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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"Apparition at the Border of Language"
By Enrique Chagoya
Located in Lyons, CO
This print presents a fictitious encounter between contemporary colonial forces and Native Americans who are defenders of immigrant refugees and displaced populations.
The artist de...
Category
2010s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
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
'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
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
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
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
'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
Persephone (Blue)
By Polly Apfelbaum
Located in New York, NY
edition 21/35
Published by Durham Press
In her sculpture, wall hangings, and prints, Apfelbaum explores complex formal and chromatic relationships, pushing the canon of modernist ab...
Category
2010s Pop Art Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'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: New Mexico Museum of Art, Phoenix 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
'Wading Egret' — Japanese Woodblock kacho-e
By Ohara Koson
Located in Myrtle Beach, SC
'Wading Egret', color woodblock, c. 1900 - 1910. Signed 'Koson' in black ink with the artist’s red seal beneath, lower left. A superb, skillfully-inked impression, with fresh colors,...
Category
Early 1900s Naturalistic Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'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
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
'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
'Apple Blossoms III' — Modernist Representation
By Fairfield Porter
Located in Myrtle Beach, SC
Fairfield Porter, 'Apple Blossoms III', color lithograph, 1974, edition 50. Signed, numbered '17/50', and annotated 'III' in pencil. A superb, richly-inked impression, with fresh col...
Category
1970s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'Garyu no sakura' (The Lying Dragon Cherry Tree, Gifu) — Sosaku Hanga Woodblock
Located in Myrtle Beach, SC
Hajime Namiki, 'Garyu no sakura (The Lying Dragon Cherry Tree, Gifu)', color woodcut, 2003, edition 200. Signed in pencil and with the artist’s red seal....
Category
Early 2000s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'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
'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
'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
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
'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
'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
'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
'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
'Public Building' — American Modernism, WPA
Located in Myrtle Beach, SC
Fred Becker, 'Public Building', wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. A superb, richly-inked impression, on cream wove Japan...
Category
1930s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
APRIL
By Frances H. Gearhart
Located in Santa Monica, CA
FRANCES H. GEARHART
APRIL c. 1928-30
Color block print, signed and titled in pencil. Image 9" x 5". sheet 11 1/8 x 7 1/8. Very good impression. The usual tack holes at the right she...
Category
1920s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
The Spire -- New York
By Lawrence Wilbur
Located in Storrs, CT
The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building.
Painter and printmaker Lawrence Nelson...
Category
20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$350 Sale Price
58% Off
Wind Blown Poplars
By William Seltzer Rice
Located in Santa Monica, CA
WILLIAM SELTZER RICE (1873 – 1963)
WIND BLOWN POPLARS c. 1915-20
Color woodcut, Signed and titled in pencil. 9 x 12”. On thin paper....
Category
1910s American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
$3,600 Sale Price
20% Off
'North Bank of the Chicago River' — WPA Graphic Modernism
By Charles Turzak
Located in Myrtle Beach, SC
Charles Turzak, 'North Bank of the Chicago River', color woodcut, c. 1935, edition 50. Signed and titled in pencil. A fine, richly-inked impression, with...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Pulitzer Fountain, Evening" — 1940s American Modernism, New York City
By Ellison Hoover
Located in Myrtle Beach, SC
Ellison Hoover, 'Pulitzer Fountain, Evening', lithograph, circa 1940, edition c. 40. Signed in pencil. A fine, atmospheric impression, on cream wove paper; the full sheet with margins (1 1/2 to 4 5/16 inches), in excellent condition. Archivally matted to museum standards, unframed.
Image size 12 1/2 x 9 5/8 inches (318 x 244 mm); sheet size 16 1/4 x 12 1/4 inches (413 x 311 mm).
ABOUT THE SUBJECT
The Pulitzer fountain was commissioned as a bequest by Joseph Pulitzer, newspaper publisher and founder of the Columbia School of Journalism. Designed by Austrian sculptor Karl Bitter...
Category
Mid-20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
$1,760 Sale Price
20% Off
'Archway' — American Modernism, WPA
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Archway', color serigraph, 1939, edition 25. Signed, dated, titled, and numbered ' /25' in pencil. A rich, painterly impression, with fresh colors, on buff wove paper; ...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
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
THE LAST PRIVATE PERSON - DER LETZIE PRIVATIER
By Andreas Paul Weber
Located in Santa Monica, CA
ANDREAS PAUL WEBER (German 1893-1980)
THE LAST PRIVATE PERSON - DER LETZIE PRIVATIER
Lithograph signed in pencil and with the artist's Clan Press Stamp l...
Category
1950s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'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
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
$1,200 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
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
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
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
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
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
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
'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
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
Open Air School (iconic image of indigenous teacher by Mexican muralist)
By Diego Rivera
Located in New Orleans, LA
An indigenous teacher, surrounded by her multi-generational students, sits at the edge of a field, open book in hand. In the distance, we see campesinos working the fields with their horses. A lone, armed horseman watches over the class, locating the lithograph in its historical setting, the aftermath of the Mexican Revolution...
Category
1930s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
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
'Bighorn' — Mid-Century American Regionalism
Located in Myrtle Beach, SC
William Wind McKim, 'Bighorn', lithograph, 1940, edition c. 25. Signed and titled in pencil. A fine, richly-inked impression, on cream wove paper, the full sheet with margins (2 to 4...
Category
1940s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
$600 Sale Price
20% 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
Multiple Panel Paintings 1973-1976, Edition C
By Robert Mangold
Located in Houston, TX
Robert Mangold
Multiple Panel Paintings 1973-1976, Edition C, 1992
Suite of nine screenprints on Fabriano paper
11 3/4 x 24 in (2880.4 x 61 cm)
Edition of 300
Category
Late 20th Century Abstract Geometric Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
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
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
PERU
By Johannes Jansson
Located in Santa Monica, CA
JOHANNES JANSSON (1588 - 1664)
PERU, engraving with early coloring. Platemark 15 1/8 x 19 3/8 inches, sheet 17 x 20 1/2
A nice example of one of the earliest maps of Peru. From the ...
Category
1630s Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
Bambalina (Are ornaments, decorations mere backdrop for true Christmas story)
By Francisco Souto
Located in New Orleans, LA
Souto named this image Bambalina (backstage). It is an exclusive publication of Stone and Press Gallery.
Francisco Souto was born in Venezuela. He received a BFA from Herron Schoo...
Category
21st Century and Contemporary American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
'Easter Sunday' — Mid-century American Surrealism
By Robert Vale Faro
Located in Myrtle Beach, SC
Robert Vale Faro, 'Easter Sunday', color lithograph, 1946, edition 31. Signed, dated, titled and numbered '116' and '17/31' in pen. A fine impression, with fresh colors, on heavy, off-white wove paper; full margins (1 1/4 to 2 inches), in excellent condition. Image size 21 x 13 1/2 inches; sheet size 24 3/4 x 16 1/4 inches. Scarce. Matted to museum standards, unframed.
ABOUT THE ARTIST
Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan.
Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'The Bather' — American Modernism
By Rockwell Kent
Located in Myrtle Beach, SC
Rockwell Kent, 'The Bather', wood engraving, 1931, edition 120, Burne Jones 63. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 1/2 to 3 1/4 inches); slight skinning at the top sheet edge, verso, otherwise in excellent condition. Archivally matted to museum standards, unframed.
Image size 5 3/8 x 7 7/8 inches (137 x 200 mm); sheet size 11 1/8 x 14 1/2 inches (283 x 368 mm).
Impressions of this work are held in the following public collections: Burne Jones Collection (Illinois), Chazen Museum of Art, Chegodaev Collection (Moscow), Kent Collection (New York), National Gallery of Art, Philadelphia Museum of Art; SUNY Plattsburg Art Museum, Princeton University Library, Pushkin Museum (Moscow), Smithsonian American Art Museum, Spector Collection (New York), University of Illinois.
ABOUT THE ARTIST
Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world.
Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University.
Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper.
Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
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
Bellos Consejos (Wonderful Advice)
By Francisco Goya
Located in Chicago, IL
An impression from the 1st edition published in 1799, the only edition published during Goya's lifetime.
References: Los Caprichos Plate 15; Delteil 52; Harris 50 III.1
Prado ...
Category
18th Century and Earlier Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint, Etching
1001 Nights - SURREALIST WOMAN DEAD IN A TREASURE BOX
Located in Santa Monica, CA
RICHARD TESCHNER (Prague 1879 – 1948)
From: A Thousand and One Nights -
SURREALIST WOMAN DEAD IN A TREASURE BOX, 1917 Aquatint, Proof no. 17. Aqua...
Category
1910s Symbolist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint
'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
The Giant Wheel (Carceri IX), (2nd State)
By Giovanni Battista Piranesi
Located in Chicago, IL
This is a second state impression from three states.
Category
Mid-18th Century Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving, Etching
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