Arnoldo Ciarrocchi Art

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

An etching is an intaglio printmaking process in which lines or areas are incised using acid into a metal plate in order to hold the ink. In etching, the plate can be made of iron, copper, or zinc. Once etched, the plate is then printed onto paper. David Becker Light Rail...

This serigraph print is for sale from Roy Fairchild's Personal Collection. This print will come with a certificate of authenticity from London Contemporary Gallery and a unique signed letter from Roy Fairchild himself authenticating the work and detailing that this is from his personal collection. Roy Fairchild-Woodard was born in 1953 in Surrey, England. He currently lives and works most of the year in the peaceful environment of his Country home. The rest of the year he travels throughout Europe; Italy in particular, to obtain new sources of inspiration. His affinity with Italy is the painters of the Renaissance, especially their frescos, tapestries and paintings. The plasterwork of the frescos is alluded to in his use of plaster as a base for his acrylic and oil overpaints. Also the influence of Egon Schiele and Gustave Klimpt can be seen in his occasional reference of line and decoration. He received a degree in graphic design and started working under the name Woodard to produce more commercial...

After Marc Chagall (1887 - 1985) By Charles Sorlier (French, 1921-1990) "Bataille de Fleurs (Carnaval of Flowers)" (from Nice and the Côte d’Azur), 1967 Reference: CS 33 Color Lithograph Image Size: 24 7/16 in x 18 in (62 cm x 45.8 cm) Sheet Size: 29 9/16 in x 20 11/16 in (75 x 52.5 cm) Framed Size: approx. 34 x 27 inches Edition: Numbered 1 of 150 in pencil in the lower left margin and printed on Arches wove paper (aside from an edition of 75 signed and numbered in Roman numerals and 10 artist's proofs). Signature: This work is hand signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil in the lower right margin. Marc Chagall was a man of keen intelligence, a shrewd observer of the contemporary scene, with a great sympathy for human suffering. He was born on July 7, 1887 in Vitebsk, Russia; his original name was Moishe Shagal (Segal), but when he became a foremost member of the Ecole de Paris, he adopted French citizenship and the French spelling of his name. Vitebsk was a good-sized Russian town of over 60,000, not a shtetl. His father supported a wife and eight children as a worker in a herring-pickling plant. Sheltered by the Jewish commandment against graven images, the young Chagall never saw so much as a drawing until, one day, he watched a schoolmate copying a magazine illustration. He was ridiculed for his astonishment, but he began copying and improvising from magazines. Both Chagall's parents reluctantly agreed to let him study with Yehuda Pen, a Jewish artist in Vitebsk. Later, in 1906, they allowed their son to study in St. Petersburg, where he was exposed to Russian Iconography and folk art. At that time, Jews could leave the Pale only for business and employment and were required to carry a permit. Chagall, who was in St. Petersburg without a permit, was imprisoned briefly. His first wife, Bella Rosenfeld, was a product of a rich cultivated and intellectual group of Jews in Vitebsk. Chagall was made commissar for the arts for the area, charged with directing its cultural life and establishing an art school. Russian folklore, peasant life and landscapes persisted in his work all his life. In 1910 a rich patron, a lawyer named Vinaver, staked him to a crucial trip to Paris, where young artists were revolutionizing art. He also sent him a handsome allowance of 125 francs (in those days about $24) each month. Chagall rejected cubism, fauvism and futurism, but remained in Paris. He found a studio near Montparnasse in a famous twelve-sided wooden structure divided into wedge-shaped rooms. Chaim Soutine, a fellow Russian Jew...

Venetian painter (18th century) - Turkish nobles with parrot and musician. 43.5 x 63.5 cm without frame, 50 x 70 cm with frame. Antique oil painting...

Adolf Dehn (1895-1968) was an American painter, printmaker and draftsman. A native of Waterville, Minnesota, he attended the Minneapolis School of Art where he met colleague Wanda Ga...

A man raises his hand to his chin, his neck tilted and face turned to look at a dilapidated farmhouse, barely held together by planks of wood and exposed to the elements. Behind him ...

Italian painter (18th century) - Street theater. 74.5 x 62.5 cm without frame, 86 x 73.5 cm with frame. Antique oil painting on canvas, in a gilded wooden frame (not signed). Cond...

French painter (18th century) - Flute player and dog. 43.5 x 35 cm without frame, 54 x 45 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden frame (not si...

This artwork titled "The Fifth Hole (Kapalua Resort Hawaii)" c.1985, is an original color lithograph on paper by noted French artist Guy Buffet, 1943-2023. It is hand signed and numb...

5-3170a Rare and finely painted American Colorful Pointillist landscape oil painting of a woman with an umbrella.Signedn Baxter Set in a vintage wood frame

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...