Baron Adolf De Meyer Art

This is a photogravure printed in the 1930's for a publication that showcased the best photographers of that year. They submitted a work they wanted featured to represent them and B...

Artist's statement: In the last years, parallel to photography and video, I have been making works on canvas, prints, drawings, collages, and small installations. Many of these piece...

Edition of 26 Signed, titled, dated and numbered on print margin by Marta María Pérez Bravo. Photogravure, 16 1/2 x 16 1/2 in.

Edition of 26 Signed, titled, dated and numbered on print margin. Photogravure

George Henry Seeley ( 1880 - 1955 ) Blotches of Sunlight and Spots of Ink 1907 image size 8.25 x 6.25 loosely backed on paper 11.75 x 8.25 Vintage hand-pulled photogravure from Camer...

Signed on mount Inscribed 'Christmas Greetings to members of the Academy of Osiris from Bro. Alvin & Sr. Edith, 1956' Photogravure, mounted on card 10 1/4 x 7 3/4 inches

"I was intrigued to find what I supposed was the world's largest ice cream vendor in the world's smallest ice cream van, The rear suspension plays testament to this." - David George Beadnell, England, "Ice Cream Van", from the 'East of Eden' series, 2020 Photogravure; Charbonnel Ink on Archival Somerset Satin Paper Photogravure, 14.85 x 21 cm plus frame, (custom made with antireflective art glass) Edition of 2/5 + 2APs, Signed and numbered David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...

"It was very strange and magical for my dogs to suddenly and instinctively to become an integral part of the landscape. I suppose that’s what hunting dogs do." - David George David George's interest in British landscape began under the tutelage of John Blakemore at Derby University and continues to be a major part of his practice, now mainly concerned with ideas of classical and romantic visual semantics in the contemporary British landscape. His work looks at the decline of traditional industries, incorporating his interest in 19th century European landscape painting...