Giovanni Battista Piranesi

Vaso di marmo antico che si vede nel Museo Capitolino - Etching 1778

1778

Junge Frau mit Blumenvase (Young Woman with a flower vase) is a wonderful black and white etching with aquatint and drypoint interventions on cream-colored paper, realized in 1910 b...

Après l'invasion is an original artwork realized by M.E. de Potestat in 1868. Original etching on paper. Signed on plate and dated on the lower left corner. Titled on the lower mar...

Hand Signed. Edition of 125 prints. Published in the artwork series: "Giacomo Manzù: Fifteen original etchings and aquatints", by Touchstone Suite, New York, 1970. Giacomo Manzù (B...

Bildnis mit florentiner Hut. is a beautiful black and white etching on cream-colored and laid paper, realized in 1898 by Hans Thoma. Monogram and Date on p...

Image dimensions: 36.5 x 23 cm. Fallen Knight from "Intermezzi" is an original print realized by Max Klinger in 1881. Signature and number of the print on plate. Black and white e...

Image dimensions: 26.2 x 34 cm. Il Gran Diavolo Distributore dell'Oro (The Great Devil Distributor of Gold) is a beautiful hand-watercolored etching, realized by an anonymous Italia...

Luca Cruzat, a Chilean born artist, received her MFA from Southern Illinois University, in Carbondale, Illinois (2006). She also holds a master’s degree in foreign Language and Liter...

Etching with relief printing Edition of 45/50 Signed on the front, numbered on the back Mint Published by Manifold Editions, 2021 Our mission is to connect art collectors to opportu...

Aquatint on Marais wove paper Edition of 25 Signed and numbered 25/25 in pencil lower right Duthuit 794

Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

Pissarro, Camille. COUPLE DE PAYSANS. D.125. Etching and aquatint on laid paper. Unsigned. From the posthumous edition of 10 printed in 1923. 4 3/4 x 3 1/8 inches, 118 x 78 mm. (plat...