History Art For Sale

Page 6 of 16
Browse 455 History artworks for sale. Contemporary artists: Jerry Di Falco, Richard Lazzara offering History artworks. Links to more artworks by these contemporary artists and 16 pages for and further artists at the bottom of this page. To view a work by any of these contemporary artists simply click on the image or browse the artist's portfolio. To buy any History art simply click on the image to go to a more detailed page about this work of art.


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Jerry  Di Falco: 'kabarett', 2018 Etching, History. THE PRICE OF THIS ETCHING INCLUDES A BLACK PAINTED WOOD FRAME WITH GLASS AND ACID FREE MAT.  THE FRAME MEASURES FOURTEEN INCHES HIGH BY ELEVEN INCHES WIDE.  THE WHITE MAT CONTAINS A BLACK INNER TRIMMED EDGE.  THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL.  A WALL HOOK ...
, 2018
History - Etching
9 x 12 inches (22.9 x 30.5 cm)
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Jerry  Di Falco: 'he she berlin cabaret 1929', 2017 Etching, History. TTHE PRICE OF THIS ETCHING INCLUDES A BLACK PAINTED WOOD FRAME WITH GLASS AND ACID FREE MAT.  THE FRAME MEASURES 14 INCHES HIGH BY 11 INCHES WIDE.  THE WHITE MAT CONTAINS A BLACK INNER TRIMMED EDGE.  THE ARTWORK ARRIVES WIRED AND READY TO HANG ON YOUR WALL, AND A WALL ...
History - Etching
11 x 14 inches (27.9 x 35.6 cm)
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Jerry  Di Falco: 'The Templar Secrets', 2017 Intaglio, History. This print is best of five prints in the Second of Four Editions, and the editions are all limited to five prints each.  This etching originated with a 1987 photo taken by the artist and was executed on one zinc plate, which measured 6 inches high by 9 inches wide.  ...
History - Intaglio
12 x 16 inches (30.5 x 40.6 cm)
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Jerry  Di Falco: 'the templar secrets in spain', 2017 Etching, History. This print is the best of five prints from the First of Four Editions, and the editions are limited to five prints each.  This etching originated with a 1987 photo taken by the artist and was executed on one zinc plate, which measured 6 inches high by 9 inches wide.  ...
History - Etching
16 x 12 inches (40.6 x 30.5 cm)
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Jerry  Di Falco: 'blue violinist', 2017 Etching, History. The image is this intaglio and drypoint etching is based on a detail within an 1851 engraving by Alfred Rethel, who based his visuals on Heinrich HeineaEURtms poetry.  Rethel executed the image of Death as a skeleton dressed in a hooded robe and playing a violin.  The fatal cholera ...
History - Etching
9 x 12 inches (22.9 x 30.5 cm)
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Jerry  Di Falco: 'green star of hearts Spain', 2017 Intaglio, History. This etching is based upon a 1987 photograph taken by the artist.  It depicts a 13th century window from a Romanesque Templar church, San BartolomeaEURtms Hermitage.  It is located in the Parque Natural del CaA+-on del rAo Lobos, Soria, Spain.  The pentagram, which is a five pointed ...
History - Intaglio
12 x 9 inches (30.5 x 22.9 cm)
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Jerry  Di Falco: 'barbicon', 2017 Etching, History. Title is THE BARBICON AT MONT SAINT MICHEL. The zinc plate for this etching measured seven- inches high by five- inches wide or 17. 780cm by 12. 700cm, which is consequently the imageaEURtms size. The paper was hand torn to a size of twelve inches high by ten inches ...
, 2017
History - Etching
10 x 12 inches (25.4 x 30.5 cm)
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Jerry  Di Falco: 'Green Coconut Doll in 1937', 2017 Other Printmaking, History. Please note that this etching is shipped to the buyer with a frame AND mat.  My use of Intaglio, Aquatint, Chine CollA(c), and Dry- point, in combination with my unique ink application and wiping techniques, create an eerie balance of shadow and light in this zinc- plate etching, which is ...
History - Other Printmaking
11 x 15 inches (27.9 x 38.1 cm)
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Jerry  Di Falco: 'Brown Pompeii ', 2016 Intaglio, History. Please note that this etching is shipped to the buyer without a frame or mat. This keeps the price reasonable and also allows the collector a wide range of choice in framing selection. For shipment, a sturdy cardboard box is employed. The etching is first wrapped in two layers of ...
History - Intaglio
10 x 12 inches (25.4 x 30.5 cm)
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Jerry  Di Falco: 'Poor Venice Cielo Violeta', 2016 Etching, History. Each of the editions is limited to only FIVE etchings. Both my method of ink application and my rubbing technique lends a decidedly monoprint aura to my etchings. A six- inch wide by nine- inch high, or 15. 240cm x 22. 860, zinc plate was employed. Media included RivesBFK white ...
History - Etching
11 x 15 inches (27.9 x 38.1 cm)
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Jerry  Di Falco: 'Fascism Dawning in 2016', 2016 Intaglio, History. Adapted from the 1930s political propaganda film by Leni Rienfenstahl entitled Triumph of the Will, which was created to catalyze support for HitleraEURtms Germany. A six inch high by nine inch wide zinc plate, or 15. 240cm x 22. 860, was used. Oil based ink was used on RivesBFK ...
History - Intaglio
15 x 11 inches (38.1 x 27.9 cm)
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Jerry  Di Falco: '108 North Front Street ', 2015 Intaglio, History. Media French, oil- based etching inks on Stonehenge brand printmaking paper color- fawn from the U. K.petroleum base was applied to the polished surface, and then lines were drawn into the ground with several types of etching needles. The plate was then placed in a nitric- acid- bath until ...
History - Intaglio
11 x 9 inches (27.9 x 22.9 cm)
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Jerry  Di Falco: 'ANCIENT PERSIA IN BLACK', 2015 Etching, History. This etching employs four individual zinc plates to produce one single image and, all four were aligned and positioned on the printing press bed in a two- over- two design height by width. Techniques for this four- plated etching included aquatint, intaglio, Chine colle, and drypoint. I used silver French ...
History - Etching
11 x 15 inches (27.9 x 38.1 cm)
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Jerry  Di Falco: 'IMAGES OF ANCIENT PERSIA', 2015 Etching, History. This etching employs four individual zinc plates, aligned on the printing press bed in a two- over- two design, to produce one single image. STONEHENGE brand cream paper was then placed over the inked plates before I ran them through the press. I also used a blend of oil based, ...
History - Etching
12 x 15 inches (30.5 x 38.1 cm)
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Jerry  Di Falco: 'GRAVE OF HENRY CHARLES LEA IN OCTOBER DUSKY LIGHT', 2014 Etching, History. Title is Leas Grave in Octobers Dusky Light, Philadelphia, Pennsylvania, USA. Etching techniques included Intaglio, Aquatint, and Drypoint . I photographed this image in 1976 while visiting the Lauren Hill cemetery in Philadelphia, Pennsylvania, USA, a popular picnicking area during the Victoria Era. Henry Charles was a noted U. S. Historian ...
History - Etching
11 x 15 inches (27.9 x 38.1 cm)
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Jerry  Di Falco: 'Betsy Ross House 1900', 2013 Etching, History. This etching features The Betsy Ross House in 1900 and shows what the historic site actually looked like before the gentrification of Philadelphias Old City neighborhood in the late 1970s.  The etching employs the techniques of intaglio and drypoint on three individual zinc plates, with each plate measuring 2 inches ...
History - Etching
8 x 11 inches (20.3 x 27.9 cm)
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Jerry  Di Falco: 'CARAVAN', 2013 Intaglio, History.  This artwork, from my MYSTICAL PLACES series, includes the ETCHING techniques of intaglio, drypoint, and aquatint. I executed the print with metallic oil- based etching ink, Charbonnel brand from France, on STONEHENGE black paper. What makes this etching special involves the fact that I used four separate inked zinc plates...
, 2013
History - Intaglio
15 x 8 inches (38.1 x 20.3 cm)
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Jerry  Di Falco: 'PUIVERT CASTLE', 2013 Etching, History. THE SKY BLEEDS AT PUIVERT CASTLE FOR LA LOBA AND THE LADY OF THE LAKE.  NOTE Print  3 of 10, pictured here, sold in June of 2015. Seven other closely identical prints are available for viewing and are still available. The image in my etching, from my series entitled MYSTERIOUS ...
History - Etching
11 x 10 inches (27.9 x 25.4 cm)
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Jerry  Di Falco: 'ARQUES UNDER PINK MOON', 2013 Etching, History. The etching pictured here sold in September 2014, but other nearly identical prints are available for viewing. ARQUES UNDER PINK MOON SOUL RISE. The etching is adapted from an original black and white photograph I shot in 1987 while traveling through  Southern France. The area is known for its CATHAR ...
History - Etching
10 x 11 inches (25.4 x 27.9 cm)
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Jerry  Di Falco: 'CATHAR CREAMSICLE CASTLE IN CARCASSONA', 2013 Etching, History. LAST EDITION - THIRD, Ten Prints. FIRST EDITION OF FIFTEEN PRINTS IS EXECUTED IN BLACK INK ON WHITE PAPER SECOND This etching is from my series entitled, MYSTERIOUS PLACES and SACRED SPACES. The image is appropriated from a color photograph I shot in 1987. My printmaking techniques employed include intaglio, aquatint, ...
History - Etching
11 x 10 inches (27.9 x 25.4 cm)
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Jerry  Di Falco: 'Sculpture by Fontana in Rome', 2011 Etching, History. FULL TITLE IS, Sculpture by Fontana in Rome, A STUDY FOR LA QUADRIGA dell ITALIA. This etching, which is a smaller study for a larger one, incorporates the techniques of intaglio, aquatint, and dry point. The image is from a photo of a sculpture atop the monument in Rome that ...
History - Etching
15 x 11 inches (38.1 x 27.9 cm)
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Jerry  Di Falco: 'Wheel of Humanity with Holy Men', 2011 Etching, History. The actual image was inspired by an etching by an unknown artist. In spite of the narrative content, I consider my etchings to be an abstract play of line and form . . . between geometric illusion and geometric conclusion. The optical flow I create within the boundaries of my planes edges are ...
History - Etching
15 x 11 inches (38.1 x 27.9 cm)
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Jerry  Di Falco: 'REMEMBRANCE WINDOW TO THE HOLOCAUST ', 2010 Mixed Media, History. REMEMBRANCE WINDOW TO THE HOLOCAUST is the full title of this mixed media work A moment . . . a drop of salt in time . . . a second of the Jewish Holocaust during WWII is examined in this wall relied of wood and glass. I constructed the work from an antique window sitting on ...
History - Mixed Media
28.5 x 28 inches (72.4 x 71.1 cm)
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Richard Lazzara: 'space around the goal', 1972 Oil Painting, History. space around the goal 1972   from the folio  DRAWING ON NY STUDIO SCHOOL TRAINING   by Richard Lazzara is available at
History - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Richard Lazzara: 'truth in art', 1972 Acrylic Painting, History. truth in art 1972  from the folio  DRAWING ON NY STUDIO SCHOOL TRAINING  by Richard Lazzara  is available at
History - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Richard Lazzara: 'studio space still life in oil paint', 1972 Oil Painting, History. studio space still life in oil paint 1972  from the folio  DRAWING ON NY STUDIO SCHOOL TRAINING  by Richard Lazzara is available at
History - Painting
24 x 36 inches (61.0 x 91.4 cm)
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Richard Lazzara: 'today is art everlasting', 1972 Oil Painting, History. today is art everlasting 1972  from the folio DRAWING ON NY STUDIO SCHOOL TRAINING by Richard Lazzara is available at
History - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Richard Lazzara: 'long history blodlines', 1972 Calligraphy, History. long history bloodlines 1972  from the folio DRAWING ON NY STUDIO SCHOOL TRAINING  by Richard Lazzara is available at
History - Calligraphy
36 x 24 inches (91.4 x 61.0 cm)
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Richard Lazzara: 'matriarchal bloodlines', 1972 Calligraphy, History. matriarchal bloodlines 1972 from the folio DRAWING ON NY STUDIO SCHOOL TRAINING by Richard Lazzara is available at
History - Calligraphy
36 x 24 inches (91.4 x 61.0 cm)
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Richard Lazzara: 'bloodlines breeding program', 1972 Calligraphy, History. bloodlines breeding program 1972 from the folio DRAWING ON NY STUIDIO SCHOOL TRAINING by Richard Lazzara is available at
History - Calligraphy
36 x 24 inches (91.4 x 61.0 cm)
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(Page 6 of 16) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Jerry Di Falco - Photography inspires my art and acts as a vital element in my etchings. The images I employ originate from my own photographs, as well as from the images I find from my research into the digital archives of universities, historical societies, libraries, and museums. Upon locating a documented scene I wish to etch, my first step involves the execution of two to five original drawings of the photograph. My collaboration between photography and printmaking allows me the independence to integrate my personal interpretations into the scene. Moreover, I create bridges between the physical and metaphysical visual realities in the same way that a camera intersects with human creativity . . . the nexus between the mechanical and the cerebral art tools. Art unveils everything that we mask behind our belief systems conversely, I strive in my creations to clarify those phenomena we overlook as a result of our egocentric assumptions. Ironically enough, I blame this failure to notice things, a process I label, the phenomenology of connectedness, on todayaEURtms very infatuation with and addiction to the new communicational technologies of social media. My artworks therefore become like windows through which to examine the mysteries of aEURoeeveryday consciousnessaEUR. In fact, my use of ...