Pot Figurative Prints

Chester Cathedral - Drypoint Etching in Ink on Paper Dramatic drypoint etching by J. Alphege Brewer (British, 1881-1946). This composition shows the interior of Chester Cathedral in Brewer's characteristic style - highly detailed and with strong contrast. The scene encompasses the cathedral from floor to ceiling, capturing the immense size of the building. There are several people in the scene which contribute to the sense of scale. Signed by hand "J. Alphege Brewer" in the lower right corner. Titled "Chester Cathedral" in plate, lower left corner. Includes original card with artist's name. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 7.75"W James Alphege Brewer was well known in the early 20th century as a producer of color etchings of European cathedrals and other scenes of church, college, and community. He was born July 24, 1881, in the Kensington section of London, England, the son of Henry W. Brewer, noted artist of historical architecture and prominent convert to the Catholic Church, and the grandson of John Sherren Brewer, Jr., “the brilliant editor of the Calendar of Letters of Henry VIII.” His great uncle was E. Cobham Brewer, the polymath who compiled Brewer’s Dictionary of Phrase and Fable. Among his older siblings were the artist Henry C. Brewer and the organist and writer John Francis Brewer. Brewer attended the Westminster School of Art in London, where his brother Henry also trained. In 1910, he married Florence Emma Lucas, an accomplished painter in oil and watercolor, whose father was the noted landscape artist George Lucas and whose great uncle was David Lucas, the famous engraver for John Constable. Florence's brothers Edwin and George assisted Brewer in the printing of Brewer's etchings. Brewer exhibited at the Royal Academy (RA) and the Royal Institute of Painters in Watercolour (RI), at the Paris Salon of the Académie des Beaux-Arts, and in the shows of the Royal Cambrian Academy (RCA). He became an associate of the Royal Cambrian Academy in 1929 and a full member in the last two years of his life. He was also a member of the Hampstead Society of Artists, the Society of Graphic Art, and the Ealing Arts Club, where he was first Honorary Art Secretary and then Honorary Art Chairman. Most of Brewer's larger etchings were published by Alfred Bell...

Lowell Nesbitt Orchid, 1979 Silkscreen on wove paper Pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front Published by Charles Cardinale Fine Creations, Inc., with blind stamp on the front 25 × 25 inches Unframed This work is pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front. About Lowell Nesbitt. Lowell Nesbitt, who was born in Baltimore on Oct. 4, 1933, was a graduate of the Tyler School of Art at Temple University in Philadelphia and also attended the Royal College of Art in London, where he worked in stained glass & etching. In 1964, the Corcoran Gallery or Art in Washington gave him one of his first museum exhibitions, and by the mid 1970's he had decided to leave the museum a bequest of more than $1 million. But in 1989, he publicly revoked the bequest after the Corcoran canceled a disputed exhibition of photographs by Robert Mapplethorpe, who was an old friend. Mr. Nesbitt named the Phillips Collection as a beneficiary instead. He was frequently grouped with the Photo Realists, but his images were more interpretively distorted, somewhat loosely painted and boldly abbreviated. He had many subjects: studio interiors, articles of clothing, piles of shoes and groupings of fruits and vegetables. He also painted his dog, a Rottweiler named Echo, the Neoclassical facades of SoHo's 19th century cast-iron buildings and several of Manhattan's major bridges. Despite such variety, Lowell Nesbitt was best known for gargantuan images or irises, roses, lilies and other flowers, which he often depicted in close up so that their petals seemed to fill the canvas. Dramatic, implicitly sexual and a little ominous, they earned the artist a popularity with the general public that tended to overshadow his reputation within the art world. In 1980, the United States Postal Service issued four stamps based on Mr. Nesbitt's floral paintings. He also served as the official artist for the space flights of Apollo 9...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Vespera; Der Abend (Evening; The Evening)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.5" x 16.63" Image size: 17.38" x 13.63" Condition: Soft handling creases and folds to sheet. Some scattered foxmarks in left margin. Two small tears skillfully repaired from verso in margins. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Meridies; Der Mittag (Noon; The Midday)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.5" x 16.32" Image size: 18.13" x 14.32" Condition: Soft handling creases and folds to sheet. A few light areas of staining and scattered small areas of discoloration in margins. Two small tears skillfully repaired from verso in margins. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Artist: Lambrecht Hopfer (German, Active c. 1525-1550) Title: "The Crucifixion (Christ on the Cross)" Portfolio: (after) The Engraved Passion *Issued unsigned, though monogram signed by Hopfer in the plate (printed signature) lower right Circa: 1530 (second state of three, published c. 1690) Medium: Original Etching on laid paper Limited edition: Unknown Printer: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Publisher: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Reference: Bartsch No. VIII.527.12; Hollstein No. 12.II Framing: Recently framed, the sheet is floated over, and top-matted with a 100% cotton fabric rag mat from Holland in a wood moulding and Museum glass Framed size: 14.88" x 13.88" Sheet size: 5.5" x 3.63" Condition: Trimmed to platemark. A few tiny professional repairs: at elbow of Jesus's right arm and the inside thigh of Jesus. Some light skinning upper right corner and lower right area. It is otherwise a strong impression in good condition Very rare Notes: Provenance: private collection - Green Bay, WI; acquired from Sotheby's, New York, NY in c. 2015. The artist Lambrecht Hopfer's printed monogram signature "LH" lower right. The printer/publisher David Funck's (plate) number "182" lower right. This etching is after Albrecht Dürer’s 1511 engraving "The Crucifixion (Christ on the Cross)", ("Dürer-Katalog" - Meder No. 13, page 73). Printed in black from an iron plate. The image depicts Christ on the cross at center, the Virgin at left, two Maries behind her, St. John standing at right, a Roman solider behind him. It is after the eleventh plate of Dürer's sixteen plates from his 1507-1513 "The Engraved Passion" series, ("Dürer-Katalog" - Meder No. 3-18, page 70-74). "The print was originally designed without the number engraved in the lower margin (First state: Lambrecht Hopfer, c. 1530). The Hopfers' descendant David Funck (Nuremberg, 1642–1705) acquired over two hundred of their original iron plates, engraved numbers into them, and re-printed them around 1686-1700. The "182" indicates that "The Crucifixion" was the 182nd print in Funck’s series (Second state: David Funck, c. 1686-1700). About a century later, 92 of these plates were acquired by Carl Wilhelm Silberberg in Frankfurt and printed for the third and final time in the book "Opera Hopferiana", of which "The Crucifixion" was the 90th print (Third state: Carl Wilhelm Silberberg for "Opera Hopferiana", 1802)". - Elizabeth Upper, Cambridge University Library, University of Cambridge, Cambridge, UK Biography: Lambrecht (Lambert) Hopfer (Active c. 1525-1550) was a German Old Masters printmaker. He was the brother of Hieronymus Hopfer (Active c. 1520-1530) and son of Daniel Hopfer...

Engraving on cream laid paper, 8 x 5 7/8 inches (202 x 149 mm), trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the ...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Aurora sive Tempus Matutinum; Der Wohl und Übel angewandte Morgen (Dawn or Morning Time; The Morning Used for Better or For Worse)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.57" x 16.38" Image size: 17.75" x 14" Condition: Soft handling creases, folds, and scattered faint areas of discoloration to sheet. Three tears skillfully repaired from verso. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

ARTIST: Salvador Dali TITLE: The Hippies Flower Woman at The Piano MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: 19/145 MEASUREMENTS: Paper - 20" x 25.6" ...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

Vintage poster for the 1982 Summer Festival season of the San Francisco Opera. David Hockney designed the whimsical sets and costumes for the San Francisco Opera's production of Igor...

Etching and drypoint on heavy cream laid paper, 3 3/4 x 3 1/4 inches (96 x 83 mm), narrow margins. In very good condition with some minor surface soiling. [Björklund's second state ...