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Click here to subscribeLOUIS ICART (FRENCH 1888-1950) Reclining redheaded lady with violin Coloured drypoint etching Signed in pencil lower right, blindstamp lower left 49.5cm x 49.5cm (plate size) Condition Report : good condition, looks to be in original frame Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Max Oppenheimer (1895 Wien - 1954 New York)Kreuzabnahme Christi, Kaltnadelradierung auf Bütten, 45,5 cm x 31,5 cm, 12/40 nummeriert, signiert, stockfleckig, lichtrandig, verso Montierungsrückstände, Literatur: WVZ Stix/Osborn 10, Pabst R11Max Oppenheimer (1895 Vienna - 1954 New York)Pietà, drypoint on handmade paper, 1912, 45,5 cm x 31,5 cm sheet size, signed, numbered 12/40, foxing, darkened, mounting residues on verso, literature: Wvz. Stix/Osborn 10, Pabst R11
REMBRANDT HARMENSZ VAN RYN (Leiden, 1606 - Amsterdam, 1669)."Les Eaux-Fortes authentiques de Rembrandt".Texts: André-Charles Coppier. 1929Published by Firmin-Didot.Album with 128 reproductions of etchings by Rembrandt.Text in French.With wrinkles, creases and soiling. Some tears.Size: 35 x 29 x 5 cm.Album with 128 reproductions of etchings by Rembrandt. In hardback slipcase. Rembrandt was, besides being one of the great painters of the Dutch Baroque, an exceptional engraver. He worked with both burin and drypoint, always dispensing with prior drawing, attacking the plate directly and exploiting the expressive possibilities of the etching technique to the maximum. He made many tests, removing and inserting elements and retouching, hence the great sensation of immediacy of his engravings. He produced up to ten different states, and it even took him years to finish some of his works. Although his favourite subject was the self-portrait, he also produced some landscapes full of life and expressiveness, such as these rural views.
James Mcbey, Giudecca, Venice, drypoint, 15x31cm.Qty: 1Condition report:Original drypoint. No damage to the paper, colour is slightly yellowed. Signed and with edition simply number with roman numeral 'V' - no indication of the edition size. Other pencil notes to the margins and mount slip. Work is unframed. Receipt dated 1967 for Cradock & Bernard, Museum Street, London accompanies the lot.
Wenceslaus Hollar (1607-1677) - Jan Wildens landscape with galloping horseman / Description: A horseman galloping to right along a country road; chapel flanked by farm houses on the bank of a river or lake at left; church, houses, windmills and spires seen on the wooded bank in background; after Wildens; second state, before date erased and publisher's name altered. 1650Etching and drypoint / Dimensions: 14,50 x 22,00 cm / Condition: A fine impression trimmed on the borderline and remarginned. Invisibly flattened folds. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (1107.II) ------ Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1226.II) --- Hollar's copper plate is in the collection of Frank Raysor. / Medium: Engraving /Circa: 1650
Rembrandt - Jan Uytenbogaert 'The Goldweigher' Jan Uytenbogaert 'The Goldweigher'. etching and drypoint, 1639, on laid paper with partial unrecognized watermark near left margin. Rembrandt's signature and date, in lower left: "Rembrandt f. / 1639". A good impression with some plate tone of New Hollstein's third, final state with rework, printing with considerable burr on the fur coat. 25,00 x 20,50 cm / Condition: Excellent condition with no folds tears or stains. With full plate border and half centimeter margins on watermarked laid paper. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (172.III) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (167.III) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (281.III) --- Hinterding et al. 2000 / Rembrandt the Printmaker (35.II) / Medium: Etching and drypoint /Circa: 1639
Erotica - Curiosa - - Andre Billy. Visions de Danse. Trente compositions dessinees et gravees a la pointe seche par le peintre et graveur Lobel-Riche. Mit 1 Originalzeichnung, 30 Original-Kaltnadelradierungen und 2 Extrasuiten mit je 26 Radierungen mit Remarquen von Almery Lobel-Riche. 94 S., 1 Bl. Paris, chez l'artiste, 1949. Gr.-4° Lose Doppelbogen in OUmschlag, Pappdeckel und Schuber. Monod 1571. Eins von 20 Exemplaren der Vorzugsausgabe auf Velin de Rives mit der Originalzeichnung und zwei separaten Suiten in Sepia und Schwarzweiss (Radierungen mit Remarquen) (GA 210 Ex.) - Die Abweichungen der Anzahl der Radierungen in den Extrasuiten durch 4 Doppeltafeln, bei denen zwei Motive auf eine Radiertafel komponiert wurden. - Wohlerhalten. Dance. - Monod 1571. With 1 original drawing, 30 original drypoint etchings and 2 extra suites of 26 etchings each with remarques by Almery Lobel-Riche. One of 20 copies of the special edition on vellum de Rives with the original drawing and two separate suites in sepia and black and white (etchings with remarques). (GA 210 ex.) - The variations in the number of etchings in the extra suites due to 4 double plates, where two motifs were composed on one etching plate. - Well preserved.
Max Jacob. Chronique des temps héroiques. Mit 1 Originallithographie als Frontispiz, 3 Original-Radierungen, 24 Textholzschnitten u. farb. Umschlaglithographien von Pablo Picasso. Paris, Louis Broder, 1956. 126 S., 4 Bll. 4°. Weißer Maroquin mit goldgeprägtem RTitel und schwarzen geometrischen Maroquin-Applikationen auf Deckeln. Doublüre aus rotem Maroquin mit goldgeprägtem Monogramm (L-P. L.). Dreiseitiger Goldschnitt, fliegende Vorsätze aus Japan. (Rücken und Gelenke minimal berieben.) Original-Broschur und -Rücken eingebunden. Einband signiert: J. Clasat. Erste Ausgabe (posthum erschienen). - Zweiter Band der Reihe Écrits et Gravures. - Mourlot 271. Bloch 743 u. 802-804. Cramer 78. Monod 6297. - Eines von 150 nummerierten und von Picasso im Druckvermerk signierten Exemplaren (GA 170). - Eins der Werke Max Jacobs, die von Picasso illustriert wurden. Max Jacob wohnte wie Picasso 1907 im Bateau-Lavoir Rue Ravignan. Er war einer der ersten und engsten Freunde Picassos. "Max Jacob erzählt von den Futuristen, den Surrealisten, von seinen Freunden Apollinaire und Picasso und natürlich auch von Paul Guillaume, als Sammler afrikanischer Kunst. Picasso machte für dieses Buch zu Ehren seines früh verstorbenen Freundes am 7. September 1956 drei Kaltnadelarbeiten: Max Jacob beim Schreiben, in Rückenansicht und im Profil. Ein am 23. September in Vallauris entstandenes lithographisches Portrait diente als Frontispiz ... Das Buch ist außerdem mit 24 Holzschnitten von Georges Aubert nach Picasso-Zeichnungen illustriert" (Kat. Basel 1995). - Einige Seiten mit Abklatsch der Illustrationen. Papierbedingt in den Rändern zart gebräunt. Gutes Exemplar in dekorativem Handeinband. With original lithograph as frontispiece, 3 original etchings, 24 woodcuts in text and ill. wrappers by Pablo Picasso. White morocco with gilt title and black geometric morocco applications on covers. Doublure in red morocco with gilt monogram (L-P. L.). Gilt edges, Japan flyleaf endpapers. (Spine and joints minimally rubbed.) Orig. wrappers and spine bound in. Binding signed: J. Clasat. - First edition (published posthumously). - Second volume of the series "Écrits et Gravures". - One of 150 numbered copies signed by Picasso in the imprint (total ed. 170). - One of Max Jacob's works, which were illustrated by Picasso. Like Picasso, Max Jacob lived in the Bateau-Lavoir Rue Ravignan in 1907. He was one of Picasso's first and closest friends. "Max Jacob narrates about the Futurists, the Surrealists, about his friends Apollinaire and Picasso and, of course, about Paul Guillaume, as a collector of African art. Picasso made three drypoint works for this book in honour of his friend, who died at an early age, on 7 September 1956: Max Jacob writing, in back view and in profile. A lithographic portrait made in Vallauris on 23 September served as the frontispiece ... The book is also illustrated with 24 woodcuts by Georges Aubert after Picasso drawings" (exh. cat. Basel 1995). - A few pages with offset from the illustrations. Paper slightly browned in the margins. Good copy in decorative hand binding.
Lepke, Gerda: (1939 Jena - lebt in Wurgwitz u. Gera). Konvolut von 7 hs. Künstlerbriefen mit Tusche- u. Aquarellzeichnungen. Adressiert an Maria und Hans-Peter Müller (Herausgeber d. Butzbacher Künstler Interviews). Je auf Japan o. Papier, 1989-2011. Zw. ca. 20 x 30 u. 38 x 50 cm. - Tls. knittrig, tls. mehrfach gefaltet. ╔Dabei: 2 Künstlerbriefe mit Kaltnadelradierungen╗, 1989. - Convolute of 7 Artist letters from Gerda Lepke to Mr. and Mrs. Müller, 1989-2011. Ink and watercolours on paper. Enclosed 2 artist letters with drypoint etching. D
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Männlicher Akt mit ausgestrecktem Bein auf dem Boden sitzend. Radierung und Kaltnadel auf cremefarbenem Bütten, 1646. Plgr. 10 x 16,8 cm, Blgr. 10,8 x 17,8 cm. Bartsch 196. New Hollstein 234 iii/iii. - Späterer Abdruck von New Hollsteins letztem Zustand (von 3). - Nude man seated on the ground with one leg extended. Etching and drypoint, 1646. - A later impression of New Hollstein's final state (of 3). R
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Jacob Haaringh (Junger Haaringh, Pieter Haaringh). Kaltnadelradierung auf dickem cremefarbenem Bütten, 1655. Plgr. 11,8 x 10,5 cm. Blgr. 12,7 x 11,2 cm. Bartsch 275. New Hollstein 292 v/v. - Späterer Abdruck. - New Hollsteins fünfter Zustand (von 5). Verso schwacher Wasserschaden. - Jacob Haaringh ('Young Haaringh') (Pieter Haaringh). Etching with drypoint, 1655. - A later impression from the cut plate, New Hollstein's fifth state (of 5). - Faint water damage visible. R
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Christus vertreibt die Geldwechsler aus dem Tempel. Kaltnadelradierung auf Bütten, 1635. 13,5 x 16,8 cm. Auf Plattenkante beschn. Blgr. 14,8 x 18 cm. Bartsch 69. New Hollstein 139 iv/iv. - Guter, wenngleich später Abdruck von New Hollsteins viertem Zustand. - Leichte Wasserschäden und leichte Tonung. - Christ Driving the Money Changers from the Temple. Etching with drypoint on laid paper, 1635. - A good but later impression of New Hollstein's fourth state (of four).- Some faint water damage and minor toning. R
Edgar Chahine, French 1874-1947- L'Italienne, ou Portrait de Madame B, 1900; La Terrasse, 1899; (i) etching with drypoint, cancelled plate, signed, inscribed and dated '19 Mai 1910'(?) within the plate, image: 42.4 x 30.6 cm, (ii) etching with drypoint and aquatint, cancelled plate, signed, inscribed and dated '21 Decembre 1899' in pen and ink within the margin, image: 42.5 x 32.4 cm, (framed) (2)There is some discolouration to the paper, fox marks, most notably to the margins and evidence of light mount burn to the extreme edges.
Paul César Helleu (French 1859-1927) (1 work), Jacques Villon (French 1875-1963) (2 works), Elegante Au Chapeau Et Au Col De Fourrure; La partie de jacquet, 1903; Les cartes ou La reussite, 1903; (i) etching with drypoint on wove, cancelled plate, image: 55.8 x 34.2 cm, (ii) etching with aquatint in sepia, cancelled plate, signed and dated '03' within the plate, with embossed with signature, date and other inscriptions below plate lines, image: 40.5 x 50.9 cm, (iii) etching with aquatint in sepia, cancelled plate, signed and dated '03' within the plate, with embossed signature and other inscriptions below plate lines, image: 41.5 x 49 cm, (framed) (3) Some discolouration to the paper and evidence of mount burn to the margins, very light surface creases, otherwise in good condition for its age.
‡ REMBRANDT VAN RIJN (DUTCH 1606-1669)SAINT FRANCIS BENEATH A TREE PRAYINGEtching and drypoint, 1657, a very good impression of New Hollstein's second state (of two) with remnants of drypoint burr printing in places, on laid paper with Strasbourg lily watermark with letters 'WR' below [cf. Hinterding B.C. 2]Platemark 180 x 245 mm (7 x 9 5/8 in)Sheet 185 x 250 mm (7 1/4 x 9 3/4 in) (unframed) Provenance:Colnaghi & Co., London [stock number in pencil verso C.26656]Private Collection, Norway Literature:Bartsch 201; New Hollstein 89 i/iCondition Report: - Some toning to sheet, most notably in the upper right corner and lower left, with exposure line from previous mount visible along the lower edge- Very fine and small nick repaired at the left edge of sheet Condition Report Disclaimer
‡ REMBRANDT VAN RIJN (DUTCH 1606-1669)CHRIST DISPUTING WITH THE DOCTORS: A SKETCHEtching and drypoint, 1652, a dark impression of New Hollstein's first state (of two), printing with the rust marks along the upper plate edge but before later rework, on laid paper with Arms of Amsterdam watermark with letters 'A.I.' [cf. Hinterding D-d-a]Platemark 125 x 214 mm (4 7/8 x 8 3/8 in)Sheet 130 x 217 mm (5 1/8 x 8 1/2 in) (unframed) Provenance:Private Collection, Norway Literature:Bartsch 65; New Hollstein 267 i/iiCondition Report: - One small (1-2 mm) brown spot in the upper left corner- No other condition issues of noteCondition Report Disclaimer
‡ REMBRANDT VAN RIJN (DUTCH 1606-1669)CHRIST DRIVING THE MONEY CHANGERS FROM THE TEMPLEEtching with touches drypoint, 1635, a very good impression of New Hollstein's first state (of four), with drypoint burr visible in the rays just above Christ and elsewhere in the figures to the upper right quadrant, the areas of false biting not yet reworked, on laid paper without watermarkPlatemark 137 x 169 mm (5 3/8 x 6 5/8 in) (unframed) Provenance:Colnaghi & Co., London [stock number in pencil verso C.28148]Private Collection, Norway Literature:New Hollstein 139 i/ivCondition Report: - Repairs to loss and small area of damage to upper left corner and lower right- Both corners with small paper loss restored in expert facsimile- Trimmed just within the platemark to borderlineCondition Report Disclaimer
‡ REMBRANDT VAN RIJN (DUTCH 1606-1669)ABRAHAM AND ISAACEtching and drypoint, 1645, an excellent fine impression of New Hollstein's first state (of two) printing with clarity and inky lower edge, on laid paper with good margins, but without watermarkPlatemark 160 x 132 mm (6 1/4 x 5 1/4 in)Sheet 173 x 148 mm (6 7/8 x 5 3/4 in) (unframed)Provenance:Private Collection, NorwayLiterature:Bartsch 34; New Hollstein 224 i/ii"And He said, Take now thy son, thine only son Isaac, whom thou lovest, and get thee into the land of Moriah; and offer him there for a burnt offering upon one of the mountains which I will tell thee of." [Genesis 22:2 KJV]Condition Report: - Some toning and discolouration to sheet, with faint exposure lines- Repaired marginal tear to lower left edge, with tape staining resulting from repair verso- Faint damp-stain to lower right of sheetCondition Report Disclaimer
‡ REMBRANDT VAN RIJN (DUTCH 1606-1669)THE RAISING OF LAZARUS: THE SMALL PLATEEtching with touches of drypoint, 1642, a very good clear impression of New Hollstein's first state (of two) before any rework, on laid paper with watermark of Foolscap with seven-pointed collar [cf. Hinterding K.a.2]Platemark 150 x 114 mm (5 7/8 x 4 1/2 in)Sheet 160 x 121 mm (6 1/4 x 4 3/4 in) (unframed)Provenance:Private Collection, NorwayLiterature:Bartsch 72; Hind New Hollstein 206 i/iiCondition Report: - Minor spotting and light toning to sheet; slightly grubby. Would benefit from a light clean- Faint crease to lower right cornerCondition Report Disclaimer
‡ REMBRANDT VAN RIJN (DUTCH 1606-1669)ABRAHAM CASTING OUT HAGAR AND ISHMAELEtching with touches of drypoint, 1637, an excellent fine impression of the only state with little to no sign of wear, even in the densely hatched areas in the upper left and under Abraham's cloak as usually found in later impressions, thin laid paper without watermarkSheet 127 x 95 mm (5 x 3 3/4 in) (unframed)Provenance:Colnaghi & Co., London [stock number in pencil verso C.27289]Private collection, NorwayLiterature:Bartsch 30; New Hollstein 166 i/iCondition Report: - Several small areas of expert repair to extremities, the majority only visible under raking light/close inspection- Upper right edge, and upper centre, with small losses to the sheet restored- The other areas without loss, but with paper thinning verso- Some faint toning to sheet and foxing/spotting to upper right quadrantCondition Report Disclaimer
* Military Pictures & Prints. A collection of military prints and watercolours, mainly later 19th and early 20th century, including two original watercolours of WWI battle cruisers by l. Lake (H.M.S.Cameleon and H.M.S. Cochrane, the first signed to lower right corner, 12.5 x 18 cm (5 x 8 ins) and slightly smaller, both framed and glazed, a large tin advertising chromolithograph or the N.Y.K. Far East to Europe-America-Australia, chromolithograph printed on tin after Charles Dixon, printed by Sir Joseph Couston & Sons, circa 1920s, rubbed and some marks, with art deco outer border design, 72 x 96.5 cm (28 1/4 x 38 ins), Horse Artillery in Action, by W. Simpson after Captain G. F. Atkinson, circa 1850s, colour lithograph, etching with drypoint by Maurice Milliere depicting studies of the heads of Indian soldiers, signed, and numbered 36 to lower left corner (some toning), a late 19th-century oil portrait of an Officer in blue uniform (possibly painted over a photograph), three framed pictures of silk samples of orders, decorations and medals of the British Empire, early to mid-20th century, mostly framed and glazedQTY: (24)
Rembrandt Harmensz van Rijn (1606-1669)Self-Portrait etching at a Window (Bartsch 22; New Hollstein 240) Etching and drypoint, 1648, on laid paper, a good later impression of New Hollstein's fifth state (of nine), the upper left edge made-up with pen & ink additions, with narrow marginsPlate 160 x 130mm. (6 1/4 x 5 1/8in.); Sheet 164 x 133mm. (6 1/2 x 5 1/4in.)For further information on this lot please visit Bonhams.com
Pablo Picasso (1881-1973)La femme au balai, from La Maigre (Bloch 704; Baer 881; Cramer Books 63) Etching with drypoint, 1951, on China laid paper, a proof before text, with the central vertical fold (as issued), before the book edition of 52, signed in pencil (Baer records one signed proof on China paper), printed at Lacourière, Paris, with wide margins, framed Plate 257 x 386mm. (10 1/8 x 15 1/8in.); Sheet 340 x 487mm. (13 3/8 x 19 1/8in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Salvador Dalí (1904-1989)Les Amours Jaunes (Michel et Lopsinger 693-702; Field 74-15) The complete set of ten drypoint etchings with gilding, 1974, hors-texte, on Arches wove paper, with the title page and justification, numbered 23 on the justification in pencil, each drypoint signed and numbered 23/300 in pencil (there was also an edition of 200 in Roman numerals on Japan), published by Éditions Pierre Belfondall, Paris, the full sheets, loose (as issued), without the text, together with a certificate from the publisher, contained within a red fabric slipcase, with gold lettering on the front coverPlates 298 x 212mm. (11 3/4 x 8 3/8in.); Sheets 380 x 280mm. (15 x 11in.) (10)Folio 398 x 300 x 24mm. (15 5/8 x 11 3/4 x 1in.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Rembrandt Harmensz van Rijn (1606-1669)Old Man with a divided Fur Cap (Bartsch 264; New Hollstein 182) Etching and drypoint, 1640, on heavy laid paper, a later impression of the first state (of two), watermark AV, trimmed to the platemarkPlate 150 x 136mm. (5 7/8 x 5 3/8in.)Footnotes:ProvenanceAndre Mauban, Paris, b.1870 (Lugt 100).For further information on this lot please visit Bonhams.com
Louis Icart (1888-1950) 'Leda and the swan'drypoint etching with hand colouring,1934signed in pencil55 x 81cm***CONDITION REPORT***Good condition, colours remain strong, possibly slight but even discolouration to the unprinted outer margin, signed in pencil and numbered 56 in the lower left corner, under glass in a later mount and reeded gold frame, label verso for the Great Dane Collection stating from the limited edition of 250.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Four prints of Scottish terriers: James Arden Grant (1887-1974) 'Aberdeen Terrier' drypoint etching, 10 x 14 cm; 'Row's Hat', drypoint etching of dog on hind legs, indistinctly signed 'B. Neville?' and titled in pencil below; Lithograph in colour, Terrier in the grass; After Lucy Dawson, two dogs, print in colours, 28 x 34 cm, all framed (4)
Max Beckmann 1884 Leipzig - 1950 New York Königinbar (Selbstbildnis). 1920. Kaltnadelradierung. Hofmaier 176 A (von B b). Glaser 154. Gallwitz 148. Signiert und von fremder Hand (wohl vom Drucker Peter Zingler) bezeichnet „Druck von der unverstählten Platte für Beckmann“. In der Druckplatte bezeichnet „Königin“. Auf Japanbütten. 31,8 x 24,6 cm (12,5 x 9,6 in). Papier: 56,2 x 36,3 cm (22,1 x 14,3 in). Herausgegeben 1921 von Peter Zinglers Kabinett, Frankfurt a. Main. Bei der Königinbar handelt es sich um einen zu Beckmanns Zeiten beliebten Berliner Nachtclub am Kurfürstendamm, den Beckmann auch in dem 1935 entstandenen Gemälde „Königinbar“ verewigt. [CH]. • Besonders seltener Druckzustand vor Verstählung der Druckplatte. • Künstlerexemplar (wohl vom Drucker Peter Zingler bezeichnet: „für Beckmann“). • Ein weiteres Exemplar befindet sich in der Sammlung des Museum of Modern Art in New York. PROVENIENZ: Städtische Kunstsammlungen Chemnitz (1921-1937, verso mit dem Stempel und der Inv.-Nr. 21-16). Staatsbesitz (1937- wohl 1941, verso mit der EK-Nummer 10479, im NS-Inventar irrtümlich als Nr. 10480 „Im Café“ erfasst). Hildebrand Gurlitt, Hamburg (1941 durch Kauf vom Vorgenannten). Privatsammlung Niedersachsen (seit 2013). LITERATUR: Hauswedell & Nolte, Hamburg, 443. Auktion, Max Beckmann. Die graphischen Selbstbildnisse, 5. Juni 2013, Lot Nr. 20 (mit Abb.). www.geschkult.fu-berlin.de/e/db_entart_kunst/datenbank (EK-Nr.: 10479; EK-Nr.: 10480). Aufrufzeit: 10.12.2022 - ca. 18.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMax Beckmann 1884 Leipzig - 1950 New York Königinbar (Selbstbildnis). 1920. Drypoint. Hofmaier 176 A (of B b). Glaser 154. Gallwitz 148. Signed and inscribed '„Druck von der unverstählten Platte für Beckmann“ by a hand other than that of the artist (probably by the printer Peter Zingler) . Inscribed 'Königin“ in the plate. On Japon. 31.8 x 24.6 cm (12.5 x 9.6 in). Sheet: 56,2 x 36,3 cm (22,1 x 14,3 in). Published in 1921 by Peter Zingler's Kabinett, Frankfurt am Main. The Königinbar was a popular Berlin nightclub on Kurfürstendamm, which Beckmann also depicted in his 1935 painting of the same name. [CH]. • Very rare print state before the plate was steeled. • Artist copy (inscribed: 'für Beckmann“, presumably by the printer Peter Zingler). • Another copy is in the collection of the Museum of Modern Art in New York. PROVENANCE: Städtische Kunstsammlungen Chemnitz (1921-1937, verso with stamp and inv. no. 21-16). State-owned (1937- presumably 1941, verso with the EK number 10479, erroneously registered as no. 10480 'Im Café“ in the NS inventory). Hildebrand Gurlitt, Hamburg (acquired from the above in 1941). Private collection Northern Germany (since 2013). LITERATURE: Hauswedell & Nolte, Hamburg, 443rd auction, Max Beckmann. Die graphischen Selbstbildnisse, June 5, 2013, lot no. 20 (with illu.). www.geschkult.fu-berlin.de/e/db_entart_kunst/datenbank (EK no.: 10479; EK no.: 10480). Called up: December 10, 2022 - ca. 18.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Four depictions of Beverley Minster: Beverley Minster from Burton Woods, original drypoint etching by Ed. Holdsworth 23.4.27, 23 x 30cm, Beverley Minster by A Hatfield 1930 9 x 14cm, Beverley Minster by John Nisbet 1868-1951 drypoint etching 40 x 27cm, and Beverley Cathedral by Oswald Fletcher 24 x 17cm.
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