Kimble Art

Signed upper right. Provenance: Estate of the artist; Neffe de Gandt Fine An; Private Collection, London.

Cover of Verve Magazine. Oct-Dec 1938. From Verve Book by Teriade, printed in France.

Impression #41/100

Hand-signed by artist. From the suite “Letters Amorosa.” Indexed in the catalogue raisonne “Georges Braque: l’ouevre grave” by Dora Vallier, no 187, p. 274. Numbered 48/75. Edition of 100 total.

Hand-signed by artist, Artist’s proof from edition of 90. Indexed in the catalogue raisonne “Georges Braque: l’ouevre grave” by Dora Vallier no. 172, p. 241. Edition: 90 exemplars hand-signed plus some HC. Number: HC

Original lithograph printed in colors on Arches paper. Handsigned in brush: “Braque.” A proof impression (aside from the edition of 75). Published by Maeght, Paris. Printed by Mourlot, Paris.

Hand signed in pencil lower right, numbered lower left. 29/125.

Signed lower right “Cals

Cert of Auth. No. 400054. “A delicately printed color impression of the only state known as noted by Breeskin.

A posthumous impression. Catalog reference: Breeskin 179.

No 189 from an edition of 750.

Numbered 240/275

Initialed and Numbered 68/100

Initialed and Numbered 68/100

No. 132 in a numbered edition of 750

No. 230 in a numbered edition of 750

Signed and dated in charcoal lower right.

Engraved signature

Signed lower left ‘Gust. Colin’; inscribed on the reverse ‘Une rue a Bagneres de Bigorre’

Signed lower left. Provenance: Collection Jules Badin. The work will be included in the sixth supplement to Alfred Robaut’s Corot Catalogue Raisonne being prepared by Martin Dieterle and Claire LeBeau.

This work will be included in the forthcoming fifth supplement to Alfred Robaut’s Corot catalogue raisonne being prepared by Martin Dieterle and Claire Lebeau. PROVENANCE: In discussing this work, Martin Dieterle points out that the present work is mentioned in the archives of Tedesco Freres. It was noted that a study for the subject “La Femme de Loth” was seen in the artist’s studio. This confirms that Corot intended to paint a larger work as a decoration for placement in a salon or house of worship, as suggested by the rounded edges at the top corners. This type of veiled figure in white, sometimes interpreted as “La Femme de Loth” or merely as a ghost or “soul”, appears in several works by Corot including “L’incendie de Sodome” (Metropolitan Museum of Art).

Signed, l/I. unlined, no restoration. #24265. Roughton Gallery guarantees that this painting is by the hand of Edouard Leon Cortes (1882-1969). Provenance: Arnot, NY 1945. Collection Babe, Cuba;Roughton Gallery, Dallas; Tom Kimble,

Signed. Provenance: Arnot, NY; Collection Mr. & Mrs. Bonner, Dallas; Roughton Gallery, Dallas; Tom Kimble. Appraised 2000: $50,000.

Signed. Edouard Leon Cortes (1882-1969). Provenance: Frost&Reed, London; Private collection, FL.; Roughton Gallery Dallas; Tom Kimble, UT. Appraisal 2000: $125,000.00

Handsigned.

Signed and dated lower right. Provenance: Collecton Julien Levy, Paris. Private collection, Massachusetts; Private collection, California; Exhibited: Achim Moeller Fine Art, New york. Looking at Drawings Late 19th and 20th Century Master Drawings, 1988.

Handsigned.

Handsigned.

Handsigned.

From the edition of about 100

Provenance: Emanuel Walter Collection; San Francisco Museum of Art

There were 11 proofs of the four states before cancellation. After Degas’ death, Ambroise Vollard published an edition of 150 impressions from the cancelled plate. This impression is from Vollard’s edition of c. 1919-1920. Delteil 1, Adhemar 13. Provenance: Spaightwood Galleries, Wisconsin

There were 20 proofs from the 9 states. After Degas’ death, Ambroise Vollard published an edition of 150 impressions from the cancelled plate. This impression is from Vollard’s edition of c. 1919-1920. Delteil 26, Adhemar 28, R&S 47. Provenance: Spaightwood Galleries, Wisconsin. ? L. Delteil, Le Peintre-Graveur illustré, Degas, New York, 1968, vol. IX, no. 39 (other impressions illustrated).?
J. Adhemar, F. Cachin, The complete etchings, lithographs and monotypes, London, 1974, or Jean Adhémar and Françoise Cachin, Degas: The Complete Etchings, Lithographs, and Monotypes,
Viking Press (New York, 1973). ?? B. S. Shapiro, S. W. Reed, Edgar Degas: The Painter as Printmaker, Boston, Museum of Fine Arts, Philadelphia Museum of Art, London, Hayward Gallery, Boston, Philadelphia and London, 1984 ??

DAMAGED?? Signed and dated 1895. Provenance: Private collection, Paris.

Signed.

Signed.

From Galerie Michael, Beverly Hills

Signed.

Signed lower right.

Signed.

Signed lower left, E. Galiany

Signed lower left. “NFS” (?) Ref. 120-9

NFS” (?)

With full margins and deckled edges. Signed in the stone with artist’s monogram in upper left corner: “PGO”. Titled on the stone lower left. Trial proof impression from the collection of Sir Michael Sadler, annotated in lower margin, aside from the edition of 100.

Original etching and aquatint on laid paper with full margins. Signed in lower left corner, inverted: “Goya.” An impression from the first edition. The eigth plate from the series of 33 etchings entitled “La Tauromaquia,” numbered in the plate upper right. The album of thirty-three aquatints was first published by Goya in a small edition in 1816. The timelessness of the artist’s imagery, however, is evidenced by the fact that there were six subsequent editions posthumously published by Calcografia in 1855, 1876, 1905, 1921, 1928 and 1937. Though the imagery remains uniquely Goya’s throughout these editions, Tomas Harris states in his 1964 catalogue raisonne of the artist’s prints: “lt is only in the extremely fine first edition of 1816 that the full qualities of all thirty-three plates can be appreciated.” Catalogue Reference: Delteil 231; Harris 211, plate 8

Signed lower right and inscribed lower left. Provenance: Dreesmann collection, Loosdrecht (The Netherlands). Literature: “Armand Guillaumin l84l-I927, catalogue raisonne de I’oeuvre peint”, by Georges Serret and Dominique Fabiani, Editions Mayer, Paris, 1971 , # 220 with b/w illustration and colour illustration

Signed and dated Harpignies 84.

Signed. “NFS” (?Not for sale)

Signed in pencil, lower right: “Bon á tiré

Inscribed on reverse “Edition Originale de F. Leger, No. 3 Ceramiste R. Brice Biot, AM’

Edition of 200. Signed and numbered by the artist. 167/200

Signed in pencil and numbered at bottom ‘4/4’ with the red stamp of Gustave Pellet, the publisher, lower right

With color negative. Signed. Provenance: M Poubelle, Paris; Sale, Paris, Hotel Drouot, Collection M Poubelle, 4th June, 1908, lot 44; Mme Fenestre, Paris; Galerie Schmit, Paris; Mme de Toledo Lara, Sao Paolo; Marlborough Fine Art, London; Private collection, acquired from the above in the 1950s, thence by descent. Exhibited: London, Marlborough Fine Art, French Landscapes, 1961, no 25; London, Marlborough Fine Art, A Great Period of French Painting, 1963, no 16. Literature: Robert and Manuel Schmit, Stanislas Lepine 1835 – 1892. Catalogue raisonne de l’oeuvre peint, Paris, 1993, p 34 no 84, illustrated.

A pair with At the River’s Edge. Both signed.

A pair with Washer Women ona River Bank. Both signed.

Signed lower right ‘Maurice Levis.’ Dieppe was a popular French resort that was frequented by many prominent artists and art patrons of the 19th century.

Signed in the plate lower right. From the complete suite of 30 etching, no. 4/30. Printed by A. Strolin, Maison Dumont, Paris, 1905. From the edition of 100. Harris 18. Purchased from Galerie Michael, Beverly Hills.

Signed in the plate, published by Imp. A. Porcabeuf, Paris, for the Gazette des Beaux-Arts in 1902. Literature: Guerin No. 66; Harris No. 88, third state of 5.

Signed, dated and numbered ‘I8 Henri Matisse 42’ and ‘A6 Henri Matisse 41’ (lower right) *CONFIRM*. Matisse executed a phenomenal 158 drawings within this period, which were then gathered into a portfolio, reproduced and published in 1943 as Dessins: Thèmes et variations. The drawings were executed systematically: there were 17 sequences or themes, lettered A to P, with each theme consisting of 3 to 19 variations. Illustrations from the above portfolio Theme I, Variation 8, and Theme A, Variation 6, after a drawing executed between 1941-42. From the limited edition of 950, 1-10 on Japon, 11-30 on Arches and 31-950 on Velin pur fil, the portfolio cover sheet was signed by the artist. Portfolio No. 668. Published by Martin Fabiani, Paris, 1943. Literature: Musee Matisse, Nice pg. 81; Duthuit Catalogue Raisonne, 1983.

(Part of 2 pieces)

A proof aside from the edition of 50. In excellent condition, printed on a sheet with full margins. Provenance: ex-collection Henri M. Petiet (French, 1894-1980), the famous Parisian art collector, gallery owner and publisher, whose collection was noted not only for the importance of its contents, but for the extraordinarily fine quality of each individual impressions therein, with his collection stamp in black ink verso. Public Collections in which impressions of this lithograph can be found: Bibliotheque Nationale, Paris; Bibliotheque d’Art et Archeologie, Paris; Musee Matisse, Nice; Museum of Art, Baltimore; University of California, Los Angeles. Literature: Fribourg 403; Duthuit-Matisse 447.

Hand signed in pencil & numbered 45/50 from the edition of 50 on Japon paper aside from five trial proofs and ten artist’s proofs. Literature: Duthuit No. 450, Fribourg 407.

Signed and numbered. No. 65/150. Framed.

Hand signed in pencil. The annotation “Epreuve d’artiste” is hand-written by Miro. Indexed in the catalogue raisonne “Miro Graveur I” n 19. Edition 30 exemplers hand-signed in black + 4 on parchment + some artist proofs and HC in black or sepia. Pierre Loeb, Paris and Pierre Matisse, New York publishers. Graved in the studio of Marcoussis, and printed in the studio of Lacouriere, Paris.

Hand signed by the artist. From the suite “Le Courtisan Grotesque”. Indexed in the catologe raisonne “Miro Graveur III” no 667, and in the book “Miro: les livres illustres” by Patrick Cramer, no 182. Edition: 25 exemplars hand-signed. Number: without – a proof aside the numbered edition.

Edition 6/75

Published by Gazzette des Beaux-Arts, Paris in 1907

272/1000. Numbered 272/1000 from the total edition of 1000. Published in Die Impressionisten, text by Theodore Duret; Bruno Cassirer, publisher, Berlin 1909.

187/1000

276/1000

10/500. Arches paper. This limited edition lithograph was hand proofed and hand printed. The lithographs are signed by the Picasso estate, from the collection of Domaine Picasso. From San Francisco Design, Utah.

273/500. Arches paper. Edition size: 500 copies + 34 artist’s proofs. Edition year: 1980. This limited edition lithograph is numbered and hand-signed by Marina Picasso and stamped with embossed seal of the estate and chromist. Marina Picasso personally authorized and supervised the creation of the lithographs in this collection.

! I don’t see the number! No. 345/500. Edition size: 500 + 34 artist’s proofs. Arches paper. Edition year: 1980. Distributed by Inter Art Resources, Ltd. This limited edition lithograph is numbered and hand-signed by Marina Picasso and stamped with embossed seal of the estate and chromist. Marina Picasso personally authorized and supervised the creation of the lithographs in this collection.

Inscribed edition/Picasso/Madoura and stamped Edition/Picasso Madoura/Plein Feu on the underside. Executed in 1955, edition of 450. A reference for Picasso ceramics is Picasso’s Ceramics by Georges Ramie, published by Viking Press in 1976. ISDN 0-670-55323-9.

Signed in pencil, lower right. From the “Vollard Suite”, from the edition of 250, with full margins.

A rare painter’s proof on Verge d’Auvergne Richard de Bas paper, hand signed, aside from the edition of 50, plus artist proofs. Literature: Bloch n. 291.

A very good impression on cream laid paper, the final state. Le Peintre – Graveur Illustré by Lays Deteil.

Bearing stamped monogram & numbered 2/6 posthumous ed. Of 6 apart from regular edition of 10.

Hand-signed by the artist: “Paul émìle Pissarro” lower left. Authenticated by Katia Pissarro, Paris November 12, 1986.

A signed and numbered limited-edition serigraph. The classic edition of 200 plus proofs is printed on white Coventry Rag paper and the deluxe edition of 150 plus proofs is printed on black two-ply Museum Board paper.

Signed and inscribed lower right ‘Ep No 9 jf Raffaelli’; Edition of 60

May have little or no value because Dad erased the pooping dog. Signed and dated. Fourth and final state. Trimmed to the platemark with narrow margins. B. 90; H. 101; BB. 33-A.

From the “Collection of 200 Etchings” 1816.

Stella 10. From the edition of 100 from “L’Album des Peinters -Graveurs, 1896…” A drypoint in black, light green, and pink on creme laid paper. Provenance: From the Henri Petiet Collection, bearing his collector’s stamp verso.

Signed in the plate lower right. Posthumous impression, third and final state.

A fine, fresh impression, from the edition of about 200, on Arches paper with MBM watermark, the full sheet, in very good condition (soft horizontal creases and slight soiling in the large upper and lower margins).

Forgery (likely). Signed ‘R.’ Provenance: Baron de Brocqueville, Brussels. Seller later convicted of art forgery.

Published in Die Impressionisten, text by Theodore Duret; Bruno Cassirer, publisher, Berlin 1909. Numbered 272/1000 from the total edition of 1000. Literature: The Graphic Work of Renoir by Dr. Joseph Stella.

Provenance: Ambroise Vollard, Paris; Kornfeld, Switzerland; Martin Fabiani, Paris; Sheldon Ross Gallery, Michigan.

Signed on lower right.

Hand-signed at upper left: “Diego Rivera.’ Provenance: Given by the artist to Valentin Bouces, Embassador to Mexico.

Hand signed in pencil, lower right: “Manuel Robbe.” A fine impression of the definitive state from the edition of approximately 100. ln excellent condition with fresh colors, printed on a sheet with full margins. Catalogue Reference: Perussaux 9; Weisberg 101.

Signed lower right and numbered “45/65” lower left. From the edition of sixty-five. M.C. 72.

Signed in pencil upper left, with full margins. G.M. 129.

Signed in pencil lower left. From the edition of about 100, with full margins.

450 impressions for the Miserere, Rouault’s masterpiece and one of the most important series of the twentieth century. Signed in the plate (there are no pencil-signed proofs). Rouault chose this work to introduce the series. Its full title is “Let it be to me, Lord, according to Thy great mercy.

Initialed in pencil lower right. The first two indistinctly titled in pencil, with a letter signed by the artist regarding the 3 drawings.

Notes 1902″ 5 Petit Croque Colores

Signed with initials lower left and dated lower right.

Hand signed, titled and dated in pencil by the artist, lower left recto.

Hand signed with initials and inscribed.

Signed lower right. Inscribed on the back ‘La Parisienne a la campagne 7902’

Provenance: 1970 – Artist’s estate sale.

Signed and dated in the plate top center. Edition of about 100.

Second and final state. From the edition of about 100. Wentworth 50.

From the edition of approximately 100, signed and dated in the plate. Wentworth 28, Abbeville #93.

Signed and dated on plate, upper right. From the edition of about 100.

Signed and dated on the plate lower right. Wentworth 74.

Signed and dated on the stone lower right. From the total edition of 400, with full margins. Second and final state. Wentworth 58.

Wittrock 15. From the Theatre Programme edition of 1893, edition size unknown. Printed by Eugene Verneau; an uncommon print.

Signed: T. Lautrec. Original stonelitho from the book “Autour de Toulouse-Latrec” by Paul Leclercq. Published by H. Floury in 1921. Special edition of 30.

Signed: T. Lautrec

Signed: F. Valenti.

Signed lower left “V Vignon.” Provenance: Private collection, France. Gallery: Stoppenback & Delestre

Hand-signed lower right: “Vlaminck.” Provenance: From the private collection of Seldon Ring, accompanied with a certificate of authenticity from the Wildenstein lnstitute.

With margins. Walterskirchen 187II/c. Signed in pencil lower right and signed on the stone lower left. Second and final state, from the total edition of approximately 75; with the blindstamp of the publisher, Galerie des Peintres-Graveurs, Paris (Lugt 1057b), printed by Landelle, Maison Duchatel, Paris.

An exceptionally fresh impression, signed and numbered 81 from the edition of 100, on China paper, the full sheet. Roger-Marx 28.

Printed in black ink on heavy cream wove paper. Signed in the plate with the butrerfly monogram lower right. A richly printed impression of Kennedy’s second and final state, with touches of burr throughout. From the edition published and issued by the Fine Art Society, London, 1879, with the inscription added in the margin below the image “CHELSEA/DRAWN AND ETCHED BY J. A. McNEILL WHISTLER.” In excellent condition, printed on a sheet with wide margins all around. Catalogue reference Kennedy 182 ii/ii. Platemark 5 3/16 x 8 inches (c11683).

With full margins and watermark of “1814.” Signed in the with full margins and watermark of “1814.” Signed in the plate lower left: “Whistler/1860.” A fine impression of the third state of three. A plate from the series Sixteen Etchings of Scenes on the Thames and Other Subjects, commonly referred to as “The Thames Set,” published by Messers. Ellis and Green, London, 1871, issued by the Fine Art Society; printed by Delatre and Whistler. Catalogue Reference: Kennedy 66