De Staatskas of De Haardsteden (The Coffers of the Hearth Cities)
Lithograph, 1895, Verbeek/Rijksmuseum 8, edition unknown. 14 5/8 x 10 7/8 in. Signed on the stone, lower right. This is a superb impression with full margins. The condition is fine. This rare caricature by Toorop depicts the finance minister, Sprenger van Eyck, as a music conductor. Toorop is brilliantly satirizing the government's property tax program based on the number of chimneys on a building. This large work is illustrated and discussed at length in Holland on Paper in the Age of Art Nouveau (2014), by Cliff Ackley (see pages 156-157). This impression, like the one in the above described catalogue, was published on June 2, 1895 as a supplement to De Kroniek which was a prominent political and literary journal. Impressions of this print before publication are exceedingly rare. This impression is in exceptionally fine condition.
SOLD

De Zaaier ('The Sower')
Lithograph, 1895, Rijksmuseum catalogue # 16 (ii/II) Edition possibly 100. 8 1/2 x 12 7/8 in. Signed on the stone and also signed in ink with the following "1899, Kalwijk Ann Zee, Holland". A fine impression of this important Dutch symbolist print. Wide margins. In very good condition apart from slight discoloration on the margin edges; also backed with thin japan paper. An uncommon print.
SOLD

Happy Gouda (Verheugd Gouda)
Lithograph, 1897, Spaanstra-Polak 30; edition unknown. 11 1/2 x 15 1/4 in. Signed and dated on the stone. This is a fine impression printed in brown ink on wove paper. The margins are full. The condition is fine and the sheet has the usual center crease. This is the only known state of the print and it was published as such as a supplement to "De Kroniek," May 2, 1897. In fact, the catalog raisonne illustrates this, the published version, without reference to any known proofs. It was printed by S. Lankhout & Co. of The Hague. Depicted in the upper right are Queen Emma and Princess Wilhelmina of Holland. This is a celebratory, symbolic image based on their visit to a candle factory in Gouda. The windows of St. John's Church are seen in the background. This captivating and somewhat curious work is beautifully drawn by Toorop and is indicative of his many contributions to Dutch art and design in the art nouveau era.
SOLD

Panis Angelicus
Lithograph printed in olive green with added pencil work, watercolor and white gouache, all by the artist, 1894, Spaanstra-Polak (Rijksmuseum) 5, edition unknown. 10 1/2 x 8 3/8 in. Signed and dated on the stone, lower left. Signed in pencil, lower right with the following added inscription by the artist, "Bij ge-werkt met kleuren en potlood, 1896" ('updated with color and pencil, 1896') This remarkable work is as much a drawing as a print: the title is added at the bottom in pencil with additional gouache and there's a drawn and hand-colored flower at the lower left; the decorative flower designs all over her dress from the waist down are all added in pencil; the flowers at right are heightened with white; the water in the background is hand-colored as is the lower right right foreground; and the main figure is highlighted extensively with white gouache as well as are the two smaller women to the right of her. This extraordinary work will be included in the forthcoming catalogue raisonne of the artist. The condition is very good. The margins are narrow and irregular and there is some light discoloration to the image. The borderline in the lower right has been redrawn near the inscription and there is a subtle trace of staining in the upper left corner of the image. This is an exceptional and unique work by Toorop from the 1890s.
SOLD

Panis Angelicus
Lithograph printed in subtle gray-green ink with additional work in pencil, 1894, Spaanstra-Polak (Rijksmuseum) 5, edition unknown. 10 1/2 x 8 3/8 in. Signed in pencil, lower right. Titled in pencil by the artist and with a decorative floral design drawn by him after the title, lower left. This is a superb impression printed on a light tan-colored paper. The margins are wide and probably full. The condition overall is excellent apart from an occasional tiny speck of foxing and the extreme sheet edges show a bit of wear and faint toning. This unique proof is from the Meentwijck Collection and was exhibited at the Singer Museum in Laren in 2000. Panis Angelicus was one of the preeminent spiritual, symbolist themes for Toorop during his 1890s "Nieuwe Kunst" period. Panis Angelicus translates to "bread of the angels" and it suggests, as Cliff Ackley states, "that the souls of the departed are the spiritual food of the angels." This rare and remarkable art nouveau work will be included in the forthcoming catalogue raisonné by Gerard van Wezel.
SOLD

The Sower (De Zaaier)
Lithograph, 1895, Verbeek/Rijksmuseum 16 (iib/II), precise edition unknown. 8 5/8 x 13 in. Signed on the stone, lower right. Signed in ink and numbered in pencil, lower right. This is a superb impression printed on cream Japanese paper. The margins are full and the condition is pristine. This is one of Toorops's favorite prints and it's the quintessential Dutch symbolist print from the Nieuwe Kunst (art nouveau) era. De Zaaier is also quite rare today, especially in this condition. The artist used his wife, Annie Hall, as the model for this image and one face symbolizes "Het Verlangen" ('The Longing') and the other "De Berusting" ('The Knowing'). In the background at left is a mystical figure sowing. As quoted on page 132 of Dutch Modernism, The Schiller-David Collection, "In the 1890s, Toorop arrived at his striking symbolism, a personal and eclectic style based on a mixture of influences ranging from Flemish primitives, English pre-Raphaelites, Belgian and French symbolists to Egyptian, Assyrian, Japanese and Indonesian art." This impression shows the full sheet, as printed, with exceptionally large margins. In the lower left corner in printed text there is the following; "Imp. S.Lankhout & Cie, La Haye." Ex-collection: Nelson A. Rockefeller, New York.
SOLD

The Sower (De Zaaier)
Lithograph printed on cream wove paper, 1895, Verbeek/Rijksmuseum 16 (iib/II), precise edition unknown. 8 5/ 8 x 13 in. Signed on the stone, lower right. Signed in ink by the artist. This is a superb impression with possibly the full margins. The condition is fine apart from subtle handling marks in the outer margins and small creases in the upper right corner of the sheet. This is one of Toorops's favorite prints and it's a quintessential Dutch symbolist print from the Nieuwe Kunst (art nouveau) era. De Zaaier is also quite rare today, especially in this condition. The artist used his wife, Annie Hall, as the model for this image and one face symbolizes "Het Verlangen" ('The Longing') and the other "De Berusting" ('The Knowing'). In the background at left is a mystical figure sowing. As quoted on page 132 of Dutch Modernism, The Schiller-David Collection, "In the 1890s, Toorop arrived at his striking symbolism, a personal and eclectic style based on a mixture of influences ranging from Flemish primitives, English pre-Raphaelites, Belgian and French symbolists to Egyptian, Assyrian, Japanese and Indonesian art." This impression shows probably the full sheet, as printed, with exceptionally large margins. (The printer was S. Lankhout & Cie, La Haye.) The provenance here is exceptional: With Neuer Kunstsalon Max Dietzel, Munich 1913 (inscribed in blue ink); Heinrich Stinnes (1867-1932), Mülheim a.d. Ruhr, Cologne (Lugt 1376a); his posthumous sale, Gutekunst & Klipstein, Bern, 20-22 Juni 1938, lot 1165; finally with Arsène Bonafous-Murat, Paris, and acquired from them in 2002 by a private Norwegian collector.
$12,000