Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" Original Etching Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" (Blind Man Tossed on  More »

Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" Original Etching Francisco Goya "Aveugle Enlevé sur les Cornes d'un Taureau" (Blind Man Tossed on the Horns of a Bull); Spanish title: Dios se lo Pague (May God Repay You); Medium: original etching, aquatint and drypoint. This impression on laid paper was printed in Paris in 1867 by Delâtre for Gazette des Beaux-Arts. Catalogue references: Delteil 24ii; Harris 25. Plate size: 6 5/8 x 8 1/2 inches. Professionally framed, size 18.50 by 17.50 inches . Good condition not examined outside of the professional framing. Francisco José de Goya y Lucientes (March 30, 1746 — April 16, 1828) was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso. The engraved images that make up Goya’s most important series of prints, Los Caprichos (1799), have long been recognized as one of the supreme monuments of European art. Goya, royal painter to the kings of Spain during the late eighteenth-early nineteenth centuries, eventually died in exile, both of his major print series having been “donated” to the crown to protect him from the Inquisition. A believer in the potential power of reason, his works show what happens when reason is trampled underfoot by individual human follies and corrupt social customs. In these works Goya looks at his country and memorializes it as a monument to desperation, folly, arrogance, incompetence, and the need that some of his subjects have to try to control the uncontrollable. --   « Less

Charles Meryon Portrait of De Casimir Le Conte Etching A rare Charles Meryon Portrait of De Casimir Le Conte Plate inscribed work as C. MERYON DEL AQUA FORTE 1856,  More »

Charles Meryon Portrait of De Casimir Le Conte Etching A rare Charles Meryon Portrait of De Casimir Le Conte Plate inscribed work as C. MERYON DEL AQUA FORTE 1856, APRE G.B.(Boulanger). This large work measures 10.5" x 13.5" on a larger sheet of thin antique Laid paper (17" x 23") in very good condition. Recored in the artist catalogue of Detail # 77. Eugène-Casimir Villatte, Comte d'Oultremont (14 April 1770 - 14 May 1834) fought in the French army during the Wars of the French Revolution and the Napoleonic Wars. He rose to command a division at many of the important battles in the Peninsular War. His is one of the names inscribed under the Arc de Triomphe. Charles Méryon (23 November 1821 – 13 February 1868), was a French artist, who worked almost entirely in etching, as he suffered from colour-blindness. Although now little-known in the English-speaking world, he is generally recognised as the most significant etcher of 19th century France. He also suffered from mental illness, dying in an asylum. His most famous work is a series of views of Paris. --   « Less

Rembrandt "Self Portrait with His Saskia" Etching Original image conceived by Rembrandt and etched by Charles H. Hodges and pulled from the copper plate in late 19th  More »

Rembrandt "Self Portrait with His Saskia" Etching Original image conceived by Rembrandt and etched by Charles H. Hodges and pulled from the copper plate in late 19th century impression on arches laid paper with margins. Etched work measures approximately 3.5" by 6.25". This is in mint condition. Charles Howard Hodges (1764-183 Originally from Britain, Charles Howard Hodges started at a young age as a promising engraver-etcher, draughtsman, painter and art dealer. He was the son of a miniature painter and grew up in artistic circles. In 1782 he enrolled at the Royal Academy Schools in London. After a visit to the Netherlands with the art dealer William Humphrey (1740-1810) Having become acquainted with the Netherlands through a fellow art dealer, he settled in The Hague in 1792. Later, he moved to Amsterdam with his family, where he acquired a large clientele as a portrait painter. Hodges painted the leading figures of successive political regimes: Stadholder William V, Louis Bonaparte, Emperor Napoleon Bonaparte and King William I as well as an array of lesser dignitaries.   « Less

Jusepe (Joseph) Ribera “San Girolamo” Etching-Engraving Jusepe (José) de Ribera always asserted in the signatures of his paintings and engravings  More »

Jusepe (Joseph) Ribera “San Girolamo” Etching-Engraving Jusepe (José) de Ribera always asserted in the signatures of his paintings and engravings that he was a Spaniard; he frecuently added that he was a Valencian, and occasionally (most frecuently about 1682) he gave his birth-place, repeating that he was a “Setabensis”- from the city of Játiva. By the time he left Spain he had been trained in the technique of painting by Francisco Ribalta, the most celebrated and best Valencian painter about 1600, and indeed until his dead in 1628. The fact that Palomino, Ribera’s first Spanish biographer, mentioned the apprenticeship under Ribalta would hardly suffice were it not supported by information obtained by Palomino in Valencia (where the writer-painter often worked) and by an examination of Ribera’s technique during his early period, with his Ribalta reds. Also, Juan Ribalta when working by his father’s side painted very much like Ribera, especially in the best authenticated and most remarkable of his pictures, the Crucifixion which he signed at Valencia in 1616, when he was 18. Ribera, though he would have none of the religious art of the XVI century, was a painter of profoundly religious inspiration, after his own manner. He found, either himself or in his new surroundings, something that no other painter has had, a deep love for the heroic age of Christianity. There nothing mystic about his art, nothing complicated in his religious ideals: his apostles are sailors; his favorite saints martyrs and hermits. Ribera’s religious idea was admirably served by a rare sensitiveness which is not distinguisable at first sight, of course absent from school repetitions and imitations by his pupils, and only exists in the authentic works of his own hand. In Ribera there’s something deeper than the passion of his subjects, of the details of the scenes; this something is a living sensitiveness, at times physiological, but always living and always present in his pictures. His pictures, so strong in chiaroscuro and in their note of truth, which makes them admirable when seen from a distance, are also full, when examined closely, of an essentially vibrating energy in their workmanship; and this comes out equally well in large canvasses and in engravings. Jusepe (Joseph) “San Girolamo” Etching-Engraving is inscribed “Ribera def”, titled “San Girolamo” and signed also by “Fabri inc”. Printed on antique laid paper with good margins and plate mark 8 by 11 inches. The work is from the final state with the Plate number VI and No 51 on the top of the plate. This is in good condition was professionally framed, ready to be framed. This would give the serious collector of Spanish Art many years of great enjoyment. Luigi Fabri leading engraver and publisher, established in Rome Italy, born 1777 Rome — 1835, engraved this work AFTER the work of Ribera first executed in oil. --   « Less

Peter Moran “Harvest in San Juan, New Mexico” Pencil Signed Etching Peter Moran One of America’s leading nineteenth century etchers of animals and  More »

Peter Moran “Harvest in San Juan, New Mexico” Pencil Signed Etching Peter Moran One of America’s leading nineteenth century etchers of animals and landscapes, Peter Moran immigrated with his family to the United States at the age of three. At the age of sixteen he was apprenticed to the lithographic firm of Herline and Hersel, drawing mostly advertisements. A year later he began to study art under his elder brothers, Edward (1829 — 1901) and Thomas (1837 — 1926). Thomas Moran and his wife, Mary Nimmo Moran, both became very influential etchers. Peter Moran concluded his education by visiting England in 1863. He was particularly influenced there by the animal and landscape art of Edwin Landseer, Rosa Bonheur and Constant Troyon. Peter Moran was a full member of the New York Etching Club and the Philadelphia Art Club. He also served as President of the American Society of Etchers. Peter Moran first gained national recognition in 1864 when he visited the territory of New Mexico. He was in fact the first non-native artist to portray aspects of the life and culture of the Pueblo Indians. During the 1870’s and 1880’s he returned to both New Mexico and Arizona, creating a great legacy of both paintings and etchings of these areas. In 1890 Peter Moran traveled as the official artist for the Bureau of Indian Affairs. Here we have a very rare impression of Peter Moran ‘Harvest in San Juan, New Mexico’ Listed work in the Catalogue refer: Keppel 74. Executed in 1883; this is a rich impression on wove paper of a earlier pull with rich dry point before the un signed editions were pulled . The etching measures 6 x 12.25 inches . Framed size 15 by 20.50 inches, recently framed. NOT examined outside of the frame. Signed in the plate and in pencil. This is Considered one of Peter Moran's masterpieces and rare to find in the pencil signed. Unsigned impressions are listed at $1500.00 by the most respected print dealers . This was verbally appraised by a Print dealer at $4,000.00 — $5,00.00 Retail. This comes Professionally framed and in excellent Condition.   « Less

Childe Hassam “Venice” Pair Rare Aquatints Childe Hassam American Impressionist Painter, Lithographer, watercolorist and etcher (known to all as Childe,  More »

Childe Hassam “Venice” Pair Rare Aquatints Childe Hassam American Impressionist Painter, Lithographer, watercolorist and etcher (known to all as Childe, pronounced like child) left high school without graduating, and ended up working for a wood engraver. He attended drawing classes at the Lowell Institute, a division of MIT, and was a member of the Boston Art Club. He began his artistic career as an illustrator and watercolorist. By 1882, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and thereafter was known simply as “Childe Hassam”. Having had little formal art training previously, Hassam went to Paris in 1886 to study figure drawing and painting at the Académie Julian. He studied under Gustave Boulanger and Jules Joseph Lefebvre. However, he later considered the education he received there “superfluous.” What had a greater influence on Hassam’s work was the art he was exposed to in the city’s museums and galleries, especially the works of the Impressionists. Hassam returned to America and settled in New York City in 1889. He soon became close friends with fellow artists J. Alden Weir and John Henry Twachtman, whom he met through the American Watercolor Society. Hassam enthusiastically painted the genteel urban atmosphere he discovered in New York, which he greatly preferred to Paris. During his time in New York, Hassam made summer painting excursions to Thaxter’s home on Appledore Island, Maine, the largest of the Isles of Shoals; and to Gloucester, Massachusetts; Cos Cob, Connecticut; and Old Lyme, Connecticut. Outstanding Childe Hassam (noted American Impressionist Master) was commissioned to execute and publish a series of Venetian Watercolors for “Venetian Life, 1889”. Executed in the medium color Aquatint, employing multi plates for various colors and tonal effects. These beautiful works were conceived and printed under the supervision of Hassan and took place at the Riverside Press in Riverside New York, 1889. Because of the high cost of published these works in high quality, the technique soon was ended by the first of the 19th century. Sheet size: 4.50 by 7 inches on wove paper; framed size 11.50 by 13 inches each. This is an exceptional antique multi-stone aquatint has the look of an actual watercolor and of a limited edition. professionally framed and are truly beautiful works that will give you many years of great enjoyment. The publication of these works became one of the finest Aquatints in color produced in the period and best among the finest Aquatint printing of the period in America , Here Childe Hassam works in watercolors became strong, brilliant, and individual. Among the best examples are his American water colors. Today these examples are becoming very rare to find on the open market and are often overlooked by collectors of Hassam’s fine print-making.   « Less

Albrecht Altdorfer "Small Passions - Collection of 32 Wood Engravings" Here we have "Albrecht Altdorfer, Small passions — Collection of 32 Wood Engravings"  More »

Albrecht Altdorfer "Small Passions - Collection of 32 Wood Engravings" Here we have "Albrecht Altdorfer, Small passions — Collection of 32 Wood Engravings" Later impressions with NO Plate-mark and trimmed to the borders of each image. These are what we can tell later impressions and on smooth Laid paper. Each measuring 1 6/8 by 2 3/4 inches each. Altdorfer was born in Regensburg or Altdorf around 1480.He acquired an interest in art from his father, Ulrich Altdorfer, who was a painter and miniaturist. At the start of his career, he won public attention by creating small, intimate modestly scaled works in unconventional media and with eccentric subject matter. He settled in the free imperial city of Regensburg, a town located on the Danube River in 1505, eventually becoming the town architect and a town councillor. His first signed works date to c. 1506, including engravings and drawings such the Stygmata of St. Francis and St. Jerome." His models were niellos and copper engravings from the workshops of Jacopo de Barbari and Albrecht Dürer. Around 1511 or earlier, he travelled down the river and south into the Alps, where the scenery moved him so deeply that he became the first landscape painter in the modern sense, making him the leader of the Danube School, a circle that pioneered landscape as an independent genre, in southern Germany. From 1513 he was at the service of Maximilian I in Innsbruck where he received several commissions from the imperial court. During the turmoil of the Protestant Reformation, he dedicated mostly to architecture; paintings of the period, showing his increasing attention to architecture, include the Nativity of the Virgin.   « Less

Rembrandt “Christ Between the Two Thieves” Etching & Drypoint Rembrandt Harmenszoon van Rijn (July 15, 1606 — October 4, 1669) was a Dutch painter  More »

Rembrandt “Christ Between the Two Thieves” Etching & Drypoint Rembrandt Harmenszoon van Rijn (July 15, 1606 — October 4, 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age. Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardship. Yet his drawings and paintings were popular throughout his lifetime, his reputation as an artist remained high and for twenty years he taught nearly every important Dutch painter. Rembrandt’s greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. The self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In both painting and printmaking he exhibited a complete knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt’s knowledge of the specific text, his assimilation of classical composition, and his observations of the Jewish population of Amsterdam. Because of his empathy for the human condition, he has been called “one of the great prophets of civilization.” Rembrandt “Christ Between the Two Thieves” Etching executed by Rembrandt we believe a LATE 18th CENTURY impression on laid paper with narrow margins. The etching measures 5 1/4 by 7 7/8 inches on antique TRIMMED laid paper with out side of the plate-mark (NOT effecting the etched work.) Otherwise in good condition, No visible signs of repairs or tears to the etched work. This work is beautifully framed in a gold wood frame measuring 10.50 by 12.50 inch frame. Listed in the Catalogue resume of Boon Catalogue 78, final state, final state. REMBRANDT Christ crucified between the two Thieves 12/03/96 2,269 Sold B79;H79;HD173;BB41-2 129 REMBRANDT Christ crucified between the two Thieves 12/01/94 9,319 Sold B78;H78;HD270 134 REMBRANDT Christ crucified between the two Thieves 06/30/94 26,858 Sold B78;H78;HD270 154 REMBRANDT Christ crucified between the two Thieves 06/29/88 5,060 Sold B78;H78;HD270 271 REMBRANDT Christ crucified between the two Thieves-(The three Crosses) 09/22/95 4,250 Sold B78;H78;HD270 8 REMBRANDT Christ crucified between the two Thieves. 'The Three Crosses' 12/18/01 5,700 Sold B78 73 REMBRANDT Christ crucified between the two Thieves... 05/23/90 99,00 Sold B78;H78;HD270 76 REMBRANDT Christ Crucified Between the Two Thieves: "The Three Crosses" 12/09/98 3,700 Sold B78;H78;HD270 90 REMBRANDT Christ Crucified Between the Two Thieves: "The Three Crosses" 06/30/98 7,200 Sold H78;HD270;B78;BB53 96 REMBRANDT Christ Crucified Between the Two Thieves: "The Three Crosses" 05/13/97 6,000 Sold B78IV;H78IV;H270;BB53-A 26 REMBRANDT Christ crucified between the two Thieves:'The three Crosses' 06/29/87 3,250 Sold B78;H78IV;HD270 69 REMBRANDT Christ crucified between the two Thieves:'The three Crosses' 05/13/87 2,000 Sold B78V;H78V;HD270V 47 REMBRANDT Christ Crucified between the Two Thieves:An Oval Plat 05/03/07 8,400 Sold B79;BB41-2;H79I/II 75 REMBRANDT Christ Crucified between the Two Thieves:An Oval Plate 06/18/09 1,440 Sold B79;BB41-2;H79 35 REMBRANDT Christ Crucified between the Two Thieves:An Oval Plate 10/31/08 1,200 Sold B79;BB41-2;H79 163 REMBRANDT Christ Crucified between the Two Thieves:An Oval Plate 05/01/08 5,040 Sold B79;BB41-2;H79II/II 229 REMBRANDT Christ Crucified between the Two Thieves:An Oval Plate 05/01/08 2,400 Sold B79;BB41-2;H79II/II 231 REMBRANDT Christ crucified between the two thieves:an oval plate 03/26/07 1,890 Sold B79 10 REMBRANDT Christ Crucified Between the Two Thieves:An Oval Plate 01/04/07 1,564 Sold 25 REMBRANDT Christ crucified between the two Thieves:An oval Plate 12/05/06 2,063 Sold B79;HD173 200 REMBRANDT Christ Crucified between the Two Thieves:An Oval Plate 05/04/06 2,070 Sold B79;BB41-2;H79II/II 172 REMBRANDT Christ Crucified between the Two thieves:An Oval Plate 11/03/05 3,500 Sold B79;BB41-2II/II;H79II/II 67 REMBRANDT Christ Crucified between the Two Thieves:An Oval Plate 05/05/05 5,520 Sold B79;BB41-2;H79II/II 63   « Less

Rare Hendrik Goltzius "Munus ego abfentis ducis expleo et alter ab illo" Etched-Engraving Hendrik Goltzius , Engraving. This is an original antique print of the  More »

Rare Hendrik Goltzius "Munus ego abfentis ducis expleo et alter ab illo" Etched-Engraving Hendrik Goltzius , Engraving. This is an original antique print of the Shepherd and his flock, Concieved by Goltzius (Invent) and Jacob de Gheyn II (sculp and Publisher ) . and STUDENT of Goltizius. One of two engraving works from a series of twelve plates, "Offiziere und Soldaten", after Goltzius, 1587. This antique copper engraving was printed in 17th Century and is good condition , trimmed to the borderline and on early laid paper condition. The engraved work measures 6 by 12.25 inches, plus lettering at the foot of the sheet. The framed size 15 by 17.50 inches. Retail at $ 2,000-3,500.00 each. Bibliographic reference New Hollstein 177.I (The De Gheyn family) Bartsch III.121.2 Prov: Craddock and Barnard, London Palm Beach Collection, FL An impression can be seen at: http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=1537779&partid=1&output=People%2f!!%2fOR%2f!!%2f123723%2f!%2f123723-2-60%2f!%2fPrint+made+by+Jacob+de+Gheyn+II%2f!%2f%2f!!%2f%2f!!!%2f&orig=%2fresearch%2fsearch_the_collection_database%2fadvanced_search.aspx¤tPage=8&numpages=10 Hendrik Goltzius (January or February 1558 — January 1, 1617, Haarlem), was a Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, noted for his sophisticated technique and the “exuberance” of his compositions. According to A. Hyatt Mayor, Goltzius “was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy”. In middle age he also began to produce paintings. Hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin Goltzius is said to rival that of Dürer‘s. He made engravings ofBartholomeus Spranger‘s paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in Vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham. The Engraver Jacob de Gheyn II (also Jacques de Gheyn II) (c. 1565, Antwerp – March 29, 1629, The Hague) was a Dutch painter and engraver, whose work shows the transition from Northern Mannerism to Dutch realism over the course of his career. De Gheyn received his first training from his father, Jacob de Gheyn I, a glass painter, engraver, and draftsman. In 1585, he moved to Haarlem, and studied under Hendrik Goltzius for the next five years. He moved again to Leiden in the middle of the 1590s. His work attracted the attention of wealthy sponsors, and his first commission was for an engraving of the Siege of Geertruidenberg from Maurice of Nassau, Prince of Orange. This event from March 27th to June 24th 1593, had been more of a demonstration of power by Prince Maurits, rather than an actual war, and had even attracted tourists. As a publicity stunt, the siege and its subsequent engraving were successful in propagating an image of Prince Maurits as an able general.   « Less

Rembrandt Lieven Willemsz van Coppenol Etching sold unframed Rembrandt Harmenszoon van Rijn (July 15, 1606 — October 4, 1669) was a Dutch  More »

Rembrandt Lieven Willemsz van Coppenol Etching sold unframed Rembrandt Harmenszoon van Rijn (July 15, 1606 — October 4, 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and print makers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age. Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardship. Yet his drawings and paintings were popular throughout his lifetime, his reputation as an artist remained high and for twenty years he taught nearly every important Dutch painter. Rembrandt’s greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. The self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In both painting and printmaking he exhibited a complete knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt’s knowledge of the specific text, his assimilation of classical composition, and his observations of the Jewish population of Amsterdam. Because of his empathy for the human condition, he has been called “one of the great prophets of civilization.” Rembrandt “Lieven WIllemsz van Coppenol” executed by Rembrandt and Etched by Armand Durand published, Paris. The etching measures inches (plate mark) with narrow Margins on antique laid paper without a water mark and good margins. This is in good condition SHIPPED UNFRAMED .......   « Less