Tancrède Abraham Prints and Multiples

Technique: Aquatint and etching Paper: Gourbeyre wove paper with watermark “Au Vent d’Arles” Edition: 73/75 Signed: Hand-signed and numbered in pencil Printer: Atelier Crommelynck, ...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Marie Laurencin Young girl with a guitar Original etching, 1945 Signed and dated in the plate Edition of 340 copies, unnumbered as issued On Lana vellum, size 33 x 25,5 cm (c. 13 x ...

Salvador Dalí "Le dos divin de Gala" (The divine back of Gala) from After 50 Years of Surrealism Original etching with hand coloring, hand sig...

Charles Donker Waning Moon 23,5 x 18 (Framed included in price, 44,5 x 37 cm) Etching on paper The etchings of Charles Donker are admired and collected both in the Netherlands and a...

The British Evacuate Boston - 1932 Etching on Paper by Allen Lewis. From the portfolio "The Bicentennial Pageant of George Washington." In this piece George Washington is front and ...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

Bowling on the Green (from the Bicentennial Pageant of George Washington) 'Bowling on the Green', by printmaker Frederick Childe Hassam, depicts George Washington and friends lawn b...

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...

1866 Etching on cream wove paper. 5 1/2 x 4 3/8 inches (138 x 110 mm), full margins. Third state (of 4). Light scattered age tone, and time stain. Scattered extremely light areas of ...

The Archangel Raphael Leaving Tobias' Family is an etching by Rembrandt executed in 1641. This etching is a proof of the 3rd state (of 4) before of the diagonals on the ground at the...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel, which he chose for its popularity. When illustrating the princ...