"The most complete Catalogue ever
written of Zorn's
Used by Art Museums, Art Libaries and Collectors worldwide
Zorns Etchings now ”Online”
- the final Catalogue is here!
Download here for free!
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.
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Sample page from the new catalogue
Here are detailed definitions used
on the sample page above -
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
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
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
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
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.
The Zorn Gallery – Home page on
For all further information about Zorn´s etchings,
I refer to my homepage on the internet –
The same applies to (I hope in a lesser number) updated information on error
of facts that might exist in this catalogue. On the homepage there is also a
Guest Book / Forum with the possibility to leave corrections, comments and
to put questions.
Gallery has no official connection to the
Zorn Collections in Mora
- but I very much appreciate their professional knowledge and their kind
assistance - thank you!
I hope this
catalogue will give you as a reader as much pleasure as it has given me to
Stockholm in February 2007