International Fine Print Dealers Association Art

Benson, Frank. RUNNING THE RAPIDS. Paff 269. Etching, 1927. Edition of 150. Signed in pencil. Printed on Whatman paper. 5 7/8 x 7 3/4 inches (plate), 8 1/2 x 10 5/8 inches (sheet). A...

Ruine di Sepolcro antico Etching, 1743 Signed in the plate bottomleft in the caaption plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Coniditon: Excellent/Very good Image size: 14 5/8 x 9 3/4 inches Reference: Robison 17 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Feast of Lights (Poster) Signed in the stone 17 color lithograph Published by Kennedy Galleries Edition: Unknown edition, signed in the stone There was also a pencil signed edition o...

MASSON, André. Le Septieme Chant. By Alain Jouffroy. Illustrated with 4 engravings by Masson. Folio, loose as issued in the original wrappers and linen-covered slipcase, preserve...

Plate 2 2 plate drypoint with hand coloring, 1984 Signed and numbered in pencil (see photos) From: Barcelona Suite (6 plates) Edition: A/P 8/10 in pencil lower left Signed in pen...

Anton Schutz, 'U.S. Chamber of Commerce', etching, edition not stated, 1928. Signed in pencil. Annotated 'U.S. Chamber of Commerce S/516', in another hand, in the bottom right margin. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 3/4 to 2 3/8 inches), in excellent condition. Image size 9 7/8 x 7 7/8 inches; sheet size 14 1/8 x 11 5/8 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Etcher, painter, and architect, Anton Schutz was born in Germany in 1894. He studied at the University of Munich, earning a double degree in mechanical engineering...

untitled (Hillside in Spring) Gouache on paper, c. 1965 Signed with the estate stamp lower right Provenance: Estate of the artist by decent William C. Grauer (1895-1985) was born in Philadelphia to German immigrant parents. After attending the Philadelphia Museum School of Industrial Art, Grauer received a four year scholarship from the City of Philadelphia to pursue post graduate work. It was during this time that Grauer began working as a designer at the Decorative Stained Glass Co. in Philadelphia. Following his World War I service in France, Grauer moved to Akron, Ohio where he opened a studio in 1919 with his future brother-in-law, the architect George Evans...

Color woodcut, Edition 30. In this print Morinoue uses symbolic, stylized and realistic images to evoke the play of light on water. In each of the four panels we see the reflectio...

Tempus Fidgets Etching, 1952 Signed in pencil lower right (see photo) Titled in pencil lower left (see photo) During his military service, Gilkey was part of the "Monuments Men" art recovery team The title is a play on Tempus fugit is a Latin phrase, usually translated into English as "time flies". The expression comes from line 284 of book 3 of Vergil's Georgics, where is appears as FVGIT INREPARABILE TEMPVS: "it escapes, irretrievable time". Condition: Excellent Image/Plate size: 11 3/4 x 14 5/8 inches Sheet size: 15 3/4 x 20 9/16 Reference: Portland Art Museum, 82.80.642 Gordon Waverly Gilkey was a printmaker, teacher, collector, and curator. He graduated from Albany College, which is now Lewis & Clark College, in 1933 and obtained a Master of Fine Arts degree from the University of Oregon in 1936. He served in World War II in a special division dedicated to locating and returning art confiscated by the Nazis and to confiscating Nazi propaganda. Gilkey spent the majority of his career teaching printmaking at Oregon State University. He amassed a large collection of prints, primarily by trading work with his colleagues. When he retired in 1978, Gilkey became curator of prints and drawings at the Portland Art Museum and professor and printmaker in residence at the Museum Art School, which is now known as the Pacific Northwest College of Art. Over the course of many years, he donated more than 10,000 prints and drawings from his personal collection to the Museum. Gilkey was crucial in building awareness for and appreciation of works on paper, and was instrumental in creating proper storage and viewing spaces for the graphic arts. In 1993, the Vivian and Gordon Gilkey...

Original gouache illustration on board. English circa 1970. Unframed. Unsigned.

Schanker, Louis CARNIVAL. Color woodcut, 1948. Edition of 30. Signed, titled and numbered 24/30 in pencil. 14 1/4 x 21 inches (image), 18 x 24 inches (sheet). Hinging residue, verso,...

Watercolor on board intended for a greeting card design, painted in the 1980s. Illegibly signed at lower right. Presented in an archival mat. Small light stain.

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...

Color lithograph, Edition 30. Italo Scanga was a painter, sculptor and printmaker. After a childhood spent in Italy, Scanga matured as an artist in his adopted home, the United St...

Des Oeufs Pout Ta Fette (Holiday Eggs) Mezzotint, 1960 Signed, dated, titled and numbered in pencil Edition: 50 (33/50) Image: 8 5/8 x 10 11/16" Condition: Mint Mario Avati is a Fren...

Kushner completed a series of monotypes, many with collaged decorative papers. He worked from still-lives of flowers, fruits, pitchers and Betty Woodman ceramic vessels. These prints...

Nude Woman in Chair Watercolor, gouache, ink, and pencil on heavy paper, c. 1930-35 Signed with the artist's Estate stamp lower right (see photo) Note: "Matchstick" ink drawing of fe...

Richard Bosman is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New York Studi...

Spanish Beauty (Portrait of the Artist's Wife) Oil on canvas, c. 1940's Signed upper right "A.G. Warshawsky" (see photo) According to the daughter-in-law of the artist, this painting...

Bernard Kretzschmar (1889-1972), Auction, etching, drypoint, and burnished aquatint, 1921, signed and dated (’20) in pencil lower right [also initialed in the plate lower left] Refe...

"Sun, Moon and Stars". Three beauties enjoy a full moon on the veranda of a teahouse or restuarant. The woman on the left kneels and adjusts her lavishly printed kimono. The beauty in the center has her hair down, and behind her is a screen against which shadows are beautifully silhouetted, which adds an air of mystery. The seated woman on the right is perhaps a geisha, as we see a shamisen lying next to her. Before her is a tray with an assortment of foods. One may surmise that the beauties are being compared to the sun, the moon, and the stars. On the left we glimpse a full moon shining over the peaceful bay, and boats at harbor. Original first edition Japanese color woodblock print triptych...

Automne (Autumn) Crayon and brush and tusche lithograph with scraping, 1927 Signed, titled, and annotated in brown ink (see photos) Condition: Good Signature and inscrption faded to brown Image size: 17 x 22 1/4 inches Sheet size: 21 5/8 x 28 1/2 inches This is the second of three version of this image (a aquatint/heliogravure (1927, this lithograph (1933) and a color aquatint (1938). Reference: Francois Chapon and Isabelle Rouault, Rouault Oeuvre Grave (Monte Carlo: Editions Andre Sauret, 1978), 364 viii/VIII, third edition of 175 printed in 1933. There is also a etching/heliogravure as well as a color aquatint version of this image. It is considered to by an important image in Rouault's work and recognized as a famous print...

Scene II, Le Nozze Degli Dei Etching, 1637 Signed in the plate lower left The scene depicts the initial moment when Diana is revealed, surrounded by her nymphs, celebrating a success...

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...

Crucifixion Engraving, etching, and ground printed in colors, 1947 Signed, titled and numbered in pencil (see photos) From the second printing by Jon Clemens, master printer in the 1990's Done while the artist was at the Iowa Print Group, MFA Program, University of Iowa . Condition: excellent Image/Plate size: 15 3/4 x 15 3/4 inches Provenance: Estate of the artist Printmaker, painter, and sculptor Ray H...

Self Portrait with Arms Over Head, vignette on Paul Cadmus on left Graphite drawing on thin wove paper, c. 1940's Unsigned Provenance: Paull Cadmus Jon F. Anderson (1937-2018) Condition: Sheet size: 15 x 10 1/4 inches Born in Hoboken, New Jersey, Margaret Hoening (1906–1998) was a painter and an etcher perhaps best known for her photographs as part of the PaJaMa photography collective. After attending Smith College, she settled in New York, where she pursued formal artistic training at the Art Students League. There, she met the artist couple Paul Cadmus and Jared French. In 1937, she married French, fifteen years her junior, who had spent the previous decade with Cadmus. The trio formed a tight bond, with Cadmus and French continuing their relationship. Born in Hoboken, New Jersey, Margaret Hoening (1906–1998) was a painter and an etcher perhaps best known for her photographs as part of the PaJaMa photography collective. After attending Smith College, she settled in New York, where she pursued formal artistic training at the Art Students League. There, she met the artist couple Paul Cadmus and Jared French. In 1937, she married French, fifteen years her junior, who had spent the previous decade with Cadmus. The trio formed a tight bond, with Cadmus and French continuing their relationship. Together, the three formed PaJaMa (a mashup of their first names, Paul, Jared, and Margaret). Using Hoening’s Leica, they captured themselves, their artist friends, and members of the gay community posing in artful tableaux on the beaches of Fire Island, Provincetown, and Nantucket over the following eight years. Those captured by their camera include the photographer George Platt Lynes; Cadmus’s sister and artist Fidelma; artist Bernard Perlin; and Monroe Wheeler, director of exhibitions at the Museum of Modern Art, among others. Though she produced few canvases, Hoening’s paintings demonstrate the influences of French and Cadmus, particularly with her adoption of the time-intensive, traditional medium of egg tempera that they championed. In the 1940s, the Frenches’ social circle continued to expand. They befriended the British author E.M. Forster, who stayed with them on his first trip to New York in 1947, spending a few days with them in Provincetown, and visiting them again in 1949. When Cadmus began a relationship with the young artist George Tooker in 1944, the trio became a foursome, with Tooker regularly vacationing with the group and appearing in PaJaMa’s photographs...

Archival pigment print, 2021, on Innova Etching Cotton Rag 315 gsm paper, signed in pencil, numbered from the edition of 100, Lococo Publishing, Missouri, 119 x 86 cm. (46¾ x 33¾ in.)

Frost, Sir Terry (English, 1915-2003). RED AND BLACK ON GREEN. Screenprint in colors, 1968. Edition size not known. Signed and dated in pencil and inscribed "Artist's Proof." Printed...

Set of 3 covers to the French fashion journal, "Toujours Chic" illustrated by Germaine Joumard who also sometimes signed her pieces "ZouZou." The three issues are: Les Robes de Soirees...

The River Barge Pen and ink on paper on laid paper, mounted in English drum mount , c. 1810 Unsigned Condition: Slight sun staining to sheet and mount in the window (see photo) Image/sheet size: 5 1/4 x 6 11/16 inches Sight: : 5-3/4 x 7-1/4" Frame: 13-3/8 x 14-3/8" Provenance: Colnaghi, London (see photo of label) David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg. By the late 18th century Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in fine art, and nurturing the distinctive tradition of landscape art of the Birmingham School. Cox initially enrolled in the academy of Joseph Barber in Great Charles Street, where fellow students included the artist Charles Barber and the engraver William Radclyffe, both of whom would become important lifelong friends. At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced portrait miniatures and paintings for the tops of snuffboxes from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade as late as 1825. At some time during mid-1800 Cox was given work by William Macready the elder at the Birmingham Theatre, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity. London, 1804–1814 In 1804 Cox was promised work by the theatre impresario Philip Astley and moved to London, taking lodgings in 16 Bridge Row, Lambeth. Although he was unable to get employment at Astley's Amphitheatre it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting watercolours. While living in London, Cox married his landlord's daughter, Mary Agg and the couple moved to Dulwich in 1808. David Cox Travellers on a Path, pencil and brown wash. In 1805 he made his first of many trips to Wales, with Charles Barber, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the Home Counties, North Wales, Yorkshire, Derbyshire and Devon. Cox exhibited regularly at the Royal Academy from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil, Colonel the Hon.H. Windsor (the future Earl of Plymouth) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including: Ackermanns' New Drawing Book (1809); A Series of Progressive Lessons (1811); Treatise on Landscape Painting (1813); and Progressive Lessons on Landscape (1816). The ninth and last edition of his series Progressive Lessons, was published in 1845. By 1810 he was elected President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited there every year (except 1815 and 1817) until his death. Hereford, 1814–1827 In the summer of 1813 Cox was appointed as the drawing master of the Royal Military College in Farnham, Surrey, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in Hereford and in Autumn 1814 moved to the town with his family. Cox taught at the school in Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two-day's work per week, allowing time for painting and the taking of private pupils. Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the Society of Painters in Water Colours and his inclusion in John Hassell's 1813 book Aqua Pictura, which claimed to present works by "all of the most approved water coloured draftsmen". The depression that accompanied the end of the Napoleonic Wars had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to Hereford. Despite its financial advantages and its proximity to the scenery of North Wales and the Wye Valley, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures. Between 1823 and 1826 he had Joseph Murray Ince as a pupil. London, 1827–1841 He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year. He exhibited for the first time with the Birmingham Society of Artists in 1829, and with the Liverpool Academy in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for Queen Victoria. Birmingham, 1841–1859 Greenfield House in Harborne, Birmingham – where Cox lived from 1841 until his death in 1859 . In May 1840 Cox wrote to one of his Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice". Cox had been considering a return to painting in oils since 1836 and in 1839 had taken lessons in oil painting from William James Müller, to whom he had been introduced by mutual friend George Arthur Fripp. Hostility between the Society of Painters in Water Colours and the Royal Academy made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in Harborne, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work. The elderly Cox pictured by Samuel Bellin in 1855. In Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844 these tours evolved into a yearly trip to Betws-y-Coed in North Wales to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer artists colony that continued until 1856 with Cox as its "presiding genius". Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the Society of British Artists; one oil painting was exhibited at each of the British Institution and the Royal Academy in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime. Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842. Cox suffered a stroke on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination. By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society Hampstead, and in 1859 a retrospective exhibition was held at the German Gallery Bond Street, London. Cox died several months later. He was buried in the churchyard of St Peters, Harborne, Birmingham, under a chestnut tree, alongside his wife Mary. Work Early work In the spring of 1811 Cox made a small number of notable works in oils during a visit to Hastings with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England". Mature work Cox reached artistic maturity after his move to Hereford in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these – Butcher's Row, Hereford of 1815 and Lugg Meadows, near Hereford of 1817 – mark advances on his earlier work. Later work Cox's later work produced after his move to Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression comparable to later impressionism. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of John Constable, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect. The quest for character over precision in representing nature was an established characteristic of the Birmingham School of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this "peculiar manner" to new extremes, incorporating the techniques of the sketch into his finished works to a far greater degree. Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier periods: he used black chalk instead of graphite pencil as his primary drawing medium, and the rough and absorbent "Scotch" wrapping paper for which he became well-known – both of these were related to his development of a rougher and freer style. Influence and legacy By the 1840s Cox, alongside Peter De Wint and Copley Fielding, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one. A group of young artists working in Cox's watercolour style emerged well before his death, including William Bennett, David Hall McKewan and Cox's son David Cox Jr. By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as The Spectator as "the 'blottesque' school", and failed to establish themselves as a cohesive movement. John Ruskin in 1857 condemned the work of the Society of Painters in Water-colours as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness". An 1881 book, A Biography of David Cox: With Remarks on His Works and Genius, was based on a manuscript by Cox's friend William Hall, edited and expanded by John Thackray Bunce, editor of the Birmingham Daily Post. There are two Blue Plaque memorials commemorating him at 116 Greenfield Road, Harborne, Birmingham, and at 34 Foxley Road, Kennington, London, SW9, where he lived from 1827. It can also be seen at the David Cox exhibition in Birmingham. His pupils included Birmingham architectural artist, Allen Edward...

Trompe l'oeil. [Punch and Judy]. Watercolor and drawing, undated, circa 1830. Paper size 10.25 x 14" (26.1 x 35.6 cm). On "J. Whatman" watermarked paper. Unidentified artist. A 19th-century visual montage of Cruikshank's "Punch & Judy." The images are taken from the book "The Tragical Comedy, or Comical Tragedy of Punch and Judy." As told to John Payne Collier by Giovanni in 1827, illustrated by George Cruikshank and published by S. Prowlett, London 1828. The central circle illustrates a drawing showing two allegorical female figures with two putti. The text under this image: “E Musao Hugonis Howard Armig, from Guercino.” On top of that illustration is a handsome painting of a flintlock pistol. Trompe l’oeil is an art of illustration – the name translates to ‘Trick of the Eye.” The puppet show of Pulcinella or Punch and Judy has a long and fascinating history. “A puppet play that would have featured a version of Punch was first recorded in England in May 1662 by the diarist Samuel Pepys. He noted seeing it in Covent Garden, London, performed by the Italian puppet showman Pietro Gimonde from Bologna, otherwise known as Signor Bologna. The earliest script of a Punch and Judy show...

Complete set of six kinetic screenprints, 1969, on aluminium, signed, titled, dated 1970 and numbered from the edition of 100 incised verso, published by Editions Alecto, London, eac...

Bad Gastein Church, Austria Soft ground etching & aquatint, c. 1930 Signed in pencil by the artist (see photo) Image: 18 1/2 x 13 3/4" Condition: Very good...

Dharma Prayer Book Manuscript Folio Ink and gouache on handmade paper, 1875-1925) Miniature depicting Tibetan deity Script is Tibetan. Miniature Size: 2 3/8 x 1 ½ inches Part of a se...

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...

Color softground etching.

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...

Original lithograph, produced as part of a portfolio of images by Reynaldo Luza for the Parisian fur house, Revillon Freres. Paris, Draeger for Revillo...

Hasegawa, Shoichi (French, born Japan, 1929- ). MONTPARNASSE AU MATIN. Color viscosity intaglio, 1977. Edition of 160, signed, titled and numbered 136/160, in pencil. 23 1/4 x 19 3/8...

Jean-Emile Laboureur (1877-1943), L’ile Desert, etching, 1914, signed in pencil lower left and numbered lower right (33/35). Reference: Laboureur 135, only state, from the edition of...

Still Life with Tromp L'Oeil Graphite and watercolor on a book page. Signed in ink by the artist lower right corner (see photo) Provenance: Estate of the artist (Estate No. 00916 verso) Ray Sommer (the artist's son) Joseph M. Erdelac (No. 18 JME verso) Book page verso is an illustration of a Durer woodcut...

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...

Prelude de Lohengrin (2e planche) (The appearance of the Holy Grail) Lithograph, 1898 Signed and dated in the stone lower left (see photo) Printed on chine collee paper Condition...

Two Women and a Child on the Beach at Provincetown Unsigned. Watercolor on paper, c. 1934 A beautiful Provincetown beach scene, included in the catalogue raisonne. Please see Babcoc...

Terauchi, Fukutaro. Fishing on a river in autumn. ...

Sloan, John. MAN MONKEY. M.130. Etching, 1905. Edition of 100, Signed by Sloan. Dated in the lower margin "June 13 - 1905," and further inscribed "J. S. imp. dated by Sloan - final s...

Parrish, Maxfield. HARPER'S WEEKLY - BICYLCE NUMBER. Vol XL, April 4, 1896. 16 x 12 inches. With front and back covers by Parrish, and an ad by Will Bradley for Victor Bicycles on th...

Original engraving with later hand-coloring from "Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiossimis expressio, per universam physices historia...

Original color lithograph for Établissements D. Cordier S.A. Draeger, Imp., circa 1938.

Louisa Chase was born in Panama City, Panama. Seven years later, her family moved to Lancaster, Pennsylvania. She studied painting and sculpture at Syracuse University and at the Ya...

Anders Zorn (1860-1920), At the Piano, etching, 1900, signed in pencil lower right. Reference: Asplund 160, Hjert and Hjert 108, second state (of 2), from th...

Lido (Venice) Etching on chine collee, 1880 Part of the artist's "Venice Set" Signed upper right in plate :Otto H Bacher" (see photo) Signed with the estate stamp, Lugt 2002 recto lower right beneath image. (see photo) Created October 20, 1880 Reference: Andrew Venice No. 29 Provenance: Estate of the Artist Otto H. Bacher (1856-1909) Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of sixteen with local genre trompe l'oeil still-life artist, DeScott Evans. Although he studied with Evans for less than one year, Bacher's early work, comprised mainly of still lifes, betrays Evans's influence. After a short period in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts, Bacher returned to Cleveland and met Willis Seaver Adams, an artist from Springfield, Massachusetts, who had just recently arrived upon the Cleveland art scene. Soon the two artists were rooming together. Adams was instrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy of the Fine Arts, to the board of which Adams had Bacher appointed. Also during this time, Bacher began to learn the process of etching from local etcher and landscape painter Sion Longley Wenban. In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where he enrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying with Cincinnati artist Frank Duveneck, the prime American exponent of the Munich School. In 1879, Bacher made a trip to Florence with Duveneck as one of the celebrated "Duveneck Boys." Early the following year, the group proceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this time an avid printmaker, Bacher had his etching press sent from Muni ch, and it was in his Venice studio that he taught Duveneck the rudiments of etching. Soon Bacher, Duveneck, and other members of the Duveneck circle were experimenting in printmaking. Among the group's contributions were some of the first American examples of monotypes, which they called "Bachertypes" because they were printed using Bacher's press. It was also in Venice that Bacher met the venerable American expatriate artist, James McNeill Whistler. On learning of Bacher's press and his collection of etchings by Rembrandt, Whistler made himself a regular visitor to Bacher's studio, and he eventually took his own room in the Casa Jankovitz. Bacher spent much of the rest of 1880 with Whistler, the two artists sharing etching techniques. From Whistler, Bacher learned tone and line graduation; from Bacher, Whistler learned his etching techniques, including better ways of using the acid bath which produced less tedious and more efficient work. Bacher visited Whistler occasionally in the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time with the great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center of his operations, and he produced a number of important etchings of Italian subjects. Bacher sent several of these works to America in 1881 to be included in the Society of American artists exhibition that year, and had a similar group of works shown at the Royal Society of Painter-Etchers' first exhibition at the Hanover Gallery in London. Following the exhibition, Bacher, along with several other of the American contributors, was elected a Fellow of the Society. Bacher collected twelve of his etchings of Venetian subjects and sold them in bound volumes through his New York dealer, Frederick Keppel. Bacher returned to Cleveland in January 1883 as a fully cosmopolitan artist. He set up a lavish studio furnished with exotic items and objets-d'art he had collected on his travels, and began to hold art classes as a means to supplement his income. He soon joined with Joseph De Camp in forming a summer sketch class in Richfield, Ohio. Bacher and De Camp also planned the Cleveland Room for a major loan exhibition in Detroit that year. During this period, Bacher increasingly painted in oil, and he began to produce sun-dappled canvases in an impressionistic mode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where he planned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Paris before heading to Venice, where he spent the remainder of the year. In January 1886, Bacher returned to Paris and enrolled at the Académie Julian, and also entered the atelier of Emile-Auguste Carolus-Duran. The life of the student seems never to have suited Bacher, as he stayed in Paris only through June, before departing again for Venice. For the next six months he, Robert Blum, and Charles Ulrich...

Color lithograph with gold leaf, Edition 30 Working from branches and grasses collected in the vicinity of Shark’s studio, Kushner created this composition determined by chance. K...

Original lithograph, produced as part of a portfolio of images by Reynaldo Luza for the Parisian fur house, Revillon Freres. Paris, Draeger for Revillo...

Illustrated with 13 drawings by Leonard Baskin. Large Folio in cloth-backed portfolio in cardboard slipcase. New York: Medicina Rara, 1972. One of 2500 copies (there were 300 copi...

Seba, Albertus. Locupletissimi rerum naturalium thesauri accurata descriptio, et iconibus artificiossimis expressio, per universam physices historiam. Amsterdam, Wetsten, Smith, Jans...

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...

Annual Edition, 1994 Screen print, 1994 Signed and dated in pencil by the artist. Small edition Dedicated in pencil by the artist "For Bart and Ann" Created as a gift to the artist'...

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

Signed and dated in pencil lower right From: New Jersey Volunteers for McCarthy Portfolio (14 lithographs by various artists) Signed in pencil lower right and dated ‘68 Printed by Pearl Seligman on Rives Heavyweight paper Edition 250 Features a broadside of Lowell's poem "Fall 1961," and 14 lithographs Signed in pencil by the following artists: Richard Anuskiewicz, Carmen Cicero, Leo Dee, Joseph Demarais...