Emile Jean Horace Vernet Art

Artist: Lambrecht Hopfer (German, Active c. 1525-1550) Title: "The Crucifixion (Christ on the Cross)" Portfolio: (after) The Engraved Passion *Issued unsigned, though monogram signed by Hopfer in the plate (printed signature) lower right Circa: 1530 (second state of three, published c. 1690) Medium: Original Etching on laid paper Limited edition: Unknown Printer: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Publisher: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Reference: Bartsch No. VIII.527.12; Hollstein No. 12.II Framing: Recently framed, the sheet is floated over, and top-matted with a 100% cotton fabric rag mat from Holland in a wood moulding and Museum glass Framed size: 14.88" x 13.88" Sheet size: 5.5" x 3.63" Condition: Trimmed to platemark. A few tiny professional repairs: at elbow of Jesus's right arm and the inside thigh of Jesus. Some light skinning upper right corner and lower right area. It is otherwise a strong impression in good condition Very rare Notes: Provenance: private collection - Green Bay, WI; acquired from Sotheby's, New York, NY in c. 2015. The artist Lambrecht Hopfer's printed monogram signature "LH" lower right. The printer/publisher David Funck's (plate) number "182" lower right. This etching is after Albrecht Dürer’s 1511 engraving "The Crucifixion (Christ on the Cross)", ("Dürer-Katalog" - Meder No. 13, page 73). Printed in black from an iron plate. The image depicts Christ on the cross at center, the Virgin at left, two Maries behind her, St. John standing at right, a Roman solider behind him. It is after the eleventh plate of Dürer's sixteen plates from his 1507-1513 "The Engraved Passion" series, ("Dürer-Katalog" - Meder No. 3-18, page 70-74). "The print was originally designed without the number engraved in the lower margin (First state: Lambrecht Hopfer, c. 1530). The Hopfers' descendant David Funck (Nuremberg, 1642–1705) acquired over two hundred of their original iron plates, engraved numbers into them, and re-printed them around 1686-1700. The "182" indicates that "The Crucifixion" was the 182nd print in Funck’s series (Second state: David Funck, c. 1686-1700). About a century later, 92 of these plates were acquired by Carl Wilhelm Silberberg in Frankfurt and printed for the third and final time in the book "Opera Hopferiana", of which "The Crucifixion" was the 90th print (Third state: Carl Wilhelm Silberberg for "Opera Hopferiana", 1802)". - Elizabeth Upper, Cambridge University Library, University of Cambridge, Cambridge, UK Biography: Lambrecht (Lambert) Hopfer (Active c. 1525-1550) was a German Old Masters printmaker. He was the brother of Hieronymus Hopfer (Active c. 1520-1530) and son of Daniel Hopfer...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Meridies; Der Mittag (Noon; The Midday)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.5" x 16.32" Image size: 18.13" x 14.32" Condition: Soft handling creases and folds to sheet. A few light areas of staining and scattered small areas of discoloration in margins. Two small tears skillfully repaired from verso in margins. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Jean-Henri Cless (1774-1812) Portrait of a young woman in a landscape signed "Cless fec" for fecit on the lower left Brown ink and brown ink wash on paper Size of the sheet : 31.5 x 22 cm Size of the motive : 24.5 x 17 cm very simply framed under glass without actual frame 32 x 22.5 cm This pre...

France 18th Century, Pastorale (Arcadian Landscape) Black chalk and heightenings of white gouache on blue-grey paper 19 x 31 cm Framed : 34.5 x 46.5 cm The atmosphere and the subje...

Alfred DEHODENCQ (1822-1982) Study of a hand; preparatory to the painting Jewish Bride in Morocco, 1867 Pencil on paper Dimensions of work: 15.5 x 17.5 cm Frame size : 30 x 30 cm A...

Joseph-Marie Vien (1716-1809) ‘Ambassadeur de Siam’ and ‘La Sultana Reine’ Both titled lower centre, the drawing of the ambassador inscribed with colours intended for the prints, e...

Circle of Charles Angrand (1854-1926) The Loving Couple Pencil and stump on paper, 30 x 22 cm Dated "10.4.19" lower left. Trace of a dedication Otherwise unsigned. Provenance: Pr...

Ida Bagoes Ketut Diding, Artist on bali 1937 Signed with initials, dated and titled, bottom centre Black chalk on paper, 29 x 31 cm Literature: Ernst Braches en J.F. Heijbroek, W....

Raimundo De Madrazo y Garreta (Spanish School, 1841-1920) an exceptional and palatial oil on canvas "Portrait of Isabelle McCreery” depic...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of ecstasy and repose. The loose sketches were drawn directly onto the plate by the artist, a master draftsman whose erotic etchings are largely unknown. The composition is based on the drawing: Clinical Study, Towards a Heroic-Erotic Monument in the Academic/Comic Style, 1965, ball-point pen on paper, 20 x 40 in. / 60 x 101.6 cm. *This print was etched in six gorgeous inks, each in an edition of ten: take your pick of color!* Oldenburg had an interest in imaginary monuments: he famously conceptualized works such as “Ball”, an unbuilt monument conceived of in 1967 which imagined two ballcocks – the round mechanism in a toilet tank...

Stone statue in the temple at Madura, India, 1914 Signed with initials top right Pencil on paper, 21.2 x 16.7 cm Literature: Ernst Braches en J.F. Heijbroek, W.O.J. Nieuwenkamp,B...

Lilly Martin Spencer (American, 1822-1902) A Portrait of a Mother and Child 19th Century. Oil on canvas, signed Lilly Martin Spencer was one of the most popular and American female genre painters in the mid-nineteenth century. She primarily painted domestic scenes, paintings of women and children...