Anangkè (Fate)
Lithograph, 1892, edition only 30. 14 x 12 3/4 in. Signed, dated and numbered in ink. Initialed and dated in the plate. This is a superb impression with full margins. The printed surface is flawless. Minor, subtle foxing in the margins. In the lithograph ‘Anangkè’ (‘Fate’) the artist depicts himself in a way that is full of religious and mythical connotations. It is based on the myth of Prometheus, the bringer of civilization, who stole the fire of the gods. Prometheus was punished by the gods, who chained him to a rock where a vulture ate his liver out every day that grew back every night. The theme of the print must be closely connected to the artist’s own situation and most certainly to the life of Vincent van Gogh. It is therefore no coincidence that Roland Holst dedicated a copy to Vincent van Gogh (this copy is in the collection of the Stedelijk Museum, Amsterdam) and another copy to Theo van Gogh’s widow, Jo van Gogh-Bonger. The print was shown first at the 6th exhibition of the Nederlandsche Etsclub (Dutch Etching Club) in Februari-March 1893, where it was praised by the fellow artist Jan Veth, who published an extensive review. The exhibition also showed a print by Jan Toorop with the same subject matter, where Anangkè (Fate) is personified by a woman. The print of R.N. Roland Holst was published in only 30 copies by the art gallery C.M. van Gogh in Amsterdam. In the newspaper De Amsterdammer we read on 3 March 1893 that the print of Anangkè of Roland Holst was sold at the exhibition of the Etsclub. The print has been described as a one of the most important Dutch symbolist prints, inspired by Van Gogh’s reed-pen drawings (for instance in the sky with the three stars) and Jan Toorop's treatment of the waves. The image of the suffering Prometheus has a haunting quality. The figure with the thorn crown also resembles Christ. Provenance: Wouter van Leeuwen, Amsterdam. From his 2001 catalogue, The "Nieuwe Kunst," entry # 51.
SOLD

De Architect
Lithograph printed in colors, 1913, Edition Unknown. 17 x 12 1/2 in. Initialed on the stone. A fine impression in exceptionally fine condition. The gold printing is well preserved. This is the cover page for this publication which was created by the Dutch architect association known as Architectura et Amicitia. This fine example epitomizes the progressive graphic design which flourished in the Netherlands around 1900-1930. Applied arts and artists were a prominent part of the association as reflected here in the stunning work of Roland Holst. This impression is from the collection of Frans Leidelmeijer, Amsterdam.
SOLD

The Pearl Diver (De Parelduiker)
Lithograph printed in black and gold on grey paper, 1918, small edition (this impression inscribed 13 7/8 x 16 1/2 in. Signed on the stone and signed in ink, lower right. This is a fine impression in fine condition. (Minor soft wrinkling in the margins and a pen mark at the bottom edge of the sheet.) Wide and probably full margins. Symbolically speaking, the pearl stands for the art object and is presented to the public by the artist (the diver). This large and dramatic print typifies the artist's great skills as a draughtsman. (Literature: F. Leidelmeijer & D. van der Cingel, Art Nouveau and Art Deco en Nederland, Amsterdam, 1983, p. 45, ill. 21.)
SOLD

The Pearl Diver (De Parelduiker)
Lithograph printed in black and gold on grey paper, 1918, edition unknown but probably small. 13 7/8 x 16 1/2 in. Initialed and dated on the stone. This is a good impression with full margins. (The gold is printed a bit lighter than usual.) The condition is quite good. Holst was an important Dutch symbolist mural painter, illustrator and printmaker. As seen here, the pearl stands for the art object and is presented to the public by the artist (the diver). (Literature: F. Leidelmeijer & D. van der Cingel, Art Nouveau and Art Deco en Nederland, Amsterdam, 1983, p. 45, ill. 21.)
SOLD

Two Huizen Women by a Pond (Huizer Meisjes bij een Vijver)
Lithograph, 1895, edition unknown. 10 1/2 x 8 in. Signed and dated on the stone. This is a fine impression printed on gray paper. The margins are full. The condition is fine. This impression is as published in the Portefeuille der Nederlandsche Etsclub, 1895. Roland Holst was a skilled lithographer and counted among his friends William Morris, Charles Shannon, and Charles Ricketts; all from his time spent in London. The Etching Club of Holland was founded in 1885. (The scene is the small village called Huizen, near Blaricum in Holland.) This fine work is illustrated and discussed in Cliff Ackley's recent book, Holland on Paper in the age of Art Nouveau (2014), pp. 114-115.
SOLD

Two Young Women from Huizen (Twee Meisjes uit Huizen)
Lithograph printed in blue-grey ink on chine appliqué, 1897, edition unknown. 8 x 6 3/8 in. Initialed and dated on the stone and signed in pencil. This is a superb impression with wide margins. The condition is fine. Holst is included in Cliff Ackley's recent publication, Holland on Paper in the Age of Art Nouveau(2014). He was a superb draughtsman and his talents extended to stained glass and mural painting.
SOLD

Wendingen Mask Number (Wendingen Maskernummer)
Lithograph printed in colors, 1920, Le Coultre 3-6/7; edition unknown. 12 1/2 x 25 1/4 in. Initialed on the stone on the right. Dated on the stone on the left. This is a fine impression on light brown paper with probably the full margins. The condition is fine apart from minor soft rippling here and there. This is a rare proof impression printed as a cover for some copies of this issue of Wendingen. According to Le Coultre, "...also exists with a cover printed on a smooth surface brown paper, probably on a hand press by Roland Holst himself. This was pasted over the existing cover and sometimes over the raffia binding as well." See page 100-101 of Wendingen: A Journal for the Arts 1918-32 (2001), by Martijn F. Le Coultre et al. The theme of this issue is quite simply, masks.
$1,200