International Fine Print Dealers Association Art

Kuhn, Walt, (American, 1877-1949). PEGGY. Lithograph, not dated, but likely 1925-1930. Edition size not stated, but likely 50. Signed in pencil, and inscribed at the lower edge of th...

The Red Dress Watercolor on paper, mounted on board by the artist, 1926 Signed and dated, 1926 lower left (see photo) Condition: Mounted on support board by the artist ...

Nude in a Mirror Ink and wash on paper, n.d. Signed in red ink lower right (see photo) Illustrated: Elliott & Wooden, page 153, a monograph on the artist's drawings Note: a cop...

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...

La butte de Montmartre et le Sacre-Couer (Sacre Coeur from a Distance) Lithograph, 1926 From Joseph Delteil's "Allo, Paris," published by Quatre Chemins, Paris, 1926 Rare signed proo...

Signed, dated, annotated "epreuve d'artiste"; Annotated on titled "B.B." Edition: 5 References And Exhibitions: One of the three impressions printed on ARCHES watermark paper Int...

(Sloan, John). FIRE CAN. Etching, 1920. m. 199. 95 x 61mm; 3 3/4" x 2 3/8", signed and inscribed in pencil: Of the usual edition of 100, only 45 were printed. Very good conditon. Man...

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 ...

Johnston, Ynez (American, 1920-2019). DYNASTIC SCENE. Colored etching, not dated. Edition of 50, numbered, titled, and signed in pencil. 11 3/4 x 8 5/8 inches (Plate), 16 1/2 x 12 3/...

Ryohei, Tanaka (Japanese, 1933-2019). GROVE #2. Etching in color, 1966. Edition of 50. Numbered 23/50, signed, and dated in pencil.11 5/8 x 14 1/2 inches (plate), plus full margins. ...

Delicate Arch Photograph on Kodak Professinal Paper, c. 1980's Unsigned Annotated verso in ink "346" Condition: Excellent Minor handlin...

Beth Ganz, 'Humphrey's Peak, Arizona', copperplate photogravure etching, edition 10, 2021. 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. ABOUT THE IMAGE Humphreys Peak (Hopi: Aaloosaktukwi, Navajo: Dookʼoʼoosłííd) is the highest natural point and the second most prominent peak after Mount Graham in the U.S. state of Arizona, with an elevation of 12,637 feet (3,852 m) and is located within the Kachina Peaks Wilderness in the Coconino National Forest, about 11 miles (17.7 km) north of Flagstaff, Arizona. Humphreys Peak is the highest of a group of dormant volcanic peaks known as the San Francisco Peaks. Humphreys Peak was named in about 1870 for General Andrew A. Humphreys, a U.S. Army officer who was a Union general during the American Civil War and who later became Chief of Engineers of the United States Army Corps of Engineers. The San Francisco Peaks are a sacred place for Hopi, Navajo, Havasupai, Zuni, Apache, and other Native American tribes. A place of sacred shrines and ancestral dwellings, The Peaks are associated with emergence, deities, ancestors, life-giving moisture, and spiritual ceremony and are still actively utilized today. Numerous medicinal herbs and other plants used in traditional ceremonies and to treat ailments are found at several levels of the Peaks. The plants are said to have place-specific energies—that is, they must come from these sacred sites to fulfill their proper function. To the Hopi, the Peaks are Nuvatukaovi, “The Place of Snow on the Very Top,” home for half the year to the ancestral kachina spirits who live among the clouds around the summit. When properly honored through song and ceremony, it is believed that the kachinas will bring gentle rains to thirsty crops. 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 Collection. Ganz teaches workshops in photogravure and intaglio at Manhattan Graphics Center and has been a long-time grantee of the Elizabeth Foundation for the Arts. AWARDS AND RESIDENCIES 2018 – Signal: Tri-State Juried Exhibition (2nd Place), Katonah Museum of Art, Katonah, New York (Juror: Lumi Tan) 2001-2014 – Studio Program, Elizabeth Foundation for the Arts, New York, NY 2005 – Johnson & Johnson Purchase Prize, 48th Annual National Print Exhibition, Hunterdon Museum of Art, Clinton, NJ 1999 – Prints USA Juror’s Award, Springfield Art Museum, Springfield, MO 1993 – 37th Annual National Print Exhibition (Honorable Mention), Hunterdon Art Center, Clinton, NJ 1992 – Small Impressions 1992 (Juror’s Award), Printmaking Council of New Jersey, NJ BIBLIOGRAPHY: MAGAZINES, JOURNALS, NEWSPAPERS, AND ONLINE MEDIA 2018 – Mary Legrand, “A Signal of Invention,” Bedford Record, July 2018 2017 – Sara Mintz, “Profile of an Artist: Beth Ganz,” Journal of the Print World, Vol. 40, #4, October 2017 2017 – Cate McQuaid, “Critics’ Picks, The Ticket: Music, Theater, Dance, Art and more,” Boston Globe, May 2017 4, 2017 2017 – Beth Ganz, “New Prints: Beth Ganz and the Atlas Project Landscape,” Journal of the Print World, I Vol. 40, #3, July 2017 Collections: Duke Energy, Charlotte, NC; Evelyn Lauder Breast Center at SKMCC, New York, NY; Frost Bank, Houston, Texas; Hofstra Museum, Hofstra University; Johnson and Johnson...

Bucolique Moderne Color woodcut, 1901 Edition of 550 impressions on Holland paper (as here) and an edition of 200 impressions printed on Japan paper signed in pencil by the artist. References And Exhibitions: Published in Di Gesellschaft fur vervielfältigende Kunst à Vienne Reference: Lotz Brissonneau 271 v/V Illustrated: Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. Illustrated: Musee de le Vendee, no. 171 (see photo) Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. Auguste Louis Lepère...

Color softground etching.

String bound booklet (portfolio) with six hand colored woodcuts, signed in pencil by the artist, tipped in the book Provenance: Estate of the artist By descent to his daughter Kir...

Thon, William (American, 1906-2000). UNTITLED (DRAWING OF A TOWN IN ITALY) Ink and watercolor on paper. Not dated. Unsigned. 14 x 17 inches. In excellent condition. From a sketchboo...

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

Avedon, Richard. RICHARD AVEDON - CENTER FOR CREATIVE IMAGING. Poster, 1991. Signed in ink by Avedon. Captioned " Gordon Stevenson, drifter Interstate 90 Butte Montana...

Prince, George WILLIAM MCKINLEY AND THEODORE ROOSEVELT CAMPAIGN POSTERS. Lithographs, 1900. With Prince's copyright, lower left, and Litho by Julius Bien NY, lower right. The McKinle...

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

Peterdi, Gabor (American, born Hungary, 19150-2001) . BLOOMING ICE. Combined technique (intaglio and screenprint) in six colors, 1965. P.228. Edition of 25. 20 x 32 inches, 504 x 813...

The Fifer Etching, c. 1875 Unsigned Provenance: Estate of the Artist Bt descent in the artist's family Edition: One of four known impressions With annotation on...

Daureen, II Etching, 1969 Signed in pencil lower right Edition: 28 (17/28) Condition: Excellent Two hinges from previous matting Blaine studied etching at Atelier 17 in New York and considered one of their distinguished alums. "Blaine was foremost an abstract painter, first a student of Theresa Pollak...

James Ensor (1860-1949), Exterminating Angel (L'Ange Exterminateur), etching with drypoint, 1889, signed and dated in pencil lower right, also titled and countersigned verso. Referen...

Mielatz, Charles. IN THE BOWERY. Etching, 1891. Edition size not known. Signed and dated in the plate. 9 7/8 x 7 inches. In excellent condition. Mielatz, taught etching at the Nation...

Ostiakes Engraving, 1718 From: Voyages de Corneille le Brun par la Moscovie, en Perse, et aux Indes Occidentales (French translation, 1718), Chapter XXI The Ostyak are a member of an...

Engraving of Veduta della Piazza di S. Marco, versoil Canale by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 11 x 13 5/8 in. Has the original center crease.

Plate LIII, Muscat of Alexandria. from "Pomona Britannica..." by George Brookshaw. London, T. Bensley for the author, 1804-1812. Original aquatint with stipple engraving, color pri...

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

Alphonse Legros (1837-1921), Les Moissonneurs (The Reapers), etching, c. 1890, signed in pencil lower right margin. Reference: Bliss 464, third state (of 3)...

Un rêve vert Color lithograph on Arches without watermark, 1975 Signed lower left in red area (see photo) Numbered lower left in red area Dated in same red area Edition: 100 (67/100)...

Arthur B. Davies (1862-1928), Girl Running (or Woman Running), drypoint, 1917, signed in pencil (twice) lower left and dated lower right. Reference: Czes...

Emil Nolde (1867-1956), Frauenprofil (Profile of a Woman), woodcut, 1917, signed in pencil lower right (also titled, numbered 8, and annotated III.10 lower left). Reference: Schiefle...

Polo (Wall Plaque) Polychromed ceramic, c. 1930-1931 Signed with the artist's initials: VS recto Cowan Pottery stamp verso References And Exhibitions: Designed by the artist while working for Cowan Pottery in 1930. One of Cowan's clients, an interior designer, requested plates decorated with different outdoor activities. Others in the series included "Swimming," "Tennis," "Golf," and "The Hunt." Condition: with the usual craquelure Size: 11 1/4 inches in diameter Industrial design democratizes high style, and Mr. Schreckengost was widely considered among the most democratic industrial designers. He made, quite literally, the stuff of life — things found routinely in homes, backyards and garages in this country and around the world. He designed bicycles for Sears and everyday china for American Limoges. He designed children’s toys and pedal cars; flashlights, furniture and fans; lawn chairs, lawn mowers...

BOMBERG, David. Russian Ballet. With 6 original color lithographs by David Bomberg. London; Hendersons. [The Bomb Shop] 1919. 8 3/8 x 10 1⁄2 Inches, 8 ...

Jansem, Jean (French 1920-2013). SUR LA PLACE. Drypoint, 1964. Dalavez, page 48. Edition of 40 plus 10 Artist's Proofs. Signed in pencil and numbered 35/40. 13 1/2 x 10 3/4 inches, 2...

La Lampe Polonoise Aquatint, 1771 Signed and dated in the plate lower left Condition: Yellowing to the sheet Image size: 6 1/8 x 8 1/8 inches Reference: Hedou 147 ii/II Provenance: C...

It is hard to characterize John Baldessari’s varied practice—which includes photomontage, artist’s books, prints, paintings, film, performance, and installation—except through his ap...

Emilio Sanchez returned to the urban skyline time and again. His passion for the everchanging sky took hold during the 1980's working the ruled lines of the skyscraper in just enough...

Untitled Collage of small oil on canvas fragments, c. 2006 Unsigned Provenance: Estate of the artist Image size: 15 x 9 7/16 inches Sheet size:: 17 x 14 inches Peter Marks (1935 -2...

Joan Snyder has been called an autobiographical, even confessional artist, who draws from her experiences and surroundings to create her paintings. While her subjects vary widely, Sn...

Linocut, printed on yellow wove paper Unsigned as is usual From: XXe Siecle, Volume 13, 1959 Published by G. San Lazzaro for A. Maeght, Paris Printed by...

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

Magnificent Jungle Cats Etching, drypoint and monoprint inking of the plate Printed by the artist at Atelier 17, New York Annotated 1/5 in pencil Estate stamp and number, verso Editi...

Sloan, John. MAN, WIFE AND CHILD. Morse 135. Etching, 1905. Titled, signed, and inscribed "100 proofs," all in pencil. 5 x 7 inches (plate), 10 x 12 3/4 inches (sheet). Printed on w...

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

From: Dresden Suite created at Grafikwerkstatt Through the process of censorship and journaling, artist Rebekah Wilhelm composes masterful images of thought. On her practice the a...

Illustrated: "Walt Kuhn, Painter, His Life and Work, by Phillip Rhys Adams, page 67, plate 27, Courtesy of Kennedy Galleries-Kuhn Estate (see photo) Kuhn’s sculptures were collected...

Reginald Marsh (1898-1954), Tank Car Rail, 1929, etching, signed lower right and numbered 15 lower left margin [also signed and dated in the plate]. Reference: Sasowsky 86, fifth sta...

Ballarina having make up applied by Cupid Watercolor and gouache on heavy wove paper, c. 1905 Signed in ink lower right Titled in pencil, verso Condition: Aging to sheet Colors...

Ave Maria-Nanban Music Color woodcut with mica sprinkles, 1925 Signed Hide in image, Signed Kawanishi Hide on printed mount From: Dojin zasshi, Hanga Magazine, Volume 5, No. 4 Condi...

Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...

Signed lower center edge Annotated verso: “5 Juin 1966 _____ et de soleil, de et d’oseille” Image: 6 3/4 x 4 5/8" Frame: 14 1/2 x 12 3/4" Finishe...

St. Valentine's Day -- The Old Story in All Lands Wood engraving, 1868 Published in: Harper's Weekly, February 22, 1868 Titled and signed in the block Image size: 13 5/8 x 9 inches C...

Original gouache with stencil by Warner Kreuter. Wisconsin, 1929. Initialed lower/mid right. Dated lower left. Mounted on green card stock. Unframed.

Untitled Abstraction Pen and ink on paper, 1932 Signed and dated in ink lower center Condition: Excellent Sheet/Image size: 10 3/8 x 6 1/4 inches Frame size: 16 1/2 x 12 1/2" Provena...

Italian Cityscape Pastel on Strathmore paper, 1968 Signed and dated lower right with the estate signature with the initials RH Image size: 13 3/4 x 10 inches Condition: Excellent Pro...

Reginald Marsh (1898-1954), Flying Concellos, etching, 1936, signed in pencil lower right and annotated “40 Proofs” lower left. Reference: Sasowsky 163, fourth state (of 4). In excel...

Original engraving by Johann Wilhelm Weinmann from "Phytanthosa Iconographia." Ratisbon, 1737-1745. This plate: N. 304 Caranna.[Palm Tree]. Mezzotint engraving printed in color and f...

Paul Henry Ramirez has shown throughout the United States and Europe. He has had numerous one-person museum exhibitions including the Contemporary Arts Center in Cincinnati, the Whit...