Raoul Dufy

Nautical Festival | Fête nautique - France Nautical Dufy & Villon Collab

1926

This complete set of fifty etchings, aquatints and drypoints are each hand signed by the artist "Edgar Chahine" at the lower left margins. The folio was printed by A. Routy, Paris an...

LESSER URY 1861-1931 Międzychód, Poland 1861 - 1931 Berlin (German) Title: Dutch Themes Holländische Motive, 1922 Technique: Complete Set of Seven Original Hand Signed an...

GIORGIO MORANDI 1890-1964 Bologna 1890-1964 (Italian) Title: View of Montagnola, Bologna Veduta della montagnola di Bologna, ca. 1932 Technique: Original Hand Signed and Numbered ...

This original etching is hand signed in pencil by the artist "Hockney" in the lower right margin. It is hand signed in pencil from the edition of 100, at the lower left corner. There were also 15 artist’s proofs aside from the standard edition. The suite was published in four sets (A, B, C & D) for a total edition of 100. It was printed by Piet Clement at The Print Shop...

LUDWIG MEIDNER (1884-1966) Bernstadt 1884 - 1966 Darmstadt (German) Title: Street in Wilmersdorf, from: The Creators Straße in Wilmersdorf, von: Die Schaffenden, 1913 Technique: O...

KARL SCHMIDT-ROTTLUFF 1884-1976 Rottluff, Germany 1884 - 1976 Berlin (German) Title: Animated Autumn Landscape Bewegte Herbstlandschaft, 1967 Technique: Signed and Dated Brush, I...

Tree & Handkerchief. Original color aquatint and etching, 1978. Edition of A.P. (artist’s proof) signed and numbered impressions on Arches paper. Kyu-Baik Hwang is contemporary painter and printmaker, from South Korea. He served in the military during the Korean War, and after the war he began to paint. Latter, he traveled across Europe and America and got inspired by many of their cultures and artists. Displacing ordinary objects from their original environments, typical for his works is often compared to Surrealist’s art from the 20th-century. Unlike surrealists, who rejected mind control...

My Village. Original aquatint, 1981. Ivan Rabuzin was a Croatian naive painter and one of the most eminent lyric painters of the 20th century in Croatia. For many years he worked as ...

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

Sparire means "to disappear" in Italian. This large-scale, dreamlike print spans almost ten feet. Enzo Cucchi Sparire 1, 1988 Color etching, aquatint and silkscreen 30 1/2 × 118 in ...

Sheet from “Rapunzel” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “Rapunzel, Rapunzel let down your Hair” etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Etching 10.5 × 9.85 in. / 26.7 × 25 cm Paper 17.5 x 12.25 in. / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. Perhaps the most famous story from the Grimm Brothers, Rapunzel spins the tale of a beautiful young princess locked away by an evil sorceress. Captured in this scene is the moment a King's son came across the tower and fell in love with her sweet singing, beseeching her: 'Rapunzel, Rapunzel, Let down your hair to me.' Though the sorcerer banishes Rapunzel and maims the prince, they are of course ultimately reunited to live happily together. Hockney illustrates this scene with incredible texture detail: layers of aquatint defining the soft forest floor, delicate hatching on the horse's haunch, the tower's tight crosshatching, and of course the lyrical gesture of Rapunzel's hair which cascades from the upper right corner. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...

A glowing lemon-yellow wash of color floods this erotic beach landscape with light. Hidden in the dappled shadow of a tree, a nude woman glances downward as she applies sunscreen. A ...