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
 |
36. Jean-Louis Forain (1852-1931) Loge de Danseuse |
 |
(click on image to print)
Loge de Danseuse
Lithograph with hand retouching, ca. 1895, Guérin 46 bis, Faxon 229, 319 x 426 mm., ex collection Marcel Guérin (Lugt 1872b). The only impression. The work is a lithograph in black on an orange-brown ground, retouched in black chalk and with off-white highlights, apparently wiped. It is printed on a cream wove paper which has darkened on the front, with full margins showing inky fingerprints; a neatly mended tear in the left margin and a few tiny edge tears. In short, it is the very model of a trial proof and it appears to be a preliminary study for Guérin 46, which itself exists in only a few impressions. Guérin, in his catalog of Forain, refers to this impression (his collector’s mark is on the lower left corner of the sheet), the only one he mentions, as an épreuve retouchée. Faxon calls it a touched proof and unique. The work belongs to Forain’s Impressionist period and its fascination with dancers, before his later drastic change in style and subject matter. His signature appears in reverse in the stone at the lower left.
 |
$3,000.00 |  |
