Charley Plaatjes Kijkend (Charley Looking at Book Illustrations)
Drypoint, 1898, Rijksmuseum Catalog #36, edition unknown. 3 7/8 x 3 7/8 in. Signed in the plate and signed in ink lower left. This is an exceptionally fine impression printed on a cream-colored wove paper. Wide margins. The condition is generally fine apart from old paper tape attached to the margins, verso. This is one of many portraits of the artist's daughter, Charley.
SOLD

Charley Voor Het Raam (Charley before the Window)
Drypoint, 1898, Verbeek/Rijksmuseum 35 (iii/III), edition unknown. 4 5/8 x 5 3/8 in. Signed and dated (1902) in the plate. Signed in ink, lower right. This is a fine impression with traces of burr showing in her hair, in the upper right corner along the window frame and also below at right in the folds of her dress. The paper is a sturdy, cream Japanese with full margins. The condition is very good apart from some rubbing on the right margin and slight light toning within an earlier mat opening. This charming print shows the artist's daughter, Charley, with a view of the harbor at Katwijk aan Zee. This major work is illustrated and discussed on pages 188-189 of Holland on Paper in the Age of Art Nouveau (2014) by Cliff Ackley.
$6,000

In the Studio (In t' Atelier)
Drypoint, 1901, Verbeek/Rijksmuseum 59b), edition unknown. 5 3/4 x 5 3/8 in. Signed and dated in the plate, lower left. Signed in pencil, lower right. This is a superb impression of this very rare print. The margins are wide and appear to be full. The condition is fine apart from some rubbing on the verso of sheet. According to Cliff Ackley in Holland on Paper in the Age of Art Nouveau (2014), page 193, ""The depicted artist, who was also a pianist, is identified as Riet van Houten by the 'RH' initials in the plate at the lower left." Provenance: Kunsthandel Borzo, 's-Hertogenbosch (with their label).
SOLD

In the Woods
Drypoint, 1895, Rijksmuseum 17 (ii/II), (with the leaves in the foreground). 4 x 4 in. Signed in the plate and signed in ink. Ex-collection: Ph. J(ansen) (not in Lugt); and another, unidentified. A very good impression in fine condition. Wide margins.
SOLD

Net Menders (Nettenboetsters)
Drypoint, 1899, Verbeek/Rijksmuseum 45, edition unknown. 6 5/16 x 7 3/8 in. Signed and dated in the plate, lower left. This is a superb, early proof impression of an unrecorded state. The paper is a cream laid without watermark and the condition is very good. There's a repair in the margin at right and a few thin spots suggesting the sheet had been mounted at some point. The catalogue raisonné lists only one state. This impression is before the clouds, before more detailing to the landscape, and before more elaborate description to the cart and around it. Another early impression, similar to this one but even later, is illustrated and discussed on pages 182-183 of Holland on Paper in the Age of Art Nouveau (2014) by Cliff Ackley. The MFA impression shows more detailing in the hair of both women, more work in the background area where the wagon is, and also, the right foreground and the expansive landscape at left are more fully developed than in our impression.
SOLD

Nettenboetsters (Net Menders)
Drypoint, 1899, Rijksmuseum catalog 45B, edition unknown. 6 1/8 x 7 1/2 in. Signed and dated in the plate and signed in ink, lower right. This is a very good impression printed on Japanese paper. The margins are wide and probably full. There are two small, onobtrusive printing creases below the horse and another in the lower right corner. The paper is slightly toned within an earlier mat opening and there is brown paper attached to the back of the sheet edges.
SOLD

Nettenboetsters (Net Menders)
Drypoint, 1899, Spaanstra-Polak 45, edition unknown. 6 1/8 x 7 1/2 in. Signed and dated in the plate. Signed in pencil, lower right. This is a fine, dark impression printed with rich plate tone on an off-white wove paper. The margins are full and the condition is fine. This fine example of his work was done in the fishing village of Katwijk aan Zee. Toorop and his family lived there periodically during the 1890s.
SOLD

Portrait of the Composer Hans van den Burg (Portret van de Componist H.van den Burg)
Drypoint, 1902, Verbeek/Rijksmuseum 63, edition unknown. 7 x 9 1/2 in. Signed and dated in the plate, upper right. Toorop also added the name of the sitter to the plate. This is a very fine impression from the posthumous edition of 25 impressions printed just after Toorop died in 1928. His red atelier stamp is in the lower margin at right (Lugt 2401a). The margins are full and the condition is fine. The print is numbered from this edition in the lower left. Lifetime impressions from this engaging portrait are very rare.
SOLD

Sick Charley (Charley Toorop)
Drypoint with handcoloring, 1898, Verbeek / Rijksmuseum 37 (ii/II), edition unknown. 6 1/2 x 5 3/8 in. Signed in the plate, lower left. Signed and titled in ink below and also inscribed, "aan mijn vriend Lourijsen." This is a fine impression hand colored by the artist in white watercolor(?) on a cream wove paper. The margins are wide and possibly full. The condition is very good apart from slight light toning to the front of the sheet. Charley is the daughter of Jan Toorop and Annie Hall. She's depicted here at the age of seven. Toorop gifted this etching to his student and good friend Lambert Lourijsen (1885-1950). Lourijsen married Henriëtte Straatemeier, the grandmother of the previous owner of of this etching, in 1914. Toorop was a witness at their wedding. This work is further discussed in Cliff Ackley's book, Holland on Paper in the Age of Art Nouveau (2014), (see pages 186-187). The Rijksmuseum also has a hand colored version of this rare and compelling print.
$8,000

Sprokkelend Kind (Young Girl Gathering Sticks)
Drypoint, 1899, Verbeek/Rijksmuseum 47 (iii/III), edition unknown. 6 1/16 x 7 3/8 in. Signed and dated in the plate. Signed in ink lower right (the signature is a bit faint as is often the case with Toorop's prints.) This is a very good impression with plate tone and with traces of burr in the water and on her legs and hair. Printed on a smooth cream Japanese paper, the margins are wide and probably full. The third state shows just the suggestion of the girl at right who had been added in state two. Boats and clouds are also added in the third state along the horizon line. The print is now signed and dated in the plate. This charming print was done along the Dutch coast at Katwijk aan Zee.
$5,500

The Artist's Daughter (Charley) by the Window
Drypoint, 1898-1902, Rijksmuseum catalogue # 35 (iii/III). 4 5/8 x 5 3/8 in. Signed in the plate and also signed in pencil. There is a pencil dedication to Christine van Zeegen, a sister of Janus van Zeegen, one of Toorop's few students. A fine impression of this major print. Wide margins. Minor discoloration along the sheet edges.
SOLD

The Shell Fisherman (De Schelpenvisser)
Drypoint, 1902, Verbeek/Rijksmuseum 64, edition unknown. 7 3/8 x 6 1/8 in. Signed in the plate, lower right. Signed in ink lower right below the image. This is a superb, exceptional impression printed with plate tone. The margins are full and the condition is excellent. Done in Katwijk aan Zee, during the artist's second stay there, this print is illustrated and discussed at length in Holland on Paper in the Age of Art Nouveau (2014) by Cliff Ackley, pages 180-181. The Rijksmuseum catalogue lists only one state which is this, the finished state, but an earlier state is known to exist. (Our impression is printed on an exceptionally large sheet of cream Japanese paper, 19 x 13 3/4"). This stellar impression is a duplicate from the Museum Boijmans van Beuningen and bears their stamp verso (Lugt 700a).
SOLD

The Shell Fisherman (De Schelpenvisser)
Drypoint, 1902, Verbeen/Rijksmuseum 64, edition unknown. 7 3/8 x 6 1/8 in. Signed in the plate. Signed in ink, lower left. This is a fine, rich impression printed with plate tone. The margins are probably full and the condition is very good. (There's very slight bit of light toning within a previous mat opening and very slight thinning along the outer edges of the sheet from an early mount.) Done in Katwijk aan Zee, during the artist's second stay there, this print is illustrated and discussed at length in Holland on Paper in the Age of Art Nouveau (2014) by Cliff Ackley, pages 180-181. The Rijksmuseum catalogue lists only one state which is this, the finished state, but an earlier state is known to exist.
$5,000

Village Houses (Dorpshuizen)
Drypoint, 1897, Spaanstra-Polak 32, edition unknown. 6 1/2 x 5 3/4 in. Signed in the plate and signed in ink, lower left. This is a fine, dark impression printed on a firm, smooth Japanese paper. The margins are wide and probably full. The condition is quite good other than faint light discoloration within a previous mat opening (which is so often the case with Toorop prints). According to the catalogue, Toorop originally introduced the figure of a Zeeland girl into the composition at right. On early impressions, such as this one, the outline of the girl still shows on the side of the house. Regarding the title of the print, Toorop also used "Boerenerf met boom" (Barnyard with Tree) and "De Dode Boom" (The Dead Tree). The zinc plate for this print is now in the Rijksmuseum. There's an unidentified collector's stamp, verso. Provenance: Private collection: The Netherlands.
SOLD

Village Houses (Dorpshuizen)
Drypoint, 1897, Verbeek/Rijksmuseum 32, edition unknown. 6 1/2 x 5 3/4 in. Signed in the plate, lower left, and signed in ink, lower right. The artist also apparently numbered this impression in ink in the upper right corner of the margin "N.3." This is a superb impression printed on vellum which is extremely rare. The condition is excellent. The visual effect is luminous and subtle, giving the image the look of drawing as much as that of a finely executed drypoint. This exceptional print is illustrated and discussed in Holland on Paper in the Age of Art Nouveau (2014) by Cliff Ackley (see pages 110-113). Ex-collection: J.H. de Bois (Lugt 733).
SOLD

Woman Looking at the Sun (Vrouw naar de Zon Kijkend)
Drypoint, probably done in 1899, Spaanstra-Polak 52, edition unknown. 9 1/8 x 13 7/8 in. Signed and dated (1902) in the plate. Signed in pencil, lower right, and inscribed "droge naald door..." ('drypoint by....'). This is a superb impression of this extremely rare print. The margins are wide and probably full. The condition is excellent apart from a minor ripple here and there at the sheet edges. This print is also called "The Awakening" ('Het Ontwaken'), or, "Sunset" ('Zonsondergang'), or, "Dawn" ('L'Aurore'). It is also the largest print by Toorop. Probably, he mistakenly dated the work as 1902. (At the exhibition of Libre Esthétique in Brussels (1900), there was a print exhibited by Toorop called "L'Aurore.") Impressions of this exceptional work are located in Amsterdam and Rotterdam. The sitter is the artist's English-born wife, Annie. Provenance: Heek (?) Antiquariaat, 1964 and private collection, The Netherlands.
SOLD

Woman Looking at the Sun (Vrouw naar de Zon Kijkend)
Drypoint, 1899 (?), Spaanstra-Polak 52, edition unknown. 9 1/8 x 13 7/8 in. Signed in the plate, lower right. Signed and dated (1901) in ink, lower right. This is a superb impression of an unrecorded early (first) state and possibly a unique impression. The paper is a cream colored Japanese and the margins are full. The condition is fine although the ink signature and date are light and slightly faded. This previously unknown state is not recorded in the Rijksmuseum catalogue which was published in 1969. This state is before the date was added above the signature in the lower right. It's also before considerable work to her hair, dress and below her left arm. According to the previous owner, the provenance is Herman Heijermans (1864-1924), the celebrated Dutch writer. We also have the original oak frame with Toorop's handwritten exhibition label on the verso of the backboard: "Naam en woonplaats van de kunstenaar: Jan Toorop Katwijk aan Zee" (name and residence of the artist); "Adres van terugzending: Toorop Katwijk aan Zee" (Return address); "Beschrijving van het kunstwerk: Vrouwenfiguur - studie voor Een ontwaken" (description of the artwork: Female figure - Study for the awakening). According to the 1969 catalogue raisonné, This print is also called "The Awakening" ('Het Ontwaken'), or, "Sunset" ('Zonsondergang'), or, "Dawn" ('L'Aurore.") This is the largest drypoint by Toorop and extremely rare. The sitter is possibly the artist's English-born wife, Annie.
SOLD

Woman's Head (Vrouwekop)
Drypoint on zinc, 1897, Spaanstra-Polak 29 (iii/IV). 5 7/8 x 6 5/8 in. Signed in the plate and signed and dated in pencil, lower left. (He dated this impression 1898.) This is a superb, early impression printed on a light cream wove paper. The margins are full. The condition is very good. Toorop's model for this print was Marguerite Adolphine Helfrich (later married to F.W.J.G. Snijder van Wissenkerke). This sitter appeared again in Toorop's poster "Arbeid voor de Vrouw" (catalogue # 42). A drawing exists for this print. There were only fifteen impressions in this state; a flower is here added in her hair and this is also before the second signature was added to the plate. A posthumous edition of twenty-five impressions of the fourth and final state was printed in 1928 by Kunsthandel J.G. Nieuwenhuizen Segaar. The plate is now in The Rijksprentenkabinet.
SOLD