Art by Medium: Intaglio

Photogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium muse...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited by Denis Diderot and Jean le Rond ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited ...

Carriage engraving from the Encyclopedie ou Dictionnaire raisonne des sciences, des arts et des metiers, par une societe de gens de lettres. edited by Denis Diderot and Jean le Rond ...

Collagraph with Monoprint technique. Each print is one-of-a-kind. This print also uses the Japanese technique Chine-Collee.

Collagraph with Monoprint technique. Each print is one-of-a-kind. This print used the Japanese Chine-Collee technique additionally.

Hand signed and numbered by the artist. Sheet size: 26 x 19.8 inches. Edition 126/400. Catalogue Raisonné: Field 75-4K, pp. 101. Artwork is in excellent condition. All reasonabl...

Edward S. Curtis Flute Dancers At Tureva Springs 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #431, The North Ameri...

Edward S. Curtis The Piki Maker 1906 Photogravure Print 22 x 18 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #432, The North American Indian, o...

Direct to plate photogravure and aquatint. Edition of 40.

Artist: Damien Hirst Title: The Souls on Jacobs Ladder (04) Take Their Flight Medium: Hand-inked photogravure on 400 gsm Velin d’Arches paper Size: 47 1/8" x 42 5/8" Year: 2007 Signe...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Inscribed with Muybridge's letterpress credit, series title, plate number and date Stamped on reverse with Museum of Edinburgh 'Science and Art' stamp Collotype print 18 x 23 1/2 inc...

Edition of 7 With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into...

Social Climber, intaglio and mezzotint portrait on paper by Lisa Yuskavage, 90s - female nude stylized Social Climber 1996-1998 Signed, titled, and numbered in pencil, recto Intag...

Untitled (Jonathan) [Portrait of Jack Pierson], Photograph by Mark Morrisroe 1978/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x 3.25 i...

A black and white picture of two men Untitled (Stephen and Jonathan) [Portrait of Stephen Tashjian and Jack Pierson]. 1979/1996 Editioned in pencil, verso Photogravure (Edition o...

Untitled (Lady Hamlet), black and white portrait photograph by Mark Morrisroe 1984/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x 3.25 ...

Untitled (Lynelle), black and white photograph by Mark Morrisroe Untitled (Lynelle) 1986/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x...

Untitled (Lynelle, Close-up) 1985/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4.25 x 3.25 inches, plate Contact gallery for price. “Mark w...

Untitled (Still Life with Chanel Bag), black+white photography by Mark Morrisroe Untitled (Still Life with Chanel Bag) 1986/1996 Editioned in pencil, verso Photogravure (Edition o...

A black and white self portrait by Mark Morrisroe printed as a photogravure in 1996. Self Portrait 1980/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inche...

Untitled (View from Jersey City Apartment), Black and White Photograph by Mark Morrisroe 1986/1996 Editioned in pencil, verso Photogravure (Edition of 46) 16 x 11 inches, sheet 4...

Street Palm by Howard Hodgkin, 1990-91 Additional information: Medium: intaglio print with carborundum from three aluminium plates printed in green, green and yellow (mixed), ultramarine blue and white (mixed), with hand-colouring in vermillion red egg tempera 160 x 137 cm 63 x 54 in signed with initials, numbered and dated Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

Tom Friedman Vanishing Point, 2006 Photogravure from 25 shaped plates and five blind embossments on Somerset satin paper Paper Dimensions: 42 7/8 x 40 3/8 inches (108.9 x 102.6 cm)...

With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into the global ar...

Edition of 7 With his works included in the permanent collection at the Norton and the New Britain Museum, Drew Tal’s successful career has been nothing but a soaring ascension into...

Pickaxe (Spitzhacke) Superimposed on a Drawing of the Site by E.L. Grimm, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Unframed: 26" x 20" Framed: 28.75" x 22.75" Signed and Dated Lower Right Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Edition of 200 Contact gallery for price This work is offered by ClampArt in New York City.

Signed in pencil, l.r. Edition of 200 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price. This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Edition of 50 Contact gallery for price This work is offered by ClampArt in New York City.

Signed, l.r. Photogravure (Edition of 50) Contact gallery for price This work is offered by ClampArt in New York City

Photogravure (Edition of 200) Contact gallery for price. This work is offered by ClampArt in New York City.

High Gloss Aluminum

Photogravure (Edition of 46) Editioned in pencil, verso 16 x 11 inches, sheet 4.25 x 3.25 inches, plate This artwork is offered by ClampArt, located in New York City. “Mark was an...

Photogravure (Edition of 46) Editioned in pencil, verso 16 x 11 inches, sheet 4.25 x 3.25 inches, plate This artwork is offered by ClampArt, located in New York City. “Mark was an...

It is hard to characterize John Baldessari’s varied practice—which includes photomontage, artist’s books, prints, paintings, film, performance, and installation—except through his ap...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...

Beauty is only skin deep. But ah! me; freckles go to the bone. ~Mark Twain April, a freckled woman in this series, told me a story from her childhood: One day after playing outsid...