Ifpda International Fine Print Dealers Association Figurative Prints

Prelude de Lohengrin (2e planche) (The appearance of the Holy Grail) Lithograph, 1898 Signed and dated in the stone lower left (see photo) Printed on chine collee paper Condition...

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...

Profile Bust of a Girl - Woman's Head in Profile (Havard) Drypoint, 1920 Unsigned (as issued) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, proof from ...

This etching is signed and numbered by the artist and was printed in an edition of 50. The references for this work are: Auberty & Perussaux 266 and Ginestet & Pouillon E. 385 II/II...

Irving Place Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh...

Le Village (The village) Original lithograph in colors, listed in the artist's catalog raisonne of his prints, 1977 From: Derriere le Miroir, No. 225, Edition 15,000 as published in...

No Footprints Show, Where the Flowers Grow Deep Woodcut, 1961 Unsigned (as isssued) From: The "Way" of the Woodcut, three woodcuts, 1961 Publisher: Pratt Adlib Press, Brooklyn, New Y...

Woodcut after Peter Paul Rubens (Siegen 1577 - 1640 Antwerp) 337 x 451 mm.; 13 1/4 x 17 3/4 inches Provenance: The Metropolitan Museum of Art, New York, Duplicate stamp on verso...

Napoleon a Bautzen Lithograph, 1822 Signed in the stone (see photo) From: Arnault, A. V. Vie Politique et Militaire de Napoleon (120 plates) Published, Paris, Librairie Historiquem 1...

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...

The Barker Etching, 1931 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh, Thirty Etc...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

La Toilette Drypoint, 1908 Signed and numbered in pencil by the artist (see photos) Edition: 65 this state (35/65) Published by Gustave Pellet (1859-1919),...

JOSE CLEMENTE OROZCO (Mexican, 1883-1949) MACHINES, (aka Dos cabezas y Maquinas, Dos Cabezas, Maquinas) 1935 (Orozco 26) Lithograph. Image 12 x 17 inches. Full margins, sheet 16 x 2...

Lola De Valence Etching, 1862 Signed in the plate lower left: “Ed Manet” Printed on chine collee paper, without watermark From the first edition, published by Cadart and Luquet, Paris, before the removal of the inscription “ Ed. Manet sculpt” From the 1863 edition, before the 1874 Portfolio, 1890 Portolio. 1894 Dumont edition and the Strolin edition of 100 in 1905 Pencil inscription with title below the plate in the lower margin Conditiono: Excellent Image size: 10 7/8 x 6 7/8 inches Plate size: 18 3/4 x 13 inches Reference: Harris-Manet 33 iii/III Guerin-Manet 23 vi/VIII The painting that this etching is inspired by is in the collection of the Musee d'Orsay, Paris. "Lola de Valence is a painting by the painter Édouard Manet in 1862 . The canvas represents a dancer dressed intraditional Spanish clothes...

Keying Up - The Court Jester Etching with drypoint, 1879 Signed in the plate lower left corner (see photos) Proof before engraved title and engraved names Printed on thin light golden Japanese tissue paper In the final state, with engraved titled and typeface engraved artist’s signature below the image Condition: excellent Plate size: 6-5/8 x 4-1/4" According to Pisano, this image was very popular during Chase’s life. It is based on his famous painting, Keying Up-The Court Jester, in the collection of the Pennsylvania Academy of Fine Arts. The painting was created in Munich during the artist’s studies there. It was exhibited in the 1876 Centennial Exhibition in Philadelphia where it won a Medal of Honor and helped establish the artist’s reputation as a leading American painter. Chase, always conscious of self promotion, created the etching and had numerous impressions printed. He sold them for a modest price to increase his fame. The etching was later published in Sylvester R. Koehler, American Art Review, September 1878. It was for this American Art Review printing that the engraved titled and type face signature below the image were added to the plate. This example was part of a group of impressions that came down in the Chase family via his daughter Dorothy Bremond Chase, his third daughter. They were acquired at auction in a single auction lot, housed in a paper board folder. The consignor was Associated American Artist’s as they were liquidating their stock prior to closing the gallery. Dorothy was the subject of Chase’s painting, My Little Daughter Dorothy. C. 1894, in the collection of the Detroit Institute of Arts as well as numerous other portraits of her. Reference: Pisano/Bake, Volume 1, Pr. 3, illustrates the rare 1st state, this being a 2nd state before any other the engraved title and Chase's name in the bottom margin which are found in the third state. Artist bio in file (Chase) In 1883 Chase was involved in the organization of an exhibition to help raise funds for a pedestal for the Statute of Liberty. The exhibition featured loans of three works by Manet and urban scenes by the Italian Impressionist Giuseppe de Nittis. Both artists influenced Chase's Impressionistic style that gave rise to a series of New York park scenes. It is also thought that he was influenced by John Singer Sargent's In the Luxembourg Gardens (1879) which was exhibited in New York at this time. Indeed, Chase had met Sargent in Europe in 1881, the two men becoming lifelong friends with Sargent painting Chase's portrait in 1902. On another European trip in 1885, Chase met James McNeill Whistler in London. While Whistler had a reputation for being difficult, the two artists got along famously and agreed to paint one another's portrait. Eventually, however, Whistler's moods began to grate with Chase who wrote home stating "I really begin to feel that I never will get away from here". For his part, Whistler criticized Chase's finished portrait and, according to Hirshler, "complained about Chase for the rest of his life". While no record exists of Whistler's portrait of Chase; Chase's portrait of Whistler remains a well-known piece in his oeuvre. In 1887 Chase married Alice Gerson, the daughter of the manager of a lithography company. Though some fifteen years his junior (Chase was 37), he had known Alice for some time through her family's devotion to the arts. The pair, who would enjoy a happy marriage with Alice in full support of her husband's career, settled initially in Brooklyn where their first child was born. The couple would parent six daughters and two sons and it was only his family that could rival his devotion to his art. Indeed, Chase often combined his two loves by painting several portraits of his wife and children in Brooklyn parks before the couple relocated to Manhattan. Later Period Between 1891 and 1902, Chase and his family spent their summers at a purpose-built home and studio in Shinnecock Hills, a close suburb of the upmarket town of Southampton on the south shore of Long Island (roughly 100 miles east of New York). Chase set up, and taught two days a week, at the nearby Shinnecock Hills Summer School of Art which benefitted from the financial backing of local art collectors. It was at Shinnecock that Chase, taken in by the region's striking natural surroundings, painted several Impressionistic landscapes. As Bettis put it, "There, among the dunes, in the bright sunlight and sea air his painterly impulse was given free sway, and he produced some of his freest and loveliest work". His passion for the area was so felt he even gave his daughter Hazel the middle name of Neamaug, in honor of the rich Native American history of Shinnecock. Chase was equally focused on the students that came to the School and who he encouraged to paint in the modern plein air style favored by the French Impressionists. Although Chase was making a name for himself as an Impressionist, he never abandoned his commitment to the sombre tones and academic tropes he had learned in Munich, though these he reserved for his portraits, and for his series of striking still lifes featuring dead fish. Chase was in fact a successful society portraitist - he painted fashionable women for a fee of $2,000 - and would paint his students as "samples" which he then donated to leading art institutions (such as Lady in Black (1888) which he donated to the Metropolitan Museum in 1891). In 1896, facing financial difficulties, Chase flirted with the idea of giving up his teaching in New York and traveled with his family to Madrid where he developed a passion for bullfighting. Chase returned however to Shinnecock in June to teach his yearly summer art class, and in the fall of that year, established his own art school in Manhattan: the Chase School which was modelled on the Académie Julian in Paris. Chase lacked business savvy, however, and the Chase School lasted only two years before it was placed under new management. It continued as the New York School of Art (changed to Parsons School of Design starting 1941) with Chase as head the School for eleven more years. Chase also taught during this period at the Pennsylvania Academy of Fine Arts. In 1902, following the premature death of his friend John Twachtman, Chase was invited to join the Ten American Painters group (who included amongst its members, Frank Weston Benson, Thomas Wilmer Dewing...

April: Otsuyu of Yanagibashi in Wisteria Arbor at Kameido Color woodcut, 1880 From the series: "Pride of Tokyo's Twelve Months" (Tokyo jiman juni kagetsu) Signed and sealed lower rig...

Reginald Marsh (1898-1954), Merry-Go-Round, etching, 1930, signed in pencil lower right and numbered "24" lower left. In very good condition, with margins (cut irregularly,...

America's Mom II (Small Leticia) Lithograph, 2016 Signed and numbered in pencil by the artist Series: America's Family II (Four images) Edition: 40, of which 20 were retained by the ...

Henri Matisse Patitcha 1947 Aquatint on BFK Rives paper, Edition of 25 Paper size: 55.5 x 38 cms (22 x 15 ins) Image size: 34.9 x 27.6 cm (13 3/4 x 10 7/8 ins) HM15405 Selected Coll...

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...

Giovanni Domenico Campiglia, 'Bacchus Cumampelo', engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. Engraving by Gabbugiani, after the original...

Qui ne se grime pas? (Who does not wear a mask?) Aquatint, roulette, drypoint, acid bite, and scorper, 1923 Signed in the plate loweer left (see photo) Dated in pencil Series: Miser...

Reading Lithograph, 1879 and 1887 Signed in the stone with the Butterfly (see photo) A proof laid paper printed before the edition of 100 impressions printed for Art Notes Watermark:...

Original lithograph, produced as part of a portfolio of images by Reynaldo Luza for the Parisian fur house, Revillon Freres. Paris, Draeger for Revillo...

Color lithograph, Edition 30. Known for paintings based on historical Chinese photographs, Hung Liu's subjects over the years have been prostitutes, refugees, street performers, s...

Bathing at Long Branch-“Oh, Ain’t it Cold” Wood engraving, 1871 Signed in the block with the artist's initials "WH", see photo Published in: Every Saturday, Aug. 16, 1871 Condition: ...

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...

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...

Kaus, Max. BADENDE MANNER: (THREE MALE BATHERS AT THE SHORE). Lithograph, c. 1924. Signed, lower left, in pencil, and numbered 6-10, further inscribed, lo...

Au Bois De Boulogne (illustrating the congregation of French nobility outside the Chalets du Cycle Chromolithograph, 1897 Signed in the plate lower right corner From the Special Supp...

Avril (April) Color aquatint and etching, c. 1906 Signed in pencil lower right Edition: c. 100 Excellent impression, fresh colors Reference: Merrill Chase Volume 1, No. 9 Condition: ...

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 ...

L'ACTEUR . . . . - On voit bien qu'il fait chaud . . . . . . . trois spectateurs dans la salle ..... faut-il commencer ? . . . . LE DIRECTEUR .- Et encore un des trois est le vendeu...

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...

Elyse Ashe Lord (1900-1971), Celestial Nymph I, c. 1930, color etching, soft ground, drypoint; signed lower right in pencil and numbered by the artist lower left. In very good condition, the full sheet, 8 1/4 x 10, the sheet 17 x 13 1/2 inches. A fine impression, with strong color and plate tone on the nymph and surrounding decorations, and with pencil additions in various places on the nymph by the artist (using the same pencil as with signing). Printed on a light laid ivory Japan paper. Provenance: Kennedy Galleries, New York (with their stock number A 32064) Elyse Ashe Lord developed her unique artistic style exclusively around oriental subject matter. Her art was inspired by both Chinese art and various aspects of oriental culture. Although E.A.Lord never actually travelled to China, she used Chinese paintings, embroideries and wall hangings, together with objects from surrounding Eastern countries, as the sources for her images. The highly individual style which Elyse Lord created reflects both this source material and the influences of Art Deco and early 1920’s fashion. In particular, Elyse Lord is unusual in combining the technique of drypoint with woodcut colour printing. She uses the drypoint design almost as the Japanese would have used a key block in multiple block colour printing. The colours would then be added by over-printing the drypoint design using colour-inked wood blocks, precisely as displayed by this unique series of progressive proofs. Elyse Lord would always supervise the difficult process of printing her plates and blocks, in person. [I am indebted to Michael Campbell...

Les Laveuses, 2e Pensee (The Washerwomen) Lithograph, c. 1910 Unsigned (as issued) Edition: c.30-50 impressions Condition: Rust spot, associated with pape...

Robe Grise Pochoir (silk screen) printed in colors, 1923 Signed by the artist in pencil lower right (see photo) The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Two spots in the upper left corner associated with the printing. Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino...

PKZ Reprint - 1981 - Official 1981 reprint for Kunstgewerbemuseum, Zurich Printer: JE Wolfensberger Niklaus Stoecklin – PKZ – 1935 PKZ Burger-Kehl & Co. AG, Zurich, C Switerland Lit...

Indian Friendship Dance Drypoint, 1953 Signed in pencil lower right, (see photo) Edition 200 Published by The Society of American Graphic Artists, New York An impression is in the collection of SAAM, Washington and RISD Museum, Condition: Excellent Very rich impression with burr and selective whiping of the ink for atmospheric nocturnal effect. Image/Plate size: 8 3/16 x 11 15/16 inches Sheet size: 11 1/8 x 17 inches Reference: Kloss 450 "'Indian Friendship Dance' is an eloquent statement of something which Gene Kloss has both observed and participated in. It is an Indian dance that is thought of as entertainment, rather than ceremony, but it is essentially an idea expressed in action, and an idea that has universal meaning. The young men who dance wear costumes of exquisite workmanship, intricately wrought with beads and feathers and subtle combinations of colors. The dancers are trained from childhood but develop their own steps and exhibit distinctive strength and grace. Singers and a tom-tom accompany the dance and since it usually takes place at night, a campfire is the source of light. The conclusion occurs when all the onlookers, old and young and from many places, join hands with the dancers in a slow revolving movement, while those who can, sing the difficult but meaningful Indian song that flows with the rhythmical dance step and speaks of fellowship, brotherhood, friendship." - An excerpt from a descriptive statement, written by Lynd Ward, and distributed with the drypoint at the time of publication." Courtesy Old Print Shop Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

Joan Snyder has been called an autobiographical, even confessional artist, who draws from her experiences and surroundings to create her paintings. While her subjects vary widely, Sn...

Man, Wife and Child Etching, 1905 Signed and titled in pencil by the artist below image (see photo) Annotated in pencil by the artist "100 proofs" Signed and dated in the plate lower...

This 1927 etching by Frank W. Benson is entitled Winter Wildfowling. Printed in an edition of 150 this impression is signed in pencil, lower left. The image size 11 7/8 x 9 7/8" (30 x 24.8 cm) and sheet size 15 1/16 x 12 5/8" (38.3 x 32 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...

XXe Siecle, No. 34, Mai 1970 Color lithograph, 1970 Unsigned (as usual for XXeme Siecle edition) From: XXe Siecle, Volume 34, 1970 Published by G. di San Lazzaro for A. Maeght, Paris...

Darius at 10 Drypoint, 2022 Signed, titled and numbered in pencil Printed by Rebekah Wilhelm Her drystamp lower right Published by the artist Edition 14, plus proofs Condition: Excel...

Johnson, Lester (American, 1919-2010). CITY SCENE. Lithograph, 1970. Edition of 20. Signed in pencil and numbered "3/20." 19 1/4 x 30 inches (image/sheet),...

Marsh, Reginald. FROZEN CUSTARD. S.183. Etching and engraving, 1939. Second State of two. Edition of only 18, printed by Marsh and signed and titled in pencil. 7 x 10 inches, 178 x 2...

Citron, Minna (American, 1896-1991). SUBWAY TECHNIQUE. Lithograph, 1933. Edition of 20, numbered 10/20, titled, and signed in pencil. A few spots of foxing in the margins, away from ...

Original pochoir process print (hand-colored stencil). Paris, ca. 1925. Displayed in a custom silver giltwood frame.

L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes) Etching, 1881 Unsigned (as usual for this state) From: L'enfant prodigue, (The Prodigal Son, five plates) Ed...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

As We Were Mezzotint printed on Hannemuelle Copperplate paper, 2014 Signed and dated in pencil lower right (see photo) Titled lower left (see photo) Chop stamp of the publisher, The ...

The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135 state ii. Image 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream-laid paper. Way lists 15-lifetime impressions (Goulding printed...

Le monocycle (Performer on a Unicycle) Color lithograph, 1968 Signed and numbered in pencil lower left corner From the portfolio "Mon Cirque" (My Circus) Edition: 120 (12/120) Refere...

Mädchen am Fenster. 1906-08. Color lithograph printed on smooth card stock. Full margins. , signed by the artist in pencil, on the recto. Published by the Wiener Werkstätte, Vienna, with the printed postcard text on verso. Among Kokoschka's earliest prints were a series of 14 postcards, the current work and the following lot that he produced for the Wiener Werkstätte. Wingler/Welz 4. Oskar Kokoschka was an Austrian artist, poet and playwright best known for his intense expressionistic portraits...

Les deux tures coifffes d’un turban avec une aigrette (The two headdresses of a turban with a crest) Etching, 1618 From: Varie Figure (16 plates) Condition: Trimmed withing the plate...

The etching "Running the Rapids" was created by Frank Benson in 1927. Printed in an edition of 150, this impression is signed in pencil, lower left. The image size is 5 13/16 x 7 7/8" (14.8 x 20 cm) and sheet size 8 1/16 x 10 5/16" (20.3 x 26.2 cm). Frank Weston Benson (1862-1951), 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...

1926. Drypoint. Appleby 119. 6 7/8 x 8 7/8 (sheet 9 x 12 1/4). Edition 100, #97. Printed by David Strang on cream laid paper. Wrinkling in the margins; otherwise fine condition. A rich impression with tonal wiping and drypoint burr. Signed and numbered in pencil.n pencil. Housed in a 16 x 20-inch archival mat, suitable for framing. The bathing machine...

Villon, Jacques. LES PETITS HALEURS. GP 176. Etching and Aquatint, 1907. Edition of 50 on Arches laid paper, signed and numbered in pencil, 5 3/4 x 7 3/4 inch...

Barberis, Franco. PKZ [Man Tipping His Hat]. 1953, Color lithograph, 50 1/2 x 35 1/2” On Linen. Ref: American Poster Renaissance, p. 41 As a graphic designer, Barberis was initial...