Nude Prints

Pencil signed, titled, and numbered 46/55 in the margin. Artist: Trevor Southey Title: "Shell Shedding" Medium: Drypoint Etching Edition: 46/55 Male nude against an abstract back...

Signed, titled and numbered by the artist from an edition of 100. Male nude etching by Trevor Southey. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His Afri...

Signed, titled and numbered by the artist from an edition of 125. Portrait of a young Rabbit against an abstract background. Trevor Southey was born in Rhodesia, Africa (now Zimba...

Signed, titled and numbered by the artist from an edition of 100. Male nude etching by Trevor Southey. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His Afri...

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbe...

Unititled male nude by Luis Caballero Lithography on paper Limited edition print Edition 8/75 Size: 15 in H x 10.7 in W Signed in the lower right corner. Numbered in the lower left ...

John Melville Kelly, 'Mokihana (Hawaii)', drypoint, 1946. Signed, titled, and annotated 'No 5' in pencil. A superb, finely nuanced impression, in dark brown ink, on cream wove Japan ...

Male nude etching by Trevor Southey in a garden setting. Medium: Etching Year: 1994 Edition of 150 Image Size: 8 x 6 inches Trevor Southey was born in Rhodesia, Africa (now Zimbabw...

Drei Grazien (Three Graces) Etching and drypoint, 1920 Signed and titled in pencil (see photo) Total Edition 100: 30 on Japan and 70 on Butten paper as here Published by von Wohlgemu...

Kiki de Montparnasse (Nu Assis). c. 1925. Aquatint printed in colors. Kisling II.36. 25 5/8 x 17 5/8 (sheet 27 3/4 x 19 1/2 (slightly irregular). Edition 100, #46. Housed in a stunning 36 1/2 x 26 1/2-inch champagne gold stepped frame. Kiki de Montparnasse (born October 2, 1901, Cha¢tillon-sur-Seine, France, died March 23, 1953, Paris) French cabaret performer, painter, and artists muse who acquired her nickname for being a fixture in the bohemian circles of the Montparnasse neighbourhood in Paris. She modeled for numerous artists such as Amedeo Modigliani, Man Ray, and Alexander Calder as well as Moïse Kisling. Kiki (Alice Prins...

Medium: Etching and Aquatint Year: 2024 Edition: 25 Image Size: 12 x 18 inches Signed, titled and numbered in pencil by the artist Dramatic etching of a male nude juggler performing a fire breathing act. From the artist's Circus cycle of prints. Werger has received over 250 awards in national and international exhibitions. In 2015 he recieved the Guanlan International Printmaking Prize at the Guanlan Biennial in China, followed by the Grand Prize at the Ekaterinburg mezzotint festival in Russia. In 2012 he received the Award of the Rector at the International Print Triennial in Krakow, Poland and the Prize for Full Correspondence between technique and Imagery at the First International Mezzotint Festival in Ekaterinburg, Russia. He currently teaches printmaking at Ohio University, in Athens Ohio. Previously he served at the Chairman of the fine Arts division, and as professor of Art, at Wesleyan College in Macon...

Medium: Etching with aquatint Year: 2024 Edition: 25 Image Size: 24 x 18 inches Signed, titled and numbered in pencil by the artist Dramatic etching of high wire walker...

Medium: Color mezzotint Year: 2024 Edition: 25 Image Size: 24 x 18 inches Signed, titled and numbered in pencil by the artist Dramatic mezzotint of the tattooed back of a circus per...

La Pierre aux Trois Croquis From: Douze lithographies originales de Pierre-Auguste Renoir Publisher: Ambrose Vollard Edition: 950 (signed in the stone) on wove paper as here (see pho...

Homme nu avec femme ivre et jeune flutiste Etching, 1955 Signature stamp lower right (see photo) Annotated in penci lower leftl: "epreuve d'artiste" (see photo) Inventory number vers...

untitled (Young Woman Washing) Lithograph, c. 1910 Signed in pencil lower right; signed in the plate lower right (see photo) Image size: 11 x 5-1/8" Sheet size: 18 7/8 x 12 5/8 inches Condition: Very good Aging to the tan paper it is printed on Provenance: Estate of the Artist Borghi & Company, NYC Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art. Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...

Hans Bellmer, 'The Modest Rose', engraving and drypoint, edition 99, 1971. Signed and numbered '99/99' in pencil. A fine, richly-inked impression, on Arches cream wove paper; the ful...

Reclining Nude on Bed Lithograph, c. 1910 Signed in pencil lower right and in the plate, lower right Image size: 7-1/4 x 13" Sheet size: 12 1/2 x 19 inches Condition: very good Some aging to the tan paper Provenance: Estate of the Artist Borghi & Company, New York Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art. Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...

Ecce Homo Plate X Woodcut, 1921 Signed, titled, and dated in pencil by the artist (see photos) Edition: One of two known impressions This image wwas unknown to the catloger Ingrid Ro...

Medium: Resist Ground Etching & Engraving          Image Size: 9.5 x 12 inches Year: 1993 Signed, titled and numbered by the artist, this print was specially made by Milton to accom...

Homme nu avec femme ivre et jeune flutiste Etching, 1955 Signature stamp lower right (see photo) Annotated in penci lower leftl: "epreuve d'artiste" (see photo) Inventory number vers...

Signed, titled and numbered lithograph by Trevor Southey. Male nude portrait of a young man. this is the terra cotta version, there was also an edition done in grey. Trevor Southey ...

BOURGEOIS, Louise The Bad Mother, 2004 Edition 3 of 3 PP, aside from numbered edition of 12 Drypoint with handcoloring, signed and inscribed in pencil 17 x 15 in. $12,000

Male nude lithograph by Trevor Southey. Charcoal gray. There was also an edition done in terra cotta. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His African...

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbered: "No. 20" in pencil Printed by Thomas Way, London A beautiful impression with tonal variations in the stump work (shading) As published in: L'Estampe Originale, Paris, 1893, Album IV Edition: 107 impressions, this No. 20 There were an additonal 24 impressions printed by Way for Whistler and 20 impressions printed for the Fine Art Society, London Lacking the huge support sheet and embossed series stamp by Charpentier With the letterpress lower left: "T. Way. Imp London" The stone erased in 1904 The majority of the lifetime impressions are in public collections Condition: Excellent condition Hinges from original issuance of L'Estampe Originale verso at top as described in Spink Three hinges residue along right edge of the sheet from a later matting of the print Image size: 8 1/4 x 6 3/8 inches Sheet size: 11 3/8 x 9 1/16 inches Reference: Spink/Tadeschi 72, published edition Levy 74 Way 46 A superb Neoclassical lithograph...

Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75 state vi. Image: 14 3/8 x 10 7/16 (sheet 16 3/8 x 12 1/4. Total edition 91). Illustrated: Guichard, British Etchers...

"Bijou Gets Undressed 8" is a screenprint on Fedrigoni Sirio paper made in 2004 by Julian Opie. The work is signed in pencil, lower left, "Julian Opie" and editioned in pencil, lower...

Pierre Auguste Renoir, 'Baigneuse Debout, à Mi-Jambes (Woman Bathing, Standing Up to Her Knees in Water)', 1910, etching, edition not stated, Delteil 23. Unsigned as published. A fin...

Plate IV, Le Cocu Magnifique etching & aquatint, 1968 Unsigned on the print Signed on the portfolio justification page (see photo) From the unsigned edition of 200 impressions printe...

"Bijou Gets Undressed 5" is a screenprint on Fedrigoni Sirio paper made in 2004 by Julian Opie. The work is signed in pencil, lower left, "Julian Opie" and editioned in pencil, lower...

Signed and numbered male nude mezzotint from the edition of 50. The human being – monumental and primeval – is the subject of Maciej Deja’s art. "(Man) without the additional liter...

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...

Signed and numbered mezzotint from the edition of 50. The human being – monumental and primeval – is the subject of Maciej Deja’s art. "(Man) without the additional literature, hou...

Signed and numbered male nude mezzotint from the edition of 50. The human being – monumental and primeval – is the subject of Maciej Deja’s art. "(Man) without the additional liter...

Etude pour une baigneuse (Study for a Bather) Drypoint, 1901-1911 Signed with the signature stamp, Lugt 2137a Printed: Louis Fort, Paris Publisher: Ambrose Vollard, Paris "The fame o...

Four prints by Mel Ramos. “Tomato Catsup, A.C. Annie, Lola Cola,” and “Tobacco Red” are pop art, offset lithographs in a palette of yellows, orange, and pink by the playful Mel Ramos. The artwork is signed in pencil in the lower right of each print, “Mel Ramos 72.” Framed dimensions are 37 x 31 5/8 x 1 7/8 inches each. Mel Ramos is a California based Pop artist best known for his paintings of superheroes and female nudes, including Marilyn Monroe and Scarlet Johansson, with pop culture imagery. Many of his subjects emerge from Chiquita bananas...

Rockwell Kent, 'Mountain Climber', wood engraving, 1933, edition 250, Burne Jones 93. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 9/16 to 3 5/8 inches); slight skinning at the top sheet edge verso, where previously hinged; otherwise, in excellent condition. Archivally matted to museum standards, unframed. Image size 7 7/8 x 5 7/8 inches (200 x 149 mm); sheet size 14 x 11 1/8 inches (356 x 283 mm). Printed by Pynson Printers, New York. Distributed by The Print Club of Cleveland, Publication No. 11, 1933. Literature: 'Rockwellkentiana,' Harcourt, Brace and Company, New York, 1933. '101 of The World’s Greatest Books', edited by Spencer Armstrong, 1950. Impressions of this work are held in the following museum collections: Akron Art Institute, Burne Jones Collection, IL; Cincinnati Art Museum; Cleveland Museum of Art; Columbus Gallery of Fine Arts; Crystal Bridges Museum of American Art; Davis Museum at Wellesley College; Fine Art Museums of San Francisco; H. M. de Young Museum; Hermitage Museum; Kent Collection, NY; Library of Congress; Memorial Art Gallery, University of Rochester; Metropolitan Museum of Art; New York Public Library; Philadelphia Museum of Art; Princeton University Library; Smithsonian American Art Museum, Spector Collection, NY; SUNY, Plattsburg. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock. In 1905 Kent moved from New York to Monhegan Island in Maine, home to a summer art colony, where he continued to find inspiration in nature. Kent soon found success exhibiting and selling his paintings in New York, and in 1907, he was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting (Thayer’s niece), with whom he had five children. The couple divorced in 1924, and Kent married Frances Lee the following year. They divorced after 15 years of marriage, and the artist married Sally Johnstone. For the next several decades, Kent lived a peripatetic lifestyle, settling in several locations in Connecticut, Maine, and New York. During this time he took several extended voyages to remote, often ice-filled, corners of the globe, including Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors, and his travels to these rugged, elemental locations inspired his visual art and his writings. He developed a stark, realist landscape style in his paintings and drawings that revealed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly in his work, often allude to the mythic themes of isolation, individualism, heroism, and the quest for self-connection. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920, featuring Kent’s Alaska drawings...

Pablo Picasso (1881-1973), Le Couple, 1951, drypoint on chine volant, signed lower right margin and numbered (5/XI) lower left margin. References: Bloch 690,...

Pierre Auguste Renoir, 'Baigneuse Debout, à Mi-Jambes (Woman Bathing, Standing Up to Her Knees in Water)', 1910, etching, edition not stated, Delteil 23. Unsigned as published. A fin...

Serigraph of male nude on top of power line, by gay Chicano artist Miguel Angel Reyes. Signed and numbered, edition of 61. Image refers to the tensions of being gay and from a trad...

LANSNER, Fay LANSNER Untitled II, 1973 Lithograph, ed. of 75 35 1/2 x 23 in.

Signed, titled and numbered screenprint by gay Chicano artist Miguel Angel Reyes. He currently is instructor of model drawing in the Fashion Department of the Otis College of Art. M...

This is a unique working proof for one of six images that comprise the group of prints called The Gathering. Signed and titled in pencil, Working Proof II. Reyes attended The Schoo...

My Bicentennial Print Photo etching, 1976 Signed and dated in pencil lower right (see photo) Titled and numbered in pencil loer left (see photo) Edition: 21 (16/21) There also appears to be an additon of 100. Condition: Excellent Image/Plate size: 14 1/2 x 19 3/4 inches Sheet size: 22 1/8 X 30 inches The artist's commentrary on the Bicentennial Year of 1976 In 1965 Fink was awarded a Gugenheim Memorial Foundation Fellowship for Fine Arts. Herbert Lewis Fink, painter, printmaker, sculptor, and educator, born was in Providence, Rhode Island on September 8, 1921. He studied at the Carnegie Institute of Technology in 1941, he received is B.F.A. degree from the Rhode Island School of Design in 1949, his M.F.A. from Yale University in 1956, and he also studied for a year at the Art Students League and with John Frazier...

This is a unique working proof for one of six images that comprise the group of prints called The Gathering. Signed and titled in pencil, Working Proof III, aside from the edition. ...

Light Struck Etching & Drypoint, 1984 Signed, dated and numbered in red pencil (see photos0 The artist's chop stamp (CS) lower right corner Edition: 25 (18/25), 5 artist's proofs, B....

Male nude etching, from a series of 6 male and 6 female images. In January 2018, the Mexican Museum in San Francisco mounted an exhibition An Artist’s Evolution, a retrospective which has elevated Fernando’s exposure in the SF Bay Area...

Male nude etching by Trevor Southey. Medium: etching Year: 1988 Edition of 150 Image Size: 8 x 6 inches Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His Afric...

Birthday 3-7-65 Lithograph, 1965 Signed, titled, dated and numbered in pencil (see photos) Edition: 23 Published by ULAE, their chop stamp lower left (see photo) Printed by Ben Berns...

Sunbathing Etching and color aquatint on watermarked Umbria Italy paper, c. 1915 Signed by the artist in pencil lower right (see photo) Annotated: "No. 6" in pencil lower left (see p...

Signed, titled and Artist Proof by the artist from an edition of 100. Male nude etching by Trevor Southey. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His A...

Male nude by San Francisco based Mark Jenkins. Jenkins has spent the majority of his career working as a commercial photographer and graphic designer. But in his personal work, much ...

Morning Paper Mezzotint, 1941 Signed in pencil lower right Publisher: 32nd Presentation Print of the Chicago Society of Etchers Edition: 350 Illustrated in GREAT AMERICAN PRINTS 1900-1950 by Norman and June Kraeft Reference: Old Print Shop No. 86 Condition: Excellent Original brown paper hinges in the upper corners recto Plate/Image size: 8 7/8 x 5 15/16 inches Impressions of this image can be found in the permanent collection of: Minneapolis Institute of Art Wichita Art Museum Hope College, Kruizenga Art Museum University of Connecticut, Benton Art Museum Amherst College, Mead Art Museum "Mastro-Valerio was educated at the Salvador Rosa Institute in Naples, Italy (1906-1912), and came to the U.S. in 1913. He settled in Chicago, and after a brief period as a commerical artist, established a portrait studio near the Loop. Among his patrons were the industrialists Harvey S...

Woman with Black Swans by Georges Manzana Pissarro (1871-1961) Monotype 26.4 x 19.5 cm (10 ³/₈ x 7 ⁵/₈ inches) Signed lower right, Manzana Executed circa 1908 Artist biography: Like...

Rockwell Kent, 'The Bather', wood engraving, 1931, edition 120, Burne Jones 63. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 1/2 to 3 1/4 inches); slight skinning at the top sheet edge, verso, otherwise in excellent condition. Image size 5 3/8 x 7 7/8 inches (137 x 200 mm); sheet size 11 1/8 x 14 1/2 inches (283 x 368 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following public collections: Burne Jones Collection, IL; Chegodaev Collection, Moscow; Kent Collection, NY; Philadelphia Museum of Art; Princeton University Library, NJ; Pushkin Museum, Moscow; Smithsonian American Art Museum, Spector Collection, NY. Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock...

This self-portrait captures most elements of Jenkins body of work.Based in San Francisco, Mark Jenkins has spent the majority of his career working as a commercial photographer and g...

Georg Gelbke, Untitled (Women Bathing), etching, 1920. Signed and dated in pencil. Initialed and dated in the plate, lower right. A fine, richly-inked im...