Ancient and modern prints
Wednesday 29 November 2023 at 14:00
3, rue Favart, 75002 Paris
260 lots
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52 - Rembrandt Harmensz. van Rijn (1606-1669) Seated man with moustache (the artist's father?). 1630. etching and drypoint. 84 x 100. Bartsch 321; Hind 22; New Hollstein 57. Fine proof on thin mechanical laid paper, the sizes worn, of a print made by Basan fils or Jean (early 19th century). Remainder of gummed kraft at the head of the sheet and at the left edge on verso (consolidating a small fracture in the subject at top left). Narrow margins (approx. 3 mm).
Result €1,024Estimate €200 - €300 -
53 - Rembrandt Harmensz. van Rijn (1606-1669) Crippled Beggar. About 1630. etching and drypoint. 68 x 114. Bartsch 179; Hind 12; New Hollstein 49. Fine proof on thin mechanical laid paper, with the two fine horizontal scratches on the right, the worn sizes in the face, from a print run by Basan fils or Jean (early 19th century). Remainder of gummed kraft at head of folio on verso. Narrow margins (approx. 2 mm).
Result €1,024Estimate €180 - €200 -
54 - Rembrandt Harmensz. van Rijn (1606-1669) Bust of Rembrandt's mother. 1631. Etching. 54 x 92. Bartsch 349; Hind 50; New Hollstein 87. A good proof, the sizes very worn, on mechanical ivory laid paper, from a print by Bernard (19th century), trimmed to the plate cut, the reverse oxidized.
Result €832Estimate €150 - €180 -
55 - Rembrandt Harmensz. van Rijn (1606-1669) Venus at the Bath, or Diana at the Bath. About 1631. Etching and drypoint. 160 x 173. Bartsch 201; Hind 42; New Hollstein 89. Fine proof on thin old laid paper, pulled a little gray, with slight wear in the grounds under the breast, trimmed on the plate cut, the subject nicked 4-5 mm at the head. Traces of folds and several small restorations on verso. Watermark: Strasbourg lily.
Result €5,376Estimate €600 - €800 -
56 - Rembrandt Harmensz. van Rijn (1606-1669) Christ and the Samaritan Woman, high up. 1634. Etching. 105 x 122. Bartsch 71; Hind 122; New Hollstein 127. Fine proof on thin old laid paper, before retouching by Watelet and before scuffing on the well wall, trimmed to subject. Small light brown spots. Thinning in the sky and small fracture, previously restored. Another thinning in Christ's right leg, visible through transparency. Thin strip of gummed kraft at the head of the verso leaf.
Result €2,432Estimate €400 - €500 -
57 - Rembrandt Harmensz. van Rijn (1606-1669) Saint Jerome kneeling. 1635. Etching. 80 x 115. Bartsch 102; Hind 140; New Hollstein 142. Fine proof on thin mechanical laid paper, the signature barely perceptible, of a print made by Basan fils or Jean (early 19th century). Median oblique fold crossing the figure's head. Short tear at top edge, penetrating into the subject. Small tear in lower left corner. Narrow margins (approx. 2 mm).
Result €896Estimate €200 - €300 -
58 - Rembrandt Harmensz. van Rijn (1606-1669) Jan Uytenbogaert. 1635. Etching and drypoint. [188 x 227]. Bartsch 279; Hind 128; New Hollstein 153. Very fine and brilliant proof on thin old laid paper, with fine retouching by Watelet, trimmed on the plate stroke at the head and foot of the octagon, from a print run by P. F. Basan (late 18th century). Small rust spots in the lower right-hand corner of the folio. Small residue of glue at head on verso.
Result €1,664Estimate €600 - €800 -
59 - Rembrandt Harmensz. van Rijn (1606-1669) The Strolling Musicians. Circa 1635. Etching. 115 x 138. Bartsch 119; Hind 142; New Hollstein 141. Fine proof on old thin laid paper, of the 1st state (of 2), before drypoint retouching, with square line added in pen and ink, the subject nicked 1 to 2 mm on each side. Minor thinning in the corners. Fragment of watermark: arms of Amsterdam (near Hinterding ref. J.a., p. 43).
Result €4,352Estimate €800 - €1,000 -
60 - Rembrandt Harmensz. van Rijn (1606-1669) The Song of Simeon (Presentation in the Temple). About 1639. Etching and drypoint. 293 x 218. Bartsch 49; Hind 162; New Hollstein 184. Fine proof on thin mechanical laid paper, the sizes generally weakened, the backgrounds worn, from a print run by Basan fils (early 19th century), trimmed to the plate cut. Thin strip of gummed kraft at head of folio on verso.
Result €1,792Estimate €600 - €800 -
61 - Rembrandt Harmensz. van Rijn (1606-1669) The Death of the Virgin. 1639. Etching. 314 x 396. Bartsch 99; Hind 94; New Hollstein 173. Good proof on vellum, from a print run by Jean (XIXth), some sizes weakened, with repeats in the table on the left. Numerous scattered light foxing. 40 mm tear at left edge, penetrating into the subject, formerly consolidated on verso. Minor damage to lower right corner. Small margins.
Result €1,664Estimate €600 - €800 -
62 - Rembrandt Harmensz. van Rijn (1606-1669) The Beheading of St. John the Baptist. 1640. etching and drypoint. 104 x 128. Bartsch 92; Hind 191; New Hollstein 183. Fine proof on thin mechanical laid paper, from a print run by Basan fils or Jean (early 19th century), the backgrounds grayish and weakened. Fine median oblique fold. Remnants of mitering and thinning at sheet edges on verso. At foot of verso, small pencil inscription with date "1839". Margin fillets.
Result €768Estimate €300 - €400 -
63 - Rembrandt Harmensz. van Rijn (1606-1669) The Baptism of the Eunuch. 1641. Etching and drypoint. 213 x 185. Bartsch 98; Hind 182; New Hollstein 186. Good proof on thin mechanical laid paper, with the oblique scratch to the right of the standing priest, printed with grayish ground tint, from a print run by Basan fils (early 19th century). Traces of folds and soiling. Fine margins.
Result €1,792Estimate €300 - €400 -
64 - Rembrandt Harmensz. van Rijn (1606-1669) The Draughtsman. About 1641. Etching. 63 x 93. Bartsch 130; Hind 191; New Hollstein 192. Fine proof on thin mechanical laid paper, from an edition made by Basan fils or Jean (early 19th century), irregularly trimmed on the subject or on the plate cut. Minor thinning in the corners on verso. Thin strip of gummed kraft at head of folio on verso. Short trace of fold visible at left edge on verso.
Result €768Estimate €200 - €300 -
65 - Rembrandt Harmensz. van Rijn (1606-1669) The Little Resurrection of Lazarus. 1642. Etching and drypoint. 113 x 150. Bartsch 72; Hind 198; New Hollstein 206. Fine proof on thin mechanical laid paper, from a print run by Basan fils or Jean (early 19th century), trimmed to the subject, drawn in gray. The upper left corner finely reproduced in pen and ink. On verso, a thin strip of gummed kraft at the head of the folio, with minor epidermal marks and accidents consolidated at the edges of the folio.
Result €1,216Estimate €300 - €400 -
66 - Rembrandt Harmensz. van Rijn (1606-1669) Abraham with his son Isaac. 1645. Etching and drypoint. 125 x 155. Bartsch 34; Hind 214; New Hollstein 224. Fine proof on thin mechanical laid paper, from a print run by Basan fils or Jean (early 19th century), the engraved border interrupted at the top, the fine lines showing through in gray, the drypoint weakened. Thin strip of gummed kraft at head of folio on verso. Small thinning in lower right-hand corner. Narrow margins (approx. 2 mm).
Result €3,072Estimate €300 - €400 -
67 - Rembrandt Harmensz. van Rijn (1606-1669) The Cow's Trough. About 1650. etching and drypoint. 130 x 104. Bartsch 237; Hind 240; New Hollstein 251. Good proof on thin mechanical laid paper, from a print run by Basan fils or Jean (early 19th century), the background landscape faintly perceptible, the drypoint very attenuated, irregularly trimmed on the plate cut, with tearing in the upper left corner. Margin fillet at left (1 mm).
Result €1,664Estimate €200 - €300 -
68 - Rembrandt Harmensz. van Rijn (1606-1669) Flight to Egypt. 1654. Etching and drypoint. 144 x 95. Bartsch 55; Hind 214; New Hollstein 277. Fine proof on thin mechanical laid paper, from a print run by Basan fils or Jean (early 19th century), the corners rounded. Annotations by a former owner in pencil on verso. Narrow margins (approx. 2 mm).
Result €1,664Estimate €400 - €500 -
69 - Rembrandt Harmensz. van Rijn (1606-1669) Jean Lutma. 1656. Etching and drypoint. 150 x 197. Bartsch 276; Hind 290; New Hollstein 293. Fine proof on thin mechanical laid paper, the subject largely taken from a print by Bernard (late 19th-early 20th century), notably with the vertical cuts in the right thumb. Thin strip of gummed kraft at head of folio on verso. Narrow margins.
Result €960Estimate €300 - €400 -
70 - Rembrandt Harmensz. van Rijn (1606-1669) Jean Asselin. Etching and drypoint. 171 x 190. Bartsch 277; Hind 227; New Hollstein 236. Fine proof on mechanical laid paper, the sizes weakened, of a print made by Basan fils or Jean (early 19th century), extensively reworked with gray ink wash, trimmed on the plate stroke and on the 2nd square line at the foot. Gummed kraft band at head of folio on verso. Narrow margins.
Result €896Estimate €300 - €400 -
71 - Rembrandt Harmensz. van Rijn (1606-1669) Nude woman, feet in the water. 1658. Etching and drypoint. 79 x 58. Barstch 200; Hind 298; New Hollstein 309. A very fine proof on cream laid paper, printed with a slight haze of ink in the lower left-hand corner, from a print made by Basan (late 18th century). Traces of glue in the upper corners on verso. Good margins (5 to 10 mm).
Result €2,304Estimate €600 - €800 -
72 - Rembrandt Harmensz. van Rijn (1606-1669) The Samaritan woman, in width. 1658. Etching. 159 x 125. Bartsch 70; Hind 294; New Hollstein 302. Fine proof on thin cream mechanical laid paper, from a print made by Basan fils or Jean (early 19th century), the copper worn, the scratch across the steeple still perceptible, before the woman's hair is taken up and before the new cuts drawing the shadow between the figures. Very slight foxing. Thin strip of gummed kraft at head of folio on verso. Slight med
Result €1,920Estimate €400 - €500 -
73 - Rembrandt Harmensz. van Rijn (1606-1669) Peter and John at the Temple Gate. 1659. Etching, drypoint and burin. 216 x 180. Bartsch 94; Hind 301; New Hollstein 312. Good proof on thin cream mechanical laid paper, the backgrounds very worn, of a print made by Jean (XIXth), with the new sizes in the lower right-hand corner of the subject. Small tears in the lower corners. Narrow margins.
Result €1,664Estimate €180 - €200 -
74 - Martin Schongauer (c. 1450-c. 1491) Saint Agnes. Burin. 101 x 150. Bartsch 62; Hollstein-Lehrs 67. Superb, brilliant proof on slightly yellow laid paper (watermark: Gothic P with four-lobed fleuron), trimmed on the square line, some fine sizes slightly weakened (little inked). The small surface accident in the copper between the bottom of the hair and the very inked palm. Small ink stain under the M. Slight gray trace (ink veil) in the grass on the left. Small, imperceptible old restorations in
Result €53,760Estimate €10,000 - €12,000 -
75 - Pietro Testa (1611-1650) The Three Virtues, Faith, Hope and Charity. 1637. Etching. 305 x 410. Bartsch 30. Very fine proof on 18th-century laid paper (watermark: Auvergne). Slight traces of folds rubbed into the tablet. Circular freckling above the central putti at the foot. Small margins.
Result €256Estimate €300 - €400 -
76 - Giovanni Battista Tiepolo (1696-1770) A magician, a soldier and three figures watching a skull being consumed (Scherzi, pl. 7). Etching. 177 x 220. De Vesme 19; Rizzi (1971) 10 (i/ii). Very fine proof on strong cream laid paper, before the number 7 in the upper right-hand corner. Small traces of glue in the corners on verso, as well as a fragment of an old inscription in pen and sepia ink in the upper left corner. Traces of soft folds in the upper third of the folio. Narrow margins (2-3 mm).
Result €4,736Estimate €1,200 - €1,500 -
77 - Joseph Mallord William Turner (1775-1851) 23 plates from the Liber Studiorum. 1807-1819. Etching (by Turner himself, the subjects taken up in the black manner by Charles Turner, Samuel Reynolds, Thomas Lupton, William Say, etc.). Each 292 x 206. Printed in sepia. Fine proofs on vellum or white laid paper. Fine margins. Detail of plates: - Bridge and Cows. Finberg 2 (ii/v). Scattered light foxing. Small hole in upper left margin of copper. - Basle. Finberg 5 (ii/vi). Scattered light foxing. Sm
Result €3,072Estimate €1,800 - €2,000 -
78 - Miscellaneous Three cartons containing antique, modern and contemporary prints, including a large number of plates for L'Estampe Moderne and subjects by Besnard, M. Denis, Laboureur, L. Fini, etc. Ens. 100 p. approx.
Result €2,688Estimate €300 - €400 -
79 - Robert Antral (1895-1939) Woman in a hat sitting at the zinc. Circa 1920. Two-tone monotype (black and red). 197 x 225. Fine print on modest thin buff vellum, signed in pencil and annotated "to my teacher and / good friend / Maurice Exsteens". Sheet edges irregular (small tears). Full margins. Attached: attributed to Henri Boutet (1851-1919). Élégante en pied. Monotype in color. [262 x 387]. Very fine and fresh proof on thin japon. All margins untrimmed. Ens. 2 p.
Result €256Estimate €300 - €400 -
80 - Gus Bofa (Gustave Henri Émile Blanchot) (1883-1968) Le Client sérieux (bibliophile subject). 1932. Drypoint and aquatint. 138 x 184. Printed in two tones. Fine proof on japon fort, signed in pencil. Slight dusting, traces of folds and undulations at the edges of the folio. Full margins.
Result €230Estimate €150 - €180 -
81 - Pierre Bonnard (1867-1947) Le Salon des Cent. Poster. 1896. Lithograph. [438 x 630]. Bouvet 39; van Deputte 31 (repr. p. 53). Printed in color. Fine proof on thin vellum, with median vertical and horizontal folds, lower left corner skillfully redone, upper left corner with tear, restored. Full margins.
Result €2,432Estimate €1,000 - €1,200 -
82 - Pierre Bonnard (1867-1947) Print and poster. Poster. 1897. Lithograph. 595 x 810. Bouvet 44. color print. Fine proof dubbed on thin japanese paper and cloth-backed. Traces of oxidized folds. Small tears at intersections, visible through transparency. Full margins.
Result €640Estimate €600 - €800 -
83 - Pierre Bonnard (1867-1947) Place Clichy. 1922. Lithograph. 640 x 475. Bouvet 88. Printed in colors. Very fine proof on ivory vellum, unsigned. A short tear at the right edge of the folio. Slight oblique crease in the upper right-hand corner. Two tiny foxing marks in left margin. Very slight dusting on left lower margin. Full margins. Final edition of 100 proofs. Bernheim-Jeune ed.
Result €768Estimate €400 - €500 -
84 - George Bottini (1874-1907) The Arrival at the Masked Ball. 1897. Woodcut. 132 x 170. Carter Southard 12. 2 proofs of the key plate printed in black, one on white vellum, the other on ivory laid paper, extensively reworked in watercolor, in order to establish the colors of the final print run of the woodcut at 20 proofs. Minor soiling and marginal waviness. Fine margins. Ens. 2 p.
Result €1,216Estimate €1,000 - €1,200 -
85 - Umberto Brunelleschi (1879-1949) The Concert to the Stars. 1924. Color stencil by Gorvel. Sight : 410 x 330. Fine proof on ivory vellum. Margins. Framed.
Result €192Estimate €180 - €200 -
86 - Umberto Brunelleschi (1879-1949) The Gentle Resistance. 1924. Stencil in colors by Gorvel. À vue : 430 x 330. Good proof on ivory vellum, very oxidized. Traces of surface rubbing. Margins. Framed.
Result €448Estimate €150 - €180 -
87 - Auguste Brouet (1872-1941) The Bouquiniste. 1919. Etching and drypoint. 132 x 220. Boutitie 37; Barthel 221. Very fine proof on ivory laid paper, of the 1st state (of 2), before the menu text for the Cent Bibliophiles, signed in pencil. Small bands of oxidation at head and foot of folio. Full margins.
Result €192Estimate €150 - €180 -
88 - Ricardo Canals y Llambi (1876-1931) Walk after the race. Circa 1900. Etching and aquatint. 438 x 292. Printed in colors. Fine proof on ivory laid paper, numbered and signed in pencil, then annotated in the lower left corner "15 Ep de ce ton". Minor soiling and oxidation at the edges of the sheet. Joint: Danse espagnole. 1903. Etching and aquatint. 325 x 250. Bailly-Herzberg p. 355. Printed in brown. Fine proof on ivory laid paper, annotated "Essai" and signed in pencil by the publisher E. Rodrig
Result €230Estimate €200 - €300 -
89 - Eugène Carrière (1849-1906) Portrait of Jean Dolent. 1898. Lithograph. 167 x 225. Delteil 37. Very fine proof on chine volant, signed by the artist in pencil and by the model in pen and ink. Some light foxing, including a large circular one at the left edge. Full margins. Edition of 100 proofs. Framed. Jean Dolent (pseudonym of Charles-Antoine Fournier, 1835-1909) was a writer and art critic, friend of the artist.
Result €576Estimate €200 - €300 -
90 - Mary Cassatt (American, 1844-1926) Tea. Circa 1890. Drypoint. 153 x 178. Breeskin 133. Very fine proof on thin ivory laid paper, watermarked (large shield), unsigned. Annotation "K" in the hand of H. M. Petiet in pencil in the lower left-hand corner of the sheet. Small ripples at edges. Full margins. Provenance: Ambroise Vollard (1866-1939) then H. M. Petiet (1894-1980).
Result €3,328Estimate €1,200 - €1,500 -
91 - Mary Cassatt (American, 1844-1926) Quietude. Circa 1891. Drypoint. 171 x 258. Breeskin 139. Very fine unsigned proof on japon. A few fine traces of oblique folds, barely perceptible. Soiling to the edges of the sheet. Annotation "R" and "n° 32" in the hand of H. M. Petiet in pencil at the foot of the folio. Full margins. Provenance: Ambroise Vollard (1866-1939) then H. M. Petiet (1894-1980).
Result €3,328Estimate €1,200 - €1,500 -
92 - Mary Cassatt (American, 1844-1926) Mother Louise Nursing her Child. 1899. Drypoint. À vue : 225 x 340. Breeskin 172. Fine impression on laid paper, unsigned. Small hole in the subject at the foot. A few tiny spots of rust. Margins. Framed.
Result €2,176Estimate €400 - €500 -
93 - Mary Cassatt (American, 1844-1926) The Velvet Sleeve. Circa 1904. Drypoint. 165 x 242. Breeskin 194. Fine proof on thin ivory watermarked laid paper (large shield), signed with initials in pencil. Long oblique tear in the lower right-hand corner of the sheet, slightly affecting the lower corner of the subject but not the signature, reinforced on verso. Annotation "C" and "n° 34" in H. M. Petiet's hand in pencil at foot of leaf. Full margins. Provenance: Ambroise Vollard (1866-1939) then H. M
Result €960Estimate €600 - €800 -
94 - Paul Cézanne (1839-1906) (after) The Card Players. 1928. Etching and aquatint by Villon. 598 x 485. Ginestet and Pouillon 662. Printed in color. Fine proof on strong vellum, numbered, annotated "d'après Cézanne" and signed in pencil. Slight oxidation of the folio. Scattered foxing. Margins. Edition of 200 proofs. Bernheim-Jeune ed. (with dry stamp). Frame.
Result €832Estimate €600 - €800 -
95 - Francis Brooks Chadwick (American, 1850-1943) Study of a pine tree. Etching. 228 x 360. Fine proof on thin japon, signed in pencil. Traces of folds and some light foxing. Full margins.
Result €128Estimate €150 - €180 -
96 - Paul Colin (1892-1985) Bonne année mille neuf cent trente et un. 1930. Etching and aquatint. Sight: 190 x 278. Fine proof on vellum, annotated "épreuve d'artiste" and signed in pencil. Light brown spots. Margins. Framed.
Estimate €120 - €150 -
97 - Jean-Baptiste Camille Corot (1796-1875) (after) Venus clipping the wings of love; Souvenir des fortifications de Douai. 1869-1870. Heliogravure after the original etchings (Delteil 11 and 12). 160 x 240 and 240 x 160. Fine proofs on japon vergé, from a print run by Alfred Robaut, annotated by him at the foot of the folio, dedicated and signed in pencil. Creases and some foxing to the edges of the leaves. Small label in lower right-hand corner on verso of 1st. Full margins. Joint: Un lac du Tyr
Result €128Estimate €150 - €180 -
98 - Armand Coussens (1881-1935) The Bibliophile. Circa 1920. Drypoint. 110 x 130, printed in color. Very fine proof on japon, signed in pencil. Small russet stains in the lower left corner of the folio. Nice margins.
Result €256Estimate €150 - €180 -
99 - Edgar Degas (1834-1917) Miss Nathalie Wolkonska (1st pl.). Circa 1860-1861. Etching. 85 x 118. Delteil 7; Reed-Shapiro 11. Good proof from the crossed-out copper (the cross-outs still perceptible, though partially erased with the burnisher), on "Arches" watermarked ivory vellum, darkened. Small rust spots in lower margin. All margins. Framed.
Result €230Estimate €180 - €200 -
100 - Edgar Degas (1834-1917) Dancers in the wings. 1879-1880. Etching, aquatint and drypoint. 100 x 138. Delteil 26; Reed-Shapiro 47. A good proof from the crossed-out copper (the scratches perceptible across the subject), on ivory vellum, slightly oxidized. Full margins. Framed.
Result €230Estimate €180 - €200 -
101 - Edgar Degas (1834-1917) Dancer putting on her slipper. Circa 1888. Etching. 114 x 178. Delteil 36; Reed-Shapiro 55. Good proof on ivory vellum, slightly oxidized, from the crossed-out copper (the scratches still perceptible though partially erased with the burnisher). Full margins. Framed.
Result €512Estimate €180 - €200
About the sale
Public auction
Salle des ventes Favart - 3, rue Favart 75002 Paris
Wednesday, November 29, 2023 at 2 pm
Public viewing:
Salle des ventes Favart - 3, rue Favart 75002 Paris
Monday November 27, 10 am to 6 pm
Tuesday, November 28, 10 am to 6 pm
Telephone during the exhibition: 01 53 40 77 10
Expert :
Hélène BONAFOUS-MURAT
Phone : 0033 (0)1 44 76 04 32
In charge of the sale:
Élodie DELABALLE
elodie.delaballe@ader-paris.fr
Tel: 0033 (0)1 78 91 10 16
Assisted by Lucie GUILLAUME
Terms of sale
Show the terms of sale
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L’envoi des lots achetés peut être organisé par ADER à la charge et sous la responsabilité de l’acheteur.
Ceci est un service rendu par ADER qui se réserve la possibilité d’y renoncer si les conditions légales ou pratiques présentent le moindre risque. Les délais ne sont pas garantis et sont tributaires de l’activité de la maison de ventes.
Le coût de l’emballage et de l’expédition est à la charge de l’acheteur ; le règlement à l’ordre d’ADER.
Les acheteurs sont invités à organiser eux-mêmes le transport de leurs achats si ces conditions ne leur conviennent pas.
L’étude ADER ne fait pas les envois de bijoux, les acheteurs sont invités à organiser eux-mêmes le transport de leurs achats.
Défaut de paiement :
À défaut de paiement par l’adjudicataire de la totalité des sommes dues, dans le mois qui suit la vente, et après une seule mise en demeure restée infructueuse, ADER entamera une procédure de recouvrement. L’acheteur sera susceptible d’inscription au Fichier des restrictions d’accès aux ventes aux enchères (Fichier TEMIS – www.temis.auction) mis en oeuvre par la société Commissaires-Priseurs Multimédia (CPM – 37, rue de Châteaudun, 75009 Paris) et l’ensemble des dépends restera à sa charge. À compter d’un mois après la vente et à la demande du vendeur, la vente pourra être annulée sans recours possible.