At the International Fine Print Dealers Association Print Fair, there are so many extraordinary examples of art that it can be a challenge just to soak it all up. From stately works by old masters to out-of-left-field creations by piping-fresh newcomers, from Japanese woodcuts to exquisite etchings, the IFPDA Print Fair is overflowing with riches to please both the in-the-know afficiando as well as the novice collector. For both categories of fair-goers (and every kind in between), prints offer a reasonable and accessible way to own works by today’s blue-chip artists, like Hirst, Diebenkorn, Thiebaud and Ruscha, as well as those of yesteryear, like Rembrandt, Dürer and Cassatt. So that no one overlooks some of the not-to-be-missed prints at the four day fair, opening November 6-9 at the Park Avenue Armory, here is a guide to some of the must-see highlights:

Aaron Galleries (Glenview, Ill.), Booth 208

Artist: Sam Francis (1923-1994)

Must-See: Untitled (SF 20), 1963

Why: Because it is extremely difficult to find a large horizontal piece with all of the wonderful colors for which Francis is so justly celebrated, this print is an outstanding find.

Alan Cristea Gallery (London), Booth 301

Artist: Richard Long

Must-See: As Yet Untitled, 2014

Why: The first in a group of 15 new large-scale works by the British land artist, this work will be part of Long’s first solo exhibition with the gallery in February 2015.

Allinson Gallery (Storrs, Conn.), Booth 118

Artist: Martin Lewis

Must-See: Relics (Speakeasy Corner), 1928.

Why: Showing the intersection of Charles and West Fourth streets in Greenwich Village, a few blocks from Lewis's house on Bedford, Relics sold out its entire first edition in just a few months, a spectacular achievement for a printmaker of the time.

Catherine E. Burns (Oakland, Calif.), Booth 219

Artist: Mary Cassatt (1844-1926)

Must-See: Peasant Mother and Child, 1894.

Why: In this work, Cassatt successfully blended Japanese-like design and subject matter with French Realist tradition, and it is among the most important prints created at the turn of the century, further enriched by ink that Cassatt applied to the plate herself, making each print unique.

Childs Gallery (Boston), Booth 308

Artist: Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Must-See: Christ Appearing to the Apostles, 1656

Why: Of quality rarely seen on the print market, the work is almost without a doubt a lifetime impression, as evidenced by the paper's foolscap watermark.

C.G. Boerner (New York), Booth 210

Artist: Albrecht Dürer (1471-1528)

Must-See: Knight on Horseback and the Lansquenet, ca. 1496–97

Why: Dürer’s masterful woodcuts established his reputation and influence across Europe when he was still in his twenties, and this work is a superb example of why he reached that level of success.

David Tunick (New York), Booth 200

Artist: Andrea Mantegna (c. 1431-1506)

Must-See: The Entombment with Four Birds.

Why: Only four or five truly early impressions by Mantegna, considered the inventor of printmaking in Italy, have come to market in the last 40 or 50 years, and this is one of them.

Diane Villani Editions (New York). Booth 209

Artist: Fred Sandback

Must-See: Untitled (Jahn #35), 1975

Why: Strongly referencing Sandback’s string sculpture, this Linocut in blue on Japanese paper with cut edge is rather rare as it is from a small edition.

Dolan Maxwell (Philadelphia), Booth 422

Artist: Stanley William Hayter

Must-See: Combat Sousmarin, 1957.

Why: The work includes an engraving and screen-print with two state proofs and the copper plate, a grouping especially appealing to curators and collectors as it conclusively bears witness to the artist's process, technique and decision-making.

Durham Press Inc. (Durham, Pa.), Booth 303

Artist: Beatriz Milhazes

Must-See: Havai (Hawaii), 2003

Why: Because the acclaimed international artist produces a small amount of work, it is difficult to purchase one of her paintings, making prints the only access point for most collectors.

Flowers Gallery (London), Booth 417

Artist: Tom Hammick

Must-See: Getaway, 2014

Why: This work is one of four new woodcuts recently exhibited at the Royal Academy Summer Exhibition in London, and it was inspired by a shack in England’s East Sussex that reminded the artist of a summerhouse from his teenage years.

Frederick Mulder Ltd. (London), Booth 421

Artist: Pablo Picasso (1881-1973)

Must-See: La Suite Vollard, 1930-1937

Why: This is an exceptionally rare complete, original-condition suite of 100 full-sheet impressions, 15 signed by the artist, on specially made Montval-laid paper with Picasso and Vollard watermarks.

Galerie St. Étienne (New York), Booth 123

Artist: Ernst Ludwig Kirchner

Must-See: Two Women in a Boat, 1912

Why: Pulled by hand by Kirchner himself on his largest lithographic stone, this monumental print on yellow paper is one of only four known impressions and was in the collection of the artist at the time of his death.

Gemini G.E.L. at Joni Moisant Weyl (New York), Booth 412

Artist: Julie Mehretu

Must-See: Myriad, Only By Dark, 2014

Why: Challenging the technical and visual limits of both the artist and her workshop, the four panels of Myriads, Only By Dark each measure almost four feet by seven feet—an enormous scale for any print, but in particular an etching.

Gerrish Fine Art (London), Booth 310

Artist: Joseph Mallord William Turner

Must-See: Whitby, Mezzotint on Steel, 1826

Why: Two reasons – it is a touched proof with Turner’s directions to his engraver, T. Lupton, written in his own hand, and it is one of the most outstanding in a 1400-strong collections of his engravings to come to market.

Bernard Jacobson (London|New York) Booth 408

Artist: Robert Motherwell

Must-See: Lament for Lorca, 1982

Why: An epic example of Motherwell’s elegy theme, which he explored in response to the Spanish poet’s Federico Garcia Lorca murder by Fascists during the Spanish Civil War.

Harris Schrank Fine Prints (New York), Booth 210

Artist: Francisco José de Goya y Lucientes (1746-1828)

Must-See: No se puede saber por qué (One can’t tell why), ca. 1808–1814,

Why: Showing the work as Goya intended, this print is an early example of his complex etching, drypoint, and aquatint technique that foreshadowed Modernist printmaking.

Helmut H. Rumbler Kunsthandel (Frankfurt), Booth 108

Artist: Rembrandt Harmenszoon Van Rijn (1606-1669)

Must-See: The Three Trees, 1643

Why: Considered one of the most beautiful impressions ever made of a Rembrandt composition, this print stands as one of the crowning achievements in Dutch landscape etching.

John Szoke (New York), Booth 309

Artist: Pablo Picasso

Must-See: Tête de Marie-Thérèse, 1933

Why: Depicting Marie-Thérèse Walter, Picasso’s beloved mistress of the early 1930s, this print directly relates to sculptures and paintings of her that the great genius created in the early 1930s.

Marlborough Graphics (New York-London), Booth 101

Artist: Manolo Valdés

Must-See: Pamela I, 2013

Why: Using etching, silkscreen and collage techniques on handmade papers, the prints of Manolo Valdés reference masters like Rembrandt, Velázquez, Rubens and Matisse to create an intellectual twist that takes significant historical works out of their original context.

Mary Ryan Gallery (New York), Booth 201

Artist: Richard Diebenkorn (1922-1993)

Must-See: Green, 1986

Why: By far the largest print Diebenkorn ever made, Green is considered to be his most important print and is an iconic Ocean Park image.

Mixografia (Los Angeles), Booth 317

Artist: Ed Ruscha

Must-See: Rusty Signs Series, 2014

Why: This suite of prints marks a transformation in one of Ruscha's signature subjects, signifying the first time he is not merely representing the image of a sign, but is re-creating a sign itself.

Osborne Samuel Ltd. (London), Booth 300

Artist: C.R.W. Nevinson

Must-See: Returning to the Trenches

Why: This print was drawn on the back of part of a larger sketch for a painting of the same name, now in the National Gallery of Canada, Ottawa.

Pace Prints (New York), Booth 310

Artist: James Turell

Must-See: Suite from Aten Reign, 2014

Why: This series of new aquatint etchings are the ideal medium to represent the luminous color and subtle tonal variations that the artist achieved with his recent monumental light installation, Aten Reign, in the Guggenheim Museum rotunda.

Paragon (London), Booth 402

Artist: Sarah Morris

Must-See: Bye Bye Brazil

Why: This work appeared in a British Museum exhibition of works in the collection of

Charles Booth-Clibborn, who is also a well-known collector of 18th-century German Romantic prints.

Paul Stolper Gallery (London), Booth 416

Artist: Damien Hirst

Must-See: The Cure – Bright Orange, Orchid/Air Force Blue 2014

Why: These bubblegum silk-screen prints, are part of Hirst’s “Schizophrenogenesis” series, which reflect and probe our drug-addled modern society.

The Fine Art Society (London), Booth 203

Artist: Samuel Palmer (1805-1881)

Must-See: The Sleeping Shepherd, circa 1854

Why: This proof belonged to George Richmond, fellow artist of Palmer, his life-long friend and one the group who called themselves the Ancients and worked with Palmer in the Kentish village of Shoreham in the 1820s.

The Old Print Shop (New York), Booth 100

Artist: Mary Cassatt (1844-1926)

Must-See: The Banjo Lesson, 1894

Why: Signed in pencil on the lower right, this is one of Cassatt’s most captivating images and is a masterpiece of color printing.

Scholten Japanese Art (New York), Booth 213

Artist: Ito Shinsui (1898-1972)

Must-See: Snowstorm, from the Second Series of Modern Beauties, 1932,

Why: This print exemplifies the best of the shin-hanga (new prints) genre, and is a dynamic work that has been finely produced by a publisher many regard as the most important, Watanabe Shozaburo (1885-1962).

Senior and Shopmaker Gallery (New York), Booth 206

Artist: Robert Mangold

Must-See: Five Color Frame, 1985

Why: This is the first woodcut the artist made, in 1985, in collaboration with master printers in Kyoto, and the image relates to multi-panel paintings Mangold was making at the time, exemplifying his interest in themes of classical architecture and geometric harmony.

Shark’s Ink (Lyons, Colo.), Booth 409

Artist: Robert Kushner

Must-See: Tangerines I

Why: Long associated with the Pattern and Decoration Movement and celebrated for large-scale fabric collages as well as for his work as a rule-breaking performance artist, Kushner since 1987 has used flora and fauna as a favored subject, exemplified by this work, which includes plumeria, hibiscus, coffee flowers, lemons and of course, tangerines.

Sims Reed Gallery (London), Booth 221

Artist: Wayne Thiebaud

Must-See: Park Place, 1995

Why: A tour de force of color etching and aquatint, this is one of the most vibrant and largest of the artists celebrated cityscapes.

Stewart & Stewart (Bloomfield Hills, Mich.), Booth 117

Artist: Richard Bosman

Must-See: Porthole 7, 2014

Why: Returning to a narrative theme close to Bosman’s heart, the sea, this work is among the artist’s first monoprints that combine digital technology and unique painting.

Susan Sheehan Gallery (New York), Booth 415

Artist: Donald Judd (1928-1994)

Must-See: Untitled

Between 1961 and 1963, Judd produced a series of 38 woodcuts in both cadmium red and cerulean blue, and this example crystalizes the moment in which the fully abstracted image deviates from the delineated confines of the square or rectangle and becomes a parallelogram, a shape Judd would revisit in multiple mediums during the remainder of his career. 

Tandem Press (Madison, Wis.), Booth 314

Artist: Alison Saar

Must-See: The Cotton Eater, 2014

Why: The artist made the highly unusual choice to print on a sugar sack quilt because it speaks of a generation of the poor that recycled the sacks once used to sell sugar, and of the dark history of sugar as a principal crop complicit in fostering slave trade in America.

Tamarind Institute (Albuquerque, N. Mex.), Booth 403

Artist: Hayal Pozanti

Must-See: A Soft Machine

Why: This was the first time painter Pozanti, a rising star in the art world, has created an edition of prints, which reflect her avid interest in using digital printing as a means of bringing the screen to life.

Two Palms (New York), Booth 111

Artist: Mel Bochner

Must-See: It Doesn't Get Any Better Than This, 2014

Why: The artist has long enjoyed recognition as one of the originators of Conceptual art, and this work further articulates Bochner’s fascination with the connections between written language and visual depiction.

Ursus Rare Books (New York), Booth 420

Artists: Max Ernst and Iliazd

Must-See: Maximiliana, ou L'Exercice Illégal de L'Astronomie, 1964

Why: Maximiliana is not only considered to be an Ernst chef d’oeuvre in book form, but thanks to the contribution of Russian avant-garde designer Iliazd, it is also one of the outstanding illustrated books of the 20th century.

William P. Carl Fine Prints (Durham, N.C.), Booth 315

Artist: Jan Toorop (1858-1928)

Must-See: Woman Looking at the Sun, 1899

Why: Toorop is the most famous Dutch artist working during the Art Nouveau period, and this superb impression is his largest drypoint.

General Information:

The IFPDA’s Print Fair opens with a benefit preview for the IFPDA Foundation, at the Park Avenue Armory, Park Avenue & 67th Street, on Wednesday, November 5, from

6:30-9:00 PM. Tickets are $85 and includes a one-day pass.

The third recipient of the Richard Hamilton Acquisition Prize, sponsored by Champion & Partners, will be announced at the Opening Night Preview, on Wednesday, November 5, a benefit for its grants-making arm, the IFPDA Foundation. The Prize was established in 2012 to support museum acquisitions and awards one institution up to $10,000 for the purchase of one or more prints from any period at the Fair.

The Fair opens to the public on Thursday, November 6 -9. Hours are Thursday to Saturday, Noon to 8:00 PM and Sunday, Noon to 6:00 PM. Daily admission is $20.   Group admission can be arranged through the IFPDA Office. (The IFPDA Print Fair has designated Turon Travel Inc. [turontravel.com] as its preferred U.S. travel agency. For more information, phone: 212.674.6095) or visit www.printfair.com.

About The IFPDA

Founded in 1987, The International Fine Print Dealers Association is a non-profit organization of expert art dealers dedicated to the highest standards of quality, ethics and connoisseurship. The IFPDA Print Fair was established in 1991and has run every year with the exception of 2001. Proceeds from the Fair support its educational programs and the IFPDA Foundation, which provides grants to museums and cultural institutions worldwide to support a greater awareness of prints as an artistic medium.

Champion & Partners

Now in its third year, this award of $10,000 funds a museum acquisition at the Fair. The prize is named in honor of Richard Hamilton as a tribute to the artist’s impact on generations of printmakers and his profound influence on Geoffrey M. Champion’s own appreciation of prints. Mr. Champion heads Champion & Partners, a leading global retained executive search firm. The firm’s specialty is Board Director, CEO and senior executive leadership appointments in the digital media/digital content services, business-to-business services and business-information sectors. Champion & Partners is proud to serve private equity, major investor and global Fortune 500 companies from its offices in Asia, Europe and the United States. WEBSITE:www.championscott.com

Jordan Schnitzer Family Foundation

Sparked by a keen interest in the inventiveness of printmaking and a family legacy of collecting art, Jordan Schnitzer began buying prints in 1988. Today, the Family’s collections exceed 8,000 works, and its Foundation manages an active lending program aimed at making fine art easily available to qualified institutions, especially those in less-

served communities. Mr. Schnitzer aims to create a long and lasting impact through the arts through the significant funding he has provided for the renovation and construction of two university museums that now bear his name: the Jordan Schnitzer Museum of Art at the University of Oregon in Eugene, Oregon, and The Museum of Art at Washington State University in Pullman, Washington, which is planned for completion in 2016. In addition to hardcover exhibition catalogues and other books related to its major exhibitions, the Foundation has also supported the publication of catalogues raisonnés for the prints of Ellsworth Kelly and John Baldessari. WEBSITE: JordanSchnitzer.org

Brett Design Inc.,

Celebrated for her crisp contemporary approach to interior design, Brett Beldock’s New York City-based firm has done design/build projects for homes in Florida, Manhattan, Long Island, and Connecticut. Her latest wallpaper design, String Circles, is featured in the entrance of the Armory's exhibition hall WEBSITE: BrettDesignInc.com

Artsy

Artsy features the world’s leading galleries, museum collections, foundations, artist estates, art fairs, and benefit auctions, all in one place. Their growing database of 195,000 images of art, architecture, and design by 25,000 artists spans historical, modern, and contemporary works, and includes the largest online database of contemporary art. As the official online listing and app for the Fair, Artsy will feature IFPDA in a dedicated microsite accessible via desktop and the Artsy iPhone app. WEBSITE: artsy.net

'wichcraft

The IFPDA Print Fair is proud to partner with ‘wichcraft to present an expanded café featuring a farm-to-table seasonal menu for breakfast, lunch and light bites. ‘wichcraft is a premiere quick-service café-style restaurant from famed chef Tom Colicchio’s Craft family of restaurants, serving hand-made sandwiches, soups, salads, baked goods and premium coffee in New York and San Francisco. WEBSITE: wichcraft.com