Standards
- van Meckenem, Ecce Homo
- Dürer, Saint Jerome
- Dürer, The Little Courier
- Dürer, The Satyr Family
- Raimondi, Façade with Caryatids
- Altdorfer, The Resurrection
- Beham, Peasant Couple
- Beham or Dürer, Bookplate
- Pencz, The Life of Christ
- Davent, Musicians
- Lautensack, Landscape
- Matham, The Planets
- Callot, Balli di Sfessania
- Callot, La Chasse au Cerf
- Rembrandt, Clement de Jonghe
- Rembrandt, The Goldsmith
- Della Bella, The Five Deaths
- Ostade, The Fiddler
- Both, The Five Senses
- Nanteuil, Hardouin de Beaumont
- Visscher, A Mouse in a Mouse Trap
- Masson, Guilllaume de Brisacier
- Piranesi, A View of the Temple
- Watson, Mrs. Hale as Euphrosyne
- Moreau, Les Petits Parains
- Janinet, Le Sommeil d’Arianne
- Blake, And My Servant Job
- Unknown Engraver, Frederick
- Gericault, Horses Going to a Fair
- Jacque, Les Musiciens
- Haden, A By-Road in Tipperary
- Meryon, Saint-Etienne-du-Mont
- Bresdin, La Sainte Famille
- Whistler, Battersea Dawn
- Whistler, Limehouse
- Fantin-Latour, Manfred and Astarte
- Legros, Le Grand Canal
- Buhot, La Place des Martyrs
- Forain, Le Calvaire (2e planche)
- Pennell, In the Mist of the Morning
- Hassam, The Old Mulford House
- Zorn, "Oxenstierna"
- Toulouse-Lautrec, La Modiste
- Cameron, The Palace
- Sloan, Anshutz on Anatomy
- Bone, The Trevi Fountain, Rome
- Knight, At the Footlights
- McBey, Palestine: Blue Bonnets
Le Calvaire (2e planche)
Etching and drypoint, 1909 (?), 400 x 495 mm., Guérin 59 i/ii(?), Faxon 32.
Fine impression in brown-black with plate tone and false biting (?) on Van Gelder Zonen laid paper with large, full margins, signed in pencil and annotated “1er état.” Despite the annotation, no second state is known. Forain began his artistic career as a caricaturist, a bit later, as an Impressionist painter. His etchings of the time were in that latter vein and similar to those of many of his contemporaries. In later years there was a shocking change of a two-fold nature: he developed, on large plates, a rapid, slashing style of etching and drypoint, frequently directed toward his customary subjects of legal scenes and the demi-monde; but he also produced a body of work of serious and individually conceived religious scenes. The image here is easily recognizable -- but there is no cross, no body of Christ, merely a ladder, a group of respectful workmen in modern dress, and Mary, led from the scene by two female companions. It is an absolutely unique conception of Calvary and powerful beyond words.