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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Glowing Tree
By Gabor F. Peterdi
Located in Fairlawn, OH
Glowing Tree
Etching, engraving & lift ground, 1958
Signed, titled and annotated in pencil (see photos)
Edition: Artist Proof (there was a published addition of 30 with five stencil ...
Category
1950s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Intaglio
Poster for the Saxon Trade and Art Exhibition, Dresden 1896
Located in Fairlawn, OH
Poster for the Saxon Trade and Art Exhibition, Dresden 1896
Color lithograph poster mounted on heavy linen, 1896
Signed in the stone lower left corner (see photo)
Proof before additi...
Category
1890s Jugendstil Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Arising
By Alessandro Mastro-Valerio
Located in Fairlawn, OH
Arising
Mezzotint, 1942
Signed in pencil lower right (see photo)
Publisher : Issued by the Miniature Print Collectors Society.
Edition: 200
Condition: Mint
Archival framing wit...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
Senza Titolo II (Untitled II)
By Sam Francis
Located in London, GB
86 x 107 cms (33 7/8 x 42 1/8 ins)
Edition of 66
Category
1980s Abstract Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Color, Etching
Keresan Dancers
By Gene Kloss
Located in Fairlawn, OH
Keresan Dancers
Etching & drypoint, 1962
Signed lower right (see photo)
Inscribed lower left: "Artist's Proof Keresan Dancers"
Depicts Keresan speaking peoples at Sam Felipe Pueblo
Contemporary Puebloans are customarily described as belonging to either the eastern or the western division. The eastern Pueblo villages are in New Mexico along the Rio Grande and comprise groups who speak Tanoan and Keresan languages. Tanoan languages such as Tewa are distantly related to Uto-Aztecan, but Keresan has no known affinities. The western Pueblo villages include the Hopi villages of northern Arizona and the Zuni, Acoma, and Laguna villages, all in western New Mexico.
Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker.
In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso.
On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later.
Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings.
Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality.
For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective.
Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her.
In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult.
From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...
Category
1960s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
'Der Gartner' (The Gardener) — German Expressionism
By Karl Michel
Located in Myrtle Beach, SC
Karl Michel, 'Der Gartner' (The Gardener), woodcut, c. 1925. Signed, titled, and numbered '15/50' in pencil. Signed in the block, lower left and right. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Scarce.
Image size 5 1/4 x 3 7/8 inches (133 x 98 mm); sheet size 10 x 7 3/4 inches (254 x 198 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). In 1920, his work was featured in the influential German graphic design magazine Das Plakat...
Category
1920s Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
John Lennon sitting on an advertising hoarding at Marylebone Station II
Located in London, GB
Original silver gelatin print on Ilford Multigrade fibre base 255 gsm paper, numbered in black pen to verso from the edition of 35, artist’s name blindstamp lower right, publisher’s ...
Category
1960s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Silver Gelatin
New Fish Market - NEW YORK
By Joseph Pennell
Located in Santa Monica, CA
JOSEPH PENNELL (1857 - 1926)
NEW FISH MARKET - (NEW YORK) 1921 (W 797)
Etching, Signed in pencil, edition probably 50. 9 7/8 x 6 7/8 inches. Full sheet, ...
Category
1920s American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Eclipse I
By Mikio Watanabe
Located in New Orleans, LA
Eclipse I is from an edition of 90
Mezzotint artist Mikio Watanabe was born in 1954 in Japan and currently lives in France. He is most known for his elegant, evocative black and wh...
Category
Early 2000s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
Le Mais (Corn on the cob) in woven basket)
By Laurent Schkolnyk
Located in New Orleans, LA
Maize by Scholnyk is a mezzotint of ears of corn in a woven basket. This impression is #25 of an edition of 80.
Schkolnyk was born in Paris, France in 1953 and currently resides in...
Category
1890s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
Set Pieces: Vanity of Trust
By Benton Murdoch Spruance
Located in Myrtle Beach, SC
'Set Pieces: Vanity of Trust', color lithograph, 1949, edition 40, Fine and Looney 279. Signed, titled, dated and numbered '23/40' in pencil. A fine, impression with fresh colors, on...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
GIRLS WITH LOTS OF QUAILS
By Sadao Watanabe
Located in Santa Monica, CA
SADAO WATANABE (Japanese 1913-1996)
GIRLS WITH LOTS OF QUAILS, 1965
鶉と少女
Hand colored stencil print on momigami textured paper. Signed and numbered in white. Edition 50, Image 17 x 2...
Category
1960s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Stencil
Calligraphy
By Ulfert Wilke
Located in Fairlawn, OH
Calligraphy
Lithograph, 1969
Edition: 260
Signed in script by the artist (see photo)
Signed with initials and dated by the artist (see photo)
Publication for the Print Club of Cleveland, No. 47 for 1969
Printer: Hollander Workshop, New York, with their chopstamp (see photo)
Ulfert Wilke (1907–1987) was an internationally recognized painter, calligrapher and art collector connected to the abstract expressionism movement. He was born in Bavaria, Germany, and immigrated to the United States in 1938. He is best known for his large canvas paintings and highly detailed lithographs that were inspired by calligraphic writing. Wilke was deeply intrigued by the written language, and much of his work was derived from his abstract interpretation of the shapes, colors and meanings of writing that he found in all languages and forms, including the poetry and ancient engravings...
Category
1960s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'Navajo Medicine Ceremony of the Night Chant' — Southwest Regionalism
By Ira Moskowitz
Located in Myrtle Beach, SC
Ira Moskowitz, 'The Three Gods of Healing (Navajo Medicine Ceremony of the Night Chant)', lithograph, 1945, edition 30, Czestochowski 148. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 1/4 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed.
Image size 12 1/4 x 15 13/16 inches (311 x 402 mm); sheet size 17 1/8 x 20 7/8 inches (435 x 530 mm).
ABOUT THIS WORK
The nine-night ceremony known as the Night Chant or Nightway is believed to date from around 1000 B.C.E. when it was first performed by the Indians who lived in Canyon de Chelly (now eastern Arizona). It is considered the most sacred of all Navajo ceremonies and one of the most difficult and demanding to learn, as it encompasses hundreds of songs, dozens of prayers, and several highly complex sand paintings. And yet the demand for Night Chants is so great that as many as fifty such ceremonies might be held during a single winter season, which lasts eighteen to twenty weeks.
The Night Chant is designed both to cure people who are ill and to restore the order and balance of human and non-human relationships within the Navajo universe. Led by a trained medicine man who has served a long apprenticeship and learned the intricate and detailed practices that are essential to the chant, the ceremony itself is capable of scaring off sickness and ugliness through techniques that shock or arouse. Once the disorder has been removed, order and balance are restored through song, prayer, sand painting, and other aspects of the ceremony.
The medicine men who supervise the Night Chant ensure that everything—each dot and line in every sand painting, each verse in every song, each feather on each mask is arranged precisely, or it will not bring about the desired result. There are probably as many active Night Chant medicine men today as at any time in Navajo history due to the general increase in the Navajo population, the popularity of the ceremony, and the central role it plays in Navajo life and health.
ABOUT THE ARTIST
Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972.
After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001.
Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955).
Moskowitz’s lithographs of...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Z is for Zoe
By Harvey Daniels
Located in New Orleans, LA
This is an#1 of an edition of 7
Harvey Daniels (British, 1936-2013)
Born in London, Daniels attended the Willesden School of Art, the Slade School of Fine Art, London University an...
Category
1960s Pop Art Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Le Seuil (The Threshold)
By Judith Rothchild
Located in New Orleans, LA
"Le Seuil" (The Threshold) is an image printed in 2006. This impression is Roman numeral X of XX. It is titled, dated, numbered and signed by the artist.
Judith Rothchild, printma...
Category
21st Century and Contemporary Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
Peter Blake, F is for Football, from Alphabet Series, 1991
By Peter Blake
Located in London, GB
Screenprint in colours, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77cm.
Category
1990s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
'Taos - Relic of the Insurrection of 1845' — Southwest Regionalism
By Ira Moskowitz
Located in Myrtle Beach, SC
Ira Moskowitz, 'Relic of the Insurrection of 1845' also 'Taos Pueblo with Ruin)', lithograph, 1944, edition 30, Czestochowski 121. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 3/8 to 1 15/16 inches). Very pale light toning within a previous mat opening, otherwise in excellent condition. Matted to museum standards, unframed.
Image size 11 5/8 x 15 1/2 inches (296 x 394 mm); sheet size 15 1/8 x 19 inches (384 x 483 mm).
ABOUT THE IMAGE
The Taos Revolt was a populist insurrection in January 1847 by Hispano and Pueblo allies against the United States occupation of present-day northern New Mexico during the Mexican–American War. The rebels killed provisional governor Charles Bent and several other Americans. In two short campaigns, United States troops and militia crushed the rebellion of the Hispano and Pueblo people. The New Mexicans, seeking better representation, regrouped and fought three more engagements, but after being defeated, they abandoned open warfare. The hatred of New Mexicans for the occupying American army, combined with the rebelliousness of Taos residents against imposed outside authority, were causes of the revolt. In the uprising's aftermath, the Americans executed at least 28 rebels. The Treaty of Guadalupe Hidalgo in 1850 guaranteed the property rights of New Mexico's Hispanic and American Indian residents.
ABOUT THE ARTIST
Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972.
After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001.
Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955).
Moskowitz’s lithographs of American Indian...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
U is for Unusual People, from Alphabet Series
By Peter Blake
Located in London, GB
Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...
Category
1990s Pop Art Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
The Great Landscapes II, (4th State)
By Anthonie Waterloo
Located in Chicago, IL
Watermark:
Schellenkappe (Foolscap) Similar to Churchill no. 340
Category
17th Century Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Viel Gluck 1923' (Good Luck Wishes) — German Expressionism
By Karl Michel
Located in Myrtle Beach, SC
Karl Michel, 'Viel Gluck 1923 Wunscht der Graphikverlag, J.G. Holzwarth/Bad Rothenfelde', woodcut, 1922, edition 20. Signed and numbered op. 135d and 20/20 in pencil. Signed in the image, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine, richly-inked impression, on heavy, cream Japan paper, with full margins (5/8 to 1 1/8 inches), in good condition. With the artist’s blind stamp in the top left margin. Printed by the artist. Matted to museum standards, unframed.
New Year's Greeting - "1923, Good Luck Wishes from the Graphic Press, J.G. Holzwarth/Bad Rothfelde."
Image size 5 x 3 1/2 inches (127 x 89 mm); sheet size 6 5/8 x 5 7/8 inches (168 x 149 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 (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints.
Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...
Category
1920s Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Red Mountain
By Louisa Chase
Located in Fairlawn, OH
Red Mountain
Three color lithograph, 1986-7
Signed, titled and dated in pencil lower right
Annotated "B.A.T." for Bon a Tire lower left corner
This example is the printers guide for ...
Category
1980s Abstract Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'European Landscape' —Mid-century American Surrealism
By Lawrence Kupferman
Located in Myrtle Beach, SC
Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition.
Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed.
An impression of this work is included in the permanent collection of the Syracuse University Art Museum.
ABOUT THE ARTIST
Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe.
Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston.
In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press:
“The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.”
The other speakers were Karl Knaths...
Category
1940s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
New Map of the Terraqueous Globe - WORLD MAP - CALIFORNIA AS AN ISLAND
By Edward Wells
Located in Santa Monica, CA
EDWARD WELLS (British 1667- 1727)
A NEW MAP of the TERRAQUEOUS GLOBE - according to the latest Discoveries and most general Divisions of it into CONTINENTS and OCEANS, 1700-01 (Shirley 609)
Engraved by Michael Burghers, Oxford. Hand-colored, Platemark 14 1/4 x 20 1/8 inches. Central cartouche flanked by figures representing the continents with dedication to William, Duke of Gloucester...
Category
Early 1700s Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
Untitled
By Robert Motherwell
Located in London, GB
Brushed aquatint, lift-ground etching and aquatint on German Etching paper
71.8 x 56.5 cms (28 1/4 x 22 1/4 ins)
Edition of 32
Category
1970s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching, Aquatint
The Beatles, Paul McCartney on a train at Marylebone Station
Located in London, GB
Original silver gelatin print on Ilford Multigrade fibre base 255 gsm paper, numbered in black pen to verso from the edition of 35, artist’s name blindstamp lower right, publisher’s ...
Category
1960s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Silver Gelatin
UNTITLED
By April Gornik
Located in Portland, ME
Gornik, April. UNTITLED. Aquatint, 1994. Edition of 75, from the
Portfolio "Six Couples - Twelve Prints" published by Parasol Press,
Portland, Oregon, 1996. Numbered 27/75, and sign...
Category
1990s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint
MISSOURI MOUSE - Large Folio "The Viviparous Quadrupeds of North America" Pl.100
By After John James Audubon
Located in Santa Monica, CA
(After) JOHN JAMES AUDUBON (1785 - 1851)
MISSOURI MOUSE, 1846 - Plate 100 (C) No. 20
Lithograph with original hand coloring. From Audubon's "The Viviparous Quadrupeds of North America...
Category
1840s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
EAST 15TH STREET
By Yvonne Jacquette
Located in Portland, ME
Jacquette, Yvonne. EAST 15TH STREET. Faberman 8. Lithograph in five colors, 1974. Edition of 125. Signed and numbered in pencil. Printed by Paul Narkiewicz and Chip Elwell on Arches...
Category
1970s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Duet — Cellist and Pianist, 1930s Lithograph
Located in Myrtle Beach, SC
Herschel Levit 'Duet', lithograph, c. 1937. Signed in pencil. A fine, richly inked impression, on cream wove paper, with full margins (1 1/2 x 2 inches)...
Category
1930s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'Little Locomotive' – Artist's Personal Letterhead, Bauhaus Modernism
By Lyonel Feininger
Located in Myrtle Beach, SC
Lyonel Feininger, 'Little Locomotive (Kleine Lokomotive)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W158. Annotated 'W 158' (Feininger catalogue number) and '1936' in pencil, in the bottom right sheet corner.
A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce.
Image size 2 1/4 x 3 5/16 inches; sheet size 10 x 7 inches. Archivally sleeved, unmatted.
Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY.
Collections: Cleveland Museum of Art, Museum of Modern Art, Staatliche Museen zu Berlin (East Berlin KK).
ABOUT THE ARTIST
Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892.
After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin.
One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...
Category
1930s Bauhaus Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Flying Concellos
By Reginald Marsh
Located in New York, NY
Reginald Marsh (1898-1954), Flying Concellos, etching, 1936, signed in pencil lower right and annotated “40 Proofs” lower left. Reference: Sasowsky 163, fourth state (of 4). In excel...
Category
1930s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Zephyr - Stratos Cumulus
By William Tillyer
Located in London, GB
Archival giclée print
Edition of 70, Set of 8
Paper size: 57.2 x 56 cms (22 1/2 x 22 ins)
Image size: 40 x 40 cms (15 3/4 x 15 3/4 ins)
Starting from a belief that all forms, and li...
Category
2010s Other Art Style Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Archival Ink, Giclée
'Hurdy Gurdy Ballet' — New York City American Scene, Ashcan School
By Glenn O. Coleman
Located in Myrtle Beach, SC
Glenn O. Coleman, 'Hurdy Gurdy Ballet', lithograph 1928, edition 50. Signed, dated, and numbered '14/50' in pencil. Titled in the bottom left margin, in an...
Category
1920s Ashcan School Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Spring Night Greenwich Village
By Martin Lewis
Located in New York, NY
Spring Night, Greenwich Village--1930, Drypoint and Sand Ground.McCarron 85, only state. Edition 92. Signed in pencil. Signed in the plate, lower rig...
Category
1930s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
'Arbre-Homme' (Tree-Man) —Mid-Century European Surrealism
By Ferdinand Springer
Located in Myrtle Beach, SC
Ferdinand Springer, 'Arbre-Homme', engraving, 1945, edition 23. Signed and numbered '23/20' in pencil.
A fine, richly-inked impression, on heavy, b...
Category
1940s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
(Large!) UNA DELLE QUATTRO FIGURE RAPPRESENTANTI QUATTRO VITTORIE
By Giovanni Battista Piranesi
Located in Santa Monica, CA
GIOVANNI BATTISTA PIRANESI (1710-1778)
UNA DELLE QUATTRO FIGURE RAPPRESENTANTI QUATTTRO VITTORIE, (Focillon 330, Wilton-Ely 463) 1750-1756
Etching, Plate 48 from “Le Antichita Romane“ vol. 3. Engraved by Jean Barbault...
Category
1750s Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Portrait of E.D.
By Jacques Villon
Located in Chicago, IL
This impression is signed and numbered 24/25. The references for this work are: Auberty & Perussaux 191 and Ginestet & Pouillon E. 277.
This is one of Jacques Villon’s great 1913...
Category
1910s Cubist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
Studio Flowers
By Robert Kipniss
Located in Fairlawn, OH
Studio Flowers
Lithograph, 1982
Signed lower right (see photo)
Numbered lower left
Edition: 120 (42/120) (see photo)
Condition: Mint condition
Two bits of hinge residue verso
Image s...
Category
1980s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Pointed Shapes and Black Half Moon
By Werner Drewes
Located in Myrtle Beach, SC
Werner Drewes, 'Pointed Shapes and Black Half Moon', etching, 1935, edition 20, Rose l.198. Signed, dated, and numbered 'I-XX' in pencil. A fine, rich impression, in warm black ink...
Category
1930s Bauhaus Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Piramidi
By Sol LeWitt
Located in New York, NY
LEWITT, Sol. Piramidi. 10 lithographs, each 222 × 680 mm, in publisher's cardboard box, preserved in a new cloth folding box. Turin: Marco Noire Editore, 1986.
This stunning set of ...
Category
1980s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Paper
The Black Silk Dress (Anaïs).
By Gerald Leslie Brockhurst
Located in Storrs, CT
The Black Silk Dress. 1927. Etching. Fletcher catalog 58 state .ix (published state). 8 3/4 x 6 1/4 (sheet 14 1/2 x 9 1/8). Edition 76 in this state; total 111 proofs). Exhibited at...
Category
1920s Renaissance Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Drawing Boards I (grey / purple)
By Richard Smith
Located in London, GB
Edition of 60, Set of 5
74.9 x 56.5 cms (29.5 x 22.25 ins)
Category
1980s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
A Gale at Port Errol
By James McBey
Located in Storrs, CT
A Gale at Port Errol. 1923. Etching. Hardie 215, #46. 13 x 8 3/4 (sheet 16 7 /8 x 11 1/2). Edition 76. #46. Illustrated: Fine Prints of the Year, 1923. A rich...
Category
1930s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
'Going My Way?' — Mid-century American Surrealism
By Robert Vale Faro
Located in Myrtle Beach, SC
Robert Vale Faro, 'Going My Way?', lithograph, 1946, edition 14. Signed in pen, recto. Titled, numbered '#118 14/14' and dated '5/5/46' in pen, verso. A fine, richly-inked impression, on heavy, off-white wove paper, with full margins (1 5/8 to 2 15/16 inches), in excellent condition. Image size 13 1/8 x 7 3/8 inches; sheet size 17 x 12 3/8 inches. Scarce. Matted to museum standards, unframed.
An impression of this work is in the permanent collection of the National Gallery of Art.
ABOUT THE ARTIST
Robert Vale Faro (1902-1988) was a 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
Two of a Kind Va (broken blue line on purple)
By Richard Smith
Located in London, GB
71 x 71 cms (28 x 28 ins)
Edition of 50
Category
1970s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Color, Lithograph
Passage du Mont Saint-Bernard
By Jean Louis Andre Theodore Gericault
Located in Fairlawn, OH
Theodore Gericault (1791-1824)
Passage du Mont Saint-Bernard
Lithograph, 1822
Signed and titled in the stone
As published in Arnault "Vie politique et militair...
Category
1820s Romantic Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Little Hall's Island.
By Kerr Eby
Located in Storrs, CT
Little Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. Housed in a 16 x 20-inch archival mat.
Eby was an Associate of the National Academy NA (1930); National Academy of Design (1934); Society of American Etchers; Chicago Society of Etchers; Philadelphia Society of Etchers; National Institute of Arts and Letters. Kerr...
Category
Mid-20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Vague Lumineuse' (Luminescent Wave) — Late 19th Century Surrealism
Located in Myrtle Beach, SC
Théophile Pierre Wagner, 'Vague Lumineuse' (Luminescent Wave), lithograph, edition not stated but small, c. 1895. Signed and titled in pencil. Initialed in the stone, lower left. A f...
Category
1890s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Modernist Nude — Atelier 17
Located in Myrtle Beach, SC
Russell T. Limbach, 'Untitled (Modernist Nude)', etching and aquatint, no known edition, c. 1930. Signed in pencil. A fine impression, on cream wove paper, with full margins (1 7/8 to 2 3/4 inches), in excellent condition. Image size 8 15/16 x 5 15/16 inches; sheet size 13 3/8 x 10 1/4 inches. Extremely rare. Matted to museum standards, unframed.
Probably created when Limbach was in Paris (1928-1934), where he was exposed to modernist printmaking explorations at Stanley William Hayter’s 'Atelier 17'.
ABOUT THE ARTIST
Born in Massillon, Ohio, Russell Limbach...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Floating Crap Game
By John DePol
Located in Myrtle Beach, SC
John DePol, 'Floating Crap Game, chiaroscuro wood engraving, 1958, edition 145. Signed, titled, numbered 'Ed. 145' and dated '3/1958'. Signed in the block, lower right. A fine, rich ...
Category
Mid-20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Open Action.
By Kerr Eby
Located in Storrs, CT
Published edition, not trial proof
Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. A rich, tonal impressi...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Sanctuary
Located in New Orleans, LA
This etching is #2 out of an edition of 10
Category
2010s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
The Pool of London.
By William Lionel Wyllie
Located in Storrs, CT
The Pool of London. c. 1915. Etching and drypoint. 7 7/8 x 15 7/8 (sheet 11 x 14 7/8 x 21 1/4). A rich impression with drypoint burr printed on the full sheet of simili-Japan paper. ...
Category
1910s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
Arkoi
By Matt Magee
Located in Houston, TX
Matt Magee
Arkoi, 2022
Monotype on BFK Rives
26 1/4 x 19 3/4 in (66.7 x 50.2 cm)
JPHB 5644
Category
21st Century and Contemporary Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Monotype
The Vraic Season (No 1).
By Edmund Blampied
Located in Storrs, CT
The Vraic Season (No 1). 1936. Etching. Appleby 181. 12 x 14 1/4 (sheet 15 1/4 x 20). Edition 125 for The American College Society of Print Collectors (alternatively titled Seaweed H...
Category
1930s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
Politics
By Edmund Blampied
Located in Storrs, CT
Politics (Tonnere de Brest). 1926. Drypoint. Appleby 108. 7 x 9 (sheet 10 1/2 x 15 1/2). A rich impression printed on cream wove paper with full margins. Illustrated: Salaman, Modern...
Category
Early 20th Century Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
Drawing Boards II (No.2)
By Richard Smith
Located in London, GB
Edition of 30, Set of 5
74.9 x 59.1 cms (29 1/2 x 23 1/4 ins)
Category
1980s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
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