Horizontal Figurative Prints

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 10.25 x 14 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, La Comédie Humaine, Suite d...

Screenprint in colors on wove paper. Hand signed, dated and numbered by Keith Haring. Sheet size 42 x 50 inches. Image size 40 x 47 inches. Frame size approx 52 x 60 inches. From th...

The Currency - 7657 By Damien Hirst Damien Hirst is a British contemporary artist known for his provocative and often controversial works that explore themes of life, death, and t...

Jacques Villon Virgil expelled Original stone lithograph Signed in pencil On Japan paper 38 x 56.5 cm (c. 15 x 23 in) INFORMATION : This lithograph is part from the set Les Bucoliq...

Blowing Wind is an etching on paper realized by Jeannette Deseglise in the 1950s. Hand-signed and numbered, edition of 60 prints. Very Good conditions. The artwork is realized poe...

"Navajo Indians At Home" is a color lithograph postcard by Joseph Roy Willis. A number of American Natives of varying ages and genders are depicted in the brightly colored clothing a...

Etching hand watercolored realized by Emanuele Pandolfini in 1970s. Hand signed. Very good condition.

Que Locura is an original artwork realized by the great Spanish artist Francisco Goya in 1810. Original Etching on paper. The artwork belongs to the famous series "Los Desastres ...

Velasquez Le Reddition De Breda is one of six graphics from the series Changes in Great Masterpieces published by Sidney Lucas, 1974. Mas...

Plate from Kanadeon Chushingura is an original modern artwork realized by Utagawa Kuniyasu in 1820 ca. Woodcut Print Oban Dyptich Format. Enya Hanga...

"Battle of Monmouth June 28, 1778" is an original lithograph by Kurz & Allison. It depicts a battle in the American Revolutionary War. 12 1/4" x 18" art 21 1/4" x 27" frame Kurz &...

Dramatic imagery from Tom Bennett’s series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett ...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Andre Masson, French (1896 - 1987) - La Naissance d'Eve from Je Reve Portfolio, Year: 1975, Medium: Lithograph on Arches, Signed and numbered in pencil, Edition: 93/125, Size: 20...

FRANÇOIS AND A FEW FRIENDS by the woman artist Robin Morris, is an original limited edition lithograph(not a photo reproduction or digital print) printed using hand lithography techn...

Landscape With Monuments and Figures is an Etching realized by Various Artists (18th century). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original ...

Héliogravure on vélin paper. Paper Size: 10.5 x 14.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...

Pendant Lamp Made of Bronze is an Etching realized by Lorenzo Mangini (18th century). The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “L...

Michel DELACROIX Paris : Moulin Rouge Lithograph Printed signature in the plate On wove paper 63 x 74 cm Lithographic poster for the artist personal exhibition at Lublin Gallery. Th...

Convento di PP. Francescani del Terzo Ordine is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. ...

Yue Minjun, Remarkable People Contemporary, 21st Century, Lithograph, Limited Edition, Chinese Lithograph Edition of 130 80 × 120 cm (47 1/5 × 31 1/2 in) Stamped Signature, numbered ...

Rainer Fetting, (Germany, 1949-) Wolf, 1984 Screenprint serigraph in colours, on wove paper, the full sheet. Hand signed and numbered 34.5 X 49 inches Rainer Fetting (Born 1949 in Wilhelmshaven, West Germany) is a German painter and sculptor. Rainer Fetting was one of the co-founders and main protagonists of the Galerie am Moritzplatz in Berlin, founded in the late 1970s by a group of young artists (mainly painters) from the class of Karl Horst Hödicke at the former Berliner Hochschule für Bildende Künste (Berlin Art Academy, today known as Universität der Künste). This group of artists, known as the “Moritzboys” and including, among others, Salomé, Bernd Zimmer, and Helmut Middendorf, subsequently achieved international acclaim as the “Junge Wilde” or “Neue Wilde” in the early 1980s. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). The Junge Wilde painted their expressive paintings in bright, intense colors and with quick, broad brushstrokes very much influenced by Professor at the Academy of Art in Berlin, Karl Horst Hödicke They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century. Signed on the plate. Good conditions. ...

Lou Barlow (Louis Breslow), 'Tenant Farmers', color wood engraving, 1936, edition 25. Signed, titled, and numbered '15/25' in pencil. A superb, richly-inked impression, with fresh c...

The Rain - Eight Scenic Spots in Kanazawa is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagaw...

Ancient Roman Fresces from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditions ...

Print Ponte Corvo black and white limited edition no2 of 50 In a moulded gilded frame length 91cm, height 75cm, depth 4cm Framers label on reverse L'Ariete Galleria Torino just pur...

Battle of Forbach is a map realized by R. Walker. Lithograph, printed in 1872 by Milliam Mackenzie, London. Good condition.

A fine example of a very rare etching and drypoint by German Expressionist Max Beckmann, an edition of 50. Titled lower left corner in pencil: Schlafendes Madchen im Kornfield. (Mai...

"Chamber Music" is an original wood engraving by Robert Franz von Neumann. It features a room full of men in the thralls of creating music together. A small audience stands outside their circle. Image: 5.5" x 7" Framed: 14" x 15.56" 1888 - 1976 Born in Rostock, Mecklenburg, Germany, Robert von Neumann...

Screen print on silk scarf. Edition size unknown, as they were intended as holiday gifts. Scarf size 35.5 x 36 inches. Frame size: approx 40 x 40.5 inches. Printed by Rupert Jasen...

Hadar takes euphoric moments and try to generate a three dimensional feeling with every image inviting the viewer to jump into the game and to be part of it. There's a hidden message...

Lesser Black-Backed Gull is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & S...

This artwork titled "The Windmill" 1641 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. Signatu...

'Rent Day' Engraving by Abraham Raimbach (1776-1843) after Sir David Wilkie RA (1785-1841). Circa 1820. 'Second Plate' printed under engraver's name. Wilkie was an important Scot...

Raoul DUFY The Hunt, c. 1910 Original woodcut Signed with the stamp of the artist's studio Numbered on /220 Titled in the board 50.5 x 65.4 cm (c. 19.6 x 25.5 inch) Excellent condi...

A very good, richly-inked impression of this lithograph. Signed and numbered 57/100 in pencil by Matisse. Printed at the studio of Duchatel, Paris 1929.

'The Lamentation', lithograph, 1941, edition 35, Fine and Looney 198. Signed, titled, and annotated 'Ed 35' in pencil. Initialed in the stone, lower ri...

Medium: Serigraph Image Size: 24 x 36 inches Year: 1999 Signed and numbered by the artist from the edition of 150. Throughout his 40 year career as an artist, Frank Romero has been a dedicated member of the Los Angeles arts community. As a member of the 1970s Chicano art collective, Los Four, Romero and fellow artists Carlos Almaraz, Beto de la Rocha...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art...

Chbysochlore is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was publis...

This lithograph by artist Ron Adams depicts the renowned printer Robert Blackburn in his workshop in NYC. Blackburn was involved with every major player of the Harlem Renaissance alo...

Etching with drypoint and aquatint on laid Japon paper, 9 x 11 1/4 inches (228 x 280 mm); sheet 11 7/8 x 13 5/8 (302 x 346 mm), full margins. Signed, titled and inscribed "To my dear...

"Le Trait de la Figure" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (III/CXX) in the lower left. This piece dep...

"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...

Reactions to Death is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind",...

Desperation is an original artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the Love of Mankind", London, Bensley, 1810. This artwork portrays a historical woman...

Margo Humphrey, 'The Garden (Adam and Eve)', reductive color woodcut, 1989. Signed, dated, and annotated 'A/P' in pencil. Signed and dated in the image, lower right. A fine, richly-inked, artist's proof impression, with fresh, vivid colors, on BFK Rives, heavy, off-white wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Scarce. Image size 27 1/4 x 39 1/8 inches (692 x 994 mm); sheet size 29 1/2 x 42 inches (749 x 1,067 mm). ABOUT THIS WORK "Humphrey continued to reinterpret stories from the Bible with African American figures. In 1989 she published the woodcut print 'The Garden' at Magnolia Editions in Oakland, CA. For this rare foray into relief printmaking, she employed the reductive method, which uses only one block that is successively carved for each color segment, reducing the block with each cutting. Technically challenging, this lush and elaborate print is a testament to Humphrey’s skills as a printmaker. A youthful Adam and Eve are depicted in a luxuriant tropical landscape. Here, Humphrey chooses not to include the traditional symbols of humanity’s downfall but instead portrays them as being protected by angels in an atmosphere of idyllic bounty. ...Although Humphrey challenges traditional representation of Christian themes, her images are not iconoclastic but present a broader, more inclusive engagement with religious spirituality." — Adrienne L. Childs, 'Margo Humphrey, The David C. Driskell Series of African American Art: Volume VII,' Pomegranate Communications, Inc., 2009, page 71. ABOUT THE ARTIST American printmaker, illustrator, and art teacher Margo Humphrey was born in Oakland, California, in 1942. She earned a BFA in Painting and Printmaking from the California College of Arts and Crafts and a Master of Fine Arts degree in Printmaking from Stanford University. Humphrey began teaching in 1973 at the University of California Santa Cruz and has since taught at the University of Texas at San Antonio, the San Francisco Art Institute, and the School of the Art Institute of Chicago. She has also taught at the University of the South Pacific in Suva, Fiji; Yaba Technological Institute of Fine Art, Ekoi Island, Nigeria; the University of Benin in Benin City, Nigeria; the Margaret Trowell School of Fine Art in Kampala, Uganda, and the Fine Art School of the National Gallery of Art, Harare, Zimbabwe. In 1989, she was appointed Department Head of Printmaking at the University of Maryland in College Park. Humphrey has worked in lithography, monoprint, and woodcut with significant printmaking ateliers, including the Rutgers Center for Innovative Print and Paper, the Bob Blackburn Printmaking Workshop, and the Tamarind Institute in New Mexico. She was one of the earliest African-American woman artists to distinguish herself as a lithographer in a highly technical, male-dominated profession and was the first to have her prints published by Tamarind in 1974. Humphrey’s imagery combines historical perspective, autobiography, and fantasy to illuminate her experience as an African American woman. Bold, saturated color, animated figures, and syncopated rhythmic arrangements are hallmarks of Humphrey's oeuvre. Though Humphrey labels her distinctive style "sophisticated naive," the narrative complexity and technical skill of her works attest to her artistic virtuosity. Joyful, expressive, and at times humorous, her works offer engaging commentary on the presumptions of American culture and myth while embracing her personal vision of authenticity and spirituality. She developed her 1987 work The Last Bar-B-Que, a vividly colored transformation of the Last Supper, following a three-year period during which she examined portrayals of the iconic subject by artists from Pietro Lorenzetti to Emil Nolde. Her narrative work The Garden, a monumentally scaled reductive woodcut, is a further example of an archetypal subject—Adam and Eve in the Garden of Eden—debunked and rendered with fresh, life-affirming vibrancy. Since her first solo exhibition in 1965, Humphrey’s works have been exhibited internationally. They are held in major institutions, including the Museum of Modern Art, The Smithsonian American Art Museum, the Philadelphia Museum of Art, the Hampton University Museum, the Victoria and Albert Museum (London), the Museum of Modern Art, Rio de Janeiro, and the National Gallery of Modern Art, Lagos. In 1996, she was invited to be part of the World Printmaking Survey at the Museum of Modern Art, New York. In 2011, Hampton University Museum mounted a 45-year retrospective of Humphrey’s work Her Story: Margo Humphrey Lithographs and Works on Paper, jointly curated by Robert E. Steele, executive director of the David Driskell...

Melting Pot Flag by Massimo Vignelli, Italian (1931–2014) Date: 1989 Screenprint, signed and numbered in pencil Edition: 215/300 Size: 35 x 50 in. (88.9 x 127 cm) This 1989 silkscre...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...

The Military Portait - The Appearance of Our Lady- The Classroom is an original Lithograph realized by Denis Auguste Marie Raffet. Signed on the center and numbered (9). Edition by...

New York City native Oscar Weissbuch (1904-1948), attended the Yale University School of Fine Arts and the Art Students League, NY. He participated in the NYC-WPA printmaking project...

Degas, Edgar (after) (1834 -1917) "Ludovic Halevy Meeting Madame Cardinal Backstage" Soft-Ground Etching created from a Monotype, 1938-9 First State. # 251 from the edition of 350 o...

Lithograph in colors on arches paper. Hand signed and numbered by Ivan Schwebel. Edition 115/190. From the "Ten Painters on War and Peace" portfolio. Printed on May 10, 1978 to ...

Taevernier No. 102 - Etching is in very good condition and of very good quality. Although the plate was deleted in the presence of a bailiff in 1950 or 1951, this print was made afte...

Pablo PICASSO (1881-1973) Comédie Humaine, Clown with Mirror and Young Mother, 1954 Original lithography (Mourlot workshop) Unsigned On paper 26 .5 x 35.5 cm (c. 10,2 x 13.7 in) I...

Hand signed and numbered screen print in colors on paper. Edition of 300. Sheet size 33 x 39 inches. Image size approx 26 x 33 inches. Frame size approx 37 x 43 inches. Artwork ...

Born in Bronx, NY, Ida Applebroog attended NY State Institute of Applied Arts and Sciences and the School of the Art Institute of Chicago. She received a MacArthur Foundation Fellows...

The Bear is an original lithograph on paper, realized by E.Laport in about 1860. The state of preservation is good except for some diffused stains. Hand-colored. Plate No.9 Shee...

The Skeleton is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was publis...