Children Going Out to the Fields
Signed and numbered from the edition of 50.
From the Le Boulve suite, depicting people and the landscape in and around the village of Le Boulve.
Published by St George's Gallery, London.
‘I can do no more than salute the massive edifice of the accomplished work in etching and engraving. For here is a world spread before us, with innumerable landscapes, townscapes, buildings, people, through which we can move and share the artist’s unique perceptions.’ Michael Rothenstein, in the foreword to The Prints of Anthony Gross, Herdman, 1991.
From the Le Boulve suite, depicting people and the landscape in and around the village of Le Boulve.
Published by St George's Gallery, London.
‘I can do no more than salute the massive edifice of the accomplished work in etching and engraving. For here is a world spread before us, with innumerable landscapes, townscapes, buildings, people, through which we can move and share the artist’s unique perceptions.’ Michael Rothenstein, in the foreword to The Prints of Anthony Gross, Herdman, 1991.
$3,550.36
Children Going Out to the Fields—
$3,550.36
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Description
Signed and numbered from the edition of 50.
From the Le Boulve suite, depicting people and the landscape in and around the village of Le Boulve.
Published by St George's Gallery, London.
‘I can do no more than salute the massive edifice of the accomplished work in etching and engraving. For here is a world spread before us, with innumerable landscapes, townscapes, buildings, people, through which we can move and share the artist’s unique perceptions.’ Michael Rothenstein, in the foreword to The Prints of Anthony Gross, Herdman, 1991.
From the Le Boulve suite, depicting people and the landscape in and around the village of Le Boulve.
Published by St George's Gallery, London.
‘I can do no more than salute the massive edifice of the accomplished work in etching and engraving. For here is a world spread before us, with innumerable landscapes, townscapes, buildings, people, through which we can move and share the artist’s unique perceptions.’ Michael Rothenstein, in the foreword to The Prints of Anthony Gross, Herdman, 1991.
