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Fine prints & drawings from 15th to the mid-20th century

12/11/2023

A rare copperplate by Adriaen Van Ostade for his etching, «The Quacksalver». To create the print, the plate was prepared with a layer of acid-resistant varnish or wax, which is called the ground. The artist used an etching needle to scratch away parts of the ground so that the copper was exposed and the design emerged. Once the design was completed, the plate was dipped into acid to create the lines that retained the ink. Afterwards, the plate was cleaned, inked, and pressed so that the image transferred onto paper. Swipe ➡️ to see the print.

The copperplate shows the tenth and final state, while the etching we have is from the second state. Van Ostade reworked the plate a total of ten times making minor to major changes to the design. The later states, for example, feature the addition of more children in the foreground as seen on the plate. The etching from the second state features only three children.

10/31/2022

Happy Halloween! 🎃👻 Instilling fear by pretending to be something which one is not is a theme Goya explored in two of his most famous printed series Los Caprichos and Los Proverbios, which he himself called Los Disparates, or The Follies. The latter’s subjects are among the most ambiguous and enigmatic of Goya’s prints, the dark and eery scenes on par with his iconic Black Paintings.

The series addresses “with sardonic humor one of Goya’s favorite themes: the power over humanity of groundless fears and meaningless superstitions,” (Mena Marqués, “Etched Absurdities,” in Goya, Order and Disorder, p. 269). At first glance, the print titled “¡Que Guerrero!” and known as “Disparate Conocido” (or “Well-Known Folly”) appears to portray two soldiers brandishing swords at a group of terrified onlookers. However, it is quickly evident that the “soldiers” are nothing more than dressed-up wooden dolls and the gathering of people are only feigning fear. The figure spotlighted at the forefront mocks the figures, lifting his leg and holding his rear as he pretends to guard himself from the imminent blows of a sword.

Francisco De Goya, “Disparate Conocido,” 1816-24, etching and burnished aquatint.

08/08/2022

Few artists have depicted cats as frequently or as masterfully as Théophile-Alexandre Steinlen. This lithograph was used to illustrate the margins of an article on cats by Jacques Dalbray included in the March 1902 issue of the French journal “L’Illustration.” Here, Steinlen skillfully renders the felines in a variety of poses, temperaments, and breeds. Happy !

Théophile-Alexandre Steinlen, «Sur les Chats de Jacques Dalbray» 1902, lithograph.

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08/06/2022

Happy Birthday Andy Warhol, who was born in 1928!

Old Masters and Pop Art collide in Warhol’s «Details of Renaissance Paintings» series. Here, Warhol takes the image of Paolo Uc***lo’s 15th century oil painting «St George Slaying the Dragon» and crops it so that the focus is on the quiet resolute princess alongside details of the dragon’s left wing and tail. Warhol transforms the traditional painting into a Pop art-style work with his unnatural color palette of maroon, pink, orange, green, and blue. This is one of 36 unique trial proofs published by Editions Schellman & Klüser Munich/New York.

Andy Warhol,«Details of Renaissance Paintings (Paolo Uc***lo, St. George and the Dragon, 1460)» 1984.

07/27/2022

Nicolaes ‘Claesz’ Pietersz Berchem was a prolific and successful Dutch Golden Age painter and etcher known for his pastoral landscapes. Such scenes became popular in the 17th century due to the rise of urbanization, as they provided viewers a means of escape from the hustle and bustle of city life. Cows frequently appeared throughout Dutch art because the Dutch were particularly proud of their booming milk industry. As a result, the animal symbolized Holland, its prosperity, its thriving social and economic conditions, and patriotism. In the first of a set of six etchings featuring the gentle creatures, a young milkmaid leans her left arm on a pedestal, a small smile gracing her lips as she looks toward the braying cow on the other side. Below the woman sit two pales, presumably filled with freshly collected milk. Together, the woman and the cow visually represent the harmonious relationship between humans and animals.

Claes Pietersz Berchem, “Set of the Cows,” 1644, set of six etchings.

07/21/2022

The representation of hell from Act 4 of the opera “Le Nozze degli Dei” is not far off from the infernal heatwave currently sweeping across New York. One could easily say that it is as hot as hell outside!

Performed at the Pitti Palace in July of 1637, the opera (“The Marriage of the Gods” in English) was composed in celebration of the nuptials of Fernando II de Medici and Vittoria della Rovere, Princess of Urbino. Stefano della Bella’s recreation of Alfonso Parigi’s stage setting for the opera’s ballet “Ballo dell’Inferno” is populated by swarming demons and battling centaurs surrounded by buildings engulfed in flames. Hades and Persephone are enthroned in the back, watching the chaos that is unfolding. Someone should tell Hades to come take his weather back…

Stefano della Bella after Alfonso Parigi, “Scena Quinta d’Inferno,” ca. July 1637, etching.

07/14/2022

Happy Bastille Day! Bonne fête de nationale!

This hand-colored engraving depicts a nighttime view from the Pont Neuf at an artificial island with the Temple of Commerce against the backdrop of fireworks set off over the Seine.

Detail from Francesco Piranesi and Augustin Legrand, «Temple du commerce et Feu d’Artifice sur la Seine,» 1801-802, gouache and watercolor over engraving.

07/01/2022

We’re celebrating the Fourth of July weekend with an iconic example of 20th century American printmaking. “Decoy,” which represents the first use by an artist of the hand-fed offset lithography press, is perhaps Jasper Johns’s most complex and enigmatic print. It features reworkings of common themes in Johns’s repertoire, such as the Ballantine ale can and the letters from color names, bridging the gap between Abstract Expressionism and Pop Art. The American flag was another motif to which Johns repeatedly returned, creating more than 100 in multiple sizes, media, and colors. Despite being loaded with symbolic value, Johns is more concerned with the physicality of the form: “because what’s interesting to me is the fact that it isn’t designed, but taken. It’s not mine.”

Jasper Johns, “Decoy,” 1971.

03/16/2022

Albrecht Dürer the undisputed genius of the Northern Renaissance. We are featuring two of his exceptional engravings in the online

See these masterpieces and other Northern Renaissance in our virtual booth before the fair closes tonight! Link in bio.

Dürer, “Coat of Arms with a Skull,“1503, Engraving.

Dürer, “Knight, Death, and the Devil,” 1513, Engraving. - One of Dürer’s three

03/10/2022

We are pleased to unveil this incredibly strong impression of Adam and Eve by Lucas Cranach the Elder, recently acquired by the gallery, in the Online Print Fair (March 9-16, 2022)! Check out our virtual booth to see more extraordinary works from the German Renaissance. Link in bio.

Lucas Cranach the Elder, «Adam and Eve in Paradise» 1509, Woodcut.

03/02/2022

Marching into March with the gallery’s honorary mascot, Beau!

Like the gallery’s prints, Beau is a beauty 😍

02/22/2022

Happy ! To celebrate today's special palindrome (2/22/22) we present this dynamic duo by Pablo Picasso.

Pablo Picasso, "Les Deux Saltimbanques," 1905, Drypoint before steel facing on medium/heavy laid paper.
#22222

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Tuesday	10am - 5pm
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Friday	10am - 5pm

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