Jared French Prints and Multiples

The Plumed Hat. c.1912. Drypoint. 10 7/8 x 7 7/8 . A rich impression printed with drypoint burr on cream paper with full margins. Extensive pencil additions. Unsigned. The brimmed ha...

Street in Smyrna. 1889. Etching. Wisselingh 34. 7 x 5 1/4 (sheet 12 7/8 x 8 7/8).Edition 100, number 49. A rich, tonal impression printed on Strasbourg cream laid paper on the full s...

9 5/16 x 8 1/4 (sheet 15 1/4 x 12 3/4). Toning in the image; otherwise good condition. A rich impression with plate tone printed on cream wove paper. Signed in pencil. Housed in a 20...

"Saint Michael Fighting the Dragon (B. 72; M., Holl. 174)" This engraving is a print from the Latin publication of the text of the Apocalypse of 1511. Dürer’s series dedicated to the Apocalypse comprises 15 engravings and a title sheet. The master worked on this series from 1496 to 1498. In 1511, Dürer repeated his Latin edition and provided it with a prohibition on the series being copied. The Apocalypse was intended for extremely varied levels of society. All of the sheets are united by the theme of the battle between good and evil. The work refers to a quote from the Revelation of St. John the Divine: “And there was war in heaven...

Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). The painting is on the right. 1889. Mezzotint. Hardie 54.12 5/8 x ...

Bibi Valentin. 1859. Etching and drypoint. Kennedy catalog 50 state ii; Glasgow catalog 34 state ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. Housed in a 20 x 16-inch archival mat A young girl, sits facing the viewer, leaning on her left elbow, legs extended to left. She wears a high-necked smock and buttoned boots...

Love and Death (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1900. Mezzotint. Hardie 71 between i and ii. 24 1/2 x 12 (sheet 27 1/4 x 13 3/ 8). Edition 350 in state one. London, Published May 1st 1900 by Robert Dunthorne ,5 Vigo Street, London W. Rubbing and discoloration from a previous mat in the margins, well outside the image. A rich proof printed on Japon paper. Signed in pencil by Watts and by Short. Housed in an archival folder ------------------------------------------------------------------------------------------------------- Winged Love...

'La Mode de Paris' Wood-engraving with original hand-colouring. French 1870s fashion illustration, from a series called 'La Mode de Paris'. Signed in ...

Polish painter and graphic designer, Czeslaw Tumielewicz was born in 1942. In 1968, he studied at the Architecture faculty of Gdank, before continuing his course at the Technical Un...

Dans les Cendres (In the embers). 1887. Delteil catalog 67 state iii. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). Etching, drypoint and roulette. 16 3/4 x 12 1/8 (sheet 19 1/2 x 14). Edition 50. Illustrated: Print Collector's Quarterly 9 (1921): 254. A very rich impression with plate tone and drypoint burr, printed on simili-japon. Provenance: Frederick Keppel & Co. This is one of the artist's most striking images. Signed in pencil. Housed in 25 x 20-inch archival mat, suitable for framing. Paul Albert Besnard, was an impressionist painter. In 1866, the seventeen-year-old son of artist parents began his studies at the École des Beaux-Arts Paris. In 1874, Besnard won the important Prix de Rome, with which the academy distinguished young talent. A portion of the scholarship is a stay of several years in Rome. Besnard married Charlotte Dubray, a sculptress, during this time in Rome. The couple lived in England, where Besnard exhibited at the Royal Academy London, between 1881 and 1884. He became involved with English portrait painting during this period, which had a lasting influence on his work. In the years that followed, Besnard broke with the academic tradition. In 1886, he presented the portrait of Madame Roger Jourdain...

Angor Vhat. 1930. Woodcut and drypoint printed in colors. 11 x 13 (sheet 15 7/8 x 16 7/8). Edition 75, # 22. A bright, colorful impression printed on Japanese mulberry paper, with an irregular bottom margin. Signed and numbered in pencil. Housed in a 18 3/8 4 x 19 1/2-inch archival mat, suitable for framing. ---------------------------------------------------------------------------------------------------- Elyse Ashe Lord was a British artist and illustrator who worked in watercolors and drypoint etching. She studied at the Heatherley School of Art in Chelsea. The first public exhibition of her work was in 1919. Her drawings were exhibited at the Brook Street Gallery in 1921.[ In 1922 she became a member of the Royal Institute of Painters in Water Colours. Various large exhibitions of her works were held during her lifetime. Her images typically draw on the Art Deco movement and ideas of Oriental culture, despite the fact that she never visited the Far East. She was a popular artist, even during a time period when the art market, and decorative arts particularly, was suffering from the economic crisis of the 1930s. She lived in Bexley in Kent. ---------------------------------------------------------------------------------------------- Angkor Wat, in its beauty and state of preservation, is unrivaled. Its mightiness and magnificence bespeak a pomp and a luxury surpassing that of a Pharaoh or a Shah Jahan, an impressiveness greater than that of the Pyramids, an artistic distinctiveness as fine as that of the Taj Mahal. Angkor Wat is located about six kilometers (four miles) north of Siem Reap, south of Angkor Thom...

En Pension. 1929-30. Drypoint. Appleby 142. 8 1/2 x 12 1/8 (sheet 11 1/2 x 18 5/16). Edition 100. A rich impression printed on cream wove paper with wide margins. Signed in ink. H...