Ifpda International Fine Print Dealers Association

Make Fast, plate 2. 1929. Etching. Laver catalog number 146; Hurst catalog number 258. Plate: 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Ill...

Margaret Patterson created this color woodcut print circa 1920. It is signed in pencil at the paper edge, lower right. Printed in areas to the paper edge -sheet size 10 1/16 x 7 1/...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

this is impression #3 out of an edition of 10

Enterieur (Outside) Screen print, 1973 Signed lower right in pencil (see photo) Edition: A.P., annotated lower left corner Published by Edition Ltd., Indianapolis Image size: 21 3/4 ...

Edward Landon 'Exhortation (Priest)', color serigraph, 1957, edition 28, Ryan 72. Signed, titled, and numbered '21/28' in pencil. A superb, richly-inked impression, with strong color...

'Butterfly & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 4 5/8 x 3 1/8 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

Terrell James Bloom , 2019 Mixed media on stone paper 40 x 28 in (101.6 x 71.1 cm)

Color 3-D lithograph in Plexiglas box, Edition 50 Red Grooms revisits the rich subject matter of his New York City neighborhood in his new three-dimensional lithograph “Extra! Ext...

Muse is #43 of 45. It depicts a young woman in a colorful swimsuit doing her best to swim through the blue waters of the pool. Her mouth is pursed and the bubbles flow out. I sold an impression of this image to an olympic swimming...

Ira Moskowitz, 'Navajo Horse Race', lithograph, 1946, edition 30, Czestochowski 204. Signed and titled in pencil. Signed and dated in the stone, lower le...

SEBASTIAN MUNSTER (1488-1652) ASIAE TABVLA Vlll 1540 (45) Woodcut from Munster's edition of Geographia Universalis, Basel, Henri Petri. 1545 edit...

Giovanni Domenico Campiglia, 'Bacchus Cumampelo', engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. Engraving by Gabbugiani, after the original...

Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...

Gravesend. August 1928. Ink and watercolor on paper. 13 1/2 x 21. Signed and dated in ink, lower left; and titled in ink, verso. Housed in a 24 1/2 x 31-inch Whistler-style gold frame. Gravesend is a town in northwest Kent, England, on the south bank of the Thames, opposite Tilbury in Essex, about 15 miles southeast of London. Born in Newburgh near Aberdeen, James McBey attended evening classes at Graydon's School of Art and taught himself etching, building his own press at the age of fifteen. He moved to London to prepare for a one-man show at Goupil's Gallery, and shortly after this highly successful first show, he traveled to Morocco with James Kerr Lawson...

Lou Barlow (Louis Breslow), 'On the Beach' (Coney Island) wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. Stamped 'FEDERAL ART PROJECT NYC WPA' in the bottom left margin. A fine, richly-inked impression, with all the fine lines printing clearly, on cream wove paper, with full margins (1 1/2 to 3 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 11 x 8 1/8 inches; sheet size 16 x 11 3/8 inches. Created during the Great Depression for the Works Progress Administration (WPA), Federal Art Project, New York City. Impressions of this work are in the permanent collections of the Amon Carter Museum of Art, Illinois State Museum, and the New York Public Library. ABOUT THE IMAGE Due to Coney Island's proximity to Manhattan, Brooklyn, and other New York boroughs, it began attracting vacationers in the 1830s and 1840s. Most of the vacationers were wealthy and went by carriage roads and steamship services that reduced travel time from a formerly half-day journey to two hours. By the late 1870s, the development of Coney Island's amusement park attractions and hotels drew people from all social classes. When the Brooklyn Rapid Transit Company electrified the steam railroads and connected Brooklyn to Manhattan via the Brooklyn Bridge at the beginning of the 20th century, Coney Island turned rapidly from a resort to an accessible location for day-trippers seeking to escape the summer heat in New York City's tenements. In 1915, the Sea Beach Line was upgraded to a subway line, and the opening of the Stillwell Avenue station in 1919 ushered in Coney Island's busiest era. On the peak summer days, over a million people would travel to Coney Island. In 1937, New York City purchased a 400-foot-wide strip of land along the shoreline to allow the boardwalk to be moved 300 feet inland. At this point, Coney Island was so crowded on summer weekends that parks commissioner Robert Moses...

Martin Lewis, 'Tree, Manhattan', drypoint, 1930, edition 91 (including 10 trial proofs), McCarron 87. Signed in pencil. A superb, atmospheric impression, in warm black ink, on cream...

JEAN-BAPTISTE CAMILLE COROT (1876 - 1875) LE PETIT CAVALIER SUR BOIS. 1854 (1921) (Delteil 42) Cliché-verre on thin vellum. Signed in plate at bottom. 8 1/4 x 6 5/16” (sheet size)....

Grand Tier at the Met Etching, 1939 From: Reginald Marsh, Thirty Etchings and Engravings Published by the Whitney Museum of American Art, 1969 Unsigned (as usual for the Whitney edit...

James Allen, 'Spiderboy', 1937, etching, edition 40, Ryan 86. Signed in pencil. A superb, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 7/8 inches). A s...

Double Personage Color lithograph, 1975 (?) Unsigned (as issued) Edition: Large Edition Limited, (estimated to be approximately 2000) Published in: XXe Siecle, No. 52, Juin 1979 Published: G. di San Lazzaro Printer: Mourlot Imprimeur, Paris, France Reference: Lam-Tonneau-Ryckelynck L7513 Condition: Excellent, fresh colors Traces of glue residue along margin edge where it was bound in the book Image/sheet size: 12 1/4 x 9 1/4 inches Wilfredo Lam (1902-1982) Biography Wifredo Lam was born in Sagua la Grande, Cuba, on December 8, 1902. He was the eighth child born to Lam-Yam―born in Canton around 1820, an immigrant to the Americas in 1860―and to Ana Serafina Catilla―born in 1862 in Cuba of mixed African and Spanish ancestry. The luxuriant nature of Sagua la Grande had a strong impact on Lam from early childhood. One night in 1907, he was startled by the strange shadows cast on the wall of his bedroom of a bat in flight. He often recounted the incident as his first magnificent awakening to another dimension to existence. In 1916, Lam and part of his family settled in Havana. He was enrolled in the Escuela Profesional de Pintura y Escultura, Academia de San Alejandro, where he remained a student until 1923. This period, with exhibitions at the Salón de Bellas artes, was determinant in his choice to become a painter. In 1923, the municipality of Sagua la Grande awarded him a grant to study in Europe and by the autumn of that year, at the age of twenty-one, he left the country for Spain. His time in Spain―initially intended as a short stay on his way to Paris―lasted 14 years. In Madrid, he was exposed to the ideas and movements of modern art. He spent long hours at the Archeological Museum and the Prado. He studied the great masters of Spanish painting, Velázquez and Goya, but felt particularly drawn to the works of Bosch and Bruegel the Elder. In 1931, his first wife, Eva (Sébastiana Piriz) and their son Wilfredo Victor died of tuberculosis. The terrible suffering he endured led to numerous paintings of mother and child. Lam found solace in the company of his Spanish friends and made contact with several political organizations. In 1936, with the help of his friend Faustino Cordón, he joined the Republican forces in their fight against Franco. He designed anti-Fascist posters and took part in the struggle by working in a munitions factory. The violence of the struggle inspired his painting La Guerra Civil. In 1938, Lam left Spain for Paris. Shortly before leaving, he met Helena Holzer, who would become his wife in 1944. His meeting Picasso in his studio on the Rue des Grands Augustins proved decisive. Picasso introduced his new “cousin” to his painter, poet and art critic friends, Braque, Matisse, Miró, Léger, Eluard, Leiris, Tzara, Kahnweiler, Zervos. Lam also met Pierre Loeb, the owner of the Galerie Pierre in Paris, which hosted Lam’s first solo exhibition in 1939. Shortly before the Germans arrived, Lam left Paris for Bordeaux and then Marseille, where many of his friends, for the most part surrealists, had gathered around André Breton in the Villa Air Bel: Pierre Mabille, René Char, Max Ernst, Victor Brauner, Oscar Domínguez, André Masson, Benjamin Péret. In the Villa Air Bel, a meeting place for creativity and experimentation, Lam worked and produced, most notably, a series of ink drawings that set the tone for what would become his signature style of hybrid figures, a vocabulary he would develop more fully during his years in Cuba from 1941 to 1947. In January and February 1941, Lam illustrated Breton’s poem Fata Morgana which was censored by the Vichy government. On March 25, Lam and Helena Holzer embarked on the “Capitaine Paul Lemerle” headed for Martinique, in the company of some 300 other artists and intellectuals―André Breton and Claude Lévi-Strauss among them. Upon arrival, the passengers were interred at Trois Îles. It was during this forced passage in Martinique and before leaving for Cuba that Lam and Aimé Césaire met for the first time to become life-long friends. Newly settled in his native land after almost twenty years, Lam delved deeper into his artistic investigations, finding nourishment for his ideas in the surroundings of his childhood and youth. His sister Eloisa, whom he was closest to, explained to him in much detail the workings of Afro-Cuban rituals and he began attending ritual ceremonies with some of his friends. This contact with Afro-Cuban culture brought new impetus to his art. He painted over one hundred canvases, most notably La Jungla, making the year 1942 his most productive of this period. Over the next few years, a number of exhibitions followed in the United States, at the Institute of Modern Art of Boston, at the MoMA of New York, at the Galerie Pierre Matisse, where La Jungla was presented and created a scandal. In 1946, Lam and Helena travel to Haiti and attend voodoo ceremonies in the company of Pierre Mabille and André Breton. Talking about his experience in Haiti, Lam said, “It is often assumed that my work took its final form in Haiti, but my stay there, like the trips I made to Venezuela, Colombia or to the Brazilian Mato Grosso only broadened its scope. I could have been a good painter from the School of Paris, but I felt like a snail out of its shell. What really broadened my painting is the presence of African poetry.” Picasso_Lam_Vallauris_1954_vignette Wifredo Lam et Pablo Picasso, Vallauris, 1954 Lam then went on to New York where he renewed contact with Marcel Duchamp and made new acquaintances: Jeanne Reynal, James Johnson Sweeney, Arshile Gorky, John Cage, Roger Wilcox, Mercedes Matter, Ian Hugo, Jesse Fernández, John Cage, Sonia Sekula and Yves Tanguy. By the end of the 1940s, Lam divided his time between Europe, Havana and New York, where they stayed with Pierre and Teeny Matisse...

From the series Blue Balls, (1960-63). This series preoccupied Francis for a number of years, and as William C. Agee pointed out, are rooted in his threatened physical body. Again, t...

Plate 22 from "Inspirations" by Andre Durenceau. New York: Perleberg, 1928. Original hand-colored pochoir process print.

Edward Landon 'Nocturnal Adversary', color serigraph, 1946, edition 50, Ryan 137. Signed in pencil in the image, lower right. Titled, dated, and annotated '6 COLORS EDITION 50' in th...

Cahiers d'art, Surrealist Composition 1 Pochoir, 1934 Unsigned as issued in Cahier's edition Published in Cahier's d'art, 1934 Unsigned Edition of 1200 There was also a pencil signed...

Naoko Matsubara, 'Winter Serenity' for the portfolio 'Solitude', woodcut, 1971, edition 100. Signed and numbered '58/100' in pencil. A fine, richly-inked impression, on cream laid J...

'St. Mark's Church on the Bowery', aquatint with etching, edition not stated but small, 1932. Signed in pencil. Signed in the plate lower left and titled in the plate lower right. A superb, atmospheric impression, on cream wove paper, with full margins (1 1/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 9 3/4 x 7 3/8 inches (248 x 187 mm); sheet size 13 1/8 x 10 inches (333 x 254 mm). Impressions of this work are held in the collections of the Princeton University Art Museum and the Five College Museums. ABOUT THE ARTIST Born in Vienna, Leon Dolice left a secure position in the family business to pursue his artistic interests. He began his art education in his teens and early twenties when he traveled through Europe to study the works of the Old Masters. He immigrated to America in 1920 and made his home in Manhattan. As a printmaker, he chose as his subjects the architecture, back streets, dock scenes, and other aspects of New York City life that were being overtaken by the modern world. In 1950, learning of the coming demolition of the Third Avenue El, Dolice created a series of Third Avenue and other New York City landmarks that were threatened with extinction. His images from that period provide a record of a New York that has passed into history. During his lifetime, Dolice exhibited throughout Europe and the United States. Retrospectives of his work include a one-man show of his graphic work at Tribeca Gallery, New York; the traveling exhibition ‘Vintage New York’ with the New Rochelle Council on the Arts; and the Hofstra Museum, Hempstead. Dolice's works are in the permanent collections of the Museum of the City of New York, the National Gallery of Art, the New York Historical Society, Georgetown University, the Philadelphia Print Club, and the New York Public Library, as well as private and corporate collections. ABOUT ST. MARKS CHURCH St. Mark's Church in-the-Bowery is a parish of the Episcopal Church located at 131 East 10th Street, at the intersection of Stuyvesant Street and Second Avenue in the East Village neighborhood of Manhattan in New York City. The property has been the site of continuous Christian worship since the mid-17th century, making it New York City's oldest site of continuous religious practice. The structure is the second-oldest church building in Manhattan. In 1651, Petrus Stuyvesant, Director General of New Netherland, purchased land for a bowery or farm from the Dutch West India Company and, by 1660, built a family chapel at the present-day site of St. Mark's Church. Stuyvesant died in 1672 and was interred in a vault under the chapel. Stuyvesant's great-grandson, Petrus "Peter" Stuyvesant, sold the chapel property to the Episcopal Church for $1 in 1793, stipulating that a new chapel be erected to serve Bowery Village, the community which had coalesced around the Stuyvesant family chapel. In 1795, the cornerstone of the present-day St. Mark's Church was laid, and the fieldstone Georgian-style church, built by the architect and mason John McComb Jr., was completed and consecrated on May 9, 1799.[4] Alexander Hamilton provided legal aid in incorporating St. Mark's Church as the first Episcopal parish independent of Trinity Church in New York City. By 1807, the church had as many as two hundred worshipers at its summer services, with 70 during the winter. While the 19th century saw St. Mark's Church grow through its many construction projects, the 20th century was marked by community service and cultural expansion. Today, the rectory houses the Neighborhood Preservation Center, the Greenwich Village Society for Historic Preservation, and the Historic Districts Council, as well as other preservation and community organizations such as the Poetry Project, the Millennium Film Workshop, and the Danspace Project. St Mark's has supported an active artistic community since the 19th century. In 1919, poet Kahlil Gibran was appointed a member of the St. Mark's Arts Committee, and the next year, the two prominent Indian statues, "Aspiration" and "Inspiration" by sculptor Solon Borglum...

(A charming lady chatting with a lady perfect in every possible way) Signed in the plate. No pencil signed impressions are existent. Edition: 368 (including 50 imps on japan) includi...

Equestrian Scene No. 10 by Charles Ancelin. Original hand-painted pochoir process print. Paris: Galerie Lutetia, circa 1920.

HAROLD LUKENS DOOLITTLE (1873 - 1974) WESTERN PEAKS c. 1945 Aquatint signed and titled in pencil. 6 3/4 x 8 7/8 sheet 9 5/8 x 12 3/4. Good condition save for just a hint of darkening within the window and small bits if tape on the sheet edge verso. Doolittle was a renaissance man. His day job was as an engineer for the Edison Electric Co. But he produced an outstanding body of prints for 5 decades as well as photographs. His very rare arts and crafts furniture is highly sought after. He was a long time member and officer in the California Print...

Avati, Mario. UN OEUF ET DES COQUES. mMezzotint in colors. 10 3/4 x 13 3/8 inches; 274 x 340 mm. One of 16 artist's proofs aside from the regular edition. Numbered, titled, and signe...

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...

Elegant, brightly-colored floral still life by Massachusetts artist Marion Huse. Oil on board measures 21 3/8 x 17 3/8; framed dimensions are 29 5/8 x 25 5/8 x 1 5/8. Painting is sig...

Color lithograph with metallic leaf, Edition 30 Kushner's use of rich color harmonies and bold, fluid drawing, mark his belief in the importance of beauty in our lives. Kushner ha...

Edward Landon 'The Castle', color serigraph, 1953, edition 35, Ryan 33. Signed, titled, and numbered '11/35' in pencil. A fine impression, with fresh colors, on cream Japan paper. Th...

Rockwell Kent, 'Mountain Climber', wood engraving, 1933, edition 250, Burne Jones 93. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 9/16 to 3 5/8 inches); slight skinning at the top sheet edge verso, where previously hinged; otherwise, in excellent condition. Archivally matted to museum standards, unframed. Image size 7 7/8 x 5 7/8 inches (200 x 149 mm); sheet size 14 x 11 1/8 inches (356 x 283 mm). Printed by Pynson Printers, New York. Distributed by The Print Club of Cleveland, Publication No. 11, 1933. Literature: 'Rockwellkentiana,' Harcourt, Brace and Company, New York, 1933. '101 of The World’s Greatest Books', edited by Spencer Armstrong, 1950. Impressions of this work are held in the following museum collections: Akron Art Institute, Burne Jones Collection, IL; Cincinnati Art Museum; Cleveland Museum of Art; Columbus Gallery of Fine Arts; Crystal Bridges Museum of American Art; Davis Museum at Wellesley College; Fine Art Museums of San Francisco; H. M. de Young Museum; Hermitage Museum; Kent Collection, NY; Library of Congress; Memorial Art Gallery, University of Rochester; Metropolitan Museum of Art; New York Public Library; Philadelphia Museum of Art; Princeton University Library; Smithsonian American Art Museum, Spector Collection, NY; SUNY, Plattsburg. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock. In 1905 Kent moved from New York to Monhegan Island in Maine, home to a summer art colony, where he continued to find inspiration in nature. Kent soon found success exhibiting and selling his paintings in New York, and in 1907, he was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting (Thayer’s niece), with whom he had five children. The couple divorced in 1924, and Kent married Frances Lee the following year. They divorced after 15 years of marriage, and the artist married Sally Johnstone. For the next several decades, Kent lived a peripatetic lifestyle, settling in several locations in Connecticut, Maine, and New York. During this time he took several extended voyages to remote, often ice-filled, corners of the globe, including Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors, and his travels to these rugged, elemental locations inspired his visual art and his writings. He developed a stark, realist landscape style in his paintings and drawings that revealed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly in his work, often allude to the mythic themes of isolation, individualism, heroism, and the quest for self-connection. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920, featuring Kent’s Alaska drawings...

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

Roth, Ernest (American, 1879-1964). BRIDGE AT CHARTRES. Etching, 1927. A Trial Proof before the edition (if any). Inscribed in pencil "Trial Proof A (Bridge at Chartres) 1927." Signe...

KURT SELIGMANN (1900–1962 American, born in Switzerland,) LA SORCIERE - (The Witch) 1934 Etching and aquatint, unsigned ? possibly a proof aside from The ...

Le Rêve (The Dream) Color gillotage poster, 1890 Signed in the image lower right corner (see photo) This poster for a ballet at the Académie nationale de musique in Paris is typical ...

Anton Schutz, 'Heart of San Francisco', etching, c. 1927, edition not stated. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (2...

LEWITT, Sol. Piramidi. 10 lithographs, each 222 × 680 mm, in publisher's cardboard box, preserved in a new cloth folding box. Turin: Marco Noire Editore, 1986. This stunning set of lithographs recall the splendid wall drawings of pyramids that the artist conceived of between 1985 and 1994. These consisted of floor to ceiling pyramids constructed of multiple facets, set against uniform backgrounds. Each work was drawn directly on the walls in successive layers of delicate ink washes, alternating in yellow, red, blue and gray. It is no accident that the results recall Renaissance frescoes since LeWitt first developed this technique after moving from New York to Spoleto, Italy in 1980. Unlke the wall drawings, many of which no longer exist, this set of lithographs bears lasting testimony to Lewitt's genius. An immaculate copy in its original cardboard box. One of an edition of 400 copies, signed by Lewitt. Barbara Krakower Gallery, Sol Lewitt Prints...

Plate VI, Le Cocu Magnifique etching & aquatint, 1968 Unsigned as usual From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 i...

John Tarrell Scott, 'St. George', woodcut, edition 20, 1992. Signed, dated, titled, and numbered '18/20' in pencil. A fine, black impression, on off-white, laid Japan paper, with ful...

A colorful burst of spring set in the hills of an Italian town. Oil on canvas board measures 12 x 16; frame dimensions are 16 3/4 x 20 3/4 x 1 1/2. Housed in a decorative silver-colo...

Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition. Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Syracuse University Art Museum. ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Nashville at Sunrise Oil on canvas, mounted to archival resin board Signed by the artist lower left Provenance: Estate of the artist By decent A gorgeous Indiana Impressionist oil painting, done "plein air" (on location, outdoors) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop, Griffith was a member and president of the Chicago Palette and Chisel Club. He made his first trip to Brown County...

'Birds & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum s...

GUSTAVE BAUMANN (1881 – 1971) THE RUG WEAVER, 1910 (Chamberlain 26) Color woodcut signed in pencil. Unnumbed from an edition 100 as published in the Hills o’ Brown...

Avedon, Richard. RICHARD AVEDON - CENTER FOR CREATIVE IMAGING. Poster, 1991. Signed in ink by Avedon. Captioned " Gordon Stevenson, drifter Interstate 90 Butte Montana...

Leon Bibel, 'Archway', color serigraph, 1939, edition 25. Signed, dated, titled, and numbered ' /25' in pencil. A rich, painterly impression, with fresh colors, on buff wove paper; ...

Louis Lozowick, 'Angry Skies (Andante Cantabile)', lithograph, 1935; edition 10, AAA 250; Flint 123. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impressio...

Portrait of a Seated Woman Oil on canvas, c. 1930 Unsigned Provenance: estate of the Artist by Descent to the Heirs Signed in oil with the artist’s initials “PH...

Jean Pichore workshop, 1500-1541 Crucifixion Metal cut engraving printed on vellum with vintage hand coloring c. 1500-1541 Miniature (image) size: 4 3/4 x 3 1/8" Including decorated ...

Junichiro Sekino (Japanese, 1914-1988). TEAHOUSE AND WILLOW TREE. Color woodblock print, not dated. Edition size not known. Signed in pencil and with the a...

Unknown French Art and Workshop, Middle 15th century Roundel depicting St. Catherine (?) Gouache, ink gold wash and gold burnishing on vellum Book of Hours folio attributed to the C...

Juniper, Lake Tenaya Gelatin silver print, 1937 Unsigned Edward Weston Estate stamp verso (see photo) A lifetime printing by Brett Weston, supervised by his father Edward, printed in...

Dejeuner sur l'Herbe Lithograph, c. 1914 Edition: c. 100 Unsigned as issued by Vollard References And Exhibitions: Commissioned from Cezanne by Ambrose Vollard in the late 1890s Prin...

'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Kitakata Japan pape...

Hailey Lever, 'St. Astruell, England', watercolor, 1910. Signed in pencil, lower right. Titled and dated on the original inside mat. A fine spontaneous work, with fresh colors, on cr...