Works on Paper

The Soloist

Graphite, whiting, and acrylic on paper
33 by 26 in. W/frame 43 by 36 in.
Details

Veduta del Ponte de Rialto

Watercolor and gouache on paper
6 x 9 1/2 in. (sheet), 11 1/2 x 14 in. (frame).

Watercolor and gouache on paper
1788, signed 'Giacomo de Guardi', titled and inscribed
'Reccapito all' ospedaletto in calle de Perucchi al No. SR45 dimandar' on the reverse.
6 x 9 1/2 in. (sheet), 11 1/2 x 14 in. (frame).

Details

Frank Myers Boggs

American, 1855-1926

St. Valery

Crayon and watercolor on paper
9 ½ by 14 in. w. frame 17 by 21 ½ in.
Details

Ysabel Minoggio-Roussel

French, 1865

French Rivera

Watercolor on paper
11 In. By 15 In. W/frame 15 by 19 in.
Details

Guglielmo Giusti

Italian, 1824-1916

Distant View Above the Bay of Naples, Vesuvius beyond

Gouache on paper
20 by 27 ½ in. W/frame 25 by 32 ½ in.
Details

Henry Mayo Bateman

English, 1887–1970

Lady at her Vanity

Watercolor on paper
9 ½ by 10 ½ in. W/frame 18 ½ by 19 ½ in.
Details

Alphonse Victor Baumann

French, 1826 -1909

Femme Cueillant des Fleurs dans un Champ

Watercolor on paper
11 by 8 in. W/frame 19 by 16 in.
Details

Amedee Cham

French, 1819-1879

Political Cartoons

Watercolor on paper
10 by 13 in. W/frame 18 by 21 in.
Details

Joan Miro

Spanish, 1893–1983

Amnesty International

Color Lithograph
35 by 24 in. W/frame 42 by 31 in.

22/75 Edition size
Circa 1975 New York

Artists for Amnesty, a series of art posters and signed and numbered prints created by fifteen world renowned artists of the time to focus on Amnesty International's Prisoners of Conscience Year 1977, was exhibited between February and March of 1977 in the Washington Place windows of New York University's Grey Art Gallery. Signed and Numbered out of 75 in pencil. Some visible marks but overall in very good condition. Miro?s art is based on the purity of poetic emotion and spontaneity of execution. The artist also found his favorite medium in lithography. The importance of his graphic work, continuous renewal and enrichment of his style show the high value which the artist attached to this medium of expression. Miro uses black ink with a range of values and refined tones, reaching wild and playful effects. With elements derived from Catalan traditional art and a spatiality, Miro gave his objects and symbols a proper life as subjects of stories from other worldly microcosms - the ideal reflection of a world longed for by the artist.