Ifpda International Fine Print Dealers Association Prints and Multiples
International Fine Print Dealers Association (IFPDA)
Launched in 1987, the International Fine Print Dealers Association has continually set the bar for quality and ethics while promoting prints as original works of art to generations of collectors, curators and art lovers. With over 160 members in 13 countries, the IFPDA is a worldwide community of leading dealers and editions publishers who represent the full spectrum of printmaking. Each year, the IFPDA hosts the IFPDA Print Fair in New York, the only major fair dedicated to fine-art prints.
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Hélène of Septeuil (enfant au perroquet) (child with a parakeet).
By Mary Cassatt
Located in Storrs, CT
Hélène of Septeuil (enfant au perroquet) (child with a parakeet). c. 1889-1890. Drypoint. Breeskin, 134.v. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate...
Category
19th Century Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Watercolor, Drypoint
$12,000 Sale Price
52% Off
Night Shadows
By Edward Hopper
Located in Storrs, CT
Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$48,000 Sale Price
20% Off
Confident - In Celebration of Pride Month
By Mikio Watanabe
Located in New Orleans, LA
Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community.
Mikio Watanabe created "Confident", a side view of a sensuous female nude, exclusiv...
Category
Early 2000s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
LOBSTER and OCTOPUS (KAMPF - BATTLE)
By Norbertine Bresslern-Roth
Located in Santa Monica, CA
NORBERTINE VON BRESSLERN-ROTH (1891 1978)
KAMPF (BATTLE - LOBSTER and OCTOPUS) c. 1928
Color linoleum cut Signed in pencil. Image 8 5/8 x 8 11/16”
In excellent condition and full ...
Category
1920s Vienna Secession Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Linocut
'Taos Placita' — American Southwest Regionalist Masterwork
By Gustave Baumann
Located in Myrtle Beach, SC
Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed.
Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm).
Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum.
ABOUT THE ARTIST
Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest.
"A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West."
—Lewis I. Sharp, Director, Denver Art Museum
Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels.
Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal.
Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923.
In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique.
Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape.
Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike.
A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.”
In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts.
Baumann’s woodcuts...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Dei Praestitis Signumexaere' — 18th Century Classical Italian Realism
Located in Myrtle Beach, SC
Giovanni Domenico Campiglia, 'Dei Praestitis Signumexaere' (God's Providence Signumexaere), engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. E...
Category
1730s Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
The House of Shango — African American artist
By Samella Lewis
Located in Myrtle Beach, SC
Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed.
ABOUT THIS WORK
“The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018
ABOUT THE ARTIST
Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.”
Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history.
Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center.
Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement."
From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art.
Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University.
Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...
Category
1990s Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Margit Smiles
By Alex Katz
Located in New York, NY
signed and numbered lower image
edition 7/40
Catalogue raisonné 00269
Internationally recognized painter and printmaker Alex Katz was born in 1927 in Brooklyn, New York. Over a thir...
Category
1990s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint
$30,000
'Together' — Mid-Century Surrealism, Atelier 17
Located in Myrtle Beach, SC
Ian Hugo, 'Together', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with wide margins (2 7/8 to 5 1/2 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed.
Image size 5 7/8 x 4 7/8 inches (149 x 124 mm); sheet size 15 x 11 1/8 inches (381 x 283 mm).
Collection: Indianapolis Museum of Art.
Ian Hugo originally created "Ten Engravings" in 1945 and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions.
“The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.”
—Anais Nin, from the forward to the portfolio ‘Ten Engravings’
ABOUT THE ARTIST
Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature.
Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research.
Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June.
Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages."
In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking.
Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...
Category
1940s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
Nicole
By Alex Katz
Located in New York, NY
signed and numbered lower right
edition of 60
Catalogue raisonné 00717
Published by Simmelink Sukimoto Editions
Internationally recognized painter and printmaker Alex Katz was born...
Category
2010s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Linocut, Woodcut
$30,000
'Drop of Life' — from 'Solitude' for Henry David Thoreau's 'Walden'
Located in Myrtle Beach, SC
Naoko Matsubara, 'Drop of Life' for the portfolio 'Solitude', color woodcut, 1971. A fine impression with fresh, vivid colors, on cream laid Japan paper, the full sheet with margins,...
Category
1970s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Poppy' — Art Deco Pochoir from the acclaimed portfolio 'RELAIS'
By Edouard Benedictus
Located in Myrtle Beach, SC
Edouard Benedictus, 'Poppy' from the portfolio 'Relais', plate 14, color pochoir, 1930. Signed in the matrix, in the center bottom margin. A superb, richly-inked impression, with fresh, vibrant colors, including metallic gold and silver inks, on heavy, cream wove paper; the full sheet with margins (1 3/8 inches), in excellent condition. Published by Éditions Vincent, Fréal et Cie, Paris. The pochoir production is by Jean Saudé, the French printmaker known for his mastery of the technique and the author of the first how-to book on the pochoir process. Matted to museum standards, unframed.
Image size 14 3/8 x 11 inches (365 x 279 mm); sheet size 17 1/4 x 13 7/8 inches (438 x 352 mm).
Impressions of this work are held in the following museum collections: Cooper-Hewitt National Design Museum Library (Smithsonian), Metropolitan Museum of Art, Minneapolis Institute of Art, New York Public Library, Toledo Museum of Art, Victoria and Albert Museum (London), Virginia Museum of Fine Arts.
ABOUT THIS WORK
The Pochoir process is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by virtue of its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique.
ABOUT THE ARTIST
Edouard Benedictus (1878 -1930), artist, designer, composer, and chemist, was born and died in Paris. A highly-regarded designer and art critic of the Art Nouveau era, Benedictus gained renown as a colorist and creator of Art Deco-inspired geometric and floral motifs. His work had a significant influence on international fashions in clothing, home furnishings, graphic design, and decorative objects of the period, earning him commissions from leading European design firms. In 1925 he was invited to represent Art Deco textile design...
Category
1930s Art Nouveau Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Stencil
Portrait of an African Woman — 1920s Modernism
By Boris Lovet-Lorski
Located in Myrtle Beach, SC
Boris Lovet-Lorski, Untitled (Portrait of an African Woman), lithograph, edition 250, 1929. Signed and numbered 13 in pencil. Number 13 of Volume 2, a series of 10 lithographs publis...
Category
1920s Art Deco Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
$760 Sale Price
20% Off
10th Anniversary New Orleans Jazz and Heritage Festival Poster - 1979
Located in New Orleans, LA
10th Anniversary New Orleans Jazz and Heritage Festival Poster, 1979
by John Martinez
Fifth in the series by John Martinez. The grand marshal returns for the Jazz Festival's 10th anniversary; as does the "cut paper" technique first seen in the 1977 poster...
Category
1970s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
SUR LA PLAGE, a BERNEVAL
By Auguste Renoir
Located in Santa Monica, CA
PIERRE-AUGUSTE RENOR (1841 - 1919)
SUR LA PLAGE, a BERNEVAL (D.: S. 5) Drypoint on laid paper. The plate was created in c. 1892. Plate 5 3/8 x 3 3/4". Sheet 11 1/4 x 10 1/8". This...
Category
1890s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Encircled' — Mid-Century Surrealism, Atelier 17
Located in Myrtle Beach, SC
Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...
Category
1940s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
'Lot Cleaning, Los Angeles' — 1930s Modernism
By Paul Landacre
Located in Myrtle Beach, SC
'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Kitakata Japan pape...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Woolworth Building Under Construction' — Early 20th Century Modernism
By Earl Horter
Located in Myrtle Beach, SC
Earl Horter, 'The Woolworth Building Under Construction', etching, c. 1912, edition not stated. Signed in pencil. A fine, richly-inked impression, in warm black ink, with selectively...
Category
1910s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Unemployed Marchers' — American Modernism, WPA
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Unemployed Marchers', 2-color lithograph, c. 1938, edition 25. Signed, titled, and numbered '2/25' in pencil. A fine, richly-inked impression on off-white, wove paper, w...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Fly Fishing, Saranac Lake
By Winslow Homer
Located in Storrs, CT
Fly Fishing, Saranac Lake. 1889. Etching, aquatint and burnishing. Goodrich 104. 14 1/4 x 20 5/8; sheet 18 1/2 x 24 1/2. Edition unknown but quite possibl...
Category
Late 19th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$40,000 Sale Price
20% Off
'Avalon South' —— Mid-Century Modernism
Located in Myrtle Beach, SC
Morris Blackburn, 'Avalon South', wood engraving, 1951, edition 30. Signed, titled, and numbered '12/30' in pencil. A fine black impression on cream wove Japan paper, with wide margins (1 3/8 to 2 1/4 inches), in excellent condition. Archivally sleeved, unmatted.
Image size 5 x 7 inches (127 x 178 mm); sheet size 8 5/8 x 10 7/8 inches (219 x 276 mm).
ABOUT THE ARTIST
Morris Blackburn was a prominent painter, printmaker, and graphic artist, as well as a respected teacher at the Philadelphia Museum School of Industrial Art and the Pennsylvania Academy of Fine Arts.
Born in Philadelphia, where he spent most of his career, Blackburn was a descendant of the notable colonial portrait artist Joseph J. Blackburn (c. 1700–1780). He developed an interest in art early on and studied architectural drawing at the Philadelphia Trade School. In 1922, he took classes at the Graphic Sketch Club and later attended the School of Industrial Art. While working for the well-known Philadelphia furniture designer Oscar Mertz, he studied at the Pennsylvania Academy of the Fine Arts from 1925 to 1929. During his studies, he learned painting from Henry Bainbridge McCarter...
Category
1950s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Mehr Sonne fur 1924' (More Sun for 1924)— German Expressionism
By Karl Michel
Located in Myrtle Beach, SC
Karl Michel, 'Mehr Sonne fur 1924. Viel Gluck Wunscht Karl Michel U. Frau', woodcut, 1924, edition 20. Signed, dated, and numbered 'op. 162' and '15/20' in pencil. Signed in the image, lower left. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in very good condition. Printed by the artist. Scarce. Matted to museum standards, unframed.
New Year's Greeting – English translation: "More Sun for 1924. Good Luck Wishes from Karl Michel and his Wife."
Image size 4 5/8 x 4 3/4 inches (118 x 121 mm); sheet size 7 3/4 x 10 inches (198 x 254 mm).
ABOUT THE ARTIST
Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat...
Category
1920s Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Weeping Cherry 16 A' — Sosaku Hanga Contemporary Japanese Printmaker
Located in Myrtle Beach, SC
Hajime Namiki, 'Weeping Cherry 16 A', color woodblock print, 2012, edition 200. Signed in pencil with the artist’s red seal. Titled, dated, and numbered ...
Category
2010s Showa Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'The Gateway to the New World' — Vintage New York City
By Otto Kuhler
Located in Myrtle Beach, SC
Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Manhattan Old and New' — Vintage New York Cityscape
By Samuel Chamberlain
Located in Myrtle Beach, SC
Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed.
A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition.
The subject of the print is the lower Manhattan cityscape just before the Depression.
Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm).
Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum.
ABOUT THE ARTIST
'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints.
Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist.
Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
'The French Farm' — Mid-Century Modernism
By Edward August Landon
Located in Myrtle Beach, SC
Edward Landon, 'The French Farm', color serigraph, 1942, Ryan 86. Signed, titled, and annotated 'Edition 50' in pencil. A superb impression, with fresh colors, on cream, wove paper; ...
Category
Mid-20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
'Partners' — Mid-Century Modernist Regionalism
By Dale Nichols
Located in Myrtle Beach, SC
Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...
Category
1950s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'Negro' — California WPA Social Realism – Slavery
Located in Myrtle Beach, SC
Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Matted to museum standards, unframed.
Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm).
Created for the California Works Progress Administration, Federal Art Project (WPA). Scarce.
Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and Weisman Art Museum (University of Minnesota).
ABOUT THE ARTIST
Born in Massachusetts, Nicholas Panesis (1913-1967) studied art at Syracuse University, NY, and went on to teach ceramics at Alfred University, NY.
Panesis moved to San Francisco in the early 1930s shortly before settling in Los Angeles, where he worked for different animation studios...
Category
1930s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Silent Snow (Poetical imagery and Christmas memories in New England)
By Mary Teichman
Located in New Orleans, LA
This image is from an exclusive edition published by Stone + Press in 1994 in an edition of 100. This impression is #98. It brings to mind the Robert Frost poem, Stopping by Woods on a Snowy Evening.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Mary Teichman...
Category
1990s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$100 Sale Price
20% Off
Manhattan Mountains
By Lawrence Wilbur
Located in Storrs, CT
Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve.
Painter and printmaker Lawrence Nelson...
Category
20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
Chepstow Castle ( on a limestone cliff above the River Wye in Wales)
By Percival Gaskell
Located in New Orleans, LA
The magnificent printed works of the Yorkshire artist, Percival Gaskell have only been fully rediscovered in recent years. Percival Gaskell rose to prominence whilst working together with Sir Frank Short in the engraving school at the Royal College of Art in London during the first two decades of the 20th century. A true painter-printmaker, Percival Gaskell developed a sensitivity to atmospheric tone which is displayed in an air of timeless beauty throughout his printed works.
(sheet 24 x 20 1/2). A fine impression with tone printed in warm brown/black ink on chine appliqué mounted on white wove paper, and a backing board. Signed in pencil. Superb signed proof impression printed in warm-brownish-black ink. One of Gaskell's best large scale mezzotints.
The speed with which William the Conqueror committed to the creation of a castle at Chepstow is testament to its strategic importance. There is no evidence for a settlement there of any size before the Norman invasion of Wales, although it is possible that the castle site itself may have previously been a prehistoric or early...
Category
1940s English School Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint, Etching
La Duchesse de Marlborough, Consuelo Vanderbilt
By Paul César Helleu
Located in Storrs, CT
Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...
Category
Late 19th Century Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$16,000 Sale Price
36% Off
Untitled #2
By Thomas Nozkowski
Located in New York, NY
For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject matter in favor of seemingly limitless variations in ...
Category
2010s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint
Untitled (Black Woman Crouching)
By Boris Lovet-Lorski
Located in Myrtle Beach, SC
Boris Lovet-Lorski, 'Untitled (Black Woman Crouching)', lithograph, edition 250, 1929. Signed and numbered 16 in pencil. Number 16 of Volume 2, a series of...
Category
1920s Art Deco Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
SCARCE EARLY OROZCO - CABEZA DE MUJER -
By Jose Clemente Orozco
Located in Santa Monica, CA
JOSE CLEMENTE OROZCO (1883 – 1949)
CABEZA DE MUJER, ( Woman's Head: Mexican Woman) 1929 (Orozco 9)
Lithograph, signed and numbered 23/50. in pencil. Pri...
Category
1920s Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'Wild Pilgrimage' (Contemplation) — 'Story Without Words' Graphic Modernism
By Lynd Ward
Located in Myrtle Beach, SC
Lynd Ward, 'Wild Pilgrimage', No. 26, wood engraving, 1932, edition not stated but very small. Signed in pencil. A fine, black impression, with full margins (1 1/16 to 3 3/16 inches), on tissue-thin cream Japan paper, in very good condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed.
Created by Lynd Ward for his narrative book of illustrations without words, 'Wild Pilgrimage', published by Harrison Smith...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Iris (5)
By Leonard Baskin
Located in Myrtle Beach, SC
Leonard Baskin, 'Iris ( 5 )', etching, 1988, artist proof before the edition of 10, outside the book edition. Signed and annotated 'proof' in pencil. A fine impression, with expertly...
Category
1980s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Madame Helleu Looking at Watteau drawings at the Louvre..
By Paul César Helleu
Located in Storrs, CT
Madame Helleu Looking at Watteau drawings at the Louvre. (En regardant les Watteau de Louvre). c. 1895. Drypoint printed in 2 colors - black and sepia. 11 3/4 x 15 7/8. Goncourt 3, d...
Category
Late 19th Century Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Color
$6,500 Sale Price
45% Off
Prickles and Hairs - In Celebration of Pride Month
By Christine Ravaux
Located in New Orleans, LA
Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community.
This is impression #12 from an edition of 45
Born in Charleroi, Belgium, Ravaux is...
Category
Early 2000s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
$70 Sale Price
30% Off
Lichtenstein Paper Plate — Pop Art Icon
By Roy Lichtenstein
Located in Myrtle Beach, SC
Roy Lichtenstein, 'Paper Plate', serigraph, 1969, edition unknown, Corlett III.45. Printed in dark blue ink verso, 'Roy Lichtenstein © On 1st Inc. 1969'. A fine impression, on white paperboard pressure formed into a 3-dimensional plate; age toning verso, otherwise in very good condition. Published by Bert Stern, New York.
Image size 10 1/4 inch diameter, 1-inch depth. Archivally sleeved, unmounted, unframed. Carefully protected for shipping.
Literature: John Russell. 'Art: Time for Old-Master Prints', New York Times (July 27, 1979), p. C16.
Jan Howard. 'Reflections on 'The Prints of Roy Lichtenstein', Print Collector's Newsletter 26 (July–August 1995), p. 82.
Mark M. Johnson. 'The Great American Pop Art Store: Multiples of the '60s', Art & Activities 123 (June–Summer 1998), ill. p. 37 (color).
Mary Lee Corlett. 'The Prints of Roy Lichtenstein: A Catalogue Raisonné', New York, 2002, p. 286, no. III.45.
Susan Dackerman, ed., 'Corita Kent and the Language of Pop', exhibition catalog, Harvard Art...
Category
1960s Pop Art Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
$960 Sale Price
20% Off
'New York, Central Park' — 1930s American Modernism
By William Meyerowitz
Located in Myrtle Beach, SC
'New York, Central Park', etching, edition 40, c. 1930. Signed in pencil. Titled and numbered '14/40' on the bottom sheet edge, in pencil. Signed in the plate, lower left. A superb, ...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
A Mirage
By James McBey
Located in Storrs, CT
A Mirage. 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A ri...
Category
1920s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$1,750 Sale Price
30% Off
Angry Skies (Andante Cantabile) — Central Park, New York City
By Louis Lozowick
Located in Myrtle Beach, SC
Louis Lozowick, 'Angry Skies (Andante Cantabile)', lithograph, 1935; edition 10, AAA 250; Flint 123. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impressio...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
GRASS FIRE. - Very Scarce Early signed Impression
By Paul Landacre
Located in Santa Monica, CA
PAUL LANDACRE (1883 – 1963)
GRASSS FIRE, 1928 (Wien 53)
Wood engraving on tissue thin Japanese paper, signed in pencil and titled with full margins. Thee are only 20 signed, titled,...
Category
1920s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
LIGHT AND SHADE TAXCO - J. T. Arms Mexican Masterpiece with Striking Detail
By John Taylor Arms
Located in Santa Monica, CA
JOHN TAYLOR ARMS (1887 – 1953)
LIGHT AND SHADE TAXCO, 1946 (F. 394: (#2 from the Mexican series.)
Etching and aquatint signed and dated in pencil. Image 10 ½ x 13 5/8, sheet 14 1/...
Category
1940s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Looking out the Window - In Celebration of Pride Month
Located in New Orleans, LA
Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community.
A signed Certificate of Authority will be included with all photographs. A young ...
Category
2010s Photorealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Photographic Paper, Digital
$320 Sale Price
20% Off
Portrait of James McBey.
By Walter Tittle
Located in Storrs, CT
James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9 ). An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower ...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
The Plaza, Sunset Glow
By Walter Tittle
Located in Myrtle Beach, SC
'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed.
A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...
Category
1920s American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
LA PARADE
By Georges Rouault
Located in Santa Monica, CA
GEORGES ROUAULT (1871 – 1958)
La PARADE 1932 (CR.203, W.211) color etching and aquatint 1932. Edition 270. Frontispiece from “Cirque”. Signed in plate as i...
Category
1930s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$1,100 Sale Price
43% Off
Destinations (Flatiron Bidg, 5th Avenue and Broadway at 23rd Street)
By Frederick Mershimer
Located in New Orleans, LA
In "Destinations", Frederick Mershimer creates an image of taxis rushing by the Fuller Building, better known as Flatiron Building. The building is only six feet wide at its rounded...
Category
1990s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint, Aquatint
Mizuhiki
By Katsunori Hamanishi
Located in New Orleans, LA
"Mizuhiki" is an exclusive publication by Stone + Press in an edition of 100.
Katsunori Hamanishi was born in 1949 on Hokkaido island - Japan's second largest island. In 1973 he fi...
Category
1990s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
'Financial District', New York City — American Modernism
By Howard Norton Cook
Located in Myrtle Beach, SC
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...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
FLOWERS - Exhibited in 1997 Smithsonian Monotype Exhibition
By Karl Yens
Located in Santa Monica, CA
KARL YENS (1868 – 1945)
(FLOWERS) 1919
Color monotype signed, dated and annotated: “monotype 1919.” 17 ½” x 11 ½”
Monotypes are unique works of art that fall between printmaking a...
Category
1810s American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Monotype
$1,000 Sale Price
33% Off
Vachère au Bord de l'Eau
By Camille Pissarro
Located in Santa Monica, CA
CAMILLE PISSARRO (French 1830-1903)
VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii)
Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper
Very...
Category
1890s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$1,463 Sale Price
24% Off
Zorn and His Wife
By Anders Zorn
Located in Storrs, CT
Zorn and His Wife. 1890. Etching. Hjert and Hjert catalog 31 state ii. 12 1/2 x 8 3/8 (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil.
...
Category
19th Century Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Spring Morning - Seal Beach
By Frances H. Gearhart
Located in Santa Monica, CA
FRANCES H. GEARHART (1869 – 1958)
SPRING MORNING – SEAL BEACH c. 1929
Color block print, signed in pencil. Image 8 ½” x 9 3/4”, sheet, 11 3/8 x 11 7/8”. Full margins as issued with...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Linocut, Woodcut
Jonah
By Sadao Watanabe
Located in Santa Monica, CA
SADAO WATANABE (Japanese 1913-1996)
JONAH, 1959
Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...
Category
1950s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut, Stencil
$1,200 Sale Price
20% Off
The Basque Boy also called Boy with Beret and Fabian.
By Gerald Leslie Brockhurst
Located in Storrs, CT
The Basque Boy also called Boy with Beret and Fabian. 1944. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4 (sheet 7 1/8 x 13 7/8). Edition 10. Printed on countermarke...
Category
Mid-20th Century Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
$550 Sale Price
38% Off
Morning
By Alex Katz
Located in New York, NY
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...
Category
1990s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching, Aquatint, Intaglio
$12,000
Snail in a Bowl (Artist Proof inscribed to Fritz Eichenberg)
Located in New Orleans, LA
Leonard Merchant's mezzotint, "Snail in Cup" is inscribed for fellow artist, Fritz Eichenberg.
While a student at the Central School for Arts and Crafts in London, a young Leonard Marchant found an engraving rocker in a cupboard and proceeded to turn himself into a master of the painstaking art of mezzotinting.
Marchant, who has died in Shrewsbury aged 70, grew up in Simonstown, the Royal Navy's enclave in South Africa. Though his first job was as a parliamentary messenger, he taught himself to paint and, aged 19, was given a one-man show in Cape Town. Fired by this success, he left for England to study painting and, he claimed, to escape the stifling home atmosphere created by his Catholic mother and aunts. (His father was killed in the second world war.) Without contacts in London, he phoned Jacob Epstein, whose recommendation resulted in a grant to study briefly at the Central School. It was later, when studying full-time at the Central, that he saw the mezzotints of the Japanese master, Yozo Hamaguchi, in a London gallery. He was hooked.
Creating a mezzotint is tedious in the extreme. The copper plate must first be prepared with a "rocker" which roughens the surface. A plate may be "rocked" 30 or 40 times. The rough texture is then reduced with a burnisher and a scraper, allowing the print a range of tones from velvety black through the greys to white. Marchant's plates could be months in the making. But the technical demands were the least of his worries. In its 18th- and 19th-century heyday, mezzotint was solely a reproductive medium, for copying masters such as Reynolds and Turner. The development of photography rendered it unfashionable, and by the 1960s the technique, known as la manière anglaise, was a bygone medium.
Marchant, by now a teacher in printmaking at the Central, began to create original mezzotints with a colleague, Radavan Kraguly. A perfectionist, he seemed to revel in the straitjacket procedure. Perhaps it was the metaphor of bringing darkness out of light that appealed to this straight-talking, sometimes sombre, man, who would suddenly relax and light up like a gleaming hue on one of his prints. His work was of squares and triangles with the occasional cat, black and ominous, and carefully arranged still lifes, featuring plants, a seed pod, a pot he might have bought at auction to celebrate the sale of a print.
There were one-man shows, notably at the Bankside Gallery. He sold well at the Royal Academy summer exhibition, was a Florence Biennale prizewinner, spent a fellowship year at the British School in Rome, and was elected a Fellow of the Royal Society of Painter-Printmakers.
But making mezzotints was not a paying job. Marchant and his South African wife...
Category
1980s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
$100 Sale Price
45% Off
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