Kimble Art

Signed with initials lower left and dated lower right.

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

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

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

NFS – NOT FOR SALE

Signed: F. Valenti.

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

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.

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

Hand signed with initials and inscribed.

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

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.

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.

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.

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

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.

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 ??

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.

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

Edition 6/75

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. Engraved in the studio of Marcoussis, and printed in the studio of Lacouriere, Paris.
Provenance: Private collection, France (a woman who worked with Adrien Maeght in Cannes during WWII and after in Paris. She was the director of the editions, and worked directly with the artist edited by the gallery.); Galerie Michelle Champetier, Nice (France), c. 1981; Kimble Collection, Utah, 2001.

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

A posthumous impression. Catalog reference: Breeskin 179.

A rare printer’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.

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

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

From the edition of 450 impressions. Signed in the plate (there are no pencil-signed proofs). Rouault chose this work to introduce Miserere (Have Mercy), Rouault’s masterpiece series of 58 etchings and one of the most important series of the twentieth century.

Signed in pencil, lower right: “Bon á tiré

Provenance: Emanuel Walter Collection; San Francisco Museum of Art

NFS – NOT FOR SALE.  A pair with At the River’s Edge. Both signed.

NFS – NOT FOR SALE.  A pair with Washer Women on a River Bank. Both signed.

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.

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

Signed.

Signed lower left ‘Gust. Colin’; inscribed on the reverse ‘Une rue a Bagneres de Bigorre’ (“A street in Bagneres de Bigorre”). Provenance: Collection Armand Doria, Paris; Private collection, Oise.

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 and dated Harpignies 84.

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 lower left. “NFS” (?) Ref. 120-9

Signed lower left, E. Galiany

Signed.

Signed.

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

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

Signed. “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.”

Painting on seller’s website, rehs.com

Signed lower right “Cals

Signed lower left. Stated provenance: Collection Jules Badin.  Documentation: a signed letter dated 6 March 2001 from Martin Dieterle and Claire LeBeau affirming authenticity and stating the work would be included in the sixth supplement to Alfred Robaut’s Corot Catalogue Raisonne; Galerie Michael certificate no. 902334.

Provenance: said to be mentioned in the archives of Tedesco Frères; described as a study seen in the artist’s studio. 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).
Documentation: Galerie Michael certificate no. 900885 stating the work would be included in the forthcoming fifth supplement to Alfred Robaut’s Corot catalogue raisonne being prepared by Martin Dieterle and Claire Lebeau, and attributing the opinion to Martin Dieterle.

Signed lower left “V Vignon.” Provenance: Private collection, France. Exhibited:
Pictura 1911; no. 71

A reproduction of a work by Salvator Rosa of about 1645 (now in the Pitti Palace, Florence) depicting an episode from the life of Diogenes, the ancient Greek philosopher.  Also known as “The Forest Workers,” “Diogenes Throwing Away His Drinking Cup,” and “The Philosophers’ Wood.” Italian School.

After the original oil painting, 1637, Uffizi Gallery, Florence.  (Circle of Salvator Rosa). Italian School. Companion to The Forest of Philosophers (Forest Workers) after the manner of Salvator Rosa.

NFS – NOT FOR SALE.
Signed lower right.

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.

Edition of at least 500 in three states. Tissot signed the plate “Tissot” in the lower left. Wentworth, 290; Baer, 1254.

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).

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

Bearing stamped monogram & numbered 2/6. Posthumous edition of 6 apart from regular edition of 10. Delteil 178.

273/500. Arches paper. Edition size: 500 copies + 34 artist’s proofs. 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.

From Galerie Michael, Beverly Hills

A matched pair of gilded bronze eagles with outstretched wings, perched on fasces bundles atop spheres and square bases. According to the Parisian dealer who sold them, these eagles come from the railing gates of the Tuileries Palace, the grand Paris residence where Napoleon III lived during the Second Empire. The Château des Tuileries was burned and destroyed in 1871 during the violent days of the Paris Commune, and architectural elements were salvaged and dispersed into private hands in the years that followed.  Each approximately 8.5 inches tall. Purchased from Galeries de Souzy, Paris, 2000.

“From the model that belonged to Napoleon.”  A pair of porcelain plates bearing the imperial arms of Napoleon as Emperor of the French and King of Italy produced at the legendary Sèvres porcelain manufactory, the official porcelain maker to the French crown and empire. Each plate features a central crowned armorial shield surrounded by elaborate gilt borders with laurel and palmette decoration. The reverse is marked “M. Imple de Sèvres” (Manufacture Impériale de Sèvres), confirming production during the imperial period. Produced at the Manufacture Impériale de Sèvres in the same pattern as the imperial service bearing Napoleon’s arms as Emperor of the French and King of Italy. They are professionally framed together in a gilt shadowbox display. Purchased from Galeries de Souzy, Paris, Oct., 2000.

A gilt bronze box with an exquisite hand-painted ivory portrait miniature of Napoleon II, known as “l’Aiglon” (the Little Eagle), set into the lid. He is shown as a young man in the white uniform of the Austrian military with a green collar, a poignant detail, as Napoleon’s only legitimate son was raised at the Austrian court after his father’s exile, given the title Duke of Reichstadt, and died of tuberculosis at just 21. The box itself is finely engraved with neoclassical banding. A  tribute to the tragic heir who never ruled. Purchased from Galeries de Souzy, Paris, 2000. Approximately 4 inches in diameter.

– The commission of a second captain in the light infantry corps, Corsican Infantry Hunters, from “the headquarters of the Orient.”  Signed in “Year 6 of the one and indivisible republic” (1798).
– During Napoleon’s Egyptian campaign.
– Signed Napoleon as General-in-Chief.
– Military commission involving Corsican troops.
– Strong, attractive signature and elaborately engraved Republican letterhead.
Purchased approx. October, 2000.

A special license issued to a ship during the war between France and Spain to import goods into France from Spain without  impediment during the ship’s travels, given at the Imperial Quarter of Troyes, France on Feb 26, 1814, signed by Napoleon as Emperor.  The historical context is exceptional, wartime trade during the Spanish campaign, from the final months of the Empire (weeks before abdication), signed as Emperor, and bears multiple ministerial co-signatures.
Purchased approx. October, 2000.

Handsigned. Numbered 76 of 350. From the second suite of Surrealistic Flowers published by Editions Graphiques Internationales, Paris in 1972. The first suite does not have the title printed below the image.

Handsigned. Numbered 78 of 350. From the second suite of Surrealistic Flowers published by Editions Graphiques Internationales, Paris in 1972. The first suite does not have the title printed below the image.

Handsigned. Numbered 76 of 350. From the second suite of Surrealistic Flowers published by Editions Graphiques Internationales, Paris in 1972. The first suite does not have the title printed below the image.

Handsigned. Numbered 78 of 350. From the second suite of Surrealistic Flowers published by Editions Graphiques Internationales, Paris in 1972. The first suite does not have the title printed below the image.

Engraved signature. *Note: Included literature says “Delivered with the book Chihuly alla Machia . . . Piece shipped with plexiglass display case.” Neither of those were included.

Notes 1902″ 5 Petit Croque Colores.  Deux Figures Dans un Bateau; Un Ane; Trois Arbres; Une Group d’Arbres; Une Group d’Arbres Pres d’un Fleuve

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.

Initialed and Numbered 68/100

Initialed and Numbered 68/100

Printed in black ink on heavy cream wove paper. Signed in the plate with the butterfly 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).

The poop behind the dog has been carefully erased/removed by hand. Signed and dated. Fourth and final state. Trimmed to the platemark with narrow margins. B. 90; H. 101; BB. 33-A.

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

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

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

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

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

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

Young man, seen in profile and facing front, sitting on a chaise-lounge; woman, seen from behind, looking into a mirror and combing her hair in the background; phrase inscribed along shelf or beam, “Fare tutti mestieri svergognati per campar onoratamente”; the small plate, c.1911 (published 1915). Published by: Carfax & Co. in London, England. Inscription content: Lettered with title and production detail: within image, “Sickert del et sc.” (at lower left); beneath image, “MR JOHNSON / Published by Carfax & Co 24, Bury Street, St James’s”.
Curator’s comments: Bromberg identifies one preparatory drawing, ‘Mr Johnson’, 1911 (Private Collection).
Troyen quotes Sickert who wrote in the ‘The Burlington Magazine’ during 1917 that the phrase included within the image was copied down for him by Degas ‘who took “delighted relish in it”‘.
Bibliographic references: Bromberg 2000 / Walter Sickert, prints: a catalogue raisonné (145.IV)
Troyen 1979 / Walter Sickert as Printmaker (81).

Woodblock print and copper plate etching from Dante’s Divine Comedy commemorative series.

Numbered 240/275. PL 28 of the Vollard Bible published by Teriade, Paris, 1956

Impression #41/100

Signed and dated on plate, upper right. From the edition of about 100. Wentworth, 52.

Published by Gazzette des Beaux-Arts, Paris in 1907

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

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

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.

Signed in pencil and numbered at bottom ‘4/4.’  CoA says “with the red stamp of Gustave Pellet, the publisher, lower right” but not seen, see pictures.
Lugt, 1193

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

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

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.

Signed.

Stella 10. From the edition of 100 published in L’Album des peintres-graveurs by Ambroise Vollard (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.

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

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

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

Provenance: 1970 – Artist’s estate sale.

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

Signed and dated in charcoal lower right.

Inscribed edition/Picasso/Madoura and stamped Edition/Picasso Madoura/Plein Feu on the underside. Executed in 1955, edition of 450. Literature: Picasso’s Ceramics by Georges Ramie, Viking Press, New York, 1976, No. 726, p. 279. ISDN 0-670-55323-9. Picasso Catalogue of Edited Ceramic Works 1947-1971, by A Ramie, Madoura, 1988, Plate 284, pg. 146 (cf. related example illustrated in color).

Number 234 from a limited edition of 350 + 35 E.A.

No 189 from an edition of 750.

187/1000.  Edition year: 1992. Note: the cert of authenticity says the size is 35.4 x 35.4 in (90cm) but it’s actually about 31 x 32 in.

276/1000. Edition year: 1992. Note: the cert of authenticity says the size is 35.4 x 35.4 in (90cm) but it’s actually about 31 x 32 in.