Jacques Herold

Artist: John James Audubon (American, 1785-1851) Title: "Eared Grebe" (Plate CCCCIV - 404; part No. 81) Portfolio: The Birds of America, Havell Edition Year: 1838 Medium: Original Ha...

Artist: Pierre Augustin Massé (French, 1880-?) Title: "Portrait de Femme (Portrait of a Woman)" Portfolio: Gazette des Beaux-Arts Year: 1898 Medium: Or...

Francesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...

This piece titled "La Mer VE 1/8" is a variable edition piece by Kate VanVliet and is made from two-plate intaglio with drypoint, aquatint, and soft ground on Rives BFK. This piece i...

Artist: Samuel Rush Meyrick (English, 1783-1848) Title: "John Duke of Somerset" (Vol. 2, Plate XLIX) Portfolio: A Critical Inquiry into Antient Armour Year: 1824 (First edition) Medi...

Alistair Grant was a familiar feature of the London art scene. Best known as a printmaker, his entire teaching career was spent in the printmaking department at the Royal College of Art, where he was to become Professor. Over the years he taught printmaking to many who were to become leading UK artists. Grant was at the top of his profession and a groundbreaker in his explorations of mixed media techniques. Grant was also a wonderful painter. In the early 1980s his imagery had turned to an open expressionist style, with sweeping brush marks and the introduction of new vibrant colour. Inspired by the Normandy coastline around Etaples and Le Touquet. Grant would create cyphers from the shapes and forms in the landscape, which he would offset against curtains of colour. They evoke bright or misty days, blazing skies or sunsets, beaches or harbours. The paintings and prints are descriptions of places he loved and constantly returned to. One could describe him as a French reflection of the St. Ives School where painters explored the landscape in similar fashion, as they still do. There is a wonderful sense of freedom in these images, and a great joie de vivre. Grant was a supreme colourist. He also co-authored an important book on the life and works of fellow English artist Henry Moore, whom his abstract figurative style resembles. This print is from the late 1960s and show the strong influence of figurative abstraction and surrealist elements in his work. Although best known as a printmaker, Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA. He showed with Julian Trevelyan. Grant showed at the Royal Academy, Artists International Association, and New English Art Club, and was a prize-winner at the Krakow Print Biennale in 1972. The TATE, The Victoria & Albert Museum, British provincial and many overseas galleries hold Grant’s work. His work is amongst the finest of modern British printmaking alongside richard smith, joe tilson, peter blake, patrick caulfield, alan davie, terry frost, david hockney and howard hodgkin. Select Group Exhibits 1951 New Editions Group,Auckland,New Zealand 1952-54,78 Redfern Gallery, London 80,83,84,86 1956 Nutida Engelsk Grofik, Stockholm 1957 National Arts Council of Southern Rhodesia 'Looking at People', South London Art gallery 1959 Tel Aviv Museum, Israel Arte Britonico Maderno Figurotiro, Galeria,Buchloz, Bogota The London Group 1960 Graven Image, Whitechopel Gallery, London Sixteen Pointers, A I.A. Gallery, London 1961 Museo de Arte, Barcelona Senfelder Group, Arts Council, London 1962 Towards Art Gulbenkian,R.C.A .London Contemporary British Pointers, Birmingham 1964-66 Curwen Gallery 1966 Crabowski Gallery, London 1967 A.A.A. Gallery, New York Schuman Gallery, New York 1968 Camden Arts Centre, London 1969 Pratt Centre, New York Art for lndustry, Arts Council, London 1970 University of South Florida, Miami 1971 Portland Museum,Oregon 1972 Art Gallery of Ontario, Toronto, Canada 1976 R.C.A.Printmakers,Waddington Gallery,London 1988 'Exhibition Road',R.C.A,London 1989 Berkeley Square Gallery, London 1989,90 Austin Desmond Gallery, london 1990 Scottish Gallery, London 1991 Big Little Picture-Show,W.Jackson,London 1992 'Winter Seen III',W.Jackson Gallery,London 1993 1 st Egyptian Print Triennale, Giza, Egypt 1994 Art '94, london, with Art First La Galerie du Touquet (with Alain Morcot) 1995 Art...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." and "Ombersley Court, the Seat of Lord Sandys" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Two Original Engravings and Etching with Aquatint on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10.13" x 16.88" Image size (each): approx. 8.13" x 12.63" Condition: "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." has scattered light foxmarks in margins. The top edge is unevenly trimmed and a small taped tear to lower right corner. "Ombersley Court, the Seat of Lord Sandys" has light toning to sheet and some faint discoloration in right margin. A small light water stain to lower left corner. Have been professionally stored away for decades. They are both otherwise strong impressions in good condition Notes: Provenance: private collection - Aspen, CO. "Henbury Hall, late the Seat of Thomas Vernon, now of Henry Cecil Esq." was likely engraved by English artist James Ross (1745-1821) after a drawing by himself. "Ombersley Court, the Seat of Lord Sandys" was engraved by English artist Valentine Green (1739-1813) and English artist Francis Jukes (1745-1812) after a drawing by an unknown, likely English artist. The first work is an engraving; the second work is an etching with aquatint. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from copper plates in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in (1799). And both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". "Ombersley Court, the Seat of Lord Sandys" has an unidentified watermark in the center of its sheet. "Henbury Hall" is actually incorrectly misnamed; its correct name is "Hanbury Hall". "PLATES, Drawn and engraved by J. Ross, unless otherwise expressed." - "A Bibliographical Account of the Principal Works Relating to English Topography", (1818) - William Upcott. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

Artist: Bertram George Buchanan (English, 1873-1962) Titles: "The Seven Sisters", "Rye from the Hills", and "Pett Level" *Each work is signed by Buchanan in pencil lower right Circa ...

This piece titled "Because the Night VE 1/5" is a variable edition piece by Kate VanVliet and is made from two-plate etching with aquatint, soft ground and relief chine colle on Rive...

Image of a young woman, smelling a flower. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate more closely...

Available individually ($2500), and also as a suite of five ($12,000). Born in Bronx, NY, Ida Applebroog attended NY State Institute of Applied Arts and Sciences (1949). She moved...

We acquired a series of marine works from Laurence Dunn's Archives. To find more scroll down to "More from this Seller" and below it click on "See all from this seller." Laurence D...