Gerald Leslie Brockhurst

James McBey

1931

Gerald Brockhurst (1890-1978), A Galway Peasant (also, An Irish Peasant), etching, 1920, signed in pencil lower right. Reference: Fletcher 10, from the edition of 55, third state (of...

Emil Orlik (1870-1932), Portrait of Slevogt, etching, 1921, signed in pencil and numbered (27/100) [also signed and dated in the plate], from the presumed edition of 100. In very goo...

Gerald Leslie Brockhurst (1891-1978), Una (Portrait of a Creole Lady), etching, 1929, signed in pencil lower right, and also inscribed by the artist: “2nd State, GB”. Reference: Flet...

Mortimer Menpes (1855-1938), Whistler Portrait No. 7 (Six Faces of Whistler), drypoint, 1902-3, signed in pencil and inscribed “imp” bottom right margin. Reference: Morgan 237. Water...

Honore Daumier (1808-1879), “Dup…”, lithograph, 1832, from the series Celebrites de la Caricature, plate 171. Reference: Delteil 45, Daumier Register 45, only state. In generally goo...

Jean- Louis Forain (1852-1931), Similitudes, etching and drypoint, not signed [signed in the plate upper right], 1880, from the total edition of 545, on wove paper, in generally good...

Zorn, Anders. S. LOEB (SOLOMON LOEB). H&H76, Asplund 115, Delteil 113. Etching, 1897. Unsigned (signed in the plate). Apparently the 2d or 4th State of 4. All of the states are descr...

Leonard Tsuguharu FOUJITA The Fortune Teller, 1960 Original woodcut Signature printed in the plate On vellum 37 x 28 cm (c. 15 x 11 in) REFERENCES : Catalogue Raisonne Sylvie Buiss...

Leonard Tsuguharu FOUJITA Self portrait with a cat Original drypoint etching Printed signature in the plate On vellum 65 x 50 cm (c. 26 x 20in) Rare proof on Japan paper applied on vellum Posthumous edition by Chalcographie du Louvre...

Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...

Three Cocker Spaniels is an original color etching by well known French sports artist Leon Danchin. The three Spaniels are in waiting mode with two lying down and one sitting ...

Artist Unknown Grandma c. 1930 Etching 8 x 5.5 inches, 15.5 x 13 (framed) Hand-signed in pencil lower right (artist name undiscernable)