Jacques Beltrand Art

Georges Braque Les Oiseaux de Nuit 1964 Original Reproduction of a Gouache on Velin d'Arches Size: 10x7.375in Edition: 2,000 Annotated verso Unsigned as issued Publisher: Mourlot, Pa...

Louis Rhead Jane Original lithograph Printed signature in the plate 1897/98 On vellum 40 x 31 cm (c. 16 x 12") INFORMATION : Published by 'Estampe Moderne, Paris, 1897-1899 and pri...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Salvador Dalí Les lauriers du bonheur (The laurels of happiness) from After 50 Years of Surrealism Original etching with hand coloring, h...

Comanche Dance at San Ildefonso Pueblo (New Mexico). Etching and drypoint, artist's proof from an edition of 50 prints. Presented in a custom frame, outer dimensions measure 22 ¼ x 18 ½ x ½ inches. Image size is 11 ¾ x 14 ½ inches. Print is clean and in very good vintage condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Gene (Alice Geneva) Kloss is considered one of America’s master printmakers. She was born in Oakland, California and established herself as an artist on the West coast. Kloss was introduced to etching by Perham Nahl while at UC Berkley. She graduated in 1924, and in 1925 married poet Phillips Kloss. In her late twenties, Kloss moved to Taos, New Mexico and began her life’s work of the New Mexican landscape and peoples. It was at this time that she received national acclaim. Her artwork exudes an unmistakable content and style. Enchanted by the architecture, mountainous landscapes and rituals of the inhabitants, Kloss captured the beauty of the Southwest and surrounding areas. Her style was bold yet deftly simple, masterfully expressing the elusive Southwestern light...

At New York (Self Portrait) Woodcut, 1961 Unsigned (as issued) From: The "Way" of the Woodcut, three woodcuts, 1961 Publisher: Pratt Adlib Press, Brooklyn, New York,1961 Printer: Jam...

No Footprints Show, Where the Flowers Grow Deep Woodcut, 1961 Unsigned (as isssued) From: The "Way" of the Woodcut, three woodcuts, 1961 Publisher: Pratt Adlib Press, Brooklyn, New Y...

Eric Ravilious’s Dog II [2022] limited_edition Etching Edition number 33 Image size: H:21 cm x W:21 cm Complete Size of Unframed Work: H:40 cm x W:38 cm x D:0.5cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Limited edition print of a man on a train with his hat blowing away. Barratt uses Ravilious’ The Vale of the White Horse as inspiration for this witty etching. Buy Mychael Barratt printmaker works with Wychwood Art gallery online. Mychael Barratt was born in Toronto, Canada, however, considers himself to be a Londoner since arriving for what was supposed to be a two-week stay thirty years ago. He is a narrative artist whose work is steeped in imagery relating to art history, literature, theatre and everything else that overfills his bookshelves. He was an artist in residence for Shakespeare’s Globe Theatre...

Description: Pablo Picasso created the Suite Vollard between 1930 and 1939 in honor of his friend and art dealer, Ambroise Vollard. The suite is comprised of 100 etchings, illustrat...

Color etching printed in gradient red, orange, yellow, green, blue, and violet ink, 8 3/8 x 15 inches (212 x 380 380 x mm), full margins. Signed, titled and numbered 46/100 in pencil, lower margin. Arnold Gross...

Double Portrait at the Easel (M.835) is lithograph on paper, signed 'Marc Chagall' lower right and numbered XI/XV lower left, from the edition of 69 (there were also 50 Arabic and 4 ...