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Bird - Original Woodcut - Early 20th Century

Early 20th Century

The bird is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Bird is an original etching realized in 1968 by an Anonymous artist of the XX century, the state of preservation of the artwork is good. Hand-signed on the lower right, unreadable, ...

Ex Libris is a Modern Artwork realized in the mid-20th Century. Woodcut print on paper.  The work is glued on a cardboard. Good conditions.

Ex- Libris - Two Birds  is an Artwork realized in Mid 20th Century Woodcut print on ivory paper. The work is glued on green cardboard. Hand Signed on the lower margin. Total dimens...

Medium: original woodcut. Executed for the second volume (1956-57) of the very rare Documenti d'Arte d'Oggi, published in Milan by Groupe Espace. Size: 12 1/2 x 8 1/2 inches (318 x 2...

Fascinating black and white abstract woodcut of a figure and a stalk of corn backed by a long tiled hallway, 1995. Signed and dated lower right. Titled "Oro Humano Aureo Divino" lowe...

The Vulture is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.6 x 8 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

Head Pastures, original woodcut and monotype. Pencil signed, titled and dated to the lower margin. Presented in a reeded frame. On japanese paper.