International Fine Print Dealers Association Art

Der Kuss The Kiss (plate facing page 116) Color lithograph, 1898 Signed with the artist's initials in the image (see photo) Published in Pan, Volume IV.2 (Jul-Aug-Sept 1898) Publishe...

Morning Paper Mezzotint, 1941 Signed in pencil lower right Publisher: 32nd Presentation Print of the Chicago Society of Etchers Edition: 350 Illustrated in GREAT AMERICAN PRINTS 1900...

Armin Landeck created this 1936 drypoint was printed in an edition of 100. The image size is 6 7/8 x 10 7/8" and the paper size 12 1/2 x 16". It is Signed and dated in the...

Ballarina having make up applied by Cupid Watercolor and gouache on heavy wove paper, c. 1905 Signed in ink lower right Titled in pencil, verso Condition: Aging to sheet Colors...

Unsigned as is usual References: Located at 136, rue du Faubourg Saint-Honoré, the Lizzie Derriey Design Studio was active from 1928-1994. This creative co-operative, which emp...

Louisa Chase was born in Panama City, Panama. Seven years later, her family moved to Lancaster, Pennsylvania. She studied painting and sculpture at Syracuse University and at the Yal...

Therrien Jr., Robert (American 1847-2019). UNTITLED (TRADIN STATION) Ink on paper, not dated. 12 x 9 inches (sheet). Signed in Ink, lower right. Toning, and some adhesive residue, ve...

Study of an Italian Town with Women in a Doorway Graphite on cream wove paper, c. 1960 Signed by the artist in pencil lower right (see photo) A master of "Magic Realism," French was ...

Untitled (Plate 4) Engraving, sugar-lift, and aquatint, 1970 Signed and numbered in pencil From: Variations (8 plates) Signed and numbered in pencil Edition: 100 (29/100) Printed by ...

Color lithograph, Edition 20. Don Ed Hardy’s lithographs, created in the spring of 2007, continue the “look” of his Ghost Writer painting series which has been developed over the past five years. They are evocative of ancient Chinese stone rubbings, or x-rays. Both prints refer to earlier images from Japanese art history. Our Gang...

Meissner, Leo. FOOTBRIDGE - PERKINS COVE. Wood-engraving, not dated. Edition of 60. Numbered 40/60, titled and signed, all in pencil. 9 x 6 inches, 229 x 152 mm. Framed to 16 3/4 x ...

Richard Florsheim created this color lithograph entitled “Waves” in 1973 in an edition of 50 pieces. Printed by Mourlot Press, Paris, this impression is signed and inscribed “3/50” – the third print of fifty. It is in good condition with full original color. The printed image size is 16 3/8 x 23.75 inches and the paper size is 19.75 x 26.50 inches. RICHARD ABERLE FLORSHEIM...

Long Light Notre Dame Oil on canvas, 1931 Note: the painting is NOT framed Signed and dated lower right Condition: Excellent Conservation by Monica Radecki, South Bend Canvas size: ...

“Crosstown Traffic” is a color lithograph by Emilio Sanchez. Created in 1998, this impression is unsigned and came to us directly from the Emilio Sanchez Estate (circular estate stam...

Ross, Johnnie Winona (American 1949 - ). IT ALWAYS TURNS OUT FOR THE BEST. Acrylics on paper, 1981. 29 3/4" x 29 3/8 inches, framed to 31 9/ 16" x 31 9/16 inches. Signed and titled. Provenance: Private collection, Sherborne, MA. In excellent condition: the browned edges and the foxing mark are qualities of the old papers...

The Awakening-Night From: Homage to Tobey Portfolio (Six Plates) Etching, 1974 Signed in pencil by the artist on the front lower right "Tobey" (see photo) Numbered in Roman numerals ...

Little Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. Housed in a 16 x 20-inch archival mat. Eby was an Associate of the National Academy NA (1930); National Academy of Design (1934); Society of American Etchers; Chicago Society of Etchers; Philadelphia Society of Etchers; National Institute of Arts and Letters. Kerr...

Gropper, Will1am (American, 1897-1977). THE NEW BILL. Lithograph, c. 1941. 11 3/4 x 16 inches (image), 14 x 19 inches (sheet).Titled and signed in pencil. In excellent condition.

Building New York Watercolor on paper, c. 1915 Signed by the artist lower right (see photo) Partial watermark: "MADE IN ENGLAND... LINEN FIBER" Excellent, COLORS FRESH AND VIBRANT Br...

Paul Henry Ramirez has shown throughout the United States and Europe. He has had numerous one-person museum exhibitions including the Contemporary Arts Center in Cincinnati, the Whit...

Unsigned Graphite on paper

Untitled Pastel on paper, 1922 Signed with the artist's initials in pencil Provenance: Estate of the artist Francis M. Nauman (label) Private collection, NY A very early abstract/cubist work by Kelly. Created while the artist was studying with Arthur Carles in Philadelphia. Leon Kelly (October 21, 1901 – June 28, 1982) was an American artist born in Philadelphia, PA. He is most well known for his contributions to American Surrealism, but his work also encompassed styles such as Cubism, Social Realism, and Abstraction. Reclusive by nature, a character trait that became more exaggerated in the 1940s and later, Kelly's work reflects his determination not to be limited by the trends of his time. His large output of paintings is complemented by a prolific number of drawings that span his career of 50 years. Some of the collections where his work is represented are: The Metropolitan Museum in New York, The Whitney Museum of American Art, the Museum of Modern Art, the Philadelphia Museum of Art, and Boston Public Library. Biography Kelly was born in 1901 at home at 1533 Newkirk Street, Philadelphia, PA. He was the only child of Elizabeth (née Stevenson) and Pantaleon L. Kelly. The family resided in Philadelphia where Pantaleon and two of his cousins owned Kelly Brothers, a successful tailoring business. The prosperity of the firm enabled his father to purchase a 144-acre farm in Bucks County PA in 1902, which he named "Rural Retreat" It was here that Pantaleon took Leon to spend every weekend away from the pressures of business and from the disappointments in his failing marriage. Idyllic and peaceful memories of the farm stayed with Leon and embued his work with a love of nature that emerged later in the Lunar Series, in Return and Departure, and in the insect imagery of his Surrealist work. "If anything," he once said,"I am a Pantheist and see a spirit in everything, the grass, the rocks, everything." At thirteen, Leon left school and began private painting lessons with Albert Jean Adolphe, a teacher at the School of Industrial Art (now the University of the Arts) in Philadelphia. He learned technique by copying the works of the old masters and visiting the Philadelphia Zoo, where he would draw animals. Drawings done in 1916 and 1917 of elephants, snakes and antelope, as well as copies of old master paintings by Holbein and Michelangelo, heralded an impressive emerging talent. In 1917, he studied sculpture with Alexander Portnoff but his studies came to an abrupt halt with the start of World War I. Being too young to enlist, he joined the Quartermaster Corp at the Army Depot in Philadelphia, where he served for more than a year loading ships with supplies and, along with other artists, working on drawings for camouflage. By 1920, the family's fortunes drastically changed. His father's business had failed due to the introduction of ready made clothing and his marriage, unhappy from the beginning, dissolved. Broken by circumstance Pantaleon left Philadelphia to begin a wandering existence looking for work leaving Leon to support his mother and grandmother. He found a job in 1920 at the Freihofer Baking Company where he worked nights for the next four years. Under these circumstances Leon continued to develop his skills in drawing and painting and learned of the revolutionary developments in art that were taking place in Paris. During the day he was granted permission to study anatomy at the Philadelphia School of Osteopathy where he dissected a cadaver and perfected his knowledge of the human figure. He also met and studied etching with Earl Horter, a well known illustrator, who had amassed a significant collection of modern art which included work by Brancusi, Matisse, and Cubist works by Picasso and Braque. Among the artists around Horter was Arthur Carles, a charismatic and controversial painter who taught at the Pennsylvania Academy of Fine Arts. Leon enrolled in the Academy in 1922, becoming what Carles described as, "his best student". In the next three years Leon work ranged from academic studies of plaster casts, to pointillism, to landscapes of Fairmount Park in Philadelphia, as well as a series of pastels showing influences from Matisse to Picasso. Clearly influenced by Earl Horter's collection and Arthur Carles he mastered analytical cubism in works such as The Three Pears, 1923 and 1925 experimented with Purism in Moon Behind the Italian House. In 1925 Kelly was awarded a Cresson Scholarship and on June 14 he left for Europe. Paris The first trip to Europe lasted for approximately three and a half months and introduced Kelly to a culture and place where he felt he belonged. Though he returned to the Academy in the Fall, he left for Europe again a few months later to begin a four-year stay in Paris. He moved into an apartment at 19 rue Daguerre in Paris and began an existence intellectually rich but in creature comforts, very poor. "I kept a cinderblock over the drain in the kitchen sink to keep the rats out of the apartment" he once explained. He frequented the cafes making acquaintances with Henry Miller, James Joyce and the critic Félix Fénéon as well as others. His days were split between copying old master paintings in the Louvre and pursuing modernist ideas that were swirling through the work of all the artists around him. The Lake, 1926 and Interior of the Studio, 1927, now in the Newark Museum. Patrons during this time were the police official Leon Zamaran, a collector of Courbets, Lautrecs and others, who began collecting Kelly's work. Another was Alfred Barnes of the Barnes Collection in Philadelphia. In 1929 Kelly married a young French woman, Henriette D'Erfurth. She appears frequently in paintings and drawings done between 1928 and the early 1930s. Philadelphia The stock market crash of 1929 made it impossible to continue living in Paris and Kelly and Henriette returned to Philadelphia in 1930. He rented a studio on Thompson Street and began working and participating in shows in the city's galleries. Work from 1930 to 1940 showed continuing influences and experimentation with the themes and techniques acquired in Paris as well as a brief foray into Social Realism. The Little Gallery of Contemporary Art purchased the Absinthe Drinker...

Gottlieb, Adolph (American, 1903-1974). TWO BARS. Color lithograph, 1969. Edition of 100, Signed and dated, and numbered 11/100, all in pencil. Exhibition label, verso. 29 1/2 x 21. ...

Schanker, Louis. CIRCLE IMAGE NO. 25. Relief Print in color, 1954-1955. Edition of 210 published by IGAS. Signed and numbered 17/200 (the edition included 10 artist's proofs). 14 x 1...

Schanker, Louis (American 1903-1981). FIGURE NO.1. Johnson 99. Wood etching in colors, 1949. Edition of 6. Titled and signed in pencil. 25 1/2 X 13 3/8 inches (image). Framed to 33...

La Fille au Violon Color lithograph, gypsograph with embossed publisher's stamp Signed and numbered in ink (see photo) From: L'Estampe Originale, Paris, Vol. VII Published by Andre M...

Color softground etching with aquatint and spitbite aquatint. Edition 50

Signed and editioned in pencil by the artist Edition: 150 (84/150) Sheet: 19 3/4 x 26"; Image: 11 7/8 x 12 3/4" Tomoe Yokoi (Born 1943) Tomoe Yokoi was born in Nagoya, Japan i...

Inspired by the geometric landscape of his hometown Thomas Roese has created a photorealist series using acrylic, graphite and colored pencil. Since graduating from the Cleveland ...

From the series: Baggage Claim, inspired by the death of the artist's mother. The reference to "Baggage" is symbolic to all the emotion and weight one acumulates through life and ho...

The Quilter Color woodcut printed on cream color wove paper c. 1990 Signed in pencil lower right (see photo) Signed with the artist's stamp lower right in the pencil signature (see p...

Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...

Femme assise nue avec un bras levé au-dessus de sa tête Seated female nude with an arm raised over her head Ink and watercolor on paper, n.d. Signed in pencil lower right (see photo)...

Edition of 50 printed by Charles White in 1951 for the estate Bibliography: Lincoln Kirstein, Elie Nademan (New York: The Eakins Press, 1973),, 20 Elie Nadelman Born 1882, Warsaw...

Bronze, 1967. Height 59" (149.9 cm) width max 15" (38 cm). Signed on base "R Cook." This unique large sculpture was made using the lost wax process. “ ...

Le Judgement de Paris ouf famille singe Lithograph, 1897 Signed and dated in the stone lower right (see photo) Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 (see photo) Edition 2000 Printed by Chapenois, Paris Condition: Excellent Image size: 9 5/8 x 13 5/8 inches Sheet size: 12 x 15 3/4 inches Paul Jouve (1878-1973) Paul Jouve was two years old when his father set up his ceramist workshop on Boulevard Saint Jacques in Paris. It is in this artistic universe that he grew up playing with colors, modeling the earth, pampered by his young mother, who dreamed of making a teacher of her. Very early on, his father, seeing his passion for drawing, encouraged him, introduced him to the Jardin des Plantes, where he developed a passion for the big cats that he practiced drawing. For the Universal Exhibition of 1900, the architect Binet, commissioned a frieze of wild animals of more than 100m representing tigers, bears, lions, bulls, and mouflons. This frieze will be executed in greenish brown glazed flamed sandstone by the sculptor Alexandre Bigot. Binet also ordered four lions from him to decorate the main gate of the Champs Elysees, between the two palaces, and a monumental statue representing a rooster wings outstretched in the center of the gate. In 1907, Jouve was awarded a scholarship from the General Government of Algeria, and along with Léon Cauvy...

AMERICA'S CUP - 1967. BEAT TO THE FINISH - INTREPID (USA) VS. DAME PATTIE (AUS). “Beat to the Finish” is a 1967 watercolor by Joseph Webster ...

Moy, Seong (American, born China, 1921-2013). WINTER'S PATH. Color woodcut, 1965. Edition of 210 published by IGAS (International Graphic Arts Society). Signed, numbered 188/210, and...

Bacher, Otto (American, 1856-1909. FONDAMENTA DEL TOLENTI.Andrews 28, State 2 of 2. Etching, 1880. Inscribed and signed "From yours truly Otto H. Bacher / Present state of Plate." Nu...

Retained Time Color mezzotint, c. 1970's Signed, titled and numbered in pencil by the artist (see photos) Edition: 30 (15/30) Condition: Excellent Image size: 11 7/8 x 15 3/4 inches Sheet size: 30 x 22 inches Sonja Lamut: A contemporary illustrator, painter and mezzotint engraver, Sonja Lamut received her B.F.A. from the University of Arts, Belgrade, Yugoslavia, and her M.F.A. from Hunter College, City University of New York. She is presently Assistant Professor of Illustration at the Fashion Institute of Technology, New York City. During her career Sonja Lamut has illustrated numerous books, particularly in the field of children's literature. These include, Voyages of Doctor Dolittle, The Great Green Notebook of Katie Roberts, The Famous Adventures of Jack, Lemuel the Fool, Little Mermaid, Thanksgiving is for Giving Thanks (New York Times Children's Books list Bestseller), Love You, Soldier, . She is also the author and illustrator of the following works; Too Noisy!, Bugs and Halloween Costumes. Sonia Lamut's art has been the subject of solo and group exhibitions at institutions such as Gallery shows in New York, Boston Miami, Greenwich Stockholm, Ljubjiana and numerous other national and international group shows. Today her art is included in the following collections; the Brooklyn Museum, New York, the Museum of Modern Art , Fredrikstad, the Museum of Modern Art, Ljubljana, the Museum of Modern art, Belgrade, he National Museum, Krakow and many other important private and public institutions. For several decades, the American artist, Sonja Lamut has produced a number of striking works of art in the most demanding of all graphic media -- the mezzotint. In 1974 she was a participating artist in the exhibition, "International Mezzotint Today" in London, England. Utilizing the unique, black tonal values of this intaglio method she has created intriguing imagery, such as, "Cage". Courtesy: Art of the Print Collections Brooklyn Museum, New York Grafiska Sallskapet, Stockholm Museum of Modern Art, Fredrikstad Museum of Modern Art, Ljubljana College Board, New York Utubo Gallery, Kyoto Museum of Modern Art, Belgrade National Museum, Krakow Awards/Publications: “Grand Prix” in Mediterranean Art...

Leopold Survage (1879-1968) Untitled (Woman Standing) Graphite on paper, 1933 Signed in pencil by the artist: Survage Signed with the estate stamp lower right Signed in pencil "LS" f...

Thon, William (American, 1906-2000).; UNTITLED (DRAWING OF A BOAT #3; LIKELY IN ITALY). Ink and wash on paper. Not dated. Unsigned. 14 x 17 inches. In excellent condition. From a ske...

Bird and Hibiscus Cibachrome print, 1980 Signed and dated by the artist in pencil lower right (see photo) Deaccessed from the Reader's Digest Association Collection (#18717) with label (see photo) Purchased from Lieberman & Saul Gallery, between 1986 and 1993 when the name oif the gallery changed to Julie Saul Projects Very small edition Provenance: Lieberman & Saul Gallery, New Yokr, NY (until 1985) (label verso) Reader's Digest Association (label) Condition: Excellent Image size: 9-7/8 x 9-7/8" (25 x 25 cm.) Frame size: 20-1/2 x 16-1/2" Suzanne Camp Crosby Posted by FMoPA Apr 7, 2021 FMoPA In Focus 0 Suzanne Camp Crosby, Gasparilla Ship, 2004 In December of 2020 beloved Tampa photographer and educator Suzanne Camp Crosby died. She had taught generations of students at the Hillsborough Community College where she had been a professor of photography for 38 years. Camp Crosby had the prestigious honor of being the 2004 City of Tampa Photo Laureate and the exhibition resulting from that body of work, Suzanne Camp Crosby: 2004 Photo Laureate City of Tampa Public Art – Big Picture Project, was presented at the Tampa Museum of Art that same year. Other awards include a Southeast Artist Fellowship from the National Endowment for the Arts and Southeastern Center for Contemporary Art in 1978-79. Suzanne Camp Crosby, Paper Flowers, c. 1990 The Florida Museum of Photographic Arts (FMoPA) has gratefully accepted the task of helping to place the photographic archives of this beloved artist. This collection includes more than 725 photographs spanning her career of over 40 years. A broad selection of this work will be brought into the collection of FMoPA, with an exhibition to follow in the summer of 2022. Other institutions in the area are also considering simultaneous showings. University of Tampa student Alyssa R. Miller has signed on to help with the documenting and digitizing of this body of work. This will help make it possible to distribute photographs to other institutions, with limited works to be sold to help finance the efforts. Examples of her photography are already currently held in the collections of FMoPA, the Tampa Museum of Art (TMA), Los Angeles County Museum of Art, and the New Orleans Museum of Art, among many others. Three wonderful examples of her talent are currently on view at the TMA’s exhibition Her World in Focus: Women Photographers from the Permanent Collection, on view until June 27, 2021. Suzanne Camp Crosby, Doris Day at Clothesline, 1980 Camp Crosby’s solo exhibitions include Suzanne Camp Crosby: Kid City, 2009 at FMoPA, and multiple exhibitions at the HCC Galleries, where she eventually became the Program Manager for the Visual Art and Dance departments in addition to her teaching and exhibitions. She also taught and received her MFA at the University of South Florida in Tampa. Additional schools where she was an instructor include the University of Central Florida in Orlando, FL, and the St. Petersburg College, Clearwater campus. Camp Crosby specialized in creating thematically directed photographs, created by adding unexpected objects or people to mostly everyday scenes. Her artwork is often playful and witty. Early work included tender black and white compositions often using her children or friends to create evocative scenes. Later photographs brought in color and experimentation. Examples include the juxtaposition of life-sized 2-D paper doll cut-outs of 1950s movie stars to real-life mundane household settings, as well as a wide selection of other artificial items placed into real-life settings. As a visual storyteller, she continued to explore and experiment with ideas and themes throughout her lengthy career. Courtesy The FLORIDA MUSEUM of PHOTOGRAPHIC ARTS Suzanne’s artwork is in many permanent collections, including the Tampa Museum of Art, the USF Museum of Contemporary Art, the Orlando Museum of Art, the Polk Museum of Art, the Florida Museum of Photographic Arts, the Leepa-Rattner Museum of Art, the New Orleans Museum of Art, the Los Angeles County Museum of Art, Walt Disney World Corporation, Tropicana Corporate Collection, City Bank, Tampa Electric Company, Shriner’s Hospital, Tampa General Hospital, Hillsborough Community College, City of Tampa Public Art, City of Orlando Public Art, and the von Liebig Art Center. From ARTFORUM JULIE SAUL (1954–2022) Julie Saul, who through her long-running eponymous New York gallery did much to elevate contemporary photography within the art world, died February 4 in Tampa after a battle with a rare form of leukemia. Saul was known for her willingness to show an eclectic range of works in media ranging from painting to sculpture to video to ceramics by an equally diverse range of artists, but it was her eye for both traditional and avant-garde contemporary photography that cemented her reputation and that of her gallery, which she first established in 1986 in SoHo, then a frontier for the arts. Saul was born in Tampa on New Year’s Eve in 1954 to a father who was head of a sewn-products company and a housewife mother, a native New Yorker and volunteer docent whom Saul would later credit with introducing her to the arts. “Tampa had no museums, but she would take us to museums in New York,” she told the Tampa Bay Timesin 2003. “We had a house that wasn't filled with great art, but there were great reproductions and great art books.” In 1979, Saul moved to New York, obtaining her master’s degree from New York University’s Institute of Fine Arts in 1982. Four years later, with partner Nancy Lieberman, she opened Lieberman Saul Gallery at 155 Spring Street in SoHo, showing contemporary photography at a time when not many others were. “One thing that drew me to photography from the very beginning—and it still holds—is that photography is an affordable medium. Almost anybody can afford to collect photographs,” she told the Association of International Photography Art Dealers (AIPAD) in 2010. “Fundamentally, photography is a medium and what makes work great is the idea behind it and how well it’s executed.” Among the photographers whose work Saul championed are Nikolay Bakharev, Morton Bartlett, Eugene Bellocq, Andrew Bush, Sally Gall, Luigi Ghirri, Andrea Grützner, Sarah Anne Johnson, Adam Magyar, and Arne Svenson...

Signed, titled, and dated in pencil by the artist; The Print Club of Cleveland stamp lower left Edition: 260 The Print Club of Cleveland Publication No. 69, 1991 Printer: Am...

Deux Femmes Dans L'Herbe Lithograph, 1926 Monogramed in pencil, "M" by the artist lower right (see photo) Numbered in pencil lower left; (65/125) (see photo) Edition: 125, plus 10 p...

Neon Intaglio Etching, c. 1970 Signed, titled and numbered in pencil Edition: 99 (76/99) Image size: 7 1/2 x 7 1/2 inches Sheet size: 22 x 17 inches Condition: Excellent Carlos Dávil...

Hardground Etching

Clark, Roland (American 1874-1957). JACK SNIPE. Etching, 1928. Edition of 70. Signed in pencil. 8 1/2 x 12 inches. In excellent condition.

Ross, John American, (1921-2017), BROADWAY, Color Woodcut, 1957, Ed. 9/10, signed, titled dated and numbered in pencil, on a cream japan paper. 15-1/8 x 19-1/8 inches (image), 18 1/4 x 23 3/8 inches (sheet). A fine impression with strong, fresh colors, but with thin spots and adhesive residue in the left and right margins, well away from the image, resulting from careless removal from an earlier mount. This is one of Ross's most effective and striking prints, presenting New York City at night, under a moon and clouds...

Prince, George WILLIAM MCKINLEY AND THEODORE ROOSEVELT CAMPAIGN POSTERS. Lithographs, 1900. With Prince's copyright, lower left, and Litho by Julius Bien NY, lower right. The McKinle...

Lithograph on Twinrocker handmade paper 1979 64.1 x 95.3 cm (25 1/4 x 37 1/2 inches)

Two Boys (one standing, the other seated and drawing) Graphite and colored pencils on wove paper, 1975 Signed and dated lower left center (see photo) Condition: Excellent Slight waviness visible only on reverse Image size: 11 1/2 x 13 3/4 inches Sheet size: 14 x 17 3/4 inches Provenance: Estate of the Artist By descent Mary Spain (Colie) (1934-1983) Mary Spain was born in Raleigh, North Carolina. She taught art in Chagrin Falls...

Shaft of light in Upper Antelope Canyon, near Page, Arizona, Navajo Nation Photograph on Kodak Professinal Paper, c. 1980's Unsigned Annotated verso "396" in ink lower right corner C...

Scarlett, Rolph (American, born Canada, 1889-1984). UNTITLED ABSTRACTION. Colored pencils on paper, not dated. Signed, lower right. 5 5/8 x 8 1/4 inches (image), 6 x 8 3/4 inches, (s...

Signed and numbered by the artist Edition: 25 Printed on Hahnemuhle paper Published by Neptune Fine Arts Condition: excellent Plate/Image size: Sheet size: "Stone Roberts’ luminous still lifes, private interiors, and large-scale panoramas of figures in motion invite us to look—and then look some more—and relish in the sensuality of the three-dimensional world. While Roberts’ varied influences include Greek Mythology and Roman Classicism, Dutch and Spanish Old Masters, Fantin-Latour, Ingres, and Balthus, his subjects are decidedly of today. From Grand Central Terminal to his wife gardening in Stonington, Connecticut, Roberts paints people and places from his personal surroundings into formal compositions that often appear to have mythical, literary, or psychological elements. Roberts received his B.A. from Yale University, New Haven, CT, where he studied painting with William Bailey, and his M.F.A. from the Tyler School of Art, Philadelphia, and Rome. Roberts' work can be found in numerous public and private collections throughout the United States and Europe, including the collection of The Metropolitan Museum of Art and the Louis-Dreyfus Family Collection, New York. A solo exhibition of Stone Roberts’ work was held at the Museum of the City of New York in 2012 entitled Stone Roberts: New York City Paintings." Courtesy of Hirschl & Adler Modern PUBLIC COLLECTIONS Asheville Art Museum, Asheville, NC Sydney and Walda Besthoff Biltmore Estate, Asheville, NC Mrs. Robert Carroll Mr. and Mrs. Willam Cecil Chase Manhattan Bank, New York, NY Evansville Museum of Arts and Sciences, Evansville, IN Jerald Dillon Fessenden Flint Institute of Arts, Flint, MI Ms. Barbara Goldsmith Mrs. Paul Gottlieb Mr. and Mrs. Graham Gund Mr. and Mrs. Arie L. Kopelman Alex S. Jones William Louis-Dreyfus Mr. and Mrs. James C. Marlas J.D. McClatchy and Chip Kidd Mr. and Mrs. Richard L. Menschel The Metropolitan Museum of Art, New York, NY Mrs. Stephen Paine Mr. and Mrs. W.J.W.J. van Roijen Mrs. Julius Rosenwald II Mark Singer Carl Spielvogel and Barbaralee Diamonstein-Spielvogel Bruce Springsteen and Patti Scialfa Stephens Inc., Little Rock, Arkansas Woodberry Forest...

Color aquatint with chine collé gampi. Image Size: 40”x 29”; Paper Size: 40” x 29” Edition of 25

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

Marginal Screen print, 1971 Signed and numbered in pencil From: Twelve Progressions, 1970-1971 Commissioned by Martha Jackson Graphics Printed: Domberger, Stuttgart, Germany Edition:...

Grabach, John R. (American 1886-1981) THE FERRY. Oil on panel, not dated. Signed within the image, lower right, and also on the back of the panel. 5 1/2 x 8 3/4 inches, 140 x 122 mm....

Fred Sandback was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints. He majored in philosophy at Yale Universit...