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
Two Figures Consulting a Book
Pencil on thin brown wove paper, 125 x 143 mm. As a print maker, Carrière is best known for large, dramatic lithographed portraits in an atmosphere of fume and swirl, as if the room were full of smoke. Nothing could be farther away from that image than this rapid little sketch on a scrap of creased paper, whose only obvious purpose is to define a composition of two lighted figures against a dark background – unrelated to any print by Carrière known to us. The sheet bears his stamped signature recto and the estate stamp verso (Lugt 434a). A little souvenir of an important artist.