Thomas French Fine Art Prints and Multiples

Triste Os (Sad Bones) Color etching and aquatint on Montval laid paper, 1934 Monogrammed and dated in the plate (see photo) Edition: 250 References And Exhibitions: Plate 8 from the ...

The Trench Lithograph, 1937 Signed and annotated in pencil (see photos) Edition: 30 Provenance: Estate of the Artist Mary Ryan Gallery Frac Teck Services, Ft. Worth, TX Part of a se...

Les yeux noirs (The dark eyes) Lithograph, 1913 Lacking the artist's signature in pencil as sited in Duthuit. We have found numerous other impressions of this image with the initials...

Blossom Time in Tokyo Color woodcut, 1914 Signed by the artist in pencil on the image (see photo) Signed in the block with the artist red stamp and her initials (see photo) Condition...

Meduse Etching and aquatint printed in colors, 1958 Signed, titled, numbered and dated in pencil (see photos) Edition: 50 (25/50) Etching and aquatint printed in colors ...

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

Nightfear Color lithograph, 1958 From: Rhapsodie de ma nuit, (seven plates) Signed, dated and numbered in pecnil lower left (see photos) Edition: E.A. edition of 25, (there were a...

La Tasse et la Pomme (The Cup and the Apple) Wash drawing and gouache transferred to lithograph stone, 1947 One of four unsigned proofs Edition: a proof outside the edition of 50 pri...

Portrait of Gladys Anne Hoskyns Collotype after a Wyndham Lewis drawing, 1923 Singed in the plate and reinforced in pencil Published by The Dial Publishing Company in Living Art...

Homme couche et femme accroupie Lithograph on Arches paper, 1956 Signature stamp lower right )see photo) Annotated in pencil lower left: "epreuve d'artiste" (see p[hoto) Edition: 50...

Portrait de D. H. Kahnweiler I Lithograph, 1957 Estate Signature Stamp lower right Provenance: Picasso Estate Marina Picasso, her stamp on reverse Annotated in ...

Untitled (Moulin Rouge and other Paris landmarks) Lithograph, 1926 Rare signed in pencil proof on chine paper (see photo) Lithograph from Joseph Delteil's "Allo, Paris," published by...

Le Palais de Justice (Ile de la Cite, Paris) Lithograph printed on chine paper, 1926 Signed in pencil; Atelier blindstamp l.l. (see photo) Edition: Rare proof on chine, outside of th...

The Bridge (New York Harbor) Lithograph, 1936-7 Signed in pencil l.r., (see photo) titled lower left edge of sheet Reference: Not in Ryan Edition: Very small Note: Extremely rare. ...

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

Untitled 5 (Woman Resting Against a Chair) Signed and dated in the lower right corner (see photo) Edition: 100 (43/100 in the lower left corner) Published by Poligrafa, Spain Proven...

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...

7th Avenue Canyon Etching, 1927 Signed and titled in pencil by the artist (see photo) Depicts what was then referred to s the Garment Disctrict in New York City. References And Exhib...

Bucolique Moderne Color woodcut, 1901 Edition of 550 impressions on Holland paper (as here) and an edition of 200 impressions printed on Japan paper signed in pencil by the artist. References And Exhibitions: Published in Di Gesellschaft fur vervielfältigende Kunst à Vienne Reference: Lotz Brissonneau 271 v/V Illustrated: Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. Illustrated: Musee de le Vendee, no. 171 (see photo) Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. 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...

Untitled Monotype printed in colors, c. 1980 Signed in pencil lower right (see photo) Condition: Excellent Sheet size: 42 x 30 inches Provenance: Distinguished Midwest Private Collection SELECTED MUSEUM COLLECTIONS Addison Gallery of American Art, Andover, Massachusetts Albrecht-Kemper Museum of Art, St. Joseph, Missouri Albright-Knox Art Gallery, Buffalo, New York Allen Memorial Art Museum, Oberlin, Ohio Art...

Rittersporn und Fingerhut (Larkspur and Foxglove) Color woodcut, printed on wove paper with mica flecks, 1916 Signed lower right (see photo) Inscribed lower left (see photo) Reference: Merx 276 Condition: good-very good One spot of staining on the far left edge of the composition (see photo) Color very fresh and vibrant Full sheet as issued Image size: 19 x 13 3/8 inches Carl Thiemann...

Lino Litho BR, Planche IX Linocut and lithograph, 1970 Signed lower right of central image (see photo) Edition: 99 (56/99) (see photo) Published by London Arts Group, Detroit Conditi...

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

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

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

La Terrasse de la Villa Brancas, Sevres (The Terrace of the Villa Brancas) etching & drypoint, 1876 Signed in the plate bottom right corner (see photo) in plate, at lower left: xbre ...

Bullfight Lithograph, 1928 Signed and dated in pencil lower right (see photo) Numbered lower left (see photo) Edition: 41 (22/41) Reference: Davis L37 Printed chine applique on wove ...

Prelude de Lohengrin (2e planche) (The appearance of the Holy Grail) Lithograph, 1898 Signed and dated in the stone lower left (see photo) Printed on chine collee paper Condition...

La butte de Montmartre et le Sacre-Couer (Sacre Coeur from a Distance) Lithograph, 1926 From Joseph Delteil's "Allo, Paris," published by Quatre Chemins, Paris, 1926 Rare signed proo...

L'heure de Berger (Hour of the Shepherd) Color lithograph, 1898 Signed in the stone lower right As published in L'Estampe Moderne, Paris, March, 1898 Edition: 2000 (there was also a ...

Corinne Color lithograph, 1898 Signed in the stone lower left (see photo) Published in L’Estampe Moderne with their blindstamp lower right corner, Lugt 2790 (see photo) Edition 2000 ...

Untitled Screen print, 1941 Signed and dated in pencil lower right From an unnumbered edition of 6 Condition: Excellent Image size: 7 1/4 x 5 3/4 inches Sheet size: 10 x 8 inches Pr...

Woman's Head in Profile - Woman's Head in Profile (left) (Havard) Drypooint, 1920 Unsigned (as usual) From: The Drypoints of Elie Nadelman, 21 unpublished prints by the sculptor, pro...

En bouche qui fut fraîche, goût de fiel (In the mouth that was once fresh, the taste of bitterness) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned as ...

Jugentud (Youth) Color lithograph, 1975 Signed, numbered and titled in pencil (see photos) Edition: 250 (67/250) Signed, titled and numbered in pencil Published by Circle Gallery Ltd...

Plate 2 2 plate drypoint with hand coloring, 1984 Signed and numbered in pencil (see photos) From: Barcelona Suite (6 plates) Edition: A/P 8/10 in pencil lower left Signed in pen...

Holiday Greeting Card for Madame R. G. Michel & Family (Goldfish in bowl, vase & red flowers) Etching & aquatint printed in colors, 1989 Signed in pencil lower right Folded Holiday c...

Irving Place Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh...

Heureux age! (Happy Age!) Etching and aquatint. c, 1900 Signed lower right in pencil Edition; 50 (14/50) Published by Edmund Sagot, Paris Sagot blindstamp, Lugt 2254, lower right Con...

Icare- Icarus Linocut in colors, 1972 Unsigned Stamped in ink on verso: "Imprimerie Arnéra" Archives/ Non Signé Provenance: Arnéra Archive ...

The Barker Etching, 1931 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh, Thirty Etc...

Untitled (for the journal, XXe Siécle) Color lithograph on wove paper, 1973 Unsigned (as issued) From: XXe Siecle,, December 1973, No. 41 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, Paris Edition 3000 (There was also a signed edition of 75 on larger paper) Catalogue raisonné: Subsequent to Schmücking Condition: Excellent Image/Sheet size: 12 1/4 x 9 1/2 inches "Hans Hartung B. 1904, LEIPZIG, GERMANY; D. 1989, ANTIBES, FRANCE Hans Hartung was born on September 21, 1904, in Leipzig, Germany. He cultivated interests in philosophy, astronomy, music, and religion at a young age before he turned to painting. Early in his career he found inspiration in the works of Rembrandt van Rijn and Francisco de Goya, and later influences included Lovis Corinth, Oskar Kokoschka, Emil Nolde, and Max Slevogt. At just 17, Hartung began to experiment with abstraction, synthesizing the graphic techniques of his artistic models while completely eliminating figurative elements. Hartung entered the Universität Leipzig in 1924 to study philosophy and art history but left to concentrate on painting at the Kunstakademie, Leipzig. While Hartung was advised to pursue further training at the Bauhaus, he opted to study at the Kunstakademie, Dresden. In 1926 Hartung saw an exhibition of international art in Dresden, which exposed him to Cubism and other modern styles that had emerged in France. His encounters with works by Georges Braque, Juan Gris, Henri Matisse, and Pablo Picasso, along with various travels abroad, encouraged him to move to Paris in 1926, where he spent the majority of his time until 1932, although he passed the summer of 1928 in Munich studying under artist and theorist Max Dörner. In 1929 Hartung married the Norwegian painter Anna-Eva Bergman. After several years abroad, they tried to reestablish themselves in Berlin in 1935 but were soon forced into exile by the National Socialist regime. In the years leading up to World War II, Hartung's work reflected his attempts to reconcile chance and control, combining expressive graphic elements with patches of black and color to produce a sense of spontaneity. After the outbreak of the war, Hartung served in the Foreign Legion (1939–40), and later in the Free French (1943–44). He was gravely wounded at the German Front, and one of his legs was amputated. In 1945 he returned to Paris and resumed painting and the following year earned French citizenship. Hartung was a major figure in Art Informel and Tachisme (from the French tache, meaning blot or stain). While Hartung's postwar paintings are generally described as exhibiting a calligraphic quality, his work moved through a series of phases, becoming less spontaneous and more formally aggressive than his work from the late 1930s. In many works of the late 1940s and early 1950s, such as T-50 Painting 8 (T-50 peinture 8, 1950), he applied large areas of color to the canvas on which he painted a combination of bold black brushstrokes and thinner frenetic linear strokes. Hartung received several international awards, including the 1956 award for the Europe-Africa section at the Guggenheim International Award and the International Grand Prize for painting at the 1960 Venice Biennale. His first major group show was organized by curator and critic Christian Zervos at the Jeu de Paume, Paris (1937). After settling permanently in Paris, he exhibited regularly at the Salon des Surindépendants (1935, 1937, 1945). His first solo show took place at Galerie Lydia...

Untitled (Reclining nude, face down) Lithograph, 1944 Signed and dated lower right in pencil Image size: 8 13/16 x 11 7/8 inches Sheet Size: 11 1/8 x 18 3/4 inches Condition: Aging ...

Centered Rings Screen print, 1971 Signed and numbered in pencil From: Twelve Progressions Commissioned by Martha Jackson Graphics Printer: Domberger, Stuttgart, Germany Their drystam...

Untitled (Plate 2) Engraving, sugar-lift, and aquatint , 1970 Signed and numbered in pencil (see photo) From: Variations (8 plates) Edition: 100 (100/100) (see photo) Printed by Lac...

XXe Siecle Color lithograph, 1974 Signed in the stone on right (see photo) From: XXe Siecle, Volume 42, 1974 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, P...

En bouche qui fut fraîche, goût de fiel (In the mouth that was once fresh, the taste of bitterness) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned as ...

String bound booklet (portfolio) with six hand colored woodcuts, signed in pencil by the artist, tipped in the book Provenance: Estate of the artist By descent to his daughter Kir...

Untitled (Martha Jackson Gallery Poster) Lithograph, 1960 Signed and dated in red crayon by the artist Edition 90 (63/90) 1st state before letters for the poster created for the Martha Jackson Gallery, Ting Exhibition, April 23-May 31, 1960 Printed on wove paper with a ”JAPAN' watermark Edition: 90 Provenance: Martha Jackson Gallery, New York Anderson Gallery David K. Anderson Collection (label) Walasse Ting (Chinese: 丁雄泉, 13 October 1929 – May 17, 2010)[1] was a Chinese-American visual artist and poet. His colorful paintings have attracted critical admiration and a popular following. Common subjects include nude women and cats, birds and other animals. He was born on 13 October 1929 in Shanghai, left China in 1946 and lived for a while in Hong Kong, then settled in Paris in 1952.[2] There, he associated with artists such as Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group CoBrA. Ting started his career as an artist in Paris in the 1950s, where he became friends with artists such as Sam Francis and Pierre Alechinsky. His early works were influenced by the CoBrA group, a European art movement known for its use of expressive, childlike imagery. In the 1960s, Ting moved to New York City and became associated with the Pop Art movement. Ting is perhaps best known for his series of paintings featuring women, which he called "Cat Women...

Omar’s Cup Power drypoint engraving, 1958 Printed in red, black with gold leaf highlights Annotated in pencil on detached bottom margin: “Printed by the artist’s own press at 4 rue d’universite, Paris, Sept. 1958” Signed and dated lower left: "Childs '58" Edition: 10 (8/10) Condition: Excellent Plate: 7 3/4 x 4 1/4" Sheet: 23 3/4 x 19 9/16"; (See photo) Dedicated in pencil by the artist: “For Alice and Albert Turner...

Clifford James (active 1900-1930) After James Abbott NcNeill Whistler (1834-1903) Symphony in White No. 2, The Little White Girl Color mezzotint, 1922 Signed in pencil by James (see ...

Des Oeufs Pout Ta Fette (Holiday Eggs) Mezzotint, 1960 Signed, dated, titled and numbered in pencil Edition: 50 (33/50) Image: 8 5/8 x 10 11/16" Condition: Mint Mario Avati is a Fren...

Les Oignons de Siracuse Mezzotint, 1961 Signed, titled & annotated Epreuve d'Artiste vii/X in pencil Edition: Epreuve d'Artiste vii/X Reference: Passeron 315 Condition: Mint Image: ...

Strange Animals Engraving, 1949 Signed, dated, and titled in pencil by the artist The composition was created at the Univerisity of Iowa while the artist was enrolled in the famous M...

Strange Animals Engraving, 1949 Signed, dated, and titled in pencil by the artist The composition was created at the Univerisity of Iowa while the artist was enrolled in the famous M...

Le banc de jardin (The Garden Bench) Mezzotint and engraving on cream chine collé laid down on ivory wove paper, 1883 Signed in the plate (see photo) Condition: Brilliant impression...

Soirée d'été (Summer Evening) Etching & drypoint, 1881 Signed and dated in the plate lower left corner Edition: c. 100 in both states; plate canceled Tissot's lover, Irish divorcee ...

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

Bacchanal Etching, 1649 Inscribed in the square left: "Magnificentis/simo Principi/Paolo lorda/no. II Bracci/ani Duci/Aud. P.DDD/1640; Inscribed on right: Rome apud Franciscsum Saluucium Condition: Usual centerfolds from paper manufacture Plate: 10 3/8 x 15 1/2" Sheet: 11 1/2 x 16 1/2"; References: Bartsch XX.4 Sopher Plate 145 An impression of this image is in the collections of the Philadelphia Museum of Art and the National Gallery of Art, Washington An exceptionally rich impression in excellent condition. From Wikipedia, the free encyclopedia Putti as Allegory of Music Giovanni Andrea Podestà or Giovanni Andrea Podesta (1608 - c. 1674) was an Italian painter and engraver who was principally active in Rome. His principal subject matter is children playing in landscapes with classical objects. His works show the influence of Poussin's Arcadian landscapes and bacchanals, which were ultimately derived from Titian's bacchanals. Life Giovanni Andrea Podestà was born in Genoa. He was formed in Genoa with Giovanni Andrea de Ferrari and Domenico Fiasella according to the information provided by the contemporary Genoese biographer Raffaele Soprani. He is also recorded as an apprentice of Giovanni Battista Paggi in 1627. His presence is documented from in 1634 in Rome where he made drawings after the statues and ancient reliefs at the famous Giustiniani collection. These were subsequently engraved for publication in the 'Galleria Giustiniani'. The artist's career ran a course similar to that of the young Domenico Fiasella. In Rome his art evolved in contact with the works of Poussin, Andrea di Leone, Pietro Testa...