Ifpda International Fine Print Dealers Association Prints and Multiples
International Fine Print Dealers Association (IFPDA)
Launched in 1987, the International Fine Print Dealers Association has continually set the bar for quality and ethics while promoting prints as original works of art to generations of collectors, curators and art lovers. With over 160 members in 13 countries, the IFPDA is a worldwide community of leading dealers and editions publishers who represent the full spectrum of printmaking. Each year, the IFPDA hosts the IFPDA Print Fair in New York, the only major fair dedicated to fine-art prints.
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Multiple Panel Paintings 1973-1976, Edition C
By Robert Mangold
Located in Houston, TX
Robert Mangold
Multiple Panel Paintings 1973-1976, Edition C, 1992
Suite of nine screenprints on Fabriano paper
11 3/4 x 24 in (2880.4 x 61 cm)
Edition of 300
Category
Late 20th Century Abstract Geometric Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
BREAD LINE - Large Strong 30
s Modernist Labor Print
By Iver Rose
Located in Santa Monica, CA
IVER ROSE (1899-1972)
BREAD LINE ca. 1935
Lithograph, signed, titled and no. 22/85 in pencil. Image 15” x 17 3/8. Large margins, sheet 18 x 22”. Generally good condition. Some slig...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Rain at Shinagawa, Ryoshimachi
— Showa-era Woodblock Print
By Kawase Hasui
Located in Myrtle Beach, SC
Kawase Hasui, 'Rain at Shinagawa, Ryoshimachi' from the series 'Selection of Views of the Tokaido', woodblock print, 1931. A very fine, atmospheric impression, with fresh colors; the...
Category
1930s Showa Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
A black cat playing with a Snowman, from Le Chat Noir
By Théophile Alexandre Steinlen
Located in Fairlawn, OH
A black cat playing with a Snowman, from Le Chat Noir
Gillotage chromotype, 1898
Signed in the image lower right (see photo)
Cats were a symbol of freedom and bohemia in Montmartre, ...
Category
1890s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Other Medium
Zentsuji Temple in the Rain — from the series Collected Views of Japan II
By Kawase Hasui
Located in Myrtle Beach, SC
Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...
Category
1930s Showa Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
THE RAG GATHERERS
By James Abbott McNeill Whistler
Located in Santa Monica, CA
JAMES ABBOTT McNEILL WHISTLER (1834-1903)
THE RAG GATHERERS 1858 (Glasgow 29 v/v, - K.23)
Etching on laid paper, signed and dated in the plate, image 5 7/8” x 3 ½”, full sheet 8 x...
Category
1850s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Hélène of Septeuil (enfant au perroquet) (child with a parakeet).
By Mary Cassatt
Located in Storrs, CT
Hélène of Septeuil (enfant au perroquet) (child with a parakeet). c. 1889-1890. Drypoint. Breeskin, 134.v. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate...
Category
19th Century Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Watercolor, Drypoint
$12,000 Sale Price
52% Off
SELF PORTRAIT DRAWING
By Max Liebermann
Located in Santa Monica, CA
MAX LIEBERMANN (1847 1935)
SELF PORTRAIT DRAWING (Selbstportrat) c. 1922 (Schiefler, 341, III b)
Etching, signed in pencil, Scarce signed example found in Max Liebermann “Sein Leb...
Category
1920s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
THE VIRGIN AND CHILD SEATED BY A TREE
By Albrecht Dürer
Located in Santa Monica, CA
ALBRECHT DURER (1471-1528)
THE VIRGIN AND CHILD SEATED BY A TREE 1513 (Bartsch 35; Meder 34 c-d, Hollstein 34)
Engraving a generally good impression. Trimmed slightly into the i...
Category
16th Century Old Masters Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
Night Shadows
By Edward Hopper
Located in Storrs, CT
Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$48,000 Sale Price
20% Off
Der Gartner
(The Gardener) — German Expressionism
By Karl Michel
Located in Myrtle Beach, SC
Karl Michel, 'Der Gartner' (The Gardener), woodcut, c. 1925. Signed, titled, and numbered '15/50' in pencil. Signed in the block, lower left and right. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Scarce.
Image size 5 1/4 x 3 7/8 inches (133 x 98 mm); sheet size 10 x 7 3/4 inches (254 x 198 mm).
ABOUT THE ARTIST
Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919 - 1933). In 1920, his work was featured in the influential German graphic design magazine Das Plakat...
Category
1920s Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
LOBSTER and OCTOPUS (KAMPF - BATTLE)
By Norbertine Bresslern-Roth
Located in Santa Monica, CA
NORBERTINE VON BRESSLERN-ROTH (1891 1978)
KAMPF (BATTLE - LOBSTER and OCTOPUS) c. 1928
Color linoleum cut Signed in pencil. Image 8 5/8 x 8 11/16”
In excellent condition and full ...
Category
1920s Vienna Secession Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Linocut
Poppy
— Art Deco Pochoir from the acclaimed portfolio
RELAIS
By Edouard Benedictus
Located in Myrtle Beach, SC
Edouard Benedictus, 'Poppy' from the portfolio 'Relais', plate 14, color pochoir, 1930. Signed in the matrix, in the center bottom margin. A superb, richly-inked impression, with fresh, vibrant colors, including metallic gold and silver inks, on heavy, cream wove paper; the full sheet with margins (1 3/8 inches), in excellent condition. Published by Éditions Vincent, Fréal et Cie, Paris. The pochoir production is by Jean Saudé, the French printmaker known for his mastery of the technique and the author of the first how-to book on the pochoir process. Matted to museum standards, unframed.
Image size 14 3/8 x 11 inches (365 x 279 mm); sheet size 17 1/4 x 13 7/8 inches (438 x 352 mm).
Impressions of this work are held in the following museum collections: Cooper-Hewitt National Design Museum Library (Smithsonian), Metropolitan Museum of Art, Minneapolis Institute of Art, New York Public Library, Toledo Museum of Art, Victoria and Albert Museum (London), Virginia Museum of Fine Arts.
ABOUT THIS WORK
The Pochoir process is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by virtue of its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique.
ABOUT THE ARTIST
Edouard Benedictus (1878 -1930), artist, designer, composer, and chemist, was born and died in Paris. A highly-regarded designer and art critic of the Art Nouveau era, Benedictus gained renown as a colorist and creator of Art Deco-inspired geometric and floral motifs. His work had a significant influence on international fashions in clothing, home furnishings, graphic design, and decorative objects of the period, earning him commissions from leading European design firms. In 1925 he was invited to represent Art Deco textile design...
Category
1930s Art Nouveau Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Stencil
The House of Shango — African American artist
By Samella Lewis
Located in Myrtle Beach, SC
Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed.
ABOUT THIS WORK
“The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018
ABOUT THE ARTIST
Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.”
Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history.
Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center.
Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement."
From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art.
Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University.
Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...
Category
1990s Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
The Gateway to the New World
— Vintage New York City
By Otto Kuhler
Located in Myrtle Beach, SC
Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Dancers
— 1930s American Modernism
By Charles Turzak
Located in Myrtle Beach, SC
Charles Turzak, 'Dancers', 1939, wood engraving, edition 100. Signed, titled, and numbered 72/100 in pencil. A fine, richly-inked impression, on off-white Japan paper, with full marg...
Category
Mid-20th Century Art Deco Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Manhattan Old and New
— Vintage New York Cityscape
By Samuel Chamberlain
Located in Myrtle Beach, SC
Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed.
A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition.
The subject of the print is the lower Manhattan cityscape just before the Depression.
Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm).
Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum.
ABOUT THE ARTIST
'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints.
Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist.
Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
TWO SIAMESE CATS
By Junichiro Sekino
Located in Santa Monica, CA
JUN'ICHIRO SEKINO (1914-1988)
TWO SIAMESE CATS Japanese Woodblock Print, c. 1960, 1st edition, pencil signed, titled and numbered 90/200 with red Sekino pub...
Category
1960s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
SUR LA PLAGE, a BERNEVAL
By Auguste Renoir
Located in Santa Monica, CA
PIERRE-AUGUSTE RENOR (1841 - 1919)
SUR LA PLAGE, a BERNEVAL (D.: S. 5) Drypoint on laid paper. The plate was created in c. 1892. Plate 5 3/8 x 3 3/4". Sheet 11 1/4 x 10 1/8". This...
Category
1890s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Portrait of an African Woman — 1920s Modernism
By Boris Lovet-Lorski
Located in Myrtle Beach, SC
Boris Lovet-Lorski, Untitled (Portrait of an African Woman), lithograph, edition 250, 1929. Signed and numbered 13 in pencil. Number 13 of Volume 2, a series of 10 lithographs publis...
Category
1920s Art Deco Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
$760 Sale Price
20% Off
Partners
— Mid-Century Modernist Regionalism
By Dale Nichols
Located in Myrtle Beach, SC
Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...
Category
1950s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
The Deluge
from
The Temple of the Muses
— 18th Century Engraving
By Bernard Picart
Located in Myrtle Beach, SC
Bernard Picart, 'The Deluge' from 'The Temple of the Muses', engraving, 1730. Signed in the plate and dated
'1730' lower left. Titled in French, English, German, and Dutch. A superb...
Category
1730s Baroque Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Engraving
Mehr Sonne fur 1924
(More Sun for 1924)— German Expressionism
By Karl Michel
Located in Myrtle Beach, SC
Karl Michel, 'Mehr Sonne fur 1924. Viel Gluck Wunscht Karl Michel U. Frau', woodcut, 1924, edition 20. Signed, dated, and numbered 'op. 162' and '15/20' in pencil. Signed in the image, lower left. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in very good condition. Printed by the artist. Scarce. Matted to museum standards, unframed.
New Year's Greeting – English translation: "More Sun for 1924. Good Luck Wishes from Karl Michel and his Wife."
Image size 4 5/8 x 4 3/4 inches (118 x 121 mm); sheet size 7 3/4 x 10 inches (198 x 254 mm).
ABOUT THE ARTIST
Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat...
Category
1920s Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Nicole
By Alex Katz
Located in New York, NY
signed and numbered lower right
edition of 60
Catalogue raisonné 00717
Published by Simmelink Sukimoto Editions
Internationally recognized painter and printmaker Alex Katz was born...
Category
2010s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Linocut, Woodcut
$30,000
Lafitte
s Blacksmith House (a bar named for a pirate on Bourbon St, New Orleans)
By Frederick Mershimer
Located in New Orleans, LA
Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...
Category
Early 2000s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint, Aquatint
Negro
— California WPA Social Realism – Slavery
Located in Myrtle Beach, SC
Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Matted to museum standards, unframed.
Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm).
Created for the California Works Progress Administration, Federal Art Project (WPA). Scarce.
Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and Weisman Art Museum (University of Minnesota).
ABOUT THE ARTIST
Born in Massachusetts, Nicholas Panesis (1913-1967) studied art at Syracuse University, NY, and went on to teach ceramics at Alfred University, NY.
Panesis moved to San Francisco in the early 1930s shortly before settling in Los Angeles, where he worked for different animation studios...
Category
1930s American Realist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
10th Anniversary New Orleans Jazz and Heritage Festival Poster - 1979
Located in New Orleans, LA
10th Anniversary New Orleans Jazz and Heritage Festival Poster, 1979
by John Martinez
Fifth in the series by John Martinez. The grand marshal returns for the Jazz Festival's 10th anniversary; as does the "cut paper" technique first seen in the 1977 poster...
Category
1970s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
$1,500 Sale Price
25% Off
Missing Peace (Homage to 911)
By Carol Wax
Located in New Orleans, LA
The Artist's Christmas homage to the attack on the twin towers with reindeer atop the buildings.
Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting.
In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...
Category
Early 2000s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Intaglio
Unemployed Marchers
— American Modernism, WPA
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Unemployed Marchers', 2-color lithograph, c. 1938, edition 25. Signed, titled, and numbered '2/25' in pencil. A fine, richly-inked impression on off-white, wove paper, w...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Silent Snow (Poetical imagery and Christmas memories in New England)
By Mary Teichman
Located in New Orleans, LA
This image is from an exclusive edition published by Stone + Press in 1994 in an edition of 100. This impression is #98. It brings to mind the Robert Frost poem, Stopping by Woods on a Snowy Evening.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Mary Teichman...
Category
1990s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Thames Warehouses
By James Abbott McNeill Whistler
Located in Santa Monica, CA
JAMES McNEILL WHISTLER (American 1834–1903 London)
THAMES WAREHOUSES, 1859 (K 38 ii/ii; Glascow 46 iv/v; Mansfield 37)
Etching and drypoint on fine thin laid paper. Plate: 3 × 8 i...
Category
1850s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
Mizuhiki
By Katsunori Hamanishi
Located in New Orleans, LA
"Mizuhiki" is an exclusive publication by Stone + Press in an edition of 100.
Katsunori Hamanishi was born in 1949 on Hokkaido island - Japan's second largest island. In 1973 he fi...
Category
1990s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
$82 Sale Price
25% Off
Taos Placita
— American Southwest Regionalist Masterwork
By Gustave Baumann
Located in Myrtle Beach, SC
Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed.
Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm).
Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum.
ABOUT THE ARTIST
Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest.
"A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West."
—Lewis I. Sharp, Director, Denver Art Museum
Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels.
Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal.
Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923.
In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique.
Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape.
Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike.
A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.”
In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts.
Baumann’s woodcuts...
Category
1940s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
New York, Central Park
— 1930s American Modernism
By William Meyerowitz
Located in Myrtle Beach, SC
'New York, Central Park', etching, edition 40, c. 1930. Signed in pencil. Titled and numbered '14/40' on the bottom sheet edge, in pencil. Signed in the plate, lower left. A superb, ...
Category
1930s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
Manhattan Mountains
By Lawrence Wilbur
Located in Storrs, CT
Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve.
Painter and printmaker Lawrence Nelson...
Category
20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
Chepstow Castle ( on a limestone cliff above the River Wye in Wales)
By Percival Gaskell
Located in New Orleans, LA
The magnificent printed works of the Yorkshire artist, Percival Gaskell have only been fully rediscovered in recent years. Percival Gaskell rose to prominence whilst working together with Sir Frank Short in the engraving school at the Royal College of Art in London during the first two decades of the 20th century. A true painter-printmaker, Percival Gaskell developed a sensitivity to atmospheric tone which is displayed in an air of timeless beauty throughout his printed works.
(sheet 24 x 20 1/2). A fine impression with tone printed in warm brown/black ink on chine appliqué mounted on white wove paper, and a backing board. Signed in pencil. Superb signed proof impression printed in warm-brownish-black ink. One of Gaskell's best large scale mezzotints.
The speed with which William the Conqueror committed to the creation of a castle at Chepstow is testament to its strategic importance. There is no evidence for a settlement there of any size before the Norman invasion of Wales, although it is possible that the castle site itself may have previously been a prehistoric or early...
Category
1940s English School Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint, Etching
$296 Sale Price
25% Off
Woolworth Building Under Construction
— Early 20th Century Modernism
By Earl Horter
Located in Myrtle Beach, SC
Earl Horter, 'The Woolworth Building Under Construction', etching, c. 1912, edition not stated. Signed in pencil. A fine, richly-inked impression, in warm black ink, with selectively...
Category
1910s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
A black and white cat play with a mouse, from Le Chat Noir
By Théophile Alexandre Steinlen
Located in Fairlawn, OH
A black and white cat play with a mouse, from Le Chat Noir
Gillotage chromotype, 1898
Signed in the image lower right (see photo)
An impression of this image is in the collection of ...
Category
1890s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Other Medium
Sisters
— Renowned Black American, Harlem Renaissance Artist
Located in Myrtle Beach, SC
James Lesesne Wells, 'Sisters', linocut, edition not stated but small, 1928. Signed, titled, and annotated 'imp' in pencil. A fine impression on off-white wove Japan paper, with wide margins (1 7/8 to 3 3/4 inches), in excellent condition. Printed by the artist. Very scarce. Matted to museum standards, unframed.
Image size 8 3/16 x 6 3/4 inches (208 x 171 mm); sheet size 13 1/2 x 10 3/4 inches (343 x 273 mm).
Exhibition and Literature: 'Narratives of African American Art and Identity: The David C. Driskell Collection,' The Art Gallery at the University of Maryland, extensive touring exhibition, 1998-2000.
Collections: Pennsylvania Academy of the Fine Arts, Smithsonian Institution (Anacostia Community Museum).
ABOUT THE ARTIST
“Wells is more than an artist with a deep concern for his fellow man. He carries many of his themes a step further into an apocalyptic world, a world of revelation and shifting lights. … He works on large blocks in a bold free style. … His work has a vigor, therefore, that is not often used in the medium today.”
—Jacob Kainen (painter, critic, and collector) from Richard J. Powell’s 1986 essay Phoenix Ascending: The Art of James Lesesne Wells.
James Lesesne Wells was an American painter, printmaker, educator, and pioneering figure of the Harlem Renaissance, whose work established a vital connection between African heritage, modernist form, and African American cultural identity. Known for his innovative use of linoleum and woodblock printing, Wells played a key role in shaping 20th-century African American art and inspired countless students throughout his lengthy career as a teacher at Howard University.
Born in Atlanta, Georgia, Wells' early exposure to the arts came through church and community, where African American cultural traditions were central. He pursued formal artistic training at Lincoln University in Pennsylvania (earning a B.A. in 1924), followed by studies at the Pennsylvania Academy of the Fine Arts and the Barnes Foundation, where he encountered European modernists as well as traditional African sculpture, which profoundly influenced his style.
Wells moved to New York in the late 1920s, swiftly immersing himself in the lively artistic and intellectual scene of Harlem. There, he became associated with artists, writers, and thinkers of the Harlem Renaissance, contributing to the growth of Black cultural identity. Considered a mentor to many famed artists of the Harlem Renaissance, Wells served as director of a summer art workshop in Harlem where his assistants included Charles Alston, Jacob Lawrence, and Palmer Hayden...
Category
1920s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Linocut
The Plaza, Sunset Glow
By Walter Tittle
Located in Myrtle Beach, SC
'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed.
A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...
Category
1920s American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint
LA PARADE
By Georges Rouault
Located in Santa Monica, CA
GEORGES ROUAULT (1871 – 1958)
La PARADE 1932 (CR.203, W.211) color etching and aquatint 1932. Edition 270. Frontispiece from “Cirque”. Signed in plate as i...
Category
1930s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$1,100 Sale Price
43% Off
Prickles and Hairs - In Celebration of Pride Month
By Christine Ravaux
Located in New Orleans, LA
This is impression #12 from an edition of 45
Born in Charleroi, Belgium, Ravaux is an artist who mirrors her surroundings in the mezzotints she creates. She has portrayed the black ...
Category
Early 2000s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
$75 Sale Price
25% Off
Madame Helleu Looking at Watteau drawings at the Louvre..
By Paul César Helleu
Located in Storrs, CT
Madame Helleu Looking at Watteau drawings at the Louvre. (En regardant les Watteau de Louvre). c. 1895. Drypoint printed in 2 colors - black and sepia. 11 3/4 x 15 7/8. Goncourt 3, d...
Category
Late 19th Century Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Color
$6,500 Sale Price
45% Off
WORKING ON IT INCESSANTLY
By Mary Corita (Sister Corita) Kent
Located in Santa Monica, CA
CORITA KENT (Sister Mary Corita) 1918–1986
WORKING ON IT INCESSANTLY, ca. 1970 Color serigraph. Signed and numbered in ink 200/. In generally good condition. Image 22 3/8 x 11 1/2, sheet 23 x 12 1/4 inches.
Provenance: Marjorie Kauffman Graphics on original period label.
Sister Corita is highly important in the development of modern use of serigraphy with highly charged social and political content expressed in strong colors and dynamic composition. She often made biblical and well as literary references as a major part of the composition. She taught printmaking at Immaculate Heart...
Category
1970s Abstract Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
Two Open Squares Within a Green Area
By Robert Mangold
Located in New York, NY
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...
Category
2010s Minimalist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
The Basque Boy also called Boy with Beret and Fabian.
By Gerald Leslie Brockhurst
Located in Storrs, CT
The Basque Boy also called Boy with Beret and Fabian. 1944. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4 (sheet 7 1/8 x 13 7/8). Edition 10. Printed on countermarke...
Category
Mid-20th Century Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
$550 Sale Price
38% Off
SEA TREASURES
By Frances H. Gearhart
Located in Santa Monica, CA
FRANCES H. GEARHART and Sisters (THE GEARHARTS)
SEA TREASURES...
Category
1920s American Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
$975 Sale Price
50% Off
Snail in a Bowl (Artist Proof inscribed to Fritz Eichenberg)
Located in New Orleans, LA
Leonard Merchant's mezzotint, "Snail in Cup" is inscribed for fellow artist, Fritz Eichenberg.
While a student at the Central School for Arts and Crafts in London, a young Leonard Marchant found an engraving rocker in a cupboard and proceeded to turn himself into a master of the painstaking art of mezzotinting.
Marchant, who has died in Shrewsbury aged 70, grew up in Simonstown, the Royal Navy's enclave in South Africa. Though his first job was as a parliamentary messenger, he taught himself to paint and, aged 19, was given a one-man show in Cape Town. Fired by this success, he left for England to study painting and, he claimed, to escape the stifling home atmosphere created by his Catholic mother and aunts. (His father was killed in the second world war.) Without contacts in London, he phoned Jacob Epstein, whose recommendation resulted in a grant to study briefly at the Central School. It was later, when studying full-time at the Central, that he saw the mezzotints of the Japanese master, Yozo Hamaguchi, in a London gallery. He was hooked.
Creating a mezzotint is tedious in the extreme. The copper plate must first be prepared with a "rocker" which roughens the surface. A plate may be "rocked" 30 or 40 times. The rough texture is then reduced with a burnisher and a scraper, allowing the print a range of tones from velvety black through the greys to white. Marchant's plates could be months in the making. But the technical demands were the least of his worries. In its 18th- and 19th-century heyday, mezzotint was solely a reproductive medium, for copying masters such as Reynolds and Turner. The development of photography rendered it unfashionable, and by the 1960s the technique, known as la manière anglaise, was a bygone medium.
Marchant, by now a teacher in printmaking at the Central, began to create original mezzotints with a colleague, Radavan Kraguly. A perfectionist, he seemed to revel in the straitjacket procedure. Perhaps it was the metaphor of bringing darkness out of light that appealed to this straight-talking, sometimes sombre, man, who would suddenly relax and light up like a gleaming hue on one of his prints. His work was of squares and triangles with the occasional cat, black and ominous, and carefully arranged still lifes, featuring plants, a seed pod, a pot he might have bought at auction to celebrate the sale of a print.
There were one-man shows, notably at the Bankside Gallery. He sold well at the Royal Academy summer exhibition, was a Florence Biennale prizewinner, spent a fellowship year at the British School in Rome, and was elected a Fellow of the Royal Society of Painter-Printmakers.
But making mezzotints was not a paying job. Marchant and his South African wife...
Category
1980s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Mezzotint
$138 Sale Price
25% Off
Riders at Sundown
— Mid-Century Southwest Regionalism
By Gene Kloss
Located in Myrtle Beach, SC
'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...
Category
1950s American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Aquatint
Chion-in Temple Gate
from
Eight Scenes of Cherry Blossoms
— Jizuri Seal
By Hiroshi Yoshida
Located in Myrtle Beach, SC
Hiroshi Yoshida, 'Chion-in Temple Gate (Sunset)' from the series 'Eight Scenes of Cherry Blossoms (Sakura hachi dai: Sakura mon)', color woodblock print, 1935. Signed in brush 'Yoshida' and in pencil 'Hiroshi Yoshida'. A superb, early impression, with fresh colors; the full sheet with margins, on cream Japan paper; an area of slight toning in the top right sheet corner, not affecting the image, otherwise in excellent condition. Marked with a jizuri (self-printed) seal, upper left margin. Self-published by the artist.
Image size 9 5/8 x 14 3/4 inches (444 x 375 mm); sheet size 10 7/8 x 16 inches (276 x 406 mm). Archivally sleeved, unmatted.
Provenance: M. Nakazawa, Tokyo.
Literature: Japanese Landscapes of the 20th Century (Hotei Publishing calendar), 2001, May.
Collections: Honolulu Museum of Art, Museum of Fine Arts, Boston.
ABOUT THE IMAGE
Located in Kyoto, Chionin is the main temple of the Jodo sect of Japanese Buddhism, one of the most popular Buddhist sects in Japan, having millions of followers. The Sanmon Gate, Chionin's entrance gate, standing 24 meters tall and 50 meters wide, it is the largest wooden temple gate in Japan and dates back to the early 1600s. Behind the gate, a broad set of stairs leads to the main temple grounds.
ABOUT THE ARTIST
Painter and printmaker Yoshida Hiroshi (1876-1950) is regarded as one of the greatest artists of the Japanese 'shin hanga' (New Print) movement.
Yoshida was born as the second son of Ueda Tsukane in Kurume, Fukuoka Prefecture, a schoolteacher from an old samurai family. In 1891 he was adopted by his art teacher Yoshida Kasaburo in Fukuoka and took his surname. In 1893 he went to Kyoto to study painting, and the following year to Tokyo to join Koyama Shotaro's Fudosha private school; he also became a member of the Meiji Fine Arts Society. These institutions taught and advocated Western-style painting, greatly influencing Yoshida’s artistic development.
In 1899 Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art), making the first of many visits to the US and Europe. In 1902 he helped reorganize the Meiji Fine Arts Society, renaming it the Taiheiyo-Gakai (Pacific Painting...
Category
1930s Showa Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Chinoiserie
— Mid-Century Modernism
By Edward August Landon
Located in Myrtle Beach, SC
Edward Landon 'Chinoiserie', color serigraph, 1947, edition 50, Ryan 36. Signed in pencil in the image, lower right. Titled, dated, and annotated '4 COLORS – EDITION 50' in the scree...
Category
Mid-20th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Screen
Rowboat
By Alex Katz
Located in New York, NY
Although best known for his portraits, Katz has depicted landscapes both inside the studio and out of doors since the beginning of his career. This print of a boat on the water feat...
Category
1990s Contemporary Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Aquatint
$10,000
Fly Fishing, Saranac Lake
By Winslow Homer
Located in Storrs, CT
Fly Fishing, Saranac Lake. 1889. Etching, aquatint and burnishing. Goodrich 104. 14 1/4 x 20 5/8; sheet 18 1/2 x 24 1/2. Edition unknown but quite possibl...
Category
Late 19th Century American Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
$40,000 Sale Price
20% Off
The Beach at Kaiganji in Sanuki Province
— Lifetime Impression
By Kawase Hasui
Located in Myrtle Beach, SC
Kawase Hasui, 'The Beach at Kaiganji in Sanuki Province (Sanuki Kaiganji no hama),' from the series Collected Views of Japan II, Kansai Edition (Nihon fûkei shû II Kansai hen), woodblock print, 1934. A very fine, atmospheric impression, with fresh colors; the full sheet, in excellent condition. Signed 'Hasui' with the artist’s seal 'Kawase', lower left. Published by Watanabe Shozaburo with the Watanabe ‘D’ seal indicating an early impression printed between 1931 - 1941. Stamped faintly 'Made in Japan' in the bottom center margin, verso.
Horizontal ôban; image size 9 3/8 x 14 1/4 inches (238 x 362 mm); sheet size approximately 10 5/16 x 15 1/2 inches ( 262 x 394 mm).
Collections: Art Institute of Chicago; Austrian Museum of Applied Arts (Vienna); Honolulu Museum of Art; Museum of Fine Arts, Boston; National Museum in Warsaw; University of Wisconsin-Madison.
ABOUT THE ARTIST
“I do not paint subjective impressions. My work is based on reality...I can not falsify...(but) I can simplify…I make mental impressions of the light and color at the time of sketching. While coloring the sketch, I am already imagining the effects in a woodblock print.” — Kawase Hasui
Hasui Kawase...
Category
1930s Showa Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Woodcut
Nets – Mid-Century Modernism, Atelier 17
By Sigismond Kolos-Vari
Located in Myrtle Beach, SC
Sigismond Kolos-Vari, 'Nets', color etching with soft-ground and aquatint, edition 200 (1 of 60 artist's proofs), 1952. Signed and dated in pencil. Numbered L/LX in pencil. A superb, richly-inked impression, on heavy, off-white, Arches wove paper; the full sheet with margins (1 3/8 to 3 1/2 inches), in excellent condition. Published by the Guide de la Gravure, Switzerland, with their blindstamp in the bottom left sheet corner. Matted to museum standards, unframed.
Image size 11 3/4 x 15 5/8 inches (298 x 397 mm); sheet size 15 x 22 1/4 inches (381 x 565 mm).
ABOUT THE ARTIST
Sigismund Kolos-Vari was born in Hungary and attended the School of Applied Arts in Budapest from 1915 to 1918 and then the School of Decorative Arts until 1925. The artist settled in Paris, and his first one-person show in 1928 at Galerie Miromesnil, which was highly successful, led to numerous subsequent exhibitions, including with the prestigious Galerie Bonaparte in 1929 and Galerie Povolosky in 1930.
Kolos-Vari’s early success was abruptly interrupted by the outbreak of WWII when he was arrested by the Gestapo and imprisoned in the Gurs internment camp. During this period, he created a sketchbook for a little girl, which is now preserved at the Centre de Documentation Juive Contemporaine at the Mémorial de la Shoah in Paris. He managed to escape after two years, crossing the border into Switzerland. After the war, he returned to Paris with a renewed dedication to his painting, producing increasingly powerful compositions. His work was highly acclaimed when shown at an important 1946 exhibition at the Musée National d’Art Moderne de Paris, organized by Jean Cassou. The artist was then approached by the eminent art dealer Jean Bucher, who gave Kolos-Vary a major one-person show at his gallery in 1948. During this post-war period, Kolos-Vary participated in the radical Salon de Mai, 1949-1958, the Salon des Réalités Nouvelles, 1956-1961, and the Salon des Comparaisons, 1960-1962.
Supported by his association with Stanley William Hayter and the landmark printmaking workshop Atelier 17...
Category
Mid-20th Century Abstract Expressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching, Aquatint
Composition au verre a pied (Composition with stemmed glass)
By Pablo Picasso
Located in Fairlawn, OH
Composition au verre a pied (Composition with stemmed glass)
Lithograph (Ink drawing, pen and brush transferred to lithograph stone) , 1947
Unsigned
Editi...
Category
1940s Cubist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Ink, Lithograph
La Duchesse de Marlborough, Consuelo Vanderbilt
By Paul César Helleu
Located in Storrs, CT
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...
Category
Late 19th Century Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Drypoint, Etching
$16,000 Sale Price
36% Off
Connais-tu le Pays (Primavera) apres J. Rolshoven (Do you Know the Country)
By Theophile Narcisse Chauvel
Located in Fairlawn, OH
Connais-tu le Pays (Primavera) apres J. Rolshoven
(Do you Know the Country -Spring)
Etching, 1889
Signed "Julius Rolshoven" in pencil...
Category
1880s Barbizon School Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
‘LE REPOSE du MODELE
- Rare First State
By Henri Matisse
Located in Santa Monica, CA
HENRI MATISSE (French 1869-1954)
LE REPOSE du MODELE 1922 . (Duthuit 416)
Original lithograph, FIRST STATE, on Chine volant paper BEFORE image was reduced at the left edge. An uns...
Category
1920s Modern Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Lithograph
Iris (5)
By Leonard Baskin
Located in Myrtle Beach, SC
Leonard Baskin, 'Iris ( 5 )', etching, 1988, artist proof before the edition of 10, outside the book edition. Signed and annotated 'proof' in pencil. A fine impression, with expertly...
Category
1980s Impressionist Ifpda International Fine Print Dealers Association Prints and Multiples
Materials
Etching
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