Thomas French Fine Art Landscape Prints

La Pointe de Bretteville Color lithograph, 1899 Signed in the stone upper right Publisher: Sagot, Paris Edition: Edition: about 200 (per Arwas) References And Exhibitions: Arwas 33 2...

La Pointe de Bretteville Color lithograph, 1899 Signed in the stone upper right Publisher: Sagot, Paris Edition: Edition: about 200 (per Arwas) References And Exhibitions: Arwas 33 2...

Un Debarquement en Angleterre (A Disembarking in England) etching, drypoint, aquatint, roulette and spirit ground, 1879 Signed with the artist’s red owl stamp, Lugt 977 (see photo) ...

L’Angelus (The Bell Tower) etching & drypoint, c. 1876 Signed in the plate with the artist's initials (see photo) Condition: Excellent Image/Plate size: 5 7/8 x 4 1/4 inches Sheet s...

Westminster Palace Etching, Drypoint, Aquatint, roulette and salt ground lift 1884 Depicts the Houses of Parliament, Big Ben Clock and Tower and the River Thames in the foreground. S...

Poplar Tree B Lithograph, c. 1959 Signed and numbered in pencil by the artist (see photo) Artist's red stamp lower left margin (see photo) Edition: 50 (30/50) Printed by Arthur Flory...

House in Kyoto Color woodcut, 1963 Signed in white brush bottom left of image, along with the artist's red stamp (see photo) Titled, dated and numbered in pencil bottom margin (see p...

New York Bouquet Lithograph, 1917 Edition: 93 Signed with the artist's cipher in pencil lower right (see photo) This lithograph is inspired by Hassam's oil painting of the same title...

St. George Hotel Searchlight Lithograph, 1930 Signed in pencil lower right (see photo) Titled lower left (see photo) Edition: 30 Printed by Meister Schulz, Berlin The image depicts t...

Daybreak over Lake Yamanaka Color woodcut, 1931 Published by the Watanabe Color Print Co. Watanabe seal "D" (1931-1941) See photo Pre-war design and pre-war printing Lake Yamanaka i...

Ancient Landscape II (Ancient City) Etching and drypoint, 1953-55 Signed and titled in pencil by the artist (see photos) Annotated: "E130 A/1" in pencil lower right Estate stamp vers...

Veduta del Romano Camipidpglio con scalinata che va alla chisea d’Araceli (The Capitol and the Steps of S. Maria in Aracoeli) Etching, 1775 Watermark: Double Circle Fleur de Lys A li...

Woodlands (New Hope, Pennsylvania) Lithograph, 1950 Signed by the artist in pencil lower right (see photo) Annotated: Ed/55 in pencil by the artist lower left (see photo) Edition: 55...

Cypresses Reductive color woodcut in colors, black, green & brown, 1982 Unsigned From: Tramp Picture series "The printer was Claude Jinchat at Imprimerie Arnéra, Vallauris. The set w...

Poles and Cypresses Woodcut printed in black, 1982 Unsigned From: Tramp Picture series "The printer was Claude Jinchat at Imprimerie Arnéra, Vallauris. The set was published by Blum ...

Saint Tropez Etching with aquatint, printed in colors, 1964 Signed in ink and numbered in pencil Edition: 71/100 Issued for the album St. Tropez et la Provence, in 1966 Reference: Lo...

untitled (Returning Home with Supplies) Signed in pencil by the artist lower right (see photo) Signed by his printer, Otto Felsing lower left ((see photo) Annotated in pencil: "In kupfer geschnitten von einen Lapplander" Printed by Otto Felsing, one of Germany's master printers of the era One of several engravings Hagemann made based upon actual drawings given to him by Laplanders. Gustav Hagemann was born on February 17, 1891, in Engelnstedt, Salzgitter, Germany. Hagemann attended high school in Wolfenbüttel and studied at the art school, in Kassel, Germany. After graduating as an art teacher, he became a trainee teacher in Torgau in Saxony. He fought in the First World War between 1914-1918. After the war he studied art from 1920...

Lingering Snow Mount Yoshino (Shidzuka-gozen toiling through snow after her last farewell to Yoshitsune) Signed: Ichiyusai Kuniyoshi ga Censor seal: Tanaka Series: Kenjo hakkei ...

Tokyo Tower in Shiba Color woodblock, 1960 Signed and sealed lower right Signed with the artist's name:" Keimei" (see photo) Signed with the artist's seal in red (see photo) Publishe...

Fleet Street, London Soft ground etching & aquatint, c. 1936 Signed in pencil by the artist (see photo) Condition: Very good condition with brown paper tape along the edges of the la...

Duomo (Florence) Etching & aquatint , 1965-66 Signed, titled and annotated "artist's proof" (see photos) Edition: 100, this impression an artist's proof Reference: Silvie Turner. Julian Trevelyan Catalogue Raisonne of Prints.November 1, 2010. Reprint, Lund Humphries, 2010., No. 174 Provenance: Elizabeth Carrol Shearer, former President of the Print Club of Cleveland He moved to Paris to become an artist, enrolling at Atelier Dix-Sept, Stanley William Hayter's engraving school, where he learned etching. He worked alongside artists including Max Ernst, Oskar Kokoschka, Joan Miró and Pablo Picasso. In 1935, Trevelyan bought Durham Wharf, beside the River Thames in Hammersmith, London. This became his home and studio for the rest of his life and was a source of artistic inspiration to him. He became a confirmed Surrealist and exhibited at the International Surrealist Exhibition, held at the New Burlington Galleries in London. From 1950 to 1955, Trevelyan taught history of art and etching at the Chelsea School of Art. From 1955-63, Trevelyan worked at the Royal College of Art and became Head of the Etching Department. Because of his enthusiasm in his work and the desire to share it with others, Trevelyan became a highly influential teacher, with students including David Hockney, Ron Kitaj...

French Stacks Linocut printed in color Unsigned Stamped verso “Imprimerie Arnera Archives/Non Signe” Printer: Jaime Arnera, Vallarius, France (their stamp verso) Condition: Printed ...

Cover illustration for Die Graphischen Kunste, Volume 22 Color lithograph, 1899 Signed with the artist's initials lower center (see photo) From: The Graphic Arts, Volume 22, 1899 ...

The White Gate (New Castle, Delaware) Lithograph, 1961 Signed in pencil lower right (see photo) Numbered and title in the lower left (see photos) Condition: Excellent Image size: 15 ...

Hidden Pond Lithograph, 1958 Signed in pencil lower right of image Annotated: Ed/40 in pencil by the artist lower left Edition: 40 Provenance: Baldwin-Wallace College, Berea, OH (acc...

An Eagle Ceremony at Tesuque Pueblo Woodcut printed in two colors, 1932 Unsigned as usual; initialed in the plate lower left (see photo) As published by Elmer Adler in "The Colophon:...

Veduta dell'esterno della gran Basilica di S. Pietro in Vaticano (View of the Exterior of St. Peter's Basilica in the Vatican) Etching, 1748 From the first printing of the "Vedute di...

Haystack #5 Color lithograph and screen print, 1969 Signed and dated in pencil (see photo) From: Haystack Series (seven plates) see photo of entire portfolio Signed and dated in pencil Edition: 100 (74/100) Publisher: Gemini G.E.L., Los Angeles, CA, with their blaindstamp Reference: Paul Bianchini No. 33e Corlett and Fine 69 Condition: Excellent Fresh colors Small paper imperfection in bottom margin near the edge of the sheet Image size: 13 1/4 x 23 3/8 inches Sheet size: 20 ¾ x 30 ¾ inches Frame size: 23 ½ x 33 ¾ inches This is one of the finest images in the portfolio, inspired by Claude Monet's famous series of Haystack paintings...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing with the price in the lower right corner. Printed on a Double Circle Fleur de Lys watermark paper, c. 1760, with full margins. A brilliant impression . Note: A view of the Tiber River, Castello Sant' Angelo and St. Peter's Basilica in the distance. Watermark: Double Circle Fleur de Lys References: Robison c/g Hind 29 ii/VII Foclllon 793 Condition: A Roman printing before the numbers added in Paris. Printed on a Double Circle Fleur-de-Lys watermark paper. Right margin folded over 5/8 inches for framing. Usual centerfold as issued in the album. Slight aging to the sheet. Binding holes at the left margin edge Framed with plexi. Plate size: 14 7/8 x 22 7/8 inches Sheet size: 21 5/8 x 30 5/16 inches Frame size: 22 3/4 x 33 1/2 inches Sant’Angelo Bridge, Italian Ponte Sant’Angelo, ancient (Latin) Pons Aelius, ancient Roman bridge, probably the finest surviving in Rome itself, built over the Tiber by the emperor Hadrian (reigned 117–138 AD) to connect the Campus Martius with his mausoleum (later renamed Castel Sant’Angelo). The bridge was completed about AD 135. It consists of seven stone arches and five main spans of about 60 feet (18 m) each, supported on piers 24 feet (7 m) high. In the 13th century Pope Clement IV installed an iron balustrade and in the 16th century Pope Clement VII placed statues of Saints Peter and Paul...

XXXIII Fig. I Avanzo del Tempio di Castore e Polluce .View of the Remains of the Peristyle of the House of Nero, Etching, 1756 Signed in the plate (see photo) From: Le Antichità Roma...

Niagara Falls Lithograph, 1931 Signed lower right (see photo) Titled/edition lower left. (see photo) Edition of 25 Provenance: the Estate of the Artist Condition: Excellent Image si...

Signed by the artist in pencil upper right; Annotated in pencil by the artist below signature: "no 58" Edition: Intended edition of 100 for Vollard's "Album des Peintres-Gravures" o...

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

New York Night\Lithograph, 1930 Edition: 30 Printer: Meister Schulz, Berlin Printed on heavy wove paper without watermark This lithograph was created in...

The Golden Gate Lithograph on wove paper watermarked GC, 1940 Signed in pencil by the artist (see photo) Publisher: Associated American Artists Edition: 189, unnumbered The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California References And Exhibitions: Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324 Reference: L & O 325 AAA Index 391 Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Brooklyn Waterfront Lithograph, 1931 Signed, titled, and dated in pencil by the artist Edition: Undetermined (very small), plus artist's proofs Printed by Meister Schulz, Berlin Provenance: Estate of the artist Virginia Dehn, the artist's widow Dehn Quests Bibliography: Lumsdaine and O'Sullivan 152 Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression) Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer, the publisher of the most notable modernist art and poetry magazine...

The Arch of Constantine and the Colosseum Vedute dell' Arco di Costantino, e dell' Anfiteatro Flavio il Colosseo From: "Vedute di Roma" (Roman Views), part II An early Paris edition,...

Untitled (Venice canal, man departing the gondola) Drypoint, c. 1930-1931 Signed in pencil lower right (see photo) Annotated in the lower margin: "Just a souvenir made ___ Monclair Lecture" Levon West In a supplemental list prepared by Otto Torrington he lists seven views of Venice. No edition of these Vencie images was ever printed. Only rare proof exist. I cannot find another impression of this image on line or in reference books. Condition: Very good impression with selective inking to the plate. Imperfections on the bottom edge of the sheet. Image/Plate size: 14 5/16 x 8 3/8 inches Sheet size: 17 1/2 x 11 1/2 inches Also known as Ivan Dmitri, Levon West gained international fame for his portrayals in color photography, etchings and watercolors. During his youth, West moved throughout North Dakota, as his father was a congressional preacher. After graduating from high school he taught school for a year and enlisted in the United States Navy. West was the recipient of a scholarship to the University of...

Lobsterman's Cove, Winter Harbor, Maine Lithograph, 1941 Signed in pencil lower right (see photo) Edition 50 Impressions are in the collection of the Pennsylvania Academy of the Fine...

Backyard II Lithograph, 1972 Signed lower right Signed lower right Annotated: Printer's Proof Reference: Karl Lunde 58 An impression is in the collection of the Art Institute of Chic...

Ontario St. Grading and Temporary Ramps Drypoint, August 1929 Signed in pencil lower right (see photo) From: The Cleveland Set (23 plates), this being No. 13 Edition: Small A brilliant example of American industrial art. A wonderful, rich impression, with lots of burr and contrasts. Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology. He then enrolled at the Royal College of Art, London, to study etching techniques under Malcolm Osborne...

Bougival Woodcut, 1914 Signed and numbered in pencil Edition 30, this numberd 22 Printed on laid Van Gelder Zonen paper Published by Henri Kanweiler, Paris Printed by Paul Birault, Paris Bougival is located west of Paris, on the left bank of the River Seine. This woodcut was inspired by Vlaminck's 1905 Fauvist masterpiece of the same title in the collection of the Detroit Institute of Art. An impression of this image is in the Yale Univeristy Art Gallery, Condition: Very slight sun staining, otherrwise very good Image/block size: 13 1/4 x 16 1/4 inches Sheet size: 19 1/8 x 22 1/8 inches Reference: Walterskirchen 11b Maurice de Vlaminck (4 April 1876 – 11 October 1958) was a French painter. Along with André Derain and Henri Matisse, he is considered one of the principal figures in the Fauve movement, a group of modern artists who from 1904 to 1908 were united in their use of intense colour.] Vlaminck was one of the Fauves at the controversial Salon d'Automne exhibition of 1905. Life Maurice de Vlaminck was born on Rue Pierre Lescot in Paris. His father Edmond Julien was Flemish and taught violin and his mother Joséphine Caroline Grillet came from Lorraine and taught piano His father taught him to play the violin.[3] He began painting in his late teens. In 1893, he studied with a painter named Henri Rigalon on the Île de Chatou In 1894 he married Suzanne Berly. The turning point in his life was a chance meeting on the train to Paris towards the end of his stint in the army. Vlaminck, then 23 and already active in anarchist circles in Paris, met an aspiring artist, André Derain, with whom he struck up a lifelong friendship.] When Vlaminck completed his army service in 1900, the two rented a studio together, the Maison Levanneur, which now houses the Cneai,[6] for a year before Derain left to do his own military service. In 1902 and 1903 he wrote several mildly pornographic novels illustrated by Derain. He painted during the day and earned his livelihood by giving violin lessons and performing with musical bands at night. Vlaminck participated in the controversial 1905 Salon d'Automne exhibition. After viewing the boldly colored canvases of Vlaminck, Henri Matisse, André Derain, Albert Marquet, Kees van Dongen, Charles Camoin, and Jean Puy, the art critic Louis Vauxcelles disparaged the painters as "fauves" (wild beasts), thus giving their movement the name by which it became known, Fauvism. In 1911, Vlaminck traveled to London and painted by the Thames. In 1913, he painted again with Derain in Marseille and Martigues. In World War I he was stationed in Paris, and began writing poetry. Eventually he settled in Rueil-la-Gadelière, a small village south-west of Paris. He married his second wife, Berthe Combes, with whom he had two daughters. From 1925 he traveled throughout France, but continued to paint primarily along the Seine, near Paris. Resentful that Fauvism had been overtaken by Cubism as an art movement Vlaminck blamed Picasso "for dragging French painting into a wretched dead end and state of confusion". During the Second World War, Vlaminck visited Germany and on his return published a tirade against Picasso and Cubism in the periodical Comoedia in June 1942. Vlaminck wrote many autobiographies. Vlaminck died in Rueil-la-Gadelière on 11 October 1958. Artistic career Two of Vlaminck's groundbreaking paintings, Sur le zinc (At the Bar) and L'homme a la pipe (Man Smoking a Pipe) were painted in 1900. For the next few years Vlaminck lived in or near Chatou (the inspiration for his painting houses at Chatou), painting and exhibiting alongside Derain, Matisse, and other Fauvist painters. At this time his exuberant paint application and vibrant use of colour displayed the influence of Vincent van Gogh. Sur le zinc called to mind the work of Toulouse-Lautrec and his portrayals of prostitutes and solitary drinkers, but does not attempt to probe the sitter's psychology—a break with the century-old European tradition of individualized portraiture. According to art critic Souren Melikian, it is "the impersonal cartoon of a type. In his landscape paintings, his approach was similar. He ignored the details, with the landscape becoming a vehicle through which he could express mood through violent colour and brushwork. An example is Sous bois, painted in 1904. The following year, he began to experiment with "deconstruction," turning the physical world into dabs and streaks of colour that convey a sense of motion. His paintings Le Pont de Chatou (The Chatou Bridge), Les Ramasseurs de pommes de terre (The Potato Pickers...

Rainy Night in Rome Drypoint, 1913 Signed in pencil and titled in the lower margin by the artist (see photo) Provenance: Kennedy Galleries, Stock # A6538 Reference; Doddgson 299 _/X Total edition in 10 states 125 printed Note: The scene depicts the Church of San Rocco on the right at the intersection of via Schiavoria and via di Ripetta. Guichard considers this image to be among the artist's most desirable. Condition: Exceptional, rich impressions, printing with extensive burr. Printed on a medium weight Japanese paper. Image/Plate size: 12 x 9 inches Sheet size: 15 7/8 x 11 inches Sir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. A figure in the last generation of the Etching Revival, Bone's early large and heavily-worked architectural subjects fetched extremely high prices before the Wall Street Crash of 1929 deflated the collectors' market. He was well known, if not notorious, for publishing large numbers of different states of etchings, encouraging collectors to buy several impressions. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum. Early life Muirhead Bone was born in Partick, Glasgow. His parents were journalist David Drummond Bone (1841–1911 and Elizabeth Millar Crawford (1847–1886). The Bone and his siblings attended the local Board school and were placed in apprenticeships from the age of fourteen. James Bone...

Basilica of Madeleine, Vezelay Etching, 1929 Signed and dated lower right (see photo) Annotated: "Third State" lower left Printed on a sheet of old book paper From: French Church Ser...

View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido, and like others built by Marcus Agrippa in the time of Augustus when he ...

Bloques (Road Block) Color lithograph, 1905 Signed and numbered in pencil lower right; signed and dated in the stone lower right (see photo) Edition: 100, first edition (33/100) Published by Edmund Sagot, Paris Printed by Atelier Chaix, Paris Deluxe edition with artist's signature and penciled edition, as well as Sagot blindstamp There is an unlimited edition with title and publisher, printer text below the image. (state ii/II) Condition: Excellent, never matted or framed Image size: 13 x 19 5/8 inches Sheet size: 18 x 24 3/4 inches Provenance: Edmund Sagot (1857-1917) publisher Sagot Heirs Georges Meunier (1869-1934) Meunier was born in Saint-Cloud, France in 1869. He moved to Paris as a young man and studied at the National School of Fine Arts; there, he was a student of artist Joseph-Robert Fleury. Following this training, Meunier attended The School for the Decorative Arts where he was trained in both classical and modern design, these skills would later influence his poster graphics. Subsequent to his education, Meunier's posters were exhibited in salons throughout Paris, giving his work notoriety. George Meunier was a prolific artist at the turn-of-the-century influenced greatly by Cheret, the founder of the advertising poster movement. Meunier succeeded Cheret at the Chaix printing house as principal artist and director. He worked as a poster artist for only a short time, making a career change to a book illustrator, which he pursued until the end of his life. Regarding the publisher Edmund Sagot (1857-1917) Edmond-Honoré Sagot , born in 1857 and died on April 6 , 1917, is a bookseller , art dealer , publisher of prints and original posters . In 1881 he founded the house “Ed. Sagot” in Paris. This establishment still exists under the name “ Sagot - Le Garrec ” and is one of the oldest art galleries still in operation. Edmond Sagot is the first contemporary art dealer...

Saint-Tropez-Le Port Color lithograph, 1897-1898 Signed in pencil lower right (see photo) Numbered in pencil lower right: No. 68 (see photo) From: Album des Peintres-Gravures, 1898 Published by Ambrose Vollard, Paris Printer: Auguste Clot, Paris Edition: 100 Numbered: No. 68 Reference: Una Johnson, Vollard, No. 188, reproduced pale 35 Kornfeld & Wick, No. 19 b/b Condition: Very fresh colors One tiny spot in the upper margin above the image (see photo) Image size: 17 1/8 x 13 inches Frame size: 32 3/4 x 27 1/4 inches Archival framing by Galerie Maximilian, Aspen, CO Museum glass 22K Gold leaf hand carved frame...

Western Hills Viaduct Under Construction Drypoint, June 1931 Signed in pencil lower right (see photo) Initialed and dated in the plate lower right above pencil signature (see photo) From: Cincinnati Series, 1930-1931, 8 plates, this No. 5 Small edition, not specified From Greenfield Hill Condition: Excellent Image/Plate size: 8 1/2 x 15 1/4 inches Sheet size: 11 1/4 x 18 1/2 inches Louis Conrad Rosenberg 1890-1983 An American architectural etcher...

Cincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...

Matsu (Pine) Woodcut, 1968 Signed: "'Matsu' Naoko Matsubara" in pencil by the artist (see photo) Annotated in pencil "Ed 25" (see photo) Edition: 25 Condition: 7" long waterstain at bottom edge of sheet starting ca. 6" in from lower left corner. Does not effect image. Light foxing throughout, especially in margins. Matting covers the foxing up. Image size: 22 x 43 1/4 inches Naoko Matsubara (1937 - ) Matsubara Naoko (松原直子) was born in 1937 on Shikoku Island into an old Shinto family, and grew up in Kyoto, where her father was a senior priest. She was educated at the Kyoto Academy of Fine Art (BFA, 1960); and was a Fulbright Scholar at what is now Carnegie Mellon University, Pittsburgh (MFA, 1962). She was also a Special Invited Student at the Royal College of Art in London (1962). After travelling extensively in Europe and Asia, Naoko Matsubara returned to Japan for two years, before being lured back to the United States. There she worked as personal assistant to the late Prof. Fritz Eichenberg, and also taught at the Pratt Institute of Graphic Art in New York, as well as at the University of Rhode Island. Subsequently she lived in Cambridge, Mass. In 1972 Naoko Matsubara moved to Canada, and now lives in Oakville, Ontario. She has continued to be extremely active as an artist: locally, nationally and internationally. Since 1960 she has had some 75 solo exhibitions, in the USA, Canada, Japan, England, Ireland, Germany, Austria, Switzerland, Holland and Mexico. She has also participated in numerous group exhibitions. Public collections owning work by Naoko Matsubara include: Albertina, Vienna; Art Institute of Chicago; British Museum; Carnegie Institute; Museum für Kunst und Gewerbe, Hamburg; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Cincinnati Art Museum; Detroit Institute of Art; Fogg Art Museum, Harvard University; Haifa Museum, Israel; Kyoto National Museum of Modern Art; Royal Ontario Museum; The White House, Washington DC; Tokyo National Museum of Modern Art; Yale University Art Gallery. Naoko Matsubara has published some 20 books and portfolios of her work, including most recently Tibetan Sky (Calgary: Bayeux Arts Publishers, 1997; Preface by the Dalai Lama); Tokonoma (Bath, England: Old School Press, 1999); and Konjaku monogatari (Tokyo: ALIS, 2002). Her work also includes a large mural and donor pillar for the new YMCA building in Oakville, Ontario (2003); mixed-media screens; and paintings. In 2005, the Royal Ontario Museum commissioned two large works from Naoko Matsubara for the Museum's Bloor Street window case. The artist generously donated a third work, Emerald Summer (2006). The three works (each 195 cm. high by 95 cm. wide) will be rotated at regular intervals into the outside window. This is the first commissioned artwork to be displayed on the Museum’s Bloor Street Plaza. Recent major exhibitions have been in Tokyo, Kyoto, Indiana, and Toronto (Royal Ontario Museum). Further exhibitions are currently being planned in Seattle and Tokyo; new books in process include In Praise of Hands. She also continues to travel widely; is frequently invited to speak about her work; and also publishes essays, in both English and Japanese. Naoko Matsubara’s work has been the subject of countless articles and reviews; documentary films (including two from the Canadian Broadcasting Corporation); and several book-length publications: notably Mokuhan: The Woodcuts of Munakata and Matsubara (text by Joan Stanley-Baker; Victoria, BC: Art Gallery of Greater Victoria, 1976); Naoko Matsubara: Development of Artistic Style and Technique (text by Barbara Woodworth; MFA thesis, Harvard University, 1985);.and Tree Spirit...

The Columns of Herakles Lithograph in Grey printed Zerkall-Vellum paper, 1960 Signed in pencil by the artist 'O. Zadkine' at the lower right corner (see photo) Numbered in pencil 102...

Desolation, S.C. or Deserted Cabins, Beauford, S.C. Etching & Aquatint, c. 1930 Signed by the artist in pencil lower right (see photo) Annotated "Trial Proof" in pencil lower left co...

Brittany Landscape with Figure Etching & color aquatint, c. 1920 Signed lower right (see photo) Numbered lower left: "No. 21" (see photo) An early ...

City Park, Winter Lithograph, c. 1947 Signed in pencil lower right (see photo) Published by Associated American Artists Printed by George C. Miller, New York Edition: c. 250 In the Bohrod papers at Syracuse University, the artist states that it is a view of Pittsburgh. It depicts the George Washington Monument in Allegheny Commons Park, dedicated in 1891. The sculptor f the monument is Edward Ludwig Albert Pausch (1856-1931). Condition: Excellent Image size: 9 1/4 x 13 7/16 inches Frame size: 19 x 23 inches Provenance: Estate of Adolf Dehn Reference: AAA Index No. 848 Aaron Bohrod (21 November 1907 – 3 April 1992) was an American artist best known for his trompe-l'œil still-life paintings. Education Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings. Career He returned to Chicago in 1930 where he painted views of the city and its working class. He eventually earned Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' Army War Art Unit...

Trout Fishing on the Gunnison (Colorado) Lithograph, 1941 Signed and dated '42 in pencil lower right Annotated lower left: "40 Prints-The Gunnison River, Colorado-For Anne & Jack" Ed...

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...

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...

Minneapolis at Dusk Etching & aquatint printed in colors, 1993 Signed, titled and numbered in pencil Edition: 65 (19/65) Condition: Excellent This image depicts the Wells Fargo Center designed by Cesar Pelli Richard Haas (American, b.1936) is a practitioner of the trompe l'oeil artistic style, a technique that uses realistic images in a way that tricks the eye into perceiving the painting in three dimensions. Haas has painted hundreds of murals that incorporate trompe l'oeil methods in the depiction of the architectural features of the building. He was born in Spring Greene but grew up in Milwaukee, WI. He graduated in 1959 from the University of Wisconsin-Milwaukee with a Bachelor in Art. Instructors for his courses included Joseph Friebert (American, 1908–2002) and Robert Von Neuman (German, 1888–1976). Haas returned to his birthplace to work as a helper for his stonemason uncle, and he had an opportunity to view the work of the architect Frank Lloyd Wright (American, 1867–1959). He spent several years as an assistant professor at the University of Michigan before he moved to New York City in 1968. Haas spent 10 years teaching at Vermont's Bennington College, splitting his time between the school and New York. Haas worked for many years as an Abstract painter who used traditional canvas media. He later developed an interest in drawing and etching the details of late 19th century and early 20th century New York City buildings. The artist’s first outdoor mural, a commission to paint the cast iron façade at the corner of Prince Street and Greene Street, was completed in 1975. His other notable murals include Fort Worth, Texas' Homage to Chisholm Trail...

Dejeuner sur l'Herbe Lithograph, c. 1914 Edition: c. 100 Unsigned as issued by Vollard References And Exhibitions: Commissioned from Cezanne by Ambrose Vollard in the late 1890s Prin...

Tug Boat in New York Harbor Screen print, c. 1942 Signed in the screen lower right (see photo) Condition: Excellent Image size: 16 x 20 inches Published by Li...