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Armand Rassenfosse

(Liège 1862 -  1934 )
RASSENFOSSE Armand Femme Au Voile

Rosebery's
May 1, 2018
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Artworks in Arcadja
549

Some works of Armand Rassenfosse

Extracted between 549 works in the catalog of Arcadja
Armand Rassenfosse - Femme Au Voile

Armand Rassenfosse - Femme Au Voile

Original
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Lot number: 28
Other WORKS AT AUCTION
Description:
Armand Rassenfosse, Belgian 1862-1934- Femme au Voile; etching and aquatint printed in terracotta, signed within the plate, 31.7x24.4cm: together with two other etchings and aquatints by the same artist, one signed and inscribed 'Etat Unique' in pencil, 31.7x24.9cm and 19x13cm, (3) (unframed) (ARR) (VAT charged on hammer price)
Armand Rassenfosse - La Vie Antérieure

Armand Rassenfosse - La Vie Antérieure

Original 12th
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Lot number: 1423
Other WORKS AT AUCTION
Description:
Description: ARMAND RASSENFOSSE (1862-1934) 'La vie antérieure (1r projet)'. Bruine inkt en rood potlood. Gemonogrammeerd in potlood 'AR', eigenhandig getiteld. Met annotatie '12'. Rassenfosse maakte illustraties bij de uitgave van 'Les Fleurs de Mal' door Baudelaire, uitgegeven bij 'Les Cent Bibliophiles', in 1899. Deze tekening is een voorbereidende studie voor het twaalfde gedicht in de cyclus, met dezelfde titel. Scheurtje met verlies. In kader. 123 x 173 mm ARMAND RASSENFOSSE (1862-1934) 'La vie antérieure (1r projet)'. Encre brune et crayon rouge. Monogrammé, titré et annoté. Un des projets originaux pour les illustrations qu'il a fait pour l'édition de 'Les Fleurs du Mal' de Baudelaire en 1899 chez 'Les Cent Bibliophiles', à Paris. 123 x 173 mm ARMAND RASSENFOSSE (1862-1934) 'La vie antérieure (1r projet)'. Brown ink and red pencil. Signed, tiled and with annotation in pencil. Tear, with loss. Framed. This drawing was made as an illustration of the 12th poem in the edition of the cycle 'Les Fleurs du Mal' by Baudelaire, published in 1899 by 'Les Cent Bibliophiles'. 123 x 173 mm
Armand Rassenfosse - Young Seated Girl

Armand Rassenfosse - Young Seated Girl

Original
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Lot number: 1115
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Description: ARMAND RASSENFOSSE (1862-1934) Young seated girl. Pencil and watercolour. Annotations in pencil on the reverse. Mounted. 352 x 266 mm ARMAND RASSENFOSSE (1862-1934) Zittend werkmeisje. Aquarel en grijs potlood. Annotaties op verso in grijs potlood. Gemonteerd onder passe-partout. 352 x 266 mm
Armand Rassenfosse - Soleil / Bec A Incandescence Au Gaz

Armand Rassenfosse - Soleil / Bec A Incandescence Au Gaz

Original 1897
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Lot number: 70
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Description:
ARMAND RASSENFOSSE (1862-1934) SOLEIL / BEC A INCANDESCENCE AU GAZ. 1897. 28x21 1/2 inches, 71x54 1/2 cm. A. Bénard, Liege. Condition B+: minor restored losses, repaired tears, creases and minor overpainting in margins and image; pencil notations in bottom margin; minor abrasions in image. Rassenfosse was a disciple of Félicen Rops and went on to become a master lithographer in his own right and a key member of the group of Belgian artists based in Liège. His style revolves around his delicate sense of drawing and his ability to marry flat and half tones together in a fluid image. From the Hans Sachs Collection, with the collector's stamp on verso. DFP-II 1120.
Armand Rassenfosse - Salon Des Cent

Armand Rassenfosse - Salon Des Cent

Original 1896
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Gross Price
Lot number: 77
Other WORKS AT AUCTION
Description:
Sale 2435 Lot 77 ARMAND RASSENFOSSE (1862-1934) SALON DES CENT. 1896. 24 3/4x17 3/4 inches, 63x45 1/8 cm. Aug. Bénard, Liege. Condition A-: minor time-staining in margins; minor abrasions in margins and image. Framed. Rassenfosse was a disciple of Félicen Rops in Liege and went on to become a master lithographer in his own right and a key member of the group of Belgian artists based in Liege. His style revolves around his delicate sense of drawing and his ability to marry flat and half tones together in a fluid image. He designed two posters for the Salon des Cent, both in 1896. This first one was graphic and illustrative, the second was more allegorical. Here, two elegant ladies pay a visit to the exhibition; a serene, quiet vision of two serious art lovers in which the curvelinear lines of their dresses stand out against the geometric background of frames hung on the wall. Belle Epoque p. 77, Salon des Cent 28, Art Nouveau p. 27, DFP-II 1114
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