Julian Trevelyan Prints and Multiples

This is a Five colour screen print Including a metallic Silver layer. This print is then finished off by drawing over the print with multi-coloured paint including Gold, Yellow and G...

The White Eagle is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8.15 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of joy and come-hither coquettishness. T...

Green & flower , 2019 Digital pigment print Ultrachrome ink on Fabriano Rosaspina paper. Hand signed by the artist, and certificate of authenticity. Edition of 25 (Unframed) His w...

The Frog is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.6 x 7.9 inches,...

Color spitbite aquatint and aquatint with drypoint. Edition of 35

Artist: Toulouse Lautrec (1864 -1901) French Title: The Chestnut Vendor Medium: Lithograph, Year: 1897 Signature: Signed in Plate (TL) Lower Left Dimensions: 20” x 17” Framed, 11” x 8.5” Unframed A lithograph of a Toulouse Lautrec drawing...

The Monkey is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 7.9 inche...

The Goldfinch is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 11.2 x 8.25 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...

Catherina Dorothea Viehman (from Six Fairy Tales from the Brothers Grimm) Etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Paper 1...

Painter and printmaker, Luigi Lucioni was known for his portraits, still life paintings, and landscapes of Vermont and Italy. This 'New England Barn' ...