International Fine Print Dealers Association Art

La Promenade Etching, soft-ground, aquatint & drypoint, Signed in pencil lower left Published by Edmund Sagot, Paris Edition of 50 in black only, aside from the edition of 50 in co...

Henri Matisse Patitcha 1947 Aquatint on BFK Rives paper, Edition of 25 Paper size: 55.5 x 38 cms (22 x 15 ins) Image size: 34.9 x 27.6 cm (13 3/4 x 10 7/8 ins) HM15405 Selected Coll...

Plate X, Le Cocu Magnifique Etching & aquatint, 1968 Unsigned Edition: From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 im...

Benedictus, Edouard. "Relais." Plate 14. Paris, Éditions Vincent, Fréal et Cie, 1930. Original pochoir, printed by J. Saudé. Unsigned and unnumbered from an edition of presumabl...

The Gate of Hundred Sorrows Etching, 1900 Signed in the plate lower right (see photo) From: A Series of Thirty Etchings by William Strang, Illustrating Subjects from the Writings of...

Meduse Etching and aquatint printed in colors, 1958 Signed, titled, numbered and dated in pencil (see photos) Edition: 50 (25/50) Etching and aquatint printed in colors ...

Signed with the artist's initials lower left From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters...

Two Boys (one standing, the other seated and drawing) Graphite and colored pencils on wove paper, 1975 Signed and dated lower left center (see photo) Condition: Excellent Slight waviness visible only on reverse Image size: 11 1/2 x 13 3/4 inches Sheet size: 14 x 17 3/4 inches Provenance: Estate of the Artist By descent Mary Spain (Colie) (1934-1983) Mary Spain was born in Raleigh, North Carolina. She taught art in Chagrin Falls...

Maurice Denis, Untitled (Mother and Child), lithograph, 1897, edition not stated. Signed in the stone, lower right. Annotated in linotype 'MAURICE DENIS, ORIGINAL LITHOGRAPHIE PAN III' in the lower left sheet corner. A fine, atmospheric impression, in warm, dark gray ink, on buff wove paper, with full margins (2 1/2 to 1 3/4 inches); a small discoloration in the bottom left sheet corner, otherwise in good condition. Image size 8 5/8 x 6 7/8 inches; sheet size 13 7/8 x 10 5/8 inches. As published in 'Pan', the leading German magazine of the period devoted to art and literature. Matted to museum standards, unframed. Collection: Los Angeles County Museum of Art. Reproduced: German Expressionist Prints...

Sadatora, Utagawa (active 1818-1844). [Portrait of woman]. Japan, ca. 1825. Original woodblock print.

La Pique (The Pike) Lithograph, 1950 Original lithograph drawn with chalk and "frottage textures" transferred to stone, 1950. Unsigned printer's proof Inscribed on the verso in Mourl...

Le Clown Blanc (The White Clown) Lithograph, 1964 Unsigned (as issued by DLM) From: Derriere le Miroir Chagall: Dessins et Lavis, Exposition Chagall, Galeries Maeght, No. 146, 1964 E...

The Golden Gate Lithograph on wove paper watermarked GC, 1940 Signed in pencil by the artist (see photo) Publisher: Associated American Artists Edition: 189, unnumbered The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California References And Exhibitions: Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324 Reference: L & O 325 AAA Index 391 Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Frank Benson made this drypoint in 1928. The second state of two. A scarce print with no recorded printings of the second state - presumably, at least two were printed. The image size is 4 7/8 x 5 7/8" (12.4 x 14.9 cm). #282 in the Frank W. Benson catalogue raisonne by Adam Paff. Frank Weston Benson (1862-1951), well known for his American impressionist paintings, produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. While a teenager his fascination with drawing and birding developed simultaneously and continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

(The poetess Chiyo turns to watch a flight of wild geese while sweeping up autumn leaves) Signature: Ichiyusai Kuniyoshi ga; Censor seal: Muramatsu Series: Kenjo hakkei ...

Available individually ($2500), and as a suite of five ($12,000). Born in Bronx, NY, Ida Applebroog attended NY State Institute of Applied Arts and Sciences (1949). She moved to C...

Reginald Marsh (1898-1954), Switch Engines, Erie Yards, Jersey City, Stone No. 3, lithograph, 1948, signed in pencil lower right. Reference: Sasowsky 30, o...

Original lithograph hand-colored at the time of publication from "Groups of Cattle Drawn from Nature" by Thomas Sydney Cooper. Mounted on artist'...

Brittany Landscape with Figure Etching & color aquatint, c. 1920 Signed lower right (see photo) Numbered lower left: "No. 21" (see photo) An early color etching by the artist, based ...

Young Lady in Profile (Dorothy Gibson) Graphite on paper, c. 1915 Signed lower right (see photo). The sitter for this drawing, along with a huge number of Harrison Fisher’s works, i...

“Margaritas” is a lithograph created by Emilio Sanchez in 1997. This impression is signed, titled, and inscribed "12/50" - the 12 print from an edition of 50 impressions. The printed image size is 12.50 x 14.25 inches (31.3 x 35.7 cm) and the paper size is 18 x 20.13 inches - all four paper edges are decked adding a nice option when framed. This print came to us directly from the Emilio Sanchez Estate (circular estate stamp is on verso). Stamped on verso "Estate of Emilio Sanchez." “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Smith, Jules Andre (American, 1880-1959). UNTITLED (SURREALISTIC HOUSE). Watercolor on heavy paper. Not dated. Signed, lower right 18 X 13 inches. In very good condition.

HONORE DAUMIER (1808 – 1879) FOR A POOR AMERICAN PLEASE / POUR UN PAUVRE AMERICAIN S’IL VOUS PLAIT, 1835 (DR 108 i/iii:: LD 108) Lithograph as published in La Caricature February ...

Plate 7 from "Formes et couleurs; vingt planches en couleurs contenant soixante-sept motifs décoratifs" by Auguste H. Thomas. Paris: A. Levy, Librarie Centrale des Beaux-Arts, circa ...

Refinery Scene Lithgrah, c. 1930 Signed in pencil lower right. (see photo) Edition c. 14 Two impressions in the artist's estate. The other impression I sold to Dave and Reba Willia...

The Merican Pelican and The Pelican from George Edwards "A Natural History of Birds, Most of which have not been figured or described and others very little known..." published in Lo...

Academic Nude Study by E. Rantz Charcoal on laid paper signed in charcoal Lalanne Watermark, c. 1880-1900 Image: 24 3/4 x 18 3/4"

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II Provenance: Heirs of Edmu...

Hoehn, George (American, 1935 - ?) UNTITLED ABSTRACTION. Gouache on heavy wove paper, 1969. Signed and dated, lower right. Tondo, 3 1/4 inches diameter, (image), 15 x 11 inches (shee...

“LA CASA GRANDE” Emilio Sanchez (1921-1999) created this lithograph entitled “La Casa Grande” in 1997. The printed image size is 30.5 x 30 inches and ...

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...

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...

Light Struck Etching & Drypoint, 1984 Signed, dated and numbered in red pencil (see photos0 The artist's chop stamp (CS) lower right corner Edition: 25 (18/25), 5 artist's proofs, B....

Unknown Artist, Japan, c. 1980-2000 Yamato Takeru Watercolor on Sumi paper c,. 1980-2000 Unsigned as is usual A traditional Kite design from Tsugaru Province Condition: Excellent Ver...

Woman Pulling on a Slip Conte on paper, c. 1910 Signed lower right: "E. Shinn" (see photo of legs, signature on right) Provenance: Estate of the Artist (see label) Graham Gallery, N...

Untitled Abstraction Graphite on paper, c. 1946 Signed with the estate stamp verso Provenance: estate of the Artist Inherited by his neighbor/caregiver Conditio...

Lithograph, screenprint, etching and aquatint printed in colours, with relief, 1998, signed in pencil, dated, numbered from the edition of 55 (there were also 14 artist's proofs), with the publisher's blindstamp, Tyler Graphics, Ltd., Mount Kisco, 54.6 x 55.2 cm. (21½ x 21¾ in.) Catalogue Raisonne: Axsom 252 Over a period of four years, Stella created a body of prints whose titles all came from ‘The Dictionary of Imaginary Places’ by Alberto Mangual and Gianni Guadalupi. Each work from this series is recognisable for its teaming compositions of twisting, colliding and knotted forms. The shapes appear to spill out of their sheet, seemingly trying to escape their frames. As he had done since the ‘Swan Engravings...

Sterner, Albert (American. 1863-1946). PORTRAIT OF HAROLD STERNER. Charcoal and pastel on paper, not dated, but 1912, as the subject is stated to be aged 17. Signed, lower right. 16 1/2 x 11 1/4 inches, framed to 26 1/8 x 20 1/8 inches. In very good condition. Albert Sterner was born in England, and studied in Paris. He worked as a magazine illustrator, but is best known for his paintings and prints. Harold Sterner (American, 1895-1976). Architect, painter; New York, N.Y. Born 1895, died 1976...

Original engraving, printed in color and finished by hand. Paris, ca. 1820.

Agam, Yakov. AGM 167. Screenprint, not dated. Published by Circle FIne Art. Edition of 9, numbered 3/9 and signed in white ink. 5 1/2 x 26 3/4 inches (image), In excellent condition. Framed to 24 x 42...

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...

Long Island City Contemporary artist Frederick Mershimer created this oil painting on a wooden panel in 2005. The painting (wood panel) is 10.25 x 21.25 inches (26 x 54 cm). This ...

Matt Kleberg Assembly (Dogpile for Duccio), 2024 Carborundum relief print on joined sheets 36 1/2 x 50 in (92.7 x 127 cm) Edition of 8 Co-published by Farrington Press and Josh Paz...

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbered: "No. 20" in pencil Printed by Thomas Way, London A beautiful impression with tonal variations in the stump work (shading) As published in: L'Estampe Originale, Paris, 1893, Album IV Edition: 107 impressions, this No. 20 There were an additonal 24 impressions printed by Way for Whistler and 20 impressions printed for the Fine Art Society, London Lacking the huge support sheet and embossed series stamp by Charpentier With the letterpress lower left: "T. Way. Imp London" The stone erased in 1904 The majority of the lifetime impressions are in public collections Condition: Excellent condition Hinges from original issuance of L'Estampe Originale verso at top as described in Spink Three hinges residue along right edge of the sheet from a later matting of the print Image size: 8 1/4 x 6 3/8 inches Sheet size: 11 3/8 x 9 1/16 inches Reference: Spink/Tadeschi 72, published edition Levy 74 Way 46 A superb Neoclassical lithograph...

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

Leon Kossoff Going Home 1984 Dry point etching and aquatint. Edition of 60 57.1 x 64.7 cms (22.5 x 25 1/2 ins) (paper size) 40.5 x 51.5 cms (15 15/16 x 20 1/4 ...

Still Life No. 5 Lithograph, 1978 Signed, dated and numbered in pencil (see photos) Edition: 50 (24/50) Published by Solo Press, New York, 1978 Printer: Judith Solodkin, first femal ...

Temples of New York. 1919. Drypoint. Leicester 44, Guichard 26, Black 55. 7 3/4 x 6. Edition 50. New York set. Trinity Church facade from the back, which faces Wall Street. Illustrat...

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

Derriere Le Miroir-No. 190-Page 14-15 Color lithograph, 1971 Unsigned (as issued) From: Derriere Le Miroir, No. 190, 1971 Publisher: Aime Maeght, Paris Printer: L’Imprimerie Arts, Pa...

The 21st Floor-A View of the World Trade Center in the Skyline Screen print, c. 1990 Signed: Joni Frankel lower left Edition 200 (42/200) Signed lower lef...

Color printed aquatint engraving with additional contemporary hand-colored details. Engraved by John Harris after the painting by Harry Hall. London, 1897. ...

Kota Ezawa recreates animated sequences from television, cinema, and art history. He uses basic digital drawing and animation software to create slide projections, light boxes, collages, and prints. In the vein of Warhol, his highly stylized facsimiles of familiar and often infamous images emphasize the distance between the viewer and the depicted figures that feature so prominently in America’s collective memory. His work is included in the permanent collections of the Museum of Modern Art, New York, The Metropolitan Museum of Art, New York and the San Francisco Museum of Art, California among others. The artist is represented by the Cheryl Haines Gallery...

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 ...

Tony Fitzpatrick is an American artist born in 1958 and based in Chicago. He graduated from Montini Catholic High School in Lombard, Illinois in 1977.[1] In the early 1980s, Fitzp...

Bird and Hibiscus Cibachrome print, 1980 Signed and dated by the artist in pencil lower right (see photo) Deaccessed from the Reader's Digest Association Collection (#18717) with label (see photo) Purchased from Lieberman & Saul Gallery, between 1986 and 1993 when the name oif the gallery changed to Julie Saul Projects Very small edition Provenance: Lieberman & Saul Gallery, New Yokr, NY (until 1985) (label verso) Reader's Digest Association (label) Condition: Excellent Image size: 9-7/8 x 9-7/8" (25 x 25 cm.) Frame size: 20-1/2 x 16-1/2" Suzanne Camp Crosby Posted by FMoPA Apr 7, 2021 FMoPA In Focus 0 Suzanne Camp Crosby, Gasparilla Ship, 2004 In December of 2020 beloved Tampa photographer and educator Suzanne Camp Crosby died. She had taught generations of students at the Hillsborough Community College where she had been a professor of photography for 38 years. Camp Crosby had the prestigious honor of being the 2004 City of Tampa Photo Laureate and the exhibition resulting from that body of work, Suzanne Camp Crosby: 2004 Photo Laureate City of Tampa Public Art – Big Picture Project, was presented at the Tampa Museum of Art that same year. Other awards include a Southeast Artist Fellowship from the National Endowment for the Arts and Southeastern Center for Contemporary Art in 1978-79. Suzanne Camp Crosby, Paper Flowers, c. 1990 The Florida Museum of Photographic Arts (FMoPA) has gratefully accepted the task of helping to place the photographic archives of this beloved artist. This collection includes more than 725 photographs spanning her career of over 40 years. A broad selection of this work will be brought into the collection of FMoPA, with an exhibition to follow in the summer of 2022. Other institutions in the area are also considering simultaneous showings. University of Tampa student Alyssa R. Miller has signed on to help with the documenting and digitizing of this body of work. This will help make it possible to distribute photographs to other institutions, with limited works to be sold to help finance the efforts. Examples of her photography are already currently held in the collections of FMoPA, the Tampa Museum of Art (TMA), Los Angeles County Museum of Art, and the New Orleans Museum of Art, among many others. Three wonderful examples of her talent are currently on view at the TMA’s exhibition Her World in Focus: Women Photographers from the Permanent Collection, on view until June 27, 2021. Suzanne Camp Crosby, Doris Day at Clothesline, 1980 Camp Crosby’s solo exhibitions include Suzanne Camp Crosby: Kid City, 2009 at FMoPA, and multiple exhibitions at the HCC Galleries, where she eventually became the Program Manager for the Visual Art and Dance departments in addition to her teaching and exhibitions. She also taught and received her MFA at the University of South Florida in Tampa. Additional schools where she was an instructor include the University of Central Florida in Orlando, FL, and the St. Petersburg College, Clearwater campus. Camp Crosby specialized in creating thematically directed photographs, created by adding unexpected objects or people to mostly everyday scenes. Her artwork is often playful and witty. Early work included tender black and white compositions often using her children or friends to create evocative scenes. Later photographs brought in color and experimentation. Examples include the juxtaposition of life-sized 2-D paper doll cut-outs of 1950s movie stars to real-life mundane household settings, as well as a wide selection of other artificial items placed into real-life settings. As a visual storyteller, she continued to explore and experiment with ideas and themes throughout her lengthy career. Courtesy The FLORIDA MUSEUM of PHOTOGRAPHIC ARTS Suzanne’s artwork is in many permanent collections, including the Tampa Museum of Art, the USF Museum of Contemporary Art, the Orlando Museum of Art, the Polk Museum of Art, the Florida Museum of Photographic Arts, the Leepa-Rattner Museum of Art, the New Orleans Museum of Art, the Los Angeles County Museum of Art, Walt Disney World Corporation, Tropicana Corporate Collection, City Bank, Tampa Electric Company, Shriner’s Hospital, Tampa General Hospital, Hillsborough Community College, City of Tampa Public Art, City of Orlando Public Art, and the von Liebig Art Center. From ARTFORUM JULIE SAUL (1954–2022) Julie Saul, who through her long-running eponymous New York gallery did much to elevate contemporary photography within the art world, died February 4 in Tampa after a battle with a rare form of leukemia. Saul was known for her willingness to show an eclectic range of works in media ranging from painting to sculpture to video to ceramics by an equally diverse range of artists, but it was her eye for both traditional and avant-garde contemporary photography that cemented her reputation and that of her gallery, which she first established in 1986 in SoHo, then a frontier for the arts. Saul was born in Tampa on New Year’s Eve in 1954 to a father who was head of a sewn-products company and a housewife mother, a native New Yorker and volunteer docent whom Saul would later credit with introducing her to the arts. “Tampa had no museums, but she would take us to museums in New York,” she told the Tampa Bay Timesin 2003. “We had a house that wasn't filled with great art, but there were great reproductions and great art books.” In 1979, Saul moved to New York, obtaining her master’s degree from New York University’s Institute of Fine Arts in 1982. Four years later, with partner Nancy Lieberman, she opened Lieberman Saul Gallery at 155 Spring Street in SoHo, showing contemporary photography at a time when not many others were. “One thing that drew me to photography from the very beginning—and it still holds—is that photography is an affordable medium. Almost anybody can afford to collect photographs,” she told the Association of International Photography Art Dealers (AIPAD) in 2010. “Fundamentally, photography is a medium and what makes work great is the idea behind it and how well it’s executed.” Among the photographers whose work Saul championed are Nikolay Bakharev, Morton Bartlett, Eugene Bellocq, Andrew Bush, Sally Gall, Luigi Ghirri, Andrea Grützner, Sarah Anne Johnson, Adam Magyar, and Arne Svenson...

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

ARP, Jean, poems by Georges HUGNET. Paris; Robert-J. Godet 193. Collection "Pour mes amis" With 35 illustrations integrated with the text (2 full-page), by J. Arp. Small 8vo, [...