Engraving Prints and Multiples

This exquisite etching by Jean Cocteau (1889–1963), titled Sans titre (Untitled), from the album Alternance (Alternation), originates from the 1946 edition published by Le Gerbier, P...

'Vue des Deux Colosses. Thebes, Memnonium' Elephant folio engraving, by Baltard after Dutetre, from 'Description de l'Egypte', published after Napoleon's expedition to colonize Egyp...

A beautiful, dark impression of a bucolic cow path. Etching with drypoint on heavy cream wove paper, 6 5/8 x 9 7/8 inches (174 x 248 mm), full margins. Uniform light brown discolorat...

Artist: (after) Joseph William Mallord Turner (English, 1775-1851) Title: "Ancient Rome" Portfolio: The Turner Gallery: A Series of Sixty Engravings From The Principal Works of Josep...

Firmado a lápiz por el artista en la parte inferior y con el tiraje, este en concreto es un E/A (epreuve d'artiste) Se presenta enmarcado con su marco original de la época (he puest...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

Andrés Barajas (Spain, 1941) 'Untitled from Portfolio "Los Deseos"', ca.1990-1999 mixed media on paper 20.9 x 15 in. (53 x 38 cm.) Edition of 200 ID: BAR1017-022-200 Hand-signed by a...

Pepe Herrera (Cuba, ) 'Untitled', 1998 silkscreen on canvas 19.7 x 25.6 in. (50 x 65 cm.) Edition of 100 Unframed ID: HER1205-001-100_8 Hand-signed by author

We have the full series of 52 prints from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below it click on "See all fro...

Clifford James (active 1900-1930) After James Abbott NcNeill Whistler (1834-1903) Symphony in White No. 2, The Little White Girl Color mezzotint, 1922 Signed in pencil by James (see ...

This is an exclusive handprinted limited edition cyanotype. This beautiful cyanotype is titled "Long Wave in Venice Beach" and it shows an outstanding wave in one of the most iconic ...

Cattle Wood-engraving with original colouring. 1879. 160mm by 245mm (sheet). Key below the image. From Oliver Goldsmith's 'A History of the Earth and Animated Nature'.

Auguste Rodin, French (1840 - 1917) - Le Printemps, Year: 1882-1888, Medium: Drypoint Etching, Image Size: 5.75 x 4 inches, Size: 16.25 x 11.25 in. (41.28 x 28.58 cm), Reference: T...

A Mirage. 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A ri...

A Fierce Bull. 1911. Drypoint. Hardie 108. 5 3/8 x 8 (sheet 8 5/16 x 11 7/8). Edition 8. An exceptional impression with rich drypoint burr printed on antique laid paper. A proof of t...

Copper-plate engraving, hand-colored, 1608 - c.1630 and published by Joannes Jansonius, Amsterdam. Image size 15.75 x 21.19 inches (40 x 53.9 cm). A classic example of a world ma...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows one of the mountains in beautiful Yosemite National park in California. Details: + Title: Yosemite Blue Mountain + Year: 2021 + Edition Size: 100 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper * Frame is for illustrative purposes only. Artwork shipped carefully rolled and packaged in a tube. WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative to get the best image quality. Finally, the print is washed and fixed with water to stop the reaction and prevent fading. What you get is an amazing, royal blue image...

Artist: William Curtis (English, 1746-1799) Title: Set of Six Hand-Colored Engravings Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: 1800-1810 (First-second ser...

"Illustrations of the Book of Job" Engraving "The Fire of God is Fallen From Heaven...And the Lord said unto Satan Behold All that he hath is in thy Power" Engraving, third printing...

GIULIO BONASONE (Italian 1500/10-1574) HERCULES FiGHTS ADRAGON center, ACHELOUS CARRYING OFF DEIANEIRA left 1531–76 (Bartsch XV.157.178; Massari 1983, no.230) Engraving. Lettered in roundel held by putto at right: 'Iulio / Bonasone' Sheet 10 5/8 x 16 7/8 inches. Thread margins outside border line. A fair impression. Early annotations lower left verso, as well aa a collectors stamp: Lugt 2773 - A. Freiherr von...

MAX BECKMANN (German 1884 - 1950) EVENING (Self-Portrait with the Battenbergs) 1916, (Hofmaier 90: Gallwitz 67) Etching and drypoint, Plate 10 from the portfolio Gesichter (Faces)...

Man Ray 'Le Mannequin' Aquatint/Engraving 1975 Edition: From the rare limited edition of 150 Size: 50x35 CM. Signed and numbered in pencil by the artist Published by Cleto Polcina E...

The sailors are still in uniform in this post-World War I print of young people meeting at a semi-secluded park setting, Snug Harbor, along Riverside Drive...

This view of the Brooklyn and Manhattan Bridges is looking down "Plymouth Street" to the intersection of Jay Street. It is #35 in the catalogue raisonne by Retif Salzer and is in the permanent collection of the Museum of City of New York...

Poseidon is one of 16 works in a suite by the artist called "The Mythology". The suite included works depicting other Greek/Roman gods such as Hypnos, Jupiter, and Athena, as well as lesser figures and concepts like the gorgon Medusa...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

Nelson Dominguez (Cuba, 1947) 'Personajes del circo', 2001 engraving on paper Deponte 300 g. 29.2 x 22.1 in. (74 x 56 cm.) Edition of 40 ID: DOM-103 Unframed

Artist: William Curtis (English, 1746-1799) Title: "Soldanella Alpina Alpine Soldanella" (Vol. 2, Plate 49) Portfolio: The Botanical Magazine; or, Flower-Garden Displayed Year: 1788 ...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Etching printed in brownish black on light tan Chine collé, 1861. Image measures 6 x 5 inches, displayed in a 15.5 x 12.5 inch frame. Etched signature and date lower left. A very goo...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Metamorphosis Insectorum Surinamensium, Plate No. 39; Unidentified tree with moth, caterpillar and pupa. The Netherlands: 1705....

'George I' Copper-line engraving by Pierre Francois Basan (1723-1797) after Founan. Basan (1723-1797) was a French engraver and publisher. George I (1660-1727) was King of Great Britain and Ireland from 1 August 1714 until his death, and ruler of Hanover in the Holy Roman Empire...

COLMAR is an original wood engraving by the American artist Bernard Brussel-Smith, hand printed in yellow, light blue and black ink. COLMAR depicts a quaint French village scene with...

Juan Carlos Alom (Cuba, 1964) 'Tarjetas postales', 2004 photoengraving on paper 22.1 x 30 in. (56 x 76 cm.) Edition of 99 ID: ALO1534-006 Hand-signed ...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

Igor Gabor 'Arquitectura', 1989 silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 25 ID: GAB1057-001-025 Unframed Hand-signed by author

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

18th century natural history engraving depicting shells by Robert Benard after Henry Joseph Redoute. Henry Redoute was the bro...

Margó Venegas (Spain) 'Baile' silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 25 ID: VEN1174-001-025 Unframed Hand-signed by author

This beautiful, original hand-colored orchid lithograph entitled "Laelia Anceps Williamsii" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Album...

Set of 4 double-page mezzotint engravings, printed in colour and finished by hand. [Published: H. Lentz and H.G. Neubauer, Regensburg, 1737]. An attractive collection of fine plates...

Standing Female Nude Drypoint, c. 1910 Unsigned Estate authentication on verso (see photo) Estate authentication verso by Frances Frieseke Kilmer (Mrs. Kenton Kilmer, 1914-1998) (see photo) Probably depicts the artist's wife, the artist's favorite model Extremely rare original drypoint by Frieseke Printed with selective inking to highlight the figure Condition: excellent Image/Plate size: 10 x 6 5/8 inches Frame size: 19 1/4 x 15 3/4 inches Provenance: Estate of the Artist By descent to his daughter Frances Hirschl & Adler Gallery, Stock No. APG 1106.3D-B (see photo) Biography Frederick Carl Frieseke was born on April 7, 1874, in Owosso, Michigan. After studying for a short while at the Art Institute of Chicago and the Art Students League in New York, Frieseke left for France in 1898, and almost all of his career was spent as an expatriate, with ties to the United States maintained through his New York dealer, William MacBeth, and by occasional visits to America. Following the pattern of innumerable young Americans, he enrolled at the Academie Julian where he studied with Benjamin Constant (1845-1902) and Jean-Paul Laurens (1838-1921). He appears to have had at least brief contact with and to have been influenced by James McNeill Whistler, who had recently opened his Academie Carmen in Paris. By 1900 Frieseke was spending summers in the town of Giverny, made famous by the residence of Monet and subsequently by other artists, among them many Americans. In 1906, the year after his marriage to Sarah O'Bryan, he leased a house once occupied by the American Impressionist Theodore Robinson. Although the property was adjacent to Monet's, Frieseke had only limited contact with the French master. Instead he apparently found Pierre Auguste Renoir the most influential of all the Impressionists. Frieseke's Giverny house and garden, as settings for a series of female models, provided nearly all of his subject matter for the next thirty years, although in 1930 he made a series of watercolors of Florida scenes remembered from his childhood and painted some Swiss landscapes. After World War I, the artist and his family settled in Normandy. Frieseke's career falls roughly into three stages. In the first, figures most clearly show his academic training and draughtsmanship. Gradually these evolve into the most common images of the next decade, comprised of loosely-applied blotches of bright color. The vast majority of these show their subjects in the garden, standing among the flowers, taking tea, or just basking in the sun. Others include models in colorful, light-filled interiors. In Frieseke's latest paintings, the figures very often appear indoors, their forms are given greater solidity, and the brushwork is less broken. At the height of his career, in the 1910s and early 1920s, Frieseke was perhaps the most popular of all living American artists. He received numerous awards and medals and saw his work purchased by private collectors and major museums. Decades after the initial introduction of Impressionism by Monet and his contemporaries, Frieseke assumed this style for his work, choosing to ignore the newer artistic movements of the early twentieth century. Nevertheless, his paintings were acclaimed in both the United States and in Europe. In 1904 he won a silver medal at the St. Louis Universal Exposition and a gold medal at Munich. He was elected a member of the Société National des Beaux Arts in 1908 and the National Academy of Design in 1912. Seventeen of his canvases were featured at the Venice Biennale in 1909 and he won the Grand Prize at the Panama-Pacific International Exposition in 1915. He was commissioned to execute several murals, including one for the New York store of John Wanamaker, one of his most loyal patrons. He died on August 28, 1939, at his home in Normandy, in the town of Le Mesnil sur Blangy. In the decades following his death, however, after artistic tastes had changed considerably, his work was nearly forgotten until it received renewed attention as interest in American Impressionism grew in the 1960s Courtesy National Gallery of Art, Washington Etchings by Frederick Carl Frieseke include The Balcony and Standing Female Nude. Frieseke was an American Impressionist painter who was popular in the 1910s and 1920s. Etchings by Frederick Carl Frieseke: The Balcony: An etching by Frieseke from 1904 Standing Female Nude Other paintings by Frederick Carl Frieseke: The Garden Parasol...

"Astonishing, Health and Sunshine" triptych by artist Jim Dine. Three spitbite aquatint, drypoint and lithographs with additional hand coloring on Shiramibe paper mounted onto three ...

Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot catalog 79, Béraldi catalog 66, Wentworth catalog 75 state ii/iii. 16 1/2 x 22 1/8 (s...

Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...

Artist: James Coignard (French, 1925-2008) Title: "Les Voiles (The Sails)" *Signed by Coignard in pencil lower right Year: 1984 Medium: Original Hand-Embellis...

Created 1998, engraving. Publisher GKM. Unframed. Edition of 80 ex. Signed, dated and numbered. Free shipment worldwide. Corneille, one of the founders of the COBRA group, has pas...

Etching and drypoint on laid paper, 1934. With Picasso's ink stamped signature lower right, and numbered 29/50 in pencil lower left. Image 12.25 x 8.75 inches, full sheet 19.5 x 13...

This is an original 19th century hand-colored folio-size McKenney and Hall engraving of a Native American entitled "To-Ka-Con, A Sioux Chief", drawn ...

This Winslow Homer woodcut engraving entitled "Skating on the Ladies' Skating-Pond in Central Park, New York", was published in Harper's Weekly in the January 28, 1860 edition. It depicts a large number of men, women and children skating on a recently opened pond in Central Park. At the time of publication of this engraving, Central Park was in the early stages of construction. This engraving documents the very early appearance of Frederick Law Olmstead and Calvert Vaux's masterpiece of landscape design. According to Olmsted, the park was "of great importance as the first real Park made in this century – a democratic development of the highest significance". The people of New York were very proud of the plans for their park. It was stated at the time: "Our Park, which is progressing very satisfactorily under the management of the Commissioners, will undoubtedly be, one of these days, one of the finest place of the kind in the world...Those who saw the Park before the engineers went to work on it are amazed at the beautiful sites which have been contrived with such unpromising materials; all fair persons believe that the enterprise is managed with honesty and good taste." Skating was rapidly rising in national popularity in part due to the opening of Central Park’s lake to skaters on a Sunday in December 1858 with 300 participants. The following Sunday it attracted ten thousand skaters. By Christmas Day, a reported 50,000 people came to the park, most of them to skate. There were rules governing who could use the skating pond. “The Ladies’ Pond...

Salvador Dali (1904-1989) - Shitakiri (The tongue-cut sparrow) Drypoint etching with stencil from 1974. The edition of XVII/LXXV on Richard de Bas paper. Dimensions of work: 66 x ...

This artwork titled "Rabbit Series #4" 1980, is an original mezzotint with embossing by noted Hungarian artist Radovan Kragulj, b.1935. It is hand signed, dated, titled and inscribed A.P. (Artist Proof) in pencil by the artist. The sheet size is 25.5 x 19.5 inches, framed size is 26.75 x 20.75 inches. It is custom framed in a silver metal frame, with white backing. It is in excellent condition. About the artist: Radovan Kraguly...

Eduardo Naranjo (Spain, 1944) 'La creación III', 1984 etching, aquatint on paper Guarro Super Alpha 250g. 20.9 x 15 in. (53 x 38 cm.) Edition of 225 I...

Original stipple engraving by Charles-Louis Ruotte, printed in colour and finished by hand. [Paris. 1805] Prévost came from a long line of French artists spanning 400 years. Jean-Louis himself first exhibited at the Salon when only fourteen years of age, showing paintings of bouquets, a vase of flowers and other small botanical studies. Immediately he was commissioned by Monsieur Roussel to paint the flowers in the wealthy landowner's garden. The result was a 12-volume work of gouache studies, entitled "Hortus Cellensis", and was at once acquired by the Paris Natural History Library. Prévost's "Collection des Fleurs et Fruits...

Ian Hugo, 'Early Marshes', from the portfolio 'Ten Engravings'. engraving, 1943, edition 50. Signed, dated, titled, and numbered '37/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with margins (2 5/8 to 7 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 x 5 7/8 inches (127 x 149 mm); sheet size 15 x 11 inches (381 x 279 mm). Ian Hugo originally created "Ten Engravings" in 1945 and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

"Chuckle" monoprint in oil with collage, engraving and embossment on handmade paper in bright colors by artist Mel Bochner framed in an open white wooden frame. Signed and dated rect...