Jean-Emile Laboureur

La Promenade Sur Le Port

1933

Jean-Emile Laboureur (1877-1943), L’Auberge du Bord de L’Eau (Petite Planche), engraving, 1924, signed in pencil lower left, numbered lower right ((41/60), and titled in pencil by th...

Jean-Emile Laboureur (1877-1943), Le Chemin de la Foret, etching and engraving, 1926, signed in pencil lower left and inscribed epreuve d’artiste lower right. Reference: Laboureur 32...

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. In good condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, with the drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he re-connected with this area throughout his life. As a teenager he decided that he wanted to become an artist and he traveled to Paris where, shortly after his arrival, he encountered the eminent Gustave Moreau, who took him on as a student. Moreau encouraged him to study old master prints, especially the prints of Rembrandt and Durer, which were available in the Cabinet des Estampes in Paris – this was to be critical in his development. Beaufrere began printmaking in about 1904, with some woodcuts, but soon got into etching and engraving. Curiously, one of his colleague/teachers at the time was the Canadian etcher Donald Shaw MacLaughlan. He began showing his prints, with some success, but after his marriage in 1905, and with the urging of his new wife, moved out of Paris and back to Brittany. This move had a mixed effect on his career – contacts with other artists became fewer, but he did maintain gallery relationships, and the French countryside and it’s inhabitants would provide a continuing source of inspiration. During the Great War Beaufrere served in the infantry, and had few opportunities to make art. But he did study a volume of Rembrandt’s prints...

Letterio Calapai (1902-1993), Eight-Thirty Express, wood engraving, 1943, signed and dated ’43 lower right, titled and inscribed trial proof 3 bottom left in pencil [with the monogra...

William Kentridge (b. 1955), Flatiron Building, (also known as I Am Still Learning), drypoint, 1985, on Rives paper with their watermark, signed, dated and dedicated For Hermine from...

James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso. Reference: Kennedy 413, first state (of 5). Glasgow 457, second state (of 6; see discussion below) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x 9 3/8 inches. A very fine impression of this great rarity, printed in black/brown ink with a slight veil of plate tone. provenance: H. Wunderlich & Co., New York Louis B. Dailey, New York (Lugt 4500) sale, Sotheby’s, New York, October 31, 2003, lot 69 literature; Neue Lagerliste 122: James McNeill Whistler – Etchings...

A lone figure emerges out of bright lights streaming from a subway entrance at the corner of 23rd and Broadway near the Flatiron Building and Madison Square Park. He has just exited the uptown...

French Village is an original artwork realized by Eugène Corneau between the end of the 1920s and the beginning of the 1930s. The monogram of the artist is present on the lower left...

Untitled is an original artwork realized by Eugène Corneau in the first years of the 1930s. Etching and drypoint on paper. Monogram of the artist on the lower left. Excellent conditi...

Untitled is an original artwork realized by Eugène Corneau during the 1930s. Etching and drypoint on paper. Monogram in pencil on the lower left. Excellent conditions. Precious an...

French Landscape is an original artwork realized by Eugène Corneau during the 1930s. Etching and drypoint on paper. Very good conditions except for some small folds on the left mar...

The Helmsman. 1925. Etching. Hurst 130. 7 x 10 7/8 (sheet 11 x 5). Trial proof, apart from the edition of 75 An extremely rich impression printed cream wove paper. An exceptionally r...