Alexandre Falguière Art

Presenting a monumental original etching by French artist Albert Decaris. Decaris won many honors in France during his extensive career. "Leda and the Swan", depicts the mythologi...

Salvador Dali L'Ange du 7e ciel (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - ...

The formality, ornamental qualities and boldness of botanical art strongly influence Bardon's art. It is easy to see her inspiration in the patterns, line and simplicity of form found in Asian art. Some prints also include gold leaf, recalling the extensive use of gold on Japanese folding screens, and in early Renaissance painting...

Colour drypoint etching on Arches paper, edited in 1973.
 Limited edition of 190 copies, numbered as 16/190 in lower left corner.
 Hand-signed by artist in pencil in the lower right ...

Dorothea Tanning Nue Couchée (Reclining Nude), 1965 Etching, aquatint, soft-ground etching and open-bite on wove paper hand-signed and numbered by the artist. 49.8 x 64.5 cm - sheet ...

3rd State Watermark: Gekrontes Wappen. Similar to: Paschal Lamb on Shield, Ash & Fletcher no 29 B’a, dating this sheet to about 1651.

A finely executed antique etching depicting Jan Lutma (1584–1669), the celebrated Dutch goldsmith and sculptor, after the iconic composition by Rembrandt van Rijn. This celebrated po...

Mixed-media incorporating heliogravure and hand-colored drypoint etching on Arches paper, edited in 1963. Limited edition of 150 copies, numbered 71/150 in lower left corner. Hand-si...

George Brookshaw (1751-1823) Plate XLIX Blue Muscadine Aquatint, engraving with some stipple, printed in colors with hand finishing on J Whatman 1809 paper 1804-1812 Signed in the plate lower center margin (see photo) From: Pomona Britannica or A Collection of the Most Esteemed Fruits (90 Plates) Published: White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Format: Folio size, 1st edition Printer: Thomas Bensley (active c. 1760-1935) Considered to be a msaterpice of natural history illustration Reference: Dunthrone 1938.50 Condition: Excellent Image size: 18 3/4 x 17 inches Sheet size: 21 1/4 x 17 inches Provenance: W. Russell Button Gallery, Chicago Notes: Publication legend lower center: “Painted & Published as the Act Directs by the Author G. Brookshaw” followed by date, varying from 1804 to 1812. Title page credits: “Printed for the author by T. Bensley, Bolt Court, Fleet Street. Published by White, Cochrane and Co. Fleet Street; E. Lloyd, Harley Street; and W. Linsell, Corner of Wigmore Street.” George Brookshaw (1751-1823) (after) from Pomona Britannica; Or, a collection of the most esteemed fruits at present cultivated in this country… selected principally from the Royal Gardens at Hampton Court T. Bensley, London (printer) White, Cochrane & Co., E. Lloyd and W. Lindsell, London: [1804-] 1812 Folio edition Stipple engravings, printed in color, finished by hand 17.5 x 14 inches, plate mark, average approximate 22 x 17 inches, overall, average approximate Pomona Britannica, or a Collection of the Most Esteemed Fruits at present cultivated in the country…selected principally from the royal gardens at Hampton Court…accurately drawn and coloured from nature, with full descriptions was published in London from 1804—1812. Comprising 90 aquatint engravings, including 256 depictions of British fruit, after paintings by George Brookshaw. Published in London and engraved by R. Brookshaw and H. Merke. George Brookshaw (1751—1823) was born in Birmingham, England where he was apprenticed to Samuel Troughton (d. 1783), a Birmingham painter and japanner. According to a recent blog post related to St. Philips Cathedral, Birmingham, England, entitled In Search of Sobieski Brookshaw, by Gill Partridge, he may have received some art training from his father, also named George Brookshaw, who is listed as an engraver in a document dated 1751. George Brookshaw’s brother, Richard Brookshaw (1736—c.1804) was a portrait painter and engraver well versed in mezzotint and copperplate engraving techniques, and may have instructed his brother. In 1777, Brookshaw moved from Birmingham to London and began a celebrated career building fine cabinets detailed with hand-painted botanical and pomological motifs. Shortly afterward, in 1778, he married Sobieski Grice (1749—1811), daughter of William Grice, a prosperous gunsmith.The Prince of Wales was the most distinguished of Brookshaw’s well-heeled patrons, and today examples of Brookshaw’s cabinetry may be seen at the Victoria & Albert Museum, London. According to church records noted in Gill Partridge’s post, both George Brookshaw and Sobieski Grice were baptized at the Birmingham Cathedral. In his cabinet-making shop, Brookshaw also offered lessons in flower painting to ‘Ladies of Taste and Fashion’. During the mid 1790s, it appears his furniture-making business went bankrupt, and he led his life under an assumed name, G. Brown. In 1991, Lucy Wood wrote two articles in which she drew the connection between G. Brown and George Brookshaw. During his years of anonymity, Brookshaw worked as an illustrator of botanical books and gave flower-painting lessons, which may have been his primary source of income. Apparently, the marriage dowry he enjoyed while married to Sobieski Grice was lost after their marriage dissolved. Brookshaw returned to public view as the earliest parts of Pomona Britannica were issued. In Flower and Print Books of the 18th and Early 19th Centuries, Gordon Dunthorne extolls the virtues of George Brookshaw’s large folio edition. “One of the eminent English artists of the early nineteenth century is George Brookshaw, who issued in 1812, Pomona Britannica. Ninety aquatint plates, printed in colour and on a scale comparable to Thornton’s Temple of Flora...

Vitaly was considered an up and coming artist in his native Ukraine, after years of training under one of the Ukraine’s greatest graphic artists...

Signed, titled and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. They reflect t...

Signed, titled and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. They reflect t...