Anna Halarewicz Art

Etching on wove Arches paper. Hand signed and numbered in ink. Edition of 125 prints. Published by Editions Albert Skira, Paris, in 1930. Very good condition. Catalogue Bloch no. 132.

Venus et l'amour, dans le style du XVIIE siecle is a contemporary artwork realized by Pablo Picasso realized in 1968. Black and white etching. The artwork is the plate 159 from se...

Presented here as a group are four original etchings of women in European national dress from the master printmaker Wenceslaus Hollar's series "Aula V...

Manuel Ayaso Artist with Models Etching on wove paper Year: 1970 Size: 6.5x7.25 on 15x13in Edition: 50 Signed and numbered by hand COA provided Ref.: 924802-1357 Manuel Ayaso is known for Mod figure, genre, sculptor. Painter; Sculptor Born in Riviera, Spain in 1934. Studied at Newark School of Fine and Industrial Arts. His work is in the Whitney Museum of American Art, Worcester Museum and the Pennsylvania Academy of Fine Arts.

Graham Fransella Figure on Sand Limited Edition Etching Triptych Edition of 25 Individual Sheet Size: H 90cm x W 46.7cm x D 0.2cm Total Size: H 90cm x W 140cm x D 0.2cm Sold Unframed...

'The Smoker (Le Fumeur)' is an original etching by the celebrated Dutch painter and printmaker Cornelis-Pietersz Bega. It presents a genre scene of the type Bega was best known for: Bega's principal subjects were genre representations of taverns, domestic interiors and villages. He depicted nursing mothers, prostitutes, drunks, gamblers and fools such as quack doctors and alchemists. In this case, he shows a man seated on a chair with his foot on a flat stool and holding a smoking pipe. For Bega, this representation was more of a caricature than it was an image of a specific person, and such genre scenes would have held allegorical and symbolic meaning for the seventeenth-century viewer. During the seventeenth century, the Dutch of all levels of society consumed tobacco and alcohol, and these were an important part of the Dutch economy and a major source of wealth. At the same time, however, moralists and ministers sought to curb intoxication: they openly described drinking and smoking as sinful, immoral, and a general threat to one’s reputation. This paradox is reflected in prints such as this, which inherently carry the national pride of the Dutch economy alongside a moral warning in a print that could be just as easily consumed and collected. 2.5 x 2.25 inches, print 12.38 x 10.38 inches, frame Framed to conservation standards using archival materials including 100 percent rag matting and mounting materials. Housed in a gold finish Spanish-style wood moulding. Overall good and stable condition; margins cut to plate; some wrinkling in the corners from previous mounting; housed in a new custom frame. Cornelis Bega was born into prosperous circumstances. His mother, Maria Cornelis, inherited half the estate (gold, silver, paintings, drawings and prints) and all of the red chalk drawings of her father, Cornelis Cornelisz van Haarlem, a renowned Mannerist artist. Bega's father was Pieter Jansz Begijn (d 1648), a gold and silversmith. Like other family members, Bega was probably Catholic. Houbraken's claim that Bega studied with Adriaen van Ostade is likely to be correct; this was probably before 24 April 1653, when Bega joined Vincent Laurentsz. van der Vinne in Frankfurt for a journey through Germany, Switzerland and France. Bega had returned to Haarlem by 1 September 1654, at which time he joined the Guild of St Luke; he was already a competent draughtsman, as indicated by his first extant dated work, Interior with a Nursing Mother (1652; Frankfurt am Main, Städel. Kstinst.), and by a remarkable double portrait (Amsterdam, Rijksmuseum) drawn by him and Leendert van der Cooghen in 1654. Bega painted, drew, etched and made counterproofs in a wide variety of materials on different types of small-scale supports. He may have been the first Dutch artist to make monotypes, but this remains controversial. Approximately 160 paintings, 80 drawings and six monotypes by Bega have been catalogued, as well as around 34 etchings. Bega's principal subjects were genre representations of taverns, domestic interiors and villages. He depicted nursing mothers, prostitutes, drunks, smokers, gamblers and fools such as quack doctors and alchemists. Less common subjects include the ridiculed or pestered woman, as in Two Figures and Mother with a Spirits Bottle (c. 1662; Gouda, Stedel, Museum Catharina Gasthuis) and The Inn (etching), as well as witty satires on traditional scenes of middle-class music-makers, such as the Music Lesson (1663; Paris, Petit Palace). Bega's early paintings, such as the Weaver's Family (c. 1652; St Petersburg, Hermitage), are freely executed, dark and coarse, recalling the many-figured peasant subjects of van Ostade. Between c. 1660 and 1664 he began to paint genre scenes with fewer figures, which are finely articulated, colourful and psychologically expressive, for example Two Men Singing (1662; Dublin, N.G.). His exquisite, late fijnschilderen ('fine painting') manner, evident in The Alchemist (1663; Malibu, Getty Museum), compares well with that of Gerrit Dou. As a draughtsman Bega is noted for his single-figure studies, executed mainly in black and white chalk on blue paper or red chalk on white paper. None of the studies, which were drawn naer het leven (from life), seem to relate to a painting or etching. Bega traded drawings or shared models with other artists of the Haarlem school, including van der Cooghen, Gerrit Berckheyde, Dirck Helmbreker and Cornelis Visscher. These artists drew chalk figure studies in a very similar style, characterised by regular and precise parallel shading and well-defined forms; their drawings, especially those of Bega and Berckheyde, have been frequently confused. Unlike the realistic figure studies, Bega's etchings depict interiors with figures or single figures in the manner of van Ostade; the compositions, often with masterful chiaroscuro effects, reflect most closely the paintings of the 1650s. Bega is likely to have remained in Haarlem, where he paid dues to the Guild in 1661. He probably died from the plague; fees for his expensive funeral at St. Bavo's were paid on 30 August 1664. Among the artists he influenced were Thomas Wijck, Jan Steen, Richard Brakenburg (1650-1702) and Cornelis Dusart. Painters such as R. Oostrzaen ( fl ?1656) and Jacob Toorenvliet...

Etching and aquatint on wove paper, full margins. Hand Signed and numbered. Edition of 70/75. Belongs to the series "Les Bleus de Barcelone". Excellent condition. Ref. Bloch no. 1130.

Artist: Roberto Matta, Chilean (1911 - 2002) Title: The Eld of the World Year: 2002 Medium: Carborundum Etching on Hand-Made Paper, signed and numbered in marker Edition: an artist’s...

Jörg Olberg (*1956 Dresden), Agony, 1987. etching, E.A. (edition of 30), 24 x 17 cm (image), 46 x 37 cm (sheet), each signed in pencil lower right "Olberg" and dated "IX [19]87", inscribed lower left "E.A. [Epreuve d'Artiste]". - minimal crease and dust stains in the broad margin - The architecture of decay - About the artwork Jörg Olberg draws here the sum of his artistic study of the Berlin ruins, which were still present in the cityscape well into the 80s. With his work "Agony" he creates an allegory of decay. Positioned in the landscape of ruins, a ruined house grows before the viewer, rising like the Tower of Babel into the sky, its roof and gable brightly illuminated by the sun. But already the roof shows mostly only the rafters, and as the gaze is drawn further down, the building visibly disintegrates, the beams protruding in all directions looking like splintered bones. Slowly but inexorably - in agony - the house will collapse in on itself and become nothing more than the burial mound of itself. At the same time, the small-scale stone composition and the plaster form a pattern-like ornamentation of decay. The tension in the picture is fed by the counter-movement of growth and collapse, which is heightened by the dramatic formation of clouds. The swirls of clouds are reminiscent of a world landscape...

Henry Moore Seven Sculpture Ideas I (Cramer 589) Etching, aquatint and roulette in 10 colors, 1982, on Arches, signed in pencil. 39/50 From the numbered edition of 50. Published by ...

The present is one of the many prints John Thomas Smith produced of English cottages and vernacular architecture. This example, a view of a cottage in Edmonton, is closely related to...

Friedrich Meckseper Feuer Etching on Velum, BFK Rives Year: 1973 Size: 7.2x8.8 on 14.8x13.4in Edition: 200 Signed, dated and numbered by hand Drystamp lower left COA provided Ref.: 924802-1356 Friedrich Meckseper (born June 8, 1936 in Bremen ; † June 5, 2019) was a German painter, graphic artist, draftsman, designer and author. Friedrich Meckseper grew up in Stuttgart . The building researcher Cord Meckseper is his older brother. From 1952 to 1955 he completed his apprenticeship as a mechanic with the planned professional goal of becoming a locomotive engineer. Then he first began studying at the State Academy of Fine Arts in Stuttgart under Karl Rössing , in order to continue this from 1957 to 1959 at the Academy of Fine Arts in Berlin under Wolf Hoffmann . The first of his etchings also date from this period. In addition to his artistic work, Meckseper was also interested in technology. He designed and built a steamboat from 1972 to 1974 and crossed the Alps five times in a gas balloon between 1978 and 1986. Meckseper was influenced by, for example, Anton Heyboer...