Mezzotint Interior Prints

ROMARE BEARDEN 1970-1980 THE LAMP (after the 1984 collage on board by Bearden) Vintage 1984 Commemorative Poster - Brown v. Board of Education 30 Years later: "The Politics of Excel...

Moise KISLING Table of Summer Fruits Original Lithograph On Arches vellum 28 x 38 cm (c. 11 x 15 inches) Very good condition

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

This vibrant abstract orange and green print is part of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), These…Plants) by Howard Hodgkin. The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, green watercolor contrasts beautifully with marigold orange, crimson, and terra cotta red. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring in a yellow watercolor wash and green gouache on Stoneridge mould-made etching paper. Edition 100. Howard Hodgkin was introduced to the etching technique used in Artist and Model (in green and yellow) at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Catalogue reference: Elizabeth Knowles...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

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...

2000 Tony Awards Poster Signed by Celebrity Presenters Autographed Broadway Offered is the 2000 Tony Awards poster signed by the presenters, including: Matthew Broderick, Kristen Chenoweth, Kelsey Grammer, Jane Krakowski, Bernadette Peters, Ann Reinking...

THE DOOR OF JUSTICE is an original, hand drawn, limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor bes...

This original graphic art lithographic poster entitled "Chez Panisse Restaurant and Cafe" was created by David Lance Goines in 1989 in his Berkeley studio...

Marcel Mouly (French 1918 - 2008) Untitled lithograph on woven paper with deep saturated colors in excellent condition. Well framed under plexiglass with a double matt, signed lowe...

Contemporary artist Peter Milton created this etching and engraving entitled "Interiors VI: Soundings" in 1989. The printed image size is 29 7/8 x 23 13/16 and paper size is 36 x 29 inches. This impression is signed, dated, and titled in pencil and inscribed “93/175” – the 93 impression of 175. “I do love to draw. I feel that I am being granted membership in the Brotherhood of Merlin, conjuring forth some apparition. As a drawing develops, I sense a vague presence coming more and more into focus, something in a white fog emerging and becoming increasingly palpable.” – P. Milton, “The primacy of touch. The Drawings of Peter Milton” “Working in layers, Milton begins with drawings based on people and places, with nods to Western art history and culture. He is a master of the appropriated image, a term that may conjure Andy Warhol and his Pop Art comrades. But Milton steps further back in history, avoiding the Pop sense of cool advertising and popular culture references. Instead, a broader cultural past is tapped through historical photographs of key players, architecture, and locales, which he reinvents by hand. He adds content drawn from his life as an avid reader – always with multiple possible interpretations – thus incorporating deeper meaning in his cinematic worlds. Elements of Greek mythology, classical music, art history, and history coalesce in his images, which embrace the messiness, sorrow, and elation that is life. One is hard-pressed to imagine a more erudite, skilled, passionate, and cheeky soul." – T. L. Johnson and A. Shafer Peter Milton was born in Pennsylvania in 1930. He studied for two years at the Virginia Military Institute...

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...