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Childe Hassam
A New England Barroom

1917

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    Jean-Emile Laboureur (1877-1943), La Rentree au Seminaire, 1897, woodcut, signed in ink lower right and inscribed “tire a 15 ex.” [also with monogram in the plate]. Reference: Laboureur 566, only state. In good condition, with some staining toward margin edge not affecting image, tack-holes at corners, 4 3/8 x 4 3/8, the sheet 9 5/8 x 8 1/2 inches. A fine impression, printed on a grey/green wove paper. A very early woodcut; the first time that Laboureur used a monogram within the plate. This woodcut was made shortly after Laboureur learned printmaking from the famed printmaker – and woodcut specialist – Auguste Lepere; and the composition, with its ordering of a mass of marchers, appears to be influenced by Felix Valloton...
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  • Souper a New York
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    Jean-Emile Laboureur (1877-, Souper a New York, etching on zinc, 1907, signed in pencil bottom left margin; also annotated “No 11/20 imp” bottom margin. Reference: Sylvain Laboureur ...
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    Early 1900s French School Figurative Prints

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  • La Marchande de Violettes
    By Jean-Emile Laboureur
    Located in New York, NY
    Jean-Emile Laboureur (1877-1943), La Marchande de Violettes, etching, 1914, signed in pencil lower left and numbered (33/35) lower right [also signed and dated in the plate lower rig...
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    1910s Cubist Figurative Prints

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  • Sea Maidens (or, Sunshine; Girls on the Beach)
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    Arthur B. Davies (1862-1928), Sea Maidens (or, Sunshine; Girls on the Beach), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochoski 79, second...
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  • Disparate Pobre (Two Heads are Better Than One) – Trial Proof
    By Francisco Goya
    Located in New York, NY
    Francisco de Goya y Lucientes (1746-1828), Disparate Pobre (Two Heads are Better Than One) – Trial Proof, with burnished aquatint, drypoint and engraving, c. 1812; plate 11 from Los...
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    1810s Old Masters Figurative Prints

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  • L'Eventail (The Fan)
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    Located in New York, NY
    Gerald Brockhurst, L’Eventail (The Fan), etching, 1926, signed in pencil, from the edition of 76. Reference: Fletcher 22, Wright 22. In good condition, on cream laid paper with margins (a thin spot inherent in paper lower margin near edge), the matrix pristine, archival matting. A fine impression of this small but impressive demonstration of Brockhurst’s mastery of etching. The woman carrying the fan is of course Brockhurst’s favorite model, at least at this time, his wife Anais. She wears an embroidered coat which allows Brockhurst to display his capacity to capture complex textures with the etching needle – much as his predecessor Wenzel Hollar used women’s furs...
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