Ralston Crawford

Les Penitentes #3

1976

Minna Citron, 'Flight to Tomorrow', aquatint and engraving, edition unknown but small, 1948. Signed, titled, dated, and annotated 'engr & aqua' in pencil. A superb, richly-inked impression with selectively wiped plate tone, on heavy cream wove paper, the full sheet with margins (1 3/4 to 3 1/2 inches), in excellent condition. Image size 6 7/8 x 8 7/16 inches (175 x 214 mm); sheet size 11 1/8 x 14 7/8 inches (283 x 378 mm). Matted to museum standards, unframed. Literature: The Women of Atelier 17, Modernist Printmaking in MidCentury New York, Christina Weyl, Yale University Press, 2019, p. 186. Collections: Davis Museum (Wellesley), Five Colleges and Historic Deerfield Museum Consortium, Harvard Art Museums, Museum of Fine Arts, Boston, Palmer Museum of Art (Penn State...

Leonard Edmondson, 'Winter Garden', color etching, edition 50, 1957. Signed, titled, dated, and numbered '50/50' in pencil. A superb, richly-inked impre...

Stanley William Hayter, 'Feu sous L'eau (Fire Under Water)', color engraving, soft-ground etching and scorper with yellow silkscreen, 1955, edition 50 plus 10 artist proofs, Black & Moorhead 221. Signed, titled 'Fire Under Water', dated and annotated 'Essai' in pencil. Dedicated in the artist’s hand 'for Adja & Dove WH Bill 17–5–55' in the top margin. A superb, richly inked impression with fresh colors, on heavy, cream wove paper; wide margins (2 1/2 to 3 7/8 inches), in excellent condition. One of 10 artist’s proofs. Image size 10 3/16 x 7 inches; sheet size 18 1/8 x 12 1/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK In 1950 Hayter returned to Paris and reopened Atelier 17. Works such as 'Fire Under Water' reveal newfound influences, such as that of the Ardèche area of southern France, where he acquired a house in 1951 and frequently visited. Hayter took great interest in the flowing Escoutay River, an experience that parallels the artist and co-director of Atelier 17 Krishna Reddy’s interest in depicting water. While some forms in this print evoke the natural world, the palette of contrasting tones of purple, yellow, black, and white reflects Hayter’s belief in using color intuitively to express emotions and evoke feelings. The sharp white relief lines from the paper and the textural effects realized through soft-ground etching operate in tandem with the sweeping curves and bold colors to give the composition a sense of vitality and dynamism. —edited from the Metropolitan Museum of Art Published by 'La Jeune Gravure Contemporaine', Paris. Impressions of this work are in the following collections: British Museum, Metropolitan Museum of Art, National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

Stanley William Hayter, 'Green Shade', color etching and scraper, 1963, edition 50, (only 39 printed), B&M 278. Signed, titled, dated, and numbered '1/50' in pencil. A superb, richly-inked, luminous impression, with fresh, vivid colors, on Barcham Green textured cream wove paper; the full sheet with margins (2 3/16 to 3 1/4 inches), in excellent condition. Printed: intaglio black-green, contact lumogen yellow, soft roller phthalo green. Scarce. Image size 15 7/16 x 11 5/8 inches (392 x 295 mm); sheet size 21 1/8 x 16 inches (537 x 406 mm). Matted to museum standards (unframed). Collection: The British Museum ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17...

Sigismond Kolos-Vari, 'Nets', color etching with soft-ground and aquatint, edition 200—1 of 60 artist's proofs, 1952. Signed and dated in pencil. Numbered L/LX in pencil. Image size 11 3/4 x 15 5/8 inches (298 x 397 mm); sheet size 15 x 22 1/4 inches (381 x 565 mm). A superb, richly-inked impression, on heavy, off-white, Arches wove paper; the full sheet with margins (1 3/8 to 3 1/2 inches), in excellent condition. Published by the Guide de la Gravure, Switzerland, with their blindstamp in the bottom left sheet corner. Matted to museum standards, unframed. ABOUT THE ARTIST Sigismond Kolos-Vari (1899-1983) was born in Hungary and attended the School of Applied Arts in Budapest from 1915-1918, and then the School of Decorative Arts until 1925. The artist settled in Paris and his first one-man show in 1928 at Galerie Miromesnil, which was highly successful, led to numerous subsequent exhibitions including the prestigious Galerie Bonaparte in 1929, and Galerie Povolosky in 1930. Kolos-Vari’s early success was abruptly interrupted by the outbreak of WWII. Imprisoned in a German concentration camp, he managed to escape after two years, crossing the border into Switzerland. After the war he returned to Paris and dedicated himself to his painting, producing increasingly powerful compositions. His work was highly acclaimed when shown at the important 1946 exhibition at the Musée National d’Art Moderne de Paris, organized by Jean Cassou. The artist was subsequently approached by the eminent art dealer Jean Bucher who gave Kolos-Vary a major one-man show at his gallery in 1948. During this post-war period Kolos-Vary participated in the avant garde exhibitions the Salon de Mai, 1949-1958, the Salon des Réalités Nouvelles, 1956-1961, and the Salon des Comparaisons, 1960-1962. Supported by his association with Stanley William Hayter and the landmark printmaking workshop, Atelier 17...

Jean Arp, Signes, woodcut, edition 50, 1949. A fine, black impression, with all the fine lines printing clearly, on cream wove paper; the full sheet with wide margins (1 5/8 to 6 7/8 inches), in excellent condition. Signed and numbered '8/50' in pencil. Matted to museum standards, unframed. ABOUT THE ARTIST Jean Arp was born Hans Arp on September 16, 1886, in Strassburg. In 1904, after leaving the Ecole des Arts et Métiers, Strasbourg, he visited Paris and published his poetry for the first time. From 1905 to 1907, Arp studied at the Kunstschule, Weimar, and in 1908 went to Paris, where he attended the Académie Julian. In 1909, he moved to Switzerland and in 1911 was a founder of the Moderner Bund group there. The following year, he met Robert and Sonia Delaunay in Paris and Vasily Kandinsky in Munich. Arp participated in the Erste deutsche Herbstsalon in 1913 at the gallery Der Sturm, Berlin. After returning to Paris in 1914, he became acquainted with Guillaume Apollinaire, Max Jacob, Amadeo Modigliani, and Pablo Picasso. In 1915, he moved to Zurich, where he executed collages and tapestries, often in collaboration with his future wife Sophie Taeuber (who became known as Sophie Taeuber-Arp after they married in 1922). In 1916, Hugo Ball...

Artist: Henri Goetz, French/American (1909 - 1989) Title: Untitled I Medium: Aquatint Etching, Signed and numbered in pencil Edition: 24/40 Image Size: 13.5 x 18.5 inches Size: 20.5 ...

Wavy Irregular Bands is an artwork realized by Sol Lewitt in 1996.  Etching and Aquatint on Arches 88 Paper. Edition of 35 + 8 AP + 8 T + 1 BAT + 1 NB. Edition 19/35. Signed and n...

Wavy Irregular Bands is an artwork realized by Sol Lewitt in 1996.  Etching and Aquatint on Arches 88 Paper. Edition of 35 + 8 AP + 8 T + 1 BAT + 1 NB. 35 x 89,2 cm. Edition 19/35....

Medium: intaglio Year: 2015 Signed Artist Proof from the edition of 25 Image Size: 7.5 x 6 inches Paper Size: 15 x 11 inches Signed and numbered by the artist. Seiko Tachibana's...

Medium: intaglio Year: 2015 Signed Artist Proof from the edition of 25 Image Size: 7.5 x 6 inches Paper Size: 15 x 11 inches Signed and numbered by the artist. Seiko Tachibana's...

Medium: intaglio Year: 2015 Signed Artist Proof from the edition of 25 Image Size: 7.5 x 6 inches Paper Size: 15 x 11 inches Signed and numbered by the artist. Seiko Tachibana's...