Edouard Vuillard

La couturiere (The Dressmaker)

c. 1894

In the Salon Lithograph on tan wove paper, c. 1910 Signed in pencil lower right; signed in the plate lower right (see photo) Annotated "No. 20" in pencil lower left (see photo) Condition: Excellent Image size: 13-7/8 x 10-1/2 inches Sheet size: 19 x 14 1/4 inches Provenance: Estate of the Artist Borghi & Co., New York Herb Lerner, Boca Raton, FL Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel...

La Negresse (The Negress) Etching & drypoint, 1909 Unsigned (as issued in the portfolio) From the album "Les Bars" (8 plates plus cover illustration) Editi...

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II P...

Landscape with Window and Chair Mezzotint on wove paper, 2000 Signed in pencil lower right (see photo) Edition: 150 (93/150) (see photo) Special Presentation Print for the Print Club of Albany, 2000 Condition: Mint Image/Plate size: 4 1/2 x 3 1/2 inches Sheet size: 7 x 5 1/2 inches From the Print Club of Albany: "Kipniss states that it is part of his working process to explore an image in pencil, in paint and in print. As the image evolves, its ramifications lead to hints of the next work. This image is well-suited for this medium since in mezzotint the artist literally draws the light as he burnishes the tiny rocked copper pinholes that trap the ink and become the image." From 1968 into 1990, Kipniss created lithographs that followed the style and content of his paintings, whether generally or specifically. A commission from a print publisher in 1968 for five editions of lithographs precipitated his adoption of lithography as a medium. Kipniss's first lithographs were done in black and white, but by 1970 he was also working in color. He taught himself "to lay in the most delicately light silvery tones on the surface of the limestone by maintaining an exceptionally sharp point on the lithographic pencil and drawing with no pressure other than the weight of the pencil itself." He built up a support so that his hand and wrist could "dangle" over the stone. By 1990 Kipniss had completed about 450 editions of lithographs, usually of 90 to 250 impressions, at the Burr Miller studio in Manhattan. He worked from 1969 with master printer Burr Miller and then with Steve and Terry, his sons. Works by the artist are in the following public collections: • Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, California Palace of the Legion of Honor* • Albertina Museum, Vienna, Austria* • Albright-Knox Art Gallery, Buffalo, NY • Arkansas State University Permanent Collection, State University, AR • Art Institute of Chicago, Chicago, IL • Art Museum of Western Virginia, Roanoke, VA • Art Students League of New York, New York, NY • Bates College Museum of Art, Lewiston, ME • Berkshire Museum, Pittsfield, MA • Bibliothèque nationale de France, Paris* • Boston Athenæum, Boston, MA • Bowdoin College Museum of Art, Brunswick, ME* • British Museum, London, England* • Brooklyn Museum of Art, Brooklyn, NY* • Butler Institute of American Art, Youngstown, OH • Canton Art Institute, Canton, OH • Carnegie Museum of Art, Pittsburgh, PA • Century Association, New York, NY • Cleveland Museum of Art, Cleveland, OH* • Columbus Museum of Art, Columbus, OH • Coos Art Museum, Coos Bay...

Gaiety Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition); Numbered in pencil lower left; Blind stamp of the Whitney Museum (WM) lower right Edition: 114, regular ed...

The So-Called Tempio della Tosse, Near Tivoli. Interior Upright (Veduta interna del Tempio della Tosse) "Temple of the Cough" Etching, 1764 Signed in the plate From: Vedute di Roma...

This art work titled "La Conversation" 1991 is an original color lithograph on wove paper by French artist, Jean Pierre Cassigneul, born 1935. It is h...

Signed lower right, 'Arbit Blatas' (Lithuanian, 1908-1999) and with number and limitation, '123/195', lower left. Lithuanian born, Arbit Blatas first studied in Paris at the Academie de la Grande Chaumiere and, subsequently, at the Academie Julian. He was a member of the Salon d'Automne where he also exhibited. Other exhibition venues included the Carnegie Institute, the Pennsylvania Academy, the Santa Barbara Museum and the Rhode Island School of Design. An artist of great range, his vivid colors and joie de vivre extend through his entire canon of paintings: landscapes, portraits and still-lives. The distinguished French art critic, Jean Bouret, summed the artist up in this way: "He is color, his palette is color, exuberant and sensual, as is the man." On the other end of Blatas' artistic spectrum, the noted Italian art historian Enzo di Martini wrote of the Monument of the Holocaust: "In complete contrast to his paintings, these bronzes are hammered and chiseled in anger and tragedy." In 1929 he began to exhibit regularly at the Salon D'Automne and the Salon des Tuileries in Paris. At the age of twenty-one, he became the youngest member of the School of Paris and a friend and colleague to many of the great figures in the Parisian art world such as Vlaminck, Utrillo, Soutine, Picasso, Derain and Matisse. Blatas eventually painted or sculpted them all and his forty-nine portraits in oil and bronze are considered a unique document of that period in Paris. The artist exhibited regularly in the principal galleries of New York, Paris and London. His works are also included in some of the most valued private international art collections. Sheet dimensions: 25.5 x 19 inches. Partial List of Exhibitions: NEW YORK - Pierre Matisse Gallery; Associated American Artists; French Art Gallery; Bignou Gallery; Fine Arts Associates; Hirschl & Adler Galleries, Inc.; Eastlake Gallery; Beacon Hill Fine Arts Gallery PARIS - Galerie Zborowski; Salon D'Automne; Salon des Tuileries; Galerie Mouradian-Van Leer; Galerie Mouradian-Vallotton; Salon Populiste; Galerie de l'Elysée; Galerie André Weil; Galerie Bernheim-Jeune; Galerie René Drouet LONDON - Wildenstein Gallery; Grosvenor Gallery; Archer Gallery; Fine Arts Society; Redfern Gallery VENICE - Gritti Palace; Chiesa di San Samuele; Teatro Goldoni; Galleria Graziussi; Chiesa San Stae TREVISO - Teatro Comunale LAUSANNE - Galerie Vallotton TORONTO - Goethe Institute MONTREAL - Gallery Moos SYDNEY - Holdsworth Gallery. Partial List of Collections: USA - Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of the City of New York; National Portrait Gallery; the Smithsonian Institution; Carnegie Institute, Pittsburgh; Rochester Museum; Virginia Museum; Delgado Museum, New Orleans; Palm Springs Desert Museum; Wichita Art Museum FRANCE - Jeu de Paume, Paris; Le Centre Pompidou...

Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch...

Tavern is a black and white etching on paper, realized in 1952 by Marcel Gromaire (1892-1971). Monogrammed on plate on the lower left corner. Good conditions except for some foxing...

Painted by Victor Di Gesu (American, 1914-1988) circa 1955 and stamped, verso, with Victor di Gesu estate stamp. A bold, expressionist monotype showing two young women seated side b...

This is a pair of framed 19th century tinted lithographs with hand-coloring entitled "Gallery Over the Hall, Knowle, Kent" and "Terrace Bramshill, Hants" by Charles Joseph Hullmandel (1789-1850) after drawings by Joseph Nash (1809-1878), from "Mansions of England in the Olden Time", published in London in 1839-1849. Nash's publication consists of a series of views of Tudor domestic architecture, which Nash said depicted "the most characteristic features of the domestic architecture of the Tudor Age, and also illustrating the costumes, habits, and recreations of our ancestors." The scenes of the aristocratic ladies and gentlemen (including Henry VIII and Queen Elizabeth I), who are depicted inhabiting the rooms of these great houses, were taken directly from the portraits on the walls. Charles Joseph Hullmandel, was involved in the creation of these lithographs. He was a famous British lithographer, who invented the "lithotint" process, which he named and patented in 1840. This technique, allowing for greater nuance and value gradation than pure lithography, was an ideal means of expression for Nash's historically rich and picturesque depictions of Tudor mansions and their inhabitants. Hullmandel is also remembered for creating many lithographs from the paintings by J. M. W. Turner. The "Gallery Over the Hall" depicts a great hall with children playing with skittles (wooden pins resembling bowling pins), a doll and what looks to be a St Charles spaniel, while a lady in Tudor attire watches over them next to a massive stone fireplace. Adults are watching from in the distance while a man bows...