40 YEARS 40
our fortieth-anniversary show
our fortieth-anniversary show
- French School, Adoration of the Shepherds
- Mantegna, Bacchanal with a Wine Vat
- Robetta, Adoration of the Magi
- Dürer, The Virgin with the Infant Child
- van Leyden, St. Francis of Assisi
- Altdorfer, Dido
- after Raphael, Raphael and His Mistress
- Pencz, The Taking of Carthage
- Brosamer, Nude Woman in Profile
- Barocci, Madonna and Child in the Clouds
- Zucchi, Design for an Ornate Ceiling
- Goudt, Tobias with the Angel
- Della Bella, Le Reposoir du Saint Sacrement
- Rembrandt, Woman Sitting Half-Dressed Beside a Stove
- Challe, Fantasy Capriccio of a Roman Palace
- Piranesi, St. Peter’s
- Bonet, The Lady ta King Coffee; The Milk Woman
- Goya, Felipe IV, Rey de España
- Meryon, Saint-Etienne-du-Mont, Paris
- Whistler, Thames Police
- Manet, Queue Devant la Boucherie (Siège de Paris)
- Doré, Children’s Ward in a London Hospital
- Buhot, La Maison Maudite
- Guérard, Eventail: Oiseaux dans les Roseaux
- Rivière, La Village de La Chapelle
- Auriol, Bois Frissonnants
- Lepère, Les Laveuses (Les Blanchisseuses)
- Toulouse-Lautrec , La Troupe de Mademoiselle Eglantine
- Cezanne, Self Portrait at the Easel
- Sloan, Turning Out the Light
- Goodwin, Durham with the Cathedral
- Villon, Musiciens Chez le Bistro
- Kollwitz, Selbstbildnis
- McBey, Farm Scene at Hatford
- Beckmann, Umarmung (Embrace)
- Drewes, The City (Carcassonne)
- Sutherland, Number Forty-Nine
- de Chirico, Scuola di Gladiatori II
- Friedlander, 3 A.M.
- Marsh, Coney Island Beach
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38. Giorgio de Chirico (1888-1978) Scuola di Gladiatori II |
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(click on image to print)
Scuola di Gladiatori II
Color lithograph, 1929, 305 x 413 mm., from Metamorphosis, Ciranna 15, ex collections: Jean Goriani (not in Lugt); San Francisco Museum of Modern Art. Fine impression on Arches wove paper with full margins, signed and numbered in pencil from the edition of 100; a short tear at the sheet edge, far from the image, has been neatly mended. The print was issued in both black and white (10 impressions) and in color; the color, however, is extremely subtle, tones of light brown and yellow applied sparingly to the white figures against a largely black background. This is early De Chirico of original surrealist inspiration, well before he drifted far afield and then, sadly, began to imitate who he once was.
