Félix Hilaire Buhot

"L'Hiver a Paris" original etching on japon paper

1881

Medium: original etching. Catalogue reference: Sanchez and Seydoux 1910-7. Printed in Paris and published in 1910 by Gazette des Beaux Arts. Plate size: 8 1/4 x 6 inches (210 x 155 m...

Medium: original etching and aquatint in bistre. This impression on watermarked laid paper was printed in 1905 and published in Paris for the Revue de l'art ancien et moderne. Plate ...

Medium: original etching. Catalogue reference: Sanchez and Seydoux 1912-10. Published in Paris in 1912 for Gazette des Beaux-Arts. This is a fine impression printed in sepia ink on c...

Medium: original etching. This impression on japon paper was printed in 1902 and published in Paris by the by Gazette des Beaux Arts. Image size: 5 x 8 1/2 inches (127 x 213 mm). Not...

Medium: original etching. Printed in 1902 and published in Paris by Gazette des Beaux Arts. Image size: 5 3/4 x 8 1/4 inches (145 x 210 mm). Signed in the plate, not hand-signed.

Medium: original etching and aquatint with drypoint. Also known as "Les amis du Saltimbanque". Catalogue reference Bourcard/Goodfriend 76. Published in 1902 by Revue de l'art ancien ...

J.J. Tissot Le Portique de la Galerie Nationale a Londres (The Portico of the National Gallery, London) Wentworth 40 Etching and Drypoint on imitation Japanese paper, C. 1878 Only st...

Edgar James Maybery The Harbour Lynmouth Antique Print 1920s Matt size 28cm x 33cm Image Size 14cm x 21 cm

Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...

Etching by Hermann Struck in good condition with slight light staining

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

Jim Dine, Self Portrait drypoint on Hodgkinson Hand Made Tone-Weave paper Paper 18 x 14 in. / 46 x 36 cm Plate 8 x 6 in. / 20 x 15 cm plate one from Self Portraits (1971) portfolio ...