SIXTY ORIGINAL DRAWINGS BY PRINT MAKERS
(American, British and Continental, 19th-20th Century)
(American, British and Continental, 19th-20th Century)
- Hervier, Une Femme
- Lalauze, La Compagnie Félicite
- Raffet, A Group of Men
- Steinlen, Head of a Man
- Ribot, Studies of a Left Hand
- Bèjot, Sur la Marne
- Carrière, Two Figures
- de Beaumont, “Je te reconnaitras bien…’’
- Bone, Winter near Aylmerton
- Bone, A Back Street
- Blampied, Deux Précieux
- Haden, English Landscape
- Haden, Sketches for “Greenwich”
- Howarth, A Street in Montreuil
- Auerbach-Levy , Caricature Portrait of Eugene O’Neill
- Kinney, Female Nude
- Singer, Shipping in the River
- de Martelly, Scene in an Inn
- Higgins, Peering Cat
- Hopkins, Pattern Designs
- Church,The Old Log Tavern
- Nisbet, Farm Buildings
- Thorne, Running Horse
- Capraro ,The Massacre of the Innocents
- Vierge, "Pablo de Segovia"
- Müller, Pianist
- Gaillard, Empress Catherine
- Lepic, La Cigogne
- van ‘s Gravesande, Katwyk
- Besnard, Eve
- Webster, Voiliers à Venise
- Webster, Farm House
- Prouvé, Design for a Leather Book Binding
- Buhot, Idée de Premier Frontispice pour "L’Ensorcelée"
- Buhot, Peasant Women
- Bléry, Osmonde et Taminier
- Lançon, An Arrest
- Pascin, Female Nude Study
- Trimolet, December
- Appian, Traveler in a Forest
- Calvert, Woodland Stream
- Calvert, Draped Female
- Giddens, Gerona, Spain
- McBey, Santa Cruz, California
- Dehn, Central Park, NYC
- Brockhurst, Anthea
- Petitjean, Portrait
- Cameron, Chinon
- MacLaughlan, Argentière
- Covarrubias, Billy Rose
- Forain, La Pluie d’Or
- Citon, Head of a Woman
- Kelsey, Village Street, Mexico
- Hart, Speaker and Listener
- Kupka, Robed Monk
- Chauvel, Pont de Sichol, Thiers
- Roussel, Ornament Study
- Raffaëlli, La Bièvre
- Lepere, Flooded Countryside
- Lalanne, Vast Pasture
Standing Female Nude
Pastel on grey-green paper, 480 x 313 mm. As a print maker, Kinney specialized in depicting dancers, both real ones and imagined. Although a bit out of fashion today, the prints were incredibly popular in their time and Kinney’s signed editions of them almost always exceeded one hundred and sometimes even two hundred. To anyone familiar with his etchings and drypoints this pastel would be immediately recognizable, even if it were not signed (which it is), although the pastel medium makes his debt to Whistler more evident than it is in the prints. A lovely study, possibly done for a book illustration.
$1,000.00 |