Jean-Léon Gérôme was born at Vesoul (Haute-Saône), he went to Paris in 1840 where he studied under Paul Delaroche, whom he accompanied to Italy  More »

Jean-Léon Gérôme was born at Vesoul (Haute-Saône), he went to Paris in 1840 where he studied under Paul Delaroche, whom he accompanied to Italy (1843–1844). He visited Florence, Rome, the Vatican and Pompeii, but he was more attracted to the world of nature. Taken by a fever, he was forced to return to Paris in 1844. On his return he followed, like many other students of Delaroche, into the atelier of Charles Gleyre and studied there for a brief time. He then attended the Ecole des Beaux-Arts. In 1846 he tried to enter the prestigious Prix de Rome, but failed in the final stage because his figure drawing was inadequate. In 1851 he decorated a vase, later offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James’s Palace, London. He exhibited Bacchus and Love, Drunk, a Greek Interior and Souvenir d’Italie, in 1851; Paestum (1852); and An Idyll (1853). In 1852 Gérôme received a commission by Alfred Emilien Comte de Nieuwerkerke, Surintendant des Beaux-Arts to the court of Napoleon III, for the painting of a large historical canvas, the Age of Augustus image of the painting. In this canvas he combines the birth of Christ with conquered nations paying homage to Augustus. Thanks to a considerable down payment, he was able to travel in 1853 to Constantinople, together with the actor Edmond Got. This would be the first of several travels to the East : in 1854 he made another journey to Turkey and the shores of the Danube, where he was present at a concert of Russian conscripts, making music under the threat of a lash. In 1854 he completed another important commission of decorating the Chapel of St. Jerome in the church of St. Séverin in Paris. His Last communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works. To the exhibition of 1855 he contributed a Pifferaro, a Shepherd, A Russian Concert, The Age of Augustus and Birth of Christ. The last was somewhat confused in effect, but in recognition of its consummate rendering the State purchased it. However the modest painting, A Russian Concert (also called Recreation in the Camp) was more appreciated than his huge canvases. In 1856 he visited Egypt for the first time. This would herald the start of many orientalist paintings depicting Arab religion, genre scenes and North African landscapes.”The Fayoum” was painted and later published in a lithographic Gravure by Goupil Co ; ( Owner father in law of the artist ). and Samuel Hall , New York on a chine colle paper . Gérôme’s reputation was greatly enhanced at the Salon of 1857 by a collection of works of a more popular kind: the Duel: after the Masked Ball (Musée Condé, Chantilly), Egyptian Recruits crossing the Desert, Memnon and Sesostris and Camels Watering, the drawing of which was criticized by Edmond About. Here we have a very rare Gerome “The Fayum” image signed and inscribed below the image, published in a lithographic Gravure by Goupil Co. and Samuel Hall, New York on a chine colle paper. This beautiful work measures 9 by 11.50 inches (plate mark) and in good condition.   « Less

Edward Borein “Roping the Steer” Original Etching Edward Borein (1873—1945) is primarily known as an etcher today. Borein executed almost four hundred  More »

Edward Borein “Roping the Steer” Original Etching Edward Borein (1873—1945) is primarily known as an etcher today. Borein executed almost four hundred different etched images in his life, many of which were printed numerous times. Consequently the most frequent examples of the artist’s work found today are his etchings. However, every Borein collector knows that Borein’s preeminent achievements are his applied color works, as seen in his best watercolors and oil paintings. Among cattlemen and women, Edward Borein is most recognized for his ability to accurately capture the canter of a horse, the posture of a working cowboy and the force of a moving herd of cattle. Borein was a working artist, having made his way in life on the proceeds of his art sales. The citizens of Santa Barbara are full of tales of Borein’s senior years, when it is said the visitors to his studio on De La Guerra St. would be greeted with tall tales and etchings which could be had for a modest price. Amongst Edward Borein’s close friends were the actor Leo Carillo and the humorist Will Rogers. They were often seen at the nearby “El Paseo” (www.calwestgroup.com) restaurant laughing and carrying on. Edward Borein printed from the original copper plate after his death (posthumously). It is a fine high quality etching titled “ROPED” showing a steer that was roped by a ranch hand cowboy, tripped and now upside down and rolling with a unusual dense brush vegetation background with wonderful Borein detail. This etching is shown in Harold Dividson’s book — EDWARD BOREIN THE UPDATE Watercolors, Etchings, and Drawings — 1991 (Library #0-9627674-0-9) plate D138 titled “ROPED”. The book shown plate was un-published to the public and was reworked with removal of the left side horseman, and the dense background brush was added and also an in-plate “EDWARD BOREIN” was added. This etching is quite scarce due to the very limited printing production wear-out of the copper plate. The work is on quality paper measuring 5.50 by 11.25 inches in mint condition.   « Less

Hans Sebald Beham (1500 — 1550) was a German printmaker who did his best work as an engraver, and was also a designer of woodcuts and a painter and miniaturist. He  More »

Hans Sebald Beham (1500 — 1550) was a German printmaker who did his best work as an engraver, and was also a designer of woodcuts and a painter and miniaturist. He is one of the most important of the “Little Masters”, the group of German artists making old master prints in the generation after Dürer. The older brother of Barthel Beham by two years, he was born into a family of artists in Nuremberg. In 1525, along with his brother and Georg Pencz, the so-called “godless painters”, he was banished from Nuremberg, accused of heresy (against Lutheranism), blasphemy and not recognising the authority of the City council. Within months the three were allowed to return to the city, but Beham was exiled again in 1528 for publishing a book on the proportions of the horse regarded as plagiarised from an unpublished manuscript by Albrecht Dürer, who had recently died. After a period spent working in various German cities, from 1532 he lived mostly in Frankfurt until his death in 1550. He is increasingly known just as “Sebald Beham”, as this how he usually signed his name in full. The “Hans” seems to derive from the first letter of his monogram only. However, up to about 1532 his prints were monogrammed ‘HSP’, reflecting the Nuremberg pronunciation of his name: Peham. After this date, when he had moved to Frankfurt, his monogram became ‘HSB’ often but NOT always engraved in his works. Here we have Hans Sebald Beham Engraving one of several, all signed with the artist monogram HB and measures by inches sheet of TRIMMED on the Borderline so there is NO plate mark on laid paper. We estimate this was printed in the late 18th century. Otherwise in good condition. The work measures 1 ¾ by 2 ½ inches.   « Less

Here we have a great Baul Baum “Artist Sketching” Original Etching, scarce work for the first edition of Die kunst des radierens (The Art of Etching) by Hermann  More »

Here we have a great Baul Baum “Artist Sketching” Original Etching, scarce work for the first edition of Die kunst des radierens (The Art of Etching) by Hermann Struck. Printed on high quality wove paper by Pan-Presse and was published by Paul Cassirer in 1918. It is in good condition with minute spots of foxing outside of the etched work. The etching measures 4.5 by 6.50 inches on Japon paper. Paul Baum (1859—1932) was a Post-Impressionist painter and printmaker, almost exclusively of landscapes. Paul Baum was born at Meissen. He studied at the Academy in Dresden, then in the atelier of the landscape painter Friedrich Peller, and then under Theodor Hagen in the Weimer School of Art. Baum exhibited from 1880. The art of Paul Baum shows the influence of Pointillism in its technique and approach.   « Less

Max Slevogt “der Bildermann #1” Original Lithograph Here we have Max Slevogt “der Bildermann” Original Lithograph, printed on Laid paper  More »

Max Slevogt “der Bildermann #1” Original Lithograph Here we have Max Slevogt “der Bildermann” Original Lithograph, printed on Laid paper measuring 7.25 by 9 inches (sheet size) and in good condition. Published in Berlin, 1918 of a small edition. Unsigned with the original tissue sheet with title and data still attached as published. Max Slevogt (October 8, 1868 – September 20, 1932) was a German Impressionist painter and illustrator print-maker , best known for his landscapes and portraits of genre . He was, together with Lovis Corinth and Max Liebermann, one of the foremost representatives in Germany of the plein air style. He was born in Landshut, Germany. From 1885–89 he studied at the Munich Academy, and his early paintings are dark in tone, exemplifying the prevailing style in Munich. In 1889 Slevogt visited Paris, where he attended the Académie Julian. In 1896, he drew caricatures for the magazines Simplicissimus and Jugend, and the next year he had his first solo exhibition in Vienna. Toward the end of the 1890s his palette brightened. He travelled again to Paris in 1900, where he was represented in the German pavilion of the world exhibition with the work Scheherezade, and was greatly impressed by the paintings of Édouard Manet. In 1901 he joined the Berlin Secession. A trip to Egypt in 1914 resulted in 21 paintings as well as numerous watercolors and drawings; on the return journey he stopped off in Italy. In June he acquired the country seat Neukastel. After the outbreak of World War I he was sent as official war painter to the western front. The war experience brought about a search for new style appropriate to the expression of the horrors of war. In the same year he became a member of the royal academy of the arts in Berlin. He designed scenery for the performance of Mozart’s Don Giovanni in the Dresdner state opera in 1924. In 1929 he was given a large 60th birthday exhibition in the Prussian academy of the arts in Berlin. During the last year of his life he worked on the religious mural Golgatha in the peace church in Ludwigshafen on the Rhine. It was destroyed by bombing raids during the first World’s War. Max Slevogt died in Rhenish Palatinate, Germany, in 1932. He is buried in the burial place of the family Finkler east of his house, the so called Slevogthof (with wall paintings) at Neukastel.   « Less

Max Slevogt “der Bildermann #2” Original Lithograph Here we have Max Slevogt “der Bildermann” Original Lithograph, printed on Laid paper  More »

Max Slevogt “der Bildermann #2” Original Lithograph Here we have Max Slevogt “der Bildermann” Original Lithograph, printed on Laid paper measuring 7.25 by 9 inches (sheet size) and in good condition. Published in Berlin, 1918 of a small edition. Unsigned with the original tissue sheet with title and data still attached as published. Max Slevogt (October 8, 1868 – September 20, 1932) was a German Impressionist painter and illustrator print-maker , best known for his landscapes and portraits of genre . He was, together with Lovis Corinth and Max Liebermann, one of the foremost representatives in Germany of the plein air style. He was born in Landshut, Germany. From 1885–89 he studied at the Munich Academy, and his early paintings are dark in tone, exemplifying the prevailing style in Munich. In 1889 Slevogt visited Paris, where he attended the Académie Julian. In 1896, he drew caricatures for the magazines Simplicissimus and Jugend, and the next year he had his first solo exhibition in Vienna. Toward the end of the 1890s his palette brightened. He travelled again to Paris in 1900, where he was represented in the German pavilion of the world exhibition with the work Scheherezade, and was greatly impressed by the paintings of Édouard Manet. In 1901 he joined the Berlin Secession. A trip to Egypt in 1914 resulted in 21 paintings as well as numerous watercolors and drawings; on the return journey he stopped off in Italy. In June he acquired the country seat Neukastel. After the outbreak of World War I he was sent as official war painter to the western front. The war experience brought about a search for new style appropriate to the expression of the horrors of war. In the same year he became a member of the royal academy of the arts in Berlin. He designed scenery for the performance of Mozart’s Don Giovanni in the Dresdner state opera in 1924. In 1929 he was given a large 60th birthday exhibition in the Prussian academy of the arts in Berlin. During the last year of his life he worked on the religious mural Golgatha in the peace church in Ludwigshafen on the Rhine. It was destroyed by bombing raids during the first World’s War. Max Slevogt died in Rhenish Palatinate, Germany, in 1932. He is buried in the burial place of the family Finkler east of his house, the so called Slevogthof (with wall paintings) at Neukastel.   « Less

Jacques Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching and introducing the technical innovation of using a very hard  More »

Jacques Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching and introducing the technical innovation of using a very hard ground on the plate, thus making it possible to vary the thickness of the line, modeling it along its whole course with a dependable ground to work on, he became the first specialist virtuoso etcher … [this work provides] the first unromantic pictures of war, exposing its impersonal cruelty, casual violence, and senseless destruction his records of war-torture, rape, burning at the stake, the firing squad-are strikingly believable because he observed decorum, viewed events as dispassionately as only a Frenchman can, and made his figures move as delicately and precisely as deadly insects. Through his technical innovations and the excellence of his drawing he exerted an influence more profound than that of many greater artists” Here we have one etching from Calendar of Saints — One of a collection of 16, being offered from the “Calendar of Saints”, originally c. 1636, this is a later state, c. 18th century. Etching on chained lined paper, archival mat. Oval cartouche with image, printed on trimmed, Laid paper measuring 3-13/16” x 2-1/16” and in good condition. These were conceived and created by Callot. These were Published by Israel Silvestre (Nancy, 13 August 1621 — 11 October 1691 in Paris), called the Younger to distinguish him from his father, was a prolific French draftsman, etcher and print dealer who specialized in topographical views and perspectives of famous buildings. Orphaned at an early age, he was taken in by his uncle in Paris, Israel Henriet, an etcher and printseller, and friend of Jacques Callot. Between 1630 and 1650 Silvestre travelled widely in France and Italy, which he visited three times, and later worked up his sketches as etchings, which were sold singly and in series. His work, especially of Venetian subjects published in the 1660s, influenced eighteenth-century painters of vedute such as Luca Carlevaris and Canaletto, who adapted his compositions. In 1661 he inherited the stock of plates of his uncle, the print seller Israel Henriet, among which was a large part of the works of Callot, and many of those of Stefano della Bella. In 1662 he was appointed dessinateur et graveur du Roi and in 1673 he was appointed drawing-master to Louis, le Grand Dauphin. From 1668 he was granted workshop space in the galleries of the Louvre, where the practice of housing eminent artists and craftsmen was a tradition that was originated under Henri IV. Silvestre’s atelier was large: he had at least two pupils who had separate careers as engravers, François Noblesse and Meunier. In 1670 Charles Le Brun recommended him for membership in the Académie royale de peinture et de sculpture. In 1675 his son, the artist Louis Silvestre, was born at Sceaux. .   « Less

Adrian van Ostade (December 10, 1610 — bur. May 2, 1685) was a Dutch genre painter and a gifted etcher-print-maker. He was the eldest son of Jan Hendricx  More »

Adrian van Ostade (December 10, 1610 — bur. May 2, 1685) was a Dutch genre painter and a gifted etcher-print-maker. He was the eldest son of Jan Hendricx Ostade, a weaver from the town of Ostade near Eindhoven. Although Adriaen and his brother Isaack were born in Haarlem, they adopted the name “van Ostade” as painters. Adrian van Ostade “The Angler” executed by Van ostade and etched AFTER the artist. Printed on early japon paper with small margins printed approximate 1800—1820. Etching, measuring 4.50 by 7 inches   « Less

Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching and introducing the technical innovation of using a very hard ground on  More »

Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching and introducing the technical innovation of using a very hard ground on the plate, thus making it possible to vary the thickness of the line, modeling it along its whole course with a dependable ground to work on, he became the first specialist virtuoso etcher … [this work provides] the first unromantic pictures of war, exposing its impersonal cruelty, casual violence, and senseless destruction his records of war-torture, rape, burning at the stake, the firing squad-are strikingly believable because he observed decorum, viewed events as dispassionately as only a Frenchman can, and made his figures move as delicately and precisely as deadly insects. Through his technical innovations and the excellence of his drawing he exerted an influence more profound than that of many greater artists” Here we have one etching from Calendar of Saints — One of a collection of 16, being offered from the “Calendar of Saints”, originally c. 1636, this is a later state, c. 18th century. Etching on chained lined paper, archival mat. Oval cartouche with image, printed on trimmed, Laid paper measuring 3-13/16” x 2-1/16” and in good condition. These were conceived and created by Callot. These were Published by Israel Silvestre (Nancy, 13 August 1621 — 11 October 1691 in Paris), called the Younger to distinguish him from his father, was a prolific French draftsman, etcher and print dealer who specialized in topographical views and perspectives of famous buildings. Orphaned at an early age, he was taken in by his uncle in Paris, Israel Henriet, an etcher and printseller, and friend of Jacques Callot. Between 1630 and 1650 Silvestre travelled widely in France and Italy, which he visited three times, and later worked up his sketches as etchings, which were sold singly and in series. His work, especially of Venetian subjects published in the 1660s, influenced eighteenth-century painters of vedute such as Luca Carlevaris and Canaletto, who adapted his compositions. In 1661 he inherited the stock of plates of his uncle, the print seller Israel Henriet, among which was a large part of the works of Callot, and many of those of Stefano della Bella. In 1662 he was appointed dessinateur et graveur du Roi and in 1673 he was appointed drawing-master to Louis, le Grand Dauphin. From 1668 he was granted workshop space in the galleries of the Louvre, where the practice of housing eminent artists and craftsmen was a tradition that was originated under Henri IV. Silvestre’s atelier was large: he had at least two pupils who had separate careers as engravers, François Noblesse and Meunier. In 1670 Charles Le Brun recommended him for membership in the Académie royale de peinture et de sculpture. In 1675 his son, the artist Louis Silvestre, was born at Sceaux. .   « Less

Jacques Callot “Saint Moyse; Calendar of Saints” Etching Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching  More »

Jacques Callot “Saint Moyse; Calendar of Saints” Etching Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching and introducing the technical innovation of using a very hard ground on the plate, thus making it possible to vary the thickness of the line, modeling it along its whole course with a dependable ground to work on, he became the first specialist virtuoso etcher … [this work provides] the first unromantic pictures of war, exposing its impersonal cruelty, casual violence, and senseless destruction his records of war-torture, rape, burning at the stake, the firing squad-are strikingly believable because he observed decorum, viewed events as dispassionately as only a Frenchman can, and made his figures move as delicately and precisely as deadly insects. Through his technical innovations and the excellence of his drawing he exerted an influence more profound than that of many greater artists” Here we have one etching from Calendar of Saints — One of a collection of 16, being offered from the “Calendar of Saints”, originally c. 1636, this is a later state, c. 18th century. Etching on chained lined paper, archival mat. Oval cartouche with image, printed on trimmed, Laid paper measuring 3-13/16” x 2-1/16” and in good condition. These were conceived and created by Callot. These were Published by Israel Silvestre (Nancy, 13 August 1621 — 11 October 1691 in Paris), called the Younger to distinguish him from his father, was a prolific French draftsman, etcher and print dealer who specialized in topographical views and perspectives of famous buildings. Orphaned at an early age, he was taken in by his uncle in Paris, Israel Henriet, an etcher and printseller, and friend of Jacques Callot. Between 1630 and 1650 Silvestre travelled widely in France and Italy, which he visited three times, and later worked up his sketches as etchings, which were sold singly and in series. His work, especially of Venetian subjects published in the 1660s, influenced eighteenth-century painters of vedute such as Luca Carlevaris and Canaletto, who adapted his compositions. In 1661 he inherited the stock of plates of his uncle, the print seller Israel Henriet, among which was a large part of the works of Callot, and many of those of Stefano della Bella. In 1662 he was appointed dessinateur et graveur du Roi and in 1673 he was appointed drawing-master to Louis, le Grand Dauphin. From 1668 he was granted workshop space in the galleries of the Louvre, where the practice of housing eminent artists and craftsmen was a tradition that was originated under Henri IV. Silvestre’s atelier was large: he had at least two pupils who had separate careers as engravers, François Noblesse and Meunier. In 1670 Charles Le Brun recommended him for membership in the Académie royale de peinture et de sculpture. In 1675 his son, the artist Louis Silvestre, was born at Sceaux. .   « Less