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

La Couseuse, 1901

Lithograph, from the small edition of 15.

Signed in pencil, lower right.

Dimensions: 11 x 8 3/8 in.

Reference: Armstrong 45

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.

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

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.

Lioness Clawing an Arab’s Chest, 1849

Soft-ground etching and roulette.
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

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

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.

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.

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

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

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

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.

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) 

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.

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.

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

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.

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.

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.

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

Kraushaar’s

1927

Etching. Signed and annotated 100 proofs in pencil. Ernest Roth (imp).

from Paysages et Intérieurs. Lithograph in colors, on Chine, 1899, signed in pencil. Sheet 31.4 x 40.5 cm

from the second album des Peintres-Graveurs. Lithograph in colors, on Chine, 1897. 42.5 x 57.1 cm

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)

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

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.