THE PRICE OF FAME
- Munch, Tiger and Bear
- Dürer, Five Lansquenets
- Bonnard, Dans la Rue
- Vuillard, La Couturiére
- Bellows, The Hold-Up
- Magritte, Oreille-Cloche
- Canaletto, Landscape
- Cezanne, Self-Portrait at the Easel
- Matisse, Repos du Modèle
- Pissarro, Rue Saint-Romaine
- Tiepolo, Three Soldiers
- Rouault, L’Enfant de la Balle
- Toulouse-Lautrec, Yvette
- Jongkind, Jetée en Bois
- after Brueghel, Saint Jerome
- Blake, And My Servant Job
- Chagall, Le Vixe
- Piranesi, The Villa Albani
- after Rubens, St. Mary Magdalene
- Millet, La Fileuse Auvergnate
- Beckmann, Jacob Wrestles
- Corot, Environs de Rome
- Tissot, Le Matin
- Whistler, Little Dorothy
- Géricault, Cheval Anglais
- Ostade, The Barn
- Hogarth, A Chorus of Singers
- Watteau & Thomassin, Femme
- Goya, Nanny’s Boy
- Palmer, Herdsman’s Cottage
- Delacroix, Arabes d’Oran
- Sloan, Fifth Avenue Critics
- after Boucher, The Snare
- after da Vinci, Caricature Head
- Baskin, Bird-Man
- after Turner, In the Campagna
- after Raphael, A Muse
- Kirchner, Railway Curve
- Daumier, Eh, Eh ? Petit Gredin…
- Robert, Le Poteau
- Rowlandson, Wood Nymphs
- Doré, Lapplander Peasants
- van Dyck, Portrait of Brueghel
- after Constable, Mill Stream
- Rosa, Woman Walking to the Left
Environs de Rome
Etching, 1866, 318 x 240 mm., Delteil 6 ii/iii. Fine impression, with a range of tone, from the first published edition on laid paper with large, full margins and with the blind stamp of Cadart & Luquet; very pale time toning in the area of the old mat opening. The problem with Corot etchings is that the late states are flat in appearance and that supposed first states are all too frequently false first states, late impressions with the letters masked. That problem does not present itself here. As quintessentially French as he was, almost half of Corot’s etchings are of Italian views. This one, of an unidentified location in the Roman Campagna, exemplifies his painterly-style depiction of trees, light, a distant structure and, particularly, a time of day.