Illinois - Landscape Prints

2nd State Watermark: Hand with Cuff and Flower (close to Briquet 11467)

a very fine impression

A very fine impression

engraving and etching by A. Collaert after Hans Bol Watermark: Letter P (Briquet 8718, Grevenbroich 1572)

from the series of eight views of Provincial Holland and Ultrecht

a very fine impression

a very fine impression

A very fine impression

signed in plate

A fine impression. With the address of P. Giffart. Mauperche produced over fifty engravings.

A very fine, well contrasted impression of the 1st State, before the addition of the number, present when the work later was included in Bol’s River Series.

A fine and rare 2nd State impression, before the address of Ottens

Engraving after Peter Paul Rubens (Siegen 1577 - 1640 Antwerp), executed by Schelte Adams Bolswert (Bolsward c. 1586 -1659 Antwerp). Bolswert was one of the major printmakers in the ...

Watermark: Wappen von Amsterdam mit Nebenmarke

Watermark: Schellenkappe (Foolscap) Similar to Churchill no. 340

Engraving by Joannes and Lucas van Doetecum (Deventer active by 1551 - circa 1569 Haarlem) in the manner of Peter Bruegel the Elder

After Gustav Klimt, Max Eisler Plate #8, Litzlberg on Lake Attersee; blue monochrome collotype after the 1915 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN ...

After Gustav Klimt, Max Eisler #7, Malcesine am Gardasee; multi-color collotype after 1913 painting in oil on canvas. The original was destroyed by fire ...

After Gustav Klimt, Max Eisler #9, Haus Im Garten; aka Forester’s House in Weissenbach II; multi-color collotype after 1914 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GU...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper wi...

An etching is an intaglio printmaking process in which lines or areas are incised using acid into a metal plate in order to hold the ink. In etching, the plate can be made of iron, copper, or zinc. Once etched, the plate is then printed onto paper. David Becker Light Rail...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

After Gustav Klimt, Max Eisler #26, Bauerngarten mit Hühnern; multi-color collotype after 1916 painting in oil on canvas. The original was destroyed by fire in May 1945 at Immendorf Castle, Lower Austria. Landscapes, for Klimt, are vehicles to convey universal themes such as procreation and the mysteries of life. Using a highly personal language of symbols, Klimt creates a voluptuous scene of fertility, fecundity and domesticity. Klimt uses a similarly lustrous palette of pearly iridescence for the path as he had for many of his female nudes. This feminine quality is intensified by the tunnel-effect produced by the walls of colorful floral blooms whose leafy stalks are redolent with wild abundance at the height of summer.The passage leads to a green covered arbor, womb-like, which contains a simple wooden table and a bench. Human presence is unmistakeable.The two chickens shown in the path provide the link to engage with this scene cerebrally and emotionally. Protective and maternal, the mother hens do somewhat bar one’s path, but by no means in a menacing way. The experiential aspect of walking forward and ignoring those chickens, certain that they will dodge out of the way, heightens the rational with the intuitive senses creating the illusion and feeling that the flanking floral walls are parting to provide clear passage to within. Seen in this context, the age old conundrum to divine what came first, the chicken or the egg, begs the question of the greatest mystery of all. One’s relationship to procreation itself, Klimt shows us, is interwoven all around us. Far from banal, this universal quality of the natural world is fraught with thrilling wonder. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Etching on paper with Schriftband watermark. Reference: Bartsch 7 III/IV (from VI). A very fine, early impression. Printed with the name of the artist, but before the addition...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

This lithograph comes from an edition of 120 and it is signed and numbered. Guiramand’s works all have one element in common: the artist’s extraordinary sensitivity and ability to a...

A very fine impression of the 3rd State, still with the address and price which were eliminated in the following 4th state. The presence of the address and price confirms that this ...

Edition of 110, signed and numbered lower right

Hand painted mixed media on screen print. Edition size: 10 Painting based on a poem by 13th century Sufi mystic poet Rumi. "Tender words we spoke to one another Are sealed ...

Kimono Still Life Vase (INV# NP3630) Betty Woodman color woodcut with chine collé 27.5 x 41.5 1992 # W.P. 1/2, outside the edition of 15 signed

1 color lithograph, 2 color screenprint paper size 14" x 14" , frame size 16.75" x 16.75" Edition of 150 Signed by artist Framed

Archival Pigment Print on canvas Edition size: 10 plus 2 artist proofs Each canvas is hand painted by the artist Available in the following sizes: 20" x 40" • 30" x 60" • 36" x 72" • 47" x 96" “American Icon” examines the world’s perception of America. It combines quintessential American imagery to create a depiction of this nation as seen through the eyes of the world. From the Founding Fathers to Facebook, Cowboys and the Wild West; The Wright Brothers to PanAm; Mickey Mouse to Marilyn Monroe, John Wayne, Frank Sinatra, Elvis; Babe Ruth to Hank Aaron...

This is a 3rd state impression (from seven). This impression includes the address of the artist and the price that he was charging at the time, which were removed from the plate in ...