Charles Meryon Art

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 (from the rare deluxe suite aside from the standard edition) Cat...

Playful black and white etching of a child figure looking out on a quaint city square in Nancy, France, 1959. Signed and dated lower right, titled and numbered 16 of 140 lower left. ...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Salvador Dali - The Woman of the Shoe - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : ...

"Early Summer Horse Fair" from 53 Stations of the Tokaido Woodblock print of a group of horses, originally by Hiroshige (Ando) Utagawa (Japanese, 1797 - 1858). Several groups of hor...

Washington At Pohick Church - 1932 Etching On Paper 1932 black and white etching depicting George Washington at Pohick Church by Ernest David Roth (German, 1879-1964). George Washin...

Original leaflet from Johann Prüss' 1479 printing of "Das Heldenbuch." The Heldenbücher is the title given to a group of late medieval/early renaissance Germanic manuscripts primari...

A beautiful turn-of-the-century lake view of Chicago by an American artist known for his Texas landscapes. Etching with drypoint on watermarked Umbria laid paper with deckle edges, 7 1/4 x 10 7/8 inches (182 x 275 mm), full margins. Signed and numbered 4/25 in pencil, lower margin. In good condition with adhesive residue at the sheet edges on the verso, does not show through to the recto. A lovely Lake Michigan landscape...

Bowling on the Green (from the Bicentennial Pageant of George Washington) 'Bowling on the Green', by printmaker Frederick Childe Hassam, depicts George Washington and friends lawn b...

"Grave of Santa Anna's Leg" Original Woodblock Print, Signed Artist's Proof Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a segment of a grave, with a headstone that has a skull and cross. There are two bright green plants flanking the headstone. Below the headstone and plants, there is a large arched blue shape, with a crescent moon and stars. A red leg, bent at the knee, cuts across the blue arch. Signed "Carol Summers" along the right edge of the blue shape. Numbered and titled "A/P Grave of Sant Anna's Leg" along the left edge of the blue shape. Presented in a silver colored aluminum frame. Frame size: 32.245"H x 27.25"W Paper size: 29.75"H x 24.5"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...

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...

Working in the tradition of the Etching Revival, Ernest David Roth made this amazingly conceived and detailed study of the entrance to the Spanish ci...