Etching Figurative Prints

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...

Arthur B. Davies (1862-1928), Tartessians, soft ground etching with aquatint, 1919-20, signed in pencil lower right. Reference: Czestochowski 96, second state (of 2), total printing ...

Jerome Myers (1867-1940), Children in Mulberry Street, c. 1910, soft ground etching and plate tone, signed in pencil lower right. In good condition (apart from weakening at platemark...

Emil Orlik (1870-1932), Am Gänsehäufel in Wien, 1911, soft-ground etching, signed and dated in pencil lower right. In very good condition, on firm laid paper with margins, 5 1/2 x 8...

Kent, Rockwell, et al. TWELVE PRINTS BY CONTEMPORARY AMERICAN ARTISTS. Edited by Carl Zigrosser (1891-1975) and designed by Bruce Rogers (1870-1957) and printed by Edwin Rudge on watermaked Japan paper. Published by E. Weyhe, NY, 1919. Edition of 115 copies, of which 15 were reserved for the artists and collaborators, and 100 were for sale, this being one of the latter. Folio (19 x 14 inches, 48 x 36 cm.), cloth portfolio with title label, Title page, two pages of text by Zigrosser, Table of Contents and twelve plates of varying sizes, each signed by the artist. Erhard Weyhe (1883-1972) established the Weyhe Galley at 794 Lexington Avenue in New York in 1919, with Zigrosser as the Director. In addition to dealing in art, the gallery published prints, singly and in portfolios, usually of the work of emerging American Modernists. This portfolio, dating from the first year of Weyhe Gallery's existence was the first of these publications. Zigrosser engaged Bruce Rogers to design the portfolio, and also personally sought out the artists, visited their studios and selected the works to be included in "Twelve Prints." Blue Bird was Rockwell Kent's first published print (Burne-Jones 1) The Copyist at the Metropolitan (Morse 148) was being worked on when Zigrosser visited, and its inclusion in the portfolio preceded Sloan's own edition. The full list of artists and the titles and media of their works is as follows: Earl Horter - The Dark Tower, etching Rockwell Kent - Blue-bird, wood engraving William Auerbach-Levy - Tony, etching Kenneth Hayes Miller - The Bather, drypoint Jerome Myers - Springtime, drypoint Walter Pach...

John Sloan (1871-1951), Anshutz on Anatomy, etching, 1912, signed titled and inscribed “100 proofs” by the artist, and also signed “Ernest Roth imp” by the printer. Reference: Morse 155, eighth state (of 8), from the edition of 80. In very good condition, the full sheet, printed in dark brown ink on a brown/tan wove paper, 7 1/2 x 9, the sheet 11 1/8 x 12 3/4 inches. A fine impression. Sloan wrote of this print: “Tom Anshutz, our old teacher at the Pennsylvania Academy, gave anatomical demonstrations of great value to art students. Modelling the muscles in clay, he would then fix them in place on the skeleton. Those present in this etched record of a talk in Henri’s New York class include: Robert and Linda Henri, George Bellows, Walter Pach...

Arthur B. Davies (1862-1928), Dawn (or, Kneeling Figure), 1918, soft ground etching and aquatint, signed in pencil lower right. Reference: Czestochowski 59, second state (of 3). In v...

Walt Kuhn (1877-1949), Advice, etching and drypoint, 1915, signed in pencil lower right and titled lower left. In generally good condition but obviously a proof impression, with marg...

"Matinee a l'Odeon" is an original etching by Maurice Asselin. The artist signed and titled the print below the image. This piece is edition 13/30 and depicts three figures watching ...

Jean-Emile Laboureur (1877-1943), Le Cafe du Commerce, etching, 1913, signed in pencil lower left and numbered lower right 28/35 [also with the signature and d...

Jean-Emile Laboureur (1877-1943), Le Policeman, Londres, 1913, etching on zinc. Signed lower left in pencil [also with the signature and date in the plate]. Reference: Godefroy, Sylv...

Emil Orlik (1870-1932), Die Loge im Gaite Montparnasse (Paris), drypoint, etching and soft ground, 1911, signed and numbered in pencil lower right, for the portfolio Zuschauer und Zu...

Arthur B. Davies, Up-Rising, soft ground etching and aquatint on a cream laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In g...

Jean-Emile Laboureur (1877-1943), L’ile Desert, etching, 1914, signed in pencil lower left and numbered lower right (33/35). Reference: Laboureur 135, only state, from the edition of...

Lion Brewery. 1914. Etching. Hardie 149. 11 1/2 x 8 1/8 (sheet 13 5/8 x 10 1/8). Edition 50, #7. Illustrated: Salaman, Modern Masters of Etching. A fine impression of this scarce pri...

"Mlle Landsberg" (grade planche, pl. 16), 1914 Henri Matisse (French, 1869-1954) Signed and Numbered Lower Right Edition 12/15 Image size: 7 7/8 x 4 5/16 inches Sheet size: 17 11/16 x 12 1/2 inches With frame: 19 1/2 x 14 1/2 inches Henri Matisse came from a family who were of Flemish origin and lived near the Belgian border. At eight o'clock on the evening of December 31, 1869, he was born in his grandparents' home in the town of Le Cateau in the cheerless far north of France. His father was a self-made seed merchant who was a mixture of determination and tightly coiled tension. Henri had no clear idea of what he wanted to do with his life. He was a twenty-year-old law clerk convalescing from appendicitis when he first began to paint, using a box of colors given to him by his mother. Little more than a year later, in 1890, he had abandoned law and was studying art in Paris. The classes consisted of drawing from plaster casts and nude models and of copying paintings in the Louvre. He soon rebelled against the school's conservative atmosphere; he replaced the dark tones of his earliest works with brighter colors that reflected his awareness of Impressionism. Matisse was also a violinist; he took an odd pride in the notion that if his painting eye failed, he could support his family by fiddling on the streets of Paris. Henri found a girlfriend while studying art, and he fathered a daughter, Marguerite, by her in 1894. In 1898 he married another woman, Amelie Parayre. She adopted the beloved Marguerite; they eventually had two sons, Jean, a sculptor and Pierre who became an eminent art dealer. Relations between Matisse and his wife were often strained. He often dallied with other women, and they finally separated in 1939 over a model who had been hired as a companion for Mme. Matisse. She was Madame Lydia, and after Mme. Matisse left, she remained with Matisse until he died. Matisse spent the summer of 1905 working with Andre Derain in the small Mediterranean seaport of Collioure. They began using bright and dissonant colors. When they and their colleagues exhibited together, they caused a sensation. The critics and the public considered their paintings to be so crude and so roughly crafted that the group became known as Les Fauves (the wild beasts). By 1907, Matisse moved on from the concerns of Fauvism and turned his attention to studies of the human figure. He had begun to sculpt a few years earlier. In 1910, when he saw an exhibition of Islamic art, he was fascinated with the multiple patterned areas and adapted the decorative universe of the miniatures to his interiors. As a continuation of his interest in the "exotic", Matisse made extended trips to Morocco in 1912 and 1913. At the end of 1917, Matisse moved to Nice; he would spend part of each year there for the remainder of his life. A meticulous dandy, he wore a light tweed jacket amd a tie when he painted. He never used a palette, but instead squeezed his colors on to plain white kitchen dishes...

Anders Zorn (Utmeland/Dalarne, 1860 - Mora/Sweden, 1920) The Two", 1916 Signed in pencil lower right and monogrammed and dated in the plate. Etching on laid paper. 35,5 x 23 cm; 20,2...

A very fine copy of "Les Bars," an album of ten original etchings by the master Lobel-Riche, representing fashionable women in various Parisian social settings. This album, part of a...

Etching realized by Pierre Girieud (1876-1940). Good condition with foxing, on a yellowed paper included a white cardboard passpartout (50 x 70 cm). Hand signed on the lower right corner. Pierre Girieud was a French painter (Marseille 1875 - Nogent-sur-Marne 1948). Follower of P. Gauguin, friend of Cézanne and Van Gogh, he painted still lifes, landscapes of Provence, naked, in a massive, archaic style, with influences of Italian Renaissance painting.

Image dimensions: 16 x 24 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien”, published in Paris by D'Alignan editions. Anselm...

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...