English School Interior Prints

"En Salada" Salad Fixings Etching on Paper by Joseph C. MaCarthy This Intaglio print, titled "En Salada," by San Francisco Bay area artist Joseph C. McCarthy (American, 20th C), cre...

"Toy Horse Dance" Japanese Woodblock Triptych with Beauties and Mt Fuji Vibrant three-panel woodblock print by Utagawa Toyohiro (Japanese,...

Four hand colored etchings and aquatints depicting interiors within English royal residences, including "The Blue Velvet Room at Carlton House", "The Queen's Library at Frogmore", "T...

"The Doorway of Baalbec" is a 19th century full folio sized duotone lithograph, representing plate 81 in the Egypt and Nubia volumes of David Roberts’ large folio edition, published ...

Hand Signed. Artist's Proof. Good conditions.

Embossed lithograph with foil stamping on paper. Hand signed and numbered by the artist. From the edition of 750. Artwork is in excellent condition. Certificate of authenticity in...

Christo and Jeanne-Claude Wrapped Walk Ways, 1983 Lithograph on Arches Cover White mounted on museum board, with collage of white cloth 28 × 44 in. - 71 × 112 cm Edition: 68/100 Sign...

"Poulaho, King of the Friendly Islands, Drinking Kava" is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It was published in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Captain Cook visited Tonga on his 3rd voyage, which he named The Friendly Islands because of the warm welcome he and his crew received, unlike some of the other more hostile Pacific islands. The engraving depicts Cook and his men observed a kava ceremony at the village of Mu’a on Tongatapu. King Paulaho sits in the centre foreground, his back to the spectator with a man kneeling before him. The ceremonial mat depicted behind Paulaho indicates that nobody was allowed to sit behind him. The figure in the centre holds a single cup, referring to the Tongan custom of offering the cup to the king first. Kava is native to the islands of the South Pacific and was first described for English readers in 1768 by Captain James Cook. The kava root has been used for centuries as a central feature of ceremonies and celebrations because it was able to bring about a calming and pleasant social atmosphere. The root was crushed and processed into coconut milk to become the focal ceremonial beverage, simply referred to as kava. This engraving is presented in a Koa wood frame and a white mat. Koa wood is legendary in Hawaii. There are occasional faint spots, but the print is otherwise in very good condition. This amazing Koa wood is native to Hawaii and it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mats (LU117324682422, LU117324684052, LU117324684032). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Captain Cook is remembered as one of the greatest explorers and navigators in history. His explorations included Australia, New Zealand and islands of the South Pacific and the northwest coast of North America. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

Embossed lithograph with foil stamping on paper. Hand signed and numbered by the artist. AP edition of 450. Artwork is in excellent condition. Certificate of authenticity included...

A grouping of four framed engravings of Hawaii, Tahiti, Tonga and Vancouver Island from the atlas of the official British Admiralty sanctioned journal of Captain Cook's 3rd Voyage entitled "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", published upon completion of the voyage in London in 1784 by Strahan & Cadell. These engravings were made from drawings by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. The set of engravings includes: "A Canoe of the Sandwich Islands, the Rowers Masked", Plate 65 in the atlas; "A Dance in Otaheite" (Tahiti), Plate 28; "King of the Friendly Islands" (Tonga), plate 20; "Inside of a House in Nootka Sound" (Canada), plate 42. These engravings are professionally framed in Koa wood, the same wood as was used to make the canoes of the ancient Hawaiians. Koa wood is legendary in Hawaii. Not only is this amazing wood native to Hawaii, but it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. These four engravings would make a wonderful grouping for a display of 2, 3 or 4 prints. They may be purchased separately or in groups on 1stDibs. Their listing Reference #'s are: LU117324682432, LU117324682022, LU117324684052 and LU117324684062. A discount is available for a grouping depending on the number of items included. Hawaii was discovered by Captain Cook (1728-1779) during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

"House Cleaning in Preparation for the New Year" - Japanese Woodblock on Paper House cleaning scene by Kitagawa Utamaro (Japanese, 1753-1806). This print was originally published around 1796-1799, with this example being a later reprint. The full scene is five sheets - there are two more sheets to the right that show more members of the house. However, it is these three sheets that contain the majority of the action - a maid sweeping at a mouse, a lady fainting, and a painting moved aside to allow for cleaning. Presented in a new black mat. Mat size: 24"H x 38"W Paper size: 17.75"H x 33"W Print Impression: 14.63"H x 29.5"W Utamaro Kitagawa...

Aquating Engraving Image Size: approx. 20 1/4 x 13 3/8 Framed Size: 28 x 20.5 inches Pencil Signed Lower Right Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950. He lived in New York City in the 1920s, where he became known for his Art-Deco color etchings of glamourous women. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart entered the l'Ecole Superieure de Commerce de Toulouse in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts, though the urge to paint was not as yet as strong for him as the urge to act. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas...