Henri Goetz

Untitled

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

Untitled Signed in pencil lower right (see photo) Edition: 25 (9/25) (see photo) Engraving, drypoint & carborundum Printed by the artist Condition: Excellent, slight residue on reverse Sheet: 9 7/8 x 12 3/4" Image/Plate: 5 x 7" Note: Goetz was born in the United States, moved to Paris and became a noted Surrealist artist and journalist of the surrealist movement. As a printmaker, Goetz invented carborundum printmaking in the 1960’s. In 1968, La gravure au carborundum, a treatise on carborundum printing, was published by the Maeght Gallery. It was prefaced by Joan Miró. Goetz created many abstract prints using this method. Other artists such as Antoni Clavé, Antoni Tàpies, and in particular Joan Miró, employed carborundum printing in their work. Henri Bernard Goetz (1909-1989) Henri Bernard Goetz was born 29 September 1909 in New York, in a family of French and American origin. He studied at Harvard University and the Grand Central Art School before moving to Paris in 1930 where he continued his studies at the Academies Julian and Academies Ozenfant in Montparnasse. After a brief return to the US in the early 1930’s he settled permanently in France, taking a Parisian studio next to Victor Brauner. With Brauner Goetz became involved with the Surrealist group and was soon a highly accomplished exponent. 1935 would be a year of major importance for Goetz: he exhibited for the first time at the Salon des Surindependants, he married the Dutch painter Christine Boumeester and he met Hans Hartung, who would become a close lifelong friend. In 1937 Goetz held his first solo show at Galerie Van Leer, Paris. During the war, having neglected to become naturalized French citizens, Goetz and Boumeester became illegal aliens and both worked in the resistance movement. They printed leaflets on a simple printing press and created posters to paste...

Annotated in pencil on detached bottom margin: “Printed by the artist’s own press at 4 rue d’universite, Paris, Sept. 1958” Edition: 10 (8/10) Printed in red, black with gold leaf highlights Dedicated in pencil by the artist: “For Alice and Albert Turner...

Signed, dated, titled and number Edition: 25 (1/25), never fully realized Provenance: Estate of the artist Etching, engraving and color aquatint Sheet: 10 5/8 x 13 1/2"; Image...

Untitled (Plate 2) Engraving, sugar-lift, and aquatint , 1970 Signed and numbered in pencil (see photo) From: Variations (8 plates) Edition: 100 (100/100) (see photo) Printed by Lac...

Beyond (sic) - IX Mezzotint, n.d. Signed, titled and numbered in pencil (see photos) Edition: Unique impression (i/I) Ninion and Sheldon Landy were major collectors of Hamanishi's works. They donated a large group of his mezzotints to Art Institute of Chicago, which formed the core of the exhibitions of his works at AIC in 2014 and again in 2019. Condition: excellent Plate/Image size: 9.75 x 7.75 inches Sheet size: 12 1/2 x 9 5/8 inches Provenance: Ninion and Sheldon Landy, Hamanishi's patrons EXTREMELY RARE-UNIQUE Katsunori Hamanishi Born: 1949, Hokkaido Medium: Mezzotint, with relief printing and metallic foil. Also a few woodblocks Hamanishi studied painting and graduated from Tokai University with a degree in Art, in 1973. Since then, he has been living in the Tokyo area, where his primary focus is printmaking. Mezzotint is a variation of intaglio printing--an exacting and laborious process whereby ink is transferred from below the surface of the plate by use of a press. First, the entire copper plate is indented with a toothed steel rocker tool. Worked in all directions, this creates an even finely-grained texture over the surface of the plate. Each pit will hold ink and were the plate inked at this stage, it would print almost solid black. To create the design the artist smoothes out some of the pits with a burnisher so they will hold less ink. Where highlights are required the plate is burnished and polished quite smooth. A wide range of tones are possible in mezzotint and the process can usually be recognized by a light design on a velvety black background. Hamanishi is internationally known for his mastery of this medium. He creates images with both subtle detail and dynamic composition that explore spatial relationships. His genius is in balancing calm and meditative qualities with the energetic tensions of inanimate and natural objects. Early work had such things as pipes and branches wrapped with cloth, later rope, then straw. When he moved to a more rural area, rice fields became a common element. He has also been exploring the use of color and metallic leaf in his artwork. In 2005 Mr. Hamanishis began the Haze series exploring more abstract themes using the subtle differences between matte and black inks done in mezzotint and relief printing. There is always a sense of mystery and intrigue in the complex mezzotint prints that come from Hamanishi’s deft hands. They compel the viewer to do a slow, thoughtful examination in order to fully absorb the vision the artist intends. Exhibitions: Worcester Art Museum, Massachusetts --2 person show with Hamaguchi Ibiza Biennial, Spain--Grand Prize Original Colored Graphic Print Triennial, Switzerland--Grand Prize Cabo Frio International Print Biennial, Brazil--Grand Prize CWAJ Print Show, Tokyo--Art Grant winner Republic of China Print Exhibit--Gold Medal Graphic Arts Council, Achenbach Foundation, San Francisco--commissioned print Art Institute of Cleveland University of Alberta, Edmonton, Canada--visiting artist Shun-yo-Kai, Tokyo--prize winner Bhara Bhavan International Print Biennale, India Ren Brown...

An original etching, aquatint, dry-point and carborundum by Joan Miro, 1969. It is hand signed and numbered H.C. aside the edition of 75 copies on Arches, plus some H.C. copies. The...

1987 Color etching, aquatint, drypoint Sheet: 15 3/4 x 18 3/4 in. Edition of 71 Signed, dated and numbered in pencil, lower margin

Artist: Jasper Johns Title: Target With Plaster Cast Black and White Medium: Drypoint, Etching, Aquatint Edition: AP IV/XVI Date: 1990 Dimensi...

Louise Bourgeois (French-American, 1911-2010) Be Calm (from Recueil des Secrets de Louise Bourgeois), 2005 Medium: Drypoint with selective wiping, on wove paper Dimensions: 18.8 x 12...

Arnulf Rainer (Austrian, born 1929) Büste im Nebel, 1977 Medium: Drypoint etching on BFK Rives wove paper Dimensions: 29.8 × 20.8 cm (11 7/10 × 8 1/5 in) Edition of 50: Hand-signed a...

Dimensions : Image 7 7/8” x 5 7/8”, Paper 16” x 12” Printed at Alfred University Press, Alfred, NY Chop mark: Alfred University Press Signed: Pencil 15/20 Voulkos ‘98 Peter Voulkos (popular name of Panagiotis Voulkos; January 29, 1924 – February 16, 2002) was an American artist of Greek descent. He is known for his abstract expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art. While his early work was fired in electric and gas kilns, later in his career he primarily fired in the anagama kiln of Peter Callas...