Ifpda International Fine Print Dealers Association Landscape Prints

James Whistler (1834-1903), The Little Mast, etching, drypoint and burnishing, 1879-80, signed in pencil with the early shaded butterfly lower left and annotated “imp”. References: G...

La Place de la Concorde Depicts La Place d la Concorde, Tour Eiffel and Sacre-Couer on Montmarte Hill in the back left Lithograph, 1926 Unsigned. as issued From the book edition, Jos...

Mielatz, Charles. HEARN'S. Etching, 1912. Edition size not known. Signed and dated in the plate. 12 X 7 1/2 inches. In excellent condition. Mielatz, taught etching at the National A...

City Park, Winter Lithograph, c. 1947 Signed in pencil lower right (see photo) Published by Associated American Artists Printed by George C. Miller, New York Edition: c. 250 In the Bohrod papers at Syracuse University, the artist states that it is a view of Pittsburgh. It depicts the George Washington Monument in Allegheny Commons Park, dedicated in 1891. The sculptor f the monument is Edward Ludwig Albert Pausch (1856-1931). Condition: Excellent Image size: 9 1/4 x 13 7/16 inches Frame size: 19 x 23 inches Provenance: Estate of Adolf Dehn Reference: AAA Index No. 848 Aaron Bohrod (21 November 1907 – 3 April 1992) was an American artist best known for his trompe-l'œil still-life paintings. Education Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings. Career He returned to Chicago in 1930 where he painted views of the city and its working class. He eventually earned Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' Army War Art Unit...

Vue du châteaux de Chenonceaux Lithograph, 1843 Letterpress signature lower left corner Signature of the printer lower right corner After Pierre Justin Ouvrié (1806-1879) Published b...

John Sloan ((1871-1951), Westminster Abbey, c. 1891, the complete set of13 etchings, ribbon bound with ahand-painted gilt cover [many of the etchings...

Antonio Frasconi created the color woodcut entitled "View of Venice I – San Giorgio" in 1968. It is signed, titled, dated, and inscribed “17/20” in pencil. The paper size is 24 x 36 ...

Childe Hassam (1859-1935), French Cruiser, lithotint, 1918, signed in pencil with the cipher lower right. Reference: Griffith 8. In very good condition, printed in black ink on cream...

The Infant Christ and St. John Playing with the Lamb, after Peter Paul Rubens (1577-1640) Woodcut, trimmed and tipped to support Initialed in the block bottom ...

Sekino, Junchiro (Jaoanese, 1914-1988), FARMHOUSE WITH YELLOW FIELDS. Color Woodblock, not dated. Signed, Lower right. 13 3/8 x 19 inches, framed to 20 x 25 inches. In excellent cond...

Engraving of Veduta della Piazza di S. Marco, versoil Canale by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 11 x 13 5/8 in. Has the original center crease.

NIAGARA Contemporary artist Frederick Mershimer created the mezzotint engraving entitled “Niagara” in 2021. This impression is signed, titled, dated, and inscribed “5/45”- the 5th ...

L'Abreuvoir (The Trough) Woodcut printed in two shades of brown on paper, mounted Signed by the artist in pencil lower right (see photo) Signed with artist's monogram in the stone upper right: AL Dedicated in ink lower left: á Sagot (see photo) Annotated in ink lower right: 1/5 HT (1 of 5 Hors Triage [apart from the printing]) (see photo) Image: 12 x 15-7/8" (30.6 x 40.3 cm.) Mount: 19-5/8 x 25-1/2" (50 x 64.9 cm.) Condition: Excellent Reference: Lotz-Brissonneau 521 Auguste Louis Lepère...

Lido (Venice) Etching on chine collee, 1880 Part of the artist's "Venice Set" Signed upper right in plate :Otto H Bacher" (see photo) Signed with the estate stamp, Lugt 2002 recto lower right beneath image. (see photo) Created October 20, 1880 Reference: Andrew Venice No. 29 Provenance: Estate of the Artist Otto H. Bacher (1856-1909) Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of sixteen with local genre trompe l'oeil still-life artist, DeScott Evans. Although he studied with Evans for less than one year, Bacher's early work, comprised mainly of still lifes, betrays Evans's influence. After a short period in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts, Bacher returned to Cleveland and met Willis Seaver Adams, an artist from Springfield, Massachusetts, who had just recently arrived upon the Cleveland art scene. Soon the two artists were rooming together. Adams was instrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy of the Fine Arts, to the board of which Adams had Bacher appointed. Also during this time, Bacher began to learn the process of etching from local etcher and landscape painter Sion Longley Wenban. In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where he enrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying with Cincinnati artist Frank Duveneck, the prime American exponent of the Munich School. In 1879, Bacher made a trip to Florence with Duveneck as one of the celebrated "Duveneck Boys." Early the following year, the group proceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this time an avid printmaker, Bacher had his etching press sent from Muni ch, and it was in his Venice studio that he taught Duveneck the rudiments of etching. Soon Bacher, Duveneck, and other members of the Duveneck circle were experimenting in printmaking. Among the group's contributions were some of the first American examples of monotypes, which they called "Bachertypes" because they were printed using Bacher's press. It was also in Venice that Bacher met the venerable American expatriate artist, James McNeill Whistler. On learning of Bacher's press and his collection of etchings by Rembrandt, Whistler made himself a regular visitor to Bacher's studio, and he eventually took his own room in the Casa Jankovitz. Bacher spent much of the rest of 1880 with Whistler, the two artists sharing etching techniques. From Whistler, Bacher learned tone and line graduation; from Bacher, Whistler learned his etching techniques, including better ways of using the acid bath which produced less tedious and more efficient work. Bacher visited Whistler occasionally in the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time with the great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center of his operations, and he produced a number of important etchings of Italian subjects. Bacher sent several of these works to America in 1881 to be included in the Society of American artists exhibition that year, and had a similar group of works shown at the Royal Society of Painter-Etchers' first exhibition at the Hanover Gallery in London. Following the exhibition, Bacher, along with several other of the American contributors, was elected a Fellow of the Society. Bacher collected twelve of his etchings of Venetian subjects and sold them in bound volumes through his New York dealer, Frederick Keppel. Bacher returned to Cleveland in January 1883 as a fully cosmopolitan artist. He set up a lavish studio furnished with exotic items and objets-d'art he had collected on his travels, and began to hold art classes as a means to supplement his income. He soon joined with Joseph De Camp in forming a summer sketch class in Richfield, Ohio. Bacher and De Camp also planned the Cleveland Room for a major loan exhibition in Detroit that year. During this period, Bacher increasingly painted in oil, and he began to produce sun-dappled canvases in an impressionistic mode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where he planned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Paris before heading to Venice, where he spent the remainder of the year. In January 1886, Bacher returned to Paris and enrolled at the Académie Julian, and also entered the atelier of Emile-Auguste Carolus-Duran. The life of the student seems never to have suited Bacher, as he stayed in Paris only through June, before departing again for Venice. For the next six months he, Robert Blum, and Charles Ulrich...

East River View of N.Y. Etching, 1934 Signed, dated and titled in pencil by the artist From a very small edition. Brilliant impression Condition: Excellent Image/Plate size: 5-1/8 x...

Whitehead, Buell (American, 1919-1993) DEATH VALLEY SUNSET. Lithograph in colors, 1946. Edition size not known. Signed and dated in pencil, lower right. I...

This charming beach image by the American painter, printmaker, photographer and stage designer David Salle evokes the joy to be found in a serene day by the ocean. The print was publ...

Engraving of Veduta della Piazza di S. Marco, verso L'Horologio by Pierre van der Aa. Printed in 1722. Unsigned. Unframed. Image size, 11 x 13 5/8 in. Has the original center crease.

Pellew, Claughton (British, 1890-1966). THE RETURN. Ashmolean 17. Wood engraving, 1925. Edition of 25. Initialed in the block, and titled, signed, dated and...

Freeman, Mark (American, born Austria, 1908-2003). SPOTLIGHT ON MANHATTAN. Linocut, 1930. Signed and titled in pencil, and inscribed "Ed 40." 10 x 8 1/8inches (image), margins. Frame...

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

Andrew Dasburg, 'Trees in Ranchitos II', two-color lithograph, 1975, edition 20. Signed 'A. D.' in pencil. Annotated 'Trial Proof' in pencil, verso. A superb impression, in dark taup...

Arms, John Taylor (American, 1887-1953). MEMENTO VIVARE, NOTRE DAME, EVREUX. Fletcher 407. Etching, 1947. Number 47 of the French Church Series. This is Proof No. ii of four Trial Pr...

Jean-François Raffaëlli (1850-1924), La Fumee du Bateau, color etching and drypoint, 1911, signed and numbered in pencil lower right. Reference: Delteil 98. In very good condition, ...

Felix Buhot (1847-1898), L’Hiver a Paris ou La Neige a Paris, 1879, etching, aquatint, drypoint, roulette. [signed and dated in the plate Felix Buhot Par...

Tokyo Tower in Shiba Color woodblock, 1960 Signed and sealed lower right Signed with the artist's name:" Keimei" (see photo) Signed with the artist's seal in red (see photo) Publishe...

Looking Back Etching with hand coloring by the artist, 1994 Signed, dated, and numbered in pencil lower left (see photo) Edition: 67 (49/67) (see photo) References And Exhibitions: Franco & Verne, Quiet Elegance: Japan Through the Eyes of Nine American Artists, 1997. Illustrated pg. 61. Cited as a “great print” by Stewart pg. 53. Note: An important print by the artist Joel Stewart Biography Museum Collections: • Los Angeles County Museum of Art, Los Angeles, California, USA Cleveland Museum of Art, Cleveland, Ohio, USA. Portland Art Museum, Portland, Oregon, USA Library of Congress, Washington D.C., USA Allen Memorial Art Museum, Oberlin, Ohio, USA Hoehn Family Galleries, University of San Diego, USA Group Exhibitions: 2020 The Terminal, Kyoto, “Kyoen” 2019 Rijksmuseum, Amsterdam, “Long Live Rembrandt” Alt Space POST Gallery, Kyoto, “The Echo Of Songs” 2018 Hakuhou-Doh Gallery, Kyoto, Japan – “Ki Ni Naru” CWAJ Print Show, Tokyo, Japan 2017 Kyoto Municipal Museum Of Art – “Kyoten 2017” CWAJ Print Show, Tokyo, Japan 2016 CWAJ Print Show, Tokyo, Japan 2015 CWAJ Print Show, Tokyo, Japan – 60th Annual Exhibition 2014 Kyoto Municipal Museum Of Art – “Kyoten 2014” The Kura, Kyoto, Japan – Collaborative Paintings With The Mangold Collection 2012 CWAJ Print Show, Tokyo, Japan – 56th Annual Exhibition 2011 CWAJ Print Show, Tokyo, Japan – 55th Annual Exhibition 2008 Phoenix Art Museum, Arizona, USA, “Making Waves – Contemporary Japanese Prints” 2007 Library Of Congress, Washington D.C., USA – “On The Cutting Edge: Contemporary Japanese Prints” 2006 Portland Art Museum, Oregon, USA – “Mahaffey Fine Art: 14 Years, 14 Artists” LA County Museum Of Art, California, USA – “Modern Japanese Prints: Etchings” CWAJ Print Show, Tokyo, Japan – 50th Annual Exhibition 2005 CWAJ Print Show, Tokyo, Japan – 49th Annual Exhibition 2004 CWAJ Print Show, Tokyo, Japan – 48th Annual Exhibition 2003 CWAJ Print Show, Tokyo, Japan – 47th Annual Exhibition 2002 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 2001 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 2000 Cleveland Museum Of Art, Ohio, USA, “East Meets West: Modern Japanese Prints” CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1999 Tolman Collection Gallery, Tokyo, Japan – “Miyabi” CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1998 Anne Reed Gallery, Ketchum, Indiana, USA, “One Common Denominator” CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1997 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1996 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1995 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1994 Kawaguchi Bijutsu Gallery, Kyoto, Japan – “Prints By Painters” 1993 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1992 Kato Gallery, Tokyo, Japan – Spring Show 1990 CWAJ Print Show, Tokyo, Japan – 46th Annual Exhibition 1987 Cydney Payton Gallery, Denver, Colorado, USA – Group Exhibition Osaka Modern Art Center, Osaka, Japan – Biennale 1986 Voice Gallery, Kyoto, Japan – 3 Man Show 1983 Tacoma Art Museum, Tacoma, Washington, USA, Biennial Show 1983 Bellevue Art Museum, Bellevue, Washington, USA, Biennial Show One Person Exhibitions: 2020 Alt Space POST, Kyoto, Japan, “Floating Screens”, Pop-Up Installation 2019 Hasu Projects, Kyoto, Japan, “Gojo Rakuen”, Pop-Up Installation 2017 Hakuhou-Doh Gallery Hakuhou-Doh Gallery, Kyoto, Japan, “Fractured Fairy Tales, A New Print Series” 2015 Hakuhou-Doh Gallery 2013 Nishi Bijutsu Gallery 2011 Azuma Gallery, Seattle, Washington, USA ,“Recent Works” 2010 Fushimi Souko, Kyoto, Japan , “Crossroads: A Folding Screen Installation” 2005 Azuma Gallery, Seattle, Washington, USA , “Recent Works” 2004 Kato Gallery, Tokyo, Japan 2002 Kato Gallery, Tokyo, Japan Azuma Gallery Seattle, Washington, USA 2001 Keihan Art Salon, Osaka, Japan 2000 Azuma Gallery, Seattle Washington, USA, “New Works” Ren Brown...

Old Houses in Amsterdam Drypoint, 1909 Signed and dedicated in pencil lower right. "A Mr. H. A. Webster, bien sympathiquement, T.F. Simon, Paris 26/10" Simon...

Richard Florsheim created this color lithograph entitled “Incandescent City” in 1960 in an edition of 35 pieces. This impression is signed and inscribed “34/35.” It is in good condit...

Pytlak, Leonard. SPRING SONG. Screenprint in colors, not dated. Edition size not known. Titles and Signed in pencil. 14 1/2 x 17 3/4 inches (sheet). In excellent condition.

Ross, John T. UNTITLED (LIGHTHOUSE, HOUSES AND BOATS). Color woodcut, not dated. Inscribed "proof," lower left, and signed lower right, in pencil. 9 x 14 7/8 inches (image), on a lar...

Horter, Earl (American, 1881-1940). UNTITLED (CHURCH IN SNOW). Etching and aquatint, not dated. Signed in pencil, lower right. 6 1/4 x 5 inches (plate), 11 x 8 5/8 inches (sheet). An...

L’Angelus (The Bell Tower) etching & drypoint, c. 1876 Signed in the plate with the artist's initials (see photo) Condition: Excellent Image/Plate size: 5 7/8 x 4 1/4 inches Sheet s...

Jacquette, Yvonne. (American, 1934-2023). SKOWHEGAN II Aquatint, 1987. Editon of 35. Signed, dated and numbered 12/35, all in pencil. 20 1/2 x 15 7/8 inches (plate), 29 x 22 1/2 inch...

TSUNAMI is an archival digital print created in 2015. This original print was directly drawn into the computer by Peter Milton and printed digitally. It is signed, titled, and date...

Shichirigahama, Sagami Province. A beauty in the foreground waves to her young companions, who run towards her on the beach. The beauty at left wears a western-style golden ring. We ...

Ancient Landscape II (Ancient City) Etching and drypoint, 1953-55 Signed and titled in pencil by the artist (see photos) Annotated: "E130 A/1" in pencil lower right Estate stamp vers...

Ostiakes Engraving, 1718 From: Voyages de Corneille le Brun par la Moscovie, en Perse, et aux Indes Occidentales (French translation, 1718), Chapter XXI The Ostyak are a member of an...

In her image- and color-saturated paintings and prints, Jiha Moon mashes up materials, motifs, and techniques to create dreamlike compositions, stuffed with Eastern and Western art historical and pop cultural references that challenge fixed notions of cultural identity and represent our information-overloaded world. Everything is fair game for Moon—she draws from sources high and low, real and virtual, ancient and contemporary, including 13th-century Taoist painting...

Moran, Mary Nimmo (American 1842-1899). SOLITUDE. Etching, 1880. Initialed and dated in the plate, lower right. 5 1/2 x 7 5/8 inches, plus margins. Framed to 10 1/4 x 13 1/4 inches. ...

James Abbot McNeill Whistler (1834-1903), Gabled Roofs, lithograph, 1893. Reference: Chicago (Spink et al) 64, only state. From the lifetime edition of 12 (there was also a posthumou...

Roth, Ernest (American, 1879-1964). FROM PIER 4 - EAST RIVER. Etching, not dated. Edition size not stated. Signed in Pencil, and titled in pencil at the lower edge, and Signed, dated...

Platt, John Edgar (English, 1886-1967). PORT OF ST. TROPEZ. Woodcut in color, 1924. Edition of 100, signed and titled in pencil and numbered 43/100. 15 1/4 x 11 1/2 inches (sheet). P...

Nason, Thomas. ON THE ISLAND. BPL 213. Wood engraving, 1937. Inscribed "Ed. 80" and signed and dated in pencil. 5 3/8 x 10 inches (image), 10 1/4 x 13 1/2 inches (sheet). In excellen...

The Golden Gate Lithograph on wove paper watermarked GC, 1940 Signed in pencil by the artist (see photo) Publisher: Associated American Artists Edition: 189, unnumbered The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California References And Exhibitions: Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324 Reference: L & O 325 AAA Index 391 Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

This collagraph was created by John Ross during the 1970's. Signed, titled and inscribed "Artists Proof" in pencil. The sheet size is 22 1/4 x 30" and image size is ...

Goupilgravure (photogravure) was printed in Paris and published April 1, 1896, by Boussod Valadon & Co. Successors to Goupil & Co. Painted by Henry Sandham, 1894. "A BASEBALL GAME" depicts the 1894 "Temple Cup" game between the Baltimore Orioles and the New York Giants...

Arms, John Taylor (American 1887-1953). SHADOWS OF VENICE - IL PONTE DI RIALTO, VENEZIA. Etching, 1930. Edition of 140 + 14 Artist's Proofs. 10 x 12 inches (Plate), 11 3/8 x 157/8 in...

“War Chronicles of Osaka” (Osaka gunki no uchi). Okubo Hikozaemon, raising his sword, protects the hidden Tokugawa shogun from the spear of Gorô Matabei Mototsugu in a moonlit fores...

Whitehead, Buell (American, 1919-1993) SHASTA DAISIES. Newsom pg 32. Lithograph in colors, 1946. Edition size not known. Signed and dated in pencil, lower right. In excellent conditi...

Frasconi, Antonio (American, born Uruguay, 1919-2013). LA SALUTE. Color Woodcut, 1967. Edition of 20, Titiled, inscribed 10/20, signed, and dated, all in pencil. 22 1/4 x 34 1/2 inch...

Mielatz, Charles W.(American, born Germany, 1864-1919) UNDER THE BROOKLYN BRIDGE, EAST RIVER. Published by the New York Etching Club, circa 1893. Sign...

Dow, Arthur Wesley. Modern Art, 1896. Color lithograph. Plate from Maitre de L’affiches. Arthur Wesley Dow, ( American painter, printmaker, photographer,...

Arms, John Taylor. ARCH OF THE CONCA, PERUGIA. Etching, 1926. 10 1/4" x 14 5/8 plus margins. Framed to 18 x 22 inches. Signed in pencil and annotated "Trial Proof No. 6"; only state...

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 Bosman (b. 1944) is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New ...

Color lithograph, Edition 30. Jacquette creates compelling images of the landscape and the sea from the air or atop hills or mountains.

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...

Arms, John Taylor (American, 1887-1953). DOWNTOWN, NEW YORK. F.108. Etching and Aquatint, 1921. Edition of 75. Numbered 19/75 and signed and dated 1921, all in pencil. 8 3/8 x 4 7/8 inches, 214 x 125 mm (plate) plus margins. Framed to 16 1/4 x 12 1/2 inches with the label of The Old Print Shop...

Veduta del Romano Camipidpglio con scalinata che va alla chisea d’Araceli (The Capitol and the Steps of S. Maria in Aracoeli) Etching, 1775 Watermark: Double Circle Fleur de Lys A lifetime impression with the price etching in the plate Printed in Rome, before the plates are moved to Paris and the numerous posthumous editions Reference: Hind 38 ii/IV Robison 38 ii/V with the price Wilton Ely 190 Condition: A fine Roman...