Jules Pascin Prints and Multiples

Pencil signed by both Luce and Jacques Villon (Villon etched the image) and numbered 120/200 in pencil, lower margin. Published by Galerie Bernheim-Jeune, Paris. Catalogue Raisonne:...

Highly detailed figurative landscape lithograph of a street in London with a towering cathedral, old buildings, and figures walking the street below by E. Mary Shelley (English, late...

Etching and aquatint of Wall Street, New York circa 1928 by Max Pollak. Painter and printmaker Max Pollak, (1886-1970), was born in Prague, Czechoslovakia and was raised in Vienna, A...

Le Chapeau Epingle or La fille de Berthe Morisot et sa Cousine (1e planche) Etching with drypoint, 1904 Signed in the plate (see photo) This is the first etched version of "Pinning the Hat" Depicts Julie Manet and her cousin Jeanne. Exceptional impression printed with burr and selective inking with plate tone. Very rare. Published in 1910 in the first edition of Druet, "Manet annd the French Impressionists" A lifetime impression, printed prior to 1912. The etching comes with the original Herman Wunderlich & Co. (Kennedy Galleries label), which dates this impression to 1912 when Wunderlich changes names to Kennedy Galleries. Very rare image in an early lifetime impression. Printed with plate tone With pencil inscription stating first printing in French (see photo) Condition: very good No issue as seen from the front Soft horizontal creases visible from reverse Provenance: Kennedy Galleries, NY Reference: Stella 4, prior to Druet edition Delteil 4, published state Pierre-Auguste Renoir was a famous French painter whose paintings are some of the most popular, well-recognized, and frequently reproduced images in the history of art. His work presents a vision of a forgotten world, full of sparkling color and light. He once said: “Why shouldn’t art be pretty? There are enough unpleasant things in the world.” Born at Limoges on February 25, 1841, Renoir died at Cagnes-sur-Mer on December 17, 1919. When he was 13, Renoir entered a Paris porcelain painter’s workshop as an apprentice and developed a fine brush technique and facility with color. At 21, he attended courses at the École des Beaux-Arts and subsequently at Glyre’s. He made friends with Cezanne, Pissarro, Sisley, Monet, Bazille, and Diaz. In 1873, the artists Durand Ruel, Caillebotte, and Duret took an interest in his work. Renoir was involved in “The Society of Painters, Engravers and Sculptors,” which was founded in 1874, and witnessed the birth of Impressionism. From there, Renoir was immersed and able to spend time with his fellow artists of the day. He did not take up original printmaking until he was 50 years old, first with two small soft-ground etchings after his painting, “The Rustic Ball,” followed by an etching of Venus for the frontispiece of Mallarme’s Pages. Most of his engravings were done after his own pictures. In 1892, he did his first lithograph – a portrait of his son Pierre. In 1894, he met Ambroise Vollard, who played an important part in the production of Renoir’s and Cezanne’s lithographs...

Otto Bacher (1856-1909) Perleria (Bead Stringers), Venice Etching, 1881 Signed in pencil lower left (see photo) From: Etchings of Venice Reference: Andrew Venice 1 Condition: Excellent Image/Plate size: 13 x 8 7/8 inches Sheet size: 14 1/2 x 10 1/16 inches Comes with a very ncie original Kenneday Gallery frame Perleria, also known as Bead Stringers, presents Venice through the working lives of its inhabitants. Women gather in an enclosed courtyard, absorbed in their tasks, while doorways and receding architectural spaces connect the foreground group with figures farther within. The composition’s intimate scale of observation shifts attention from the city’s celebrated monuments to the daily activities that sustained it. The Cleveland Museum of Art holds an impression under the title Etchings of Venice: Bead Stringers, identifying it as Andrew 7. Bacher organizes the scene through the relationship between seated figures, worn masonry, and shadowed openings. Fine etched lines describe the women’s clothing and the surrounding architecture, while denser passages of hatching establish depth and enclosure. The workers’ concentrated poses give the composition a quiet rhythm: its interest rests in repeated gestures and shared occupation rather than dramatic incident. Bead stringing, a traditional Venetian women’s trade, provides both the subject and the organizing human activity of the image. Born in Cleveland, Bacher developed his art through European study and close association with Frank Duveneck. In 1880 he traveled to Venice with the American artists known as “Duveneck’s boys,” entering the circle of James McNeill Whistler. Already an accomplished etcher, Bacher became Whistler’s collaborator as well as an attentive student of his methods. Whistler used Bacher’s printing press and inks during the summer of 1880, placing the younger artist directly within the practical production of the Venetian etchings. Bacher later recalled their association in With Whistler in Venice (1908). Perleria belongs to this formative Venetian context. Its attention to an ordinary working environment accords with the interest in overlooked corners and everyday subjects shared by artists of the etching revival. Yet the substantial figures and closely articulated setting give Bacher’s scene its own character. The print combines architectural observation with a sustained interest in people, recording Venice as an inhabited and productive city. The composition is represented in the Cleveland Museum of Art, where the impression entered as a gift of Charles W. Bingham in 1920, and at the Indianapolis Museum of Art at Newfields, which catalogs it as Perleria. These institutional holdings provide useful reference impressions for the work. Otto H. Bacher (1856-1909) Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of sixteen with local genre trompe l'oeil still-life artist, DeScott Evans. Although he studied with Evans for less than one year, Bacher's early work, comprised mainly of still lifes, betrays Evans's influence. After a short period in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts, Bacher returned to Cleveland and met Willis Seaver Adams...

Delteil 5, Stella 5 Etching in Black Ink, c. 1892 Third State of Three, Plate is bevelled First Edition, Signed in the Plate As Published in Loys Delteil’s Le Peintre Graveur Ill...

Louis Oscar Griffith (1875-1956) Noon Time Lull (Charleston, South Carolina) Etching & drypoint, c. 1930 Signed in pencil (see photo) Annotated: "2nd State" (of three?) Image/Plate s...

New York City native Oscar Weissbuch (1904-1948), attended the Yale University School of Fine Arts and the Art Students League, NY. He participated in the NYC-WPA printmaking project...

After Pierre Auguste Renoir (1841-1919) Trois Esquisses de maternite (Three Studies of Maternity) Heliogravure with etching on velin paper, 1893 Unsigned as issued Edition 1000, ther...

JIM DINE Singing and Printing XIII. Unique color woodblock relief print with hand coloring in oil, acrylic, and charcoal and mechanical abrasion on cream wove paper, 2001. 69 3/4 x ...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. Hockney stated: “The old woman who wants the child. In one tr...

Letterio Calapai is widely recognized as a major American artist of the twentieth century. He is widely respected as a printmaker, especially for engravings and wood engravings, and ...

"The Seasons" is a compelling artwork by Jasper Johns that delves into artifacts and seasonal symbols to represent the epochs of life and the cycles of growth and aging. This piece, ...

This work is a study for Inverted Q, a large sculpture that Oldenburg created after producing many sketches and small models. At the time he was experimenting with concepts of monume...

Paysanne Portant des Seaux by Camille Pissarro (1830-1903) Etching and aquatint 15 x 11 cm (5 ⁷/₈ x 4 ³/₈ inches) Signed with Estate stamp lower right, C.P. Numbered lower right, 9/2...