"Etude" original etching
By Alfred Stevens
Located in Henderson, NV
Medium: original etching. Published in 1878 by Gazette des Beaux Arts. Catalogue reference Sanchez & Seydoux 1878-5. Image size: 7 x 4 1/8 inches (180 x 104 mm) on cream laid paper. ...
Etching
$5,000
H 14.88 in W 22.88 in
The Ponte and Castel S. Angelo (Veduta del Ponte e Castello Sant' Angelo)
By Giovanni Battista Piranesi
Located in Fairlawn, OH
The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing w...
Etching
$2,750
H 17.5 in W 26.38 in
View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido
By Giovanni Battista Piranesi
Located in Fairlawn, OH
View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido, and like others built by Marcus Agrippa in the time of Augustus when he cleaned all the sewers leading...
Etching
Trio
By Georges Rouault
Located in Fairlawn, OH
Trio Color aquatint, 1938 Edition 250 printed on Montval wove paper with Maillol watermark From: Les Fleurs de Mal III (12 color aquatints) Published by Ambrose Vollard, 1940, Paris ...
Aquatint
Plate V, Le Cocu Magnifique
By Pablo Picasso
Located in Fairlawn, OH
Plate V, Le Cocu Magnifique Etching, 1968 Unsigned From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 impressions The set of...
Etching
Surrealist Composition with Bird in Profile
By Nahum Tschacbasov
Located in Fairlawn, OH
Engraving, aquatint and mixed intaglio Signed, dated and annotated "AP" References And Exhibitions: Tschacbasov was a Russian/Amiercan artist who was widely exhibited and collecte...
Engraving, Aquatint, Intaglio
$2,500
H 16.13 in W 21.63 in
The Arch of Constantine and the Colosseum
By Giovanni Battista Piranesi
Located in Fairlawn, OH
The Arch of Constantine and the Colosseum Vedute dell' Arco di Costantino, e dell' Anfiteatro Flavio il Colosseo From: "Vedute di Roma" (Roman Views), part II An early Paris edition,...
Etching
Plate X, Le Cocu Magnifique
By Pablo Picasso
Located in Fairlawn, OH
Plate X, Le Cocu Magnifique Etching & aquatint, 1968 Unsigned Edition: From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 im...
Etching, Aquatint
$2,000
H 15.88 in W 24.13 in
S. Paolo Fuori Le Mura (Vedute della Basilica di S. Paolo fuor della mura)
By Giovanni Battista Piranesi
Located in Fairlawn, OH
S. Paolo Fuori Le Mura (Vedute della Basilica di S. Paolo fuor della mura) Etching, 1748 From: Vedute di Roma, Plate 8 An early Roman printing, published by Bouchard e Gravier Watermark: Fleur de Lys in a double circle Signed in the plate Condition: Small margins as are common with Bouchard published impressions. Centerfold (as usual) Rich impression with good contrasts Plate/Image size: 15 7/8 x 24 1/8 inches Sheet size: 17 3/8 x 24 3/4 inches Reference: Focillon 723 Wilton-Ely 138 Hind 6 ii/VI, Bouchard e Gravier printing, before the price and numbers in later states This image is Piranesi’s second interior scene from the Vedute di Roma. The first interior is a less complex composition of the Interior of St. Peters which lacks the challenging perspective that the artist masters in this image. The Papal Basilica of St. Paul Outside the Walls...
Etching
Camera sepolcrale
By Giovanni Battista Piranesi
Located in Fairlawn, OH
Camera sepolcrale Etching 1743 Signed in the bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 20 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...
Etching
Ruine di Sepolcro antico
By Giovanni Battista Piranesi
Located in Fairlawn, OH
Ruine di Sepolcro antico Etching, 1743 Signed in the plate bottomleft in the caaption plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Coniditon: Excellent/Very good Image size: 14 5/8 x 9 3/4 inches Reference: Robison 17 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...
Etching
Grand Tier and the Met
By Reginald Marsh
Located in Fairlawn, OH
Grand Tier at the Met Etching, 1939 From: Reginald Marsh, Thirty Etchings and Engravings Published by the Whitney Museum of American Art, 1969 Unsigned (as usual for the Whitney edit...
Etching
Amberley Boy, No. 2
By Gerald Leslie Brockhurst
Located in Fairlawn, OH
Amberley Boy, No. 2 Etching with stipple, 1928 Signed in pencil lower right (see photo) Signed in the plate in reverse (see photo) Provenance inscription in pencil verso A proof outs...
Etching
Sold
H 38.39 in W 45.48 in D 3.94 in
'Moonlight on the Sea' by Alfred Stevens ( Brussels 1823 – 1906 Paris )
By Alfred Stevens
Located in Knokke, BE
Alfred Stevens Brussels 1823 – 1906 Paris Belgian Painter 'Moonlight on the Sea' Signature: signed lower right and dated 1892 ‘A Stevens 92' Medium: oil on canvas Dimensions: image size 81 x 65 cm, frame size 97,5 x 81,5 cm Provenance: Collection M. Klein, 1900 Galerie Petit, Paris, 18 June 1926, no. 22 Private collection, Europe De Vuyst, Belgium, 1998 Galerie Kupperman, Amsterdam Private collection, The Netherlands Exhibitions: Exposition of the Works of Alfred Stevens, Palais des Beaux-Arts, Brussels, 1928 Retrospective Alfred Stevens, École des Beaux-Arts, Paris, 1900, no. 100 Literature: A. Stevens, Mercatorfonds, Brussels, p. 100 Alfred Stevens, François Boucher, Ed. Rieder, Paris, 1930, illustrated on p. 36 Documentation by Mrs. Christiane Lefebvre, 1998 Biography: Alfred Émile Léopold Stevens (11 May 1823 – 24 August 1906) was a prominent Belgian painter renowned for his depictions of elegant modern women. His works, characterized by a realistic style and meticulous attention to detail, reveal the influence of 17th-century Dutch genre painting. While he initially gained attention for his social realist portrayal of the hardships faced by impoverished vagrants, he later achieved great critical and popular success with his portrayals of upper-middle class Parisian life. Notably, he often used the same models repeatedly, with some of them being identified in the infamous Book of the Courtesans, a confidential surveillance file maintained by the Paris vice squad, as noted by author Summer Brennan. Stevens was born in Brussels, into a family deeply connected with the visual arts. His older brother Joseph (1816–1892) and his son Léopold (1866–1935) were both painters, while his other brother Arthur (1825–1899) was an art dealer and critic. His father, a veteran of the Napoleonic wars under the army of William I of the Netherlands, was an art collector with a notable collection of watercolors by Eugène Delacroix and other esteemed artists. Stevens’s upbringing was influenced by the environment of Café de l’Amitié, run by his maternal grandparents in Brussels, which served as a meeting place for prominent figures from the political, literary, and artistic spheres. Following the death of his father in 1837, Stevens left middle school to enroll at the Académie Royale des Beaux-Arts in Brussels. There, he came under the tutelage of François Navez, a Neo-Classical painter and former student of Jacques-Louis David, who was both the director of the academy and an old acquaintance of Stevens’s grandfather. Following a traditional curriculum, he initially drew from casts of classical sculptures and later transitioned to drawing from live models. In 1843, Stevens journeyed to Paris to join his already established brother, Joseph. He gained admission to the École des Beaux-Arts, the preeminent art school in Paris, although claims of him being a student of the director, Jean Auguste Dominique Ingres, are likely unfounded. One of his early works, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, showcased his mastery of a conventional naturalistic style influenced by 17th-century Dutch genre painting. Stevens’s work was first publicly exhibited in 1851, when three of his paintings were featured at the Brussels Salon. He received a third-class medal at the Paris Salon in 1853, followed by a second-class medal at the Universal Exposition in Paris in 1855. His painting Ce qu’on appelle le vagabondage [What is called vagrancy] (Musée d’Orsay, Paris) garnered attention from Napoleon III, leading to a change in policy regarding the use of soldiers to remove the poor from the streets. Two other paintings displayed at the Salon in Antwerp in the same year, Chez soi or At Home and The Painter and his Model, introduced subjects from “la vie moderne” that became characteristic of his oeuvre: elegant young women dressed in contemporary fashion and artists in their studios. In 1857, Stevens made his first significant sale to a private collector when Consolation was purchased for a rumored 6,000 francs by the Berlin collector and dealer Ravéné. He and his brother also became part of the artistic milieu in Paris, frequenting salons hosted by Princess Mathilde and popular cafes, where they mingled with the likes of the Goncourt brothers, Théophile Gautier, and Alexandre Dumas. Stevens married Fanny Juliette Albertine Marie Hortense Blanc (1836-1891), a member of a wealthy Belgian family and a long-time acquaintance of the Stevens family, in 1858. The wedding was witnessed by the renowned painter Eugène Delacroix. The couple had four children: Leopold, Jean, Catherine, and Pierre. Stevens depicted his wife in numerous portraits, including Regrets and Memories. After her passing, he expressed enduring grief at her loss. During the 1860s, Stevens rose...
Canvas, Oil