Jean-Emile Laboureur

L’Auberge du Bord de L’Eau (Petite Planche)

1924

Jean-Emile Laboureur (1877-1943), Le Chemin de la Foret, etching and engraving, 1926, signed in pencil lower left and inscribed epreuve d’artiste lower right. Reference: Laboureur 32...

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. In good condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, with the drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he re-connected with this area throughout his life. As a teenager he decided that he wanted to become an artist and he traveled to Paris where, shortly after his arrival, he encountered the eminent Gustave Moreau, who took him on as a student. Moreau encouraged him to study old master prints, especially the prints of Rembrandt and Durer, which were available in the Cabinet des Estampes in Paris – this was to be critical in his development. Beaufrere began printmaking in about 1904, with some woodcuts, but soon got into etching and engraving. Curiously, one of his colleague/teachers at the time was the Canadian etcher Donald Shaw MacLaughlan. He began showing his prints, with some success, but after his marriage in 1905, and with the urging of his new wife, moved out of Paris and back to Brittany. This move had a mixed effect on his career – contacts with other artists became fewer, but he did maintain gallery relationships, and the French countryside and it’s inhabitants would provide a continuing source of inspiration. During the Great War Beaufrere served in the infantry, and had few opportunities to make art. But he did study a volume of Rembrandt’s prints...

Jean-Emile Laboureur (1877-1943), La Promenade Sur Le Port, 1933, engraving, signed in pencil lower left. Reference: Godefry 482, Sylvain Laboureur 482, second state (of 2); from the...

Letterio Calapai (1902-1993), Eight-Thirty Express, wood engraving, 1943, signed and dated ’43 lower right, titled and inscribed trial proof 3 bottom left in pencil [with the monogra...

William Kentridge (b. 1955), Flatiron Building, (also known as I Am Still Learning), drypoint, 1985, on Rives paper with their watermark, signed, dated and dedicated For Hermine from...

Max Pollak (1886-1970), Bohemia, drypoint with wash and pencil additions, c. 1925, signed in pencil lower right and titled lower left. In very good condition, printed on a chine coll...

Samuel Chamberlain was a superb draftsman and his architectural images are often very complex. This image is, by contrast, quiet and understated: serene to the point of lonely. It's ...

Such an innovative image on the classic 'Riders in the Park' theme! Further, the use of drypoint and the rather direct -- even aggressive -- drawing style, bring it into the German E...

The reference number on this work is Kraeft 88. It's from an edition of 100 and is signed, dated, and numbered, in pencil. Always an intaglio printmaker, Landeck switched from a mor...

Werner Drewes brought his modernist vision to this subject but created, in my opinion, a great work of the Etching Revival. The reference is Rose 183. It...

Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...

Signed in pencil. This scene is a hundred years old but if we have snow this year it can easily be recreated.