Modern Art

Reclining Female Nude Charcoal and colored chalks with white highlights on tan laid paper, c. 1948 Signed and monogrammed by the artist lower right (see photo) A masterpiece dr...

Persephone Oil on canvas, 1952 Signed lower left (see photo) Titled reverse "Persephone" Signed "V. 52" Exhibited: Columbus Gallery of the Arts label "71/30 Bt. 2", see label Condi...

BOOKNOTE 7, 2023 by Luigi Christopher Veggetti From the Beaches series Oil and acrylic on paper Size: 24 H x 89 W cm The beaches of Luigi Christopher Veggetti Kanku represent a pict...

Juniper, Lake Tenaya Gelatin silver print, 1937 Unsigned Edward Weston Estate stamp verso (see photo) A lifetime printing by Brett Weston, supervised by his father Edward, printed in...

Entrance, Reefert Chuch, Ireland Silver gelatin Print, 1989 Signed in pencil lower right on mount (see photo) From: Stone Churches of Ireland, published by Lodima Press, Volume 9 Ima...

Para Celso, 1984 by Enrique Grau Graphite on paper Image size: 23 in H x 18 in W Signed in the lower right corner. Great condition with flaws. Provenance: Private collection. Unfram...

Portrait #1, 2023 by Luigi Christopher Veggetti From the Portraits series Oil and acrylic on paper Size: 30 H x 21 W cm Unframed The portraits of Christopher Veggetti are not just...

Untitled III, 1984 by Enrique Grau Graphite on paper Signed in the top right corner. Great condition. Provenance: Private collection. Image size: 12 in H x 9 in W Unframed ____ Enr...

Tulip regenerations, 2012 by Zoltan Gerliczki From the series Still Life Archival pigment print on fine art paper Image size: 31.5 in H x 25.5 in W. Edition of 6 + 2AP Unframed As a...

Untitled IV, 1992 by Enrique Grau Graphite on ight cardboard Image size: 17 in H x 14 in W Signed and dated in the top right corner. Great condition with flaws. Provenance: Private ...

Portrait #13, 2023 by Luigi Christopher Veggetti From the Portraits series Oil and acrylic on paper Size: 30 H x 21 W cm Unframed The portraits of Christopher Veggetti are not just...

Portrait #3, 2023 by Luigi Christopher Veggetti From the Portraits series Oil and acrylic on paper Size: 30 H x 21 W cm Unframed The portraits of Christopher Veggetti are not just ...

Portrait #2, 2023 by Luigi Christopher Veggetti From the Portraits series Oil and acrylic on paper Size: 30 H x 21 W cm Unframed The portraits of Christopher Veggetti are not just...

Artist stamp in blue ink and misc. notation in pencil on print verso Vintage gelatin silver print Karl Struss was an American photographer and cinematographer born 1886, in New York...

White Still, 2017 by Zoltan Gerliczki From the series "Still Life" Archival pigment print on fine art paper Image size: 31.5 in H x 25.5 in W. Edition of 6 + 2AP Unframed As an arti...

"Parisian Model" is an oil on canvas painting by Max Weber painted in 1908. The work is signed and dated, lower right, "Max Weber Paris 1908". The painting size is 35 1/2 x 19 5/8 inches. The framed size is 43 x 27 x 2 1/4 inches. "Parisian Model" was painted in 1908, when Weber participated in a life class in Matisse's studio in Paris and painted several nudes. Weber was influenced toward a more Cubist styler after seeing Cezanne's work in the 1906-07 Salon in Paris, and he consorted within avant-garde circles in Paris as early as 1905. After returning to the US in 1909, Weber was credited with showing American audiences Cubism based on his firsthand knowledge of the key players and the style. Several drawings of Weber's from this time are in museum collections at The Met, the Smithsonian, and MoMA and show a similar style and stocatto gesture. Parisian paintings by Max Weber are extremely rare as there are hardly any that have sold publicly. Provenance: Estate of the Artist Gerald Peters Gallery...

No Footprints Show, Where the Flowers Grow Deep Woodcut, 1961 Unsigned (as isssued) From: The "Way" of the Woodcut, three woodcuts, 1961 Publisher: Pratt Adlib Press, Brooklyn, New Y...

From: The Black Sitting, 1956 Original silver print photograph taken the the photographers studio in New York in 1956. Hand signed in ink within the photographers stamp verso. Pri...

Composition Original carborundum engraving, c. 1970 Signed: Mastroianni in pencil lower right (see photo) Edition: 100 (76/100) (see photo) Printed on a heavy laid paper Condition:...

At New York (Self Portrait) Woodcut, 1961 Unsigned (as issued) From: The "Way" of the Woodcut, three woodcuts, 1961 Publisher: Pratt Adlib Press, Brooklyn, New York,1961 Printer: Jam...

Untitled (Plate 1) DLM Color lithograph, 1963 Unsigned and unnumbered (as usual) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Image/sheet size: 14 7/8 x 11 inches...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

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 ...

The Child Plants an Oak Tree in the Garden Woodcut, 1961 Unsigned (as issued) From: The "Way" of the Woodcut, three woodcuts, 1961 Publisher: Pratt Adlib Press, Brooklyn, New York,19...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Poplar Tree B Lithograph, c. 1959 Signed and numbered in pencil by the artist (see photo) Artist's red stamp lower left margin (see photo) Edition: 50 (30/50) Printed by Arthur Flory...

Seated Female Nude (Devora) Watercolor on paper, c. 1970 Signed in pencil lower right (see photo) A folio from the artist's sketchbook. Done while the artist was in Florida. Conditio...

Three dry pink-orange roses, 2021 by Zoltan Gerliczki From the series Still Life Archival Pigment Print Image size: 25.5 in H x 31.5 in W. Edition of 6 + 2AP Unframed As an artist,...

Erotic Maniac, 2021 by Zoltan Gerliczki From the series Still Life Archival Pigment Print on fine art paper Image size: 25.5 in H x 31.5 in W. Edition of 6 + 2AP Unframed As an arti...

Dunure Castle. Oil on canvas. 16 1/2 x 28 3/8. Signed, lower right. Housed in a dramatic 22 x 34-inch gold leaf frame. The ruins of Dunure Castle lie in a quiet location overlookin...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

February -- Orchid. (Nigatsu - Ranjo no saku). 1956. Woodcut with hand-applied color from the verso. Kodansha vol.9 No. 125. 17 x 13 (sheet 18 1/4 x 21 1/2). Series: Calender in the ...

Still life with the Warren Cup 2, 2019 by Zoltan Gerliczki From the series "Still Life" Archival Pigment Print Image size: 31.5 in H x 25.5 in W. Edition 2/6 + 2AP Unframed As an a...

Fred Becker, 'Sailing', wood engraving, c. 1935, edition c. 25. Signed and titled in pencil. A fine, richly-inked impression, on off-white wove paper; with full margins (1 to 2 15/16...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Venice, 2017 by Zoltan Gerliczki From the series "Still Life" Archival Pigment Print Image size: 31.5 in H x 25.5 in W. Edition 2/6 + 2AP Unframed As an artist, He is fascinated by...

Red Flowers and Buddha, 2017 by Zoltan Gerliczki From the series "Still Life" Archival Pigment Print Image size: 31.5 in H x 25.5 in W. Edition of 6 + 2AP Unframed As an artist, He...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: New Mexico Museum of Art, Phoenix Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Le Turban by Henri Matisse (1869-1954) Pen and India ink on paper 51.5 x 39 cm (20 ¹/₄ x 15 ³/₈ inches) Signed and date...

HENRIETTA SHORE (1880 -1963) SEA GULL c 1928 Lithograph, signed and titled in pencil and with the pencil cypher of printer Lynton Kistler (K). Image 7 x 6 1/8 full margins, sheet 12...

HENRIETTA SHORE (1880 -1963) WATER LILY c. 1928 Lithograph, signed and titled in pencil and with the pencil cypher of printer Lynton Kistler (K). Image 7 x 6 1/8, full margins, shee...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

St. George Hotel Searchlight Lithograph, 1930 Signed in pencil lower right (see photo) Titled lower left (see photo) Edition: 30 Printed by Meister Schulz, Berlin The image depicts t...

Moise (Moses) is an etching and aquatint on paper with an image size of 12 x 9 inches, signed 'Marc Chagall' lower right and annotated lower left. From the edition of 61, numbered VI...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Richard Florsheim created this color lithograph entitled “Warf-Side” in 1962 in an edition of 60 pieces. This impression is signed and inscribed “Trial Proof” and printed at the Mour...

I Whisper Just to You, and Some Days We are Both at Sea Diptych, 2019 From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing Overall size: 4 x 6 x 3 inche...

Leon Bibel, 'Archway', color serigraph, 1939, edition 25. Signed, dated, titled, and numbered ' /25' in pencil. A rich, painterly impression, with fresh colors, on buff wove paper; ...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary pr...

GEORGES ROUAULT (1871-1958) MON DOUX OU-ETES-VOUS? / MY SWEET COUNTRY, WERE ARE YOU? 1927 ( Chapon/Rouault 97; Wofsy 151) Miserere XLIV Aquatint, 1927, on laid Arches. watermark...

Two Women and a Child on the Beach at Provincetown Unsigned. Watercolor on paper, c. 1934 A beautiful Provincetown beach scene, included in the catalogue raisonne. Please see Babcoc...

Ancient Landscape II (Ancient City) Etching and drypoint, 1953-55 Signed and titled in pencil by the artist (see photos) Annotated: "E130 A/1" in pencil lower right Estate stamp vers...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

I Could Start Fires, So I Lay Here and Why Do You Insist on Shattering, 2019 Trpitych From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing Overall size:...

Northern Lombardy. 1938. Embury 38.20. Oil on board. 5 x 10. Signed "L. Lucioni" lower right. Good original condition. Housed in a stunning gold-and-black wood frame. hroughout hi...