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DurerDurer, Albrecht--Title: Christ on the Mount of Olives (The Small Passion) (1508)[ B.4; H. 0,115, B. 0,071]--Medium: Original Woodcut--Image Size: 4 5/8 in. x 3 in. (117 mm x 75 mm). Sheet Size: 4 11/16 in x 3 1/8 in (119mm x 79mm). Framed Size: 15 3/8 in. x 12 3/8 in. Signature: Monogrammed in the plate “AD 1508" in the lower right of the image. Edition: A Meder (d) impression. Condition: This Work Is In Good ++ Condition---A Good Strong Impression. Created in 1508, this original woodcut is considered a Meder state (d) impression. Printed on a fine laid paper, this work is monogrammed in the plate with the artist's initials “AD 1508" in the lower right of the image. A well preserved piece from the 'Small Passion' series, this work is a fine dark black impression with thread margins just along the edge of the image. This work is documented as B.4; H. 0,115, B. 0,071.
Finely composed of intricate line work and detailed figurative studies, this piece exhibits Dürer's skill and mastery of technique as a printmaker. The use of shallow depth and volume give this work a sense of weight, heightened with fine dark black contrasting tones and select architectural features.
The figure of Christ kneels with an angel with a cross hovering above. Dürer depicts the figures in various positions of repose. The artist manages to fit a high amount of detailed information within a small picture plane, giving the viewer a hint of what could be occurring outside the scene placed before us. Walter L. Strauss discussed of this work, "Dürer included this scene in all of his Passion series. Unlike Lucas van Leyden and Rembrandt, Dürer has had to content himself with a very small format to depict this subject in 'The Small Passion.'…Substantial cross-hatching is here used in an exceptional way to heighten the contrast of the background." (Strauss 370). Catalogue Raisonné and Provenance: From a private Beverly Hills collection, then owned and exhibited by The Philosophical Research Society, Inc, Los Angeles; then auctioned by Harmer Rooke Antiquities Galleries, New York to a Private collection. It is fully documented and referenced in: --1. Barlow, T.D., Woodcuts of Albrecht Dürer, 1948. Listed and illustrated;--2. Holzschnitte & Holzschnittfolgen. Albrecht Dürer - Das Druckgraphische Werk, Band II, New York, 2002. Listed and illustrated;--3. Kurth, Dr. Willi, The Complete Woodcuts of Albrecht Dürer, 1946. Listed;--4. Meder, Joseph, Dürer-Katalog, 1932. Listed and illustrated;--5. Pawlak, Manfred, et. al. Albrecht Dürer, 1471 bis 1528. Listed and illustrated;--6. Scheller, Robert W. and Karel G. Boon, The Graphic Art of Albrecht Dürer Hans Dürer and the Dürer School, 1971, Listed;--7. Schoch, Rainer, Matthias Mende and Anna Scherbaum, Albrecht Dürer Das druckgraphische Werk, 2002. Listed;--8. Strauss, Walter L., Albrecht Dürer Woodcuts and Wood Blocks, 1980. Listed...(#AR-927)...$4,875

DurerDurer, Albrecht--Title: The Apostle Bartholomew/St. Bartholomew (The Small Passion) (1523) [ B.47; H. 0,122, B. 0,076]--Medium: Original Woodcut--Image Size: 4 3/4 in. x 3 in. (120 mm x 75 mm). Sheet Size: 4 11/16 in x 3 1/8 in (119mm x 79mm). Framed Size: 15 3/8 in. x 12 3/8 in. Signature: Monogrammed in the plate “AD 1523" in the center left of the image. Edition: A Meder (d) impression. Condition: This Work Is In Good ++ Condition---A Good Strong Impression. Created in 1523, this original woodcut is considered a Meder state d impression. Printed on a fine laid paper, this work is monogrammed in the plate with the artist's initials “AD 1523" in the lower right of the image. A well preserved piece from the 'Small Passion' series, this work is a fine dark black impression with thread margins just along the edge of the image. This work is documented as B.47; H. 0,122, B. 0,076. Finely composed of intricate line work and detailed figurative studies, this piece exhibits Dürer's skill and mastery of technique as a printmaker. The use of shallow depth and volume give this work a sense of weight, heightened with fine dark black contrasting tones and select features. Depicts St. Bartholomew standing by a tree, holding a knife and a book. Walter L. Strauss discussed of this work, "Dürer included this scene in all of his Passion series. Unlike Lucas van Leyden and Rembrandt, Dürer has had to content himself with a very small format to depict this subject in 'The Small Passion.'…Substantial cross-hatching is here used in an exceptional way to heighten the contrast of the background." (Strauss 370). This piece has the same Catalogue Raisonné and Provenance as cited above: from a private Beverly Hills collection, then owned and exhibited by The Philosophical Research Society, Inc, Los Angeles; then auctioned by Harmer Rooke Antiquities Galleries, New York to a Private collection...(#AR-931)...$4500


Original Drypoint Aquatint Etching by LOUIS ICART--- "HYDRANGEAS"---Hand colored, depicting a scantily clad woman in a long pink dress with blue ribbon and yellow hat, holding a blue hydrangea, with blue hydrangea on both sides. Has all the proper markings of a good ICART--a bold "Louis Icart" signature--"Copyright 1929 L. Icart Paris"--the notable "Windmill" stamp and numbered 258. Appears to be the orginal 1929 matting and original frame. The Etching measures 25 1/2 inches by 21 inches and the picture itself measures 21 inches by 17 inches. The etching in above average condition with no marks or tears or any distractions of aany type. It is a beautiful to piece of work. I have tried to offer enough pictures to show the piece, but if you would like more photos, I would be happy to supply them. Please refer to Louis Icart: The Complete Etchings by William R. Holland, Clifford P. Catania, and Nathan D. Isen--and--Icart by S. Michael Schnessel...(#AR-815)...$1125

--GUSTAVE SANDOZ--c. 1870--A RARE OFFERING--Watches by this Maker are Rarely Offered for Sale---This exquisite Watch Created by this Master Jeweler & this Master Watchmaker is a marvelous Works of Art--
Gustave Sandoz's Work has always been prized and of great value. Several of his watches are in Museums--one is in the Hunterian Art Gallery Whistler Collection at the University of Glasgow (of Note: Whistler expressed the wish that this watch, which was given to him by his wife, should always be cared for. The item is one of a number of Whistler's personal possessions in the Hunterian Art Gallery collections), and one is in the British Museum. When his watches do come up for auction (the most recent ones at Sotheby's and at Bijoux Anciens et Modernes, Diamants, Horlogerie), they demand prices in the $9,000 to $21,000 range.
This is an egg shaped rock crystal and silver case keywind watch, Gustave Sandoz circa 1870--engraved "Gus Sandoz, Horlogar de la Marine Imple, Palais Royal, 147, Paris [with numbers both inside and outside the engraved cover]"--Sandoz was noted for gilt cylinder movement, mono-metallic compensation balance and precise platform movements. Chatelaine watch and watch-key number 2, dimensions 38 mm height by 32 mm diameter.
Gustave Sandoz, not only a maker of exquisite jewelry and watches, was also noted for the advocation of the Arts as the co-creater of SEMA (Society for the Promotion of Arts and Crafts) which was born from the meeting of two men, Gustave Larroumet (1852-1903), director of the Beaux-arts and Gustave Sandoz (1836-1891), famous jeweller. The SEAI (Société d’Encouragement aux Arts et à l’Industrie) was founded in 1889. Its mission was to revive the applied arts, bring creators and industrials closer together and to encourage cooperation between artists and Arts and Crafts professionals. In 1976, it changed its statuses to become the SEMA, Société d’Encouragement aux Métiers d’Art (Society for the Promotion of Arts and Crafts) with the mission of promoting French Arts and Crafts on behalf of the State. Its mission is to coordinate operations in view of upholding the tradition of quality in French Arts and Crafts....(#AR-535)...$6950

HENRY PETHER, (Fl. 1828-1865), was a noted painter of landscapes, especially by moonlight. He exhibited 7 paintings at the Royal Academy, 1 painting of Venice at the British Insitution, and 3 paintings at the Royal Society of British Artists. This painting is estimated to have been created c. 1860.

Henry Pether was born into a family that was well known for artistic talent. His father Abraham established a reputation as a specialist painter of moonlit landscapes and is often referred to as “Moonlight Pether”. The family came from Chichester. Abraham had another son, Sebastian, who was also influenced by his father’s artistic interests and he too painted moonlit scenes. It is generally accepted that Henry was by far the most talented and capable artist. His work has a security in terms of composition, control of detail, atmosphere and colouring which is greatly superior to his father and brother.

The present painting shows the romantic quality of light which makes Henry’s work so striking. He favoured actual scenes, often on the Thames or in Venice, and this painting conveys the poetry and realism of his best work. Henry’s palette was sensitive and truthful to nature, as this very fine example demonstrates. This small detailed landscape with a mavellous moonlight has an expectional rare Empire frame with original gold leaf [it is estimated that the gold leaf alone is valued at over $1000]. It is oil on board; 16 inches x 14.6 inches with frame and 7.9 inches x 5.9 inches without frame.

Pether had paintings owned by and exhibited in various Museums and Galleries: National Maritime Museum, Greenwich, UK; Southampton City Art Gallery, England; , London, UK; Art Fund for UK Museums; the Art Renewal Center, London: The Athenaeum; and,   the UK Government Art Collection. It was owned for a long period of time by a private Lyon, France collector and the sold by the Kunsthandlung/Joniskeit Fine Arts Gallery of Stuttgart, Germany. Note citations in: British 19th Century Maring Painting by Denys Brook-Hart; British Landscape Painters by M.H. Grant; and,Victorian Painters by Christopher Wood..(#AR-859)...$9450

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