Eric Gill

Dilecti Mei Pulsantis

1931

Original wood engraving, 1925, on smooth cream wove paper, signed and numbered in pencil, sheet 32.2 x 25.4 cm. (16.7 x 10 in.) The Harem was one of the original wood engravings designed by Eric Gill as illustrationsant series of prints, displaying every aspect of the striking yet graceful individual style for which Eric Gill is famed. for the Golden Cockerell Press edition of The Song of Songs, published in 1925. This overtly erotic engraving...

Etching and aquatint in colours, 1964, on Richard de Bas wove paper, signed in pencil and numbered 41/50 from the edition of 50, printed by Pennequin for Atelier Crommelynck, publish...

Lithograph in colours, 1969, on wove paper, with the artist's printed signature as issued, numbered from the French edition of 250 and inscribed with an ‘F’(there was also an America...

Lithograph in colours, 1969, on wove paper, with the artist's printed signature as issued, numbered from the French edition of 250 and inscribed with an ‘F’(there was also an America...

Suite of five relief prints, 2019, on Hahnemühle Aurora paper, signed in pencil on and numbered from the edition of 35 (there were also 8 artist’s proofs), published by PACE NY, 100 ...

Lithograph in colours, 1984, on wove paper, signed and dated in pencil, numbered from the edition of 98, printed and published by Tyler Graphics, Ltd., Bedford, New York, 74.9 x 55.8...

Shift Change Mike Goscinsky, American (1933–2021) Woodblock on thin wove paper, signed, titled and numbered in pencil Edition of 15/75 Image Size: 14 x 19 inches Size: 22 x 26.5 in. ...

Semicircular Device. 1916. Wood engraving. Physick 77. 1 1/8 x 3 5/8 (sheet 1 13/16 x 4 5/16). Printed on Japanese mulberry laid paper mounted on a backing sheet. Initialed in pencil...

Animals All: WHO WERE THE FIRST TO CRY NOWELL ANIMALS ALL AS IT BEFELL. 1916. Woodcut. Physick 51. 14 7/8 x 16 3/8 (sheet 25 x 27 ). No published edition. Printed on simili-Japan pa...

Hooves. 1927. Woodcut. 7 1/2 x 12 (sheet 11 7/8 x 15 1/8). Printed on heavy Japanese mulberry paper. Signed, dated, and titled in pencil. An example of this work is in the collectio...

Avery, Milton. NIGHT NUDE. Woodcut, 1953. Edition of 25 in black and white (there were a further 25 printed in black and blue). Signed, dated and numbered "6/25" in pencil, and also ...

Eugene Larkin Quartet No. 1 Woodcut in two colors Signed and titled by hand Size: 20 x 29.5 inches COA provided Eugene Larkin (1921-2010) The late Eugene Larkin was an artist who worked in the Twin Cities area for many years and needs little introduction. His works have been shown, collected and appreciated by numerous galleries, museums and collectors throughout the United States. Larkin was influential both as an artist and as a teacher. He taught at the Minneapolis College of Art and Design between 1954 and 1969, where he was head of printmaking and Chairman of the Division of Fine Arts. From 1969-1991 he was a professor in the Design Department at the University of Minnesota. Eugene Larkin, a lithographer, teacher and artist who left behind scores of works, some of them in the permanent collections of the Library of Congress and the Museum of Modern Art. He was considered an early promoter of lithography education, Larkin introduced it into arts programs while teaching at the Minneapolis College of Art and Design and the University of Minnesota. He held a prominent place in the art world through decades of working and teaching in Minneapolis. His work depicted a wide range of subjects, from musicians to nature, including a series of woodcuts based on William Blake's ""Songs of Innocence and Experience." Larkin also wrote a textbook, ""Design: The Search for Unity."" It was his work with lithography, an 18th-century printmaking process, for which he was best known. His last local exhibit was a retrospective at The University of Minnesota Weisman Museum in 2005. ""Sometimes I start the artistic process from a literary source - Adam and Eve, the Egyptian nature gods, or classical Greek themes but sometimes I start from nature. Trees have always been a favorite subject. I see trees as people, as vertical objects...