Giovanni Battista Quadrone Art

"Nohubo remedio" (There was no remedy) - Etching and Aquatint on Paper Bold 3rd or 4th edition, circa 1868-1878, with burnished aquatints, drypoints etching, and engravings by Franc...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts a horse on a monochromatic backroung. Artist's unique technique of printmaking c...

Curves by Orovida Pissarro (1893 - 1968) Etching, trial proof no. 54 20.2 x 15 cm (8 x 5 ⅞ inches) Signed and dated lower right, Orovida 1919 Inscribed lower left Trial proof no. 54 ...

Walasse Ting 丁雄泉 Green Cat, 1984 Color etching and aquatint on copper plate, printed on Fabriano Rosaspina paper Pencil signed, numbered 178/230, dated 1984 along with artist's perso...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts three scenes with equestrians. Artist's unique technique of printmaking creates ...

Edmund Blampied, R.E. The Butterfly. 1928-29. Drypoint. Appleby 133. 9 5/8 x 7 7/8). Etching (sheet 15 1/4 x 10 3/16)on 100. A rich impression printed on cream-colored laid 'F.J.He...

Signed lower right, 'Arthur B. Davies' for Arthur Bowen Davies (American, 1862-1928) and created circa 1915. An early twentieth-century sugar-lift aquatint showing Zeus in the guise of a swan, reclining and cradling Lida in his wings while King Tyndareus ponders the mutability of human circumstance. Born in Utica, New York, Arthur Davies attended the Chicago Academy of Design from 1879 to 1882. He furthered his studies at the Chicago Art Institute, before moving to New York City in 1885 where he studied at the Art Students League and Gotham Art Students League. In 1893, he made the first of many trips to Europe, visiting Holland, Paris, and London. He became an arch-exponent of Modernism and the central organizing figure of 1913's watershed Armory Show. Davies developed a style that combined visionary Symbolism with elements of Tonalism and Cubism. Who Was Who in American Art describes him as an “…important but enigmatic Modernist whose work was poetic, mysterious, and visionary”. Davies was the recipient of many gold medals and prizes and juried awards and his work is held in the permanent collections of museums nationwide, including New York’s Museum of Modern Art, the Art Institute of Chicago, the Baltimore Museum of Art and the Los Angeles County Museum of Art, among others. Photo of Arthur B Davies circa 1907 in New York City by Gertrude Käsebier courtesy of Library of Congress Prints and Photographs Division Washington, D.C. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, p. 835; Artists in California 1786-1940, Third Edition, Edan Milton Hughes: Crocker Art Museum, Sheridan Books 2002, Vol. 1, p. 280; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 7/8, p. 470; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 4, p. 293; Davenport’s Art Reference and Price Guide 2009/10 Edition, LTB Gordonsart, Inc. 2008, p. 672; et al. Additional biographical information follows, written by Catherine Southwick and Robert Torchia from the National Gallery of Art Online Editions: Arthur B. Davies’s mystical, mysterious paintings hearken back to 19th-century romanticism, even while Davies aligned himself with American artists advancing the most radical ideals of their day. Davies was born on September 26, 1862, in Utica, New York, the son of English and Welsh parents who had immigrated to the United States in 1856. He first took art lessons as a teenager from a local landscape painter, Dwight Williams...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts a woman laying on her side with head resting on her arm. Artwork is monochromati...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts a woman laying in bed on her side. Artwork references Tiziano's 'Venus at Urbino...

Limited edition, 8/10. ANNA MIKKE (born in 1950) She graduated from the Academy of Fine Arts in Łódź in 1975. After graduation, she was engaged in graphic design, including designing...

La Poursuite by Orovida Pissarro (1893-1968) Etching with aquatint 17.2 x 12.5 cm (6 ³/₄ x 4 ⁷/₈ inches) Signed and dated lower right Orovida 1917 Inscribed lower left Final State Trial proof no. 1 Artist biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

Mariana Magdaleno (Mexico, 1982) 'Baila conmigo', 2018 silkscreen on paper Feltmark 300 g 29.4 x 21.3 in. (74.5 x 54 cm.) Edition of 50 ID: MAM-101 Unframed