Ifpda International Fine Print Dealers Association Prints and Multiples

Color monotype with collage. Kushner recently completed a series of monotypes, many with collaged decorative papers. He worked from still-lives of flowers, fruits, pitchers and Bett...

Mielatz, Charles. RAINY DAY, BROADWAY. Etching, 1892. Edition size not known. Signed in oencil and inscribed "imp," and signed and dated in the plate. 9 7/8 x 7 inches. In excelle...

Marginal Screen print, 1971 Signed and numbered in pencil From: Twelve Progressions, 1970-1971 Commissioned by Martha Jackson Graphics Printed: Domberger, Stuttgart, Germany Edition:...

Available individually ($2500), and as a suite of five ($12,000). Born in Bronx, NY, Ida Applebroog attended NY State Institute of Applied Arts and Sciences (1949). She moved to C...

Hockney, David (English, born 1937). CELIA OBSERVING. Etching and aquatint in colors, 1976. Not in the Scottish Arts Council or Tokyo catalogues, both of which cover earlier work. ...

Carriere, Eugene. Le Fondeur, Paris 1900 [Steel Worker], Color lithograph. Ref: Das Fruhe Plakat 134. 51 x 34 3/4 inches. Eugène Anatole Ca...

Bando Mitsugoro as a Servant with a Sword Color woodcut, 1952 From The Series Shunsen Nigao-E Shu (Shunsen Portraits), Six Woodblock Prints Publisher: Watanabe Excellent condition Im...

Signed with the artist's initials lower left From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters...

Color lithograph, Edition 45. Yvonne Jacquette depicts our urban world from a vantage point high above us. From her perch, she brings order and context to the crazy world we have made. Neon signs, strings of cars on dark highways, bright lit windows viewed from the top of a skyscraper or from an airplane window...

America's Daughter Lithograph, 2016 Signed in pencil lower right Edition: Edition: 40 (15/40) From: America's Family (Five Images) Published by: Valley House Gallery and Sculpture ...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U.S. as the state of Oklahoma, Smith’s parents, who were of Cherokee ancestry, raised him with both a strong sense of his heritage and an abiding respect for the land. Art would eventually draw Smith to New York where he would quickly embrace elements of geometric abstraction in his work. Many of Smith’s hard-edge compositions could be viewed as distillations of imagery drawn from the Oklahoma landscape...

Hockney, David. JOE MCDONALD. Scottish Arts Council 175. Gemini DH76-767. Lithograph in two blacks, 1976. Done in crayon on both a stone and an aluminum ...

Richard Florsheim created this color lithograph entitled “Incandescent City” in 1960 in an edition of 35 pieces. This impression is signed and inscribed “34/35.” It is in good condit...

Le Tasse de The (The Cup of Tea) Color aquatint and etching, c. 1906 Signed in pencil in the image (see photo) Edition: c. 100 Reference: Merrill Chase, Volume 1, No. 85 Condition: F...

J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52 state iv; Glasgow 62. state i. 10 1/8 x 7 1/2 (sheet 15 5/16 x 9 3/4). Series: "Sixteen Etchings or Scenes on the Thame...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

"The Queen Flower" by Dr. Robert Thornton from the quarto edition of "Temple of Flora." London, 1812. Mixed media engraving (aquatint, mezzotint, color...

Saint Tropez Etching with aquatint, printed in colors, 1964 Signed in ink and numbered in pencil Edition: 71/100 Issued for the album St. Tropez et la Provence, in 1966 Reference: Lo...

A fine impression with the address of the artist (Autore, Strada Felice) and the price (Paoli 2 1/2) as well as Hind Watermark no.3 (Fleur-de-lys-in-a-Double-Circle), all correspondi...

Lithograph, 1971, on paper, signed and dated in pencil, numbered from the edition of 60, published by Hollanders Workshop and Fourcade, New York, 75.7 x 56 cm. (30 x 2 2in.)

Untitled (Plate 1) DLM Color lithograph, 1963 Unsigned and unnumbered (as usual) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Image/sheet size: 14 7/8 x 11 inches...

A la Corrida Color aquatint, c. 1900 Signed "Osterlind" lower right in red pencil Annotated: "No. 96" in pencil lower left Edition: about 100 Published by Sagot, Paris: their blindst...

Lithograph on Arches Velin paper, Edition of 50 Paper size: 65 x 50.5 cms (25 1/2 x 19 7/8 ins) Image size: 54.3 x 45 cms (21 3/8 x 17 3/4 ins)

Whistler, James A. M. NOCTURNE: PALACES. Glascow 200, Kennedy 202. Etching and drypoint with platetone, 1879-80. From the Second Venice Set. Signed on the tab with the butterfly in pencil. Printed in sepia on laid paper with no visible watermark. Trimmed just outside the platemark, leaving the tab. In excellent condition. As with all of the Whistler Nocturnes, each impressions of this print is different, dependng on how Whistler wiped and manipulated the platetone. 11 5/8 x 7 7/8 inches (plate and sheet, plus the tab). Framed to 20 x 16 inches. Provenance: Collection of Thomas Jefferson Coolidge, Jr. with his collection stamp (Lugt 1429) verso; Kennedy Galleries, with its inventory number a65609 in pencil verso, and with another inscription, "FWCX" in pencil, verso. Thomas Jefferson Coolidge, 1831-1920, was a great-grandson of Thomas Jefferson, a powerful Boston businessman, and an Ambassador to France. In 1875 he became the manager of the largest textile mill in America, the Amoskeag Mill in Manchester New Hampshire, and had major financial interests in the textile, banking, railroad, publishing and electrical industries. In 1880 he became the President of the Atchison, Topeka & Santa Fe Railway. He was one of the founders of the United Fruit Company...

From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters without the calendarium as published Very ra...

HUGNET, Georges. Huit jours a trebaumec [Paris]. Privately printed for the author, 1969. With 82 photogravures after photocollages by the author. Designed by Henri Mercher. Slim 4to, [92] pp; decorated two-color photogravure cover in imitation of a Michelin guide...

(Beasley, Phoebe)illus. SUNRISE IS COMING AFTER WHILE by Langston Hughes. Six of Hughes'poems selected by Maya Angelou, each illustrated with a screen ...

Tony Fitzpatrick is an American artist born in 1958 and based in Chicago. He graduated from Montini Catholic High School in Lombard, Illinois in 1977.[1] In the early 1980s, Fitzp...

Screenprint in colours, 1969, on wove paper, signed in ball-point pen and numbered with a rubber stamp, verso, 91 from the edition of 250 (there were also 26 artist's proofs lettered...

88.3 x 69.9 cms (34.7 x 27.51 ins) Edition of 100

Screenprint in colours, 1997, on White Lana mouldmade paper, signed and dated in pencil, 69th from edition of 75 (there were also 15 artist’s proofs), printed by Tyler Graphics, Ltd....

Schrag, Karl (American, born Germany, 1912-1995).. OVERGROWN PATH. Color lithograph, not dated. Edition of 30. Signed and numbered 21/30 in pencil. 36 1/2 x 22 1/4 inches (sheet). Fr...

(The poetess Chiyo turns to watch a flight of wild geese while sweeping up autumn leaves) Signature: Ichiyusai Kuniyoshi ga; Censor seal: Muramatsu Series: Kenjo hakkei ...

Plate 5. "Terrasse propriete a Cannes" from "Décoration moderne dans l'intérieur" bu Henry Delacroix. Paris, ca. 1930. Pochoir with hand-coloring. Mild yellowing at edges.

Miss Taylor Drypoint, c. 1900 Signed in pencil lower left (see photo) Small edition, about 10 Very rich impression, full of burr Condition: Excellent Image size: 21-1/4 x 13-1/4" She...

Trio Color aquatint, 1938 Edition 250 printed on Montval wove paper with Maillol watermark From: Les Fleurs de Mal III (12 color aquatints) Published by Ambrose Vollard, 1940, Paris ...

Aquatint on Marais wove paper Edition of 25 Signed and numbered 25/25 in pencil lower right Duthuit 794

Rittersporn und Fingerhut (Larkspur and Foxglove) Color woodcut, printed on wove paper with mica flecks, 1916 Signed lower right (see photo) Inscribed lower left (see photo) Reference: Merx 276 Condition: good-very good One spot of staining on the far left edge of the composition (see photo) Color very fresh and vibrant Full sheet as issued Image size: 19 x 13 3/8 inches Carl Thiemann...

Color lithograph, Edition 30 In 2010, Ray made his first lithographs at Shark’s Ink., Pyzinerol and Pyzinerol II. Ambitious prints with 18 colors from 15...

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...

“LA CASA GRANDE” Emilio Sanchez (1921-1999) created this lithograph entitled “La Casa Grande” in 1997. The printed image size is 30.5 x 30 inches and ...

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

Sadatora, Utagawa (active 1818-1844). [Portrait of woman]. Japan, ca. 1825. Original woodblock print.

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbered: "No. 20" in pencil Printed by Thomas Way, London A beautiful impression with tonal variations in the stump work (shading) As published in: L'Estampe Originale, Paris, 1893, Album IV Edition: 107 impressions, this No. 20 There were an additonal 24 impressions printed by Way for Whistler and 20 impressions printed for the Fine Art Society, London Lacking the huge support sheet and embossed series stamp by Charpentier With the letterpress lower left: "T. Way. Imp London" The stone erased in 1904 The majority of the lifetime impressions are in public collections Condition: Excellent condition Hinges from original issuance of L'Estampe Originale verso at top as described in Spink Three hinges residue along right edge of the sheet from a later matting of the print Image size: 8 1/4 x 6 3/8 inches Sheet size: 11 3/8 x 9 1/16 inches Reference: Spink/Tadeschi 72, published edition Levy 74 Way 46 A superb Neoclassical lithograph...

This 1963 lithograph, printed in color, is a fine example of Ben Shahn’s long preoccupation with the theme of the blind botanist and illustrates his con...

Le Clown Blanc (The White Clown) Lithograph, 1964 Unsigned (as issued by DLM) From: Derriere le Miroir Chagall: Dessins et Lavis, Exposition Chagall, Galeries Maeght, No. 146, 1964 E...

Samuel Lewis Francis (1923 – 1994) was an American painter and printmaker. He received both his BA and MA degrees from University of California, Berkeley, where he studied art, botany, medicine and psychology. Francis was initially influenced by the work of abstract expressionists such as Mark Rothko, Arshile Gorky and Clyfford Still. He later became loosely associated with a second generation of abstract expressionists, including Joan Mitchell and Helen Frankenthaler, who were increasingly interested in the expressive use of color. Because Francis worked and exhibited in the United States, Europe and Asia, he is credited with helping secure international recognition for postwar American painting...

Benedictus, Edouard. "Relais." Plate 14. Paris, Éditions Vincent, Fréal et Cie, 1930. Original pochoir, printed by J. Saudé. Unsigned and unnumbered from an edition of presumabl...

Rouault, Georges (French, 1871-1958). IL A ETE MALTRAITE ET OPPRIME ET IL N'A PAS OUVERT LA BOUCHE " (He was oppressed, and he was afflicted, yet he opened not his mouth). Aquatint, ...

Moto-Flirt Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with title...

French Stacks Linocut printed in color Unsigned Stamped verso “Imprimerie Arnera Archives/Non Signe” Printer: Jaime Arnera, Vallarius, France (their stamp verso) Condition: Printed ...

Plate 7 from "Formes et couleurs; vingt planches en couleurs contenant soixante-sept motifs décoratifs" by Auguste H. Thomas. Paris: A. Levy, Librarie Centrale des Beaux-Arts, circa ...

Le Matin (Morning) Mezzotint, 1886 Signed and dated in the plate (see photos) Edition: at least 650 impressions in both states Reference: Wentworth 82 ii/II Provenance: Heirs of Edmu...

Unsigned Edition: Large edition as published and bound into the catalog raisonne of the artist's lithographs From: Minaux Lithographe Published by Leon Amiel, Paris Printed by Fe...

Portrait de femme en buste, de profil a gauche, un tres large ruban noir du cou, Mme Marthe Letellier Drypoint, 1900-1901 Signed in pencil lower left (see photo) Titled in pencil low...

Hutty, Alfred. PHOEBE PASSES MY GATE. Drypoint, c. 1931. Edition size c.75. 8 1/8 x 7 1/4 inches (plate), 10 1/4 x 8 3/4 inches (sheet). Print...

Margaret Patterson created this color woodcut print circa 1920. It is signed in pencil at the paper edge, lower right. Printed in areas to the paper edge -sheet size 10 1/16 x 7 1/...

Ecce Homo VII Woodcut, 1921 Signed, titled, and dated in pencil by the artist One of only three known impressions Created while the artist was studying at the Bauhaus in Weimar, Germany. Extreme rarity-One of three know impressions Note: In 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Condition: Excellent Missing small voids in the upper margin from removal of the original hinges. Image size: 9 7/8 x 8 3/16 inches Reference: Rose 30 Provenance: From the estate of Drewes's teacher at the Bauhaus. During the pasot WW2 the professor lived in East Germany. WERNER DREWES 1899-1985 Werner Drewes initially studied architecture before enrolling, in 1921-22, at the Bauhaus in Weimar under Klee, Kandinsky, Itten and Feininger. For four years - 1923 to 1927 - he travelled the world with his bride, before completing his Bauhaus training in Dessau in 1929. He immigrated to the United States in 1930, documenting that move to New York through series of woodcuts. In 1936/37 he was an active founder of the American Abstract Artists and participated in the Federal Arts Project in New York before moving on to a teaching career at Washington University in St. Louis. As an artist for over sixty five years, he employed various media from drawing and watercolor, through woodcut and etching, to painting and collage. Translating an early interest in subjective cubistic forms, his work evolved into nonobjective abstraction. He was creative until the day of his death. Courtesy: Toby C. Moss Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...