Louis Malteste

Marchande de Lacets - Lithograph by Louis Malteste - 1897

1897

Portrait is an original artwork realized in the mid-20th-Century by André Minaux. Original Lithograph. Hand-signed but illegible. The artwork is depicted through strong strokes i...

Decorative Objects in Arab Style is a print on ivory-colored paper realized by A. Alessio in the early 20th Century. Signed on the plate on the lower Vintage Chromolithograph. Ve...

Scenic Spots in Kyoto is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 1...

The Pianist is a lithograph realized by Raoul Dufy in 1920. Good conditions. Edition of 110. Unsigned and unnumbered as issued. The artwork is depicted through confident strokes i...

Still Life is a lithograph realized by Raoul Dufy in 1920. Good conditions. Edition of 110. The artwork is depicted through confident strokes in a well-balanced composition.

The Bridge of Salamanca is a lithograph on paper realized by John Godfrey in The 19th Century. Signed on the plate on the lower right corner. Titled on the lower center. Good condition with minor foxing. An impressive landscape...

Artist: Andre Minaux, French (1923 - 1986) Title: Haleine from the Helene Portfolio Year: 1974 Medium: Lithograph, signed and numbered in pencil Edition: 150, XXX Size: 25.75 in. x 1...

Expressionist poster of “The Green Bird” by Marc Chagall (Russian/French, 1887-1985) for Chagall’s exhibition in 1962 at Galerie Maeght in France. Marc Cha...

Musee National, Message Biblique, The Angel of Judgment Marc Chagall (after), Russian (1887–1985) Date: 1974 Lithograph Poster, signed in marker Edition of 5000 Size: 30 in. x 20.5 in. (76.2 cm x 52.07 cm) Printer: Mourlot, Paris Publisher: Society of the Friends of the National Marc Chagall Biblical...

This artwork titled "Sub Culture" c1972 is an original color lithograph on wove paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and numbered 5/10 in pencil by the artist. The image size is 17.75 x 13 inches, sheet size is 19.85 x 15 inches. It is in excellent condition, some hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...

Artist: Juan Garcia Ripolles (1932 - ) Title: Harlequin Leaping Date: 1971 Medium: Lithograph, signed and numbered in pencil Edition of E.A. XX (20) Size: 25.5 in. x 19 in. (64.77 cm...

Lithographic reproduction executed by Charles Sorlier from a large original print, "The Magician of Paris", 1970 from the second printing of 3500 ...