Last Hurrah
- Hopfer, The Soldier and His Wife
- van Leyden, The Baptism of Christ
- Italian School (Tuscan?), Eagles
- Marco Dente, Entellus and Dares
- Vincentino, Temperance
- Hopfer, Battle of the Naked Men
- Circle of Romano, Roman Battle
- van Leyden, The Fall of Man
- Scultori, Eros Playing a Clavier
- Bonasone, The Wounded Scipio
- Brun, The Drummer
- Cort, The Assembly of the Gods
- Wierix, The Virgin Nursing
- Sadeler, Annunciation
- de Gheyn, The Rest on the Flight
- Sadeler, Death as a Welcome Visitor
- Callot, Les Intermèdes, No.1
- Brebiette, Woman Nursing
- Dutch or Flemish School, Four Biblical Episodes
- Vauquer, Ornament Plate
- Hondius, Uylenspiegel, or Owlglass
- Roghman, River and Rocks, Italy
- Castiglione, Noah and the Animals
- Piranesi, Frontispiece
- Piranesi, Carceri XI: The Arch
- Pether, A Farrier’s Shop
- Tiepolo, Self Portrait
- Turner & Dunkarton, The Temple
- Lucas, The Vale of Dedham, Essex
- Weir, Study for a Monument
- Lalanne, View of Groningen
- Richmond, Landscape at Otford
- Harpignies, Troncs d’Arbres
- Loizelet, Le Petit Coblentz
- Whistler, The Smith
- Forain, Loge de Danseuse
- Toulouse-Lautrec, Au Pied du Sinai
- Orlik, Still Life with Fruit
- Marin, Sestiere di Dorso Duro
- Roussel, The Snow
- Vergé-Sarrat, Chambre de Malade
- Oppenheimer, Ferruccio Busoni
- Levine, Sewing Machine Operator
- Picasso, Femme Nue à la Jambe
- Oppenheimer, The Rosé Quartet
- Villon, Mon Vieux Luxembourg
- Epstein, Jackie
- Tobey, Untitled
Mon Vieux Luxembourg
Other Images:
Etching and etching and drypoint (2 states) and Preliminary Drawing in pencil, pen and black ink, 1935, Ginestet et Pouillon E-384 iv/vi and vi/vi (actually a proof before additional shading at the left), the drawing pencil signed, 154 x 243 mm., the etchings 255 x 398 mm., both pencil signed, the first numbered 4/8, the second annotated “essai.” The published edition of the print was 40 impressions. The drawing is on thin wove paper laid down to card. The earlier state of the etching is on a heavier wove paper with full, large margins; the later state on laid paper, also with apparently full margins. The image is one of Villon’s most admired later cubist etchings, the old Luxembourg Palace, at the north end of the Gardens, lovingly re-created. The dominant pair of figures was not inserted until the final state, but the combination of drawing and prints offers a unique opportunity of seeing how an important artist like Villon developed his images. The three sold together.
$6,500.00 |