International Fine Print Dealers Association Art

The Singers (4th State), 1667 Etching printed with tone 240 x 190 mm.; 9 1/2 x 7 1/2 inches Provenance: W. Benoni White (Lugt 2592) Karl Herweg (not in Lugt) References: Godefroy 19 IV/VII Hollstein 19 IV/VII Pelletier, Georgia Museum of Art, 1994: nos. 46 and 47 Notes: A very fine impression of the rare 4th state (of seven) of this major Van Ostade. Godefroy illustrates differences between this 4th state and the following 5th state. In the latter state, there are several “escaped lines”, going obliquely from left to right, directly above the central post. These lines are not visible in the 4th state. Ostade was one of the most important of the printmakers within the Rembrandt circle. His prints, avoiding religious subjects, depicted beggars, peasants and artisans. Combining great artistic sensitivity with thorough mastery of the medium of etching, Ostade etchings present a unique artistic panorama of life in seventeenth-century Holland. Pelletier (S. William Pelletier, Adrian Van Ostade...

Signed, titled and numbered recto Edition: Unique (1/1) Image: 2 11/16 x 4 3/16"

Jules, Mervyn (American 1912-1994). NOAH'S ARK. Color screenprint, not dated, but mid-20th Century. Signed in the matrix and in pencil in the margin, and also, with Jules's copyright...

Elisabeth (Anaïs) also called The London Caster Girl. 1922. Etching. Fletcher catalog 32 state x. 5 5/8 x 4 1/4 (sheet 11 1/2 x 9). Edition 76 (total 94 impressions). A rich impress...

Interieur No. II Oil on canvas, 1937 Signed on verso (see photo) nscribed on reverse: Benno 1937 "Interieur" (No. II) 35 x 27 cm 9 rue Compagne Premiere Paris 14e Provenance: Estate of the artist Ruth O'Hara, Lang & O'Hara, New York...

Muriel (Mad Meg) Etching, 1973, printed 1976 Signed, dated and numbered in pencil (see photos) The image was first created as an illustration for John Gardner's "The King's Indian" in 1973. An illustration for the book "The King's Indian", a collection of short stories by author John Gardner (1933-1982), published in 1973. "Mad Meg" was most likely inspired by a figure from Flemish folklore, Dulle Griet, who led an army of women to pillage Hell. "Mad Meg" was the subject of a painting by Pieter Bruegal the Elder, done in 1564. References: Carter 174, page 108 Illustration for "The King's Indian", pages 174-17 Condition: excellent Image/Plate size: 13 3/8 x 9 13/16 inches Sheet size: 15 7/16 x 12 1/4 inches Herbert Lewis Fink, painter, printmaker, sculptor, and educator, born was in Providence, Rhode Island on September 8, 1921. He studied at the Carnegie Institute of Technology in 1941, he received is B.F.A. degree from the Rhode Island School of Design in 1949, his M.F.A. from Yale University in 1956, and he also studied for a year at the Art Students League and with John Frazier...

Hurst 166. 6 7/8 x 11 3/4 (sheet 9 x 13 1/2). Edition 75, #73. A rich impression with dramatic plate tone, printed on cream laid paper with a foolscap watermark. Signed and numbered ...

Edward Landon, 'Untitled Fantasy', color serigraph, 1983, edition 30, Ryan 214. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on off-whi...

The Armoire Etching 340 x 469 mm.; 13 3/8 x 18 1/8 inches Reference: Inventaire 18e siècle 9: 289-90, No. 22 Wildenstein 1956, cat. No. 23, State II/IV Regency to Empire, 1...

George Andreas Böckler, 'SunBurst Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked...

Veillee Sepulchrale Verso: Study of two figures in a landscape Pen and ink on rose colored Canson watermark paper, 1944 Signed in ink with the artist's initials lower center (see photo) Dated 1944 lower center; Titled in ink upper left corner (see photo) Provenance: Swann Galleries, 2010, realized $900. John Popplestone (1928-2013), Akron, OH collector, noted psychologist and author Berman brothers (painters) From Wikipedia, the free encyclopedia Jump to navigationJump to search This article is about the painters. For the American songwriters/producers, see Berman Brothers (producers). Eugene Berman in Italy in the 1960s Eugène Berman (Russian: Евгений Густавович Берман; 4 November 1899, Saint Petersburg, Russia – 14 December 1972, Rome) and his brother Leonid Berman...

George Andreas Böckler, 'Dragon Fish Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly in...

Man with Mask Lithograph, 1969 Signed in pencil by the artist 95/100 Printed by Lucien Detruit, Paris Published by AAA, New York Reference: AAA Index No. 60 Condition: Mint Image siz...

Jean-Emile Laboureur, 'La Receveuse', engraving, 1919, edition 8, first state of two (artist's proof). Laboureur, Godefroy 190. Signed and numbered '3/8 ép' in pencil. Initialed and...

Self taught outsider art by African American artist from New Orleans with work in major museum and private collections. White created a bold c...

MARC CHAGALL (1887 – 1985) MATERNITE, 1926. Motherhood I: Honte / Disgrace (Kornfeld 65, Cramer 5, Sorlier, p. 20-21 Etching, Frontispiece from Maternite Au Sans Pareil, Paris, 1926. Marcel Arland, illustrated by Marc Chagall with five original etchings this being one of the five. Image size: 5 5/8 x 4 1/8. 1130 unsigned impressions on various papers. The story begins with a young woman being shunned by the whole village because she had given birth to a child and left its dead body...

Boris Lovet-Lorski, Untitled (Nude with Geometric Forms), lithograph, edition 250, 1929. Signed and numbered 8 in pencil. Number 8 of Volume 1, a series of 10 lithographs published b...

Alessandro Mastro-Valerio, 'Morning Paper', 1941, mezzotint, edition 350. Signed in pencil. A superb, richly-inked, luminous impression, on cream, wove paper, with wide margins (1 9/16 to 1 13/16 inches), in excellent condition. Matted to museum standards; unframed. 32nd Presentation Print of the Chicago Society of Etchers, 1941, with the Chicago Society of Etchers blindstamp in the bottom, left margin. ABOUT THE ARTIST Painter and printmaker Mastro-Valerio was educated at the Salvador Rosa Institute in Naples, Italy (1906-1912), and came to the United States in 1913. He settled in Chicago and after a brief period as a commercial artist, established a reputation as a portrait painter. Among his patrons were the industrialists Harvey S. Firestone and Anheuser Busch. Mastro-Valerio was also the owner and editor of the progressive magazine 'La Tribuna Transatlantica'. He wrote and published articles supporting the cause of Italian immigrants. He helped form the Giordano Bruno...

Birthday 3-7-65 Lithograph, 1965 Signed, titled, dated and numbered in pencil (see photos) Edition: 23 Published by ULAE, their chop stamp lower left (see photo) Printed by Ben Berns...

HENRI FANTIN-LATOUR (French 1836-1904) LA SOURCE DANS DE BOIS, 1898 (Hédiart. 139; Johnson 41-2) Lithograph, unsigned, on chine. Image, 11 3/...

Beth Ganz, 'Mount Haru, Japan', copperplate photogravure etching, edition 10, 2019. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. Mount Haku Mount Haku, commonly referred to as simply Hakusan is the most prominent natural feature of Ishikawa Prefecture, located on the island of Honshu. Its name means “white mountain,” and it is, in fact, covered with snow for more than half of the year. A dormant stratovolcano, it has been estimated to have first been active 300,000 to 400,000 years ago, with the most recent eruption occurring in 1659. The mountain's tallest peak, Gozenga-mine, gives the mountain its height of 2,702 m (8,865 ft). Along with Ken-ga-mine, which is 2,677 m (8,783 ft), and Ōnanji-mine, which is 2,648 m (8,688 ft), the three peaks are considered "Mount Haku's Three Peaks" (Hakusan San-mine). Mount Bessan and Mount Sannomine are sometimes included and called "Mount Haku's Five Peaks" (Hakusan go-mine). Mount Haku is considered to be one of Japan’s “Three Holy Mountains” (San-rei-zan), the other two being Mount Fuji and Tateyama. It has traditionally been revered by the people of the area as a source of water essential for farming and as a navigational landmark for fishermen and others at sea. Taichō, a mountain Shugendo monk, first climbed Mount Hakusan in 717. For hundreds of years, people have come to Haku for prayers (Hakusan Shinkō). A branch shrine of Shirayama Hime Shrine, which served as the supreme shrine for Kaga Province, is on the mountain. The Shirayama Hime Shrine is the main shrine (sō-Honshu) of approximately 2,000 Hakusan shrines (Hakusan jinja) in Japan. The area surrounding Mount Haku is one of the few in Japan that contains outcroppings from the Jurassic period of the Mesozoic era. Many of Japan's typical examples of dinosaur fossils were found in this area. One of the major rock outcrops is in the Kuwashima area and is known as the "Kuwashima Fossil Wall" (Kuwashima Kasekikabe). The mountain is well known for its many onsen (hot springs), and for its diverse variety of alpine plants are found, including the chocolate lily, which is Ishikawa's prefectural plant. Many alpine plants were first discovered along the older hiking trails leading to Hakusan Shrine, and have Hakusan in their names. These include Primula cuneifolia (Hakusan Kozakura), Anemone narcissiflora (Hakusan Ichige), Dactylorhiza (Hakusan Chidori), Geranium yesoemse (Hakusan Fuuro) and Rhododendron brachycarpum (Hakusan Shakunage). Mount Haku was designated as a national park in 1962 and was renamed Hakusan National Park. Because the central part of the mountain has much precipitous terrain, there are very few roads and, as a result, little human intrusion into the area. Also limiting human intrusion is the designation of the park as a Wildlife Protection Area, covering over 38,061 ha. The park stretches beyond the mountain's borders into Toyama Prefecture. In 1980 an area of 48,000 ha was designated a UNESCO Man and the Biosphere Reserve. ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints...

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

Moses Breaking the Tablet of the Law. (after Parmigianino. 1503-1540.) Pencil drawing mounted onto paper. 12 1/4 x 3 3/4 inches. Collector's seal verso: Gustav Grunwald, (Lugt 1155b)...

Dine, Jim. THE NEW FRENCH TOOLS 5 - BOULEVARD VICTOR DOUBLE SKY. D;Oench and Feinberg 175. Etching and aquatint and electric tools on two plates, with hand ...

A series of prints was commissioned by the Met Museum in NY in a regular edition of 40 This impression is from an edition of 5 artist proofs. This impression is #4/5 Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

Edward Landon, 'Arrangement with Blue Major', color serigraph, edition 40, 1942, Ryan 9. Signed, titled, and annotated 'Edition 40' in pencil. A superb impression, with fresh colors, on cream, wove paper; the full sheet with margins (3/4 to 1 5/8 inches), in excellent condition. Image size 15 x 9 3/4 inches (381 x 248 mm); sheet size 17 15/16 x 11 3/4 inches (456 x 298 mm). Matted to museum standards, unframed. 'Arrangement with Blue Major' was selected for the landmark ‘Artists for Victory’ exhibition at the Metropolitan Museum of Art in 1942. Impressions of this work are also in the collections of the Asheville Art Museum, Five Colleges and Historic Deerfield Museum Consortium, Georgetown University (Special Collections), Mount Holyoke College Art Museum, Rutgers University, Smith College Museum of Art, and the Springfield Museum of Fine Arts. ABOUT THE ARTIST Born in Hartford, Connecticut, Edward Landon dropped out of high school to study art at the Hartford Art School. In 1930 and 1931, he was a student of Jean Charlot at the Art Students League in New York, after which he traveled to Mexico to study privately for a year with Carlos Merida. In 1933 he settled near Springfield, Massachusetts, painted murals in the local trade school, and exhibited with the Springfield Art League. His painting 'Memorial Day' won first prize at the fifteenth annual exhibition of the League at the Springfield Museum of Fine Arts. Landon became an active member of the Artists Union of Western Massachusetts, serving as president from 1934-1938. Landon acquired Anthony Velonis’s instructional pamphlet on the technique of serigraphy in the late 1930s. With colleagues Phillip Hicken, Donald Reichert, and Pauline Stiriss, he began experimenting with screen printing techniques. The artists' groundbreaking work in screen printing as a fine art medium was the subject of the group’s landmark exhibition at the Springfield Museum of Fine Arts in 1940. Landon became one of the founding members of the National Serigraph Society and served as editor of its publication, 'Serigraph Quarterly,' in the late 1940s and as its president in 1952 and 1953. The Norlyst Gallery in Manhattan held a one-person show of his prints in 1945. Awarded a Fulbright Fellowship in 1950, Landon traveled to Norway, where he researched the history of local artistic traditions and produced the book 'Scandinavian Design: Picture and Rune Stones...

Cover for DLM No. 173 Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), called DLM From: DLM No. 173, published October 1968, whic...

Rémy Duval, 'Tugboat, River Seine, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the shee...

Our M.C.-2 Screen print, 1970 Signed in pencil lower right Chop stamp: Denise Rene Editeur, on lower left margin From: Album Charities Edition: 300 (35/300) Catalog raisonne states e...

Osmosis refers to the assimilation of ideas Paolo Ciampini was born in Montopoli in Val d'Arno in 1941. After graduating from the Art Institute of Cascina (Pisa) in 1962, he comple...

Watermark: Schellenkappe (Foolscap) Similar to Churchill no. 340

Ludgate Hill. 1921. Etching, aquatint, and drypoint. Dickins 69. 5 5/8 x 5 1/8 (sheet 13 5/8 x 9 3/4). A fine proof with plate tone, printed on 'J Wha[tman] cream wove paper. Edition of 275 for the UK and 125 for the US. Signed in pencil. Ludgate Hill is a street that runs west from St. Paul's Churchyard to Ludgate Circus (built in 1864), and from there becomes Fleet Street. The Ludgate Hill railway station, between Water Lane and New Bridge Street, is a station of the London, Chatham, and Dover Railway. It was closed before World War II and the railway bridge and viaduct between Holborn Viaduct and Blackfriars stations was demolished in 1990 to enable the construction of the City Thameslink railway station in a tunnel. This also involved the regrading of the slope of Ludgate Hill at the junction. About halfway up Ludgate Hill is St Martin, Ludgate church. This was physically joined to the Ludgate. When he was seventeen, William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel...

Sharon Augusta Mitchell created "Cena Ultima" as if guinea vultures were the apostles in a "last supper" pose arrayed around a carcass in an edition of 100. This is impression #9 fr...

A superb, richly-inked, early impression, in warm black ink, on cream wove paper; the full sheet with wide margins (1 1/2 to 1 3/4 inches). Signed in pencil and dedicated by the art...

L’Angelus (The Bell Tower) etching & drypoint, c. 1876 Signed in the plate with the artist's initials (see photo) Condition: Excellent Image/Plate size: 5 7/8 x 4 1/4 inches Sheet s...

Exhibited: Chronos Chrysalis at the Kenneth Paul Lesko Gallery, Cleveland, OH. 2013. Signed by the artist lower right. Edition: 1/5 Lower Left

Ink and pastel on paper Signed by the artist in ink lower left; titled in pencil verso From the Estate of the artist

Still Life with Vase of Flowers Oil on board with incised scraffito, c. 1929-1930 Unsigned by the artist Signed and inscribed verso: "Painting by my father, Aileen B. Cramer" verso, ...

A marsh landscape in the style of Max Weyl. Oil on board measures 12 3/4 x 23 5/8; frame dimensions measure 16 1/4 x 27 x 1 1/4. Unsigned. Housed in a gold-to...

Beth Ganz, 'Machu Picchu, Peru', copperplate photogravure etching, edition 10, 2021. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked i...

Dory Fishermen Frederick Schiller Cozzens created this watercolor entitled “Dory Fishermen” in 1888. This piece is signed in brush, lower left “Fred S. Cozzen...

EDWARD CURTIS (1868 - 1952) BEFORE THE WHTE MAN CAME - PALM CANYON, 1924 Photogravure. Printed title along with 1924 copyright line. Photogravure Suffolk Eng. Co., Cambridge Mass...

This Finnish artist creates a mezzotint in black and white. This impression is #44 of 100 and is signed, dated and titled in pencil. Jukka Vanttinen (Finn, b. 1954) Jukka Vanttinen...

Katherine S. Dreier, 'Variation 8, Vol. 1' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the zebra. ...

William Ross Abrams, 'The Green Sugarbowl', color woodcut, 1949, edition 24. Signed, titled, dated, and annotated 'Artist’s proof' in pencil. A fin...

Adriaan Lubbers, 'Times Square', lithograph, 1929, edition 50. Signed, dated, titled, and editioned '(50)' in pencil. A fine impression, on cream wove paper, with full margins (2 1/2...

Katherine S. Dreier, 'Variation 30, Vol. II' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annota...

JUNE WAYNE (1918 - 2011) A WINTER - SEEMING SUMMER'S NIGHT, 1957 From the John Donne Series. (Conway 122, Basket 106: Gilmour 50) Lithograph signed, title...

CALIFORNIA GOLD RUSH CARICATURE Charles Amédée de Noé, aka CHAM (1819 -1879) CROQUIS CALIFORNIENS, ca. 1850 Lithograph image inc. text 10 ½ x 6, sheet 14 x 9 1/2 inches. French...

Woman on a Patio Pastel on paper, c. 1915 Unsigned Provenance: Gift of the artist to his wife, Mary Hess Buehr By decent to the artist's niece, daughter of Will...

Alonzo C. Webb, 'Bridges of Florence', etching, 1929, edition 100. Signed and titled in pencil. Signed and dated in the plate, lower left. A superb, richly-inked impression, in warm ...

Windy Night, Stockholm. 1935. Drypoint. Dodgson 457.x. 11 7/8 x 7 5/8 (sheet 15 1/2 x 10 7/8). Edition of 80 in this state (total 93 in 10 states). Illustrated: Guichard, British Etc...

The Hunchbacked Fiddler (3rd State), 1654 Etching 266 x 113 mm.; 6 1/2 x 4 7/16 inches Watermark: Fleur-de-lys in a Crowned Shield References: Godefroy 44 III/VI Hollstein 44 III/VI Pelletier, Adrian van Ostade...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. David Levy created this vintage silver gelatin photograph in 1995. The image was t...

Edward Landon 'Salient in February', color serigraph, 1945, edition 40, Ryan 166. Signed in pencil. Titled, dated, and annotated 'ED. 40' in pencil. A fine impression, with fresh col...

Karl Eugene Fortess, 'Tanks & Trees', lithograph, c. 1940, edition 100. Signed, titled, and numbered '100/P' in pencil. Inscribed 'For Usui - K.' in the bottom left margin. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 1/2 inches); a slight crease across the top right sheet corner, well away from the image; otherwise in excellent condition. Image size 13 1/8 x 10 inches; sheet size 17 3/8 x 13 3/16 inches. Matted to museum standards, unframed. Provenance: Estate of Francis Pratt. Francis and her husband Bumpei Usui...

Théophile Pierre Wagner, 'Vague Lumineuse' (Luminescent Wave), lithograph, edition not stated but small, c. 1895. Signed and titled in pencil. Initialed in the stone, lower left. A f...

Marc Balakjian was enigmatic in his subject matter creating images that are disturbing in their ambiguity. Is this image just striped fabric tied with ropes on a platform or is this is a flag-draped coffin symbolizing those who passed "in memory of an historic phrase"? Politicians may turn the phrase but a price must be paid. This small edition mezzotint was created in 1975 in an edition of only 5. Armenian by descent, Marc Balakjian was raised in Lebanon. He spent his early years in the small town of Rayak, before moving to Beirut at the age of 10. He came to England in 1966, initially to study architecture with a firm in Oxford. He then decided to study art at Hammersmith College of Art and took up a postgraduate degree in printmaking at the Slade School of Art in 1971. After graduating he began working at Studio Prints in 1973, just as it was establishing itself in Queen’s Crescent. By 1976 he had become a full time partner, collaborating with other artists as well as continuing his own work, much of which is inspired by his Armenian and Lebanese culture and heritage. By the 1980s work was falling off, so Balakjian and Studio Prints introduced in-house plate-making to serve painters and sculptors who had little experience with printmaking. Artists such as Leon Kossoff, Frank Auerbach, Lucian Freud and Ken Kiff...

'New Rochelle - Before the Wind', drypoint, 1931, edition 30 (only a few impressions printed), Rose l.163. Signed, dated '1932' and numbered '1 – XXX' in ...