George Vertue Portrait Prints

Jim Dine, Self Portrait 1971 drypoint on Hodgkinson Hand Made Tone-Weave paper Paper 18 x 14 in. / 46 x 36 cm Plate 8 x 6 in. / 20 x 15 cm plate seven from Self Portraits (1971) port...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Christuskopf (Christ Head)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 227, page 46; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Overall size with attached page: 8.5" x 10.63" Sheet size: 8.5" x 5.38" Image size: 3.63" x 3.38" Condition: Toning to sheet (as normal). One tiny pinhole top margin. In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. Presently attached to its accompanying page which is actually the title page. The cover page in pictures is not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

Jim Dine, Self Portrait drypoint on Hodgkinson Hand Made Tone-Weave paper Paper 18 x 14 in. / 46 x 36 cm Plate 8 x 6 in. / 20 x 15 cm plate one from Self Portraits (1971) portfolio ...

"Julio Girona (Cuba, 1914-2002) 'Habitación interior', silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 115 ID: GIR1066-001-115" "Julio Giro...

Artist: George Virtue (English, 1684-1756) Title: "King Henry VII" Portfolio: The Heads of the Kings of England, Proper for Mr. Rapin's History *Issued unsigned, though signed by Virtue in the plate (printed signature) lower right Year: 1736 Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown, London? UK Publisher: James, John, and Paul Knapton, London, UK Reference: Brunet No. IV.1115; Bryan V. No. 294 Framing: Not framed, but matted with 100% cotton rag matting from Holland and filet from Italy Matted size: 19.75" x 15.75" Image size: 11" x 7" Condition: A few minor foxmarks. In excellent condition Notes: Comes from Virtue's 1736 "The Heads of the Kings of England, Proper for Mr. Rapin's History" portfolio of approximately 63 engravings. Engraving of Henry VII, King of England. Half length with long hair, cap with jewelled brooch, jewelled collar, and robes edged in ermine, holding orb in left hand and sceptre in right. Within a rectangular frame with crown, orb, and sceptre above and with coat of arms, putti, and a portrait of Elizabeth of York below. With English inscription below. Henry VII (1457-1509) was the King of England and Lord of Ireland from his seizure of the crown on 22 August 1485 to his death. He was the first monarch of the House of Tudor. Henry attained the throne when his forces defeated King Richard III at the Battle of Bosworth Field, the culmination of the Wars of the Roses. Biography: George Vertue...

Jim Dine, Self Portrait 1971 drypoint on Hodgkinson Hand Made Tone-Weave paper Paper 18 x 14 in. / 46 x 36 cm Plate 8 x 6 in. / 20 x 15 cm plate one from Self Portraits (1971) portfo...

"Julio Girona (Cuba, 1914-2002) 'Anda, dime', 1999 silkscreen on paper 20.1 x 14.1 in. (50.8 x 35.6 cm.) Edition of 47 ID: GIR1066-004-047" "Julio Girona...

Henry Isaacs (United States, 1951) 'Retrato de Girona', 1989 silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 Unframed ID: ISA1446-001-099 Hand-signed by author Good c...

Raul Cordero (Cuba, 1971) '32 hrs 53 min kcal: 783 fat: 35%', 2005 engraving on paper Guarro Biblos 250g. 26.8 x 33.3 in. (68 x 84.5 cm.) Edition of 10 ID...

Artist: Sidney Tushingham (English, 1884-1968) Title: "Peggy" *Signed by Tushingham in pencil lower right. It is also monogram signed in the plate (printed signature) lower right Cir...

Untitled (Portrait) Drypoint printed in blue-black graphite mixed with silver, 1974 Signed and dated lower ight (see photo) From: Series entitled Six Drypoints Edition: 23 (4/23) Numbered lower left (see photo) Print Shop: Crown Point Press Printer: Jeannie Fine Publisher: Parasol Press, New York Note: A portfolio is in the collection of the National Gallery, Australia, Fine Arts Museums of San Francisco- de Young/Legion of Honor, Davis Museum at Wellesley College and the Yale University Art Gallery. Condition: Excellent Image/Plate size: 6 3/8 x 5 3/8 inches Sheet size: 24 x 20 inches From a portfolio of six drypoints, printed with unqiue combination of blue-black graphite shavings combined with silver to create the appearence of an original drawing. I know of no other artist to use a similar printing technique. William Bailey studied art at the University of Kansas, Yale University and Yale School of Art where he studied with Josef Albers receiving his MFA in 1957. Mr. Bailey’s first exhibition in New York was at Robert Schoelkopf Gallery in 1968, where he showed regularly until its closing in 1990. During the 90’s he exhibited at the Andre Emmerich Gallery and on its closing, exhibited at the Robert Miller Gallery. In 2004 Bailey moved to the Betty Cuningham Gallery where his most recent exhibition was held from April 30 - June 11, 2016. Mr. Bailey’s work has been exhibited extensively in both America and Europe. He is represented in the collections of The Whitney Museum of American Art, The Museum of Modern Art, the Pennsylvania Academy of Fine Arts, and the Hirschhorn Museum and Sculpture Garden, among others. He was awarded a Guggenheim Fellowship in painting in 1965. Mr. Bailey was elected to The National Academy of Design in 1983 and to The American Academy of Arts and Letters in 1986. Mr. Bailey taught at The Yale School of Art from 1958 to 1962 and from 1969 to 1995. He has also taught at The Cooper Union, University of Pennsylvania and Indiana University. He maintains studios in New Haven and in Umbertide, Italy. Courtesy Betty Cunningham Gallery Tribute to William Bailey THE NEW YORK TIMES William Bailey, whose pristine, idealized still lifes and female nudes made him one of the leading figures in the return of figurative art in the 1980s, died on April 13 at his home in Branford, Conn. He was 89. His death was confirmed by his daughter, Alix Bailey. Beyond his painting, Mr. Bailey influenced generations of students in his many years as a teacher at the Yale School of Art. In some of his best-known work, Mr. Bailey arranged simple objects — the eggs, bowls, bottles and vases that he once called “my repertory company” — along a severe horizontal shelf, or on a plain table, swathing them in a breathless, deceptively serene atmosphere heavy with mystery. William Bailey, Modernist Figurative Painter, Dies at 89 He swathed his nudes and still lifes of eggs, vases, bottles and bowls in a breathless, deceptively serene atmosphere heavy with mystery. The painter William Bailey in 2009. He was never given a career survey in a major museum, but his influence, particulary on students at Yale, was deep. Ford Bailey By William Grimes for the New York Times April 18, 2020 William Bailey, whose pristine, idealized still lifes and female nudes made him one of the leading figures in the return of figurative art in the 1980s, died on April 13 at his home in Branford, Conn. He was 89. His death was confirmed by his daughter, Alix Bailey. Beyond his painting, Mr. Bailey influenced generations of students in his many years as a teacher at the Yale School of Art. In some of his best-known work, Mr. Bailey arranged simple objects — the eggs, bowls, bottles and vases that he once called “my repertory company” — along a severe horizontal shelf, or on a plain table, swathing them in a breathless, deceptively serene atmosphere heavy with mystery. His muted ochres, grays and powdery blues conjured up a still, timeless world inhabited by Platonic forms, recognizable but uncanny, in part because he painted from imagination rather than life. “They are at once vividly real and objects in dream, and it is the poetry of this double life that elevates all this humble crockery to the realm of pictorial romance,” Hilton Kramer wrote in The New York Times in 1979. Mr. Bailey’s female figures, some clothed in a simple shift or robe and others partly or entirely nude, are disconcertingly impassive, implacable and unreadable, fleshly presences breathing an otherworldly air. The critic Mark Stevens, writing in Newsweek in 1982, credited Mr. Bailey with helping to “restore representational art to a position of consequence in modern painting.” But his version of representation was entirely idiosyncratic, seemingly traditional but in fact “a modernism so contrarian,” the artist Alexi Worth wrote in a catalog essay for the William Harrison Bailey was born on Nov. 17, 1930, in Council Bluffs, Iowa. His father, Willard, worked in radio advertising and moved the family from city to city in the Midwest. Bill was in his early teens when his father died. His mother, Marjorie (Cheyney) Bailey, was a homemaker who later worked as an accountant for her second husband, Fred...

These beautiful Italian 18th Centruy engravings on laid paper feature the portrait of two famous Italian painters: Veronese and Guido Reni. They were engraved by Pier Antonio Pazzi a...