Lucian Freud

Girl with Fuzzy Hair

2004

etching on Somerset Textured White paper edition 29 of 40 + 12 AP plate: 23 1/3 x 32 1/4 in. (59.3 x 81.9 cm) sheet: 27 3/4 x 35 1/4 in. (70.5 x 89.5 cm) framed: 30 3/4 x 39 1/4 in. ...

etching on wove paper edition VI of VIII AP aside from the edition of 20 plate: 9 3/4 x 11 3/4 in. (24.8 x 29.8 cm) sheet: 14 7/8 x 16 3/8 in. (37.8 x 41.6 cm) framed: 18 1/8 x 19...

etching on Somerset Satin White paper edition 10 of 50 + 15 AP plate: 11 3/8 x 11 3/8 in. (28.9 x 28.9 cm) sheet: 22 3/8 x 20 7/8 in. (56.8 x 53 cm) Cat. no. 22, reproduced on p. 72

Henri Matisse Danseuse à mi-jambes, Main au Menton (Pl. de l'album Dix danseuses), 1927 lithograph on wove paper 19 3/4 x 13 in. (50.2 x 33 cm)

Frankenthaler (Graphite) IV, 2020 monotype, unique print from a series of VI 18 1/4 x 22 3/4 in. (46.4 x 57.8 cm)

Henri Matisse Petite Liseuse, 1923 lithograph on Japanese vellum, edition 3 of 12 AP, apart from the edition of 50 17 3/16 x 11 in. (43.7 x 27.9 cm) Ref: Duthuit 431; Cat. 40 signed...

Elegant pair of etchings by Marie Laurencin (French 1883-1956) from the "Poemes de Sapho" published in 1950 ref. 273. Each beautifully mounted in fram...

Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...

Lucian Freud After Chardin 2000 Etching on White Somerset Textured Paper 30 3/4 x 37 3/4 inches; 78 x 96 cm Edition of 46 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

A contemporary of David Hockney and Peter Blake, Colin Self is an important British printmaker whose innovative etching techniques and novel use of found materials have defined his d...

Image 12.5 x 9.3 in. / 31.7 x 23 cm Paper 25.3 x 19.75 in./ 65 x 50 cm Soft-ground etching and aquatint in two colors “à la poupée” on cream, thick, moderately textured Velin Arches...

Image 19.75 x 26.3 in. / 50 x 67 cm Paper 27.25 x 36 in./ 69.2 x 91.4 cm Etching in one color on white, thick, slightly textured Wookey Hole handmade paper watermarked with artist’s...