Francesco Bartolozzi Prints and Multiples

Herd of Horses is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Signed on the plate. Good conditions with foxing. The artwork is realized t...

Temptation of Saint Anthony an etching in the manner of Hendrik Goltzius. Goltzius was born near Viersen in Bracht or Millebrecht, a village then in the Duchy of Julich, now in the ...

This exquisite aquatint by Henri Matisse (1869–1954), titled Trois têtes. A l'amitié (Three Heads. To Friendship), from the album Apollinaire, Henri Matisse (Apollinaire, Henri Matisse), originates from the 1952 edition published by Editions Raisons d'etre, Paris, and printed by Mourlot Freres, Paris, April 24, 1952. The work captures Matisses lyrical line and expressive minimalism, paying tribute to the French poet Guillaume Apollinaire through a synthesis of portraiture and calligraphic grace. Executed as an aquatint on velin a la forme des papeteries d'Arches paper, this work measures 12.99 x 9.84 inches (33 x 25 cm). Unsigned and unnumbered, as issued. The edition exemplifies the superior craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Henri Matisse (1869–1954) Title: Trois têtes. A l'amitié (Three Heads. To Friendship), from the album Apollinaire, Henri Matisse (Apollinaire, Henri Matisse) Medium: Aquatint on velin a la forme des papeteries d'Arches paper Dimensions: 12.99 x 9.84 inches (33 x 25 cm) Inscription: Unsigned and unnumbered, as issued Date: 1952 Publisher: Editions Raisons d'etre, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Duthuit, Claude. Henri Matisse: Catalogue raisonne des ouvrages illustres. Editions Claude Duthuit, Paris, 1988, illustration 31. Condition: Well preserved, consistent with age and medium Provenance: From the album Apollinaire, Henri Matisse (Apollinaire, Henri Matisse), published by Editions Raisons d'etre, Paris; printed by Mourlot Freres, Paris, 1952 Notes: Excerpted from the album (translated from French), Printing of this album was finished on April, Twenty-Four, M.CM.LII for the Editions Raisons d'etre, 2 rue des Beaux-Arts in Paris, was produced by Fernand Mourlot, based on the models of Henri Matisse. The eight original lithographs were shot on the presses of Mourlot Freres who also printed the cover and case composed by the artist. The stones were erased after drawing. The text and letrins engraved by Henri Matisse were drawn by Coulouma S.A., printer in Paris. Justification of the draw— XXX examples on large velin d'Arches a la forme, signed by the author and the artist, accompanied by a series of original lithographs numbered from I to XXX; CCC examples on velin d'Arches a la forme numbered from XXXI to CCCXXX; XX examples of non-commerce collaborators numbered from I to XX and in addition a few nominative examples on Grand Velin. About the Publication: Apollinaire, Henri Matisse (Apollinaire, Henri Matisse), published by Editions Raisons d'etre, Paris, in 1952, stands among Matisses most intimate artist’s albums, conceived as a visual homage to the poet Guillaume Apollinaire, whose friendship and creative influence had profoundly shaped the avant-garde in the early 20th century. The album unites Matisses mastery of line with his reverence for literature, pairing portraits, decorative initials, and typographic designs engraved in his own hand. Printed by the esteemed atelier Mourlot Freres, the volume exemplifies the peak of French postwar printmaking, merging literary refinement with visual purity. Each print reveals Matisses poetic sensibility—his ability to render emotion through the economy of contour and rhythm. About the Artist: Henri Matisse (1869–1954) was a French painter, sculptor, draughtsman, and printmaker whose revolutionary vision redefined modern art through his daring use of color, line, and form. Celebrated as one of the greatest artists of the 20th century, Matisse led the Fauvist movement and devoted his life to the pursuit of balance, beauty, and emotional expression in visual art. His early works burst with vibrant hues and liberated brushwork, while his later “cut-out” compositions achieved a poetic simplicity that transformed the relationship between color and space. Deeply influenced by the work of Paul Cezanne, Vincent van Gogh, and Georges Seurat, as well as by the rhythmic patterns of Islamic art, Byzantine mosaics, and Japanese prints, Matisse forged a new visual language that celebrated joy, movement, and serenity. He was part of an extraordinary generation of artists who shaped the evolution of modernism, maintaining lifelong dialogue and friendly rivalry with contemporaries such as Pablo Picasso, Georges Braque, Marc Chagall, Andre Derain, Albert Marquet, and Raoul Dufy—peers who, like him, sought to expand the expressive potential of color and composition. Matisses influence extended across generations, inspiring modern and contemporary masters including Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom drew upon his fearless experimentation and refined visual harmony. His paintings, sculptures, and works on paper are held in the most prestigious museums in the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Hermitage Museum, where his art continues to symbolize the essence of creativity and human emotion. The highest price ever paid for a Henri Matisse artwork is approximately 80.8 million USD, achieved in 2018 at Christies New York for Odalisque couchee aux magnolias (1923). Henri Matisse Trois têtes. A l'amitié (Three Heads. To Friendship) Apollinaire, Henri Matisse (Apollinaire, Henri Matisse) 1952, Matisse Editions Raisons d'etre, Matisse Mourlot Freres, Matisse aquatint...

Etching and drypoint on laid paper, 1651. New Hollstein's third, and final, state. Full sheet size 5.38 x6.5 inches. Frame size 14.25 x 16.75 inches. Catalogue raisonné references...

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

Etching with engraving on cream laid paper with a large unidentified alphabetic watermark, 6 1/2 x 9 7/8 inches (165 x 251 mm), the full sheet. In good condition with handling wear a...

c. 1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the...

A an impression after Rembrandt's only state of this image. Paris: 1644. Etching and engraving on high quality buff wove paper 4 7/8 x 4 1/2 inches (124 x 114 mm); sheet 12 5/8 x 1...

Etching with engraving on thin laid paper with an unidentified ovoid purple ink stamp (not in Lugt), 9 3/4 x 12 7/8 inches (247 x 326 mm), thread margins. Uniform age tone with scatt...

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

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...

Etching with engraving on thin laid paper with an early and large unidentified heraldic watermark with a windmill, and the collector's stamp of Count F. J. von Enzenberg (1802-1879),...