Zorns Etchings now ”Online” -
The Zorn specialist Sven Lidbeck has included the four previous catalogues - 1905 Schubert-Soldern, 1909 Loys Delteil, 1920 Karl Asplund och 1980 Hjert & Hjert - the first "Catalogue Raisonne" of Anders Zorn.
The final Catalogue is here.
Sample page from the Catalogue:
Definitions used on the sample page above:
Corresponding numbers and names in Swedish, English, French and German is presented for every etching from all earlier catalogues.
A number of Zorn´s etchings are patterned on one of his portrait paintings. These are accounted for in each case with notes on technique, name, size, year of production and ownership.
Apart from the year when the etching was produced, there are also notes on, if known, the studio, the place and the circumstances.
Most of the plates were destroyed by Zorn himself with a graver. The accounts here are fetched from Loys Delteil 1909 and Zorn himself in Karl Asplund 1920.
Most of Zorn´s destroyed plates are archived in the Zorn Collections in Mora, which will be noted here.
Zorn – like the rest of the artists of their time – did not number the copies from their respective plates, so the exact number is not certain. In some cases there is sometimes a number for the amount of copies made, noted in earlier catalogues and is then also given here. If this information is missing and the number of copies and the number of copies is less than 50, there are other facts that can be used as a guide e.g. ”Few Copies, Very Rare, Très Rare, De toute Rarité etc”. and especially from the catalogue by Loys Delteil 1909 which he wrote in close contact with Zorn himself. Furthermore the number of etchings existing today in museums in Sweden and internationally, have been considered together with notes on researches in different Swedish and international archives and data bases. The probable edition of Zorn´s etchings for the respective states available after the inclusion of known facts from different sources is now stated in the following 5 groups. The number of copies in the archives in the Zorn Collections in Mora and in other museums for the respective states is shown under ”Museum Collections” and not included here.
2 - 5 copies
5 - 15 copies
15 - 30 copies
30 - 50 copies
> 50 copies
This shows you how difficult – or easy – it is to find a certain state of a certain etching, which is also a fact that collectors/buyers of Zorn etchings have to face. There is naturally a large accordance between edition and rarity, but that is not always the case. There is e.g. ZG11 ”On The Thames”, unsigned, in an edition of 275 copies, but only 6 copies have been sold in 21 years. ZG 34 ”Rosita Mauri”, unsigned, was published in 1500 copies and has only been sold once in Sweden during these 21 years. The following 5 designations referring to the availability are noted in the catalogue for each state respectively for an etching – i.e. not for the etching in general with all states. If the state is uncertain, the most common state should be mentioned for the etching in question.
0 - 3 Rarity
4 - 8 Extremely rare
9 - 15 Very Rare
16 - 24 Rare
> 25 Not Rare
This information is taken from international art data bases from the last 21 years (1985-2006) of more than 3000 sold Zorn etchings from 73 larger auction houses around the world, including Sweden. These probably form some 80-90% of the total amount of etchings sold at auction during this period. The numbers, though probably too high, taking into account that one and the same etching might have been resold during this period – but on the other hand dealings with etchings in the art world and between private people also occur etc. Etchings Sold is per definition of great importance as to the notation ”Availability” - see below.
After studying all the known exhibition catalogues (90) during the period 1891-2004, where Zorn´s etchings have been largely represented, we will now account for at which exhibition each etching have been shown. These 90 exhibitions are also listed on the home page of Zorn´s Gallery in chronological order.
Gives an account of the museum collections, where the different states of the respective etchings are represented based on the study of the above mentioned exhibition catalogues and new contacts. If known, the number of prints are mentioned within ( ). This account is in fairly good accordance with the owners and the states which Karl Asplund gave in 1920, which indicates that the etchings seldom leave a museum collection. On the home page of the Zorn Gallery there is also a compilation of all museums with their respective clickable links.
The following abbreviations have been used in the catalogue – (A) Karl Asplund 1920, (BN) Bibliotéque National de France, (H&H) Hjert & Hjert 1980, (LD) Loys Delteil 1909, (P) Private ownership, (S-S) Schubert-Soldern 1905, (Z) Zorn Collections, Mora and (ZG) Zorn Gallery, Stockholm.
Apart from the traditional chronological and alphabetical tables of Zorn´s etchings, a chronological summary has been assembled with miniature pictures of each etching to facilitate identification when name and number are unknown.
I hope this
catalogue will give you as a reader as much pleasure as it has given me to
Stockholm in February 2007