Bernard Bécan Figurative Prints

GEORGES ROUAULT (1871-1958) MON DOUX OU-ETES-VOUS? / MY SWEET COUNTRY, WERE ARE YOU? 1927 ( Chapon/Rouault 97; Wofsy 151) Miserere XLIV Aquatint, 1927, on laid Arches. watermark...

ED BAYNARD (American, 1940-2016) Flowers, Flowers in a Vase, Etching. 1979/1980, Hand signed, dated l.r., Hand numbered from small edition 12/24, Dimensions: 23 by 19 in. Framed 25 by 21 in Born in Washington, D.C. in 1940. Raised in Washington, D.C. and newly graduated from high school, he flew to Europe living off and on in Paris and London. During this time, he designed costumes for Jimi Hendrix, worked as a graphic designer for the Beatles as well as Elizabeth Taylor and Richard Burton. Returning to New York, he dedicated his life to art after a surprise success with his first show in 1971 at the Willard Gallery in NYC. Ed's images are Zen-like in their simplicity and grace rendered in a flat, graphic style that recalls Japanese Ukiyo-e prints. His watercolors are luminous, like the rest of his representations regardless of the medium. The Japanese inspired ukiyo-e style woodblock prints and lithograph works he created at Tyler Graphics in 1980 contain a 20th century "floating world" sensibility. Ed's wish was to bring harmony, color, and a meditative stillness to this chaotic planet. He did so in a gentle and powerful way, always as an expression of his deep gratitude for the love and beauty, friendship, and concerns he held dearest. His first solo exhibition was in 1971 at New York's legendary Willard Gallery on the recommendation of Agnes Martin. Baynard went on to have exhibitions at galleries including Betty Parsons Gallery, New York (1973); Marian Goodman Gallery, New York (1977); John Berggruen Gallery, San Francisco (1980); and Barbara Gladstone Gallery, New York (1980/81).. Baynard manages to retain a simplicity of form inspired by a love of Japanese Woodblock prints. His new works reflect the same poetry of his earlier paintings, retaining his stylized compositions with their Zen like minimalism and Oriental calm, along with a new sense of rhythm and movement. Baynard uses familiar themes such as flowers, plants, pots, and vases, incorporating them into his delicate watercolor still lifes, thus creating stunning visual feasts. He was included in the 1972 Landscape exhibition at MoMA NY alone with other luminaries James Boynton...

Old Brownstones-- New York. c. 1985. Etching and drypoint. 8 7/ 8 x 12 1/3 (sheet 16 5/8 x 16 1/4). Fourth state. Printed on cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, titled, and annotated 'Fourth state -- wheel changed to left' and 'Steves' in pencil. A dramatic view of a Manhattan neighborhood. Painter and printmaker Lawrence Nelson Wilbur...

Signed lower center, 'Gooch', for Gerald Gooch (American, born 1933) with number and limitation, '5/16' and dated 1965. Born in Mainington, West Virginia, Gerald Gooch first studied...

Bibi Valentin. 1859. Etching and drypoint. Kennedy catalog 50 state ii; Glasgow catalog 34 state ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. Housed in a 20 x 16-inch archival mat A young girl, sits facing the viewer, leaning on her left elbow, legs extended to left. She wears a high-necked smock and buttoned boots...

1925-26. Drypoint. Appleby 114. 8 9/16 x 12 (sheet 12 x 17). Edition 100, #10. An excellent impression with burr, printed with plate tone on the full sheet of 'VGI' laid paper with ...

The Letter. 1921. Drypoint. Appleby 107. 7 x 9 3/8 (sheet 10 1/2 x 15 7/16). Edition 100. Illustrated: Fine Prints of the Year, 1925; Salaman, Modern Masters of Etching: Edmund Blamp...

Under the Bridge. 1985. Etching and drypoint. 9 1/2 x 12 1/8 (sheet 20 1/16 x 22). Edition 27, #13. Printed on cream wove paper, on the full sheet with deckle edges. A rich impression in excellent condition, housed in an archival folder. The etching has never been matted. Titled and numbered in pencil. by the artist; signed and initialed in pencil by the artist's estate. Provenance: the artist's estate A dramatic view of the lower East Side in New York. Housed in an archival folder awaiting your choice of mat and frame. Painter and printmaker Lawrence Nelson Wilbur...

Politics (Tonnere de Brest). 1926. Drypoint. Appleby 108. 7 x 9 (sheet 10 1/2 x 15 1/2). A rich impression printed on cream wove paper with full margins. Illustrated: Salaman, Modern...

1917. Etching. Hardie 175. 8 x 15 (sheet 10 1/8 x 16 15/16). Edition 76. Slight mat line; otherwise excellent condition. A rich impression printed on antique laid paper with full m...

En Pension. 1929-30. Drypoint. Appleby 142. 8 1/2 x 12 1/8 (sheet 11 1/2 x 18 5/16). Edition 100. A rich impression printed on cream wove paper with wide margins. Signed in ink. H...

The Centenarian. 1930-31. Drypoint. Appleby 144. 10 5/16 x 10 3/8 (sheet 17 3/8 by 12 3/8). Edition 100. A rich impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...