James Coignard Prints

Carl Bloch (1834–1890). Etching on paper. "A Norwegian Bride". Dated 1883. In perfect condition. Signed. Total dimensions: 32.3 cm x 39.4 cm. Antique frame in dark oak.

Wonderful whimsical pop art lithograph by Diana Bennett, circa 19570's. This is a hand signed and numbered lithograph. The lithograph is number 92 of 260...

This is a Giovanni Battista Piranesi copper Etching. Giovanni made these copper plates in the 1770s and these etchings are a restrike from Rome using those copper plates. This etchin...

Classical Bird print, after John James Audubon, printed by Harry N. Abrams, Publishers, New York unframed, 17 x 14 inches color print on paper Condition: very good Provenance:...

Louis Icart (1888-1950). Etching on paper. "Départ". Approx. 1920. Visible dimensions: 42 x 30 cm. Total dimensions: 52 x 40 cm. Signed in pencil. In excellent condition.

Louis Icart (1888-1950). Etching on paper. "Look". Dated 1928. Visible dimensions: 46 x 35 cm. Total dimensions incl. passepartout: 67 x 49 cm. The frame measures: 2 cm. In exc...

Original 1970's etching by Listed artist Al Kaufman , framed in glass and oak with COA signed an numbered Sandalwood title.

Louis Icart (1888-1950). Etching on paper. "Arrival". Approx. 1920 Visible dimensions: 42 x 30 cm. Total dimensions: 39 x 49 cm. The frame measures: 7 cm. Signed in pencil. In e...

A breathtaking, large in scope and scale, rivetting work by American abstract expressionist painter, and master printmaker Robert Motherwell (1915-1991). This aquatint/lift ground ...

Carborundum etching mix-media on paper by the Great French artist, James Coignard signed. And on the left corner EA Epreuve d’Artiste Artist Proof. Good condition. Framed 1970s.   

Mimmo Rotella silkscreen printing Title “Marilyn The magnificent prey” Mimmo Rotella silkscreen print taken from the poster of the film "The magnificent prey" with Marilyn Monroe. The silkscreen is made in 125 copies. This is 45 out of 125. Dry stamp of the Mimmo Rotella Foundation and numbering at lower left. Signature at lower right. This artwork, never before on the market, comes from a private collection and is beautified by an impressive original frame in silvered wood, in almost perfect condition. This work is also protected by glass Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Born in 1918 in Catanzaro into a middle-class family, in 1945 he moved to Rome where he frequented the young avant-garde made up of the exponents of Gruppo Forma 1 (Carla Accardi, Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato). After his figurative beginnings and early experiments, he began to paint abstract-geometric pictures inspired by the works of Vasilij Kandinskij and Piet Mondrian. In 1950, he exhibited in Paris at the Salon des Réalités Nouvelles. In February 1951, he participated in the exhibition 'Abstract and Concrete Art in Italy - 1951' organised by Palma Bucarelli and Giulio Carlo Argan at the National Gallery of Modern and Contemporary Art in Rome. In 1951 he was awarded a scholarship by the Fulbright Foundation, which allowed him to go to the United States as an 'Artist in Residence' at the University of Kansas City. In 1952, he held his second solo exhibition at the William Rockhill Nelson Gallery of Art in Kansas City. For Harvard University, he completed a performance of epistaltic poetry. In the autumn he returned to Rome, devoting himself to phonetic production. In 1953, he realised that the pictorial medium was no longer a suitable medium for the expression of his poetics and suddenly had what he called a 'Zen enlightenment': the discovery of the advertising poster as an artistic expression. This is how décollage was born: Rotella took pieces of posters torn off the street from the walls of Rome and glued them to the canvas, then reworked them in the studio, adopting the collage of the Cubists and contaminating them with elements borrowed from an informal matrix close to Hans Arp and Jean Fautrier and with the Dadaist ready-made. Still in 1955, Carlo Cardazzo organised an exhibition entirely dedicated to décollage and retro d'affiches in his Galleria del Naviglio in Milan. His works are exhibited in London, at the Institute of Contemporary Arts (ICA). In 1958 he took part in the exhibition 'New Trends in Italian Art' organised by Lionello Venturi at the Rome branch of the Rome-New York Art Foundation. The following year he met the French critic Pierre Restany, with whom he began a long association. In 1960 he joined the Nouveau Réalisme of which Pierre Restany was the theoretician and which brought together, among others, Yves Klein, Spoerri, Tinguely, César, Arman, Christo and Niki de Saint Phalle. Along with décollages, Rotella also executed assemblages and ready-mades with objects purchased from junk dealers such as bottle caps, ropes, wicker baskets and pieces of fabric. In May 1961 he exhibited in the historic exhibition À 40° au-dessus de Dada, curated by Restany at Galerie J in Paris. In 1962, the same French gallery hosted the series of works inspired by the world of cinema on the occasion of the 'Cinecittà' exhibition. His décollages from the early 1960s are characterised by the presence of stars of the silver screen and music such as Marilyn Monroe, Liz Taylor, Marlon Brando and Elvis Presley. During this last exhibition, his work was compared with artists from France (Arman, Christo, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely), Italy (Enrico Baj, Gianfranco Baruchello, Tano Festa, Mario Schifano), and the USA (Peter Agostini...

This is a Giovanni Battista piranesi copper etching. Giovanni did these copper plates in the 1770s and these prints are a restrike from Rome using those copper plates. This etching o...