Illinois - Interior Prints

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

S. Paolo Fuori Le Mura (Vedute della Basilica di S. Paolo fuor della mura) Etching, 1748 From: Vedute di Roma, Plate 8 An early Roman printing, published by Bouchard e Gravier Watermark: Fleur de Lys in a double circle Signed in the plate Condition: Small margins as are common with Bouchard published impressions. Centerfold (as usual) Rich impression with good contrasts Plate/Image size: 15 7/8 x 24 1/8 inches Sheet size: 17 3/8 x 24 3/4 inches Reference: Focillon 723 Wilton-Ely 138 Hind 6 ii/VI, Bouchard e Gravier printing, before the price and numbers in later states This image is Piranesi’s second interior scene from the Vedute di Roma. The first interior is a less complex composition of the Interior of St. Peters which lacks the challenging perspective that the artist masters in this image. The Papal Basilica of St. Paul Outside the Walls...

Maria Rivans, Tarzania Giclee and Screenprint with Diamond Dust, Iridescent Pearl and Spot Varnish on Somerset Velvet with torn edges 66.5 x 90 cm (26.18 x 35.43 in) Hand-signed b...

Positano Bath from the Amalfi Coast collection is a serigraph on paper with an image size 16 x 18 inches, signed 'McKnight' lower right and numbered lower left. Framed in a contempor...

Shepard Fairey limited edition silkscreen box set created in collaboration with Amplifier! This set includes ten 12"x12" signed and numbered screen prints featuring the Revolutionary Love series made from many of Shepard’s most famous symbols, in a foil embossed box and a certificate of authentication. Numbered 84/250 on the outside of the box. Each of the ten prints are also all matching numbered 84/250. Signed and Numbered by the artist in pencil, Shepard Fairey. Medium: Print Condition: Prints are in great condition and have been stored flat since purchase. Signature: Hand-signed by artist, Hand signed and numbered by the artist, Shepard Fairey in pencil. Dated 2021 Certificate of authenticity: Included (issued by authorized authenticating body) Frame: Not included Series: Revolution Publisher: Obey Giant Studio's Los Angeles California. Each print is individually signed and numbered by the Artist, Shepard Fairey in pencil. Each print also features the same number 84 as it's a complete set. Please and thank...

The So-Called Tempio della Tosse, Near Tivoli. Interior Upright (Veduta interna del Tempio della Tosse) "Temple of the Cough" Etching, 1764 Signed in the plate From: Vedute di Roma...

This early 19th century framed 35" x 31" engraving by artist Amand-Durand depcits an etching of 'Jesus and the Woman at the Well,' after the Dutch master, Rembrandt van Rijn. This poignant Biblical story is depicted by Arman-Durand in Rembrandt style...

London Bestiary by Mychael Barratt Limited Edition Etching: Edition of 100 Image Size: H 66m x W 99.7cm Complete size of Sheet: H 76.9cm x W 112.1cm x D 0.1cm Signed and titled Sold ...

Carcere ascura Etching, 1743 Signed in the plate bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s This image foretells Piranesi's famous set, Carceri (Prisons) which is his next creative effort. Condition: Horizontal crease midway in the sheet associated with the manufacture of the paper. Visible watermark verso Small printer crease in the bottom right below the caption plate. Image size: 14 1/2 x 9 1/2 inches Reference: Robison 3 iii/VI Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Camera sepolcrale Etching 1743 Signed in the bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 20 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Maria Rivans, Sheridan Power Giclee, Silkscreen, iridescent gold and spot varnishes with torn edges on Minuet 87 x 121 cm (34.25 x 47.63 in) Hand-signed by the Artist Comes with ...

A mid-century. stone lithograph titled 'Judy and Jessica' by Nura Woodson Ulreich (American, 1899-1950), created in 1943 and with certification of authenticity stamped verso. A brigh...