Jean-Emile Laboureur

Souper a New York

1907

Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

Jean-Emile Laboureur (1877-1943), Dimanche en Bretagne, etching, 1939, signed in pencil lower left and inscribed “ep d’artite” lower right. Reference: Laboureur 543, second state (of...

Jean-Emile Laboureur (1877-1943), Causerie Villageoise (Village Chat), engraving with touches of roulette and etching, 1924, signed in pencil lower left, numbered and inscribed “imp”...

Gerald Brockhurst, L’Eventail (The Fan), etching, 1926, signed in pencil, from the edition of 76. Reference: Fletcher 22, Wright 22. In good condition, on cream laid paper with margins (a thin spot inherent in paper lower margin near edge), the matrix pristine, archival matting. A fine impression of this small but impressive demonstration of Brockhurst’s mastery of etching. The woman carrying the fan is of course Brockhurst’s favorite model, at least at this time, his wife Anais. She wears an embroidered coat which allows Brockhurst to display his capacity to capture complex textures with the etching needle – much as his predecessor Wenzel Hollar used women’s furs...

Isabel Bishop (1902-1988), Putting on the Coat, etching, 1943, signed in pencil lower right and titled (Putting on Coat (front)) lower left margins. Reference: Teller 31. In excellen...

Work on paper Wooden frame with glass pane 57 x 46.5 x 2.5 cm

Le Roy Mene au Trone from the Series Le Sacre de Louis XV  (1722-1731 )  is an etching by French artist Charles Nicolas Cochin the Elder ( 1688-1754...

Les Pauvres (The Poor) Created during the artist's famous "Blue Period" Etching on Van Gelder Zonen paper, 1905 From: "La Suite de Saltimbanques" (Acrobats) [...

L'Enfant Et Le Maître Décole (The Child and the School Teacher Etching with hand coloring by Chagall, 1927-1930 Signed in the plate lower right (see photo) From La Fontaine Les Fable...

Plate XII, Le Cocu Magnifique From: Le Cocu Magnifique Etching & aquatint, 1968 From the unsigned edition of 200 impressions printed on Rives BFK paper (see photo) Signed in pencil o...

Son avocat, en phrases creuses, clame sa totale inconscience (His lawyer, in hollow phrases, proclaims his total indiffference) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned (as issued) From: Miserere (Have Mercy), 58 plates Plate 19 Aquatint, drypoint, roulette and burnishing over heliogravure 1922-1927 Edition: 425 on Arches vellum with the Ambrose Vollard watermark 25 Hors commerce portfolios All published impression are unsigned, as issued Signed and numbered only on the colophon Published by Societe d’Editions l’Etoile Filante, Paris, 1948 Printer: Jacquemin, Paris, 1922-1927 Reference: Chapon & Rouault 72 c/c Condition: excellent Image/Plate size: 21 1/16 x 15 7/8 Rouault’s Miserere...