Baby Landscape Prints

James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4). Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in black ink on ivory laid paper, 3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published. Glasgow accounts for four impressions. watermark: partial arms of Amsterdam(cf. Spink/Stratis/Tedeschi, watermark nos. 12ff.) This is before the third state in which heavy shading was added around the woman at the center, and the heads of figures at right and left of the figure are defined. In Glasgow’s fourth state the shading and the figure were removed; no impression is known of this state, but the state is inferred from the cancelled plate. According to Glasgow “Joseph Henry Wood had a greengrocer’s shop at 1 Park Walk...

Battle of Austerlitz is an Etching realized by Pierre François Tardieu in 1837. Good conditions. The artwork is realized in a well-balanced composition. the artwork and belongs to ...

Uses and Customs - Egyptian Costume is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the...

Uses and Customs - Thebes is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the governmen...

Uses and Customs - Angles and men is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the g...

Ex Libris Fanderlik  is a Contemporary Artwork realized in the mid-20th Century.  B/W woodcut print on ivory-colored paper.   The work is glued on cardboard.  Total dimensions: 21...

"Diocletian's Retreat" is a woodcut and monotype signed by Carol Summers. The image combines landscape and architecture, in this case a classical struc...

Moses is an  artwork realized by Gianpaolo Berto, 1974.  Etching, 60 x 50 cm. Edition 18/40, Dated 74' in the lower left part. Very good conditions Gian Paolo Berto was born an...

The vision  is an artwork realized by Gianpaolo Berto, 1974.  Etching, 60 x 50 cm. Edition 38/40, Dated 74' in the lower left part. Very good condition. Gian Paolo Berto was bo...

Animals' Digestive System is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la de...

Skeleton is an etching realized in 1771 by Bernard Baron. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cab...

Skeleton is an etching realized in 1771 by A-J De Fehrt. Signed in plate. The artwork Belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabi...

Letter of the Alphabet Q, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions. The etching belon...

Letter of the Alphabet B, from the series "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli in the 18th century. Good conditions with slight folding....

Magic Forest is a modern artwork realized by the Artist Rolandi, in the 1970s. Mixed-colored screen print. Hand-signed on the lower right margin. Numbered on the lower left 85/500 ...

Jean-Emile Laboureur (1877-1943), Le Moulin Abandonne, etching and engraving, 1934, signed lower left and numbered and annotated “imp” in pencil lower right....

Borneo Road of the Sarawack is a Lithograph realized by an unknown artist of 19th century. Good condition on a yellowed paper. No signature, Title on the lower margin.

Loi, Bible, Dogme is a woodcut print realized by in 1903 by Louis Willaume (1874-1949). Signed on Plate. Good condition. The artwork is depicted through soft strokes in a well-bal...

Donald Baechler 2005: a set of 2 works: A set of two highly decorative signed limited edition Donald Baechler prints sure to standout in any setting. Included in the set: Donald Bae...

Hand signed, dated and inscribed "PP Study" by the artist. Hand embellished by the artist. A unique variation. Artwork is in excellent condition. Certificate of Authenticity includ...

Composition is an original Woodcut from ""quaderni dell'Eroica", realized by Giorgio Wenter Marini in 1925. Good conditions. The artwork is dep...

Artist: MGM Studios Title: Pink Panther, Supporting Characters Year: 1993-1995 Medium: Original, hand-painted production animation cel with laser color background, plus pencil drawin...

Windmillis an original etchingartwork realized in 19th Century. Belongs to the series of "France Pittoresque", as indicated at the top center. Titled in French on the lower center....

Figure is an original etching artwork realized by Bruno Renzi. The state of preservation is good. except for worn margins. Hand signed on the lower right. Edition:32/35. The artw...

Landscape is an original lithograph on paper, realized by E.Laport in about 1860. The state of preservation is good except for some diffused stains. Hand-colored. Plate no.7. Sh...

Navona Square is an original etching realized in the 1960s by Giuseppe Malandrino. Original hand-colored print. Hand-signed by the artist in pencil on the lower right corner. Imag...

This map of Calcaria is an original etching realized by George Braun and Franz Hogenberg, as part of the famous Series "Civitates Orbis Terrarum" (Atlas of the Cities of the World)....

Navona Square - Rome is an original artwork realized by Giuseppe Malandrino. Original print in etching technique. Hand-signed by the artist in pencil on the lower right corner. Num...

The Beach, is an original artwork realized by the unknown Artist of the 20th century. Original etching on cardboard. Illegible Hand-signed, on the lower right. In very good conditi...

Navona Square is an original artwork realized in the 1960s by Giuseppe Malandrino. Original hand-colored print. Hand-signed by the artist in pencil on the lower right corner. Good...

Trebbia Battle is an original print on paper realized by an Anonymous artist. titled on the lower center of the image. In very good conditions. Sheet dimension: 17 x 22.5 cm The a...

Image dimensions: 18 x 24 cm. View of Rome is a black and white etching realized by Nazareno Gattamelata in the second half of XX century. Hand signed by the artist on the lower r...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and housed in a gold gilded moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Modern Landscape is an original xylograph realized during the half of the 20th Century by an anonymous artist. The artwork represents a view of a village with several buildings and ...

Image dimensions: 11,7 x 15,3 cm. Hand signed in pencil. Note lower left "2em état". Artist's proof, II state. Original etching. Catalogue Salomon n. 116.

Jean-Emile Laboureur (1877-1947), Coin de Rue Dans Soho, woodcut, 1909, signed in pencil lower left and numbered (15/15) [also initials in the plate]. Reference: Sylvain Laboureur 64...

Untitled (Nr. 2473) Photography 18" x 24" Edition of 20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a s...

The Small Village is an original artwork realized by Jeannine Hervé in the second half of the XX Century. Original etching on paper. Hand-signed in pencil on the lower right. Numbered on the lower left margin. Edition of 60 prints. Passepartout included (cm 34 x 27). Perfect conditions. Very small but elegant artwork representing a village with buildings. Jeannine Hervé (Morbihan, 1931). Painter, watercolourist, draughtswoman, lithographer, engraver (wood/burin) and art restorer. From 1936 to 1937, Jeannine Hervé studied drawing and then painting with E. Robert and the engraver Adolphe Beaufrère...

Barbara Rosiak is a Polish painter and graphic designer born in 1955 in Lodz. From 1974 to 1979, she studied at the National Superior School of Fine Arts at the Faculty of Painting a...

Fred Deux - Grey I - Signed Original Etching Signed and Numbered Edition of 100 Dimensions: 24 x 14 cm Fred Deux Fred Deux, illustrator, oral poet, writer, and, under the pseudony...

Afternoon Sun Susan Hall, American (1943) Date: 1978 Etching and Aquatint, signed and numbered in pencil Edition of 78 Image Size: 28 x 21.5 inches Size: 35 x 28 in. (88.9 x 71.12 cm)

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Artist: Peter Max (1937) Title: Lady Thru Window Year: 1999 Edition: 166/300, plus proofs Medium: Lithograph on archival paper Size: 6.5 x 12 inches Condition: Excellent Inscription:...

CHAREWICZ Gochka (XXe) Michel Butor's Herbarium Signed and numbered 2/29 Dimensions: 42 x 32 cm. Toutes marges.

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 57 Year: 1969 Medium: Screenprint, signed in pencil Edition: 6/75 Size: 25 x 19 in. (63.5 x 48.26 cm)

The Lighthouse, Beach Huts and Sailing diptych Overall size cm : H20 x W60 The Lighthouse linocut is a simple yet dramatic print with the billowing clouds, towering lighthouse and...

Etching on paper. Hand signed, titled and numbered by the artist. Sheet size 12 x 10 inches. Image size 7 x 4.75 inches. Edition of 300. Artwork is in excellent condition. Certi...

Etching on paper. Hand signed, titled and numbered by the artist. Sheet size 10 x 14.75 inches. Image size 6 x 7.75 inches. Edition of 300. Artwork is in excellent condition. Cer...

Sold with wooden frame in black color or others : 90 x 130 x 5 cm - 35,4 x 51,2 x 1,9 in, ed. 1/7 Olivier Attar - Attoli is a French photographer born in 1971 who lives & works in L...

Eduardo Arroyo - Jeanne d'Arc - Original Lithograph 1984 Conditions: excellent Edition: 495 Dimensions: 37,3 x 58 cm Editions: Trinckvel

Fred Deux - Grey I - Signed Original Etching Signed and Numbered Edition of 100 Dimensions: 24 x 14 cm Fred Deux Fred Deux, illustrator, oral poet, writer, and, under the pseudonym Jean Douassot, author of a cult book, La Gana, was a singular artist who cannot be categorised in terms of art fashions and trends. This autodidact, born in the basement of a large house in Boulogne-Billancourt to a working-class family, constantly had to overcome, as he would say. “He had to overcome”: overcome the basement walls to access the life which called him and burnt inside him. Overcome the barriers between the arts, moving from drawing to the written word, and from the page to the tape recorder, in the face of which he recounted stories to himself in a sort of endless reverie, constantly exploring the unknown in him. Overcoming and being overcome: gradually immersing himself in drawing, so that it was life itself which overcame him and surrendered to him. Timeline 1924 Born in Boulogne-Billancourt, Paris. The Deux family lived in the basement of a building close to the Seine that was often flooded. These living conditions formed the biographical core around in which the artist would develop his work as a future writer and artist. 1942 Deux worked in a factory as an electrician and night guard. 1943 Deux becomes part of the FTP group to resist against the factory. And then joined the Maquis du Doubs. 1945 At the liberation, Deux joined the Moroccan Goumier, and took part of the campaigns of Vosges, Alsace and Germany. 1947 Returned to France. Installation in Marseille. Worked in an important library that belonged to the family of his wife. 1948 Discovered Breton, Bataille, Cendrars, Peret, Sade... and founded the sub-group of Surrealists in Marseille and formed a link with the literary magazine of Marseille, Cahiers du Sud Encounters the works of Paul Klee. He begins creating his first stains with paint for bicycle and impressions (fabric and ink). At the same time, he begins to take notes for what would become "Les Rats", first version of "La Gana". 1951 Meets Cecile Reims...

The Jolly Flat Boat Men, 1847 After George Caleb Bingham (American, 1811-1879) Engraved by Thomas Doney (French, active New York 1844-1849) Engraving with Hand-Coloring Published by The American Art-Union, New York (1838-1851) Printed by Powell and Co. 18 x 24 inches 32 x 38 inches with frame In 1847, the American Art-Union purchased Bingham’s painting "The Jolly Flat Boat Men" (1846; National Gallery of Art) directly from the artist. The subscription-based organization, founded in 1838 as the Apollo Association, boasted nearly ten-thousand members at this date. For an annual fee of five dollars, each received a large reproductive engraving and was entered in a lottery to win original artworks exhibited at the Art-Union’s Free Gallery. Aimed at educating the public about contemporary American art, the organization developed an impressive distribution network that reached members in every state. The broad circulation of the Art-Union's print helped to establish Bingham's reputation and made his river scene famous. Born in Augusta County, Virginia in the Shenandoah River Valley, George Caleb Bingham became known for classically rendered western genre, especially Missouri and Mississippi River scenes of boatmen bringing cargo to the American West and politicians seeking to influence frontier life. One of his most famous river genre paintings was The Jolly Flatboatmen completed in several versions in 1846. This first version of this painting is in the Manoogian Collection at the National Gallery of Art. Fame resulted for this work when it was exhibited in New York at the American Art Union whose organizers made an engraving of 10,000 copies and distributed it to all of their members. Paintings such as Country Politician (1849) and County Election (1852) and Stump Speaking (1854) reflected Bingham's political interests. In 1819, as an eight-year old, he moved to Boon's Lick, Missouri with his parents and grandfather who had been farmers and inn keepers in the Shenandoah Valley near Rockingham, Virginia. Reportedly as a child there, he took every opportunity to escape supervision to travel the River and watch the marine activity. His father died in 1827, when his son was sixteen years old. His mother had encouraged his art talent, but art lessons were not easily obtainable. In order to earn money, he apprenticed to a cabinet maker but determined to become an artist. By 1835, he had a modest reputation as a frontier painter and successfully charged twenty dollars per portrait in St. Louis. "His portraits had become standard decorations in prosperous Missouri homes." (Samuels 46). In 1836, he moved to Natchez, Mississippi and there had the same kind of career, only was able to charge forty dollars per portrait. He remained largely self taught until 1837, when he, age 26 and using the proceeds from his portraiture, studied several months at the Pennsylvania Academy of the Fine Arts. He later said that he learned much of his atmospheric style and classically balanced composition by copying paintings in collections in St. Louis and Philadelphia and that among his most admired painters were Thomas Cole, John Vanderlyn, and William Sidney Mount. Between 1856 and 1859, Bingham traveled back and forth to Dusseldorf, Germany, where he studied the work of genre painters. Some critics think these influences were negative on his work because during that time period, he abandoned his luminist style that had brought him so much public affirmation. Bingham credited Chester Harding (1792-1866) as being the earliest and one of the most lasting influences on his work. Harding,a leading portraitists when Bingham was a young man, had a studio in Franklin, near Bingham's home town. In 1822, when Bingham was ten years old, he watched Harding finish a portrait of Daniel Boone. Bingham recalled that watching Harding with the Boone portrait was a lasting inspiration and that it was the first time he had ever seen a painting in progress. Harding suggested to Bingham that he begin doing portraiture by finding subjects in the river men, which, of course, opened the subject matter that established fame and financial success for Bingham. Harding also encouraged Bingham to copy with paint engravings. He later painted two portraits of Boone but, contrary to the assertions of some scholars, he did not do Boone portraits in the company of Harding. Bingham's portraits of Boone are not located, but one of them, a wood signboard for a hotel in Boonville circa 1828 to 1830, showed a likeness of Boone in buckskin dress...

Technical Information: Andy Warhol Flowers, FS II.67 1970 Screenprint 36 x 36 in. Edition of 250 Signed and stamped number on verso

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...