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.
to
409
1,519
797
674
273
332
Overall Width
to
Overall Height
to
684
628
490
171
97
76
75
65
60
24
11
11
1
82
61
58
48
46
175
362
2,605
658
91
146
390
322
188
123
226
328
245
209
85
1,949
1,464
158
1,558
740
688
608
400
380
241
203
139
134
128
127
108
102
101
96
95
87
85
81
1,267
1,114
625
400
321
272
121
3,190
613
Hummingbird Lithograph
By John Gould
Located in New York, NY
Gould, John and Richard Bowdler Sharpe.
A Monograph of the Trochilidae, or Family of Hummingbirds.
London, 1849-61.
This plate: Orthorhynchus Ornatus.
Original lithographs hand-co...
Category
Mid-19th Century Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Paper
Elegy Black Black, a beautiful lithography from Motherwell's elegy series
By Robert Motherwell
Located in London, GB
extract from the catalogue raisonné:
CR 309
Signature:Signed Motherwell in pencil lower right
Inscriptions:Numbered in pencil lower right; workshop chop mark lower right; workshop...
Category
1980s Abstract Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'Church with Star' – Artist's Personal Letterhead, Bauhaus Modernism
By Lyonel Feininger
Located in Myrtle Beach, SC
Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' 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 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted.
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
Cosca II “VP 100”
By Victor Vasarely
Located in Fairlawn, OH
Cosca II “VP 100”
Screen print, 1982
Signed and numbered by the artist (see photo of signature)
Edition: 325 plus 65 Vasarely Foundation (127/325)
Editor: no editor/publisher is prov...
Category
1980s Op Art Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
The Decent (Published by the WPA/Federal Arts Project)
Located in Santa Monica, CA
FRANCIS SHIELDS (1908 – 1984)
THE DESCENT c. 1937
Lithograph, signed and titled. Edition c. 25. Done for the WPA/Federal Art Pro...
Category
1930s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Grizzly Bear
By After John James Audubon
Located in New York, NY
Original stone lithograph with hand-coloring from "The Quadrupeds of North America. Octavo Edition" by John James Audubon. Plate CXXXI. Philadelphia, J.T. Bowen, ca. 1856.
Excellent ...
Category
1850s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Paper
Vérité (petite planche)
By Henri Fantin-Latour
Located in New York, NY
Henri Fantin-Latour (1836-1904),Vérité (petite planche), 1900, lithograph. Hediard-Mason 156, first state (of 3). A proof of the first state before the edition published in La Revue...
Category
Early 1900s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Official Portraits: Immigrant
Located in Lyons, CO
Color lithograph with collage, Edition 30
Hung Liu grew up in China and came of age during the Chinese Cultural Revolution. She spent four years in the countryside as a laborer, s...
Category
21st Century and Contemporary Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
L'Aieule (The Grandmother)
By Louis Legrand
Located in Fairlawn, OH
L'Aieule (The Grandmother)
Etching and aquatint printed in colors, 1904
Signed with the red stamp of the publisher, Gustave Pellet, Lugt 1193 and numbered (see photo)
Edition: 100 (81/100)
Reference: Arwas 202 iv/IV
IFF 98
Condition: Excellent, the sheet aged as usual
Image size: 14 1/4 x 18 5/8"
Sheet size: 16 15/16 x 24 1/4"
Louis Auguste Mathieu Legrand (29 September 1863 – 1951) was a French artist, known especially for his aquatint engravings, which were sometimes erotic. He was awarded the Légion d'honneur for his work in 1906.
Life
Legrand was born in the city of Dijon in the east of France. He worked as a bank clerk before deciding to study art part-time at Dijon's Ecole des Beaux-Arts. He won the Devosge prize at the school in 1883.[2] In 1884 Legrand studied engraving under the Belgian printmaker Félicien Rops.
Legrand's artworks include etchings, graphic art and paintings. His paintings featured Parisian social life. Many were of prostitutes, dancers and bar scenes, which featured a sense of eroticism. According to the Hope Gallery, "Louis Legrand is simply one of France's finest early twentieth century masters of etching." His black and white etchings especially provide a sense of decadence; they have been compared to those of Henri de Toulouse-Lautrec, though his drawings of the Moulin Rouge, the can-can dance and the young women of Montmartre preceded Toulouse-Lautrec's paintings of similar scenes. He made over three hundred prints of the night life of Paris. They demonstrate "his remarkable powers of observation and are executed with great skill, delicacy, and an ironic sense of humor that pervades them all."
Two of his satirical artworks caused him to be tried for obscenity. The first, "Prostitution" was a symbolic drawing which depicted a naked girl being grasped by a dark monster which had the face of an old woman and claws on its hands; the second, "Naturalism", showed the French novelist Émile Zola minutely studying the thighs of a woman with a magnifying glass. Defended by his friend the lawyer Eugène Rodrigues-Henriques (1853–1928), he was found not guilty in the lower court, but was convicted in the appeal court and then given a short prison sentence for refusing to pay his fine.
Legrand was made famous by his colour illustrations for Gil Blas magazine's coverage of the can-can, with text by Rodrigues (who wrote under the pseudonym Erastene Ramiro). It was a tremendous success, with the exceptional quantity of 60,000 copies of the magazine being printed and instantly sold out in 1891.
In 1892, at the instigation of the publishing house Dentu, Legrand made a set of etchings of his Gil Blas illustrations. The etchings were published in a book, Le Cours de Danse Fin de Siecle (The End of the Century Dance Classes).
Legrand took a holiday in Brittany, which inspired him to engrave a set of fourteen lithographs of simple country life called Au Cap de la Chevre (On Goat Promontory). It was published by Gustave Pellet who became a close friend of Legrand's. Pellet eventually published a total of 300 etchings by Legrand, who was his first artist; he also published Toulouse-Lautrec and Félicien Rops among others.
He did not only work in graphics; he exhibited paintings at the Paris salon of the Société Nationale des Beaux-Arts starting in 1902. In 1906 he was made a chevalier of the Légion d'honneur.
Legrand died in obscurity in 1951. A retrospective exhibition was held at the Félicien Rops museum in Namur, Belgium in 2006 to celebrate his graphic art. The art collector Victor Arwas published a catalogue raisonné for the occasion.
Books illustrated
de Maupassant, Guy: Cinq Contes Parisiens, 1905.
Poe, Edgar Alan: Quinze Histoires d'Edgar Poe...
Category
Early 1900s Art Nouveau Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint
The Gothic Spirit
By John Taylor Arms
Located in Storrs, CT
The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$2,500 Sale Price
28% Off
LA SORCIERE - (The Witch)
By Kurt Seligmann
Located in Santa Monica, CA
KURT SELIGMANN (1900–1962 American, born in Switzerland,)
LA SORCIERE - (The Witch) 1934
Etching and aquatint, unsigned ? possibly a proof aside from The ...
Category
1930s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching, Aquatint
Sister Kate — Mid-century, Jazz-inspired Modernism
By James Houston McConnell
Located in Myrtle Beach, SC
James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce.
Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'.
ABOUT THE IMAGE
"I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister.
Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
Water lLily
By Henrietta Shore
Located in Santa Monica, CA
HENRIETTA SHORE (1880 -1963)
WATER LILY c. 1928
Lithograph, signed and titled in pencil and with the pencil cypher of printer Lynton Kistler (K). Image 7 x 6 1/8, full margins, shee...
Category
1920s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
La Negresse (The Negress)
By Louis Legrand
Located in Fairlawn, OH
La Negresse (The Negress)
Etching & drypoint, 1909
Unsigned (as issued in the portfolio)
From the album "Les Bars" (8 plates plus cover illustration)
Editi...
Category
Early 1900s Art Nouveau Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Enchanted Doorway, Venezia (La Porta della Carta, Venezia '29)
By John Taylor Arms
Located in Storrs, CT
Enchanted Doorway, Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher catalog 227 state ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 9 15/16). Edition 148 in this state (...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$1,200 Sale Price
20% Off
Mediterranean Light
By Robert Motherwell
Located in London, GB
Lithograph on white Tyler Graphics Ltd. (TGL) handmade paper
32 1/2 x 76 in. (82.6 x 193 cm)
Edition of 40
Category
1990s Abstract Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Color, Lithograph
THE RUG WEAVER
By Gustave Baumann
Located in Santa Monica, CA
GUSTAVE BAUMANN (1881 – 1971)
THE RUG WEAVER, 1910 (Chamberlain 26)
Color woodcut signed in pencil. Unnumbed from an edition 100 as published in the Hills o’ Brown...
Category
1910s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
IMMIGRANT FAMILY
By Ben Shahn
Located in Portland, ME
Shahn, Ben. IMMIGRANT FAMILY. Serigraph, 1941. Prescott 2. Edition size unknown; Prescott knew of only 3. This copy unsigned. 11 1/2 x 18 inches (image), 19 1/4 x 25 1/4 (sheet), framed to 23 x 28 1/4 inches. This was only the second print made by Shahn, and the first serigraph, a medium in which he continued to use for his prints throughout his career. Provenance: Kennedy Galleries, with its label, George Krevsky Gallery...
Category
1940s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
Tamas The Power of Bad
By Willy Pogany
Located in Santa Monica, CA
WILLY POGANY (1882 - 1955)
TAMAS THE POWER OF BAD, c. 1940.
Etching, signed and titled and numbered 50 in pencil. Image 12 x 9 inches. Sheet 14 7/8 x 10 3/4 inches. Generally goo...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Hostellerie des Chiens du Guet' — British Impressionism
By Sybil Andrews
Located in Myrtle Beach, SC
Sybil Andrews, 'Hostellerie des Chiens du Guet', color monotype, c. 1925; edition 2, proof 1. Signed 'Sybil Andrews pinx et imp' and titled in pencil. A superb, painterly impression, with fresh colors, on heavy cream wove paper; the full sheet with margins (5/8 to 1 3/4 inches). Printed by the artist. The artist’s original archival mounting tape remains in the four sheet corners, recto (well away from the image), in excellent condition. Matted to museum standards, unframed. A unique impression.
Image size 8 15/16 x 11 15/16 inches (227 x 303 mm); sheet size 12 1/4 x 15 1/2 inches (311 x 394 mm).
ABOUT THIS WORK
In addition to her almost 80 celebrated modernist color linocuts, Sybil Andrews also worked in the monotype technique. She typically produced two or three impressions (or pulls) from each hand-painted plate, each proof unique in its qualities of color values and vibrancy.
In 1933, Sybil Andrews and Cyril Power had an exhibition of their color monotypes and linocuts at the Redfern Gallery. Most of Andrews' monotypes were destroyed by a fire in an Ottawa gallery in 1959, and they now rarely come to the market.
ABOUT THE IMAGE
The Hostellerie des Chiens du Guet is a small hotel at the edge of...
Category
1920s Post-Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Monotype
$4,320 Sale Price
20% Off
Olivetti
By Giovanni Pintori
Located in New York, NY
Pintori, Giovanni. Olivetti. 1967. 2nd printing. 1st Printing 1946.
Offset Lithograph. Rare
Giovanni Pintori (1912 – 1999) was an Italian graphic designer and painter. His most famous works are the advertisement posters for Olivetti typewriters...
Category
1960s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Offset
'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
Double Personage
By Wifredo Lam
Located in Fairlawn, OH
Double Personage
Color lithograph, 1975 (?)
Unsigned (as issued)
Edition: Large Edition Limited, (estimated to be approximately 2000)
Published in: XXe Siecle, No. 52, Juin 1979
Published: G. di San Lazzaro
Printer: Mourlot Imprimeur, Paris, France
Reference: Lam-Tonneau-Ryckelynck L7513
Condition: Excellent, fresh colors
Traces of glue residue along margin edge where it was bound in the book
Image/sheet size: 12 1/4 x 9 1/4 inches
Wilfredo Lam (1902-1982)
Biography
Wifredo Lam was born in Sagua la Grande, Cuba, on December 8, 1902. He was the eighth child born to Lam-Yam―born in Canton around 1820, an immigrant to the Americas in 1860―and to Ana Serafina Catilla―born in 1862 in Cuba of mixed African and Spanish ancestry.
The luxuriant nature of Sagua la Grande had a strong impact on Lam from early childhood. One night in 1907, he was startled by the strange shadows cast on the wall of his bedroom of a bat in flight. He often recounted the incident as his first magnificent awakening to another dimension to existence.
In 1916, Lam and part of his family settled in Havana. He was enrolled in the Escuela Profesional de Pintura y Escultura, Academia de San Alejandro, where he remained a student until 1923. This period, with exhibitions at the Salón de Bellas artes, was determinant in his choice to become a painter. In 1923, the municipality of Sagua la Grande awarded him a grant to study in Europe and by the autumn of that year, at the age of twenty-one, he left the country for Spain.
His time in Spain―initially intended as a short stay on his way to Paris―lasted 14 years. In Madrid, he was exposed to the ideas and movements of modern art. He spent long hours at the Archeological Museum and the Prado. He studied the great masters of Spanish painting, Velázquez and Goya, but felt particularly drawn to the works of Bosch and Bruegel the Elder. In 1931, his first wife, Eva (Sébastiana Piriz) and their son Wilfredo Victor died of tuberculosis. The terrible suffering he endured led to numerous paintings of mother and child. Lam found solace in the company of his Spanish friends and made contact with several political organizations. In 1936, with the help of his friend Faustino Cordón, he joined the Republican forces in their fight against Franco. He designed anti-Fascist posters and took part in the struggle by working in a munitions factory. The violence of the struggle inspired his painting La Guerra Civil.
In 1938, Lam left Spain for Paris. Shortly before leaving, he met Helena Holzer, who would become his wife in 1944. His meeting Picasso in his studio on the Rue des Grands Augustins proved decisive. Picasso introduced his new “cousin” to his painter, poet and art critic friends, Braque, Matisse, Miró, Léger, Eluard, Leiris, Tzara, Kahnweiler, Zervos. Lam also met Pierre Loeb, the owner of the Galerie Pierre in Paris, which hosted Lam’s first solo exhibition in 1939.
Shortly before the Germans arrived, Lam left Paris for Bordeaux and then Marseille, where many of his friends, for the most part surrealists, had gathered around André Breton in the Villa Air Bel: Pierre Mabille, René Char, Max Ernst, Victor Brauner, Oscar Domínguez, André Masson, Benjamin Péret. In the Villa Air Bel, a meeting place for creativity and experimentation, Lam worked and produced, most notably, a series of ink drawings that set the tone for what would become his signature style of hybrid figures, a vocabulary he would develop more fully during his years in Cuba from 1941 to 1947.
In January and February 1941, Lam illustrated Breton’s poem Fata Morgana which was censored by the Vichy government. On March 25, Lam and Helena Holzer embarked on the “Capitaine Paul Lemerle” headed for Martinique, in the company of some 300 other artists and intellectuals―André Breton and Claude Lévi-Strauss among them. Upon arrival, the passengers were interred at Trois Îles. It was during this forced passage in Martinique and before leaving for Cuba that Lam and Aimé Césaire met for the first time to become life-long friends.
Newly settled in his native land after almost twenty years, Lam delved deeper into his artistic investigations, finding nourishment for his ideas in the surroundings of his childhood and youth. His sister Eloisa, whom he was closest to, explained to him in much detail the workings of Afro-Cuban rituals and he began attending ritual ceremonies with some of his friends. This contact with Afro-Cuban culture brought new impetus to his art. He painted over one hundred canvases, most notably La Jungla, making the year 1942 his most productive of this period. Over the next few years, a number of exhibitions followed in the United States, at the Institute of Modern Art of Boston, at the MoMA of New York, at the Galerie Pierre Matisse, where La Jungla was presented and created a scandal.
In 1946, Lam and Helena travel to Haiti and attend voodoo ceremonies in the company of Pierre Mabille and André Breton. Talking about his experience in Haiti, Lam said, “It is often assumed that my work took its final form in Haiti, but my stay there, like the trips I made to Venezuela, Colombia or to the Brazilian Mato Grosso only broadened its scope. I could have been a good painter from the School of Paris, but I felt like a snail out of its shell. What really broadened my painting is the presence of African poetry.”
Picasso_Lam_Vallauris_1954_vignette
Wifredo Lam et Pablo Picasso, Vallauris, 1954
Lam then went on to New York where he renewed contact with Marcel Duchamp and made new acquaintances: Jeanne Reynal, James Johnson Sweeney, Arshile Gorky, John Cage, Roger Wilcox, Mercedes Matter, Ian Hugo, Jesse Fernández, John Cage, Sonia Sekula and Yves Tanguy. By the end of the 1940s, Lam divided his time between Europe, Havana and New York, where they stayed with Pierre and Teeny Matisse...
Category
1970s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Untitled (Jahn 84)
By Fred Sandback
Located in New York, NY
Fred Sandback was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints. He majored in philosophy at Yale Universit...
Category
1980s Minimalist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
'Kaf With' — Mid-century American Surrealism
By Robert Vale Faro
Located in Myrtle Beach, SC
Robert Vale Faro, 'Kaf With', color lithograph, 1945, edition 15. Signed, dated, titled and numbered '84' and '6/15' in pen, recto. Titled, numbered '#84' and '6/15' and dated '7/22/...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
PULLING CORN (FODDER HOPPER) - Scarce Print!
By Bernard Joseph Steffen
Located in Santa Monica, CA
BERNARD (JOSEPH) STEFFEN (1907 – 1980)
PULLING CORN (FODDER HOPPER) c. 1935-45
Color serigraph signed with a full signature below the image at the lower right sheet edge . Unknown e...
Category
1930s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
ORANGE OVAL
By Adolph Gottlieb
Located in Portland, ME
Gottlieb, Adolph (American, 1903-1974) ORANGE OVAL, Screenprint in colors, 1972. Edition of 150, printed on wove paper. Signed in pencil, dated and numbered 143/150. Printed by Kelpr...
Category
1970s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
The Manhattan Municipal Building
By Chester B. Price
Located in Fairlawn, OH
Signed in pencil and annotated "imp" lower right; Dedicated lower left: "To Bob Nisbet from…"
Note: Desgined by William M. Kendall of McKim, Mead and White, this classical skyscra...
Category
1910s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
The Basque Boy also called Boy with Beret and Fabian.
By Gerald Leslie Brockhurst
Located in Storrs, CT
The Basque Boy also called Boy with Beret and Fabian. 1944. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4 (sheet 7 1/8 x 13 7/8). Edition 10. Printed on countermarke...
Category
Mid-20th Century Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
$550 Sale Price
38% Off
Personne Seule Etendue
By Maurice Pasternak
Located in New Orleans, LA
Maurice Pasternak has created a surreal landscape that includes traditional images of a sun-filled sky, dark shadows cast on water and through leafy trees all under the guise of thre...
Category
Late 20th Century Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
De trace de pas de trace de…
By Roberto Matta
Located in Fairlawn, OH
De trace de pas de trace de…
Color etching with aquatint, 1966
From: Monsour and Matta, Les Damnations, 1966 (11 plates, this one of 7 hors text images)
Edition: 85 portfolios in the...
Category
1960s Surrealist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching, Aquatint
'Chion-in Temple Gate' from 'Eight Scenes of Cherry Blossoms' — Jizuri Seal
By Hiroshi Yoshida
Located in Myrtle Beach, SC
Hiroshi Yoshida, 'Chion-in Temple Gate (Sunset)' from the series 'Eight Scenes of Cherry Blossoms (Sakura hachi dai: Sakura mon)', color woodblock print, 1935. Signed in brush 'Yoshida' and in pencil 'Hiroshi Yoshida'. A superb, early impression, with fresh colors; the full sheet with margins, on cream Japan paper; an area of slight toning in the top right sheet corner, not affecting the image, otherwise in excellent condition. Marked with a jizuri (self-printed) seal, upper left margin. Self-published by the artist.
Image size 9 5/8 x 14 3/4 inches (444 x 375 mm); sheet size 10 7/8 x 16 inches (276 x 406 mm). Archivally sleeved, unmatted.
Provenance: M. Nakazawa, Tokyo.
Literature: Japanese Landscapes of the 20th Century (Hotei Publishing calendar), 2001, May.
Collections: Honolulu Museum of Art, Museum of Fine Arts, Boston.
ABOUT THE IMAGE
Located in Kyoto, Chionin is the main temple of the Jodo sect of Japanese Buddhism, one of the most popular Buddhist sects in Japan, having millions of followers. The Sanmon Gate, Chionin's entrance gate, standing 24 meters tall and 50 meters wide, it is the largest wooden temple gate in Japan and dates back to the early 1600s. Behind the gate, a broad set of stairs leads to the main temple grounds.
ABOUT THE ARTIST
Painter and printmaker Yoshida Hiroshi (1876-1950) is regarded as one of the greatest artists of the Japanese 'shin hanga' (New Print) movement.
Yoshida was born as the second son of Ueda Tsukane in Kurume, Fukuoka Prefecture, a schoolteacher from an old samurai family. In 1891 he was adopted by his art teacher Yoshida Kasaburo in Fukuoka and took his surname. In 1893 he went to Kyoto to study painting, and the following year to Tokyo to join Koyama Shotaro's Fudosha private school; he also became a member of the Meiji Fine Arts Society. These institutions taught and advocated Western-style painting, greatly influencing Yoshida’s artistic development.
In 1899 Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art), making the first of many visits to the US and Europe. In 1902 he helped reorganize the Meiji Fine Arts Society, renaming it the Taiheiyo-Gakai (Pacific Painting...
Category
1930s Showa Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Hungerford Bridge, London
By Kerr Eby
Located in Myrtle Beach, SC
Kerr Eby 'Hungerford Bridge, London', etching and sandpaper ground, 1929, edition 90, Giardina 144. Signed, titled, and annotated 'Ed 90' in pencil. Signed again in the bottom right sheet corner. A fine, atmospheric impression, with delicate plate tone, on cream wove paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed.
Hungerford Foot Bridge spans the River Thames in London, between Westminster Bridge and Waterloo Bridge. Eby visited Great Britain and France during 1924 and 1925.
Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Arizona State University, Boston Public Library, Davison Art Center (Wesleyan University), Herbert F, Johnson Museum of Art, Huntington Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, Montgomery Museum of Fine Arts, National Museum of American Art, New York Public Library, Smithsonian Museum of American Art.
ABOUT THE ARTIST
Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper.
After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques.
In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions.
With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...
Category
1920s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Untitled (Martha Jackson Gallery Poster)
By Walasse Ting
Located in Fairlawn, OH
Untitled (Martha Jackson Gallery Poster)
Lithograph, 1960
Signed and dated in red crayon by the artist
Edition 90 (63/90)
1st state before letters for the poster created for the Martha Jackson Gallery, Ting Exhibition, April 23-May 31, 1960
Printed on wove paper with a ”JAPAN' watermark
Edition: 90
Provenance: Martha Jackson Gallery, New York
Anderson Gallery
David K. Anderson Collection (label)
Walasse Ting (Chinese: 丁雄泉, 13 October 1929 – May 17, 2010)[1] was a Chinese-American visual artist and poet. His colorful paintings have attracted critical admiration and a popular following. Common subjects include nude women and cats, birds and other animals.
He was born on 13 October 1929 in Shanghai, left China in 1946 and lived for a while in Hong Kong, then settled in Paris in 1952.[2] There, he associated with artists such as Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group CoBrA. Ting started his career as an artist in Paris in the 1950s, where he became friends with artists such as Sam Francis and Pierre Alechinsky. His early works were influenced by the CoBrA group, a European art movement known for its use of expressive, childlike imagery. In the 1960s, Ting moved to New York City and became associated with the Pop Art movement. Ting is perhaps best known for his series of paintings featuring women, which he called "Cat Women...
Category
1960s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Sea Gull
By Henrietta Shore
Located in Santa Monica, CA
HENRIETTA SHORE (1880 -1963)
SEA GULL c 1928
Lithograph, signed and titled in pencil and with the pencil cypher of printer Lynton Kistler (K). Image 7 x 6 1/8 full margins, sheet 12...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
L'Univers est créé
By Paul Gauguin
Located in London, GB
Gauguin came back to Paris in August 1893 from his first stay in Tahiti, In the luggage numerous drawings and preparatory work for a book designed by him. In collaboration with the writer Charles Morice, parts of the text "NOA NOA" were created in Paris in the winter of 1893-1894. The plan was for a preferred edition with 10 almost identical woodcuts, all of which were made in the winter of 1893-1894. According to the individual proto-prints by Gauguin, the artist left the artist to Louis Roy...
Category
1890s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Tanks #1' — American Precisionism
By Louis Lozowick
Located in Myrtle Beach, SC
Louis Lozowick, 'Tanks #1', lithograph, 1929, edition 50, Flint 39. Signed, titled, and numbered '11/50' in pencil. Signed with the artist's monogram in the stone, lower left. A superb, richly-inked impression, on cream wove paper, the full sheet with margins (3/4 to 1 7/8 inches), in excellent condition. Matted to museum standards.
Image size 13 15/16 x 8 1/16 inches (355 x 204 mm), sheet size 15 3/4 x 11 1/4 inches (400 x 286 mm).
Exhibited: 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008.
Literature: 'Prints and Their Creators, A World History', Carl Zigrosser, Crown Publishers Inc, 1974; 'American Lithographers...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Inari Kozo Tasaburo- Kabuki
By Utagawa Toyokuni
Located in Fairlawn, OH
Inari Kozo Tasaburo- Kabuki
Color woodcut, c. 1820
Signed: ‘Toyokuni’
Publisher: ‘Yamamoto Heikichi’
Censor: Hama and Magome
Very good impression and color
Sheet/Image size: 15 1/2 x...
Category
1820s Other Art Style Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Two Open Squares Within a Red Area
By Robert Mangold
Located in New York, NY
Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...
Category
2010s Minimalist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Paper, Etching, Aquatint
#5 — Modernist Abstraction — African American Artist
Located in Myrtle Beach, SC
Hilliard Dean, '#5', color lithograph, 1970, edition not stated but small. Signed, titled, and annotated 'AP' in pencil. Dated 'June 11, 70' in pencil in...
Category
1970s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
LA ORANA MARIA (HAIL MARY)
By Paul Gauguin
Located in Santa Monica, CA
PAUL GAUGUIN (French 1848 - 1903)
LA ORANA MARIA (HAIL MARY) 1894/5 (Mongan/Kornfield 27B:Guerin 51) Transfer zincograph on coarse-grained transfer paper, in...
Category
1890s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
WEIBLICHER AKT MIT BREITKREMPIGEM HUT
By Lovis Corinth
Located in Portland, ME
Corinth, Lovis. WEIBLICHER AKT MIT BREITKREMPIGEM HUT (Female Nude with Broad-Brimmed Hat). Schwartz 226A. Etching, 1916. 11 3/4 x 7 3/4 inches, 300 x 198 mm. The earlier version, be...
Category
1910s Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Here They Come !
By Frank W. Benson
Located in New York, NY
This impression of "Here They Come !" is from the fourth state of eight. There are six known impressions of the fourth state. Edition 150 (final state). It is signed in pencil in the lower left and inscribed "D-1". The image size 13 7/8 x 11 3/4" (34.6 x 28.8 cm) and sheet size 16 3/4 x 14 5/8" (42.8 x 37.1 cm).
FRANK W. BENSON (1862-1951)
Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life.
His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years.
During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...
Category
1920s American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
STILL LIFE WITH LEEKS
By James Aponovich
Located in Portland, ME
Aponovich, James. STILL LIFE WITH LEEKS. Lithograph, not dated. Edition of 100, numbered 41/100, titled, and signed in pencil. 18 x 24 inches, plus margins. Margins appear somewhat t...
Category
20th Century American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Man's Ruin
By Don Ed Hardy
Located in Lyons, CO
Color lithograph, Edition 25.
In Man’s Ruin, a wolf is portrayed as a nurse, two iconic images often seen in tattoo flash. Below the wolf are two brigh...
Category
21st Century and Contemporary Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Fifth Avenue Critics.
By John French Sloan
Located in Storrs, CT
Fifth Avenue Critics. 1909. Etching. Morse 128.x/xi. 6 x 8 (sheet 9 3/4 x 12 1/4). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for t...
Category
Early 1900s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$2,400 Sale Price
20% Off
Adoration of the Shepherds
By Peter Paul Rubens
Located in New York, NY
Adoration of the Shepherds after Peter Paul Rubens (Flemish, 1577-1640), engraved by Pierre-Franois Basan (French, 1723-1797), engraving, c. 1750, in black on ivory laid paper, 282 x 200 mm., with small margins. In very good condition.
A fine proof impression, before letters. A draft printing of letters is visible, lower left, below image: “P P Rubens inv.”; lower right: “F. Basan excudit”.
Basan’s engraving after Rubens may be modeled after another engraving of the Adoration after Rubens by Theodor Galle (1571-1633), which appeared as an illustration to the 1618 reprint of 1616 edition of “Missale Romanum...
Category
1750s Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
Untitled II
By Thomas Nozkowski
Located in New York, NY
linocut printed in 25 colors on Hahnemuhle paper
For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject mat...
Category
2010s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Linocut
'Spirit of Buffalo' — Urban Realism
By Anton Schutz
Located in Myrtle Beach, SC
Anton Schutz, 'Spirit of Buffalo', etching, edition not stated, c. 1927. Signed in pencil. Annotated 'Spirit of Buffalo 522', in another hand, in the bottom right margin. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 5/8 to 2 inches), in excellent condition. Matted to museum standards, unframed.
Image size 8 7/8 x 11 7/8 inches; sheet size 12 1/4 x 15 7/8 inches.
ABOUT THE ARTIST
Etcher, painter, and architect, Anton Schutz was born in Germany in 1894. He studied at the University of Munich, earning a double degree in mechanical engineering...
Category
1920s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Sailor and His Girl' —Mid-Century Modernism, WWII
By Bernard Brussel-Smith
Located in Myrtle Beach, SC
Bernard Brussel-Smith, 'Sailor and His Girl', wood engraving, 1941, edition 35. Signed, titled, and numbered '21/35' in pencil. Signed in the block, lower right. A superb, richly-in...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
'Mount St. Elias, Yukon, Alaska' — from the series 'Axis Mundi', Contemporary
Located in Myrtle Beach, SC
Beth Ganz, 'Mount St. Elias, Yukon, Alaska', copperplate photogravure etching, edition 10, 2021. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted.
Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches.
From the artist's series of 64 photogravure etchings 'Axis Mundi'. Additional works from the series are available; please inquire.
Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023.
ABOUT THE IMAGE
Mount Saint Elias, the second-highest mountain in Canada and the United States stands on the Yukon and Alaska border about 26 miles (42 km) southwest of Mount Logan, the highest mountain in Canada. The Canadian side of Mount Saint Elias forms part of Kluane National Park and Reserve, while the U.S. side is within Wrangell-St. Elias National Park and Preserve.
Mount Saint Elias is notable for its immense vertical relief. Its summit rises 18,008 feet (5,489 m) vertically in just 10 miles (16 km) horizontal distance from the head of Taan Fjord, off of Icy Bay.
The name of the mountain in Tlingit (indigenous peoples of the Pacific Northwest Coast of North America), Yasʼéitʼaa Shaa, means "mountain behind Icy Bay"; the Yakutat Tlingit occasionally call it Shaa Tlein "Big Mountain". It is one of the most important crests of the Kwaashkʼiḵwáan clan, who used it as a guide during their journey down the Copper River. Mount Fairweather, at the apex of the British Columbia and Alaska borders at the head of the Alaska Panhandle, is known as Tsalx̱aan; legend states that this mountain and Yasʼéitʼaa Shaa (Mt. St. Elias) originally stood next to each other, but had an argument and separated. Their children, the mountains between the two peaks, are called Tsalx̱aan Yátxʼi ("Children of Tsalxaan").
European explorers first sighted the mountain on July 16, 1741, with the arrival of the expedition commanded by Vitus Bering, a Danish explorer in service of Russia. While some historians contend that Bering named the mountain, others believe that eighteenth-century mapmakers named it after Cape Saint Elias when Bering left the peak unnamed.
Mt. St. Elias was first climbed on July 31, 1897, by an Italian expedition led by famed explorer Prince Luigi Amedeo, Duke of the Abruzzi (who also reconnoitered the current standard route on K2 in 1909) and included noted mountain photographer Vittorio Sella.
In 2007 Gerald Salmina directed an Austrian documentary film, Mount St. Elias, about a team of skiers/mountaineers determined to make "the planet's longest skiing descent" by ascending the mountain and then skiing nearly all 18,000 feet down to the Gulf of Alaska; the movie finished editing and underwent limited release in 2009. The climbers ended up summiting on the second attempt and skiing down to 13,000 ft (3,960 m).
ABOUT THE SERIES 'AXIS MUNDI'
"This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures.
"This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures.
"Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation."
—Beth Ganz
ABOUT THE ARTIST
Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing.
Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints...
Category
21st Century and Contemporary Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching, Photogravure
On the Beach (Coney Island, New York) — 1930s Graphic Modernism, WPA
By Lou Barlow
Located in Myrtle Beach, SC
Lou Barlow (Louis Breslow), 'On the Beach' (Coney Island) wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. Stamped 'FEDERAL ART PROJECT NYC WPA' in the bottom left margin. A fine, richly-inked impression, with all the fine lines printing clearly, on cream wove paper, with full margins (1 1/2 to 3 inches), in excellent condition. Matted to museum standards, unframed. Scarce.
Image size 11 x 8 1/8 inches; sheet size 16 x 11 3/8 inches.
Created during the Great Depression for the Works Progress Administration (WPA), Federal Art Project, New York City.
Impressions of this work are in the permanent collections of the Amon Carter Museum of Art, Illinois State Museum, and the New York Public Library.
ABOUT THE IMAGE
Due to Coney Island's proximity to Manhattan, Brooklyn, and other New York boroughs, it began attracting vacationers in the 1830s and 1840s. Most of the vacationers were wealthy and went by carriage roads and steamship services that reduced travel time from a formerly half-day journey to two hours. By the late 1870s, the development of Coney Island's amusement park attractions and hotels drew people from all social classes. When the Brooklyn Rapid Transit Company electrified the steam railroads and connected Brooklyn to Manhattan via the Brooklyn Bridge at the beginning of the 20th century, Coney Island turned rapidly from a resort to an accessible location for day-trippers seeking to escape the summer heat in New York City's tenements. In 1915, the Sea Beach Line was upgraded to a subway line, and the opening of the Stillwell Avenue station in 1919 ushered in Coney Island's busiest era. On the peak summer days, over a million people would travel to Coney Island. In 1937, New York City purchased a 400-foot-wide strip of land along the shoreline to allow the boardwalk to be moved 300 feet inland. At this point, Coney Island was so crowded on summer weekends that parks commissioner Robert Moses...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Blue Rythms (Agerup 188) after the 1966 painting, Peinture.
By Zao Wou-Ki
Located in Fairlawn, OH
Blue Ruthms (Agerup 188)
after the 1966 painting, Peinture.
Etching with aquatint, 1968
Signed, dated and numbered in pencil (see photos)
Edition: 95 (74/95)
Plate: 17 1/2 x 21 1/2"
...
Category
1960s Abstract Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint
London Bridge.
By William Lionel Wyllie
Located in Storrs, CT
London Bridge, London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 9 7/8 x 17 1/4). Mat line; otherwise fine condition. A rich impression with dryp...
Category
1920s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$975 Sale Price
22% Off
THE BURRO STATION - Large Etching with Incredible Detail. One of a Pair
By Reynold Weidenaar
Located in Santa Monica, CA
REYNOLD WEIDENAAR (1915 - 1985)
THE BURRO STATION, 1946, Etching and drypoint on paper, Signed and titled in pencil from an edition of unknown size. Plate: 17" x 13": Sheet: 20.75" x 15.75". One of a pair of large format Mexican etchings...
Category
1940s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
'Naked Girl in Spray, Head Thrown Back' — 1930s Modernist Female Nude
By Eric Gill
Located in Myrtle Beach, SC
Eric Gill, 'Naked Girl in Spray, Head Thrown Back to Left, Four Leaves' and 'Naked Girl in Spray, Head Upright, Hands Over Head', wood engraving, 1930, edit...
Category
1930s Art Deco Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
$960 Sale Price
20% Off
Untitled
By Robert Motherwell
Located in London, GB
29.88 x 22.36 ins (75.9 x 56.8 cms)
Edition of 96
Signature:Signed "R. Motherwell" in pencil lower right
Inscriptions:Numbered in pencil lower right; artist's chop mark lower right
...
Category
1970s Abstract Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Color, Etching, Aquatint
Landscape with Horses.
By James Abbott McNeill Whistler
Located in Storrs, CT
Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...
Category
Mid-19th Century American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$3,000 Sale Price
36% Off
New York Stock Exchange (Symbolic icon of Wall St.'s vast power and wealth)
By Frederick Mershimer
Located in New Orleans, LA
This color intaglio of the "New York Stock Exchange" was issued in a limited edition of 100. This impression is one of the Artist Proofs from the edition. The Stock Exchange is seen from Federal Hall...
Category
21st Century and Contemporary Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint, Aquatint
The Echo of Luck
By Fred Stonehouse
Located in Lyons, CO
Color lithograph, Ed. 25
The artist describes this project:
“I have a long history of exploring the possibilities of animal and naturalist imagery to fabulist ends. These works ser...
Category
2010s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Read More
Joan Mitchell’s Rare, Late-Career Diptych Buzzes with Life
Beneath the inky blackness, the painter’s irrepressible energy electrifies this pair of intaglio prints.
The 1stDibs Guide to Types of Abstract Art
Get to know the key movements and artists who have influenced visual culture for more than a century.
Romare Bearden’s Humanity Infuses His Bright, Bold Art
Through collage, painting and printmaking, the artist foregrounded Black life in America in revolutionary new ways.
Andy Warhol and Suzie Frankfurt’s ‘Wild Raspberries’ Cookbook Is an Artful, Fanciful Delight
This set of recipes and original prints might not make you a better chef. But it will make you smile.
Art Brings the Drama in These Intriguing 1stDibs 50 Spaces
The world’s top designers explain how they display art to elicit the natural (and supernatural) energy of home interiors.
Welcome (Back) to the Wild, Wonderful World of Walasse Ting
Americans are rediscovering the globe-trotting painter and poet, who was connected to all sorts of art movements across a long and varied career.
Shapero Modern’s Director Tells Us All about 20th-Century Prints
Tabitha Philpott-Kent knows a lot of art multiples. Here, the London gallery director talks about what makes printmaking so fabulous.
Yoshitomo Nara Puts a Punk Rock Twist on the Traditional Prints of His Ancestors
The forever-rebellious Japanese artist craftily defaces famous Edo Period woodblock prints with “In the Floating World.”