Domenico Amici Art

An early 19th century print entitled "Bow Street Office", an illustration (Plate 11) from "The Microcosm of London", published in London in 1808 by R. Acker...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta dell'interno dell'Anfiteatro Flavio detto il Colosseo" (View of the interior of the Flavian Amph...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Due to their popularity, these plates were later published separately. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's copper plates were used for printing. Most were melted during World War I for the construction of bombs. These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats; the outer silk mats are light brown-colored and the inner mats are dark brown. Each frame measures 27.38" x 31.25" x 1.13". There is one tiny spot in the right margin of plate 1 and another in the lower margin; the latter could be from the printing process. The prints are otherwise in excellent condition. The "Analysis of Beauty" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Fine Arts Museums of San Francisco. The first engraving (Plate 1) depicts a courtyard of statues which is filled with some of the most famous works of classical sculpture. The most important sculptures are surrounded by less impressive works. The Medicean Venus (#13) is in the center with a statue of Julius Caesar (#19) to the right, elevated on a pulley with a short, overdressed Brutus stands over the falling Caesar. The Apollo Belvedere (#12) is next. A judge stands to the right with his foot on a cherub (#16). Another crying cherub holds a gallows and wipes his tears with the judge's robe. A sphinx (#21) and the drunken Silenus (#107) are below the Venus. Michaelangelo's torso (#54) and a statue of Antonius (#6) are seen in the foreground. The Farnese Hercules (#3) and a bust of another Hercules (#4) under two statuettes of Isis are also included in the scene. The key to these objects is included in the form of a serpentine line winding around a cone (#26), Hogarth's "Line of Beauty". For Hogarth the winding line is an essential element of beauty in art. Hogarth's theory of beauty is communicated in this plate. Plate 2 is thought to represent the Wanstead Assembly, with the Earl of Tynley and his household. It is an adaptation of a scene in the Happy Marriage series, which complements Hogarth's Marriage à la Mode...

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...

"Vaso Cinerario di Gran Mole. Le Teste dei Giovenchi mostrano di reggere it pesante Festone composto di Frutti Fiori Grans ed use. Il tuto Necefsario all Vita Umana. Il Restante degl...

Waking Up Andre Minaux, French (1923–1986) Etching, signed and numbered in pencil Edition of 25/45 Image Size: 15.5 x 15.5 inches Frame Size: 31.75 x 27.7...

Woman in Chair Andre Minaux, French (1923–1986) Etching, signed and numbered in pencil Edition of HC 7/12 Image Size: 15 x 23 inches Frame Size: 27.5 x 34...

Henri Matisse Nu couché. Intérieur à la lampe vénitienne 1929 Etching on Chine appliqué on Arches Velin paper, Edition of 25 Paper size: 28 x 38 cms (11 x 15 ins) Plate size: 9.1 x 1...

Interiors I: Family Reunion 1984 Resist ground etching and engraving on BFK Rives wove paper, 20 x 36 inches (501 x 913 mm), full margins. Signed, titled, dated and numbered 49/175 in pencil, lower margin. In excellent condition with minor mat tone. A luminous, rich, and well-inked impression of this haunting image, with astonishing detail and depth. Framed handsomely under museum grade glass with archival materials in a solid wood frame with silver finish. [Milton 107] Intended to be a stand alone image in its inception, Family Reunion ended up spawning seven additional images, and became a sort of Primo Pensiero in the sprawling, masterpiece suite now known as Interiors. The suite took eight years to complete, and consists of works of varying format, psychological intensity, and subject matter. The thematic darkness in the eight images waxes and wanes, and Milton intentionally included several interlude works to lighten the tension he felt while composing several of the darker images. The first two in the series, Family Reunion, and Hotel Paradise Café, were meant to be companion pieces. The equilibrium of each composition is anchored on a central brooding figure; a man (perhaps based on a Thomas Eakins portrait of the American anthropologist Frank Hamilton...

Soup. 1920. Drypoint. Appleby 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. Illlustrated: Print Collector's Quarterly 13 (1926): 85. Signed in pencil. 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...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...