) Provenance:Probably Jean-Claude Gaspard de Sireul,his posthumous sale, Paris, Hotel de Bullion, 3 December 1781, lot 92: Un joli dessein de forme ovale à la blanc, plume, lavé à l'encre de la Chine sur papier, représentant Hercule & Omphale. Le fonds offre un riche palais. Hauteur 5 pouces, largeur 4 pouces , where purchased by Monsieur Barthélemy Loliée; Charles Rouvin (according to the inscription on the back of the frame); sale, Paris, Rossini, 8 December 2015, lot 88 (as Attributed to François Boucher) We are most grateful to Alastair Laing, who, from an image, has confirmed the attribution to Francois Boucher and who has kindly informed us that this is, most probably, the drawing described under lot 92 in Monsieur Sireul’s posthumous sale (see Provenance). Mr Laing, on stylistic grounds, suggests the drawing was executed relatively early in Boucher’s career and that it might have been a design for the lid of a silver box. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1636138693019-70VW7STW4AEWSILW3YFA/IMG_2333+2.jpg Drawings Villa Madama, Rome. Red chalk 215 x 312 mm; 8 1/2 x 12 1/4 in. Provenance: Marius Paulme (L.1910), his sale 12 May 1929, lot 77 (as Fragonard) Ref: Hubert Robert, Draftsman Sketching at Villa Madama, ca. 1760, Morgan Library https://www.piagallo.com/sold daily 0.75 2022-11-19 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542050413238-BLVC4740S5JSAYBYHHMH/kurzweil.jpg Sales - 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542236353966-17ZCWVFP0VN3ITDC7SU4/1.jpg Sales - 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584644131642-HTLCNPXTZW5BEIDWPRT8/Bonnet%2B3.jpg Sales https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1586431504757-8WSN1M3C09RCVK0M7CFS/unnamed-2%2Bcopy.jpg Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587061006784-G966T8X4SER9TKERIMOL/unnamed.jpg Sales after Abraham Bloemaert (Netherlandish, Gorinchem 1566–1651 Utrecht) Holy Family Chiaroscuro woodcut, c. 1625, printed from three blocks in black and two shades of brown. Bialler fig 143. page 232. Strauss, Hollstein 4 I (of II). Print Collector’s Quarterly vol. 25, p. 410/412. Watermark: Coat-of-arms with eagle. A fine, clear impression of the first state of two, The style and technique recall Goltzius and the spirit of Mannerism. Dimensions: 238 x 178 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587061384754-7LFR45810ANBRVFJW2IA/thumb_IMG_2607_1024.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542235676285-EO7FTZWPMIHAJE2R3OA7/_Jackson.jpg Sales - The Presentation in the Temple, after Veronese, 1739 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597434047486-WQLP8ZH7L1TMXEKJWXQ9/IMG_3459.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1598549138348-8J116U6I8SVXIPCFU0LR/IMG_1556-3.jpg Sales 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... https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1601320775134-3BF376KNZG7QY01KYB7T/piagallo_monnoyer.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1601320860788-W2F1N04RML7A8BI773HC/IMG_3535.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542032486257-W5Z04RUYCMTWHX83BG3G/unnamed.jpg Sales - 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 mm Publisher: 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1618171057131-NA8B2NLJD5GD4HZN11WW/Zonnebloem.JPG Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1584642295540-NP27M14BZHQPLC6OSOI8/IMG_2719.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1541719374275-9UJ31XOFZKITLQB6SLCX/Brueghel_Man+of+war_PDF+high+res.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1593717846403-HKJDFW46Z9UOPIRS3CFZ/unnamed-1.jpg Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587066260576-1SX193YENA8UF86CJU43/unnamed-2-1.jpg Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1591898752256-92ZWOLXMSP5YPPXS7LRL/unnamed-5.jpg Sales https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542235382884-L14QJ480U65UZOLR64KU/AD+Angel+with+the+key.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1587053654950-HP1AXZE31WSTW6CB19FO/unnamed-6.jpg Sales 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) https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1586427796448-LVCGKXWFM552U5OQF3DP/unnamed.jpg Sales When day breaks we will be off (Si amanece; nos Vamos), 1799 Plate 71 from 'Los Caprichos’, first edition. Goya’s commentary: Even if you hadn’t come you wouldn’t have been missed. Etching, burnished aquatint and burin. Reference: Tomás Harris 106, “ The burin was used to redraw the back of the old witch at the left edge, towards the back of the group. The stars are produced by stopping-out. Burnishing is extensively used to create halftones and highlights in the figures and on the ground.” Preliminary drawing (Prado 82) The copperplate is in the Calcografia Dimensions: Plate 200 x 150 mm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1585371244914-A689JT0F1UZZF591GSZP/unnamed.png Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542236019894-3XIJ85NLC36XSA5Z3UA4/tiepolo+2.jpg Sales 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) https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542234457446-KZ99G75WO0JMG3WGCDWE/pontius.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1589470911423-PDBPH5NZOR4GYK0EDNJ0/unnamed-2.jpg Sales Speccato interno della Basilica di S. Paolo fuori delle mura. Interior. Etching. 1749. Hind 7 II (of VII). Wilton-Ely 138. Focillon 792. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1616107098117-3ZTM71J219IC09LB5CUK/image-asset.png Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1616106672854-FK3ZAV2YGQF3HWMN78J8/image-asset.png Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542234616184-0SOHR6J29SBVL9GANJZT/jegher.jpg Sales 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....” https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1603478099990-CKCMB2MU7R0WE6EFC8ST/ss5UOrYWX74wlPBJ.jpg Sales Giovanni Battista Albrizzi, 1750 By Marco Alvise Pitteri (Italian, Venice 1702–1786 Venice) Engraving https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1597433413946-R7O0NWDOP3P0P82YPP5B/IMG_3437.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1609525050167-GL0OHHBNKXWT2UTT40IV/Riviere_falaise.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1609525737090-C2MF3NZLKDA4MRNEZA9N/ruisseau.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1609525211892-TYY7VE403QMU570NHTXW/Riviere_plage.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1618168868065-GN9F3D6KKUHHJ873EXK6/Lucioni_CallaLily.JPG Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1603481544255-YTHXAT4WRNC17AL7OTSW/usvbygVtDLokPofi.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542050207871-SF7YIDCH4IJ8HTBUEGE1/unnamed.jpg Sales 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.” https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1616105668831-Z1ZFC84GEUITRYEFFO4T/image-asset.png Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1585920322029-I9001S5WPYDDJ58X3ISQ/unnamed.jpg Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1618251229409-R4JQSVYZV26YMUQMYWMX/DellaBella_ViewoftheBelvedere.png Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635172216138-K4L94Z9C2OWHJDXAUIVV/piagallollc_Carracci_Titian.jpg Sales The Portrait of Titian, 1587 engraving 33.3 x 23.7 cm Ref. B 154 DeGrazia Bohlin 145 II/III https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635257160744-LHE0J276TTPRN1WJ5BLU/piagallollc_meryon_etienne.jpg Sales Saint Etienne du Mont 1852 signed upper right with initials, 'C.M.' etching with drypoint 25.5 x 13.1 cm Ref. Schneiderman 25 V /VIII, The inscriptions are not yet added; the head arms and upper torso of the workman on the scaffold at the right near the street lamp are almost burnished out. ex. coll. Heinrich Stinnes, Lugt 1376a, lower right recto; Jules Gerbeau, Lugt 1166, lower right recto. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635257051005-PQD18YV78LAZ3MMGB6QC/piagallollc_cort_holy_family.jpg Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635256929710-8U3IOR8DQY6J80GCKDQO/piagallollc_piranesi_two.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635257354101-SRUIRSTP0DLBHDCZ5SYV/piagallollc_monnoyer_flower_bouquet.jpg Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635257271321-BUEIBTI9E57SEKIYX53F/piagallollc_tiepolo_jospeh.jpg Sales 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1542234254946-F69SIOGYV9Y0WQ6P9FGV/JOHN+MARIN.jpg Sales - L'Opera, Paris, 1908 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 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635453516995-4FSR3R3SHDVIMSHIPT74/Screen+Shot+2021-10-28+at+4.38.23+PM.png Sales 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. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1541701667037-3WP5BFEPERD5HOAI688L/Daumier+Le+Fantome.jpg Sales - Le Fantôme, 1835 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”. https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1635351941648-NVSWR0MDN1PSNXLRVJLK/piagallollc_collaert_hearing.jpg Sales 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 https://www.piagallo.com/henri-matisse-1 daily 0.75 2024-12-06 https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733505911942-7FANCMMNX0HNPVCJH07P/IMG_2943.jpg Henri Matisse - Seated Nude with Tulle Blouse (Nu assis à la chemise de tulle) 1925. Lithograph Duthuit 465 Signed in pencil and numbered 5/50 on laid Chine volant paper, printed by Atelier Desjobert, Paris. Provenance: William Weston Gallery, London. 36.5 x 27 cm https://images.squarespace-cdn.com/content/v1/5be3068255b02c0e4323a6a3/1733505911942-7FANCMMNX0HNPVCJH07P/IMG_2943.jpg Henri Matisse - Seated Nude with Tulle Blouse (Nu assis à la chemise de tulle) 1925. Lithograph Duthuit 465 Signed in pencil and numbered 5/50 on laid Chine volant paper, printed by Atelier Desjobert, Paris. 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