Max Liebermann, “Self-Portrait”, 1913

Max Liebermann (1847–1935)

“Self-Portrait” (aka “Selbstbildnis”), 1913, an original drypoint in pristine condition with full margins as published in Berlin by Bruno Cassirer (1872–1941) (Verlag Bruno Cassirer).

Interestingly, in 1917 (four years after this etching was executed), Reinhold Hoberg (1859–1932) made a woodcut after Liebermann’s etching (with variations to the design); see Schiefler 1923 [1991, 4^th rev. ed.], p. 162, cat. no. XVI [illus. p. 181]), published in the calendar, “Kunst und Leben” (Art and Life). See also the Cleveland Museum of Art which holds an impression of this woodcut signed by Liebermann (I understand that some impressions feature the dual signatures of Hoberg and Liebermann): https://www.clevelandart.org/art/1923.807.

Drypoint printed on fine laid paper with partial watermark and margins as published.

Size: (sheet) 29.1 x 21.8cm; (plate) 23.3 x 17.3cm. 

Lettered in plate: (lower right edge) “'VERLAG BRUNO CASSIRER, BERLIN”.

State iii (of iii) with the addition of the publication details.

Schiefler 150 (Gustav Schiefler 1923 [1991, 4th rev. ed.], “Max Liebermann: The Graphic Work, 1876–1923”, San Francisco, Alan Wofsy Fine Arts, p. 97, cat. no. 150 [illus. p. 287]).

Condition: a strong and well-printed impression in a pristine condition with no tears, holes, folds, abrasions, stains or signs of handling.

I am selling this bold self-portrait by a significant painter and printmaker who was actively engaged in the dissemination of Impressionist theory in Germany as well as being an important collector of works by the French Impressionists, for AU$464 in total (currently US$305.96 / EUR285.37/ GBP236.81 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$464) as this is my currency.

If you are interested in acquiring this remarkable drypoint—note the confidence and unhesitating flow of the deeply incised strokes—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold 

Charles Kiffer’s drypoint, “Maurice Chevalier”, 1912

Charles Kiffer (1902–1992)—an artist engaged by Maurice Chevalier (1888–1972) to create posters of the entertainer’s shows; see an example offered by Christie’s Auctions: https://www.christies.com/en/lot/lot-5763057.

“Maurice Chevalier”, 1912

A rare proof-state drypoint with pale plate-tone printed on heavy Arches vellum, signed and dated in the plate with generously wide margins.

Size: (sheet) 38.1 x 28 cm; (plate) 22 x 13.9 cm; (image borderline) 21.3 x 13.5 cm.

Inscribed in plate along the lower edge: (left) (artist’s monogram) “Ch. K”; (centre) “1912”.

Condition: a strong (near faultless) impression with wide margins and no tears, holes, folds, abrasions or significant stains.

I am selling this very rare proof impression drypoint by an artist famous for caricatures and posters celebrating the almost legendary French singer, actor, and entertainer, Maurice Chevalier—dubbed at the time as “the most popular Frenchman in the world” (see https://www.britannica.com/biography/Maurice-Chevalier)—for a total cost of AU$268 (currently/approximately US$180.96/EUR166.88/GBP141.23 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$268) as this is my currency.

If you are interested in purchasing this superbly animated caricature of Chevalier as a cabaret performer, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

David Young Cameron, “Lake of Menteith No. 2”, 1929

David Young Cameron (aka Sir David Young Cameron RA RSA RE) (1865–1945)—one of the leading practitioners of the Etching Revival

“Lake of Menteith No. 2”, 1929, published in Stirling in 1930 by Eneas Mackay (fl.c.1899–1940) as the frontispiece to Robert Bontine Cunninghame Graham’s (1852–1936) “The District of Menteith” in the “Edition de Luxe” of 250 signed impressions. I understand that the plate was cancelled after this edition.

Etching and drypoint with pale plate-tone on fine buff-coloured laid paper with Charles I watermark, signed in pencil by the artist.

Size: (sheet) 19.6 x 22.5 cm; (platemark) 11.2 x 17.4 cm.

Inscribed in plate at lower left corner: “DYC”.

State iii (of iii)

Rinder 482 (Frank Rinder 1912 [sup.1932], “D.Y. Cameron: An Illustrated Catalogue of His Etched Work”, Glasgow, Jackson, Wylie & Company, p. 302, cat. no. 482, state III [https://archive.org/details/dycameronillustr00rind/page/302/mode/2up]).

Frank Rinder (1932) offers the following poetic comment from Cunninghame Graham regarding the portrayed scene: “The Isle of Rest still seems to float upon the Lake.... The monks who built the long grey church sleep all forgotten, unconscious that they wove the spell that still enchants the Island and the Lake” (p. 302).

See also the description of this print offered by the National Galleries of Scotland: https://www.nationalgalleries.org/art-and-artists/148343/lake-menteith-no-ii.  

Condition: a strong and near faultless impression. Beyond pale spot glue marks verso the sheet is in an excellent condition with no tears, holes, folds, abrasions, significant stains or signs of handling.

I am selling this small and exquisitely luminous etching—a print that I would describe as a true “printmaker’s print” as the subtlety of the craftsmanship and sense of aesthetic beauty is (to my eyes) superb—for AU556 in total (currently US$358.06/EUR336.97/GBP287.82 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this insightfully considered etching by key artist in the Etching Revival, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Edmond Yon, “Near the Coast at Cayeux-Sur-Mer”, 1885

Edmond Yon (aka Edmond Charles Joseph Yon) (1836–1897)

“Near the Coast at Cayeux-Sur-Mer” (Picard coast, France), 1885, illustration facing page 37 to Philip Gilbert Hamerton’s (1834–1894) “Landscape”, published in 1885 by Seeley & Co. (fl.1839–early 1900s) in London.

Etching, drypoint and dot-roulette on fine wove paper with full margins as published.

Size: (sheet) 21.3 x 31.1 cm; (plate) 16.2 x 24.3 cm; (image borderline) 14 x 21.7 cm.

Inscribed in plate below the image borderline: (left) “Edmond Yon P^[inx]t & Sc^[ulp]t”.

Condition: a richly inked and well-printed (near flawless) impression in a pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this superb etching with velvety rich touches of drypoint showing a herdsman leading a cow through marshlands—possibly at the estuary of the River Somme in Baie de Somme in which the town of Cayeux-sur-Mer (mentioned in the title) is located—for AU$187 in total (currently US$122.63/EUR112.65/GBP96.25 at the time of posting this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this marvellous etching by a true master of the craft—note how the artist has created the effect of a “splash” of light falling on the reeds in the front of the herdsman and used the silhouette shapes of leaves in the foreground to give spatial depth to the scene—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Ludovic Lepic’s etching, “Danse”, c.1876

Ludovic Lepic (aka Ludovic Napoléon Lepic; Vicomte Ludovic Lepic) (1839–1889)

“Danse”, c.1876, published in Paris in 1876 by the Librairie des bibliophiles “L’Opéra: Eaux-Fortes et Quatrains, par un Abonné”. Based on the context of this print in the publication (see https://archive.org/details/lopraeauxforte00unabuoft/page/103/mode/2up), I believe that the portrayed feet are those of the Italian ballet dancer, Rita Sangalli (1849–1909) whose performing skills (possibly at the Paris Opera Ballet where she was performing at the time [1872–1884]) are described by a series of correlatives: (transl.) “It's Kachel in a swimsuit, Melpomène in a petticoat. It's Diana the Huntress pursuing Actaeon”.

Drypoint with plate tone on fine laid paper.

Size: (sheet) 17.8 x 10.5 cm; (plate) 9.9 x 8 cm.

Inscribed in plate: (lower centre on banderole) “DANSE”; (lower right) “Lepic”.

Beraldi 7 (Henri Beraldi 1889, “Les Graveurs du XIXe Siècke; guide de l'amateur d'estampes modernes”, vol. 9, Paris, L Conquet, p. 143, cat. no. 7 [series: L’Opéra: Eaux-Fortes et Quatrains, par un Abonné]).

Henri Beraldi (1889) offers the following insight about Lepic’s approach to wiping the etching plate: (transl.) “… Count Lepic was particularly attached to the question of the impression, and the varieties of effects that obtained from a plate according to the inking mode. ... he would say, ‘the secret of etching as I get it … is the use of ink and rag: with these two weapons you can get anything from a plate. I am master in front of my plate as in front of a canvas, I can transform all the subjects according to my fancy, modify their effects. This process existed from the time of great master engravers, and I have found it’. ... Count Lepic called this kind of printing with the rather singular name ‘mobile etching’ [l’eau-forte mobile]." (p. 144).

Condition: a richly inked impression in a near pristine condition with no tears, holes, folds, abrasions or stains.

I am selling this small drypoint by one of the truly remarkably creative printmakers of the nineteenth century—famous for his inventive variations in wiping the etching plate, “l’eau-forte mobile”—for the total cost of AU$232 (currently US$153.45/EUR140.25/GBP119.41 at the time of posting this listing) including postage and handling to anywhere in the world.

If you are interested in purchasing this curiously unusual and visually striking drypoint, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Henri Guérard’s drypoint, “Vase à anse en verre de Venise”, 1888

Henri Guérard (aka Henri Charles Guérard) (1846–1897)

“Vase à anse en verre de Venise” [BnF title] (Venetian glass vase with handle), 1888, this may be a proof-state impression as there are no lettered details regarding the title or the publisher. Note that there is an earlier state of this print before it was developed with tone (as shown here): see http://catalogue.bnf.fr/ark:/12148/cb44236213b.  

Drypoint (and aquatint?) with pale plate-tone on laid paper with wide margins.

Size: (sheet) 41.4 x 29.2 cm; (plate) 22.8 x 16.9 cm; (image borderline) 19.9 x 14.3 cm.

Inscribed in plate within the image borderline: (lower left behind ewer base) “– H. GUERARD. SC–”.

Condition: a richly inked and well-printed (near faultless) impression with generously wide margins. The sheet is in a near pristine condition with no tears, holes, folds, abrasions, stains, foxing or signs of handling.

I am selling this outstanding drypoint—in my opinion a true masterwork of drypoint showing the utmost sensitivity in the rendering of this exquisite glass ewer—for AU$294 (currently US$196.51/EUR177.80/GBP156.52 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this fascinating study of the pattern of shadow and reflection (and all the other variables that come into play in capturing the transparency of glass), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold