Ifpda International Fine Print Dealers Association

Bull Ring Brass - Mexico City Watercolor, pen and ink on paper, 1955 Signed in ink, dated and titled in pencil (see photos) Condition: 1'' repaired tear left edge, along with other minor tears. Tape stains from previous matting visible in the four corners Image/Sheet size: 19 3/8 x 15 5/8 inches Provenance: Acquired directly from the Artist Joseph M. Erdelac, Cleveland, friend and patron of Longstreet Stephen Longstreet (1907-2002) The artist’s own grandchildren attempt to fathom the real life and nature of Stephen Longstreet, prolific author, artist, screenplay writer, and jazz aficionado. Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard...

Nu (Standing Female Nude) Red chalk on wove paper, c. 1925 Signed lower right by the artist, see photo Condition: Excellent Image/Sheet size: 12 1/8 x 8 5/16 inches Note: Despiau ...

Tokyo Tower in Shiba Color woodblock, 1960 Signed and sealed lower right Signed with the artist's name:" Keimei" (see photo) Signed with the artist's seal in red (see photo) Publishe...

Color lithograph, Ed. 30 Hardy states: “A follow-up to a painting done in 1992 after the L.A. riots which was titled “Bad News (Tweeter is Sick)”. The tattoo bird skirts over the wa...

Du, du liegst mir im Herzen. [Musicians of Bremen.] This brightly colored large-scale color lithograph was published by C. Burckardt, Deponirt "Druck u.Verlag v. C. Burckardt's Na...

Ascension Etching and aquatint printed in red and gold leaf on Arches France paper Signed, titled, and editioned in pencil by the artist (see photos) Edition: 60 of which this number...

Frost, Sir Terry (English, 1915-2003). RED AND BLACK ON GREEN. Screenprint in colors, 1968. Edition size not known. Signed and dated in pencil and inscribed "Artist's Proof." Printed...

Alan Herman is a native New Yorker who graduated with a BFA from The Philadelphia College of Art, and an MFA from Temple University. After graduation he returned to New York and desi...

Color woodcut with hand coloring, Edition 15 In War Eagle, John Buck continues to explore the conflict between our pastoral, utopian ideals and the sad rea...

Jean-Emile Laboureur (1877-1943), Negres Americains a Saint-Nazaire, 1917-1920, engraving on cream wove paper, signed in pencil lower left, titled lower left margin edge, and numbere...

This collagraph was created by John Ross during the 1970's. Signed, titled and inscribed "Artists Proof" in pencil. The sheet size is 22 1/4 x 30" and image size is ...

Fuwa, Kabuki actor Color woodblock, 1931 From: “Kabuki Jahachi-Ban” (Eighteen Kabuki Plays) by the Ichikawa Family Publisher: Gekiga Kanko Kai Carver: Okura Hanbei Printer: Shinmi Yo...

En bouche qui fut fraîche, goût de fiel (In the mouth that was once fresh, the taste of bitterness) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned as ...

Hells Angel on his Hog Pen and ink on paper, 1969 Signed 'Longstreet' lower right (see photo) Titled and dated upper right Condition: excellent Image/Sheet size: 11 x 8 1/2 inches Pr...

Untitled Mixed media on paper, 1979 Signed and dated ‘79 lower right (see photo) Sheet size: 31 1/2 x 48" Frame: 34 1/4 x 50 1/4" Provenance: Members Gallery, Albright-Knox Art Galle...

Minou-Study of Head Charcoal and pencil on vellum, 1984 Signed and dated in pencil by the artist Minou was Barnet's feline companion throughout many of his most prolific years. It has been said that if you entered Barnet's studio and Minou did not like you Barnet lost interest and dismissed you almost immediately. Provenance: Susan Teller Gallery, prior to 2005 (one of Barnet's friends and dealers) Babcock Galleries, 2005-2008 This drawing is related to a similar composition reproduced in the Richard Boyle catalog for Babcock Galleries. References: Boyle, Will Barnet Drawings, related to works reproduced on pp. 21, 41 (see photo of page 41) Minou is the cat on the back right. Condition: Excellent Stray ink and paint consistent with a working studio drawing Archival framing with DEN Glass (see photo) Image size: 9 x 11 7/8 inches Frame size: 17 x 19 inches Will Barnet Born May 25, 1911, Beverly, Massachusetts, US Died November 13, 2012 (aged 101), New York City, US Will Barnet (May 25, 1911 – November 13, 2012) was an American artist known for his paintings, watercolors, drawings, and prints depicting the human figure and animals, both in casual scenes of daily life and in transcendent dreamlike worlds. Biography Born in 1911 in Beverly, Massachusetts, Barnet knew by the age of ten that he wanted to be an artist. As a student, he studied with Philip Leslie Hale at the School of the Museum of Fine Arts, Boston and viewed first-hand John Singer Sargent at work on the murals of the Boston Public Library. In 1930, Barnet studied at the Art Students League of New York, with Stuart Davis and Charles Locke, beginning his long association with the school. Here he concentrated on painting as well as printmaking, and, in 1936, he became the official printer for the Art Students League. There, he later instructed students in the graphic arts at the school and taught alongside the likes of Yasuo Kuniyoshi, Robert Beverly Hale and Richard Pousette-Dart. Barnet influenced a generation of artists, including James Rosenquist, Knox Martin, Emil Milan, Paul Jenkins, Ethel Fisher and Cy Twombly. Barnet continued his love of teaching with positions at the Cooper Union, at Yale University, and at the Pennsylvania Academy of Fine Arts. He was represented by the Bertha Schaefer Gallery in New York City. Barnet had three sons, Peter, Richard, and Todd Barnet, by his first wife Mary Sinclair. Barnet later married Elena Barnet, with whom he had a daughter, Ona Barnet. Death A longtime resident of the National Arts Club, Barnet died in New York City on November 13, 2012, at the age of 101. Works Barnett's works span the various "movements" of their era, from his early social realist work to his final signature style of clean lines and carefully placed volumes of solid color in a kind of minimalist representational approach. His work is concerned with humanity, yet at his core he always remained a formalist, cerebral in his approach to the elements that make up a good picture. In his interviews he articulated his well thought out principles regarding color use, composition and subject matter, in a professorial manner reflecting the theoretical acumen he brought to his teaching. Like many American painters of his generation he was digesting the evolving trends in Europe and integrating the new visual vocabulary into his American style while remaining universal, referencing his own personal history with images of his wife, his daughter, and their family pets. As James Thomas Flexner wrote, Barnet's work "makes us experience the interplay between the personal and the universal." While remaining representational, the simple elegance of the figures and their flat surfaces reflect his exploration with abstraction. Will's artistic output spans eighty years. Few artists, other than Picasso or Monet, can claim such a long continuous period of inspired art making, nor the logical progression of moving through artistic phases: in the 1930s he was a social realist, in the 1940s a Modernist, in the 1950s an Abstract Expressionist and in the 1960s and onward he settled on a representational minimalism honed from the refinement of his earlier explorations. His early work is decidedly social realist, with sullen portraits done in dark tonalities that suggest both the struggle of the depression era and the hope in the simple love of family life. He moves out of this phase with the improving economy and in the 1940s adds vibrant color and more abstract figures, suggesting a lifting of the depression era malaise. He was a key figure in the 1940s New York movement called Indian Space Painting, artists who based their abstract and semi-abstract work on Native American art; a striking movement which had a handful of practitioners (notably Steve Wheeler...

Emil Nolde (1876-1956), Abschied (Parting), etching and aquatint (tonal effects), 1906, signed in pencil lower right. Reference: Schiefler/Mosel 20, third state (of 3). One of only...

French Stacks Linocut printed in color Unsigned Stamped verso “Imprimerie Arnera Archives/Non Signe” Printer: Jaime Arnera, Vallarius, France (their stamp verso) Condition: Printed ...

The Season's Encounter Signed, dated and numbered in the lower margin Edition: 20 (16/20) Signed, dated and numbered in the lower margin Condition: Mint, flawless Image: 17 3/4 x 13 ...

Ragtime Piano Collage, 1969 Signed and dated '69 lower right Address stamp verso Provenance: Acquired from the artist Joseph M. Erdelac, friend and patron of the artist Stephen Longs...

Between Air and Water #18 Color soft ground, Spit Bite Aquatint and Drypoint on Gampi Chine Colle, 1992 Signed, titled, and dated in pencil (see photo) Annotated: A.P.4 (see photo) C...

Hermine David (1886-1970), Marechal Ferrant (The Blacksmith), etching and drypoint, signed in pencil lower right [also signed in the plate lower left], ...

DIEBENKORN, Richard. Poems of W.B. Yeats. Selected and introduced by Helen Vendler. xxv, [3], 171, [2] pp. 4to, 260 x 205 mm, bound in half red morocco over green cloth, in a gre...

Smith, Lawrence Beall (1902-1995). FROLIC. Lithograph, 1948. Edition of 250 published by Associated American Artists. 9 3/8 x 12 1/4 inches (image)12 3/8 x 17 1/4 inches (sheet). In ...

Sloan, John. BARBER SHOP. Etching and aquatint, 1915, (Morse 173), 3rd (final) state, Only 35 were printed, by Sloan. Signed in pancil, lower right. 10 x 12 inches (256 x 308 mm (pl...

Standing Female Nude in Profile, hand on hip Colored chalks on Strathmore Charcoal grey paper, c. 1980 Signed in chalk lower right (see photo) In 1941, Fidelma Cadmus (Paul’s sister)...

Jules Olitski Asian Massif - 1 1975 Water base acrylic on canvas 213.4 x 88.9 cms (84 x 35 ins) JO001

Signed, titled, and dated in pencil. Inscribed "21/285.." Edition 285. Very good condition.

#90 Strange Creature Oil and pencil on board, 1932 Signed and dated in the image lower right (see photo) Provenance: Joseph M. Erdelac, Cleveland, OH Condition: excellent Archival framing Image size: 10 1/2 x 11 3/4 inches Frame size: 25 x 24 inches Painter, illustrator and commercial artist Norbert Lenz was born in Norwalk, Ohio and received his artistic training at both the Huntington Polytechnic Institute and the Cleveland School of Art. During his career Lenz exhibited his paintings and drawings at such institutions as the Pennsylvania Academy of Fine Art, the Art Institute of Chicago, the Cleveland Museum of Art and the Butler Institute of American Art. Today the art of Norbert Lenz is held by the Columbus Museum of Art, the Cleveland Museum of Art and the Butler Institute of American Art. Lenz was also a very highly regarded commercial designer of stamps. He worked for a number of years at the House of Farman, a leading vendor of first day covers...

Signed, dated, annotated "epreuve d'artiste"; Annotated on titled "B.B." Edition: 5 (5/5) Part of a set of 4 prints commissioned for a book Childs did with the German writer Bazon ...

Platt, John Edgar (English, 1886-1967). PORT OF ST. TROPEZ. Woodcut in color, 1924. Edition of 100, signed and titled in pencil and numbered 43/100. 15 1/4 x 11 1/2 inches (sheet). P...

Doyle, John L. (American, 1939 - 2010). THE GREAT HUMAN RACE - MERCHANTS AND TRADERS. Fishy Whale Press, Rockford, IL., 1983. Boxed portfolio of 20 lithogra...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Marc, Franz (German, 1880-1916). STELLA PEREGRINA. FranzHanffstaengl, Munich, 1917. Only edition. Number 25 of the limited edition of 110. Folio (18 x 13 inches), parchment-bac...

Isabel Bishop (1902-1988), Putting on the Coat, etching, 1943, signed in pencil lower right and titled (Putting on Coat (front)) lower left margins. Reference: Teller 31. In excellen...

Lice (Mallards grooming themselves) Drypoint, 1927 Signed and dated lower right (see photo) Titled lower left corner Condition: Excellent Image/Plate size: 6 7/8 x 10 3/4 inches Shee...

Eloignement (Remoteness) Etching, aquatint and engraving, 1990 Signed lower right corner (see photo) Numbered lower left corner (see photo) Edition: 99 (28/99) Publisher: Jacqueline ...

Roth, Ernest (American, 1879-1964). THE WOODEN BRIDGE,VENICE. Etching, 1906. Signed and dated in pencil 7 x 8 3/8 inches (plate), 9 x 10 3/4 inches (sheet). In excellent condition.

4 Color lithograph. 19 3/8 x 10 5/16; 23 x 16 5/16". HG Ibels lower right on stone; No.86 lower left margin, pencil. Blind Stamp (upside down) upper left margin. Published by L...

Handschin, Johannes "Indiana Stumpen " ca 1935 (Tobacco poster) Color lithograph. 50 3/8 x 35 5/8" Most commonly in the form of a cigar store Indian...

The stunning design of this Vintage Original poster Piano Daude,was created by Andre Daude the owner for the Piano store on Avenue Wagram in Paris. The s...

Les Oignons de Siracuse Mezzotint, 1961 Signed, titled & annotated Epreuve d'Artiste vii/X in pencil Edition: Epreuve d'Artiste vii/X Reference: Passeron 315 Condition: Mint Image: ...

Le Groupe Lithograph, 1963 Signed and numbered in pencil, lower right Edition: 75 (68/75) see photo Publisher: Erker Presse, St. Gallen blindstamp lower left. see photo From the suit...

702 CLE Series: Three Rows in the Yard. Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, and the urban neigh...

James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a large, elaborate shaded butterfly, lower right and inscribed imp (also signed with the butterfly in the plate), printed in dark-brown/black ink on laid paper, watermark ProPatria, an impression in Glasgow’s seventh (final) state, published by The Fine Art Society, probably printed in 1881, 8x 11 3/4 inches, sheet 12 1/8 x 16 1/8 inches. Reference: Kennedy 178; Glasgow 185. Provenance: Kraushaar Gallery, New York A fine impression, with wide margins. The Fine Art Societys relationship with Whistler began with the new etchings of the Thames he made in 1879, following a visit from Ernest Brown who had joined the staff of the gallery. The plate is on a large scale and shows the change in the artists approach to the Thames since the etchings he had made in Wapping and the docks in the summer of 1859. The central motif is the old bridge, by this stage somewhat dilapidated. It was shortly to be demolished and replaced by the new bridge of Cornish granite...

Jean-Emile Laboureur, Jeunes Filles Sur Le Port, 1920, engraving, signed in pencil [also initialed and dated in the plate]. Reference: Godefry, Sylvain Laboureur 200, second state of...

Unsigned Provenance: Estate of the artist c. 1929/30 Sheet: 9 7/8 x 14 1/8" Mat: 15 1/4 x 19 3/4"

114.3 x 70.5 cms (45 x 27.76 ins) Edition of 50

Joe "I try to get something accomplished everyday. I ask the Good Lord for Patience and Stregnth" Verso: "I was in for a technical violation. I spent 65 days, but I thank the Lor...

Marshall, Jim. JANIS JOPLIN BACKSTAGE AT THE WINTERLAND, SAN FRANCISCO. Photograph, 1968, printed later. Gelatin Silver print on glossy paper. Unsigned. 17 7/8 x 12 1/4 inches, 455 x...

Intaglio print with carborundum from three aluminium plates printed in two shades of black and two shades of red ochre and chrome yellow (mixed), with hand colouring in alizarin red ...

Bouquet de reves pour Leila-Poemes d'Yuan Goll Color lithograph, 1964 Unsigned (as issued) From: XXe siecle, No. 24, December 1964 Publisher: G. di San Lazzaro, Paris Printer: Mourlot, Paris Edition: c. 1500 Reference: Mourlot 546 Condition: Excellent Glue residue on left amrgin from binding in the book XXe Siecle (20th century-review) New series Back in Paris in 1949, Gualtieri di San Lazzaro resumed 20TH century publishing in 1951. It hosts many of the most important writers and art critics of the 1950s and 1960s, including Alain Bosquet , Genevieve Bonnefoi, Camille Bourniquel , Georges Borgeaud, Marcel Brion , Georges Boudaille, Jacques Brosse , Michel Butor , Jean Cassou , Denys Chevalier, Pierre Courthion, Hubert Damisch , Pierre Descargues, Bernard Dorival , Jacques Dupin , Mircea Eliade , Jean-Louis Ferrier , Pierre Francastel , André Frenaud , Roger Van Gindertael...

Cluster of Grapes in Folded Napkin Etching, 2006 Signed and numbered by the artist (see photo) Edition: 25 (8/25), see photo Printed on Hahnemuhle pa...

Paul Schuitema - 1879-1973 Tentoonstelling/Bki 1931 23 ½ x 18”. Unlined.Good condition with the exception of a small minor tear top middle poster.Good color. Rare. A pioneer in modernistic graphic design, Schuitema also worked as a photographer, filmmaker and furniture designer. After WW1, his first major client was Berkel Scales...

Bando Mitsugoro as a Servant with a Sword Color woodcut, 1952 From The Series Shunsen Nigao-E Shu (Shunsen Portraits), Six Woodblock Prints Publisher: Watanabe Excellent condition Im...

The Mouth of Honey Lithographic crayon and mixed media on paper mounted to support paper Initialed by the artist "GB" bottom center on image. (see photo) Titled in pencil in bottom m...

i Exhibition of Designs by Frank Lloyd Wright at Unity Temple. Lake St. Kenilworth, Oak Park. (Published by the Chicago Heritage Committee with the Cooperation of the Unitarian Unive...

BOURGEOIS, Louise. Homely Girl, A Life. By Arthur Miller. With 10 drypoints by Bourgeois. Two volumes. Folio, original beige half morocco over grey cloth, preserved in a grey c...

Horses in a Stable Black chalk on tan wove paper, 1896 Signed with the estate stamp lower right corner (see photo) Note: The image has been sqaured off in red chalk grid lines for use in a large painting Dated in charcoal lower right: "23 Nov '96" Condition: Tack holes in the corners small tears and creases along margins Sheet size: 14 11/16 x 16 13/16 inches Provenance: Dr. Ernst Hauswedell Brenner Fine Arts, Inc., New York Alan Stone Gallery, New York "Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced – recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group’s rebirth as the Libre Esthétique, Lemmen’s work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen’s travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new ‘free’ aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l’Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen’s reputation. Museum and Gallery Holdings Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children’s Room (watercolour); Reading; Couture; Young Girl by the Sea...

Kuhn, Walt (American, 1877-1949). ORTHOPHONIC EVENING. Drawing, ink and watercolor, 1928. Titled, signed and dated within the image, in ink, and further inscribed with the copyright symbol (c in a circle) and signed and dated 1937, in pencil, presumably to preserve reproduction and publication rights. 9 1/2 x 15 1/2 inches, plus margins of about 1/2 inch. In excellent condition. The "Orthophonic Victrola," introduced in 1925, was the first electric record player sold commercially. In the drawing it is seen at the left, with the host changing a record. The rest of the drawing reveals that listening to music was not the primary activity of the "orthophonic evening." The following is quoted from The Pillips Collection's biography of Kuhn: Walt Kuhn is remembered as an early promoter of modern art in America. He was not only a well-known painter, but also a cartoonist, sculptor, printmaker, writer, teacher, and producer of vaudeville shows. Born in 1877, Kuhn grew up in Brooklyn, where he received his education in private schools until he was sixteen. In 1899 he ventured to San Francisco to work as a cartoonist for The Wasp, a political and literary weekly. In 1901 Kuhn traveled to Europe for formal art training at the Académie Colarossi in Paris and later at the Munich Academy. Returning to New York in 1903, he established a studio in Manhattan and helped arrange the 1910 Exhibition of Independent Artists. He was a founding member and officer of the Association of American Painters and Sculptors, the organization responsible for mounting the Armory Show of 1913, and in this role traveled through Europe in 1912 looking at art and helping to select works to be exhibited. Seeing paintings by Cézanne, Derain, Dufy, Pascin, and the cubists affected his style, and throughout the teens and early twenties Kuhn experimented with fauve colors, using blocks of color akin to Cézanne and with cubist space, integrating abstracted forms into the space of the picture plane. Finally, he developed his own painting style characterized by solid, sculptural depictions of single figures. Kuhn had his first solo show in 1910 at the Madison Gallery...