Paul Resika Prints and Multiples

Original aquatint etching of working river barges on the Seine in Paris, France. A horse drawn cart is seen loading or unloading product. Circa 1900. Si...

This is an artist proof (one of a kind) aquatint and watercolor depicting a cactus-filled Mexican garden, a mirror tilted up and an image of the artist s...

Hand-colored aquatint by Thomas Milton, based on original drawings by artist Luigi Mayer (1755-1803). From Views in Egypt, Palestine, and Other Parts of th...

La Grande Cascade de Saint Cloud Color aquatint on watermarked Arches J Perrigot paper, 1905 Signed by the artist in pencil lower right. (see photo) Edition: 100. Numbered "39" in pencil lower left. Titled in pencil verso Published by Edmund Sagot, Paris, his dry stamp lower right below signature. Image: 23-1/8 x 17-3/8" (58.7 x 44 cm.) From the British Museum: "Colour etcher. Born in Livorno from a family of wealthy Swiss cotton merchants, studied with Giuseppe Ciaranfi and Michele Gordigiani in Florence. In 1886 exhibited with Fattori, Achille Lega and Tommasi in the Prima Esposizione delle Belle Arti in Livorno. In 1888 he and his family moved to Paris, where he studied first with François Flameng until 1892 and later with Carolus-Duran. Müller remained in the French capital until the outbreak of the First World War, taking French citizenship in 1913. He worked in the countryside at Barbizon, Suresnes and elsewhere, but also made frequent visits to his native country, where he exhibited regularly in Florence with the Promotrice Fiorentine. His early work was indebted to Fattori and Plinio Nomellini, but he soon became interested in the Impressionists and was credited by the critic Mario Tinti with introducing the luminism of Monet into Italian art. Müller was a member of the Société des Artistes Indépendents and exhibited regularly in the Paris dealer George Petit's annual exhibitions of colour prints. He made his first print in 1896, a lithographic portrait of the poet Paul Verlaine in the Café Procope. The following year Müller made his first colour aquatints. Among them were a series of illustrations to Dante's Divine Comedy. In style his etchings and aquatints were influenced by Manuel Robbe. Very occasionally he combined drypoint or soft ground etching with aquatint. Müller's principal publisher was Pierrefort, who also issued prints by Toulouse-Lautrec. After 1903 he largely abandoned aquatint for pure etching. Fourteen of his colour etchings were reproduced over a number of months in the weekly magazine 'Le Courrier français'. Müller also made a small number of colour lithographs, some of which were published by the Parisian print dealer Sagot. A single monotype of Mallarmé done in 1911, thirteen years after the poet's death in 1898, is recorded. Müller made a few landscape prints and a couple of etchings of fishing boats, but his principal subject was young women in long dresses. Often there is an aura of fin-de-siècle wistfulness. When he returned to Italy, he lived first in Taormina, then in Florence, and finally settled in a villa at Settignano. Müller largely abandoned printmaking after 1914. Only three more prints by him made in 1920, 1925 and 1933 are recorded after he moved back to his native country. Müller was a regular exhibitor in Florentine exhibitions, the most significant of which was the 1922 Primaverile Fiorentina. He returned to France in 1930 where he died in 1939. (Text by Martin Hopkinson)" Said to rival the fountains at Versailles, La Grande Cascade is still turned on for a few hours every Sunday in June. The Grande Cascade, constructed in 1664-1665 by Antoine Le Pautre has survived. The château was expanded by Phillipe de France, duc d'Orléans in the 17th century, and finally enlarged by Marie Antoinette in the 1780s. Napoleon I and Napoleon III also used the palace, which was a U-shaped scheme of three sections, open to the east. Destroyed by fire (with the exception of a few outbuildings and its majestic garden) in 1870, during the Franco-Prussian War. The burned-out shell stood until 1891, when it was demolished. The gardens were replanned by André Le Nôtre...

Philip Pearlstein (1924-2022) View Over Soho, Lower Manhattan, 1977 Aquatint in colors on wove paper Edition 7/41 Signed, editioned and titled in pencil lower left Printed by the Orl...

London: J. Taylor, 1820. Etching and aquatint with engraving on cream wove paper with a gilded edge, 11 1/2 x 14 3/4 inches (290 x 374 mm), full margins. Small spots of adhesive resi...

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

"Divide" black and white soft ground etching and aquatint by April Gornik. Edition 23 of 30. Image size: 33 1/2 x 31 1/2 inches. Published by The S...

Early Morning Rain Etching & color aquatint, 1977 Signed, titled, numbered and dated in pencil Edition: 40 (39/40) Published by Associated American Artists, New York Condition: Mint Image/Plate size: 16 1/2 x 15 3/8 inches Sheet size: 25 3/4 x 19 1/2 inches Reference: AAA Index No. 2486 "Norman Ackroyd (RA) is one of Britain’s most celebrated living landscape artists. He is renowned for his evocative and atmospheric visions of the British Isles. Working in both etching and watercolour, he is equally as adept at capturing the calm of a Summer’s daybreak as he is the ferocity of a winter sea. Born in 1938 in Leeds, he studied at Leeds College of Art (1957-61) and the Royal College of Art in London...

"Pillory, Charing Cross" is an illustration (Plate 62) from "The Microcosm of London", published in London in 1809 by R Ackermann's Repository of Arts. The scene was created by one of the most famous British satirists and caricaturists of the late 18th and early 19th centuries' Georgian Period, Thomas Rowlandson, who drew the figures, while Augustus Charles Pugin drew the architecture. The plate was then created by Hill, Stadler and Bluck using a combination of aquatint and etching and was then hand colored with watercolor. Scenes illustrated in "The Microcosm of London" gives an accurate and often comical view of everyday life in London during the Regency Period of the early 19th century. While Pugin’s excellent architectural drawings capture the size and shape of the exterior as well as the interior of London’s principal buildings, Thomas Rowlandson’s insightful and often whimsical and satirical view of the city's inhabitants depicts the color and vitality of the late Georgian society, both rich and poor alike. This print depicts the "Pillory, Charing Cross", where criminals were brought and placed on display while secure in the stocks, as are seen in this print. A crowd is present in the square jeering at the prisoners. A statue of Charles I on horseback stands atop a very large pillar to the right. Shops with apartments are seen on the left. Young wealthy people frolic around and on a carriage on the right in front of the statue of King...

Aquatint with hand coloring in oil color on smooth wove paper, 10 5/8 x 7 3/8 inches (270 x 187 mm), full margins. Laid down to a support, as issued. Moderate toning and surface soil...

Richard Haas Hong Kong, 1990 Etching and Aquatint on wove paper Hand Signed, numbered and dated on the front Frame included; held in the original vintage hand made wood frame done by PSG This impressive, framed lithograph of Hong Kong is by Richard Haas - the world's foremost architectural muralist and trompe l'oeil artist whose prints and paintings are held and exhibited in many private, public and institutional collections. It is framed and ready to hang. Haas - who, aside from his many artistic distinctions, was profiled several years back by the prestigious CBS News...