Modern Art

Robert Vale Faro, untitled (African Idol), serigraph, c. 1940, edition 6. Signed in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with margins(5/8 ...

Souvenir de Paris (Remembering Paris) 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 ed...

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...

Sunset (CS.26) from Marc Chagall's Nice et la Côte d'Azur suite is a lithograph on paper, signed 'Marc Chagall' lower right and numbered lower left XVI/LXXV, from the edition of 235 ...

Inspiration 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 VII/...

Michael Lyne (1912-1989) The Devon and Somerset Staghounds at Hawcombe Head Signed lower left Oil on canvas Canvas Size - 24 x 36 in Framed Size - 30 x 42 in Michael Lyne (1912-1989) was a celebrated British artist renowned for his striking depictions of the equestrian world. Born in London, England, Lyne developed a passion for art and horses from an early age. He studied at the Slade School of Fine Art in London and was greatly influenced by the works of Sir Alfred Munnings, one of the most renowned equestrian painters of the time. Lyne's career flourished when he was commissioned to illustrate several books, including "In the Shire Country" by Susan Shaw...

Le Retour de l'Enfant Prodigue (The Return of the Prodigal Son) is an etching and aquatint on paper with an image size of 12 x 9 inches, signed 'Marc Chagall' lower right and annotat...

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...

Christian Dull, 'Mending Nets', aquatint, c. 1930, edition 50. Signed and numbered '50/-' in pencil. A fine impression, on cream laid paper, the full sheet with margins (1/2 to 1 1/2...

Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...

Growing Out of My Ribcage, Darling Your Words, and As You Pray, 2019 Trpitych From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing Overall size: 5.5 x 9 x 3 inches. Individual size: 5.5 x 3 x 3 inches. “Growing out of my ribcage..” Growing out of my ribcage, just to let your softness multiply into a whole sky of lush clouds crowning the forest, so we can become a jungle dense with life. “My darling..” My darling your words are often too sharp , and I am always too soft. But as long as you bring me honey and ginger to sweeten and strengthen my body, my wounds. I will always bring the softness to your hard edges. We will blur into each other creating a malleable thing. You will always bring me your backbone, so I can know how to stand up straight (alone). In this way, when the day is long...

Your Lipstick Left a Bruise, Your Pulsing Giant Heart, Carry the Song, 2019 Trpitych From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing Overall size: ...

And You Blink.., The Rush of Love, Here I Learn, 2019 Trpitych From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing Overall size: 4 x 9 x 3 inches. Ind...

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...

Oliver St. John Gogarty. 1935. Etching. Fletcher 78. 6 7/8 x 5 1/2 (sheet 11 1/4 x 8 3/8). Edition 100. 75 intended for the Cuala Press, Dublin. A rich impression, printed on cream-...

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...

Self Portrait (With Model) Lithograph, 1959-1960 Signed and numbered in pencil (see photos) Edition: 50 (30/50) Commissioned by ACA Gallery, NYC Depicts the artist in his studio at S...

Woman with Arms Crossed Mixed media collage-painting on stone chip surface, mounted on fabric, mounted on wood support by the artist, 1955 Signed and dated lower center Image size: 1...

Peintre et Modele Etching and aquatint on Rives wove paper, 1966 Signature stamp lower right (see photo) Annotated in pencil lower left: "epreuve avant acierage" (see photo) One of t...

Harry Bertoia, Untitled (Abstraction), monotype, c. 1960, a unique impression. Signed 'HB' in pencil, lower right sheet corner, verso. Inscribed '1852' (the artist’s inventory number) in pencil, lower right sheet corner, recto. A superb, painterly impression, on cream wove Japan paper, the full sheet, in excellent condition. Unmatted, unframed. Sheet size 12 x 39 inches (300 x 990 mm). Provenance: Val Bertoia; Private Collection; Rago Auctions, Lambertville, NJ. Literature: 'Harry Bertoia: Monoprints,' Nancy N. Schiffer, Schiffer Publishing LTD, 2011; pg. 253. This work is included in the Harry Bertoia Foundation digital resource, Harry Bertoia Catalogue Raisonné, number TD.MO.1584. ABOUT THE ARTIST Harry Bertoia (1915-1978) was a visionary Italian-American artist, sculptor, and designer. Born in San Lorenzo, Italy, Bertoia immigrated to the United States with his family at fifteen, settling in Detroit, Michigan. From an early age, Bertoia demonstrated a keen interest in art and design, studying painting and drawing at the Cass Technical High School in Detroit. Later, he attended the Cranbrook Academy of Art in Bloomfield Hills, Michigan, where he studied under renowned designers Eliel Saarinen and Charles Eames. At Cranbrook, Bertoia first began to explore the possibilities of working with metal, a medium that would come to define his artistic career. In the 1940s, Bertoia moved to California to work for Charles and Ray Eames, contributing to the development of innovative molded plywood furniture. However, his experimentation with metal wire sculpture would ultimately catapult him to international acclaim. Bertoia's iconic "Sonambient" sculptures, consisting of delicate metal rods arranged in various configurations, created ethereal sounds when touched or moved, transforming the act of sculpture into a multisensory experience. Bertoia's talent and innovation caught the attention of Florence Knoll, the founder of Knoll Associates, a leading furniture design company. In 1950, Bertoia began collaborating with Knoll, producing a series of iconic wire chairs that became emblematic of mid-century modern design. His "Diamond Chair," with its geometric form and airy construction, remains a classic of modern furniture design. Bertoia continued to explore sculpture as a means of artistic expression, experimenting with new forms and materials. His work was characterized by organicism and fluidity, with forms that evoked natural phenomena such as waves, leaves, and clouds. A decade before Harry Bertoia began creating three-dimensional sculpture, he dedicated his creative efforts to producing experimental prints at the Cranbrook Academy in Bloomfield Hills, Michigan, pursuing a passion that would continue for the rest of his life. With these spontaneous works, he worked intuitively, testing different tools and techniques to achieve his desired effects. Rather than using a traditional mechanical pressing process, he would apply ink to a glass or smooth Masonite plate with a sheet of paper laid directly on top. Then, tools such as brayers, dog hair brushes, styluses, and different parts of his hands were employed to draw or “press” the images on the back of the sheet. Rice paper was typically used due to its semi-translucent nature, offering Bertoia limited visibility of the effects of his experimentation, but ultimately, the unpredictable nature of the process was an integral aspect of the results, which never ceased to delight him. Each work was a singular composition with abstract imagery ranging from linear, structural compositions to fantastic surrealistic forms to poetic tonal landscapes. He received little input from other artists, developing his unique vision with rare purity and a deep personal resonance. From his first year of printmaking in 1940, Bertoia quickly amassed an extensive collection of unique works. The compositions were strongly tied to the non-objective movement, which, while popular in Europe, was still in its nascent stages in the US. There were few proponents of this new art form to be found in the 1940s, and it was Hilla Rebay, then Director of the Guggenheim Museum of Non-Objective Art, who gave Bertoia the encouragement and promotion he needed. In 1943, Bertoia sent approximately 100 monotypes to Rebay for review. After receiving the prints, she responded with a surprising offer to buy them all. Rebay then began including them in the museum’s exhibitions. The Guggenheim shows succeeded in putting Bertoia’s name out into the world. He began exhibiting his works regularly at the Neierndorf Gallery in New York and was provided a stipend to ensure a steady supply of prints until Karl Neierndorf died in 1947. By the 1950s...

Cnoc-Cuil-Phail Croft, Isle of Iona by John Lowrie Morrison - "Jolomo" OBE Scottish born 1948 Oil on canvas Canvas size: 16 x 16 inches Framed size: 25.5 x 39 inches Signed lower r...

Otto Kuhler, 'The Welder', etching, c. 1926, edition unknown but small, Kennedy 9. Signed in pencil. A fine, richly-inked impression, in dark brown ink, with selectively wiped overal...

Fly Fishing, Saranac Lake. 1889. Etching, aquatint and burnishing. Goodrich 104. 14 1/4 x 20 5/8; sheet 18 1/2 x 24 1/2. Edition unknown but quite possibly intended 100; highest numb...

Otto Kuhler, 'Cargo Carriers', etching and drypoint, c. 1932, edition 10, Kennedy 44. Signed in pencil. A superb, atmospheric impression with rich burr and selectively wiped overall plate tone, in dark brown ink, on Arches cream laid paper; wide margins (2 to 2 3/4 inches), in very good condition. Printed by the artist. Original Kennedy Galleries mat and label. Scarce. "On my trips up and down N.Y. harbor on the Weehawken Ferry, the late evening sun playing on the side of the big liners has always intrigued me... The liner shown I believe to be the Vaterland of the North German Lloyd...

Leon Bibel, 'Food Not Cannon', etching, 1937, edition 12 (an early state, probably unique). Signed in pencil. A fine impression, on cream wove paper, with full margins (7/8 to 2 1/8 ...

Figures Allonges Color Lithograph, 1971 Unsigned (as usual) Published: XXe Siecle, Volume 33, 1971 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, Paris Editi...

Leon Bibel, 'Abstract Boats', color serigraph, 1938, edition 12. Signed, dated, and numbered ' /12' in pencil. A fine, painterly impression, with fresh colors, on buff wove paper; t...

Tom Cat by Orovida Pissarro (1893-1968) Oil on canvas 51 x 61 cm (20 ¹/₈ x 24 inches) Signed and dated lower left Orovida 1961 Provenance Collection of Carel Weight Private collecti...

Jan Matulka (1890-1972), Spanish Woman with Guitar, lithograph, 1925, an unsigned proof impression. Reference: Flint 13, only a few impressions known...

Lithograph in colours, 1969, on wove paper, with the artist's printed signature as issued, inscribed ‘Hors Commerce’, aside from the French ‘F’ edition o...

Boy with Chalked Numbers, NYC by Harold Feinstein is a 14 x 11 inch gelatin silver print, and is edition 3/200. This photograph features a boy sitting on the ground, surrounded by nu...

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...

The Beach at Baleloch, North Uist by John Lowrie Morrison - "Jolomo" OBE Scottish born 1948 Oil on canvas Canvas size: 16 x 30 inches Framed size: 25.5 x 39 inches Signed lower right

Lithograph in colours, 1969, on wove paper, with the artist's printed signature as issued, numbered from the French edition of 250 and inscribed with an ‘F’(there was also an America...

Summer Evening Light, The Abbey, Isle of Iona by John Lowrie Morrison - "Jolomo" OBE Scottish born 1948 Oil on canvas Canvas size: 30 x 30 inches Framed size: 39.5 x 39.5 inches Si...

The White Eagle is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8.15 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

White Blooms and Pomegranates, 2021 by John Lowrie Morrison - "Jolomo" OBE Scottish born 1948 Oil on canvas Canvas size: 16 x 20 inches Framed size: 26 x 29.5 inches Signed lower r...

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...

Robert Blackburn, Untitled (Reclining Nude), brush and ink, c. 1948, unsigned. A fine, spontaneous work, on cream wove paper. Slight toning to the sheet edges; otherwise in excellent condition. Matted to museum standards, unframed. Image size 18 3/4 x 23 1/2 inches (476 x 597 mm). Provenance: Adrienne E. Wheeler Collection, acquired from the artist. ABOUT THE ARTIST Robert Blackburn (1920 - 2003) participated in the rich mix of art programs and creative groups available in Harlem as he grew up, including Charles Alston's Harlem Arts Workshop, the Harlem YMCA, and later the Harlem Artist's Guild. In 1937 he joined the WPA at the Harlem Community Art Center, the largest New York center for instruction in the arts. There he was exposed to Harlem's most prominent artists, Aaron Douglas, William Henry Johnson...

Evening Storm the Paps of Jura by John Lowrie Morrison - "Jolomo" OBE Scottish born 1948 Oil on canvas Canvas size: 18 x 32 inches Framed size: 27.5 x 41 inches Signed lower right

The White Boat and Red Tent, Isle of Gigha by John Lowrie Morrison - "Jolomo" OBE Scottish born 1948 Oil on canvas Canvas size: 24 x 24 inches Framed size: 33.25 x 33.25 inches Sig...

Harsha, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 60 in H x 40 in W Edition of 3 Unframed The term "hijra" applies to a very diverse...

Shreya, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 60 in H x 40 in W Edition of 3 Unframed The term "hijra" applies to a very diverse...

Sangita, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 24 in H x 16.2 in W Edition of 9 Unframed The term "hijra" applies to a very dive...

Sreesha, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 35.2 in H x 27.7 in W Edition of 6 Unframed The term "hijra" applies to a very di...

Double Portrait at the Easel (M.835) is lithograph on paper, signed 'Marc Chagall' lower right and numbered XI/XV lower left, from the edition of 69 (there were also 50 Arabic and 4 ...

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...

The Artist and Biblical Themes (M.722) is a lithograph on japon nacre paper, signed 'Marc Chagall' lower right and numbered VIII/X lower left from the edition of 64 (there were also ...

Lithograph in colours, 1969, on wove paper, with the artist's printed signature as issued, numbered from the French edition of 250 and inscribed with an ‘F’(there was also an America...

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...

Charles Dufresne (1876-1938), Une Escale au Brasil (A Stopover in Brazil), etching and drypoint, c. 1920, signed in pencil lower right margin and inscribed “epreuve de artist” lower ...

Sneha, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 35.2 in H x 27.7 in W Edition of 6 Unframed The term "hijra" applies to a very dive...

Muskan, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 60 in H x 40 in W Edition of 3 Unframed The term "hijra" applies to a very diverse...

Herbert James Gunn R.A., R.P. (1893-1964) 'Alphonse' - Study of a Poodle Signed 'James Gunn' lower right Oil on canvasboard Painting Size - 17 3/8 x 13 3/8 in Framed Size - 23 x 19 i...

Debo, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 24 in H x 16.2 in W Edition of 9 Unframed The term "hijra" applies to a very diverse...

Anusha, 2013 by Jill Peters From the series The Third Gender of India Archival pigment print Size: 35.2 in H x 27.7 in W Edition of 6 Unframed The term "hijra" applies to a very div...