Manhattan - Landscape Prints

Andy Goldsworthy Presentation print for Royal Mail Christmas Stamp Series, 2003 Color photogravure on handmade rag paper with deckled edges 15 × 20 1/4 inches hand signed lower right...

22"X30" silkscreen on Arches 88 paper; signed limited edition of 20. This hand-pulled, silkscreen print depicts craters on the surface of the moon, with deep shadows and surface hi...

This offset lithograph in colors on wove paper from the Project for Central Park, New York City, was created by the artist in 2005. One of 300 hand-signed (in pencil) prints from an ...

Wolf Kahn Bay with Boats, 1987 Color monotype on Somerset white wove paper Hand signed and dated by Wolf Kahn on the lower right front, bears labels on the back Frame Included: matte...

Hans Kaumann (German, 20th Century) Hamburg Harbor, c. 1920 Etching 12 x 16 in. This historic print depicting Hamburg Harbor offers a look into the past, presenting a c. 1920s view ...

Shelly (Sheldon) Fink (American, 1925-2002), "Dying Elm, Vermont" Artist Proof , Landscape Lithograph signed on Paper, 17 x 14, Late 20th Century Color: Black and White Sheldon Fink was born in 1925 in Brooklyn, NY. He attended the High School of Music and Art in Manhattan, and won Tiffany Foundation grants in 1957 and 1963. Shelly's work has appeared at the Albany Art Institute, the Berkshire Art...

Biographical information on Maurice Robert Dey is hard to find. He was born on 1899 (or maybe 1900), in Switzerland. As an adult he lived and worked in Woodstock, the NY artists' c...

The Place St. Andre des Arts, on the Left Bank in Paris, would have been a natural environment for Bendiner. It was the Latin Quarter, just south of the Louvre and near everything im...

Sparire means "to disappear" in Italian. This large-scale, dreamlike print spans almost ten feet. Enzo Cucchi Sparire 1, 1988 Color etching, aquatint and silkscreen 30 1/2 × 118 in ...

In the artist's Art and Design original print series, Polidor, Paris, 2016 by Roberta Fineberg is a brightly colored pink, green, and orange photopolymer monoprint that captures old ...

ABOUT THIS ARTIST: Linda Westin, based in Stockholm, left photography and became a Ph.D. in neuroscience specialized in super-resolution fluorescence microscopy. Then she turned bac...

Catalogue raisonné 00594 edition 16/43 Published by Simmelink-Sukimoto Editions Although best known for his portraits, Katz has depicted landscapes both inside the studio and out o...

Printed in glossy purple, lavender, and bright yellow, I'll take my life monotonous by Patrick Caulfield depicts a lattice outlined in black, with three small dots of yellow. A garden lattice...

Martin Creed Everything's Going to be Alright (Work No. 3531), 2022 Color giclee print; unframed and housed in a bespoke archival box from Hauser & Wirth 11 3/4 × 16 1/2 inches Pencil signed, titled and numbered 141/200 Makes a perfect gift! Accompanied by original receipt from the Fife Arms (Beaemar) and gallery issued Certificate of Guarantee A wonderful print with an affirmation worth seeing in any room in the house! Note: this work is pencil signed and numbered from the limited edition of 200, and it comes inside of a bespoke box, as it was first issued by Hauser & Wirth. The number shown in the image here may not be the number you receive. In 2020, as part of the post-lockdown re-opening celebrations for Scotland's Fife Arms, Hauser & Wirth's owners unveiled a specially commissioned temporary neon installation, ‘Work No. 3435: EVERYTHING IS GOING TO BE ALRIGHT’ by one of their favorite artists, Turner Prize-winner Martin Creed. This colorful installation was situated on the grounds of nearby Braemar Castle. The message resonates well beyond the pandemic. It makes a terrific gift. (Martin Creed, who grew up in Glasgow, is particularly known in Scotland for the much-loved Scotsman Steps in Edinburgh, a public staircase joining two streets made with more than a hundred different types of marble. A work in blue neon, ‘Work No. 975: EVERYTHING IS GOING TO BE ALRIGHT’, has been on view since 2012 on the facade of the National Gallery of Scotland in Edinburgh. The phrase ‘Everything is going to be alright’ has been used by the artist in a series of large-scale neon works since 1999 and draws on the comforting words Creed was offered by a friend. He explains, “If you are upset and someone speaks to you to try to help you, even if the words are empty because no one knows what is going to happen in the future, it can still feel like a comfort. No-one can really tell you everything is going to be alright, but despite that, many times in my life I have been very comforted by people saying something like that to me.”) And all this brings us back to the present work, a limited edition 2022 color giclee print, pencil signed and numbered by Martin Creed, which depicts Creed's pandemic-era temporary light installation with the neon words Everything is Going to Be Alright, against the backdrop of Braemar Castle at nightfall. This edition was originally sold by Hauser & Wirth via the Fife Arms to raise funds to restore Braemar Castle - and it quickly sold out. It's a poignant message that continues to resonate, perhaps now more than ever - and it would look beautiful in any home or office. But the question remains: Should we really believe Martin Creed's message? The answer is a resounding Yes. Coming from some of the most successful and lucky people on earth (Martin Creed and Manuela and Iwan Wirth) and carrying the magical energy and history of Braemar Castle, the odds are looking pretty good that everything is indeed going to be alright with all that positivity! By the way, just for fun (because why not?) keep scrolling (right arrow to the right of the main image) to view a 2019 photograph of King Charles and Queen Camilla (then officially known as the Duke and Duchess of Rothesay when in Scotland) attending the opening of The Fife Arms, with Manuela and Iwan Wirth standing next to them on the left - all in Highland dress. More about Martin Creed: British sculptor and installation artist. He was born in Wakefield, grew up in Scotland, and studied at the *Slade School of Art. His works are generally sparse in their material form and are identified only by numbers so as not to impose associations. (For this reason his numbering system avoids the portentous No. 1.) He is best known for the work for which he was awarded the *Turner Prize in 2002, Work no. 227 (2000, MoMA, New York). An entire room is alternately lit and darkened by electric light. It is a way of making a work of art which has no material existence: the light and the darkness are not themselves the art, only the change between them. This is a work which has entered the mythology of ‘modern art’ stories: the river boat guide tells the tourists (quite incorrectly) as they pass *Tate Modern: about the empty room...

Wolf Kahn Untitled, 1982 Original Etching 10 × 15 inches Edition AP (aside from the regular edition of 90) pencil signed, dated and inscribed to Cynthia Frame included: Ships framed ...

Albert Abramovitz was an amazingly skilled wood engraver. This California Mission scene is unusual in his work, but carries the subject so well. It is signed and titled in pencil.

KAWS KAWS at Yorkshire Sculpture Park (Hand Signed), 2016 Offset lithograph poster, uniquely signed and dated by KAWS 33 × 24 inches Signed and dated on the lower front Unframed Han...

ABOUT THIS ARTIST: Niko (aka c-nik) is a multidisciplinary artist, currently based on a pixel in a city that never sleeps, quietly working to create peace from chaos in surreal arcs ...

Sparire means "to disappear" in Italian. This large-scale, dreamlike print spans almost ten feet. Enzo Cucchi Sparire II, 1988 Color etching, aquatint and silkscreen 30 1/2 × 118 in...

Signed, titled, and dated in pencil. Inscribed "21/285.." Edition 285. Very good condition.

Moses Oley drew an industrial scene, but one very much in isolation. The quarry equipment looks both imposing and busy. There appears to be smoke coming fro...

John Muench was a master at drawing on a lithographic stone. He was a New Englander and this is a classic subject both for him and for the area. The...

signed on reverse, this diptych is two separate prints that go together, each image size 18"x27". Printed on archival matte paper. These are sold as a pair for $1600, unf...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

David Feinstein's Negro District, Brooklyn, a lithograph of 1936-39, is a marvel. It's a construction of every detail the artist could think of to show the nature of the locale: The ...

Saul Raskin's Cry of Union Square, has all my favorite things: a view of Union Square with S. Klein's department store on the right and a Chop Suey restaurant on the left. There's a ...

edition of 5 available unframed image size: 23 1/2" x 31 1/2" Ross Racine is an artist living in Montreal (Quebec), Canada, and New York. Racine's works are drawn freehand on a ...

Also a sculptor, Harry Wickey was a master printmaker and Art Students League teacher. This rural scene pre-dates the much better known, very close subject, John Steuart Curry's li...

Zygmund Jankowski is known for his modernist compositions and effective use of “the white of the paper.” 'Come Fly with Me' perfectly illustrates that skill; It is signed, titled, and dated in pencil. Jankowski was born in South Bend, Indiana. After serving in the US Navy Jankowski attended the California College of Arts and Crafts, where studied with Victor DeWilde, Otis Oldfield, and George Post. Returning to the mid-west he taught at Indiana University, South Western Michigan College, Hilton Leech School of Art, the Bremen Art Center, the Niles Art Center, the South Bend Art Association, and the Rockport Art Association. Beginning in 1964 he summered in Rocky Neck, MA, and opened a summertime gallery. In the 1970s he made a permanent move to Gloucester where he held workshops at his studio. In the 1990s he moved to Lanesville. Among those institutions with work by Jankowski is the Cape Ann Museum. In their biography of the artist they acknowledge his role of inspiring a generation of Cape Ann artists...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Wolf Kahn (hand signed by Wolf Kahn), 2011 Hardback monograph with dust jacket (hand signed by Wolf Kahn) Hand signed by Wolf Kahn on the title page 13 × 12 × 1 1/2 inches This gorge...

Wolf Kahn Wolf Kahn's America (Hand signed and inscribed), 2003 Hand signed and dedicated hardback monograph with dust jacket Boldly signed in ink with heartfelt personal dedication ...

Robert Petersen The Clocktower Exhibition (Hand signed and inscribed), 1979 Offset lithograph poster (hand signed and warmly inscribed) Warmly signed and inscribed "For Marilyn Love ...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered 8/25 lower left in pencil. Printed in inky black, Fjord features a close-up view of the water as it meets the shore. Yorkshire is famous for its rocky coastline, where fishing villages cling to cliffs, windswept abbeys peak above the skyline, and sand beaches attract families on vacation. Moore’s scene is dark and even sinister – the shore’s narrow inlets reaching into the water like gnarled fingers. Fjord displays Moore’s fascination with light and dark – what he called a “…bias towards the blackness and mysterious depths.” Moore was inspired by the prints of Rembrandt and the drawings of Seurat, and even drew on his memories of viewing the Altamira cave paintings, recalling how some of the images used the shadow of candlelight on the rough surface of the rock to model light. Shortly before starting work on this series of lithographs, Moore had fallen ill, leaving him aware of his own mortality. His mood pervaded these prints with a sense of danger and foreboding. Fjord is one of a group of lithographs...

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Signed, titled, and numbered, in pencil. The proposed edition was 100 although it is very unlikely that these were printed. This large and intensely urban lithograph, Family Flats, by Millard Sheets, portrays the Bunker Hill neighborhood of Los Angeles. Now drastically changed, it's still home to the Angels Flight funicular railway built in 1901. Sheets (1907-1989) was a painter, watercolorist, printmaker, mosaic artist, and teacher, who worked in Southern California. He attended the Chouinard Art institute and studied with F. Tolles Chamberlin and Clarence Hinkle...

Ann Aspinwall’s Helios is a striking large-scale work that exemplifies her mastery of minimal color and intricate mark-making. Known for her precise printmaking and deep understandin...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

ABOUT THIS ARTIST: Linda Westin, based in Stockholm, left photography and became a Ph.D. in neuroscience specialized in super-resolution fluorescence microscopy. Then she turned bac...

Richard Haas View of the Mall From a Castle Tower, 1983 Seven-Color Lithograph: Hand Drawn on English Somerset Satin 100% rag paper 14 1/4 × 43 3/4 inches...

Robert Adams Harney County, Oregon 2005 Set of four photogravures Each image: 19 7/8 x 15 5/8 inches; 51 x 40 cm Each frame: 29 x 25 inches; 74 x 64 cm Edition of 30 Each signed, ...

ABOUT THIS ARTIST: Paolo Pettigiani is an Italian photographer and art director. He combines graphic design and photography in one single image, playing with colors, shapes and contr...

In the artist's Art and Design original print series, La Dame de Fer, Paris, France, 2015 by Roberta Fineberg is a photopolymer monoprint of the Eiffel Tower. Bold lines, fragmented ...

Lithograph by Frank Moore Untitled 1996 Signed and numbered Lithograph (Edition of 50) 12 x 9 inches

Fernando Castro Pacheco was a Mexican muralist, painter, and printmaker. This linocut is titled to refer to the indigenous population. It is si...

Russia-born Ray Euffa studied at the Detroit School of Fine Arts, the Educational Alliance Art School, and Art Students League in NYC. It is New York City i...

Richard Serra Clara, Clara (Hand Signed by Richard Serra), 1983 Offset Lithograph Poster (Hand signed by Richard Serra) Boldly signed with black marker on the front Frame Included: held in original vintage 1980s frame This is the rare vintage offset lithograph poster of Richard Serra's 1983 work "Clara Clara", exhibited at the Pompidou Center in France in 1983-1984. Very collectible when hand signed by Richard Serra! Accompanied by gallery issued Certificate of Guarantee Measurements: Frame: 27.5 x 37.75 x 1 inch Print: 25.5 x 35.75 inches About Richard Serra: Obsession is what it comes down to. It is difficult to think without obsession, and it is impossible to create something without a foundation that is rigorous, incontrovertible, and, in fact, to some degree repetitive. Repetition is the ritual of obsession. Repetition is a way to jumpstart the indecision of beginning. To persevere and to begin over and over again is to continue the obsession with work. Work comes out of work. In order to work you must already be working. —Richard Serra One of the most significant artists of his generation, he has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand. Born in 1938 in San Francisco, Richard Serra lives and works in New York and on the North Fork of Long Island. Serra attended the University of California, Berkeley before transferring to the University of California, Santa Barbara graduating with a BA in English literature; he then studied painting at Yale University, New Haven, Connecticut completing both a BFA and MFA. He began showing with Leo Castelli in 1968, and his first solo exhibition in New York was held at the Leo Castelli Warehouse the following year. His first solo museum exhibition was held at the Pasadena Art Museum, California, in 1970. Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007). He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Kunsthalle Tübingen, Germany (1978); Staatliche Kunsthalle Baden-Baden, Germany (1978); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1980, 2014, and 2017); Centre Pompidou, Paris (1983–84); Museum Haus Lange, Krefeld, Germany (1985); Louisiana Museum, Humlebæk, Denmark (1986); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany (1987); Städtische Galerie im Lenbachhaus, Munich (1987); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004). In 2005 The Matter of Time (1994–2005), a series of eight large-scale works, was installed permanently at the Guggenheim Museum Bilbao, Spain. For Monumenta 2008, the major site-specific installation Promenade was shown at the Grand Palais, Paris. Three years later the large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. A major traveling retrospective dedicated to Serra’s drawings was presented at the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, and the Menil Collection, Houston (the organizing venue), from 2011 to 2012. In 2014 the Qatar Museums Authority presented a two-venue retrospective survey of Serra’s work, and East-West/West-East (2014) was permanently installed in the Brouq Nature Reserve, Zekreet, Qatar. In 2017 the Museum Wiesbaden, Germany, presented Richard Serra: Props, Films, Early Works; an overview of Serra’s work in film and video was shown at the Kunstmuseum Basel; and recent drawings were featured at the Museum Boijmans Van Beuningen. Serra has participated in numerous major international exhibitions, including Documenta (1972, 1977, 1982, and 1987), and the Biennale di Venezia (1980, 1984, 2001, and 2013), and his work has been included in many Whitney Annuals and Biennials (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006). He is the recipient of the Leone d’Oro for lifetime achievement, Biennale di Venezia, Venice (2001); Orden Pour le Mérite...

Franz Edmund Weirotter (1730-1771), Paysages (Landscapes), 1759, complete set of 6 (5 are illustrated on this site), [signed in the plates lower right Weirotter sc, and also signed a...

Watch Us: Together We Can Do It, II 2020 by Chin Chih Yang is a signed limited edition print on archival paper: 29/75 - edition number, date of creation, and artist's signature on re...

Richard Haas Chelsea Hotel, Sunset, 1980 Offset Lithograph poster on paper Pencil signed on the front 23 1/4 × 21 1/2 inches Unframed This striking offset lithograph poster by the world's top architectural muralist Richard Haas presents a detailed portrait of the historic New York City landmark - the legendary Chelsea Hotel. Many famous people stayed at this storied hotel. Nancy Spungen...

Montparnasse Street– 1931, Etching Duffy 128. Edition 50, only 25 printed. Signed, dated, and annotated imp and 50 in pencil. Image size 4 7/8 x 9 7/8 inches (124 x 251 mm); sh...

Richard Haas Villard Courtyard, St. Patrick's Cathedral, New York City, 1983 Color lithograph 29 1/2 × 41 1/2 inches Edition 23/50 Hand signed, numbered, and dated with publisher's b...

Richard Haas The Whitney (Marcel Breuer Building), 1979 Woodcut engraving Signed, titled, dated and numbered by the artist on the back. This is a rare Artist Proof 9/10, aside from the regular edition of 60. 22 3/4 × 18 1/4 inches Unframed This vintage 1979 woodcut engraving by the world's top architectural muralist and trompe d'oeil artist, Richard Haas, depicts the building New Yorkers nostalgically call the "Old Whitney". Long before the Whitney moved to Manhattan's trendy meatpacking district...

Russian-born and European-educated Alexander Kachinsky was a designer of stage sets (for the Ballet Russe), furniture, and commercial interiors. His prints are in the collection of t...

Jack Bilander (Polish/Amercan 1919-2008) , "View From Bridge" , Abstract Colored Etching/ Aquatint, 19.25 x 10.75, Mid-Late 20th Century, 1958 Colors: Black, White, Red Jack Biland...

JAMES MCNEILL WHISTLER (1834-1903) Limehouse, from Notes lithotint, on cream Japan paper mounted to plate paper (as issued), 1878, Spink, Stratis & Tedesch 7, second state (of three)...

Watch Us: Together We Can Do It, I 2019 by Chin Chih Yang is a signed limited edition digitally created print on archival paper: 27/75 - edition number, date of creation, and artist'...

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks for handles. Fletcher 284. Ed...

Asa Cheffetz Ramshackle Barn (de-accessioned from the Denver Art Museum), ca. 1929 Wood-engraving Pencil signed, numbered 27/100 and titled by the artist on the front 13 × 10 1/4 inches Unframed - affixed to matting De-accessioned from the collection of the Denver Art Museum Asa Chaffetz, "the engraver's engraver" This is the original numbered wood engraving from 1929; not a later re-print This print was honorable mention in the International Exhibition of prints, Art Institute of Chicago, 1929 Exhibited: New England engraved: The prints of Asa Cheffetz: An Exhibition of his wood engraving & an exploration of his life as an artist. Springfield, MA: Museum of Fine Arts, 1984 (A different example) Asa Cheffetz Biography: Born in Buffalo, New York, Cheffetz studied at the School Of The Museum Of Fine Arts in Boston under Philip Leslie Hale...