Jean Pierre Velly Art

Hand signed, numbered, and dated by Keith Haring. Screenprint in colors, on wove paper, with full margins, Image size 10.5 x 13.375 inches.. Sheet size 12 x 15 inches. Littmann p. ...

Hand signed, numbered, and dated by the artist. Screenprint in colors, on wove paper, with full margins, Image size 10.5 x 13.375 inches.. Sheet size 12 x 15 inches. Frame size approx 17.25 x 20.25 inches Littmann p. 83. Published by Martin Lawrence...

Comical illustration by Gaston Hoffmann (French, 1883-1977). A doctor is giving a shot to a female patient, while a nurse tries to prevent a man from barging in. Pencil signed "G Ho...

The Shape of Memory embodies Lisa Pressman’s long investigation into how memory lives within the body, surface, and time. This sculptural mixed media work is both painting and object...

William Monk, 'The Elevated, East 42nd Street, New York', etching, 1910. Signed in pencil and titled in the bottom right sheet corner. Signed in the plate, lower right. A superb, ric...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). ABOUT THE ARTIST Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’ The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers. For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape. Leigh's work is held in many museum collections of American Western art...

Aquatint in colours with sugar lift "Serpentine" (blue) by Georg Baselitz from 2022/23. The edition on Somerset White Satin comprises 50 copies in blue / 50 copies in green. The ...

Pissarro, Camille. COUPLE DE PAYSANS. D.125. Etching and aquatint on laid paper. Unsigned. From the posthumous edition of 10 printed in 1923. 4 3/4 x 3 1/8 inches, 118 x 78 mm. (plat...

Artist: Verbicky, James Title: Monetaire 31 Date: 2022 Medium: Mixed Media with Rare Currency and Resin on wood Unframed Dimensions: 16" x 12" Signature: Signed Edition: Uniqu...

Le Corbusier (Charles-Edouard Jeanneret, Swiss/French, 1887-1965), "Chute de Barcelone" [The Fall of Barcelona], Lithograph in Colors on Wove Paper, 1960, from "Cortege." Unsigned,...

James Allen, 'The Connectors', 1934, etching, edition not stated, Ryan 66. Signed in pencil. A superb, richly-inked impression, on handmade, cream laid paper, with margins (1/2 to 1...

"Eternal Problem" - 1924 Etching on Paper Etching on paper titled "Eternal Problem" by Elias M. Grossman (American, 1898-1947). A bearded rabbi is portrayed thinking with his hand p...