Etching Figurative Prints

Marc Chagall (1887-1958) Bible : Moses and Aaron with Pharaoh (Moïse et Aaron devant Pharaon), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch)...

Marc Chagall (1887-1958) Bible : Samson overthrows the pillars (Samson renverse les colonnes), 1939 Original etching Printed signature in the plate On Mont...

Marc Chagall (1887-1958) Bible : Canticle of David (Cantique de David), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) I...

Marc Chagall (1887-1958) Bible : Isaiah's prayer, (Prière d'Esaïe), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFOR...

- Edition 250 - cat.raisonné Bloch 135 - published by A. Vollard, Paris

Although the title 'Lobster Fleet' calls to mind numerous vessels at sea in a single spot (and there's a group in the distance), in fact the print features a lone fisherman in a smal...

Marc Chagall (1887-1958) Bible : Jeremiah in the pit (Jérémie dans la fosse), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMATION: Pu...

Marc Chagall (1887-1958) Bible : David ascending the hill of olives (David montant la colline des oliviers), 1939 Original etching Printed signature in the plate On Montval vellum, ...

Marc Chagall (1887-1958) Bible : Lot and his daughters (Loth et ses filles), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMATION: Pub...

Marc Chagall (1887-1958) Bible : Isaiah's vision (Vision d'Esaïe), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORM...

Marc Chagall (1887-1958) Bible : Elijah on Mount Carmel (Elie sur le mont Carmel), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13...

Marc Chagall (1887-1958) Bible : Prophecy about Jerusalem (Prophétie sur Jérusalem), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x ...

Marc Chagall (1887-1958) Bible : Samson and the lion, (Samson et le lion), 1939 Original etching Printed signature in the plate On Montval vellum, 33.5 x 44 cm (c. 13.1 x 17.3 inch)...

Marc Chagall (1887-1958) Bible : Saul and David (Saül et David), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMAT...

Marc Chagall (1887-1958) Bible : Elijah touched by an angel, (Elie touché par un ange), 1939 Original etching Printed signature in the plate On Montval vellum, 33.5 x 44 cm (c. 13.1...

Marc Chagall (1887-1958) Bible : The judgment of Solomon (Le jugement de Salomon), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13...

Marc Chagall (1887-1958) Bible: Abraham ans the three angels (Abraham et les trois anges), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) IN...

Marc Chagall (1887-1958) Bible : The burning bush (Le buisson ardent), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) IN...

Marc Chagall (1887-1958) Bible : The fight with the angel (La lutte avec l'ange), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13....

Marc Chagall (1887-1958) Bible: Joseph and his brothers (Joseph et ses frères), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 ...

Marc Chagall (1887-1958) Bible : Noah's coat (Le manteau de Noé), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMATION: Published by ...

Art Deco Etching and Aquatint "Jeunesse" (Youth) Signed by Louis Icart Iconic figurative of woman and horse titled "Jeunesse" (Youth) by famous Art Deco artist Louis Icart (French, ...

Hand signed, titled and numbered by the artist. Ginestet Pouillon 390. Sheet size 10.7 x 7 in. Image size 8 x 6 in. Framed. Edition of 140. Artwork is in excellent condition. Certi...

ARTIST: Salvador Dali TITLE: LEs Chantes de Maldoror Memory of Music MEDIUM: Etching Arches paper SIGNED: Not signed PUBLISHER: Albert Skira, Paris MEASUREMENTS: 10" x13" YEAR...

- handsigned on the lower right - dated and unreadable inscripted in the plate - from the Suite Vollard - plate size: 19,5 x 27,6 cm; sheetsize: 34 x 44,5 cm - edition of 250 - cat. ...

This is an aquatint print by French painter Georges Rouault titled "Le Rencheri" from Cirque de l'étoile filante (The Shooting Star Circus) 1935, published 1938 by Ambroise Vollard....

This is an aquatint print by French painter Georges Rouault titled "Jongieur" from Cirque de l'étoile filante (The Shooting Star Circus) 1935, published 1938 by Ambroise Vollard. Si...

Original Edition burin etching and engraving on wove paper. Edition: 1,500. Inscription: Signed in the plate and unnumbered, as issued. Excellent Condition; never framed or matted. N...

Original Edition etching and engraving on wove paper. Inscription: Signed in the plate and unnumbered, as issued, verso. Excellent Condition; never framed or matted; lithograph by th...

Otto Kuhler, 'Cargo Carriers', etching and drypoint, c. 1932, edition 10, Kennedy 44. Signed in pencil. A superb, atmospheric impression with rich burr and selectively wiped overall plate tone, in dark brown ink, on Arches cream laid paper; wide margins (2 to 2 3/4 inches), in very good condition. Printed by the artist. Original Kennedy Galleries mat and label. Scarce. "On my trips up and down N.Y. harbor on the Weehawken Ferry, the late evening sun playing on the side of the big liners has always intrigued me... The liner shown I believe to be the Vaterland of the North German Lloyd...

Leon Bibel, 'Food Not Cannon', etching, 1937, edition 12 (an early state, probably unique). Signed in pencil. A fine impression, on cream wove paper, with full margins (7/8 to 2 1/8 ...

By Pablo Picasso Intaglio Etching pair, edition 116/850, Dated 1937 Signed and numbered in pencil Image size 14" x 18" each Frame Size: 25.5" X 29" Entri...

Sunday Morning. Title: Sunday Morning Artist: Dox Thrash (American, Griffin, Georgia 1893–1965 Philadelphia, Pennsylvania) Printer: Sam J. Brown (1901-1994). Date: ca. 1939. Medium: Drypoint Dimensions: sheet: 12 5/8 x 10 5/8 in. (32 x 27 cm) plate: 8 7/8 x 7 7/8 in. (22.5 x 20 cm) This is the most heavily inked, atmospheric example known to exist. Unique, unsigned example from the collection of artist Samuel J. Brown. Dox Thrash (1893–1965) was an African-American artist who was famed as a skilled draftsman, master printmaker, and painter and as the co-inventor of the Carborundum printmaking process.[1] The subject of his artwork was African American life. He served as a printmaker with the W.P.A. at the Fine Print Workshop of Philadelphia. The artist spent much of his career living and working in Philadelphia, Pennsylvania.[1] Early life Dox Thrash was born on March 22, 1893, in Griffin, Georgia.[2] He was the second of four children in his family. Thrash left home at the age of fifteen in search of work up north. He was part of the Great Migration (African American) looking for industrial work in the North. The first job that Thrash got was working with a circus and a Vaudeville act. In 1911, at the age of 18, he moved to Chicago, Illinois.[3] He got a job as an elevator operator during the day, and used this source of income to attend school.[3] In 1914 he attended the School of the Art Institute of Chicago.[1] In 1917, the United States declared war on Germany and entered World War I. In September 1917, at the age of twenty-four, Thrash enlisted in the army.[3] He was placed in the 365th Infantry Regiment, 183rd Brigade, 92nd Division, also known as the Buffalo Soldiers.[1] During combat, Thrash suffered shell shock and a gas attack, but was not permanently injured. Career as an artist Front cover of Dox Thrash: An African American Master Printmaker Rediscovered, by John Ittmann. After having served in the war, Thrash qualified as a war veteran and enrolled in the Art Institute of Chicago with the support of federal funding.[3] After finishing his education, he traveled intermittently from Georgia to Chicago, Boston, New York, and finally Philadelphia, working odd jobs - experiences that provided him with subject matter to later paint. Settling in Philadelphia by 1925, he took a job working as a janitor. In his free time, he continued his art career and used his talent to create emblems, such as the one for the North Philadelphia Businessmen's Association, and posters in exhibitions and festivals, including the 2nd Annual National Negro Music Festival and the Tra Club of Philadelphia.[1] This gained him local recognition and opened doors for new artistic endeavors. By 1929, Thrash was attending nightly classes within these clubs, namely with Earl Horter of the Graphic Sketch Club, now known as the Samuel S. Fleisher Art Memorial.[3] In 1937 Thrash joined the government-sponsored Works Progress Administration (WPA)'s Federal Art Project.[4] Through the WPA, Thrash began working at the Fine Print Workshop of Philadelphia.[5] At the Fine Print Workshop of Philadelphia, Thrash, along with Michael J. Gallagher and Hugh Mesibov, began experimenting and co-inventing the process of carborundum mezzotint, a printmaking technique.[1] Carborundum printmaking uses a carbon-based abrasive to burnish copper plates creating an image that can produce a print in tones ranging from pale gray to deep black. The method is similar to the more difficult and complicated mezzotint process developed in the 17th century. He used this as his primary medium for much of his career and created his greatest works with it. One of his first pieces employing this nascent technique was his anonymous self-portrait entitled Mr. X. With this new technique, the three gained increasing recognition as they published more and more graphics within newspapers and featured more and more pieces within exhibitions. Their works often featured subtle commentaries about social and economic exploitation regarding the contemporary politics of the Great Depression and the Second World War. By 1940, Thrash, Gallagher, and Mesibov all began to gain attention in local circles for their carborundum prints, although the role that each artist played in the development of the process was left unclear.[6] In 1960, Thrash participated in a show at the Pyramid Club, a social organization of Black professional men that held an annual art exhibit starting in 1941. Others on hand were Howard N. Watson, Benjamin Britt, Robert Jefferson and Samuel J. Brown Jr. Thrash spent the later years of his life mentoring young African American artists. He died on April 19, 1965, in Philadelphia, Pennsylvania.[2] He was posthumously honored almost 40 years later in 2001 with a major retrospective, titled Dox Thrash: An African-American Master Printmaker Rediscovered, at the Philadelphia Museum of Art.[7] Thrash's work was included in the 2015 exhibition We Speak: Black Artists in Philadelphia, 1920s-1970s at the Woodmere Art Museum.[8] Relation to Alain Locke and the New Negro Movement This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (June 2022) (Learn how and when to remove this template message) Alain LeRoy Locke (1885-1954) was an intellectual, professor and author who espoused that African Americans, specifically artists, to capture the personality, lives, and essence of their people in The New Negro. He explained “The Negro physiognomy must be freshly and objectively conceived on its own patterns if it is ever to be seriously and importantly interpreted. Art must discover and reveal the beauty which prejudice and caricature have overlaid.”[9] What Locke is expressing here is not only the call for black artists to overcome racial prejudices via positive artistic representations of blacks, but that the actual African American individual like Thrash portrayed the lives of fellow blacks, and had the power to propagate this idea of the New Negro, as Locke explains, “There is the possibility that the sensitive artistic mind of the American Negro, stimulated by a cultural pride and interest, will receive…a profound and galvanizing influence.”[10] In his shadowy carborundum mezzotint Cabin Days, Thrash depicts a southern black family on the porch of their shack-like home in a rural landscape. The man, woman, and child, clutched tenderly to the female figure's breast, create an intimate scene highlighted by the bright cleanliness of the laundry hanging behind them. Placed in front of the drying laundry, they are framed by one aspect of the hard work accomplished during the day. Close to one another, staring collectively outward at the Southern landscape, they, and their laudable priorities of cleanliness and family, are made the bright focal point in the poor, unstable atmosphere. Such inner warmth is seemingly incompatible with the family's crooked and disheveled surroundings, and their fuzzy appearance with a lack of facial detail makes the scene into a general archetype for rural southern blacks living conditions and qualities. Thrash was referencing an experience common to thousands of black families in rural occupations at the turn of the 20th century, often forced into slavery-like tenant farming as their only means of livelihood in the racist South. The “uneven clapboards, leaning porch, broken shutter, and uprooted fence” are rife with instability, much like the post-slavery economic and social systems of the South, making it clear that for African Americans, “the house is not the home; rather, the figures on the porch represent family unity and continuity”.[10] In this way, Thrash is able to not only champion the positive qualities of blacks in the family setting but underscore this with a symbolic look at their disadvantaged situation, making it all the more impressive that they persevere. Thrash symbolically depicted harsh realities for the African American at this transitional point in history while conferring a sensitive rendering of their humanity, akin to any other race, despite its utter denial by American society. Through softer tempera washes like A New Day, he literally and figuratively paints a picture of a black family transitioning from the South to the North during the Great Migration, making a hopeful, daring leap to attempt to be equal members of the society that has historically oppressed them. On the left side of the canvas lie muddled farm houses and plow handles, embodiments of their rural life of tedious hard labor behind them, fading to gray. Their hopeful gazes “…convey the optimism of the scores of African Americans who left the countryside to pursue better job opportunities, health care, and education in urban centers”.[6] The stance of the figures, with their chins raised in a dignified gesture towards cityscape ahead suggest a confidence and ambitiousness in their collective futures in this new northern industrial terrain. Even the child, clutched securely in the arm of the mother figure against her breast is not only serenely grinning, but calm enough to appear to gently doze, confident in that the journey ahead will result positively, poses no threat. The exposed arm of the woman is notable as well, being unusually thick and muscular, along with the general proportions of the kneeling father, who position on the ground appears not pleading but rather in a slightly exhausted, but upright gratefulness for the promise ahead. Thrash makes it clear that this family has traveled a long way, but is not depleted; rather they are strong and preparing for further hard work and hopeful success ahead. They are the quintessence of the New Negro, in that they are not only journeying forward to seize previously unobtainable opportunities that will enhance their lives, but the manner with which they hold themselves provokes a certain level of warranted respect for their humanity, from the viewer. In fact it was the strength of his fellow African Americans that Thrash often emphasized, amongst other positive characteristics in the face of adversity in personal portraits. Through his carborundum print Life, he depicts a neatly dressed black girl reading...

Etching. Hand signed as L. de Mattia. Good condition.

Eurybia and Eros Etching, 1932 Printed on BFK Rives paper Unsigned (as issued by Vollard) Published by Ambrose Vollard, Paris From the suite of 16 illustrations for Hesiod's Theogony...

Le Tronc de l'arbre is an artwok realized in 1935, by the French Artist Paul Emile Colin . Black and white etching on paper. Hand Signed on the right corner. Limited edition of 35, ...

This piece is an original etching by Pablo Picasso, 1933. It is from "La Suite Vollard", a series made between 1930 and 1939, that was created by Pica...

GEORGES ROUAULT (1871 – 1958) La PARADE 1932 (CR.203, W.211) color etching and aquatint 1932. Edition 270. Frontispiece from “Cirque”. ...

The Wild Boars is a B./W.  etching on paper realized on 1934 by the French artist Xavier de Poret. Hand Signed on the left and dated on the right corner.

This is an aquatint print by French painter Georges Rouault titled "Dors mon amour" ("Sleep, My Love") (plate facing page 164) from Cirque de l'étoile filante (The Shooting Star Circ...

Ex-Libris - Leo Winkeler is an Artwork realized in 1930 s., by Artist Jocelyn Mercier Etching on paper. Hand Signed and dated on the right margin. The work is glued on ivory cardbo...

Etching on Montval with watermark "Vollard" Hand Signed in pencil. One of 260 proofs Ref. Catalogue Bloch n.135; Baer 195 B.d.; Belongs to the "Suite Vollard". Édition Ambroise V...

Sheet dimensions: 70x50 cm. Hand Signed. Not Numbered. Edition of 250 pieces. Belongs to the series "Suite Vollard", probably the most popular and appreciated graphic suite by Picass...

James Allen, 'Spiderboy', 1937, etching, edition 40, Ryan 86. Signed in pencil. A superb, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 7/8 inches). A s...

James Allen, 'The Connectors', 1934, etching, edition not stated, Ryan 66. Signed in pencil. A superb, richly-inked impression, on handmade, cream laid paper, with margins (1/2 to 1...

Isaiah's Prayer Etching, c. 1931-1939 Signed in the plate (see photo) Plate No. 99 From: La Bible. L'Ancien Testament (105 plates) Edition of 275 unsigned (there were an additional 2...

Hand Signed. Edition of 99 prints. Plate 24 from "La Suite Vollard". Catalogue Bloch n.227. Passepartout included (cm.50x70). Prov. Private Collection, France.

Hand signed in ink. Edition of 125 prints. Very good condition. Catalogue Bloch n.132.

Reginald Marsh, 'A Morning in May', etching, 1936, edition 100 (Whitney, 1969), Sasowsky 169. Unsigned as published; numbered '89/100' in pencil. A superb, richly-inked impression, ...

This etching on paper, 11.75 x 8.25" image size, is signed ‘Henri Matisse’ lower right, numbered lower left, and framed in a beautiful, custom gold-leaf frame. From the edition of 15...

This etching on paper, 11.75 x 8.25" image size, is signed ‘Henri Matisse’ lower right, numbered lower left, and framed in a beautiful, custom gold-leaf frame. From the edition of 15...

This etching on paper, 11.75 x 8.25", is signed ‘Henri Matisse’ lower right, numbered lower left, and framed in a beautiful, custom gold-leaf frame. From the edition of 150, numbered...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Sueño y mentira de Franco I', 1937 aquatint, etching on paper 15.2 x 22.4 in. (38.5 x 56.7 cm.) Editio...

Reginald Marsh, 'Erie R.R. Locos Watering (Locomotives Watering)', etching, 1934, edition 100 (Whitney, 1969), Sasowsky 155. Unsigned as published; numbered '68/100' in pencil. A su...

Georges Braque (1882-1963) Hesiod's theogony : Artémis Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) Publishe...

Georges Braque (1882-1963) Hesiod's theogony : Gaia & Ouranos Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) P...

Georges Braque (1882-1963) Hesiod's theogony : Pegasus Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) Publishe...

Georges Braque (1882-1963) Hesiod's theogony : the divinity and the dove Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19...