This is a great original color lithograph, pencil signed, dated, and inscribed 'epreuve d'artiste' (artist's proof), but we have been unable to decipher the signature. The image size is 12 x 21 1/4 inches, 1979, with a stamp from the "Ministerio de Cultura Y Educacion" of Spain on the back of the sheet. This is a very cool, abstract composition with vibrant colors; the style looks quite familiar to us, but we have been unable to confidently attribute this print to a specific artist.
This is a beautifully vibrant original lithograph in colors by Russian born artist Nicolai Cikovsky. The image size is 21 3/4 x 16 inches, sheet size 26 x 20 inches, published in 1965 in an edition of 100, pencil signed and numbered. Cikovsky studied at the Vilna Art School, the Penza Royal Art School and the Moscow High Tech Art Insititute before emigrating to the United States in 1923. He settled in New York City where he met fellow Russian born artist Raphael Soyer, whose Social Realism greatly influenced his style of painting.
This lithograph by Victoria Huntley measures 8 1/4 x 11 7/8 inches. It is pencil signed, numbered and dated on the l.r. on medium weight paper with wide margins. Huntley grew up in the NYC area and attended the Arts Student League of NY studying under John Sloan and Max Weber.
This is a great portrait of the 18th century Romantic painter Henry Fuseli by American artist Leonard Baskin. The sight size is 26 x 18 inches, published in 1969 in an edition of 100, cat: Fern & O'Sullivan-534, pencil signed, titled and numbered, framed. In the era of abstract expressionism, Baskin’s work was always representational, with a strong classical influence. He drew inspiration from many artists of the past, and in the 1950s and 1960s created series of portraits of the artists he admired.
This is a very fine original lithograph depicting the cedar shaked buildings, boats and fishing gear of the Rockport, Massachusetts harbor. The image size is 7 7/8 x 12 3/4 inches, published in 1936 in an edition of 40, cat: Stuckey-58, pencil signed. Stow Wengenroth was one of the preeminent lithographers of 20th century America, known for his atmospheric, incredibly detailed images of the New England landscape and coastline.
An atmospheric scene of Rockport, Massachusetts, this is one of Wengenroth's early lithographs, published in 1935 in a small edition of 50 impressions. The image size is 7 7/8 x 12 1/4 inches, cat: Stuckey-51, pencil signed. Stow Wengenroth was one of the preeminent lithographers of 20th century America, known for his atmospheric, incredibly detailed images of the New England landscape and coastline. He studied at the Art Students League and the Grand Central School of Art in New York, and in the summers studied with John Carlson in Woodstock NY and George Ennis in Eastport ME.
This is a very cool lithograph on zinc, image size 12 5/8 x 17 7/8 inches, 1919-1920, from a very small edition of 27 or fewer impressions, cat: Czestochowski-134, printed by Bolton Brown, pencil signed. Provenance: The Cleveland Museum of Art. Davies was a truly remarkable artist of the late 19th and early 20th centuries known for his dreamlike etchings and lithographs.
Lithograph in colors, image size 16 3/4 x 24 1/4 inches, 1917, monogrammed within the image, pencil signed. Publisher's information lettered below the image.
This transfer lithograph by Arthur Davies measures 16 5/8 x 11 9/16 inches in an edition of 25 or less. Created in 1921, it is signed by the artist on the lower margin. Printed on medium weight paper, it is #189 in the Czestochowski catalog. Davies was known for his unique decorative style, often visualized in a fantasy world of female figures. One of the most respected and successful American artists, he was a member of the "Eight" and was the principal organizer of the 1913 Armory Show.
This is a gorgeous original lithograph of ancient Greek ruins by Joseph Pennell, from his series "In the Land of Temples", based on his travels through Greece and Italy. The image size is 16 1/2 x 21 3/4 inches, published in 1913 in a very small edition of 50, printed on a watermarked wove type paper, pencil signed. In his book "In the Land of Temples", Pennell writes of this print "Swept away is everything, mysteries and all— all that remains is the great pavement on which stand the stumps of columns; yet I doubt if it was finer ever.