Drypoint More Art

This is an original drypoint realized by Joan Miró in 1975. Hand signed in pencil on the lower right and numbered on the lower left. Edition of 75 prints. It represents an abstract s...

Technique: Aquatint and etching Paper: Gourbeyre wove paper with watermark “Au Vent d’Arles” Edition: 73/75 Signed: Hand-signed and numbered in pencil Printer: Atelier Crommelynck, P...

Larry Clark The Smell of Us, 2015 Limited Edition softcover book printed on heavy paper stock in oblong binding (Edition: 250) 5 1/2 × 8 inches This first edition book by Larry Clark...

Hans Bellmer, Untitled (Two Nudes), engraving and drypoint, 1971, edition 99. Signed and numbered '94/99' in pencil. A fine impression, on Arches cream wove paper; the full sheet wit...

David Hockney Hand made Fine Bone China Jewelry/Trinket Box for The Rake's Progress Drop Curtain, 2019 Fine bone china finished with platinum gilding in presentation gift box David H...

Sold without frame Executed in 2015, this work is a poster from an unnumbered limited edition of approximately 300, published by Astrup Fearnley Museet, Oslo on the occasion of the ...

Bauer works with found natural objects. Leaves, stones, pieces of wood…ephemeral natural things, easily overlooked. And she use crochet; sometimes as embellishment, but mostly in a m...

Raymond Pettibon Santa Monica, CA 1999: Rare vintage Raymond Pettibon illustrated announcement card published on the occasion of: “Works By: Pettibon, Kelly, Goldin, Holzer:” November 3 thru December 1 1999: IKON, LTD./Kay Richards Contemporary Art: Santa Monica, California. Medium: offset printed announcement card. 1999. Approx Dimensions: 4 x 5.25 inches Very good overall vintage condition; unsigned from an edition of unknown. Raymond Pettibon is a contemporary American artist known for his stylized ink drawings combining images and text. His inventive narratives blend historical content with consumer culture to yield incisive critiques of contemporary society. “I was making my work as transparent as possible, without equivocations, without calling attention to itself, without apology,” he explained. “There's a lot of conventions in the art world that are not to be transgressed, but my economy of means doesn't abide by those strictures.” Born Raymond Ginn on June 16, 1957 in Tucson, AZ, the artist is self-taught, but cites drawings by William Blake, Edward Hopper, Francisco Goya, and John Sloan as instructive to his practice. Deriving inspiration from comics, cartoons, and other pop culture iconography, Pettibon began designing album covers and ephemera for his brother’s band Black Flag in the mid-1970s. He went on to produce cover art for Sonic Youth, the Minutemen, and the Foo Fighters. In 2017, the artist was the subject of the major retrospective “Raymond Pettibon: A Pen of All Work,” held at the New Museum in New York, where he currently lives and works. Today, his works can be found in the collections of the Centre Georges Pompidou in Paris, The Museum of Modern Art in New York, and the Tate Gallery in London, among others. Related categories: Raymond Pettibon poster...

Seascape , 70x70cm, print on canvas Edition 20 pcs.

sisterhood , 70x70cm, print on canvas Edition 20 pcs.

Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition. Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Syracuse University Art Museum. ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

This is an original etching and drypoint realized by Joan Miró in 1975. Hand signed in pencil on the lower right and numbered on the lower left. Edition of 75 prints. It represents ...