Items Similar to Boathouse along the Tisza River; Tiszlapart
Want more images or videos?
Request additional images or videos from the seller
1 of 6
Rudolf BlahosBoathouse along the Tisza River; Tiszlapart1930
1930
About the Item
Etching with aquatint on buff wove paper, 11 3/8 x 15 1/2 inches (287 x 392 mm), full margins. Signed, titled, and numbered 99/100 in pencil, lower margin. In good condition with some minor, scattered light cockeling along the left and right sheet edges (outside of image area), and minor handling wear. The impression itself is dark, detailed and well inked.
- Creator:Rudolf Blahos (1917 - 1986, Hungarian)
- Creation Year:1930
- Dimensions:Height: 11.38 in (28.91 cm)Width: 15.5 in (39.37 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Middletown, NY
- Reference Number:
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 2004
1stDibs seller since 2022
29 sales on 1stDibs
Typical response time: 12 hours
- ShippingRetrieving quote...Ships From: Middletown, NY
- Return PolicyA return for this item may be initiated within 30 days of delivery.
More From This SellerView All
- From the Ponte Vecchio, FlorenceBy John Taylor ArmsLocated in Middletown, NYEtching and aquatint on hand made F.J. Head & Co watermarked cream laid paper, full margins. Signed and dated in pencil, lower right margin. From the edition of 160 (from a total of ...Category
1920s American Modern Landscape Prints
MaterialsHandmade Paper, Laid Paper, Etching, Aquatint
- The Hospital, Santa Cruz, ToledoBy Samuel ChamberlainLocated in Middletown, NYEtching with aquatint printed in brownish black ink on watermarked BFK Rives cream wove paper, 9 1/2 x 7 11/16 inches (240 x 193 mm), full margins. Signed in pencil and numbered 79/...Category
Mid-20th Century American Modern Landscape Prints
MaterialsHandmade Paper, Etching, Aquatint
- North Side of the Great Court, Sommerset PalaceLocated in Middletown, NYAquatint printed in brownish ink with extensive hand coloring in watercolor on buff paper, 10 1/4 x 12 1/2 inches (260 x 317 mm) (sheet), uneven narrow to full margins. Laid down to ...Category
Late 18th Century English School Landscape Prints
MaterialsAquatint, Handmade Paper, Watercolor
- Byloke, Ghent; From Picturesque Architecture in Paris, Ghent, Antwerp, Rouen...By Thomas Shotter BoysLocated in Middletown, NYAquatint with hand coloring in oil color on smooth wove paper, 10 1/2 x 14 5/8 inches (266 × 370 mm), full margins. Moderate mat tone, scattered spots of light brown discoloration in...Category
1830s English School Landscape Prints
MaterialsOil, Handmade Paper, Aquatint
- Rue de Marmousets, Paris; From Picturesque Architecture in Paris, Ghent, ....By Thomas Shotter BoysLocated in Middletown, NYAquatint with hand coloring in oil color on smooth wove paper, 10 5/8 x 7 3/8 inches (270 x 187 mm), full margins. Laid down to a support, as issued. Moderate toning and surface soil...Category
1830s English School Figurative Prints
MaterialsOil, Handmade Paper, Aquatint
- La Place de la Pucelle.By Samuel ProutLocated in Middletown, NYA market scene; the spot on which the execution of Joan of Arc took place. London: R. Bower, 1825. Aquatint with hand-coloring in watercolor on cream wove paper, 10 3/4 x 13 5/8 inc...Category
Early 19th Century English School Landscape Prints
MaterialsWatercolor, Aquatint, Handmade Paper
You May Also Like
- Catherina Dorothea Viehman (Six Fairy Tales from the Brothers Grimm) HockneyBy David HockneyLocated in New York, NYCatherina Dorothea Viehman (from Six Fairy Tales from the Brothers Grimm) Etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Paper 1...Category
1960s Modern Figurative Prints
MaterialsAquatint, Etching
- Rapunzel, Rapunzel let down your Hair (Six Fairy Tales from the Brothers Grimm)By David HockneyLocated in New York, NYSheet from “Rapunzel” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “Rapunzel, Rapunzel let down your Hair” etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Etching 10.5 × 9.85 in. / 26.7 × 25 cm Paper 17.5 x 12.25 in. / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. Perhaps the most famous story from the Grimm Brothers, Rapunzel spins the tale of a beautiful young princess locked away by an evil sorceress. Captured in this scene is the moment a King's son came across the tower and fell in love with her sweet singing, beseeching her: 'Rapunzel, Rapunzel, Let down your hair to me.' Though the sorcerer banishes Rapunzel and maims the prince, they are of course ultimately reunited to live happily together. Hockney illustrates this scene with incredible texture detail: layers of aquatint defining the soft forest floor, delicate hatching on the horse's haunch, the tower's tight crosshatching, and of course the lyrical gesture of Rapunzel's hair which cascades from the upper right corner. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...Category
1960s Modern Landscape Prints
MaterialsEtching, Aquatint
- September 13, 1918. St. Mihiel [The Great Black Cloud].By Kerr EbyLocated in Storrs, CTSeptember 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...Category
Early 20th Century American Modern Landscape Prints
MaterialsMixed Media, Etching, Aquatint
- St. Mary's, Harrow-on-the-HillBy Joseph Webb ARELocated in Storrs, CTJoseph Webb, A.R.E. 1908-1962. St. Mary's, Harrow-on-the-Hill. 1933. Etching. 6 7/8 x 11 7/8 (sheet 9 1/2 x 14 1/2). Guichard 43. 1st trial proof, before later addition of the sky. A...Category
Early 20th Century Modern Landscape Prints
MaterialsEtching, Aquatint
- Dock Workers under the Brooklyn BridgeBy Martin LewisLocated in Storrs, CTMartin Lewis, N.A. (Dock Workers under the Brooklyn Bridge). c. 1916-18. Aquatint and etching. McCarron 15. 17 3/4 x 23 3/4 (sheet 26 x 31). 5 recorde...Category
1910s American Modern Figurative Prints
MaterialsEtching, Aquatint
- La petite marine -- Souvenir de Medway. (Little Seascape, a Remembrance of the MBy Félix Hilaire BuhotLocated in Storrs, CTLa petite marine -- Souvenir de Medway. (Little Seascape, a Remembrance of the Medway). 1879. Etching, drypoint, false biting, aquatint, and stop-out. Bourcard-Goodfriend catalog 15...Category
1870s Modern Landscape Prints
MaterialsDrypoint, Etching, Aquatint