Items Similar to THE GOOD CANDIDATE - from Reincarnations - Pere Ubu
Want more images or videos?
Request additional images or videos from the seller
1 of 6
Georges RouaultTHE GOOD CANDIDATE - from Reincarnations - Pere Ubu1928
1928

About the Item
GEORGES ROUAULT (1871 -1958)
THE GOOD CANDIDATE, BOUDOUBADABOU, 1928 (Chapon & Rouault 10)
Etching, aquatint and roulette. From “Reincarnations du Pere Ubu” Initialed and
dated in the plate, lower left corner. Printed 1928-3. Published by Vollard. Total
edition 305. 11 ¾ x 7 5/8 inches. Sheet 15 ¾ x 10 ¾. Arches? laid paper $675
- Creator:Georges Rouault (1871-1958, French)
- Creation Year:1928
- Dimensions:Height: 11.75 in (29.85 cm)Width: 7.875 in (20.01 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Santa Monica, CA
- Reference Number:1stDibs: LU41133769511
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1977
1stDibs seller since 2016
247 sales on 1stDibs
Typical response time: 1 hour
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: Santa Monica, CA
- Return Policy
A return for this item may be initiated within 7 days of delivery.
1stDibs Buyer Protection Guaranteed
If your item arrives not as described, we’ll work with you and the seller to make it right. Learn More
More From This SellerView All
- OBSEQUIO á el MAESTRO (‘A gift for the master’)By Francisco GoyaLocated in Santa Monica, CAFRANCISCO de GOYA y LUCIENTES (1746 -1828) OBSEQUIO á el MAESTRO (‘A gift for the master’) Plate 47 from the 1st edition of Los Caprichos (Blas, ...Category
1790s Old Masters Figurative Prints
MaterialsEtching, Aquatint
- LA SORCIERE - (The Witch)By Kurt SeligmannLocated in Santa Monica, CAKURT SELIGMANN (1900–1962 American, born in Switzerland,) LA SORCIERE - (The Witch) 1934 Etching and aquatint, unsigned ? possibly a proof aside from The ...Category
1930s Surrealist Figurative Prints
MaterialsEtching, Aquatint
- CALIFORNIA VISTABy Harold Lukens DoolittleLocated in Santa Monica, CAHAROLD L. DOOLITTLE (1883 – 1974 CALIFORNIA VISTA, 1923 Aquatint signed and titled in pencil. 8 7/8 x 6 7/8 inches. Sheet 11 x 14 inches. Good condit...Category
1920s American Realist Figurative Prints
MaterialsAquatint
- VISIONS OF WHAT USED TO BELocated in Santa Monica, CAMARIAN HEBERT (1899-1960) VISIONS OF WHAT USED TO BE, c. 1940 Etching and aquatint, signed and numbered 10 /35 in pencil. Image 8 3/8 x 7 3/8”. Sheet 1...Category
1930s Surrealist Figurative Prints
MaterialsEtching, Aquatint
- Marche aux Legumes a PontoiseBy Camille PissarroLocated in Santa Monica, CACAMILLE PISSARRO (French 1830- 1903) MARCHE AUX LEGUMES A PONTOISE, 1891 (D. 97ii/ii) Etching and aquatint, Unsigned as published in Le Peintre-graveur Illlustre: Pissarro, Sisley,...Category
1890s Impressionist Figurative Prints
MaterialsAquatint
- 1001 Nights - SURREALIST WOMAN DEAD IN A TREASURE BOXLocated in Santa Monica, CARICHARD TESCHNER (Prague 1879 – 1948) From: A Thousand and One Nights - SURREALIST WOMAN DEAD IN A TREASURE BOX, 1917 Aquatint, Proof no. 17. Aqua...Category
1910s Symbolist Figurative Prints
MaterialsAquatint
You May Also Like
- La Toilette (Woman Dressing)By Manuel RobbeLocated in Laguna Beach, CAInitialed by the artist MR lower left. Manuel Robbe was born in Paris in 1872 to a Northern French family from the town of Berthune. He studied etching and painting and became an ac...Category
19th Century Modern Figurative Prints
MaterialsAquatint
- Rapunzel, Rapunzel let down your Hair (Six Fairy Tales from the Brothers Grimm)By David HockneyLocated in New York, NYSheet from “Rapunzel” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “Rapunzel, Rapunzel let down your Hair” etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Etching 10.5 × 9.85 in. / 26.7 × 25 cm Paper 17.5 x 12.25 in. / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. Perhaps the most famous story from the Grimm Brothers, Rapunzel spins the tale of a beautiful young princess locked away by an evil sorceress. Captured in this scene is the moment a King's son came across the tower and fell in love with her sweet singing, beseeching her: 'Rapunzel, Rapunzel, Let down your hair to me.' Though the sorcerer banishes Rapunzel and maims the prince, they are of course ultimately reunited to live happily together. Hockney illustrates this scene with incredible texture detail: layers of aquatint defining the soft forest floor, delicate hatching on the horse's haunch, the tower's tight crosshatching, and of course the lyrical gesture of Rapunzel's hair which cascades from the upper right corner. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...Category
1960s Modern Landscape Prints
MaterialsEtching, Aquatint
- Catherina Dorothea Viehman (Six Fairy Tales from the Brothers Grimm) HockneyBy David HockneyLocated in New York, NYCatherina Dorothea Viehman (from Six Fairy Tales from the Brothers Grimm) Etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Paper 1...Category
1960s Modern Figurative Prints
MaterialsAquatint, Etching
- The Boy hidden in a Fish (Six Fairy Tales from the Brothers Grimm)By David HockneyLocated in New York, NYSheet from “The Little Sea Hare” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “The Boy hidden in a Fish" e...Category
1960s Modern Portrait Prints
MaterialsEtching, Aquatint
- The Tower had one Window (Six Fairy Tales from the Brothers Grimm) David HockneyBy David HockneyLocated in New York, NYPerhaps the most famous story from the Grimm Brothers, Rapunzel spins the tale of a beautiful young princess locked away by an evil sorceress. Captured in this scene is the moment a King's son came across the tower and fell in love with her sweet singing, beseeching her: 'Rapunzel, Rapunzel, Let down your hair to me.' Though the sorcerer banishes Rapunzel and maims the prince, they are of course ultimately reunited to live happily together. This print pictures Rapunzel's tower prison with her cascading hair nearly reaching the forest floor. Hockney's tight crosshatching enhances the menacing form of the tower, contrasted with the dense, soft grass and the elegant gesture of her hair. Sheet from “Rapunzel” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “The Tower Had One Window” etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Etching 13.5 x 6.25 in. / 34 x15.7 cm Paper 17.5 x 12.25 in. / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...Category
1960s Modern Landscape Prints
MaterialsEtching, Aquatint
- Riding Around on a Cooking Spoon (Six Fairy Tales from the Brothers Grimm)By David HockneyLocated in New York, NYRumpelstizchen, the antagonist of the Grimm Brothers' eponymous fairy tale, is pictured here at the moment of his escape from the queen. After helping a desperate maiden spin straw into gold in exchange for a promise, he has returned to claim that now-queen's first-born child. Her only hope is to guess his name, and when she speaks it aloud, he flies into a rage and escapes on a soup ladle. Hockney emphasizes the creature's diminutive stature by placing him on an outsized spoon against a menacing, inky background. There's a sense of a set or stage, of puppetry or of silhouettes, that is enhanced by how the artist has defined the cooking fire in shades of grey that look like layered cutouts. Sheet from "Rumpelstizchen” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “Riding Around on a Cooking Spoon" etching and aquatint on W S Hodgkinson paper watermarked "DH" and “PP" Etching 6.25 x 9.8 in. / 16 x 25 cm Paper 17.5 x 12.25 in / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...Category
1960s Modern Figurative Prints
MaterialsEtching, Aquatint
Featured in Design ValuesView All
- Charles Pfister for Knoll Club Chair in Cognac LeatherBy Knoll, Charles PfisterLocated in Waalwijk, NLCharles Pfister for Knoll International, lounge chair, leather, United States, 1970s This lounge chair is designed as part of a lounge collection in 1971 bij Charles Pfister. Exe...Category
Vintage 1970s American Post-Modern Club Chairs
MaterialsLeather
- Hermes Mini Lindy Magnolia Swift BNIBBy HermèsLocated in West Hollywood, CAHermes brand new in box mini lindy magnolia swift leather with palladium hardware. Date stamp U, 2022. Coveted new size , can be worn in three ways, also cr...Category
2010s French Shoulder Bags
- Swedish Designer, Sconce, Brass, Red-Lacquered Metal, Sweden, c. 1950sLocated in High Point, NCA brass and red-lacquered metal sconce designed and produced in Sweden, c. 1950s.Category
Vintage 1950s Swedish Scandinavian Modern Wall Lights and Sconces
MaterialsMetal, Brass
- French Wooden Console Table w/Single Board Top & Raised on Fabulous Legs!Located in Atlanta, GAA French fruitwood console table with unusual legs. This contemporary table from France features a rectangular-shaped top comprised of a singl...Category
20th Century French Console Tables
MaterialsFruitwood
- Estate GIA 2.74ct Natural Fancy Yellow Oval 3 Stone Diamond Platinum RingLocated in New York, NYA Superb ESTATE 3 STONE NATURAL FANCY "Cognac" Yellow Oval cut GIA 2.74ctw DIAMOND Ring. The Center Diamond is 2.25CT in Natural Fancy Brownish Yellow color, SI1 clarity (eye clear)...Category
Early 2000s Engagement Rings
MaterialsDiamond, Yellow Diamond, Platinum, 18k Gold
Recently Viewed
View AllThe 1stDibs Promise
Learn MoreExpertly Vetted Sellers
Confidence at Checkout
Price-Match Guarantee
Exceptional Support
Buyer Protection
Trusted Global Delivery
More Ways To Browse
Roulette Used
Georges Rouault Aquatint
Georges Rouault On Sale
Pere Ubu
Travel Organizer
Statue Of King
Vintage Fashion Poster Art Posters
Ancient Rome Prints
Retro Nose Art
Rembrandt Etching
Vintage St James
Small Business Watches
Nude Man Model
Picasso Lithograph On Black
French Color Print 19th Century
Vintage Industrial Book
Exhibition Poster Japan
Japanese Exhibition Poster