Antique and Modern Prints
Four to six cataloged auctions each year
The centuries-old tradition of European printmaking offers a wide selection of prints to suit every taste and budget. Collectors can choose to explore 16th-century Italian chisel engravings, Romantic lithographs, or contemporary prints. The finest engravings by Rembrandt, in exceptional old prints from major collections, often fetch several hundred thousand euros at auction. And for modern and contemporary art, prints by great masters such as Picasso, Miró, Dalí, Chagall, Matisse, and Soulages are particularly sought after. They are generally worth several thousand euros, or even more. Foreign buyers are also very active. The prices of Zao Wou-Ki’s engravings and lithographs have recently skyrocketed, reaching thousands of euros, due to demand from China. The same phenomenon holds true for prints by Foujita, whose prices continue to rise in Japan: one of his cats—an animal revered in the Land of the Rising Sun—can now fetch between €10,000 and €15,000.
A Word from the Expert
“In the world of prints, collectors seek out, from among the multiple prints, the proof they consider the most desirable and valuable.” As evidence of the artist’s creative process, “state proofs” are particularly appealing to buyers. While this stage of production is an essential criterion for print collectors, the sheet’s condition and provenance also play a major role in a work’s value. In particular, we have had the good fortune to present several sets from the collection of the renowned print dealer Henri Petiet, including a collection of 100 engravings by Picasso that sold for 1.55 million euros. But there are still many treasures to be unearthed. In fact, we regularly make new discoveries, such as two extremely rare engravings by Caspar Friedrich, the master of German Romanticism, which were recently found in a box of unremarkable old engravings and sold for a total of €80,640, including fees.”
Contacts
Elodie Delaballe
elodie.delaballe@ader-paris.fr
Mary Klein
mklein@ader-paris.fr
Sophie D'Epenoux
sophie.depenoux@ader-paris.fr
Expert
Hélène Bonafous-Murat
3, rue Favart, 75002 Paris
Phone: +33 (0)1 53 40 77 10
Upcoming Sales
No sale for the moment
Past Sales
Successful Auctions
39 - Rembrandt Harmensz. van Rijn (1606-1669) The Sacrifice of Abraham. 1655. Etching and drypoint. 132x155 [134x157]. Bartsch, Hollstein 35; Hind 283; New Hollstein 287. Superb, brilliant proof with perceptible drypoint burrs, on laid paper (partial watermark: Strasbourg lily). Two tiny holes visible through transparency at the left edge. Thin band of old glue perceptible around the perimeter on verso. A tiny thinning visible by transparency in the upper left corner on verso, under the mounting tab. Another on the lower left edge of the verso leaf. Two small remnants of mounting tabs at right edge on verso. Margin fillets. Provenance: - A. P. F. Robert-Dumesnil (1778-1864), Paris (Lugt 2200). - George Baillie-Hamilton, 12th Earl of Haddington (1894-1986), Tyninghame House, East Lothian, Scotland; his sale, Sotheby's, London, November 9, 1953, lot 9 (acquired by Colnaghi). - Colnaghi, London (with stock number C. 28898 in pencil on verso). - Acquired from Colnaghi, March 2, 1959 (85). - Christie's sale "Fifty Prints by Rembrandt van Rijn, A Private English Collection", July 5, 2016, no. 43. "Rembrandt, wishing to make the miracle even more intense and in line with traditional iconography, has depicted the Angel intervening more concretely than in the biblical account: with his hair still waving in the wind from his run and his wings all rustling, he has vigorously grasped both of Abraham's arms in an embrace as powerful as it is symbolic. [...] Theatrical gesticulation gave way to the emotion of an entirely spiritual experience. The child's resignation to a fate he does not understand is heartbreaking, and he stretches out his neck with the trust and submission of a lamb. [...] The old man's face, seemingly listening to an inner voice, has a poignant force: pain seems to have forever marked his features and drowned his eye sockets in shadow, as he turns towards the youthful angel he cannot see. [...] The main group, with its simple, powerful design, is presented with all the compactness of a ronde-bosse carved from the same block of marble." (S. de Bussierre, et al, Rembrandt, eaux-fortes, collection Dutuit, Paris, Petit Palais, 1986, p. 257).
144 - Émile Bernard (1868-1941) The Bretoneries. 1889. Exceptional set of 9 plates. zincography. A portfolio in-fol. with original flaps, 380 x 460, containing the subjects printed on ivory vellum, illuminated in watercolor by the artist, each mounted on a laid sheet by several dots in the corners and marked in pen and sepia ink. In the lower right-hand corner of each mount, an unidentified collector's mark (J R ?) The support sheets, as evidenced by the text printed on the verso, come from defets of the book published by Vollard in 1930, Homer's Odyssey, illustrated with woodcuts by the artist (Morane 101), which he reuses here. "This suite of zincographs, a technique similar to lithography but in which the zinc plate replaces the porous limestone, printed in black, was first shown at the Café Volpini during the Impressionist and Synthetist group's painting exhibition in May 1889. It was presented in a cardboard box and, the catalog tells us, 'visible on request', like the eleven lithographic drawings by Gauguin." (D. Morane, Émile Bernard, catalog raisonné de l'œuvre gravé, Musée de Pont-Aven, Bibliothèque d'Art et d'Archéologie, 2000, p. 19). Little is known about the composition and printing of this album. "Albums from the collections of Filiger, Sérusier or Bonger, all presumably given by Bernard, differ." (D. Morane, op. cit.). "The indication that only 25 copies were printed is interesting, but seems to be exaggerated. Indeed, in several years of research we have identified less than fifteen proofs of these Breton plates." (D. Morane, op. cit., p. 20). Our copy, of which Morane was aware without having been able to examine it, is thus particularly interesting and in any case unique. We reproduce below the notes written in pen by the artist on a sheet of paper stuck on the second cover of the portfolio, serving as an introductory note. They date from May 17, 1936, date on which he gave this album to a lady whose name is crossed out on this sheet, and erased on the laid sheet bearing the first subject. We discover that for the artist the album of Bretonneries was composed of 6 plates only, the others being considered by him as independent subjects. Description: N.B.: the order adopted is that of the introductory note of the album and not that of the catalog raisonné . The first title is the one given by the artist in this note. In brackets we give the title of the catalog raisonné according to Morane. "The album des Bretonneries is composed of six plates" (introductory note). - Title : Bretonnonnes et vache (Bretonneries, title page). 242 x 310. Morane 9. At the foot of the sheet in pen: "Emile Bernard 1889". At the foot of the support sheet: "To [name erased] in very cordial sympathy and respect Emile Bernard". Short tear of 22 mm at the top center, penetrating the subject. - Le Linge (Breton women hanging laundry). 315 x 250 Morane 11. At the foot of the folio in pen: "Emile Bernard 1889" (ironed over a previous inscription, probably in pencil). Soft oblique fold across the left third of the folio. A small brown stain in the left sheet. - Les Foins (Breton women making hay). 320 x 251. Morane 12. At the foot of the folio in pen: "Emile Bernard 89". Short oblique tear of 22 mm at the top center, penetrating the subject. - On the Aven (Le Retour du pardon). 247 x 315. Morane 10. at the foot of the folio in pen: "Emile Bernard 89". - Dances (The Wedding in Brittany). 290 x 225. Morane 15. At the foot of the left-hand sheet in pen: "Emile Bernard". Fine and short tear of 10 mm and tiny snags at the foot, to the left of the two women's heads. Morane points out that the mention "unique épreuve" in the introductory note, associated with this subject, is "astonishing". (D. Morane, op. cit., p. 19). - The Pigs (Bretonnes nourissant les cochons). 312 x 255. Morane 13. At the foot of the left-hand folio in pen: "Emile Bernard 89". Small gap skillfully restored in the lower left corner of the subject. "Other independent plates" (introductory note): - The Apples (The Apple Picking). 245 x 222. Morane 17. Proof on thin ivory vellum with the corners cut down, glued by the corners on a vellum sheet itself mounted on laid paper. At the foot of the sheet on the right in pen: "Emile Bernard". - The Reapers (Bretonnes faisant la moisson). 298 x 236. Morane 16. At the foot of the folio in the center in pen: "Emile Bernard". - Young Girl with a Jug (Breton Peasant Woman). 240 x 300 Morane 18. Proof of the 1st state (of 2), before erasing the geese and changing the plowed field into an orchard. At the foot of the left leaf in pen "Emile Bernard". Tiny bumps on the box.