Graves International Art

paper: 22 x 15 in. printed image: 4 3/4 x 6 in. english translation: Long Hand Crab Latin

A very good impression of this etching and engraving with color aquatint. Signed, dated and numbered 132/150 in pencil by Dali. Published by Argillet, Paris. From "Mythologie." Cat...

"Nohubo remedio" (There was no remedy) - Etching and Aquatint on Paper Bold 3rd or 4th edition, circa 1868-1878, with burnished aquatints, drypoints etching, and engravings by Franc...

The Bull is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.15 x 8.5 inches...

The White Eagle is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8.15 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

A very good impression of this aquatint, grattoir and drypoint. Edition of 225. Printed by Lacourière, Paris. Published by Martin Fabiani, Paris. From "Histoire Naturelle." Catalogu...

SALVADOR DALI Le Cerf se voyant dans l'eau from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 in...

Stanley Boxer Finale, from Carnival of Animals (Tyler Graphics, 119:SB31), 1979 Etching, aquatint, engraving and drypoint on hand colored TGL handmade paper Edition 16/20 Pencil sign...

The Monkey is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 7.9 inche...

The Lizard is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8.15 inch...

The Frog is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.6 x 7.9 inches,...

Elephants. 1979 edition 2/20 Hand signed and dated Framed 24.5 X 28. Sheet 23 X 26 This is from a series of prints Boxer produced at Tyler Graphics between 1975 and 1979. Over this period, he created several series of intricately rendered figurative works, illustrating whimsical scenes featuring animals, plants and nubile winged figures. Boxer had, however, been making drawings of this nature throughout his career, and he insisted they were closely connected to his abstracts, made with similar gestures and motivation. The Tate Museum received twenty-five of Stanley Boxer’s prints as a gift of Kenneth Tyler from Tyler Graphics, comprising a complete portfolio of Ring of Dust in Bloom, 1976, an incomplete portfolio of Carnival of Animals, 1979, and two individual prints. This work is from Carnival of Animals, a portfolio of fourteen intaglio prints on handmade paper. Tate holds eleven of the prints from this portfolio (Elephants, Swan and Fossils are not in Tate’s collection). Stanley Boxer (1926-May 8, 2000) was an American abstract expressionist artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker. He received awards from the Guggenheim Fellowship and the National Endowment for the Arts. Boxer was born in New York City, and began his formal education after World War II, when he left the Navy and studied at the Art Students League of New York. He drew, painted, made prints, and sculpted. His work was recognized by art critic Clement Greenberg, who categorized him as a color field painter, A group that included Barnett Newman, Clyfford Still, and Mark Rothko and was a form of Abstract Expressionism and later included Helen Frankenthaler, Ad Reinhardt, Kenneth Noland, Gene Davis, Jules Olitski, Raymond Parker and Morris Louis. Boxer himself was adamant in rejecting this stylistic label. Over the years, he remained loyal to the materially dense abstract mode on which his reputation rested.. Art critic Grace Glueck wrote "Never part of a movement or trend, though obviously steeped in the language of Modernism, the abstract painter Stanley Boxer was a superb manipulator of surfaces, intensely bonding texture and color." In 1953 Boxer had his first solo exhibition of paintings in New York City, and showed regularly thereafter until his death. His paintings and sculpture were represented in New York City during the late 1960s through 1974 by the Tibor de Nagy Gallery, then by the André Emmerich Gallery from 1975 until 1993, and finally by Salander-O'Reilly Galleries until its demise in 2007. Richard Waller, director of the University of Richmond's Harnett Museum of Art, describes his evolution as an artist: You can see the shift from working with figurative imagery in the 1940s and early '50s to abstraction in the late '50s. The abstraction in the late '60s and '70s was more derived from color-field issues. In the 1980s, Boxer really hit his stride in larger works with lots of thick paint and splashes of color. He sold a lot, and his success in the art world in the 1980s gave him the freedom to do what he wanted to do most. He was married to painter and artist Joyce Weinstein. The Boca Raton Museum of Art in Florida hosted an exhibition entitled Expanding Boundaries: Lyrical Abstraction Selections from the Permanent Collection. At the time the museum issued a statement that said in part: "Lyrical Abstraction arose in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Works by the following artists associated with Lyrical Abstraction will be included: Natvar Bhavsar, Stanley Boxer, Lamar Briggs, Dan Christensen, David Diao, Friedel Dzubas, Sam Francis, Dorothy Gillespie, Cleve Gray, Paul Jenkins, Ronnie Landfield, Pat Lipsky, Joan Mitchell, Robert Natkin, Jules Olitski, Larry Poons, Garry Rich, John...