Louis Lozowick

Louis Lozowick "Old Willows" Woodcut

1940

Mystery monogrammed early San Francisco etching. Great little piece of San Francisco history showing a lighthouse in Golden Gate. Etching measure...

W.R. Locke: 1882-1949. Listed American etcher who studied with Alfred Hutty. He is best known for these charming Florida scenes. Image measures 5 1/2 inch...

Jacob Pins: 1917-2005. Was a German born Israeli woodcut artist and art collector. He has had auction results over $3000 for a print. This powerful scarce example...

Moses Strikes the Rock Louvre Museum Etching Late 19th Century Remarkable detail in this fine etching done by the Louvre in Paris. The Louvre has the largest collection of original ...

Aldo Luongo "Windy Beach II" Serigraph c.1990 Signed / Numbered Beautiful vintage serigraph by listed Argentinian / American artist Aldo Luongo (b. 1941) The scene is windy beach in the dunes, with reeds blowing in the wind. This is a large serigraph...

San Francisco from Telegraph Hill Serigraph by Marco Sassone 20th c. Limited edition pencil signed serigraph by listed California / Canadian artist Marco Sassone. San Francisco from...

Werner Drewes (1899-1983), Farm in the Woods, woodcut, 1933, signed and dated in pencil lower right (also numbered 1-xxx and titled lower left). Reference: Rose 83. In very good cond...

This artwork titled "Iris at Dusk" 1980 is an original color woodblock print with embossing by American artist Daniel Joshua Goldstein, b.1950....

Calapai, Letterio. ROCKWELL KENT'S STUDIO. Wood engraving, 1980. Titled, numbered 7/75 and signed in pencil. 6 x 8 7/16 inches, 153 x 216 mm. In very good condition. Framed.

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...

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...

David Hockney 220 for 2020. Art Edition No. 101–200 ‘Self-Portrait in My Living Room’, 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 (from an edition of 100) In mint condition Unframed 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...