Eben Goff

Batholith Etching, Monoprint #B-8

2013

Louis Marcoussis (1883-1941), Un Reve, etching, 1930, signed in pencil lower right and inscribed “2nd etat 1/2” lower left. Plate 1 of the portfolio Aurelia. Reference: Milet 55II, second state (of 4), before the edition (of 153 in the fourth state). In good condition, on a wove paper with full margins (a small area of discoloration below the border lower left, remains of prior glue right margin edge), 7 1/4 x 5 3/8, the sheet 15 5/8 x 9 3/8 inches, archival matting. A fine impression of a rare proof, before the edition. This is one of the two proofs of the second state. After this state the plate was reduced in a third state (from 183 to 174 mm), and then steel faced for the edition. Provenance: Libreria Prandi Reggio (blindstamp lower right corner) Jean Cassou and Pierre Courthion asked Marcoussis to illustrate Aurelia, a novel by Gerard de Merval. This was the first album of their collection “Le Blanc et Le Noir,” edition chez Fourcade. Marcoussis was familiar with this novel, in which imagination and reality intermingle. In it de Merval wrote: “La Reve est une seconde vie.” (The Dream is a parallel life.) Marcoussis wrote of the print: “Il ressemblait a l’Ange de la Melancholie d’Albrecht Durer.” (It recalls the angel in Durer’s Melancholia...

Cyril Power (1872-1951) color linoleum cut, Monseignor St. Thomas, circa 1931, signed and titled in pencil at the lower right, apart from the edition of 60. Reference: Redfern 24. In very good condition, on buff oriental laid tissue, conservation matted, with margins, 13 7/8 x 11 1/8, the sheet 15 x 12 5/8 inches. A fine impression, with the colors fresh and vivid. Printed in four colors (yellow, red, blue and dark blue). The prints of the Grosvenor School artists were created by applying colors with successive blocks. The margins show the colors of each of these blocks (see illustration of the margin). The subject matter of this print relates to TS Eliot...

Sybil Andrews (1898-1992), Sails, linocut in colors, 1960, signed (twice), titled, and inscribed “TP” in pencil. Reference: White 50. In good condition, two sheets, each image 7 1/...

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500. In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New Republic Set, sometimes known as Six American Etchings, contained Marin’s Brooklyn Bridge No. 6 (Swaying) (Zigrosser 112). But after a small number of sets were completed, Downtown the El was substituted for Zigrosser 112 (and so the number of Downtown The Els in the set would have been a bit fewer than the others in the set). Zigrosser, who apparently had not seen a complete set at the time he created the catalogue raisonne, conjectured that the substitution might have been because the original plate was damaged. But since the printer, Peter Platt, was the most renowned artist’s printer of his time, and worked alone, it is unlikely that he would have damaged the plate; a more likely possibility is that he switched to a print that was more comparable in size to the others in the set (The Brooklyn Bridge print...

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