International Fine Print Dealers Association Art

'Tropical Wash Day', aquatint, edition 100, 1946. Signed in pencil. Signed and dated in the plate, lower left. A superb, richly-inked impression, on heavy cream wove paper, with full...

Leon Bibel, 'Untitled (War Machine)', brush and ink, c. 1936. Estate stamped, verso. A fine expressionist rendering, on cream wove drawing board, with marg...

Yasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...

Emilio Sanchez (1921-1999) created this color lithograph entitled “LAS CABANAS” in 1996-98. This impression is signed, titled, and inscribed in pencil. Estate stamped on verso. The...

Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot catalog 79, Béraldi catalog 66, Wentworth catalog 75 state ii/iii. 16 1/2 x 22 1/8 (s...

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...

Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil. A superb impression, with fresh colors, on heavy, cream wove paper; with margins...

Paul Landacre, 'Hill', wood engraving, 1936, edition 60 (only 54 printed); only 2 impressions printed in a second edition of 150. Signed, titled, and numbered '49/60' in pencil. Wien...

Rockwell Kent, 'Mountain Climber', wood engraving, 1933, edition 250, Burne Jones 93. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 9/16 to 3 5/8 inches); slight skinning at the top sheet edge verso, where previously hinged; otherwise, in excellent condition. Archivally matted to museum standards, unframed. Image size 7 7/8 x 5 7/8 inches (200 x 149 mm); sheet size 14 x 11 1/8 inches (356 x 283 mm). Printed by Pynson Printers, New York. Distributed by The Print Club of Cleveland, Publication No. 11, 1933. Literature: 'Rockwellkentiana,' Harcourt, Brace and Company, New York, 1933. '101 of The World’s Greatest Books', edited by Spencer Armstrong, 1950. Impressions of this work are held in the following museum collections: Akron Art Institute, Burne Jones Collection, IL; Cincinnati Art Museum; Cleveland Museum of Art; Columbus Gallery of Fine Arts; Crystal Bridges Museum of American Art; Davis Museum at Wellesley College; Fine Art Museums of San Francisco; H. M. de Young Museum; Hermitage Museum; Kent Collection, NY; Library of Congress; Memorial Art Gallery, University of Rochester; Metropolitan Museum of Art; New York Public Library; Philadelphia Museum of Art; Princeton University Library; Smithsonian American Art Museum, Spector Collection, NY; SUNY, Plattsburg. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock. In 1905 Kent moved from New York to Monhegan Island in Maine, home to a summer art colony, where he continued to find inspiration in nature. Kent soon found success exhibiting and selling his paintings in New York, and in 1907, he was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting (Thayer’s niece), with whom he had five children. The couple divorced in 1924, and Kent married Frances Lee the following year. They divorced after 15 years of marriage, and the artist married Sally Johnstone. For the next several decades, Kent lived a peripatetic lifestyle, settling in several locations in Connecticut, Maine, and New York. During this time he took several extended voyages to remote, often ice-filled, corners of the globe, including Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors, and his travels to these rugged, elemental locations inspired his visual art and his writings. He developed a stark, realist landscape style in his paintings and drawings that revealed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly in his work, often allude to the mythic themes of isolation, individualism, heroism, and the quest for self-connection. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920, featuring Kent’s Alaska drawings...

Benton, Thomas Hart (American, 1889-1975 SLOW TRAIN THROUGH ARKANSAS. Fath . Lithograph, 1941. Edition of 250 published by Associated American Artists (A.A.A.). 9 7/8 x 12 inches (im...

FRANCES H. GEARHART (1869-1958) (Mt.) SAN JACINTO c. 1926 Color block print. Signed in pencil. Unknown edition but uncommon. Image 6 5/8 x 4 1/8 inches. On Gearhart's typical fibrous japan paper. Sheet 10 ½ x 5 7/8 inches. Generally fresh with her usual pinholes along right margin for printing, slight bit of discoloration in the margins Provenance: Whitmore - Print Corner, Hingham MA. Their Gearhart inventory no. They were Gearhart's principal East coast dealer in the 30's. Obtained from the Whitmore Collection’s grandson in 1995. Old Print Shop...

Portrait of a resting young lady (Marjorie Organ) Black chalk on paper. c. 1907 signed in ink by Henri's nephew, John C. LeClair, the executor of the Henri estate "Robert Henri JLC" Note: The sitter for this portrait is depicted in two drawings of similar size, illustrated in Chapellier Galleries Inc., Robert Henri 1865-1929, 1976, nos. 15 & 16. Please see the attached photo of Marjorie Organ, Henri's second wife Condition: Excellent Image/Sheet size: 10 3/8 x 7 1/2 inches Provenance: Estate of the Artist John C. LeClair, Estate Adminitrator Private Collection, Pawling, New York Biography Robert Henri was born Robert Henry Cozad in Cincinnati, Ohio, on June 24, 1865, the son of a professional gambler and real estate developer. The family lived in Nebraska and Colorado, but fled east when the father shot and killed a rancher over a land dispute and was indicted for manslaughter. They changed their last name because of the ensuing scandal and eventually settled in Atlantic City, New Jersey, during the early 1880s. In 1886 Henri enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia, where he studied under Thomas Anshutz, Thomas Hovenden...

Muse is #43 of 45. It depicts a young woman in a colorful swimsuit doing her best to swim through the blue waters of the pool. Her mouth is pursed and the bubbles flow out. I sold an impression of this image to an olympic swimming...

Josef Albers, 'Interlinear K50', zinc plate lithograph offset to stone printing, 1962, edition 20, Danilowitz 151. Signed, titled, dated, and numbered '14/20' in pencil. A superb, ri...

The Academy of Plato Plato and His Disciples Etching and drypoint c. 1662, printed c. 1710 Signed in the plate lower left Inscribed lower left: 'In villa ab Academo attributa sua[m]...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. Printed on Photo Lustre. This is #5 of an edition of 8. A Certificate of Authentici...

FRANCES H. GEARHART (1869 – 1958) FISH MARKET 1930 Color block print, Signed and titled in pencil. Image 11 x 9 inches. Full sheet with deckle edges 14 3/...

Signed by the artist in pencil, lower right Provenance: Estate of the Artist With the artist's original presentation (Frame and matting) Two similar titles were exhibited in The ...

Fish, Janet (American, born 1938). A. M. Color Screenprint, 1994. Edition of 60, printed and published by Stewart & Stewart. Signed in pencil and numbered 16/60. 24 x 36 inches (ima...

Mountainous Landscape, Mexico Monotype in colors on heavy paper, c. 1960's Signed in ink lower left "G Ceniceros" Condition: Excellent Image size: 6 x 14 1/2" (15.24 x 36.83cm) Sheet size: 12 7/8 x 19 11/16 inches Guillermo Ceniceros (born May 7, 1939) is a Mexican painter and muralist, best known for his mural work in Mexico City, as well as his figurative easel work. He began his mural painting career as an assistant to mural painters such as Federico Cantú, Luis Covarrubias and then David Alfaro Siqueiros who was a mentor and a key influence. Ceniceros is the most notable of Siqueiros' assistants. While he has experimented with abstract expression, his easel work mostly classifies as figurativism and is influenced by the geometrical construct of Mexican muralism. He has had over 300 individual and collective exhibitions in Mexico and the International stage. His work has been recognized by the Mexican Ministry of Culture and several of its institutions. He has painted over 20 large scale Mural Paintings with some of the most notable being the large scale work for the Legislative Palace of San Lazaro (Mexico's Legislative Building) as well as his murals in the Metro Subway System. He is a member of the Salón de la Plástica Mexicana. In 1995, the State of Durango, Ceniceros' native state, opened to the public the Guillermo Ceniceros Art Museum within the oversight of the Ministry of Culture. Ceniceros has been reviewed by notable critics such as Berta Taracena, Raquel Tibol, Alaide Foppa, Graciela Kartofel, José Angel Leyva and Eduardo Blackaller among others. There are several publications about his work including a vast review of his art life endeavors developed by the Ministries of Culture of Durango and Nuevo León. He is married to the artist Esther González and lives in his studio house in the Colonia Roma of Mexico City. Life Interview with the subject Ceniceros and Siqueiros Ceniceros was born in a small village called El Salto, located in the municipality of Pueblo Nuevo in the Mexican state of Durango. His father was a woodworker who made toys and furniture in his workshop. His father's shop would become an influence in Ceniceros' life long interest in developing his own innovative working tools. When he was twelve the family moved to Monterrey to seek better economic opportunities. There he attended school and when he was fourteen he entered the Fabricación de Máquinas, S.A. (FAMA), a school/business, where he studied industrial drawing. He considers this early training important as it taught him the importance of geometry, use of space and materials. While at FAMA he met painters Gerardo Cantú and Ignacio Ortiz, and collaborated with them on sketches for publications of Alfonso Reyes, Pedro Garfias and other notable writers. In 1955, he enrolled in the Taller de Artes Plásticas at the Universidad Autónoma de Nuevo León, graduating in 1958. At the Taller he met fellow Mexican artist Esther González, whom he married and with whom he has two children. In 1962 he moved to Mexico City with the goal of working in the Taller of the Maestro David Alfaro Siqueiros. He became Siqueiros' first assistant working on his last murals while at the same time working at night on his easel painting work. Siqueiros supported Ceniceros decision to leave his Taller and supported him in his career until his death in 1974. By then Ceniceros was already a break thru artist having had several individual exhibitions including the prestigious Palacio De Bellas Artes as well as other recognitions. Thru the 70's and 80s Ceniceros continued his work with an emphasis on exhibits and exchanges abroad and traveling to Eastern Europe, Cuba, China, Chile, Ecuador, Italy and the United States. His Mexico City contemporaries and circle would include names that today have become reference such as Sebastian, José Luis Cuevas, Gilberto Aceves Navarro, Benjamin Dominguez, Gustavo Arias Murueta, Byron Galvez, Leonel Maciel among others. In the 70's his Row-House neighbors in the colonia Roma were Francisco Toledo and Alejandro Jodorowski. His focus on mural painting is renewed in the mid 80's thru his large scale work in the Metro Subway System with him working on major commissions consistently and into the new century. While the Mexican school of Muralism had been challenged by the Ruptura members, the interest in Mural painting as a unique national form of expression continues. He lives in Mexico City at a studio/home in the Colonia Roma. His home is a frequent gathering place for writers, poets, painters, singers, actors and journalists. He has a strong interest in Spanish language literature. Juan Rulfo...

Charles Turzak, 'North Bank of the Chicago River', color woodcut, c. 1935, edition 50. Signed and titled in pencil. A fine, richly-inked impression, with...

Barrer, Gertrude (American, 1921-19920. THE THREE GRACES. Oil on panel. Signed "Barrer," lower left. Not dated. 27 1/2 X 20 1/2 inches, framed to 29 x...

La Negresse (The Negress) Etching & drypoint, 1909 Unsigned (as issued in the portfolio) From the album "Les Bars" (8 plates plus cover illustration) Editi...

7th Avenue Canyon Etching, 1927 Signed and titled in pencil by the artist (see photo) Depicts what was then referred to s the Garment Disctrict in New York City. References And Exhib...

untitled (Rocks along the Coast) Gouache and watercolor on paper, c. 1950 Signed with the estate stamp signature lower left (see photo) This is a preliminary study for a large exhibition painting...

William Wind McKim, 'Pups in the Pit', lithograph, 1967, edition c. 50. Signed and titled in pencil. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/8 to...

Will Henry "Painting for Porter" 2019 Oil on linen 15 x 13 inches

Signed with the estate stamp initials lower right, Lugt 388a (see photo) Provenance: Richard Norton Gallery, Chicago (label verso) Fairweather-Hardin Gallery, Chicago (label verso) ...

untitled (Returning Home with Supplies) Signed in pencil by the artist lower right (see photo) Signed by his printer, Otto Felsing lower left ((see photo) Annotated in pencil: "In kupfer geschnitten von einen Lapplander" Printed by Otto Felsing, one of Germany's master printers of the era One of several engravings Hagemann made based upon actual drawings given to him by Laplanders. Gustav Hagemann was born on February 17, 1891, in Engelnstedt, Salzgitter, Germany. Hagemann attended high school in Wolfenbüttel and studied at the art school, in Kassel, Germany. After graduating as an art teacher, he became a trainee teacher in Torgau in Saxony. He fought in the First World War between 1914-1918. After the war he studied art from 1920...

Untitled Screen print, 1941 Signed and dated in pencil lower right From an unnumbered edition of 6 Condition: Excellent Image size: 7 1/4 x 5 3/4 inches Sheet size: 10 x 8 inches Pr...

Packard, Emmy Lou (American, 1914 - 1998). WOMAN DRAWING. Color Woodcut, not dated. Edition size not known. Signed in pencil. 18 1/16" x 14 1/8" inches (...

Albert Potter, 'Modern Music' also Twilight Melodies', linocut, c. 1935, from the posthumous edition of 20, printed in 1977, authorized by the artist’s widow. Estate authenticated in...

The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' c...

A Sandstorm on the Little Colorado River, Arizona. 1920. Watercolor on watercolor board. Study for Seeber 189. 10 3/8 x 14 1/4. Signed lower left; titled verso. An exquisitely subtl...

Howard Cook, 'Financial District', lithograph, 1931, edition 75, Duffy 155. A fine, richly-inked impression, on cream wove paper, the full sheet with wide margins (2 3/4 to 5 5/8 inches), in excellent condition. Image size 13 5/16 x 10 3/8 inches (338 x 264 mm); sheet size 23 x 16 inches (584 x 406 mm). Matted to museum standards, unframed. Literature: 'American Master Prints from the Betty and Douglas Duffy Collection', the Trust for Museum Exhibitions, Washington, D.C., 1987. Collections: Crystal Bridges Museum of American Art, Library of Congress, Metropolitan Museum of Art, Philadelphia Museum of Art, Smithsonian American Art Museum. ABOUT THE ARTIST Howard Norton Cook (1901-1980) was one of the best-known of the second generation of artists who moved to Taos. A native of Massachusetts, he studied at the Art Students League in New York City and at the Woodstock Art Colony. Beginning his association with Taos in 1926, he became a resident of the community in the 1930s. During his career, he received two Guggenheim Fellowships and was elected an Academician in the National Academy of Design. He earned a national reputation as a painter, muralist, and printmaker. Cook’s work in the print mediums received acclaim early in his career with one-person exhibitions at the Denver Art Museum (1927) and the Museum of New Mexico (1928). He received numerous honors and awards over the years, including selection in best-of-the-year exhibitions sponsored by the American Institute of Graphics Arts, the Brooklyn Museum, the Society of American Etchers, and the Philadelphia Print Club. His first Guggenheim Fellowship took him to Taxco, Mexico in 1932 and 1933; his second in the following year enabled him to travel through the American South and Southwest. Cook painted murals for the Public Works of Art Project in 1933 and the Treasury Departments Art Program in 1935. The latter project, completed in Pittsburgh, received a Gold Medal from the Architectural League of New York. One of his most acclaimed commissions was a mural in the San Antonio Post Office in 1937. He and Barbara Latham settled in Talpa, south of Taos, in 1938 and remained there for over three decades. Cook volunteered in World War II as an Artist War Correspondent for the US Navy, where he was deployed in the Pacific. In 1943 he was appointed Leader of a War Art Unit...

Blue Ruthms (Agerup 188) after the 1966 painting, Peinture. Etching with aquatint, 1968 Signed, dated and numbered in pencil (see photos) Edition: 95 (74/95) Plate: 17 1/2 x 21 1/2" ...

1994, color aquatint, 48 x 36 inches, edition of 40 Although best known for his portraits, Katz has depicted landscapes both inside the studio and out of doors since the beginning o...

Foreign Soldiers from Five Countries at the Port of Yokohama Color woodcut triptych, c. 1860's Signed in the block lower left corner Signed: "Ichimosai Yoshitora ga" Condition: Mounted to a rose colored silk backing (stable) Staining (visible) in the joining of the right and center sheets Colors very slightly faded Image size: 15 3/8 x 31 3/8 inches (triptysch sheets joined to make one print) The 1854 Treaty of Kanagawa opened Japan to the West. Curiosity about the never-before-seen foreigners spurred a market in Yokohama-e (Yokohama prints), named for the area to which foreign dignitaries and merchants were confined. Yoshitora became one of the best known and most active artists of the Yokohama-e school. Utagawa Yoshitora (歌川 芳虎) was a designer of ukiyo-e Japanese woodblock prints and an illustrator of books and newspapers who was active from about 1850 to about 1880. He was born in Edo (modern Tokyo), but neither his date of birth nor date of death is known. However, he was the oldest pupil of Utagawa Kuniyoshi who excelled in prints of warriors, kabuki actors, beautiful women, and foreigners (Yokohama-e). He may not have seen any of the foreign scenes he depicted. Yoshitora was prolific: he produced over 60 print series and illustrated over 100 books. In 1849 he produced an irreverent print called Dōke musha: Miyo no wakamochi ("Funny Warriors—Our Ruler's New Year's Rice Cakes"), which depicts Oda Nobunaga, Akechi Mitsuhide, and Toyotomi Hideyoshi...

William Wegman is an American artist renowned for his iconic dog photographs featuring his Weimaraners, who he sees as "perfect fashion models", utilizing their elegant forms and abi...

Margo Humphrey, 'The Garden (Adam and Eve)', reductive color woodcut, 1989. Signed, dated, and annotated 'A/P' in pencil. Signed and dated in the image, lower right. A fine, richly-inked, artist's proof impression, with fresh, vivid colors, on BFK Rives, heavy, off-white wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Scarce. Image size 27 1/4 x 39 1/8 inches (692 x 994 mm); sheet size 29 1/2 x 42 inches (749 x 1,067 mm). ABOUT THIS WORK "Humphrey continued to reinterpret stories from the Bible with African American figures. In 1989 she published the woodcut print 'The Garden' at Magnolia Editions in Oakland, CA. For this rare foray into relief printmaking, she employed the reductive method, which uses only one block that is successively carved for each color segment, reducing the block with each cutting. Technically challenging, this lush and elaborate print is a testament to Humphrey’s skills as a printmaker. A youthful Adam and Eve are depicted in a luxuriant tropical landscape. Here, Humphrey chooses not to include the traditional symbols of humanity’s downfall but instead portrays them as being protected by angels in an atmosphere of idyllic bounty. ...Although Humphrey challenges traditional representation of Christian themes, her images are not iconoclastic but present a broader, more inclusive engagement with religious spirituality." — Adrienne L. Childs, 'Margo Humphrey, The David C. Driskell Series of African American Art: Volume VII,' Pomegranate Communications, Inc., 2009, page 71. ABOUT THE ARTIST American printmaker, illustrator, and art teacher Margo Humphrey was born in Oakland, California, in 1942. She earned a BFA in Painting and Printmaking from the California College of Arts and Crafts and a Master of Fine Arts degree in Printmaking from Stanford University. Humphrey began teaching in 1973 at the University of California Santa Cruz and has since taught at the University of Texas at San Antonio, the San Francisco Art Institute, and the School of the Art Institute of Chicago. She has also taught at the University of the South Pacific in Suva, Fiji; Yaba Technological Institute of Fine Art, Ekoi Island, Nigeria; the University of Benin in Benin City, Nigeria; the Margaret Trowell School of Fine Art in Kampala, Uganda, and the Fine Art School of the National Gallery of Art, Harare, Zimbabwe. In 1989, she was appointed Department Head of Printmaking at the University of Maryland in College Park. Humphrey has worked in lithography, monoprint, and woodcut with significant printmaking ateliers, including the Rutgers Center for Innovative Print and Paper, the Bob Blackburn Printmaking Workshop, and the Tamarind Institute in New Mexico. She was one of the earliest African-American woman artists to distinguish herself as a lithographer in a highly technical, male-dominated profession and was the first to have her prints published by Tamarind in 1974. Humphrey’s imagery combines historical perspective, autobiography, and fantasy to illuminate her experience as an African American woman. Bold, saturated color, animated figures, and syncopated rhythmic arrangements are hallmarks of Humphrey's oeuvre. Though Humphrey labels her distinctive style "sophisticated naive," the narrative complexity and technical skill of her works attest to her artistic virtuosity. Joyful, expressive, and at times humorous, her works offer engaging commentary on the presumptions of American culture and myth while embracing her personal vision of authenticity and spirituality. She developed her 1987 work The Last Bar-B-Que, a vividly colored transformation of the Last Supper, following a three-year period during which she examined portrayals of the iconic subject by artists from Pietro Lorenzetti to Emil Nolde. Her narrative work The Garden, a monumentally scaled reductive woodcut, is a further example of an archetypal subject—Adam and Eve in the Garden of Eden—debunked and rendered with fresh, life-affirming vibrancy. Since her first solo exhibition in 1965, Humphrey’s works have been exhibited internationally. They are held in major institutions, including the Museum of Modern Art, The Smithsonian American Art Museum, the Philadelphia Museum of Art, the Hampton University Museum, the Victoria and Albert Museum (London), the Museum of Modern Art, Rio de Janeiro, and the National Gallery of Modern Art, Lagos. In 1996, she was invited to be part of the World Printmaking Survey at the Museum of Modern Art, New York. In 2011, Hampton University Museum mounted a 45-year retrospective of Humphrey’s work Her Story: Margo Humphrey Lithographs and Works on Paper, jointly curated by Robert E. Steele, executive director of the David Driskell...

Moore, Henry (British, 1898-1986). SIX HEADS - OLYMPIANS. (C. 657), 1983. Lithograph in colors on Arches paper, signed in pencil and numbered XXV/XXXV (Artist's Proofs additional to ...

Meditation and Minou Color lithograph and serigraph, 1980 Signed and numbered in pencil (see photo) Printer Styria Studio, Inc. New York Publisher: Harry Abrams...

De Lappe, Pele (American, 1916-2007). DANCE MARATHON. Pencil, 1935. Signed in pencil. 13 7/8 x 9 7/8 inches. In very good condition, except for minor creases at the top and bottom ri...

Le Resesquement a l'Advocats (The Legal Reservation) Pastel on paper, c. 1910 signed lower right Image size: 10 3/4 x 14 inches Frame size: 23-1/2 x 26-1/2 x 2-3/8 inches Condition: ...

Oil painting measures 12 x 9; frame dimensions measure 19 3/8 x 16 3/8 x 3. Housed in an elegant gold-tone frame with decorative edges. Illegible signature, lower right.

RICHARD TESCHNER (Prague 1879 – 1948) From: A Thousand and One Nights - SURREALIST WOMAN DEAD IN A TREASURE BOX, 1917 Aquatint, Proof no. 17. Aqua...

Study of Lucie (Ralph) Belin seated in an interior Graphite on paper, 1915 Signed with the estate stamp, Lugt 909b, the stamp faded from blue to brown (see photo) Provenance: Neffe-D...

FRANCISCO de GOYA y LUCIENTES (1746 -1828) OBSEQUIO á el MAESTRO (‘A gift for the master’) Plate 47 from the 1st edition of Los Caprichos (Blas, ...

This Holiday wreath adorns the door of a Brooklyn Mansion Frederick Mershimer (American, b. 1958) Moody, mysterious, majestic – these are some of the ways to describe the mezzotint...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This is number 1 from a limited edition of 12. London-based Photographer and Graphic designer Omer Ga'ash, graduated from Bezalel Academy...

Agam, Yaacov, (Jacob Gipstein) (Israeli, b. 1928). UNTITLED. Screenprint in colors, not dated. Edition of 165, signed with marker, and numbered 164/165. 18 1/2 x 47 3/4 inches, 470 x...

1890. Etching. Hardie 245. 5 7/8 x 7 3/4 (sheet 8 1/4 x 10 1/8). Two hinge stains in the top sheet edges; otherwise excellent condition. A rich impression with plate tone, printed on cream wove paper with full margins. Signed in pencil. Housed in a 16 x 20-inch archival mat. -------------------------------------------------------------------------------------- George's Dock was located on the River Mersey, England, within the Port of Liverpool. It was connected to Canning Dock to the south and George's Basin to the north. The dock, which opened in 1771, was designed and built by Henry Berry and expanded by John Foster, Sr. In 1899 the dock and the adjoining George's Basin were filled in to create what is now the Pier Head...

East River View of N.Y. Etching, 1934 Signed, dated and titled in pencil by the artist From a very small edition. Brilliant impression Condition: Excellent Image/Plate size: 5-1/8 x...

PARR (1893-1969) KINNGAIT (CAPE DORSET) HUNTER HAULING A SEAL, 1966 #2, Stonecut, signed, titled numbered 28/50 Dorset 1966. Image 14 x 22 ¼. Full sheet ...

Anonymous 15th Century Italian, Probably Milan area The Nativity of Christ Pigments, ink and gold leaf on vellum Unsigned as is always the case with illuminated manuscripts The Virgi...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Senghor, Leopold Sedar. POEMS OF LEOPOLD SEDAR SENGHOR with illustrations by Lois Maillou Jones. Limited Editions Club, NY, 1996. Number 88 of the e...

ROBERTO MATTA (1911-2002) FOG, GOG, AND MAGOG 1971 Color lithograph. Plate 1 from “Fog Gog, and Magog” 1971. Signed in pencil and numbered. This work is number 92 from the edition o...

Hockney, David. RECLINING FIGURE. Etching and sugarlift aquatint in black, 1974. Edition of 75 published by Petersburg Press, London and printed on Inveresk paper. Signed, dated and ...

Robert Philipp, 'Rehearsal, "Long Day's Journey Into Night" ', color pastel, c. 1957. Unsigned. A fine, atmospheric rendering, on warm gray charcoal paper; a reinforced crease (1/2 inch) across the bottom left sheet corner; otherwise in very good condition. Image and sheet size 17 1/2 x 21 3/4 inches. Matted to museum standards, unframed. Provenance: Art Students League, from the artist’s personal portfolio. ABOUT THE ARTIST Robert Philipp (1895–1981) was a celebrated American Post-Impressionist painter known for his nudes, still lifes, and portraits. Noted art critic Henry McBride named Philipp one of America's top six painters of his generation. Philipp was an instructor of painting at the Art Students League, New York, for 33 years. Philipp was Secretary of the National Academy of Design, a National Academician, and a Benjamin Franklin Fellow at the Royal Society of Arts in London. His composition and painting style has been compared to the art of Edgar Degas and Pierre Auguste Renoir. In 1940, Philipp was invited to Los Angeles by Hollywood producer Louis B. Mayer to paint portraits of Metro-Goldwyn-Mayer movie stars. The same year, Walter Wanger, producer of ‘The Long Voyage Home’, directed by John Ford and based on plays by Eugene O'Neill, contracted with Reeves Lewenthal, head of the Associated American Artists gallery in Manhattan, to bring nine well-known artists to the set and paint scenes from the movie and portraits of the actors in character. The artists included Robert Philipp, Thomas Hart Benton, Grant Wood, Ernest Fiene, George Schreiber, Luis Quintanilla...