Ifpda International Fine Print Dealers Association Figurative Prints
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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Portrait of Whistler with the Monacle.
By Paul César Helleu
Located in Storrs, CT
Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the cancelled plate (there were onl...
Category
19th Century Impressionist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Drypoint
The Hunchbacked Fiddler (3rd State)
By Adriaen van Ostade
Located in Chicago, IL
The Hunchbacked Fiddler (3rd State), 1654
Etching
266 x 113 mm.; 6 1/2 x 4 7/16 inches
Watermark:
Fleur-de-lys in a Crowned Shield
References:
Godefroy 44 III/VI
Hollstein 44 III/VI
Pelletier, Adrian van Ostade...
Category
17th Century Old Masters Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
'Foul Rope (Left)' — Early American Southwest Rodeo
By William Robinson Leigh
Located in Myrtle Beach, SC
William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed.
Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm).
ABOUT THE ARTIST
Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’
The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama.
In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes.
Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians.
In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911).
In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers.
For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955.
In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape.
Leigh's work is held in many museum collections of American Western art...
Category
1920s Realist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
Sleeping Car
By James L. Hendershot
Located in New Orleans, LA
Associated American Artists published "Sleeping Car" by James Hendershot. This image shows a rail car filled with passengers and conductors.
This exhibit...
Category
Late 20th Century American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
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), fra...
Category
1940s Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Screen
'Venice, Maria della Salute' — Serenissima Impressionism
By Anton Schutz
Located in Myrtle Beach, SC
Anton Schutz, 'Venice, Maria della Salute', etching, c. 1930. Signed and titled in pencil. A superb, richly-inked impression, with skillfully wiped plate tone, on cream wove paper, ...
Category
1930s Realist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
SELF PORTRAIT IN A GERMAN MANNER - Large Monotype
By Karl Schrag
Located in Santa Monica, CA
KARL SCHRAG (German - American 1912 - 1995)
SELF PORTRAIT IN THE GERMAN MANNER, 1991
Monotype, Signed titled, dated and annotated "Monotype with touches of Oil color, I /I"
Plate an...
Category
1990s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Monotype
Old Injun
By Charles Banks Wilson
Located in Myrtle Beach, SC
Charles Banks Wilson, 'Old Injun', lithograph, 1948, edition 250, Hunt 39. Signed in pencil. A fine, richly-inked impression, on off-white wove paper, with full margins (1 3/4 to 2 inches), in excellent condition. Published by Associated American Artists.
Impressions of this work are in the permanent collections of the following institutions: Ackland Art Museum, Georgetown University...
Category
1940s American Realist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Portraits: Alba
By Alex Katz
Located in New York, NY
Alex Katz uses outline drawings, called “cartoons”, as templates to transfer full size images onto the canvas prior to painting. Rendered in red chalk or charcoal on brown paper, th...
Category
Early 2000s Contemporary Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
La Ley (The Law) from Días de Ira (Days of Wrath) — Anti-Fascist Modernism
Located in Myrtle Beach, SC
Helios Gómez, 'La Ley (The Law)', 1929-1930. Signed in the matrix, lower right and numbered '5', upper left corner. Letterpress relief print after the original drawing, with text in black ink on buff, wove paper; the full sheet with margins. Slight toning at the sheet edges, otherwise in very good condition. From the vintage suite of 23 numbered prints, titled in five languages with Spanish verses in linotype. Matted to museum standards, unframed.
As published in 'Días de Ira' (Days of Wrath), a portfolio of 23 drawings and poems on the “Spanish White Terror” by Spanish artist Helios Gómez, his first publication. Accompanied by an introduction by the 'Socialist International' and with a foreword by Romain Rolland. Printed in Berlín in 1930.
Image size 7 11/16 x 5 7/8 inches; sheet size 12 7/8 x 9 3/8 inches.
ABOUT THE ARTIST
"Free art from representational conventions and make it live from its own dynamism; make the spectator feel the emotion of an idea thanks to pure abstract plastic art: that is, in short, my artistic aspiration... I wanted to touch the people through art".
— Helios Gómez.
Helios Gómez (1905–1956) was born in Triana, Seville, into a working-class Calé (gypsy) family. He received his training at the Seville Industrial Arts and Crafts School and the Cartuja factory as a painter and decorator of ceramics. His initial works were published in the anarchist Páginas Libres, and he illustrated books by local authors like Rafael Laffon and Felipe Alaiz. In 1925, he showcased his work for the first time at the Kursaal in Seville, followed by exhibitions in Madrid at the Ateneo and in Barcelona at the Dalmau Gallery the subsequent year.
Gómez became increasingly aware of the need for political change, aligning himself with anarchist groups and committing to express his political beliefs through his art, writing, and speeches. His artistic career allowed him some acceptance in broader Spanish society, which still primarily viewed Romani identity as acceptable only through creative expression. Unfortunately, anti-Romani sentiment persisted, reflected in critical reviews and media coverage.
His early illustrations for anarchist writer Felipe Alaiz and exhibitions at radical spaces like Café Kursaal marked the beginning of his activism. In 1927, due to his political involvement, he had to flee Spain and travel across Western Europe, connecting with avant-garde art movements and the labor movement. This experience significantly influenced his work, which incorporated elements of cubism, expressionism, and futurism. Upon returning to Spain in 1930, he settled in Barcelona and collaborated as a printmaker with the Confederación Nacional del Trabajo.
Gómez later renounced anarchism and joined the Communist Party of Spain (PCE), believing that the international communist movement was the most effectively organized force opposing the rise of fascism. He participated in communist rallies and was imprisoned in Barcelona's Model prison. During the Spanish Civil War, he fought with the Communist Party. He gave an interview to the leftist magazine Crónica, where he spoke about the anti-fascist cause and praised the Soviet Union for its integration of Romani people. By 1938, he had rejoined the anarchist movement and worked on the design of the newspaper El Frente. After fleeing the country during the Nationalists' Catalonia Offensive, he was interned in French concentration camps.
In the aftermath of the war, as details of the Romani Holocaust started to emerge, he embraced his Romani identity more openly, especially after his imprisonment under the Franco dictatorship. He spent time in Model prison from 1945 to 1946 and again from 1948 to 1954, during which he focused on writing. He produced two essays, including one on Romani art...
Category
1920s Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Black and White
Charing Cross - The Statue of Charles I.
By William Walcot R. E. Hon. R. I. B. A.
Located in Storrs, CT
Charing Cross -- The Statue of Charles I. 1919. Etching with aquatint and drypoint. 3 5/8 x 4 7/8 (sheet 9 1/8 x 11 3/8). A fine proof with tonal wiping, printed on cream-wove paper. Signed in pencil.
Charing Cross is located at the junction of the Strand, Whitehall, and Cockspur Street in Central London, England. The name originates from the Eleanor cross installed by King Edward I as a memorial to his wife, Eleanor of Castile at the former hamlet of Charing. Since 1675, the cross site has been occupied by a statue of King Charles I mounted on a horse. The pedestal is thought to be designed by Wren and carved by Grinling Gibbons.
Chelsea Old Church, also known as All Saints, is an Anglican church, on Old Church Street, Chelsea, London SW3, England, near Albert Bridge. It is the church for a parish in the Diocese of London, part of the Church of England. Inside the Grade I listed building, there is seating for 400 people. There is a memorial plaque to the author Henry James (1843–1916) who lived nearby on Cheyne Walk. To the west of the church is a small public garden containing a sculpture by Sir Jacob Epstein.
When he was seventeen,William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel...
Category
Early 20th Century Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Drypoint, Etching, Aquatint
'Sailing' — Modernism, New York City WPA
Located in Myrtle Beach, SC
Fred Becker, 'Sailing', wood engraving, c. 1935, edition c. 25. Signed and titled in pencil. A fine, richly-inked impression, on off-white wove paper; with full margins (1 to 2 15/16...
Category
1930s Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Woodcut
'Doctor' from 'In Praise of Folly' — Mid-Century Graphic Modernism
By Lynd Ward
Located in Myrtle Beach, SC
Lynd Ward, 'Doctor' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches) in excellent condition. Matted to museum standards, unframed. Scarce.
Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm).
Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication.
ABOUT THE ARTIST
Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society.
The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative.
In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association.
An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82.
In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative.
In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Mezzotint
Fire Dance (Flambeaux carriers light the path of Endymion parade in New Orleans)
By Frederick Mershimer
Located in New Orleans, LA
This impression is #108.
Mershimer created a color mezzotint of the Mardi Gras scene in mid-city New Orleans. The parade was the Endymion crew marching on Canal Street near Jefferson...
Category
1990s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Mezzotint
Muse (a young novice in colorful swim suit struggles thru a pool of blue)
By Art Werger
Located in New Orleans, LA
Muse is #43 of 45. It depicts a young woman in a colorful swimsuit doing her best to swim through the blue waters of the pool. Her mouth is pursed and the bubbles flow out. I sold an impression of this image to an olympic swimming...
Category
Early 2000s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
Untitled (Mother and Child)
By Maurice Denis
Located in Myrtle Beach, SC
Maurice Denis, Untitled (Mother and Child), lithograph, 1897, edition not stated. Signed in the stone, lower right. Annotated in linotype 'MAURICE DENIS, ORIGINAL LITHOGRAPHIE PAN III' in the lower left sheet corner. A fine, atmospheric impression, in warm, dark gray ink, on buff wove paper, with full margins (2 1/2 to 1 3/4 inches); a small discoloration in the bottom left sheet corner, otherwise in good condition. Image size 8 5/8 x 6 7/8 inches; sheet size 13 7/8 x 10 5/8 inches. As published in 'Pan', the leading German magazine of the period devoted to art and literature. Matted to museum standards, unframed.
Collection: Los Angeles County Museum of Art.
Reproduced: German Expressionist Prints...
Category
1890s Symbolist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Marble relief of a trireme from the Temple of Fortuna, Praeneste, from Vasi
By Giovanni Battista Piranesi
Located in Fairlawn, OH
Marble relief of a trireme from the Temple of Fortuna, Praeneste, from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi disegnati ed incisi dal Cav. Gio. Ba...
Category
1770s Old Masters Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
From the Sea (From the Sea—Pieta)
By Benton Murdoch Spruance
Located in Myrtle Beach, SC
A superb, richly inked impression, on off-white wove paper; the full sheet, with deckel all around (margins 1 to 2 inches) in excellent condition. Signed, dated, titled and annotated...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Swing (The swing of the bat from #27 a right handed hitter. Play Baseball!
By Art Werger
Located in New Orleans, LA
Play Ball! No. 27 unleashes a mighty swing at the ball. Both umpire and catcher are in their huddled crouch. "Swing" is an exclusive publication of Stone and Press Gallery by Art We...
Category
Late 20th Century American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Mezzotint
The Doorway.
By James McBey
Located in Storrs, CT
Hardie/Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #52. Illustrated: Guichard, British Etchers, 1850-1940; ; Eric Denker, Reflections & Undercurrents: Ernest Roth ...
Category
Early 20th Century Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Drypoint, Etching
'Pope' from 'In Praise of Folly' — Mid-Century Graphic Modernism
By Lynd Ward
Located in Myrtle Beach, SC
Lynd Ward, 'Pope' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. Annotated 'POPE - CARDINAL - BISHOP' - 1943 in ink, lower left. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. Matted to museum standards, unframed. Scarce.
Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication.
Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm).
ABOUT THE ARTIST
Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society.
The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative.
In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association.
An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82.
In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative.
In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Mezzotint
BLACK FACE
By Karel Appel
Located in Santa Monica, CA
KAREL APPEL (1921 - 2006)
BLACK FACE, 1969
Lithograph in colors signed in pencil. Edition 26/75, Image: 19 3/4 x 25 1/4, sheet: 22 x 30 inches. Just hint of a mat line
Appel was a member of the Cobra art movement
Category
1960s Expressionist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Retour (Homecoming)
By Georges De Feure
Located in Fairlawn, OH
Retour
Color lithograph, 1897
Signed in the stone lower left edge of the image (see photo)
As published in "L'Estampe Moderne"
L'Estampe Moderne appeared each month as a portfolio of...
Category
1890s Art Nouveau Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Tête-à-Tête in the Garden
By James Abbott McNeill Whistler
Located in Storrs, CT
Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25-lifetime impressions plus a few proofs re...
Category
Late 19th Century American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
'Fruit Piece' — American Modernism, Woman Artist
Located in Myrtle Beach, SC
Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
'Run Little Chillun' also 'Revival' — African American Subject
Located in Myrtle Beach, SC
Isac Friedlander, 'Run Little Chillun' also 'Revival', wood engraving, 1933, edition 50. Signed, titled and annotated 'New York 1933' in pencil. A sup...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Woodcut
'Bacchus' — 18th Century Classical Italian Realism
Located in Myrtle Beach, SC
Giovanni Domenico Campiglia, 'Bacchus', engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. Engraving by Gabbugiani, after the original by Giovan...
Category
1730s Realist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Engraving
'Mehr Sonne fur 1924' (More Sun for 1924)— German Expressionism
By Karl Michel
Located in Myrtle Beach, SC
Karl Michel, 'Mehr Sonne fur 1924. Viel Gluck Wunscht Karl Michel U. Frau', woodcut, 1924, edition 20. Signed, dated, and numbered 'op. 162' and '15/20' in pencil. Signed in the image, lower left. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in very good condition. Printed by the artist. Scarce. Matted to museum standards, unframed.
New Year's Greeting – English translation: "More Sun for 1924. Good Luck Wishes from Karl Michel and his Wife."
Image size 4 5/8 x 4 3/4 inches (118 x 121 mm); sheet size 7 3/4 x 10 inches (198 x 254 mm).
ABOUT THE ARTIST
Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat...
Category
1920s Expressionist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Woodcut
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 Figurative Prints
Materials
Drypoint
'Havoc in Heaven' — Mid-Century Modernism
By Benton Murdoch Spruance
Located in Myrtle Beach, SC
Benton Spruance, 'Havoc in Heaven', lithograph, 1948, edition 30-35, Fine and Looney 270. Signed, titled, and numbered 'Ed 35' in pencil. Initialed in the stone, lower right. Printed...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Nu au fauteuil sur fond moucharabieh
By Henri Matisse
Located in London, GB
Henri Matisse
Nu au fauteuil sur fond moucharabieh
1925
Lithograph on Arches vellum paper, Edition of 50
Paper size: 65.5 x 50 cms (25 3/4 x 19 5/8 ins)
Image size: 54 x 44 cms (21 1...
Category
1920s Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
En Espagne
By Victor Max Ninon
Located in Fairlawn, OH
En Espagne
Pochoir (silk screen) printed in colors
Signed by the artist in pencil lower right
The artist won a gold medal in Paris in 1925 for his pochoirs
Condition: Excellent
Image...
Category
1920s Art Deco Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Screen
The Print Shop
By Gustave Baumann
Located in Santa Monica, CA
GUSTAVE BAUMANN (1881 – 1971)
THE PRINT SHOP 1910 (Chamberlain 27)
Color woodcut signed in pencil. Unnumbed from an edition 100 as published in the
Hills o’ Brown Portfolio, (plate 11 of 12). Image 9 x 13 1/8, sheet 10 ¼ x 13 7/8 with
deckle edge at the bottom. The print portrays the Brown County...
Category
1910s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
A Mirage
By James McBey
Located in Storrs, CT
A Mirage. 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A ri...
Category
1920s Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Drypoint, Etching
New Year’s Eve and Adam
By John Sloan
Located in Myrtle Beach, SC
John Sloan, 'New Year's Eve and Adam', etching, 1918, edition 100, (only 85 printed), Morse 190. Signed, titled and annotated '100 proofs' in pencil. Signed and dated in the plate, l...
Category
1910s Ashcan School Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
Xylon 21 Naoko Matsubara USA
Located in Fairlawn, OH
Xylon 21 Naoko Matsubara USA
Woodcuts, two which are printed in color, 1970
2 of the 5 woodcuts signed in pencil (see photos)
Five original woodcuts, two of which are signed in penci...
Category
1970s Abstract Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Woodcut
Le Rêve (The Dream)
By Théophile Alexandre Steinlen
Located in Fairlawn, OH
Le Rêve (The Dream)
Color gillotage poster, 1890
Signed in the image lower right corner (see photo)
This poster for a ballet at the Académie nationale de musique in Paris is typical ...
Category
1890s Impressionist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Ascension (Traffic in front of St. Bartholomew / Park Ave bet 50th and 51s
By Frederick Mershimer
Located in New Orleans, LA
An overflow of traffic in front of St. Bartholomew's Episcopal Cathedral on Park Avenue between 50th and 51st
Category
1990s Contemporary Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Mezzotint
Madame Carmencita, Plate 9
By Georges Rouault
Located in Fairlawn, OH
Madame Carmencita, Plate 9
From: Cirque de l'etoile filante (Circus of the Shooting Star), 1934-1936 (published 1938)
Signed with the artist's initials and dated, lower right of plat...
Category
1930s French School Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Aquatint
'Ex Libris Dr. Witropp' — German Expressionism
By Karl Michel
Located in Myrtle Beach, SC
Karl Michel, 'Ex Libris Dr. Witropp - Homunculus und Galatee', etching, 1923, edition not stated. Signed, dated, and numbered 'Op. 140' (the artist's inventory number) in pencil. Si...
Category
1920s Expressionist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
Te Arii Vahine - Opoi / La femme aux mangos - Fatigué
By Paul Gauguin
Located in London, GB
Paul Gauguin
Te Arii Vahine - Opoi
La femme aux mangos - Fatigué
1898
Woodcut, Edition of 30
Paper size 18.5 x 28.2 cms (7 1/4 x 11 ins)
Image size 16 x 28.2 cms (6 1/4 x 11 ins)
Co...
Category
1890s Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Woodcut
Crucifixion
Located in Fairlawn, OH
Jean Pichore workshop, 1500-1541
Crucifixion
Metal cut engraving printed on vellum with vintage hand coloring
c. 1500-1541
Miniature (image) size: 4 3/4 x 3 1/8"
Including decorated ...
Category
16th Century Old Masters Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Engraving
Monsieur - Here's Your Handkerchief
By Honoré Daumier
Located in New York, NY
Honore Daumier (1808-1879), Monsieur – Here’s Your Handkerchief, lithograph, 1842. Daumier Register 670, third state (of 3), sur blanc, plate 47 from the series Moeurs Conjugales, pu...
Category
1840s Realist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Oursikoff - including a copy of the Journal in which it appeared
By Honoré Daumier
Located in New York, NY
Honore Daumier (1808-1879), Oursikoff, lithograph, from Actualities, Plate number 72, published in Charivari, 1854. Reference: Daumier Register 2519, second state of two, a newsprint...
Category
1850s Realist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
Architectura Curiosa Nova, Sunburst Garden Fountain
By Georg Andreas Böckler
Located in Myrtle Beach, SC
George Andreas Böckler, 'SunBurst Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked...
Category
1660s Realist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Engraving
POLSTER (The Cushion)
By Max Kurzweil
Located in Santa Monica, CA
MAXIMILLIAN KURZWEIL (Austrian 1867-1916)
DER POLSTER / THE CUSHION, 1903. Color woodcut printed on laid japon paper, affixed as usual to a support sheet from its upper sheet edge...
Category
Early 1900s Vienna Secession Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Woodcut
'Cheval de Mecklembourg' — 19th-Century French Romanticism
By Jean Louis Andre Theodore Gericault
Located in Myrtle Beach, SC
Théodore Géricault 'Cheval de Mecklembourg' (Mecklembourg Horse), lithograph, 1822, 2nd state of 4, Delteil 47. Signed in the matrix 'Gericault', lower left. Published by Godefroy En...
Category
1820s Romantic Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
'On Stage' — Mid-Century Surrealism, Atelier 17
Located in Myrtle Beach, SC
Ian Hugo, 'On Stage', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with margins (3 5/8 to 4 7/8 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed.
Image size 5 7/8 x 3 7/8 inches (149 x 98 mm); sheet size 15 1/8 x 11 1/8 inches (384 x 283 mm).
Ian Hugo originally created "Ten Engravings" in 1945, and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the United States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions.
“The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.”
—Anais Nin, from the forward to the portfolio ‘Ten Engravings’
ABOUT THE ARTIST
Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature.
Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research.
Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June.
Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages."
In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking.
Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...
Category
1940s Surrealist Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Engraving
Shadows on the Ramp
By Martin Lewis
Located in Storrs, CT
Shadows on the Ramp. 1927. Drypoint and sand ground. McCarron 64. 9 x 10 1/2 (sheet 12 3/8 x 14). Edition 75 recorded impressions. A rich, tonal impression with drypoint burr, printe...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Drypoint, Etching
'The Castle' — Mid-Century Modernist Children's Fantasy
By Edward August Landon
Located in Myrtle Beach, SC
Edward Landon 'The Castle', color serigraph, 1953, edition 35, Ryan 33. Signed, titled, and numbered '11/35' in pencil. A fine impression, with fresh colors, on cream Japan paper. Th...
Category
Mid-20th Century American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Screen
CURRIER & IVES - 1860 LINCOLN ELECTION CAMPAIGN
By Currier & Ives
Located in Santa Monica, CA
CURRIER & IVES (LOUIS MAURER)
1860 LINCOLN ELECTION CAMPAIGN
THE IMPENDING CRISES - OR CAUGHT IN THE ACT, 1860 (C.3033, G.3270)
Lithograph...
Category
1860s Other Art Style Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
La Cardeuse (Woman Carding Wool)
By Jean François Millet
Located in Storrs, CT
La Cardeuse (Woman Carding Wool). c. 1858. Etching. Delteil, Melot 15. only state. 10 x 7 (sheet 12 3/8 x 9 1/2). Illustrated: Print Collector's Quarterly 25 (1938): 146; Keppel, The...
Category
1850s Barbizon School Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
'Abstract Boats' — American Modernism, WPA
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Abstract Boats', color serigraph, 1938, edition 12. Signed, dated, and numbered ' /12' in pencil. A fine, painterly impression, with fresh colors, on buff wove paper; t...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Screen
THE SUCCESSFUL FORTUNE HUNTER - Leading Miss Morrowfat to the Temple of Hyman
By Thomas Rowlandson
Located in Santa Monica, CA
THOMAS ROWLANDSON (1757 - 1827)
THE SUCCESSFUL FORTUNE HUNTER - Our Captain Shelalee Leading Miss Morrowfat to the Temple of Hyman, 1802 issued in 18...
Category
1810s English School Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
Kris Dancer, Bali
By Albert Al Hirschfeld
Located in Myrtle Beach, SC
Al Hirschfeld, 'Kris Dancer, Bali', color lithograph, 1941, edition 1,000. Signed in the stone, lower right. A fine, clean impression, with fresh colors, on cream wove paper, the ful...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Lithograph
The Whale's Back [Connecticut]
By Kerr Eby
Located in Storrs, CT
The Whales Back. 1925. Etching. Giardina catalog 95 stateiii. Image: 6 1/2 x 12 (sheet 10 x 16). Trial proof, prior to the edition of 90. Illustrated in Fine Prints of the Year, 1927. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby.
The scene is probably Westport or Cos Cob, Connecticut.
The scene is probably Westport or Cos Cob, Connecticut.
Kerr Eby...
Category
Early 20th Century American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching
![The Whale's Back [Connecticut]](https://a.1stdibscdn.com/kerr-eby-prints-works-on-paper-the-whales-back-connecticut-for-sale/a_3352/a_115476821673484515318/whalesbackeimage3_master.jpg?width=240 "Kerr Eby - The Whale's Back [Connecticut]")
Statue of Liberty Suite: Day and Night
By Erte - Romain de Tirtoff
Located in Storrs, CT
Statue of Liberty (Day). 9886. Seriagraph with embossing and hand stamping. Image: 28 x 20. Series: Statue of Liberty Suite Edition 300, #248. A fine impression printed on the full s...
Category
Late 20th Century Art Deco Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Screen
Guardians of the Spire (Amiens Cathedral Number 2)
By John Taylor Arms
Located in Storrs, CT
Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Figurative Prints
Materials
Etching, Drypoint
