Adam Perelle Art

Otto Kuhler, 'Cargo Carriers', etching and drypoint, c. 1932, edition 10, Kennedy 44. Signed in pencil. A superb, atmospheric impression with rich burr and selectively wiped overall plate tone, in dark brown ink, on Arches cream laid paper; wide margins (2 to 2 3/4 inches), in very good condition. Printed by the artist. Original Kennedy Galleries mat and label. Scarce. "On my trips up and down N.Y. harbor on the Weehawken Ferry, the late evening sun playing on the side of the big liners has always intrigued me... The liner shown I believe to be the Vaterland of the North German Lloyd...

Edmund Blampied, R.E. The Butterfly. 1928-29. Drypoint. Appleby 133. 9 5/8 x 7 7/8). Etching (sheet 15 1/4 x 10 3/16)on 100. A rich impression printed on cream-colored laid 'F.J.He...

The Biggest of All; Telephone and Telegraph Building. 1925. Etching. Wuerth 853. 9 7/8 x 11 7/8 (sheet 11 1/2 x 17 1/8). Edition probably 35. An atmospheric impression with plate tone, printed on antique laid paper...

Aquatint, 1932, edition unknown. Signed, dated, and titled in pencil. Image size 7 3/8 x 6 3/8 inches (187 x 162 mm); sheet size 12 1/4 x 11 3/8 inches (311 x 289 mm). A fine impression, in rich sepia ink, on cream wove paper, with wide margins (2 3/8 to 2 1/2 inches); in excellent condition. Scarce. A beautifully composed cubist work depicting urban Rumba revelers, possibly inspired by a New Orleans Rumba Night scene. Little biographical information is available about E. P. Marquié. The artist created numerous miniature-format etchings of New York...

An Old Corsican. 1921. Etching. Fletcher 27. 6 5/16 x 4 9/16 (11 1/2 x 9 3/8). Edition 76. A beautiful, rich impression with plate tone, printed on 'J. Whatman' laid paper on the ful...

Anaïs No. 2. 1930. Etching. Fletcher 67. 8 7/8 x 6 3/4 (Sheet 15 x 11). Edition 111. An extremely rich proof printed on cream wove paper, on the full sheet with deckle edges. Anaïs F...

Zorn and His Wife. 1890. Etching. Hjert and Hjert catalog 31 state ii. 12 1/2 x 8 3/8 (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. ...

Elisabeth (Anaïs) also called The London Caster Girl. 1922. Etching. Fletcher catalog 32 state x. 5 5/8 x 4 1/4 (sheet 11 1/2 x 9). Edition 76 (total 94 impressions). A rich impress...

Signed lower right, "Edinah L. Jewett", inscribed lower left, "1/2" and titled "Ballerina and Friend". Substantial sugar-lift aquatint and etching showing a young woman in coral se...

A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 sSheet 13 3/16 x 19 3/8). Edition 80, #5. A fine impression on cream-colored wove paper with full margins. Signed and numbered in ink. Housed in an 18 x20-inch archival mat. Carter writes, "A procession of boats, gaily decorated, is entering the Grand Canal, with the Campanile and the Doges' Palace in the background. On the left is the baroque poop of a boat with a flamboyant, carved female figure; on the right, another boat with a prow of two prancing horses." Born in Newburgh near Aberdeen, James McBey attended evening classes at Graydon's School of Art and taught himself etching, building his own press at the age of fifteen. He moved to London to prepare for a one-man show at Goupil's Gallery, and shortly after this highly successful first show, he traveled to Morocco with James Kerr Lawson...

1925. Etching. Hardie/Carter 250. 7 x 15 (sheet 11 3/8 x 18 1/8). Edition 80, #28. Signed and numbered in ink. A fine impression with plate tone, printed on antique cream-colored wo...

The bird is Georges Braque's calling card. When the 70-year-old artist was commissioned to create monumental decorations for the Louvre, he chose the bird as his subject. This winged animal appears again and again in his oeuvre, but its representation is noteworthy in this print. To those who would say that Braque is not a draftsman, Dora Vallier writes, "for [him], drawing is not a means of giving outward appearance to forms but of showing what lies within." Along the same lines, Braque himself says, "Forget things, only remember their relationship." These two statements encourage thoughtful viewing. Coming back to its nest and hatched egg, a great black bird is hardly visible against the dark green of its home and the brown leaves behind. Rather than spend time on the details, Braque emphasizes the spatial arrangement of the scene. Everything is compressed down to one level; the curtain of heart-shaped leaves blends together as it falls toward the nest. Braque sees how the tree, nest and bird interrelate, and this entwined relationship is what he chooses to show. Created circa 1950, this original color etching is hand-signed by Georges Braque (Argentueil, Val-d'Oise, 1882 - Paris, 1963) in pencil in the lower right margin and numbered 281/300 in pencil in the lower left margin. The edition was printed by Atelier Krommelinck, Paris on Rives paper, and published by Maeght, Paris. Catalogue Raisonné: Georges Braque The Green Nest (Le nid...