Troy Kinney

"Anna Pavlova in Fairy Wand" Original Etching and Drypoint by Troy Kinney

1922

This refined etching and drypoint was realized by the esteemed American artist Troy Kinney in the United States circa 1920. The work features two dancing figures- a woman leaning against the male figure behind her, perhaps moments before being hurled into the air or spun in a graceful twirl. She dons a tutu and ballet slippers that are loosely and abstractly rendered against a white background. The gentleman sports a white shirt and black vest. Both of them have a shock of flaxen hair that offers a beautiful tonal complement to the textured muted jade background. With its refined color palate, clean modernist lines, and masterful handling of the medium, this piece would be a winning addition to any interior regardless of the style of interior. Given the artist's importance and placement within esteemed collections (private and institutional), this piece represents a winning acquisition for collectors of first rate modern art as well as exquisite objects. It comes presented in a custom gilded gallery frame and is in excellent vintage condition. Troy Sylvanus Kinney (December 1, 1871 – January 29, 1938) was an American artist, best known for his compelling works portraying dance performers, fanciful subjects, and classically styled nudes...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, who is represented in the collections of the Metropolitan Museum, the Philips Memorial Gallery in Washington and the Brooklyn Museum, to name only a few of the many institutions that feature his work. This print, with its highly considered composition and its loose style of figuration- deftly balances realism and abstraction- helps to explain his acclaim. This etching features a mother walking with her child and two goats in a forested glen. It is a Classic pastoral scene rendered in Costigan's inimitable style- somewhere between Theodore Rousseau and Thomas Hart Benton. These offer a beautiful glimpse of a bygone American pastoral...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, circa 1930. He is represented in the collections of the Metropolitan Museum, th...

This stunning etching, part I of the Treffpunkt Suite (meaning "meeting point" in German) by esteemed artist Jürgen Görg was realized in Germany during the latter half of the 20th century. Under colorfield blocks of sherbet orange- like a geometric tapestry of clouds- the composition depicts two figures in an intensely rapt and erotically charged meeting. On the left, female form sits on a slatted folding chair in a low cut silk dress with tousled hair and one hand elegantly outstretched behind her. Her other hand holds an oversized venetian mask in front of her face, as one strap from her evening gown slips off her shoulder revealing her collar bone. To her right, a man emerges from an indeterminate space holding an even larger white venetian mask that conceals his face with his hand reaching forward towards this lady's upper thigh. The nature of their interaction, as well as the setting and identity of these characters remains deeply enigmatic. Are they strangers meeting at a masquerade ball? Lovers involved in some sort of erotic game? The answers to these questions remain elusive, and serve to add intrigue and power to the work. Its masterful handling of the medium and clean modernist lines make this piece a winning acquisition for discerning collectors of first rate modern art as well as those with a penchant for unusual and compelling objects. It would be a winning addition to any style of interior from classic Mid Century Modern to contemporary. It comes presented in a custom gallery frame and is in excellent vintage condition. The work is signed, titled and numbered "52/150". Jürgen Görg is a German artist best known for his Renaissance-inspired paintings and drawings, often depicting erotic figures...

This sophisticated lithograph was executed by the renowned visual artist Peter Eugene Ball circa 1970. Realized in black and white, it depicts a styl...

This sophisticated etching on paper was realized by the self-taught outsider artist Gianfranco Asveri (b. 1948), in the latter half of the 20th Century. Rendered in an Art Brut style, the composition offers a cluster of four rectangular planes- like little vignettes- each inscribed with their own scene. Predominantly abstract- but leaving plenty of room for interpretation- these rhombus forms offer miniature worlds within teeming with what appear to be loosely rendered figures, rolling hills and stylized clouds. These figurative elements are created with frenetic and energized strokes- full of verve and dynamism- and largely in black pigment against a warm off white paper. The most clearly articulated figurative element appears in the bottom right rectangular pane of the composition. A person in a dress or frock with elementally drawn, stick- figure like arms extended outwards, whose body is turned sideways (captured in flight as a phantasmagoric figure perhaps). A solid hourglass block of umber pigment and a chalky olive green represent the only chromatic accents, offering a restrained contrast to the monochromatic dominance of the piece. Reminiscent of the work of Lee Lozano...

This original etching and drypoint is hand signed in pencil by the artist "L. Ury" at the lower left margin. It was published in an edition of 110 hand signed impressions by Propyläe...

This original etching and drypoint is hand signed in pencil by the artist "L. Ury" at the lower left margin. It is also hand numbered in pencil from the edition of 150, at the lower ...

Dans les Cendres (In the embers). 1887. Delteil catalog 67 state iii. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). Etching, drypoint and roulette. 16 3/4 x 12 1/8 (sheet 19 1/2 x 14). Edition 50. Illustrated: Print Collector's Quarterly 9 (1921): 254. A very rich impression with plate tone and drypoint burr, printed on simili-japon. Provenance: Frederick Keppel & Co. This is one of the artist's most striking images. Signed in pencil. Housed in 25 x 20-inch archival mat, suitable for framing. Paul Albert Besnard, was an impressionist painter. In 1866, the seventeen-year-old son of artist parents began his studies at the École des Beaux-Arts Paris. In 1874, Besnard won the important Prix de Rome, with which the academy distinguished young talent. A portion of the scholarship is a stay of several years in Rome. Besnard married Charlotte Dubray, a sculptress, during this time in Rome. The couple lived in England, where Besnard exhibited at the Royal Academy London, between 1881 and 1884. He became involved with English portrait painting during this period, which had a lasting influence on his work. In the years that followed, Besnard broke with the academic tradition. In 1886, he presented the portrait of Madame Roger Jourdain...

En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge s...

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...