Suite libre [13 eaux-fortes] inspirée des Contes de Jean de la Fontaine by Charles Martin (1884-1934) - 1930

Original etching and drypoint; 137 x 131mm (image); sheet: 297 x 224mm. A fine impression on watermarked laid paper, signed in pencil underneath the image by Legros. - Bliss 1923, no. 614. - Note: this impression is not from the published edition by the Gazette des Beaux-Arts in 1904.

Orig. lithograph; 150 x 234mm (image); sheet: 227 x 305mm. Plate 13 from the series Croquis par divers Artistes, published by Rittner and Ostervald aîné (Paris), and Ch. Tilt (London), 1830-1831. Printed on wove paper by Lemercier. - Very mild foxing, mostly visible at the verso in the middle; traces of old mounting at the top of the verso. - Hédiard 15, second state; Curtis 12; Miquel 1690. - "Une des plus jolies est le n° 15, où se trouvent une vieille lanterne pendue à un clou, et au-dessous un baquet et une manne de raies. Sur ses poissons, quelques coups de grattoir, entamant la pierre profondément, ont donné des reliefs de blanc à rendre jaloux nos modernes faiseurs de gravures modelées." Germain Hédiard: Eugène Isabey. Etude suivie du Catalogue de son Œuvre, posthumously published by Delteil, Paris 1906.

Eau-forte orig. et pointe sèche sur chine collé, sur vergé. Signé et daté 1866 en haut dans la plaque. Image: 127 x 211mm / la feuille: 175 x 265mm. Très belle impression par Auguste Delâtre, et publiée par la Gazette des Beaux-Arts, Paris. - Très bon état pour ce petit chef-d'oeuvre de la gravure française au 19ième siècle. - Jennings 18; Curtis & Prouté 21; état ii/ii. - Etching and dry-point on chine collé, and laid down on thin laid paper. A quite good text about the engraved work of this artist can be found in the catalogue of the Appian exhibit, shown at the Musée de Brou, 1997.

Orig. lithograph drawn by Whistler on transfer paper whilst staying in Lyme Regis, autmn 1895; as published by The Studio (Feb. 1897), on smooth cream wove paper, with their blindstamp in the lower margin of the sheet; signed with the Butterfly. 185 x 158 mm (image); full sheet: 286 x 199 mm. - Way 88; Levy 126 - A remnant of old mounting at the top of the verso, and some light darkening of the sheet (notice a frame near the borders of the sheet; third photo).

Orig. lithograph, 1894. Size; 226 x 142mm. A good impression on wove paper, the full sheet, small margins all round, as supplementary published in La Revue Blanche (N° 30, April 1894). - Traces at the verso from old mounting to a passe-partout (see second picture), but else in good condition. - Salomon 9; Bremen 1965, Roussel, Gr. 9. -Paris 1968, Orangerie des Tuileries, "Vuillard, Roussel", n° 218: "La date de cette lithographie (1894) apporte un précieux point de repère dans l'histoire de la gravure française à la fin du XIXème siècle. Entre l'art de Redon et celui de Munch, 'Noli me tangere' constitue un relai particulièrement significatif... les noirs profonds, chargés d'angoisse, d'Odilon Redon, sont assurément à l'origine de cette oeuvre troublante. Les premiers bois de Munch furent gravés à Paris en 1895. Or 'Noli me tangere' étant paru en 1894... Munch n'a pu l'ignorer. (...) Tandis que Munch approfondira jusqu'au paroxysme ce climat angoissant, Roussel se dirigera vers son… Read More

Orig. colour lithograph, printed by Eugène Verneau, on wove paper, with Auriol's monogram in the left lower corner, verso blank. 208 x 153mm (image), margins all around. The full sheet, as supplementary published in the magazine "Art et Décoration" (Paris, 1901). A fine copy. - Leroy-Crevecoeur 14. - This lithograph is reproduced on the cover of Armond Fields's book "George Auriol" (Gibbs M. Smith, 1985).

Original wood-engraving [block from 1883]; 137 x 119mm (image); sheet: 315 x 470mm; signed in pencil by Auguste Lepère. Plate 612 from Les Bois du Monde Illustré, as published in parts by Au Monde Illustré & chez J. Meynial (Paris, 1916). Protective sheet with printing crédits present. - Impression on japan paper, 160 copies, printed by François-Louis Schmied, whom a bit later produced his own famous art-deco books. In fine condition.

Etching and dry-point, signed in the plate and dated 1876. 121 x 81mm (image). A fine impression on Van Gelder paper with large margins, 400 x 300mm. Sheet very lightly and evenly darkened by age, but good condition. This is not a published etching; only a few proofs. - Delchevalerie no. 21; Liège 1981, Adrien de Witte, no. 126. - "A partir de 1875... commence une magistrale série d'eaux-fortes. (…) Adrien de Witte fait prendre à la gravure liégeoise un tournant décisif. Libérant la gravure de son rôle de reproduction, il la traite pour elle-même, faisant œuvre originale. Les sujets sont puisés dans la vie quotidienne." (Françoise Clercx-Léonard-Etienne, Adrien de Witte, Liège, 1981, p. 29-30).

Orig. lithograph; 352 x 262mm (image); sheet: 530 x 342mm. A good impression by Engelmann on chine-appliqué. The full sheet, blank verso, being plate 402 from Baron Taylor's Voyages pittoresques et romantiques dans l'ancienne France, which was published in parts, 1820 to 1878. - There's a subtle suggestion of foxing in a couple of spots in the margins, but overall very good condition. - Aglaus Bouvenne, Cat. de l'œuvre gravé et lithographié de R.P. Bonington, Paris 1873, p. 16. - We all know that Bonington was an outstanding painter, watercolorist and draughtsman, but he also contributed considerably to the patrimony of early artistic lithography. Bonington was passionate about this new medium, and in spite of his short career - he died one month shy of his 26th anniversary - left us over sixty lithographs. La rue du Gros Horloge à Rouen (also from Baron Taylor's Voyages, and also printed by Engelmann), is often regarded as his lithographic masterpiece. The print here offered is perhaps somewhat… Read More

Nine small etchings printed on a sheet of China paper. Sheet size: 275 x 240mm. (Smallest etching: 20 x 54mm; the largest: 69 x 94mm). - These etchings were destined to be published in the rare (short-lived), weekly journal Paris à l'eau-forte (1873-76),directed and edited by Richard Lesclide, at that time secretary of Victor Hugo. The concept of the little magazine was innovative enough; a variety of literary texts were intercalated with small original etchings, in the technique known as chine collé or appliqué. - Among the artists that contributed etchings to the magazine were Frédéric and Félix Regamey, Henri Guérard, Félix Buhot, Armand Guillaumin, Van Ryssel (Dr. Paul Gachet), Henry Somm, Norbert Goeneutte, and also the versatile, talented Jules Adeline, an art historian, draughtsman, etcher, Illustrator, architect, and author of about 9000 drawings, etchings and watercolours, principally on the old town of Rouen. He authored several books on decorative arts, and one of his interests,… Read More