Search Results: Prints from Capricedardour

Amboise [Indre & Loire, France] - Orig. etching printed with dark brown ink on fine laid paper; 266 x 154mm (image), margins all around, and mounted at the top only on thick support paper by the publisher; signed in the lower right corner of the plate. - Fine impression, in good condition, as published in the edition Representative Art of Our Time (London, The Studio, Oct. 1902-June 1903).

A complete set of ten etchings by Félix Buhot illustrating Barbey d'Aurevilly's novel, commissioned by Alphonse Lemerre in the late 1870s, plus one etched frontispiece portrait of the author by Paul Rajon. Sheet sizes: 200 x 145mm. The impressions on vergé Lafuma paper done by A. Salmon. - The set is taken out of a copy of the novel (damaged at the cover), published by A. Lemerre, Paris 1926, in a limited edition of 290 copies. - Bourcard & Goodfriend 99-108 (last state). - Very mild, minimal foxing in the margins at some of the prints, slightly heavier in one print, but a good set; rare.

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.

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.

Original lithograph printed in bister on smooth cream paper, signed and dated in the plate. 178 x 143 mm (image), margins all around. The full sheet, darkened a bit with age, as published in the magazine "The Studio" (vol. 9 no. 43, October 1896); blind stamp under the image, right. Mounted at the top only to a passe-partout. - Coutances is a small town in Normandy, France. -Charles Watson, member of the Royal Society of Painter-Etchers, was one of the earliest to spend his career following the lead of Whistler and Seymour Haden. He did a number of views of the Thames in which the feeling and handling recalls Whistler's Thames Set.

Eau-forte originale. 149 x 199mm (image); avec les marges: 345 x 395mm. Impression en bistre foncé sur vergé épais. Monogrammé et daté (1906) dans la plaque en bas au centre. Cardon 44. - D'un tirage posthume, sans précisions. Quelques épreuves probablement. Bon état.

Original etching; 255 x 195mm (image); sheet: 305 x 225mm. Impression on japan paper; the printed tissue guard present, in fine condition. As published in the magazine Revue de l'Art Ancien et Moderne (no. 272, Jan. 1926). - This beautiful etching was chosen by André Dezarrois and the artist (whose real name was Edmond François Jean Amand), as one of his best, and to be published here in this magazine, of which Dezarrois was the editor.

A fine orig. chiaroscuro woodcut printed on laid paper. 213 x 139mm (image), the full sheet (300 x 203mm), as published in the magazine L'Art et les Artistes, March 1908. - Traces of old mounting at the top of the blank verso, but otherwise good. Texier-Bernier 512 iv/iv. - Auguste Lepère, Exposition Musées de la Vendée, 1988, no. 187. - Lepère played a major part in the revival of the chiaroscuro woodcut, a technique invented in the 16th century and hardly used since Goltzius and Büsinck.

Original etching; 130 x 170mm (image), sheet: 185 x 280mm. Impression on laid paper; signed in the plate with the artist's monogram. The full sheet, in good condition, as published in the Gazette des Beaux-Arts, Paris, 1903. - George C. Aid was an american artist who studied at the Academie Julian in Paris. He lived and worked some 15 years in France and Italy. This etching here, of a harbour scene in Holland, is a very nice one, and that is likely why it was published in the reputed Gazette.

Orig. etching; 220 x 150mm (image), margins around, the full sheet. Monogram at bottom right in the plate; impression in dark brown on vergé. As published in the Gazette des Beaux-Arts, 1906. Mounted at the top only on a white support. Good condition.Herman Webster was born in New York. In 1900 he went to Paris where he studied at the Academy Julian under Eugène Béjot, Bracquemond and Laurens, receiving the very best training possible in the art of etching. He traveled extensively in Europe, usually with Donald Shaw MacLaughlan as his artistic companian, producing superb etchings.

Eau-forte originale, burin et bois gravé en camaïeu [chiaroscuro]. Image: 208 x 151mm; feuille: 283 x 223mm. Signé en bas à gauche dans la plaque; belle impression sur papier filigrané Lafuma. Publié dans l'édition de luxe de la revue Byblis (Paris, 1921). Tiré à 100 exemplaires. L'estampe est ici contresignée à la main au crayon par l'artiste, en bas à droite. Très bon état.Personnalité discrète aux multiples compétences, historien de l'antiquité romaine et des techniques de la gravure, photographe, artiste et illustrateur lui-même, Pierre Gusman a laissé une œuvre à plusieurs facettes, assez cloisonnée et encore largement ignorée.

Original etching; 180 x 112mm (image), sheet size: 294 x 217mm. A good impression on cream laid paper, as published by the Revue de l'Art Ancien et Moderne, Paris 1901. A lively crowded street scene in Paris, finely drawn and etched by Lepère. - Very light decoloration at the outer edges of the upper and lower margin, but good condition.

Original etching; 149 x 200mm (image); sheet: 209 x 297mm. A good impression in black on thick wove paper; signed in the plate. As published in the Revue de l'Art Ancien et Moderne, Paris, 1902. - Tony Minartz (pseudonym of Antoine Guillaume), born in Cannes, was a self taught painter and etcher, although he received some advice from Paul Renouard. He was a protégé of Henri Beraldi. His favourite subjects were Paris le soir, Paris la nuit, toujours, et parisiennes dans leurs plus belles toilettes. Note: all the dancing couples are women.

Eau-forte originale; 117 x 99mm (image), avec marges: 288 x 198mm. Belle épreuve sur vergé ivoire. Monogramme et la date 1873 gravé en haut à gauche. - Bibl. Nat., IFF: non décrit; C. Bertin: Henri Guérard, l'œuvre gravé (1975): non décrit. Proche du n° 35 de Bertin, mais les zone d'ombre et de lumière sont inversées. Le chapeau, très travaillé, est presque entièrement noir. - Deux faibles taches jaunâtres dans la marge en bas, mais bon état. - L'Œuvre gravé de Guérard est très particulier. Edouard Manet l'estimait beaucoup.

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; 142 x 215mm (image); sheet: 222 x 305mm. Plate 54 from the series Croquis par divers Artistes, published in Paris by Rittner and Ostervald aîné, in London by Ch. Tilt, 1830-1831. Printed by Lemercier on wove paper. Mounted at the top on a support. Very mild foxing, hardly visible; old manipulations at the margins. - Hédiard 22 (first of 3 states); Curtis 19; Miquel 1697.

Eau-forte originale; belle impression sur papier Van Gelder filigrané. 156 x 250mm (image), la feuille: 295 x 380mm. Signé au crayon à droite en bas de l'image. Il ne s'agit pas d'une eau-forte publiée, plutôt un tirage restreint, non numéroté. - Bon état, malgré quelques infimes rousseurs dans les marges, loin de l'image. - Artiste anversois, peintre, aquarelliste et excellent graveur. Pendant la première guerre mondiale, il habitait Veere, petite ville en Zélande, Pays-Bas.

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.

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

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