Razzia (Gérard Courbouleix–Dénériaz) Landscape Prints

David Hockney David Hockney - 60 Years of Work - Tate Britain original poster, 2017 Offset lithograph and digital print 24 × 16 1/2 inches Unframed, unsigned and unnumbered Accompani...

Title: Chanel suite (four artworks) Year: 1997 Medium: Offset lithograph on archival paper mounted on canvas Size: 29 x 22 inches, each Condition: Excellent Inscription: Signed in th...

Title: Chanel Year: 1997 Medium: Offset lithograph on archival paper mounted on canvas Size: 29 x 22 inches Condition: Excellent Inscription: Signed in the plate Notes: This special ...

Waiting from the Kent Bicentennial Portfolio Will Barnet, American (1911–2012) Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 11.25 x 11 inches Size: 17 x 14 in. (43.1...

A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...

Christo (American-Bulgarian, b. 1935) Lower Manhattan Packed Buildings (2 Broadway and 20 Exchange Place, from Monuments), 1968 Medium: Offset and screen print on Bristol board Dimen...

Christo, Christo and Jeanne-Claude, Javacheff Christo The Pont Neuf, Paris Wrapped (Hand Signed), from the Estate of Aviva and Jacob Bal Teshuvah, 1985 Offset lithograph poster (hand signed Christo et Jeanne-Claude) Signed Christo et Jeanne-Claude in orange crayon on the front Unnumbered 24 × 36 1/2 inches Unframed Hand signed Christo et Jeanne-Claude in orange crayon on the front unframed Accompanied by gallery issued Certificate of Guarantee & provenance This elegant vintage poster was published to promote and raise funds for Christo's famous The Pont Neuf Wrapped Project in the mid 1980s. From the estate of Jacob and Aviva Bal Teshuva - authors of books on Christo, collectors, philanthropists and friends of the artist. Provenance Estate of Aviva and Jacob Bal-Teshuva ABOUT THE PONT NEUF WRAPPED PROJECT: On September 22, 1985, a group of 300 professional workers completed the temporary work of art The Pont Neuf Wrapped. They had deployed 450,000 square feet (41,800 square meters) of woven polyamide fabric, silky in appearance and golden sandstone in color, covering: The sides and vaults of the twelve arches, without hindering river traffic. The parapets down to the ground. The sidewalks and curbs (pedestrians walked on the fabric). All the street lamps on both sides of the bridge. The vertical part of the embankment of the western tip of the Île de la Cité. The Esplanade of the Vert-Galant. The fabric was restrained by 8 miles (13 kilometers) of rope and secured by 12.1 tons of steel chains encircling the base of each tower, 3.3 feet (1 meter) underwater. The Charpentiers de Paris headed by Gérard Moulin, with French sub-contractors, were assisted by the USA engineers who had worked on Christo and Jeanne-Claude's previous projects, under the direction of Theodore Dougherty: Vahé Aprahamian, August L. Huber, James Fuller, John Thomson and Dimiter Zagoroff. Johannes Schaub, the project's director had submitted the work method and detailed plans and received approval for the project from the authorities of the City of Paris, the Department of the Seine and the State. 600 monitors, in crews of 40, led by Simon Chaput...

A 1933 lithograph on cream wove paper 14 x 18 inches (354 x 452mm), full margins. Signed, titled, and numbered 17/33 in pencil, lower margin. Minor mat tone around the perimeter of t...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Spring Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

Red Grooms Grand Central Terminal (signed and inscribed to renowned attorney), 1993 Offset lithograph poster (signed and inscribed in marker to Herbert Nass) Signed, inscribed to Her...

Artist: Norman Rockwell (1894-1978) Title: Snow Sculpture Snowman Year: 1985 Edition: 350/350, plus proofs. Medium: Offset lithograph on wove paper Size: 24.5 x 18.5 inches Condition...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...