Preston Cribb Art

Edge of the Woods. 1916. Drypoint. 7 7/8 x 9 3/4 (sheet 10 7/16 x 13 1/8). A rich impression in printed on Japanese paper with an oak leaf watermark. Signed and annotated '3rd state'...

Farmyard. c. 1925. Etching and drypoint. 5 1/2 x 11 (sheet 10 x 15 1/4). Edition 75, #54. A rich impression with plate tone printed on cream wove paper. Signed and numbered in pencil...

c. 1932. Aquatint. 10 1/4 x 11 (sheet 12 5/8 x 15 1/2). A rich impression printed with plate tone on countermarked French wove paper. Unsigned; annotated 'Dark House (Aqua)' in Horter's hand. Another impression is in the Library of Congress. Housed in a 16 x 20-inch archival mat, suitable for framing. Earl Horter...

Manhattan Nocturne. 1938. Etching and drypoint. Kraeft 70. 7 1/8 x 11 7/8 (sheet 10 1/2 x 15 1/4). Edition 100. Presentation Print of the Society of American Etchers, 1938. Provenanc...

Polymer gravure type etching on Velin Arches Blanc 250 gsm. Signed and numbered by the artist Paper size: 24 x 29.5 cm Edition of 100

This one is a metallic silver gray color. Menashe Kadishman was born in Tel-Aviv in 1932. He is a Graduate of St. Martin's School of Art, University of London Studies with Anthony Ca...

Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably fr...

Published edition, not trial proof Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. A rich, tonal impressi...

The Arthur Williams Estate. c. 1916. Etching and drypoint. 4 3/4 x 9 (sheet 8 x 10 7/8). A rich impression printed on dark cream wove paper. Water stai...

Surreal Fantasy is a 1967 original limited edition ( 18/30 ) black and white signed etching by Italian artist Alberto Longoni in good condition. ...

Menashe Kadishman was born in Tel-Aviv in 1932. He is a Graduate of St. Martin's School of Art, University of London Studies with Anthony Caro, Reg Butler. From 1947 to 1950, Kadish...

Born in Amityville, NY, in 1952, Tom Butter received his B.F.A. from Philadelphia College of Art in 1975 and his M.F.A. from Washington University, St. Louis, two years later. Since 1979 he has been teaching sculpture at PCA. Butter is the recipient of two National Endowment for the Arts Grants for Emerging Artists (1980 and 1982). Special outdoor installations of his work have been part of the Hammarskjold Plaza Sculpture Garden, NY (1983), and Art Across the Park, Central Park, NY (1982). One-person exhibitions have been held at the Lawrence Oliver Gallery, Philadelphia (1983,1984,1985) and the Grace Borgenicht Gallery, NY (1983,1984). Group shows include: Affiliations, Recent Sculpture and Its Antecedents, Whitney Museum, Stamford, CT (1985); Translucid, Sculpture at Washington Square, Washington, DC (1985); Transfiguration of the Minimal Style, Sculpture Center, NY (1984); Language, Drama Source and Vision, The New Museum, NY (1983); Intoxication, Monique Knowlton Gallery, NY (1983); American Abstraction Now, ICA, Virginia Museum (1982); Critical Perspectives, P.S. 1, Long Island City, NY (1982); Color, Light and Mass: Ten Sculptors, Hallwalls, Buffalo (1981); Art for the Eighties, Galerie Durban, Caracas, Venezuela (1980). His work is in our own Academy collection as well as those of the Metropolitan Museum of Art, NY; Indianapolis Museum of Art; Chase Manhattan Bank; Prudential Insurance Company of America; and the Hospital Corporation of America, Nashville, TN. Bibliography: Forgey, Benjamin, “Prismatic Showcase,” The Washington Post, April 25, 1985. Martin, Richard, Arts, November 1984. Raynor, Vivien, The New York Times, November 18,1984. Goodman, Marilyn J.S., New Art Examiner, June 1984. Donohoe, Victoria, The Philadelphia Inquirer, April 14,1984. Donohoe, Victoria, The Philadelphia Inquirer, March 18,1984. Raynor, Vivien, “Totem,” The New York Times, February 17,1984. Kramer, Kathy, “Lifesigns,” Arts, February 1984. Messinger, Lisa, “Notable Acquisitions,” 1982 – 84,” Metropolitan Museum of Art. Linker, Kate, Artforum, November 1983. Brenson, Michael, “Critics Choices,” The New York Times, August 21, 1983. Saunders, Wade, Art in America, April 1983. Lichtenstein, Therese, Arts Magazine, March 1983. Levin, Kim, “Voice Choice,” Village Voice, January 12-18,1983. Rifkin, Ned, New Work/New York, catalogue, The New Museum, 1982. Russell, John, “New Work/New York,” The New York Times, March 19, 1982. Boyd, Julia, American Abstraction Now, catalogue, The Institute of Contemporary Art of the Virginia Museum, 1982. Silverthorne, Jeanne, “Butter/Burlin,” Artforum, October 1981. Raynor, Vivien, “Butter/Burlin,” The New York Times, September 11, 1981. Cohen, Ronny H., Drawing, Summer 1981, survey article. Denson, Roger, Color, Light and Mass: Ten Sculptors, catalogue, Hallwalls, Buffalo, NY, 1981. Huntington, Richard, “Color Mass, A Satisfying Show,” Buffalo Courier...