Julius Baltazar Art

Sigismond Kolos-Vari, 'Nets', color etching with soft-ground and aquatint, edition 200 (1 of 60 artist's proofs), 1952. Signed and dated in pencil. Numbered L/LX in pencil. A superb, richly-inked impression, on heavy, off-white, Arches wove paper; the full sheet with margins (1 3/8 to 3 1/2 inches), in excellent condition. Published by the Guide de la Gravure, Switzerland, with their blindstamp in the bottom left sheet corner. Matted to museum standards, unframed. Image size 11 3/4 x 15 5/8 inches (298 x 397 mm); sheet size 15 x 22 1/4 inches (381 x 565 mm). ABOUT THE ARTIST Sigismund Kolos-Vari was born in Hungary and attended the School of Applied Arts in Budapest from 1915 to 1918 and then the School of Decorative Arts until 1925. The artist settled in Paris, and his first one-person show in 1928 at Galerie Miromesnil, which was highly successful, led to numerous subsequent exhibitions, including with the prestigious Galerie Bonaparte in 1929 and Galerie Povolosky in 1930. Kolos-Vari’s early success was abruptly interrupted by the outbreak of WWII when he was arrested by the Gestapo and imprisoned in the Gurs internment camp. During this period, he created a sketchbook for a little girl, which is now preserved at the Centre de Documentation Juive Contemporaine at the Mémorial de la Shoah in Paris. He managed to escape after two years, crossing the border into Switzerland. After the war, he returned to Paris with a renewed dedication to his painting, producing increasingly powerful compositions. His work was highly acclaimed when shown at an important 1946 exhibition at the Musée National d’Art Moderne de Paris, organized by Jean Cassou. The artist was then approached by the eminent art dealer Jean Bucher, who gave Kolos-Vary a major one-person show at his gallery in 1948. During this post-war period, Kolos-Vary participated in the radical Salon de Mai, 1949-1958, the Salon des Réalités Nouvelles, 1956-1961, and the Salon des Comparaisons, 1960-1962. Supported by his association with Stanley William Hayter and the landmark printmaking workshop Atelier 17...

Minna Citron, 'Flight to Tomorrow', aquatint and engraving, edition unknown but small, 1948. Signed, titled, dated, and annotated 'engr & aqua' in pencil. A superb, richly-inked impression with selectively wiped plate tone, on heavy cream wove paper, the full sheet with margins (1 3/4 to 3 1/2 inches), in excellent condition. Image size 6 7/8 x 8 7/16 inches (175 x 214 mm); sheet size 11 1/8 x 14 7/8 inches (283 x 378 mm). Matted to museum standards, unframed. Literature: The Women of Atelier 17, Modernist Printmaking in MidCentury New York, Christina Weyl, Yale University Press, 2019, p. 186. Collections: Davis Museum (Wellesley), Five Colleges and Historic Deerfield Museum Consortium, Harvard Art Museums, Museum of Fine Arts, Boston, Palmer Museum of Art (Penn State...

Louis Marcoussis (1883-1941), Un Reve, etching, 1930, signed in pencil lower right and inscribed “2nd etat 1/2” lower left. Plate 1 of the portfolio Aurelia. Reference: Milet 55II, second state (of 4), before the edition (of 153 in the fourth state). In good condition, on a wove paper with full margins (a small area of discoloration below the border lower left, remains of prior glue right margin edge), 7 1/4 x 5 3/8, the sheet 15 5/8 x 9 3/8 inches, archival matting. A fine impression of a rare proof, before the edition. This is one of the two proofs of the second state. After this state the plate was reduced in a third state (from 183 to 174 mm), and then steel faced for the edition. Provenance: Libreria Prandi Reggio (blindstamp lower right corner) Jean Cassou and Pierre Courthion asked Marcoussis to illustrate Aurelia, a novel by Gerard de Merval. This was the first album of their collection “Le Blanc et Le Noir,” edition chez Fourcade. Marcoussis was familiar with this novel, in which imagination and reality intermingle. In it de Merval wrote: “La Reve est une seconde vie.” (The Dream is a parallel life.) Marcoussis wrote of the print: “Il ressemblait a l’Ange de la Melancholie d’Albrecht Durer.” (It recalls the angel in Durer’s Melancholia...

Aquatinte on BFK Rives paper - Unframed. Clément's work fluctuates between painting and sculpture, a back and forth that both results from, and contributes to, an ongoing exchange o...

Period mixed media print and painting by California artist Katherine Chang Liu (American, 20th-century). Signed "Fireworks Series #39" Katherine Chang Liu '87. Presented with a white...

20JU2G-2020 (Abstract print) Aquatinte on Arches paper - Unframed. Edition of 19. Image size: 39.6 x 54.1 cm / 15.6 x 21.3 Paper size: 50.2 x 66.5 cm / 19.8 x 26.2 in Clément's wor...

Image dimensions: 30 x 22 cm. Turquoise and Brown Composition is a beautiful color etching on paper, realized around the 1970's by an artist that signed " J. Hannes" on lower right...

Hourglass is an original etching artwork on paper realized by Sante Monachesi. Hand-signed on the lower right by pencil. Artist Proof. it is an artist's proofs edition on the lower...

20JU3G-2020 (Abstract print) Aquatinte on BFK Rives paper - Unframed. Edition of 19. Image size: 69.3 x 49.6 cm / 27.3 x 19.5 in Paper size: 88 x 67.2 cm / 34.6 x 26.5 in Clément'...

Charlie Davies Winter winds Original botanical etching Soft ground etching on paper Image Size: 35 cm x 35 cm x 1 cm Sheet/Canvas Size: 50 cm x 50 cm x 1 c...

Covers 1 Red (Abstract print) Aquatint made with oil based Charbonnel Etching Ink, printed on 100% rag paper Copperplate Warm White. - Unframed. "Edition 5 of 20. This piece is p...

Aquatinte on BFK Rives paper - Unframed. Clément's work fluctuates between painting and sculpture, a back and forth that both results from, and contributes to, an ongoing exchange o...