Giuseppe Marcucci Art

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

The frontispiece for Hockney’s Six Fairy Tales from the Brothers Grimm portfolio and book features Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to ...

One of David Hockney’s Six Fairy Tales from the Brothers Grimm illustrations, taken from the story of ‘The Little Sea Hare’. This tower was likely inspired by Hockney’s travels throu...

David Driesbach studied at the University of Illinois in 1940 and 41. In 1942 he enlisted in the Marines and served until 1945. His artistic education ...

This surreal etching portrait of Dorian Gray by Jim Dine in blue ink features the literary protagonist dressed in a white suit. His face is obscured by a mass of hair, tangles of which seem to grow from the sleeves, pant legs, and from beneath the jacket. Dine's notes are written on the image: at his feet reading "WHITE BOOTS" and "White Vinyl Suit" alongside the jacket. On the left edge of the image handwritten text reads "DORIAN GRAY AT OPIUM DEN". In Oscar Wilde's novel Dorian Gray keeps opium in an ornate box in his home, and frequents sites of consumption on the East side of London: “There were opium dens where one could buy oblivion, dens of horror where the memory of old sins could be destroyed by the madness of sins that were new”. An opium den is where Sybil's brother James discovers Dorian. The brother attempts to capture the man he believes is responsible for the death of his sister. Dorian flees to his home, ultimately slashing the portrait that has kept him young for so long. Etching by Jim Dine from one of his most important artist’s books – completely designed and illustrated by Dine. Study for the Rings on Dorian Gray’s Hand from “The Picture of Dorian Gray...

New York, Associated American Artists, 1950. Drypoint and aquatint on cream wove paper, 5 7/8 x 3 15/16 inches (150 x 100 mm), full margins. Signed and numbered 48/50 in pencil, lower margin. Printed by Stephen Sholinsky...

Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 15 3/4 x 10 1/8). Edition 100, #31. A very rich, tonal impression on cream-colored laid paper. Unobtrusive soiling in the top left- and lower-left hand margins, just below the platemark; and light mat line just outside the platemark. . Signed and numbered in ink. Housed in a 20 x 16-inch archival mat, suitable for framing. A charming discussion between the chef and a scullery maid in a "Downtown Abbey...

Head of Woman, 1981 Etching on paper.
 Hand-signed and numbered by the artist. Paper size: 57 x 46 cm
 Framed: 60 x 49 cm Edition of 50 Henry Moore’s prints are a vital aspect of hi...

Drypoint etching on buff wove paper, 9 3/4 x 12 3/4 inches (250 x 322 mm), full margins. Signed in pencil, lower right margin. Some general age tone, and minor mat tone around the pe...

Etching on paper.
 Hand-signed and numbered by the artist.
 Paper size: 52 x 44 cm
 Framed 57.3 x 48.5 cm Edition of 65 Henry Moore’s Mother and Child...

Invitation to a party on the occasion of John and Dolly Sloan's twenty-fifth wedding anniversary. Sante Fe: Printed by Peter J. Platt, 1926. 100. Etching on cr...

A bright and silvery impression with warm plate tone by a female icon of the Union Square group. New York: Associated American Artists, 1943. Etching on cream wove paper, 5 7/8 x 3 ...