Moses Hyman

UNTITLED PORTRAIT

Dine, Jim. SELF-PORTRAIT IN A FLAT CAP (WINTER). Krens and Castleman, 181. Etching, 1974. First State, published by Petersburgh Press. The Bon A Tirer proof b...

Francis, Sam. SELF-PORTRAIT. Lembark 52. Etching, 1982. Edition of 20, signed and numbered "1/20" in pencil. Printed on Fabriano Tiepolo paper, and published by 3EP, Ltd., Palo Alto,...

Villon, Jacques (French 1875-1963). MONSIEUR PATRELLE. Etching, 1932. G&P E356. 3rd State of three. Edition of 50. Signed in pencil and numbered 8/50. In excellent condition.

Dine, Jim (Americn, born 1935). SELF-PORTRAIT. Etching, 1975. Edition of 25, signed, numbered 15/25, and dated, all in pencil. 9 1/2 x 6 1/2 inches (plate), 20 x 16 inches (sheet). P...

Wilson, John W. SEATED WOMAN. Etching and aquatint, 1973. A Proof aside from the edition of 75. Inscribed "Guide Proof" and signed in pencil. 18 x 12 1/2 inches, 457 x 315 mm. (plat...

Corinth, Lovis. WEIBLICHER AKT MIT BREITKREMPIGEM HUT (Female Nude with Broad-Brimmed Hat). Schwartz 226A. Etching, 1916. 11 3/4 x 7 3/4 inches, 300 x 198 mm. The earlier version, be...

Elegant pair of etchings by Marie Laurencin (French 1883-1956) from the "Poemes de Sapho" published in 1950 ref. 273. Each beautifully mounted in fram...

Medium: Two-color etching on Saunders Waterford, HP, High White, 425 gsm, fine art paper Size: 42 x 42 inches (107 x 107 cm) Signed and numbered Edition of 50

’Folio of 6 etchings and engravings'. A portfolio of six etchings (Originally 7 but etching Number 1, Sef Portrait, is missing from this folio) and engravings produced by Merivale ...

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...

Gilles DEMARTEAU Liège 1722 † Paris 1776 Jeune dessinateur. Eau-forte et manière de crayon, imprimée en couleurs au repérage d’après François BOUCHER (1703-1770). H190xL140mm (sujet)...

Stephen Scott Young, "Scarf" Etching on German copperplate paper 5.5 x 5.25 in. [sight], 13 x 12.5 in. [framed] Ink-inscribed "10th proof/15th state" lower left, ink-signed lower r...