Louis Marcoussis

Un Reve

1930

Wassily Kandinsky (1866-1944), Etching 1916 Number II, drypoint, signed in pencil lower right, titled, numbered (No. 9) and dated lower left [also with initials and date in the plate lower right]. Reference: Roethel 154, only state, edition of 10. In excellent condition (the barest handling fold at sheet edge), printed on a heavy ivory wove paper, the full sheet with full margins, 4 7/8 x 3 1/4, the sheet 17 1/2 x 13 inches, archival mount with window mat. A fine fresh impression of this great rarity, printed in a dark brown ink. Kandinsky created this drypoint (erroneously named Etching 1916) in early 1916 while staying with Gabriel Munter in Stockholm during the winter of 1915-16. This is from the second series of drypoints he made; the first was in the year 1913-14. Provenance: Kornfeld Auction, Bern, June 2007. The tiny size of this edition (10) makes this print a great rarity within the Kandinsky’s printed...

Claude Flight (1881-1955), Swing Boats, circa 1919-1921, color linoleum cut on very thin Japan paper, signed and numbered by the artist lower left. In very ...

Andre Masson (1896-1988), Blue Serpent, 1957, 2 plates, 1) etching and aquatint in colors, signed, dated (30/7/61) and  inscribed “pour Louis Broder epreuve d’artiste.” Reference: S...

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...

Putu by Al Held, American (1928–2005) Date: 1988 Aquatint Etching, signed, numbered and dated in pencil verso Edition of 16/25 Image Size: 35.5 x 44.5 inches Size: 41 in. x 53.5 in. ...

Russell’s Way by Al Held, American (1928–2005) Date: 1969 Aquatint on Somerset paper, signed, dated, and numbered in pencil verso Edition of 37/50 Image Size: 35.5 x 44.5 inches Size...

Pierre Soulages (1919–2022) Etching XL, 1996 Etching on paper 16 ⅛ × 13 in (41 × 33 cm) Edition of 100, signed and numbered in pencil Etching XL is a powerful example from the final...

"Orange Row", Abstract Geometric Minimalist Composition w Ovals, Limited Edition Delicate and perfect ovals in orange, yellow, red, and blue are purposefully arranged on lined paper...