New York City, US | Düsseldorf, D
C.G. BOERNER is an art dealership that has focused on prints and drawings of the finest quality since it was founded in Leipzig in 1826. Today we have offices in Düsseldorf and New York. The firm has worked with museums and private collectors from its earliest days, when Johann Wolfgang von Goethe was an important client of founder Carl Gustav Boerner. While our reputation is chiefly based on our specialist knowledge of such old masters as Schongauer, Dürer, and Rembrandt as well as of the German Romantics, we also deal in prints by other important European artists, among them Mantegna, Burgkmair, Piranesi, and Goya. Additionally, in recent years we have handled exceptional works by American printmakers, including Whistler, Cassatt, Hopper, and Bellows.
Hendrick Goltzius, Hercules and Cacus
We regret that the ongoing pandemic has forced us to resort—once again—to an online presentation. While we happily admit to our own déformation professionnelle, we nonetheless believe that there is hardly another area of the art market that is so dependent on the personal inspection than old master prints. No JPEG or ZOOM presentation or, horribile dictu, virtual booth can substitute the experience of looking at a print I[n]R[real]L[ife]—so much so that we have been reluctant to present some of our most cherished works in such a way.
For anyone curious enough and, against all the odds, willing and able to travel, we have teamed up with other colleagues in our field to show our wares in early November at the Pierre Hotel on Manhattan’s Upper East Side, to coincide with the ADAA’s Art Show at the Park Avenue Armory. We hope that some of you will be able to join us between the 4th and 7th November for Prints at the Pierre.
Armin Kunz, Director
Hercules and Cacus
41,2 x 33,3 cm
chiaroscuro woodcut printed from three blocks in black, pale yellow, and olive green
PROVENANCE: Otto Schäfer, Schweinfurt (his stamp not in Lugt). His sale, Galerie Kornfeld, Berne, June 24, 1992, lot 160.
A superb impression; with the usual horizontal drying folds, in overall extremely good, untreated condition and preserved with the publisher’s address below.
Bartsch 231; Hirschmann and Hollstein 373; Strauss 403 third state (of four); Bialler (1983) 4 II color combination iv; New Hollstein 304 Ih
34,6 x 26,0 cm
chiaroscuro woodcut printed from three blocks in black, tan, and green
PROVENANCE: L. Lépingle, Brussels (Lugt 1731 and 1672b). Oval collector’s stamp showing a rampant lion holding a star of David (not in Lugt)
Bartsch 237; Hirschmann and Hollstein 372; Strauss 420; Bialler (1983) 11 color combination ii; New Hollstein 300 b
Tethys – Galatea
35,0 x 26,0 cm
chiaroscuro woodcut printed from three blocks in black, ochre, and brown
PROVENANCE: Henry F. Sewall, Boston (Lugt 1309). Museum of Fine Arts, Boston, acquired with funds provided by Harvey D. Parker (Lugt 1870; with the museum’s deaccession stamp Lugt 5156 with the pencil signature of Eleanor A. Sayre). Colnaghi (their stock no. in pencil on verso C40271)
Bartsch 235; Hirschmann and Hollstein 368; Strauss 422; Bialler (1983) 7 color combination iv; New Hollstein 296 IIIb
A View of the Inside of the New Prison at Rome
56,3 x 40,5 cm
mezzotint printed in sepia
PROVENANCE: Thomas Pitt, first Baron Camelford (1737–1793), of Boconnoc, Cornwall, the dedicatee of plate 8. His violent heir, the second and last Baron (1775–1804) died after a duel; his daughter Anne (1772–1864) married their close kinsman William Wyndham Grenville, 1st Baron Grenville (1759–1834), and inherited all the family properties. They were childless and their heir was Grenville’s sister Hester who married the first Earl Fortescue, of Castle Hill, Devon.
WATERMARKS: Grand-Jésus stock of T. Dupuy, watermark Name of Jesus (IHS), countermark T Dupuy Fin Auvergne 1742
Jan Harmensz. Muller, Mercury Abducting Psyche
attributed to GIUSEPPE SCOLARI
Portrait of Emperor Charles V
48,6 x 34,5 cm
The model for this striking woodcut is Titian’s equally large woodcut portrait of Charles V that shows the emperor bust-length, clad in armor and resting a sword on his right shoulder. Both prints bear the inscription at top CAROLVS IMPERATOR QVINTVS. Titian’s design is believed to have been executed ca. 1535–45. The artist had first met Charles V in 1530 and then again in Bologna in 1532–33.
LITERATURE: Fabio Mauroner, Le incisioni di Tiziano, Padua 1943, p. 41, listed as second replica under no. 13. Peter Dreyer, Tizian und sein Kreis, exhibition Kupferstichkabinett Berlin, , p. 49 where mentioned under cat. no. 15. David Rosand/Michelangelo Muraro, Titian and the Venetian Woodcut, exhibition, International Exhibitions Foundation, 1976–77, cat. no. 105
Victoria Burge (b. 1976), Leo. Ink, acrylic, and pencil drawn on the digital print of a drawing. 1850 x 950 mm.
34,6 x 26,2 cm
chiaroscuro woodcut printed from three blocks in black, ochre, and brown. Bartsch 232; Hirschmann and Hollstein 367; Strauss 421; Bialler (1983) 6 color combination v; New Hollstein 296 color combination d
PROVENANCE: Henry F. Sewall, Boston (Lugt 1309). Museum of Fine Arts, Boston, acquired with funds provided by Harvey D. Parker (Lugt 1870; with the museum’s deaccession stamp Lugt 5156 with the pencil signature of Eleanor A. Sayre). Colnaghi (their stock no. in pencil on verso C40269)
Dies – Helios
35,0 x 26,7 cm
chiaroscuro woodcut printed from three blocks in black, ochre, and brown. WATERMARK: crowned shield (indistinct)
Bartsch 234; Hirschmann and Hollstein 373; Strauss 419; Bialler (1983) 10 color combination iii; New Hollstein 299 color combination c