Kaiko Moti Figurative Prints

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...

Many places, many times intermingle in the work of Roberto Juarez. His life is so much a part of his work, that each new body of work introduces subjects, styles and motifs that seem...

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

Etching and drypoint on greenish cream wove paper, 3 1/4 x 1 15/16 inches (81 x 48 mm), full margins. Signed, dated, and inscribed "III" in pencil. Number 46 from the French Churche...

LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Arts)...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of ‘Fundevogel’. One of just a few in the series that depicts a single form with such complexity, drawn directly on the plate by Hockney. This is certainly an ode to Giorgio Morandi’s etchings...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Pablo PICASSO (1881-1973) Diurnes: Werewolf, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 40 x 30 cm (c. 15,7 x 11,8 in) REFERENCE...

"Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist "Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist A Drypoint etching on Wove...

Washington At Pohick Church - 1932 Etching On Paper 1932 black and white etching depicting George Washington at Pohick Church by Ernest David Roth (German, 1879-1964). George Washin...

En plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge s...

The graphic is already framed. About Andrzej Juchniewicz - 1967–1972 Secondary School of Fine Arts in Gdynia-Orłowo. 1978–1983 studies at the Acad...