Frank Lemon

The Wright Brothers at Kitty Hawk

1928

Engraving of Veduta della Piazza, verso la Chiesa di S Marco by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 13.5"L x 10.5"H. Has the original center crease an...

"Group of Carnations" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, co...

Color printed aquatint engraving with additional contemporary hand-colored details. Engraved by John Harris after the painting by Harry Hall. London, 1897. ...

Meheut, Mathurin. La Plante Exotique. Pl 1: Bamboo. Paris, 1931. Heliochrome print.

Original engraving by old master print-maker Ploos Van Amstel after Jan van Goyen. Holland, 1767. Unframed. Trimmed to size.

Lemon, Frank. Flights: Unforgettable Exploits of the Air. This plate: With one beat of his wing, Charles Lindbergh goes to Paris! 1927. Wright Aeron...

Black and White Photography, Horse Photography, Western Art-Shoe Store 0217 “As I walked out of my hotel room early in the morning, I was greeted by the so...

David Hockney David Hockney. 220 for 2020. Art Edition A No. 1–100 ‘Spilt Ink with Tests', 2021 11-color inkjet print on cotton-fiber archival paper 45.7 × 102.6 cm (18 × 40.4 in) Signed, numbered and dated Edition number 47 In mint condition Unframed Hockney made four different prints, each in an edition of 100, to accompany 400 copies of the book(s). Edition B is numbered, as here, 101-200. Edition A, C and D each have different images for each of their editions, numbered respectively, 1-100, 201-300, and 301-400. There were another 1,620 “collector edition” books numbered in Volume 1, numbered 401-2,200 From a small, picturesque farmhouse in the rich fields and meadows of the northern French region of Normandy, Hockney followed and recorded the changing seasons throughout the COVID-19 pandemic. For the past decade, Hockney’s medium of choice has been the iPad and it was this technological instrument, he used to spontaneously depict impressions of the Norman landscape surrounding him. The two-year project entitled “220 for 2020” documents the passage of time by portraying the first spring blossoms, the smell of summer, the saturated colours of autumn, and the stark shapes of dark branches in winter time. This poetic undertaking represented a lifeline for the artist, and offered its viewers a message of hope in unprecedented times. As part of this project, Hockney included drawings from his “La Grande Cour, Rumesnil, Normadie, 26 Juli 2019”, sketchbook. These almost autobiographical accounts started in the vicinity of the artist’s Los Angeles home...

Large format photograph of a summer beach scene on the Mediterranean island of Lampedusa, from an earlier body of works (2012) by iconic Italian photographer Massimo Vitali, renowned...

a large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of the Northern California redwood forest Redwoods by Erik Pawassa...

an homage to the photo realism + pop art color palette of artist David Hockney Beach Goals by Erik Pawassar 29 x 40 inches (74 x 102cm) signed edition of 25 48 x 67 inches (122 x...

David Hockney 220 for 2020. Art Edition D No. 301–400 ‘My Second Drawing of Beuvron-en-Auge’, 2021 11-color inkjet print on cotton-fiber archival paper 45.7 × 102.6 cm (18 × 40.4 in) Signed, numbered and dated Edition number 347 In mint condition Unframed Hockney made four different prints, each in an edition of 100, to accompany 400 copies of the book(s). Edition D is numbered, as here, 301-400. Edition A, B and C, each have different images for each of their editions, numbered respectively, 1-100, 101-200, and 201-300. There were another 1,620 “collector edition” books numbered in Volume 1, numbered 401-2,200. From a small, picturesque farmhouse in the rich fields and meadows of the northern French region of Normandy, Hockney followed and recorded the changing seasons throughout the COVID-19 pandemic. For the past decade, Hockney’s medium of choice has been the iPad and it was this technological instrument, he used to spontaneously depict impressions of the Norman landscape surrounding him. The two-year project entitled “220 for 2020” documents the passage of time by portraying the first spring blossoms, the smell of summer, the saturated colours of autumn, and the stark shapes of dark branches in winter time. This poetic undertaking represented a lifeline for the artist, and offered its viewers a message of hope in unprecedented times. As part of this project, Hockney included drawings from his “La Grande Cour, Rumesnil, Normadie, 26 Juli 2019”, sketchbook. These almost autobiographical accounts started in the vicinity of the artist’s Los Angeles home...