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International Fine Print Dealers Association Art

International Fine Print Dealers Association (IFPDA)
International Fine Print Dealers Association (IFPDA)

Launched in 1987, the International Fine Print Dealers Association has continually set the bar for quality and ethics while promoting prints as original works of art to generations of collectors, curators and art lovers. With over 160 members in 13 countries, the IFPDA is a worldwide community of leading dealers and editions publishers who represent the full spectrum of printmaking. Each year, the IFPDA hosts the IFPDA Print Fair in New York, the only major fair dedicated to fine-art prints.

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FOREST IN THE SPRING
By Jacques Hnizdovsky
Located in Portland, ME
Hnizdovsky, Jacques. FOREST IN THE SPRING. T.31 Woodcut, 1960. Edition of 100. Signed, Titled, dated, numbered 10/100 and inscribed "Woodcut," all in pencil. 39 x 9 inches (sheet). I...
Category

1960s International Fine Print Dealers Association Art

Materials

Woodcut

Rayon des Soieries
By Maurice Dufrêne
Located in New York, NY
DuFrene, Maurice. Rayon des Soierie Ref: Opera, 17; Publisher: Imp. Chaix, Pairs. Maurice Dufrene was born in Paris in 1876. He studied at the Ecole des Arts Decoratifs, and to...
Category

1920s Art Deco International Fine Print Dealers Association Art

Materials

Lithograph

Dante's View, Death Valley, printed later
By Edward Weston
Located in Fairlawn, OH
Dante's View, Death Valley Gelatin silver print, (1938), printed in 1981 Unsigned Signed with the estate stamp verso (see photo) A lifetime printing by Brett Weston (1953-1954), supe...
Category

1980s American Modern International Fine Print Dealers Association Art

Materials

Silver Gelatin

Ocean View Wind Patterns, Camden Maine
By Yvonne Jacquette
Located in Lyons, CO
Color lithograph, Edition 30. Jacquette also creates compelling images of the landscape and the sea from the air or atop hills or mountains. In this colorful print she depicts a view of the Maine...
Category

2010s Contemporary International Fine Print Dealers Association Art

Materials

Lithograph

Untitled (Reclining nude, face down)
Located in Fairlawn, OH
Untitled (Reclining nude, face down) Lithograph, 1944 Signed and dated lower right in pencil Image size: 8 13/16 x 11 7/8 inches Sheet Size: 11 1/8 x 18 3/4 inches Condition: Aging ...
Category

1940s Art Deco International Fine Print Dealers Association Art

Materials

Lithograph

WOODED LANDSCAPE AT DUSK
By Ryohei Tanaka
Located in Portland, ME
Ryohei, Tanaka (Japanese, 1933- 2019). WOODED LANDSCAPE WITH TREES AT DUSK. Etching and aquatint, 1986. Signed and numbered 76/150 in pencil, 5 ½ x 9 ...
Category

1960s International Fine Print Dealers Association Art

Materials

Etching

Plum Branches and Flowers
By Joseph O'Sickey
Located in Fairlawn, OH
Plum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...
Category

1980s Contemporary International Fine Print Dealers Association Art

Materials

Watercolor

UNTITLED
By Giuseppe Santomaso
Located in Portland, ME
Santomaso, Giuseppe. UNTITLED. Lithograph, 1952. Edition of 60. Numbered 39/60, signed and dated in pencil. 19 3/4 x 13 1/4 inches (image), plus margings. In very good condition. Fr...
Category

1950s International Fine Print Dealers Association Art

Materials

Lithograph

Los Alamitos
By Frank Stella
Located in London, GB
Screenprint, in colours, 1972, on Gemini rag Board, signed, dated and numbered 53 from the edition of 75, published by Gemini G.E.L., Los Angeles., sheet: 51.4 × 203.5 cm. (20 1/4 x 80 1/8 in.), framed: 52.4 x 204.5 cm. (20.6 x 80.5 in.) The three large scale, extended horizontal screenprints of the ‘Race Track Series’ are named after horse-racing tracks in Southern California and Mexico : Del Mar (San Diego County), Los Alamitos...
Category

1970s International Fine Print Dealers Association Art

Materials

Screen

Sight Lines II : The Green Room
By Peter Milton
Located in New York, NY
SIGHT LINES II : THE GREEN ROOM. This archival digital print was created in 2010. This original print was directly drawn into the computer by Peter Milto...
Category

21st Century and Contemporary American Realist International Fine Print Dealers Association Art

Materials

Digital

GIRL WITH LUTE
By Louis Schanker
Located in Portland, ME
Schanker, Louis (American 1903-1981). GIRL WITH LUTE. Johnson 18. Linocut in colors, 1938. Edition of 10. Titled, numbered 6/10 and signed in pencil. 5 1/2 x...
Category

1930s International Fine Print Dealers Association Art

Materials

Linocut

Viva, Warhol and Ultra Violet
By Jack Roth
Located in Fairlawn, OH
Viva, Warhol and Ultra Violet Collage on board, 1973 Signed with estate stamp on reverse (see photo) The original photograph used in this collage depicts Viva (Susan Hoffman, born 19...
Category

1970s Pop Art International Fine Print Dealers Association Art

Materials

Other Medium

Darius at 10
By Darius Steward
Located in Fairlawn, OH
Darius at 10 Drypoint, 2022 Signed, titled and numbered in pencil Printed by Rebekah Wilhelm Her drystamp lower right Published by the artist Edition 14, plus proofs Condition: Excel...
Category

2010s American Realist International Fine Print Dealers Association Art

Materials

Drypoint

Lice
Located in Fairlawn, OH
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...
Category

1920s American Realist International Fine Print Dealers Association Art

Materials

Drypoint

German Cotton Plant Botanical Teaching Chart
By Heinrich Jung
Located in New York, NY
Original chromolithograph teaching chart by Heinrich Jung G. Ton Koch, and F. Quentell. Darmstadt, Verlag Frommann & Morian, circa 1902.
Category

Early 1900s International Fine Print Dealers Association Art

Materials

Paper

Lunchtime on Broadway
By Red Grooms
Located in New York, NY
Red Grooms’ “Ruckus Manhattan” in the mid-1970s humorously transformed Grand Central Terminal into a 3-D caricature of New York City. “I wanted to do a novelistic portrait of Manhatt...
Category

21st Century and Contemporary Contemporary International Fine Print Dealers Association Art

Materials

Etching

THE LITTLE COURT - CLOTH FAIR
By James Abbott McNeill Whistler
Located in Portland, ME
Whistler, James A. M. THE LITTLE COURT CLOTH FAIR. Spink 22. Lithograph, 1887. A lifetime impression, one of 12 printed by Way and signed in pencil with the Butterfly. Printed on Ivory colored wove paper without watermark. The sheet 11 9/16 x 6 inches. In very good condition with slight discoloration from the mat in the areas outside the mat window. Provenance: Collection of Otto Gerstenberg (see below) with his collectors stamp, Lugt 2785, the Secretary Montag's "M" and the inventory numbers 61248 KO5182 all on the verso; Horizon Gallery, Rockport, MA, with its label and annotations on the frame backing. Framed. Very rare. The following are translations from the entry on Gerstenberg in Lugt: Lugt 1921: O. GERSTENBERG (born 1848), director of the Insurance Company "Victoria", lives in Berlin. Old and modern prints. Otto Gerstenberg, born in Pyritz, studied mathematics and philosophy at the University of Berlin. After having been employed at the Prussian Statistical Office, in 1873 he entered the insurance company "Victoria" in Berlin as a mathematician-calculator, and became its director in 1888. He developed it in the following years and brought it up. to its present importance. Around 1900 he began to collect prints of which he now has a very large cabinet; as elders especially Schongauer, Dürer and Rembrandt, then Lucas de Leyde, Hirschvogel, van Dijck, Ostade and the French portrait painters. As modern it is necessary to point out, among the Germans »Greiner, Klinger, Leibl, Liebermann, Menzel, Stauffer-Bern; among the French, Corot, Daumier, Degas, Forain, Lepère, Manet, Meryon, Toulouse-Lautrec; among the English, Bone, Dodd, Goff, Haden, Strang; then an important work by Whistler and Goya and leaves by Rops and Zorn. Also has beautiful paintings. Lugt 1956: During the 1914-1918 war, the collectort had his collection transported to Switzerland and, when the war was over, he decided, quite reluctantly, to sell it. In the spring of 1922 the sale was concluded in Zurich with the merchants Gust. Mayer, of Colnaghi & C ° of London, and Mr. A. MacDonald, then a partner of Harlow & C ° of New York, who bought the set at a price corresponding roughly to the total prices paid by Gerstenberg. This was a large sum, because he had acquired several of his finest pieces in the big sales between 1900 and 1914 against the big enthusiasts of the time such as Morgan, Gutmann, Rothschild etc. It was Gaiser, of the firm H. G. Gutekunst in Stuttgart, who had generally carried out his orders in the sales. MacDonald believed he had a buyer for the set in America, but when the collection arrived there those hopes were dashed by a change in economic conditions. He then sold the parts separately. We will get an idea of ​​the importance of this collection by the following enumeration of the most beautiful pieces: among the Dürer, the Adam and Eve (from the Buccleuch and Hubert collections), the Saint-Eustache, the Mélancolie (from the collection Behaim, Dumesnil and Scholtz), the Knight of Death (from the Barnard and Hubert collections) and the Life of the Virgin series (from the St. Aubin collection); Dürer's work was almost complete. Quite remarkable was the Rembrandts' series, in which we note the Piece aux cent florins, sur Japon (collection Weber and Hubert), the Three Crosses, 1st state and 2nd state (collection Artaria and Hubert), the Little Tomb ( coll. John Wilson) and another proof on Japan, Death of the Virgin in Irstate (Josi coll.), St. Jerome, B. 103, unstead (Josi, Aylesford, Buccleuch and Hawkins coll.), the St. François (coll. Theobald); the series of portraits by Rembrandt was superb: Rembrandt himself drawing, B. 22, Ir état (from the Worlidge, Brit. Mus., Dighton and Theobald collections) and the same in the second state on Japan (Morrison collection), all the states of Clement de Jonghe, Jan Asselijn, Irtat (Josi, Aylesford, Buccleuch and Hubert coll.), old Haaring, 2nd state (same sources) and the young, 2nd state in Japan (Brodhurst and Lanna collection) , the Lutma in 1st state on japan (Josi, Aylesford, Baccleuch and Hubert collection) and a superb 2nd state (from the Firmin-Didot and Hubert collections), the Six in 3rd state (Ploos van Amstel collection); in landscapes: the three Trees (coll. Theobald), the three Chaumières (coll. Morgan and Lesecq des Tournelles), the Landscape with the tower, Ir état (coll. Aylesford, Holford and Hubert), the Campagne du peseur d ' gold, on Japan (Barnard, Holford and Theobald collection) and a State of Landscape with the drinking cow, on Japan (Theobald collection). Then a series of 51 Schongauer, including several of the first order, 8 of Hirschvogel, the portraits by van Dijck himself in first states (except D. 10 and 15, the most beautiful of the collection Theobald), beautiful series by Claude and van Ostade. The purchase included neither the important modern prints that Gerstenberg owned, nor his beautiful prints by Goya, nor a few drawings by the latter and Rembrandt. Gerstenberg was an enthusiastic collector who passionately loved his collection. When in 1922 the buyers announced their decision to acquire his old prints at the agreed price, he could not contain his tears. He later consoled himself by developing his series of watercolors and drawings of the French school of the nineteenth century, and he managed to own a magnificent set of Delacroix, Daumier, Degas, Monet and, in general, the Impressionists. . We do not know, at the present time, what happened to this part of his collection, but it is feared that part of it was lost or destroyed in the offices of the insurance company "Victoria" in Berlin or in its property in Silesia during the Russian invasion in 1945. The Toulouse-Lautrec which had been evacuated to Denmark were sold out of court after the war from 1939 to 1945. Gertstenberg died ,very old in 1935. The mark reproduced by us in L.2785 has rarely been used, but the origin of the prints is more easily recognized by the initial M, followed by a number (see L.1840c...
Category

1880s International Fine Print Dealers Association Art

Materials

Lithograph

Floater
By Don Ed Hardy
Located in Lyons, CO
Color lithograph, Edition 20. Don Ed Hardy’s lithographs, created in the spring of 2007, continue the “look” of his Ghost Writer painting series which has been developed over the past five years. They are evocative of ancient Chinese stone rubbings, or x-rays. Both prints refer to earlier images from Japanese art history. Floater, a meditating skeleton poised above surging waves, was done from memory after a 19th century Japanese painting...
Category

Early 2000s Contemporary International Fine Print Dealers Association Art

Materials

Lithograph

Boat (study for estuary)
By Richard Bosman
Located in New York, NY
Richard Bosman (b. 1944) is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New ...
Category

Late 20th Century Modern International Fine Print Dealers Association Art

Materials

Woodcut

Beetle Engraving
Located in New York, NY
Seba, Albertus. Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiossimis expressio, per universam physices historiam. Amsterdam, Wetsten, Smith, Jans...
Category

Mid-18th Century International Fine Print Dealers Association Art

Materials

Laid Paper

Le Mirivis des Naturgies.
By Jean Dubuffet
Located in New York, NY
DUBUFFET, Jean. Le Mirivis des Naturgies. By André Martel and Jean Dubuffet. 48 pp. Illustrated with 16 original lithographs by Dubuffet, of which 14 are loose, one is on the wra...
Category

1960s International Fine Print Dealers Association Art

Materials

Paper

Piano Daude
By Andre Daude
Located in New York, NY
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...
Category

1920s Art Deco International Fine Print Dealers Association Art

Materials

Lithograph

Last Rays
By Yvonne Jacquette
Located in Lyons, CO
Color lithograph, Edition 30 Last Rays is an intensely colorful image that evokes the play of light and reflections caused by the late rays of the evening sun as they rake low acr...
Category

21st Century and Contemporary Contemporary International Fine Print Dealers Association Art

Materials

Lithograph

Trackside
By Christopher Brown
Located in Berkeley, CA
Chris Brown Trackside Color spitbite aquatint, aquatint, and softground etching. Edition of 40
Category

21st Century and Contemporary Contemporary International Fine Print Dealers Association Art

Materials

Etching

Across the Floor.
By Frederick Mershimer
Located in New York, NY
Fred Mershimer created this piece using mezzotint and aquatint printmaking techniques with handpainted watercolor. "Across the Floor" was printed in an edition of 120 in 2011. It ...
Category

21st Century and Contemporary American Realist International Fine Print Dealers Association Art

Materials

Mezzotint

Canadian Geese in Flight
By Paul H. Winchell
Located in Fairlawn, OH
Canadian Geese in Flight Drypoint printed with plate tone in the sky c. 1940's Signed in pencil lower right Condition: Excellent Image/Plate size: 8 3/8 x 10 1/4 inches Provenanc...
Category

1940s American Realist International Fine Print Dealers Association Art

Materials

Drypoint

“La Rèpublique nous appelle…” (The Republic calls us…)
By Théophile Alexandre Steinlen
Located in Fairlawn, OH
La République Nous Appelle (The Republic Calls Us) Transfer lithograph with an etching Remarque in the lower left corner, 1915 Signed in pencil lower right (see photo) Edition: 100 (...
Category

1910s International Fine Print Dealers Association Art

Materials

Lithograph

Fire Opal
By Robert Kushner
Located in Lyons, CO
Color lithograph, Edition 30 Kushner has collaborated with Master printer Bud Shark since 1982 on various monotypes and lithographs. These exuberant, sensuous prints often include...
Category

21st Century and Contemporary Contemporary International Fine Print Dealers Association Art

Materials

Lithograph

Landscape
By Cornelis Ploos van Amstel
Located in New York, NY
Original engraving by old master print-maker Ploos Van Amstel after Jan van Goyen. Holland, 1767. Unframed. Trimmed to size.
Category

1760s International Fine Print Dealers Association Art

Materials

Paper

Two-Part Large Hand-Colored Map of Europe from 1798
By Thomas Kitchin
Located in New York, NY
Map of Europe printed on two separate sheets from A New Universal Atlas by Thomas Kitchin. Published in London by Laurie & Whittle, 1798. Original engravings hand-colored at publicat...
Category

1790s International Fine Print Dealers Association Art

Materials

Paper

Untitled From: Gates to Times Square (20 screenprints & 2 lithographs)
By Chryssa Vardea-Mavromichali
Located in Fairlawn, OH
Untitled From: Gates to Times Square (20 screenprints, two with additional lithography) Silkscreen, c. 1978 Signed in pencil (see photo) Edition 100 (90/100) (see photo) Publisher: P...
Category

1970s Abstract International Fine Print Dealers Association Art

Materials

Screen

Retour (Homecoming)
By Georges De Feure
Located in Fairlawn, OH
Retour Color lithograph, 1897 Signed in the stone lower left edge of the image (see photo) As published in "L'Estampe Moderne" L'Estampe Moderne appeared each month as a portfolio of...
Category

1890s Art Nouveau International Fine Print Dealers Association Art

Materials

Lithograph

Animal Kingdom (Magnificent Jungle Cats)
By Louise Nevelson
Located in Fairlawn, OH
Animal Kingdom (Magnificent Jungle Cats) Etching, 1953-1955 Signed and titled in pencil by the artist (see photos) Annotated: "First Proof" (see photo) Estate stamp verso (see photo)...
Category

1950s American Modern International Fine Print Dealers Association Art

Materials

Etching

Lady in a Fur Cloak.
Located in New York, NY
Original pochoir process print (hand-colored stencil). Paris, ca. 1925. Displayed in a custom silver giltwood frame.
Category

1920s International Fine Print Dealers Association Art

Materials

Paper

Untitled (SF64-121)
By Sam Francis
Located in London, GB
Sam Francis Untitled (SF64-121) 1964 Gouache and oil on paper 69.9 x 104.4 cms (27 1/2 x 41 1/8 ins) SF14605 Exhibited: New York, 'Chamberlain/Francis', Van Doren Waxter, July 11- ...
Category

1960s Abstract Expressionist International Fine Print Dealers Association Art

Materials

Gouache

Tommy's Pond
By Gabor F. Peterdi
Located in Fairlawn, OH
Tommy's Pond Etching, aquatint and intaglio, 1966 Signed, dated and numbered in pencil Image/Plate size: 13 7/8 x 10 7/8 inches Sheet size: : 20 1/16 x 14 7/16 inches From: The Portf...
Category

1960s American Modern International Fine Print Dealers Association Art

Materials

Intaglio

Night Life at the Moulin Rouge
By Henry Somm
Located in Fairlawn, OH
Night Life at the Moulin Rouge Pen and ink drawing, c. 1890 Signed lower left (see photo) A scene of the night life near the Moulin Rouge, Paris. The Moulin Rouge is the famous caba...
Category

Late 19th Century French School International Fine Print Dealers Association Art

Materials

Ink

Untitled (SF64-048)
By Sam Francis
Located in London, GB
From the series Blue Balls, (1960-63). This series preoccupied Francis for a number of years, and as William C. Agee pointed out, are rooted in his threatened physical body. Again, t...
Category

1960s Abstract Expressionist International Fine Print Dealers Association Art

Materials

Acrylic

untitled Woman by the Windows
By Karl Albert Buehr
Located in Fairlawn, OH
Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Desc...
Category

1910s Abstract Impressionist International Fine Print Dealers Association Art

Materials

Pastel

Building a Babylon, Tudor City, NY.
By Martin Lewis
Located in Storrs, CT
McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6th trial proof (McCarron records 84 impressions including 4 trial proofs). Illustrated L'Amérique de la Dépression: Artistes En...
Category

Early 20th Century American Modern International Fine Print Dealers Association Art

Materials

Drypoint, Etching

Keying Up - The Court Jester
By William Merritt Chase
Located in Fairlawn, OH
Keying Up - The Court Jester Etching with drypoint, 1879 Signed in the plate lower left corner (see photos) Proof before engraved title and engraved names Printed on thin light golden Japanese tissue paper In the final state, with engraved titled and typeface engraved artist’s signature below the image Condition: excellent Plate size: 6-5/8 x 4-1/4" According to Pisano, this image was very popular during Chase’s life. It is based on his famous painting, Keying Up-The Court Jester, in the collection of the Pennsylvania Academy of Fine Arts. The painting was created in Munich during the artist’s studies there. It was exhibited in the 1876 Centennial Exhibition in Philadelphia where it won a Medal of Honor and helped establish the artist’s reputation as a leading American painter. Chase, always conscious of self promotion, created the etching and had numerous impressions printed. He sold them for a modest price to increase his fame. The etching was later published in Sylvester R. Koehler, American Art Review, September 1878. It was for this American Art Review printing that the engraved titled and type face signature below the image were added to the plate. This example was part of a group of impressions that came down in the Chase family via his daughter Dorothy Bremond Chase, his third daughter. They were acquired at auction in a single auction lot, housed in a paper board folder. The consignor was Associated American Artist’s as they were liquidating their stock prior to closing the gallery. Dorothy was the subject of Chase’s painting, My Little Daughter Dorothy. C. 1894, in the collection of the Detroit Institute of Arts as well as numerous other portraits of her. Reference: Pisano/Bake, Volume 1, Pr. 3, illustrates the rare 1st state, this being a 2nd state before any other the engraved title and Chase's name in the bottom margin which are found in the third state. Artist bio in file (Chase) In 1883 Chase was involved in the organization of an exhibition to help raise funds for a pedestal for the Statute of Liberty. The exhibition featured loans of three works by Manet and urban scenes by the Italian Impressionist Giuseppe de Nittis. Both artists influenced Chase's Impressionistic style that gave rise to a series of New York park scenes. It is also thought that he was influenced by John Singer Sargent's In the Luxembourg Gardens (1879) which was exhibited in New York at this time. Indeed, Chase had met Sargent in Europe in 1881, the two men becoming lifelong friends with Sargent painting Chase's portrait in 1902. On another European trip in 1885, Chase met James McNeill Whistler in London. While Whistler had a reputation for being difficult, the two artists got along famously and agreed to paint one another's portrait. Eventually, however, Whistler's moods began to grate with Chase who wrote home stating "I really begin to feel that I never will get away from here". For his part, Whistler criticized Chase's finished portrait and, according to Hirshler, "complained about Chase for the rest of his life". While no record exists of Whistler's portrait of Chase; Chase's portrait of Whistler remains a well-known piece in his oeuvre. In 1887 Chase married Alice Gerson, the daughter of the manager of a lithography company. Though some fifteen years his junior (Chase was 37), he had known Alice for some time through her family's devotion to the arts. The pair, who would enjoy a happy marriage with Alice in full support of her husband's career, settled initially in Brooklyn where their first child was born. The couple would parent six daughters and two sons and it was only his family that could rival his devotion to his art. Indeed, Chase often combined his two loves by painting several portraits of his wife and children in Brooklyn parks before the couple relocated to Manhattan. Later Period Between 1891 and 1902, Chase and his family spent their summers at a purpose-built home and studio in Shinnecock Hills, a close suburb of the upmarket town of Southampton on the south shore of Long Island (roughly 100 miles east of New York). Chase set up, and taught two days a week, at the nearby Shinnecock Hills Summer School of Art which benefitted from the financial backing of local art collectors. It was at Shinnecock that Chase, taken in by the region's striking natural surroundings, painted several Impressionistic landscapes. As Bettis put it, "There, among the dunes, in the bright sunlight and sea air his painterly impulse was given free sway, and he produced some of his freest and loveliest work". His passion for the area was so felt he even gave his daughter Hazel the middle name of Neamaug, in honor of the rich Native American history of Shinnecock. Chase was equally focused on the students that came to the School and who he encouraged to paint in the modern plein air style favored by the French Impressionists. Although Chase was making a name for himself as an Impressionist, he never abandoned his commitment to the sombre tones and academic tropes he had learned in Munich, though these he reserved for his portraits, and for his series of striking still lifes featuring dead fish. Chase was in fact a successful society portraitist - he painted fashionable women for a fee of $2,000 - and would paint his students as "samples" which he then donated to leading art institutions (such as Lady in Black (1888) which he donated to the Metropolitan Museum in 1891). In 1896, facing financial difficulties, Chase flirted with the idea of giving up his teaching in New York and traveled with his family to Madrid where he developed a passion for bullfighting. Chase returned however to Shinnecock in June to teach his yearly summer art class, and in the fall of that year, established his own art school in Manhattan: the Chase School which was modelled on the Académie Julian in Paris. Chase lacked business savvy, however, and the Chase School lasted only two years before it was placed under new management. It continued as the New York School of Art (changed to Parsons School of Design starting 1941) with Chase as head the School for eleven more years. Chase also taught during this period at the Pennsylvania Academy of Fine Arts. In 1902, following the premature death of his friend John Twachtman, Chase was invited to join the Ten American Painters group (who included amongst its members, Frank Weston Benson, Thomas Wilmer Dewing...
Category

1870s American Impressionist International Fine Print Dealers Association Art

Materials

Etching

Fish and Coral Gouache by Ena Rottenberg
By Ena Rottenberg
Located in New York, NY
Original gouache of a fish and coral by Wiener Werkstatte artist, Ena Rottenberg. Signed with her initials on the lower right edge of the image. Likely a design for a porcelain plate...
Category

1920s Art Deco International Fine Print Dealers Association Art

Materials

Gouache, Parchment Paper

Green Flesh or Candia Melon Aquatint by George Brookshaw
By George Brookshaw
Located in New York, NY
Plate LXIX [Green flesh or Candia melon] from Pomona Britannica; or, A collection of the most esteemed fruits.. with the blossoms and leaves.. by George Brookshaw. London, T. Bensle...
Category

Early 19th Century International Fine Print Dealers Association Art

Materials

Paper

S. LOEB (SOLOMON LOEB)
By Anders Zorn
Located in Portland, ME
Zorn, Anders. S. LOEB (SOLOMON LOEB). H&H76, Asplund 115, Delteil 113. Etching, 1897. Unsigned (signed in the plate). Apparently the 2d or 4th State of 4. All of the states are descr...
Category

Late 19th Century Realist International Fine Print Dealers Association Art

Materials

Etching

Moonlight
By Howard Hodgkin
Located in London, GB
Lithograph from four aluminium plates using tusche and washes, printed in transparent red, orange and a red to orange blend, with hand colouring in ivory black watercolour and blue and green gouache. On two sheets of buff BFK Rives mould-made paper (300 gsm) Hand-signed by artist, Signed with initials and dated 1980 in pencil, in the lower left on the left-hand sheet. Numbered in pencil in the lower right, verso Published by Bernard Jacobson Ltd. Exhibition History: 'Howard Hodgkin: Views. An Exhibition of Early Prints', Bernard Jacobson Gallery, London, 02 March - 02 April 2013; 'Howard Hodgkin Recollections’, Bernard Jacobson Gallery, London, 21 April - 14 May 2022 Literature: Pat Gilmour, 'Howard Hodgkin', The Print Collector's Newsletter, vol. 12, no. 1, March-April 1981, p. 5 (ill. front cover); Deborah Phillips, 'New Editions: Howard Hodgkin', ARTnews, vol. 80, no. 7, September 1981, p. 161; 'Prints by Six British Painters: Stephen Buckley...
Category

1980s Abstract International Fine Print Dealers Association Art

Materials

Lithograph

The Arch of Constantine and the Colosseum
By Giovanni Battista Piranesi
Located in Fairlawn, OH
The Arch of Constantine and the Colosseum Vedute dell' Arco di Costantino, e dell' Anfiteatro Flavio il Colosseo From: "Vedute di Roma" (Roman Views), part II An early Paris edition,...
Category

1760s Old Masters International Fine Print Dealers Association Art

Materials

Etching

As We Were
By Art Werger
Located in Fairlawn, OH
As We Were Mezzotint printed on Hannemuelle Copperplate paper, 2014 Signed and dated in pencil lower right (see photo) Titled lower left (see photo) Chop stamp of the publisher, The ...
Category

2010s Contemporary International Fine Print Dealers Association Art

Materials

Mezzotint

View of Rialto Bridge in Venice
By Pierre Van der Aa
Located in New York, NY
Engraving of Veduta della Piazza, verso la Chiesa di S Marco by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 13.5"L x 10.5"H. Has the original center crease an...
Category

1720s International Fine Print Dealers Association Art

Materials

Paper

Woman with child
By Robert Hallowell
Located in Fairlawn, OH
Woman with child Watercolor on paper, c. 1930 Signed with the estate stamp lower right (see photo) Exhibited: Marbella Gallery, New York Illustrated: Robert Hallowell: An Artist Redi...
Category

1930s American Impressionist International Fine Print Dealers Association Art

Materials

Watercolor

Debris
By Ray H. French
Located in Fairlawn, OH
Debris Etching, engraving and color aquatint, 1947 Signed, dated, titled and number Edition: 25 (1/25), never fully realized Created in the artist's first year studying at the Univer...
Category

Mid-20th Century Abstract Geometric International Fine Print Dealers Association Art

Materials

Engraving, Etching, Aquatint

Untitled
By Robert Motherwell
Located in London, GB
Robert Motherwell Untitled 1986 Colour lithograph and collage, on Guarro paper, Edtion of 100 55.9 x 37.8 cms (22 x 14 7/8 ins)
Category

1980s Abstract Expressionist International Fine Print Dealers Association Art

Materials

Lithograph

Flores para la Ñusta II
By Ana Maria Hernando
Located in Lyons, CO
Color lithograph with cut outs, Edition 30. Flores para la Ñusta translates as "Flowers for the Ñusta". The artist states: "In the Andean cosmology, the Ñusta is the feminine ...
Category

21st Century and Contemporary Contemporary International Fine Print Dealers Association Art

Materials

Lithograph

Bull engaging the muleta (Bull Fight)
By Robert Hallowell
Located in Fairlawn, OH
Bull engaging the muleta (Bull Fight) Signed with the Estate stamp lower left (See photo) Provenance: Estate of the Artist Marbella Gallery Inc., NYC Refer...
Category

Mid-20th Century American Modern International Fine Print Dealers Association Art

Materials

Watercolor

Plate LXXVIII Pears (Valley, Petit Russelet, Doyenne, or Saint Michael, ...
By George Brookshaw
Located in Fairlawn, OH
Plate LXXVIII Pears (Valley, Petit Russelet, Doyenne, or Saint Michael, and the Russselet de Rheims, or Gross Russelet varities). Aquatint, engraving with some st...
Category

Early 1800s English School International Fine Print Dealers Association Art

Materials

Aquatint

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

1980s Abstract Expressionist International Fine Print Dealers Association Art

Materials

Linocut

Descanso (Break)
By Jorge Dumas
Located in Fairlawn, OH
Signed, titled and numbered in pencil Edition: 250 (5/250) Signed, titled and numbered in pencil Published by Circle Gallery Ltd. Printer: Atelier Dumas, New York Condition: Very good Atelier Dumas opened in New York printing own work as well as those of Peter Max, Agam, Romare Bearden, Dali, Erté, Peter Hurd, Ting, Karl Appel...
Category

1970s Folk Art International Fine Print Dealers Association Art

Materials

Lithograph

Femme Assie
By Pierre Georges Jeanniot
Located in Fairlawn, OH
Femme assise Etching with drypoint, c. 1920 Signed in pencil lower left publisher stamp lower right Edition: 100 (88/100) Condition: Excellent Image size: 11 3/4 x 8 1/4 inches Cou...
Category

1910s International Fine Print Dealers Association Art

Materials

Drypoint, Etching

Columns of the Parthenon
By Arnold Genthe
Located in Fairlawn, OH
Columns of the Parthenon vintage silver bromide print, 1929 Signed in pencil on mount: "Arnold Genthe, 1929" Illustrated: Arnold Genthe, As I Remember, Reynal & Hitchcock, NY, 1936, ...
Category

1920s American Modern International Fine Print Dealers Association Art

Materials

Silver Gelatin

ON LEAVE
By Douglas Gorsline
Located in Portland, ME
Gorsline, Douglas (American, 1913-1985). ON LEAVE. Engraving, 1944. 10 7/8 x 8 1/8 inches (plate), 12 1/2 x 10 inches (sheet). Signed, titled and dated in pencil. Edition size not k...
Category

1940s International Fine Print Dealers Association Art

Materials

Engraving

STREET SCENE WITH MOSES SOYER
By Raphael Soyer
Located in Portland, ME
Soyer, Raphael. STREET SCENE WITH MOSES SOYER. Gettings 113 (not in Cole). Lithograph, 1970. 19 1/4 x 14 1/4 inches; 488 x 362 mm. Edition of 150, printed by Burr Miller. Signed in ...
Category

1970s International Fine Print Dealers Association Art

Materials

Lithograph

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