Lilies (Lilien)
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors, 1917, Merx 296F, edition unknown. 16 3/4 x 13 7/8 in. Signed in the upper right with the artist's printed monogram. Signed in pencil below the image. This is a fine impression of this large work printed on thick Japanese paper. The margins are wide and the condition is very good. Thiemann produced a remarkable group of floral woodcuts along with his better-known arts and crafts style scenic landscapes and European town scenes. He produced over four hundred woodcuts most in very small editions.
$1,750

Chrysanthemums
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors with embossing (gauffrage), 1934, Merx 423F, edition unknown. 18 1/2 x 13 1/2 in. Signed and titled in pencil. Inscribed "original Farbholzschnitt, Handdruck". This is an exceptionally vibrant impression of this important print and the embossing is crisp and well preserved. (We also see the artist used white gouache to highlight the tips of some of the blossoms to emphasize the three dimensionality of the overall design.) The paper is a sturdy Japan and the margins are full. The sheet is in fine condition. The Merx catalogue lists two variations on this image, both done in reverse. (see pages 87-88; illustrations 63 & 64.) The influence of Japanese printmaking is clearly evident.
$4,000

Creek in Winter (Back im Winter)
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors, 1915, Merx 265F, edition unknown. 9 3/4 x 7 3/4 in. Signed in pencil. This is a fine impression printed on a sturdy Japanese paper. The margins are full. The condition is fine apart from a soft wrinkle in the outer margin on the left side. This charming print was also published unsigned in "Die Graphischen Künste" (Wien, Gesellschaft für vervielfältigenge Kunst, Volume 3, 1915).
SOLD

Chrysanthemums
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in color with embossing, 1934, Merx 423F, edition unknown. 18 3/8 x 13 1/2 in. Signed in pencil. This is a good impression with substantial margins. The condition is fair. (The sheet has been archivally mounted due to damage in the margins only. There are two small stains along the bottom of the sheet not affecting the image.) This is one of several floral images created by Thiemann clearly showing the influence of Japanese printmaking with his use of gauffrage.
$2,500

Winter
CARL THIEMANN
Austrian, (1881-1966)
Woodcut printed in colors, 1908, Merx 108F, edition unknown. 15 x 11 1/4 in. Signed with the artist's printed monogram, lower right. Signed and dated in pencil. This is a superb impression of this uncommon print printed on thin Japanese paper. The margins are trimmed right to the black borderline which was most likely done by the artist. The condition is fine apart from a small repair in the borderline in the upper left corner. This outstanding woodcut is supposedly from the collection of Franz Goldstein, Vienna (Lugt 1105b) but the stamp is nowhere to be found.
SOLD

Le Hamac (The Hammock)
JAMES TISSOT
French, (1836-1902)
Etching and drypoint, 1880, Wentworth 46, only state; edition about 100. 11 x 7 1/8 in. Signed and dated in the plate, lower left. Signed in pencil, lower right, and with the artist's red stamp in the lower right as well (Lugt 1545). This is a superb impression on fine antique laid paper. The margins are full and the condition is fine.
SOLD

The Portico of the National Gallery
JAMES TISSOT
French, (1836-1902)
Etching and drypoint, 1878, Wentworth 40, edition about 100. 14 7/8 x 8 1/4 in. Signed and dated in the plate, lower right. Signed in pencil and with the artist's red ink stamp (Lugt 1545). This is a superb, luminous impression printed on VAN GELDER watermarked paper. The margins are full and the condition is excellent. This stellar work is from the collection of Michael Wentworth, the author of the catalogue raisonné of the artist's prints. (His name is stamped in black ink in the lower margin, Lugt 4860.) In the distance beyond the portico is the Church of St. Martin's-in-the-Fields in Trafalgar Square.
SOLD

In the Sunlight (En Plein Soleil)
JAMES TISSOT
French, (1836-1902)
Etching and drypoint, 1881, Wentworth 54, edition about 100. 11 3/4 x 7 7/8 in. Signed in pencil, lower left, and with the artist's red stamp (Lugt 1545) in the lower right. This is a fine impression on laid paper with full margins. The condition is very good apart from a skillfully repaired tear in the lower margin, well away from the image. This stellar print was included in "A Portfolio of Autograph Etchings" published by James R. Osgood & Co, Boston.
$2,750

Spring (Printemps)
JAMES TISSOT
French, (1836-1902)
Etching and drypoint, 1878, Wentworth 34, edition about 100. 14 3/4 x 5 1/4 in. Signed in the plate, upper right corner. This is a superb impression printed on an antique laid paper. The margins are full and the condition is excellent. "In the late 1870s, Tissot experimented with the tall, narrow format of Japanese hashira-e, prints designed for display on the pillars of houses, and in works like Printemps and Au Bord de la Mer." See Wentworth, Catalogue Raisonné of his Prints (1978) pg. 154-55.
$2,800

Reverie
JAMES TISSOT
French, (1836-1902)
Etching , 1881, Wentworth 52, edition about 100. 9 x 4 3/8 in. Signed and dated in the plate, upper right. Signed in pencil and also with the red initial stamp in the upper right corner (See Lugt 1545). This is a superb impression of this engaging print. The margins are full showing a deckle edge on all sides. The condition is excellent. This print relates to a photograph of Mrs. Newton and a man in the background on the chair. There's also an oil painting which has not been located.
SOLD

The Milliner, Renée Vert (La Modiste, Renée Vert)
HENRI DE TOULOUSE-LAUTREC
French, (1864-1901)
Brush and splatter lithograph printed in colors, 1893, Delteil 13, Adhémar 17, Wittrock 4(ii/II); edition 50; a proof of the second state with the text removed. 17 x 11 1/2 in. Signed on the stone with the printed monogram. This is a fine impression with probably the full margins. The colors are fresh. The condition is very good apart from four small subtle wrinkles at the corners from earlier hinges, verso. There's a slight crease in the lower right corner just barely affecting the printed area. Renée Vert was also a fashion designer and married to the painter, Joseph Albert. They were good friends of Lautrec. Impressions without the text are found in the Philadelphia Museum of Art and the Museum of Modern Art.
SOLD

Jane Avril
HENRI DE TOULOUSE-LAUTREC
French, (1864-1901)
Brush lithograph printed in colors, 1899, Wittrock P 29 A, from the pencil signed edition of proably 25; Adhémar 323; Delteil 367 and Adriani 354. 22 1/8 x 14 in. (Image); 22 1/8 x 15 in. and 560 x 380mm (sheet size) Signed in pencil, lower left and with the snake remarque. This is a fine impression with great colors in generally very good condition. The sheet is full as printed apart from slightly irregular trimming along the right side. There's a small, skillfully repair in the upper left corner. There's a faint remnant of old adhesive along the top edge and occasional small breaks in the sheet edges which have also been properly repaired. The sheet is slightly toned within the left and right edges and also along the top where an earlier mat covered the top of image by about one inch. This impression bears the pencil numbering "13/21" near the signature which is slightly confusing. This VERY RARE first state was printed in an edition of 25 according to Wittrock. Three impressions of the first state are cited in museum collections and 17 impressions of state B are in museum collections. This B state is without the signature and the remarque. This spectacular, fin de siècle image was printed by H. Stern and the work was commissioned by Jane Avril. Provenance: M. Knoedler, NY (their label) and private collection, Washington, DC. Note: Our paper conservator has written up a formal condition statement which we can provide to seriously interested clients.
SOLD

Pica and his Family
CHARLES TUNNICLIFFE
British, (1901-1979)
Wood engraving, 1937, Meyrick 408, edition on Japanese paper. 6 x 4 in. Signed and numbered in pencil. This is a fine rich impression with full margins. There's some discoloration in the right corner margin. This print was published in "The Sky's Their Highway," by Kenneth Williamson. This print was included in Fine Prints of the Year for 1938.
SOLD

The Green Hat (Le Chapeau Vert)
FéLIX VALLOTTON
French, (1865-1925)
Lithograph printed in colors, 1896, Vallotton/Goerg 54, edition 100. 15 x 10 1/4 in. Initialed on the stone. Signed and numbered in blue crayon in the lower right corner. This is a fine impression printed on china paper. The margins are wide and probably full. The condition is very good apart from a skilful repair in the upper right corner of the sheet and a small repaired split in the lower right corner of the sheet. Both of these issues are well away from the image. This beautiful print appeared in the album "Etudes de Femmes" with a cover designed by Vallotton and including works by Toulouse-Lautrec, Hermann-Paul and others.
SOLD

Forest Pond (Bosvijver)
DIRK VAN GELDER
Dutch, (1907-1990)
Lithograph, 1929, Adam, Eliens, van den Noort-van Gelder, L58, small edition. 7 5/8 x 6 1/2 in. Initialed and dated on the stone, lower left. Signed and titled in pencil. This is a superb impression printed on chine applique. The margins are full and the condition is fine. Van Gelder was a masterful draughtsman in the tradition of Seghers, Rembrandt, and Bresdin. In fact, he is the author of the catalogue raisonne of Bresdin's etchings which was published in 1976. The artist always maintained close ties to The Hague: His father was the founder of the Gemeentemuseum and Director there from 1912-1941. Furthermore, the artist taught at the city's Royal Academy of Art from 1952-1972 and he helped establish the Hague Etching Club in 1984.
SOLD

Early Mother Russia (La Petite Mere Russie)
HENRI VAN STRATEN
Belgian, (1892-1944)
Linoleum cut, 1926, Raskin 74; edition 50. 10 3/4 x 8 5/8 in. Initialed in the block with the monogram and signed in pencil,lower right. This is a fine impression on cream wove paper in excellent condition. The margins are full. This impression was issued in La Gravure Originale Belge, Volume 3, 1929, in an edition of 50 impressions. There was also a separate edition of ten impressions. Van Straten, like Masereel, was a social commentator and many of his prints reflect upon the political and social environment between the wars.
$2,000

Nu a Genoux
JACQUES VILLON
French, (1875-1963)
Etching, 1929, de Ginestet & Pouillon 328 (ii/II), edition 50. 8 3/4 x 6 1/2 in. Signed in pencil and also inscribed "epreuve d'artiste" (also with a pencil dedication). A fine impression. Lower right corner margin missing otherwise fine overall.
SOLD

Pour un Projet Sensationnel
JACQUES VILLON
French, (1875-1963)
Drypoint, 1904, Ginestet & Pouillon E106, edition 30. 15 3/4 x 11 3/4 in. Signed in pencil. A superb impression printed with tone. Full margins. Fine condition. This outstanding early work shows Villon as the master draughtsman that he is. The print is also titled "Le Secret."
$3,000

Musicians at the Bistro (Musiciens chez le Bistro)
JACQUES VILLON
French, (1875-1963)
Etching, 1912, Ginestet & Pouillon 270 (v/V), edition 50. 10 1/2 x 9 in. Signed and numbered in pencil. This is a superb impression printed on ARCHES laid paper. The margins are full and the condition is fine. (There are two small specks of foxing in the right margin.) It was during this period, 1911-1913, when Villon developed his unique cubist style in etching and drypoint. This print is a fine example of his work during this important period.
SOLD

The Little Merry-go-Round, Rue Caulaincourt (Le Petit Manège, Rue Caulaincourt)
JACQUES VILLON
French, (1875-1963)
Etching, aquatint and drypoint printed in colors, 1904, Ginestet & Pouillon 135; one of five extra impressions aside from the edition of 50. 15 3/4 x 19 1/2 in. Signed in the plate, lower left. Signed in pencil. This is a superb impression with vibrant colors. The margins are full and the condition is fine apart from just a slight suggestion of toning within an earlier mat opening. This work was published by Sagot, Paris and their blindstamp is located in the lower right corner margin. This marvelous early work is shown here printed with all the colors.
SOLD