Graphite Figurative Prints

Françoise Gilot Window on Another Dimension, 1981 Lithograph on Arches mould made Johannot paper Signed and numbered in graphite pencil; also bears artist's monogram with date, editi...

Thelma Appel The Magician, 2018 18 Color Silkscreen on 320 gram Coventry Rag paper with deckled edges; accompanied by artist signed COA Signed twice: Pencil signed, titled and number...

Ed Ruscha Hollywood in the Rain (Engberg, M19), 1970 Color offset lithograph on wove paper Signed and numbered 104/220 in pencil below image Frame included: held in a museum quality ...

Still life with (thomas) Sully and (Andy) Warhol, (French actress Sarah Bernhardt (1844-1923)) Hand signed in pencil, dated 1994 bears gallery label from OK Harris Gallery in New Yor...

Linda Stein, Profile Flying 446.042 - Signed Feminist LGBTQ+ Graphite on Paper Drawing Profile Flying 446.042 is from Linda Stein's Profiles series--drawings, collages and paintin...

Niki de Saint Phalle I Rather Like You A Lot You Fool, 1970 Silkscreen on wove paper Signed and numbered 74//75 in graphite pencil on the front Frame included Signed and numbered 74...

Ed Ruscha and Kenny Scharf Fun Vacation (200, Engberg), 1990 Lithograph in five colors on white Rives BFK paper (hand signed by BOTH Ed Ruscha and Kenny Scharf) 36 × 27 inches Hand-s...

Veronika Suschnig Körperstudien 1 [body studies] 2023 Graphite and glue on paper Unique Veronika Suschnig (*1989 Korneuburg) has established herself with her works in series. In addition to series like “Drugtales”, in which she presents pill packages as text messages, or the thickly painted “Pleasure Paintings”, the “Soft Skills” series has been in progress since 2022: silkscreen prints and painting in acrylic on cotton gauze, the forms of which are based on alienated body studies. Fragmented and multidimensional with respect to both technique and content, these new works are impressive. “In essence, it’s always about interpersonal relationships”, the artist explains, “and about proximity and distance”. Suschnig likes to work site-specific and often from out of the wall into the three-dimensional. She also refers to her work as “sculptural panel paintings”. Besides her art studies at the Academy of Fine Arts in Vienna with Daniel Richter and Heimo Zobernig...

Körperstudien 5 [body studies] Veronika Suschnig 2023 Graphite and glue on paper Unique Veronika Suschnig (*1989 Korneuburg) has established herself with her works in series. In addition to series like “Drugtales”, in which she presents pill packages as text messages, or the thickly painted “Pleasure Paintings”, the “Soft Skills” series has been in progress since 2022: silkscreen prints and painting in acrylic on cotton gauze, the forms of which are based on alienated body studies. Fragmented and multidimensional with respect to both technique and content, these new works are impressive. “In essence, it’s always about interpersonal relationships”, the artist explains, “and about proximity and distance”. Suschnig likes to work site-specific and often from out of the wall into the three-dimensional. She also refers to her work as “sculptural panel paintings”. Besides her art studies at the Academy of Fine Arts in Vienna with Daniel Richter and Heimo Zobernig...

Körperstudien 4 [body studies] Veronika Suschnig 2023 Graphite and glue on paper Unique Veronika Suschnig (*1989 Korneuburg) has established herself with her works in series. In addition to series like “Drugtales”, in which she presents pill packages as text messages, or the thickly painted “Pleasure Paintings”, the “Soft Skills” series has been in progress since 2022: silkscreen prints and painting in acrylic on cotton gauze, the forms of which are based on alienated body studies. Fragmented and multidimensional with respect to both technique and content, these new works are impressive. “In essence, it’s always about interpersonal relationships”, the artist explains, “and about proximity and distance”. Suschnig likes to work site-specific and often from out of the wall into the three-dimensional. She also refers to her work as “sculptural panel paintings”. Besides her art studies at the Academy of Fine Arts in Vienna with Daniel Richter and Heimo Zobernig...

Körperstudien 3 [body studies] Veronika Suschnig 2023 Graphite and glue on paper Unique Veronika Suschnig (*1989 Korneuburg) has established herself with her works in series. In addition to series like “Drugtales”, in which she presents pill packages as text messages, or the thickly painted “Pleasure Paintings”, the “Soft Skills” series has been in progress since 2022: silkscreen prints and painting in acrylic on cotton gauze, the forms of which are based on alienated body studies. Fragmented and multidimensional with respect to both technique and content, these new works are impressive. “In essence, it’s always about interpersonal relationships”, the artist explains, “and about proximity and distance”. Suschnig likes to work site-specific and often from out of the wall into the three-dimensional. She also refers to her work as “sculptural panel paintings”. Besides her art studies at the Academy of Fine Arts in Vienna with Daniel Richter and Heimo Zobernig...

Körperstudien 2 [body studies] Veronika Suschnig 2023 Graphite and glue on paper Unique Veronika Suschnig (*1989 Korneuburg) has established herself with her works in series. In addition to series like “Drugtales”, in which she presents pill packages as text messages, or the thickly painted “Pleasure Paintings”, the “Soft Skills” series has been in progress since 2022: silkscreen prints and painting in acrylic on cotton gauze, the forms of which are based on alienated body studies. Fragmented and multidimensional with respect to both technique and content, these new works are impressive. “In essence, it’s always about interpersonal relationships”, the artist explains, “and about proximity and distance”. Suschnig likes to work site-specific and often from out of the wall into the three-dimensional. She also refers to her work as “sculptural panel paintings”. Besides her art studies at the Academy of Fine Arts in Vienna with Daniel Richter and Heimo Zobernig...

Artist: Felix de Weldon (1907-2003) Title: Iwo Jima Memorial Year: 2001 Edition: 2/150, plus proofs Medium: Lithograph with graphite ink on BFK Rives cream color paper Inscription: S...

Artist: Felix de Weldon (1907-2003) Title: The Lovers Year: 2001 Edition: 2/10 A.P. Medium: Lithograph with graphite ink on BFK Rives cream color paper Inscription: Signed & numbered...

Lowell Nesbitt Orchid, 1979 Silkscreen on wove paper Pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front Published by Charles Cardinale Fine Creations, Inc., with blind stamp on the front 25 × 25 inches Unframed This work is pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front. About Lowell Nesbitt. Lowell Nesbitt, who was born in Baltimore on Oct. 4, 1933, was a graduate of the Tyler School of Art at Temple University in Philadelphia and also attended the Royal College of Art in London, where he worked in stained glass & etching. In 1964, the Corcoran Gallery or Art in Washington gave him one of his first museum exhibitions, and by the mid 1970's he had decided to leave the museum a bequest of more than $1 million. But in 1989, he publicly revoked the bequest after the Corcoran canceled a disputed exhibition of photographs by Robert Mapplethorpe, who was an old friend. Mr. Nesbitt named the Phillips Collection as a beneficiary instead. He was frequently grouped with the Photo Realists, but his images were more interpretively distorted, somewhat loosely painted and boldly abbreviated. He had many subjects: studio interiors, articles of clothing, piles of shoes and groupings of fruits and vegetables. He also painted his dog, a Rottweiler named Echo, the Neoclassical facades of SoHo's 19th century cast-iron buildings and several of Manhattan's major bridges. Despite such variety, Lowell Nesbitt was best known for gargantuan images or irises, roses, lilies and other flowers, which he often depicted in close up so that their petals seemed to fill the canvas. Dramatic, implicitly sexual and a little ominous, they earned the artist a popularity with the general public that tended to overshadow his reputation within the art world. In 1980, the United States Postal Service issued four stamps based on Mr. Nesbitt's floral paintings. He also served as the official artist for the space flights of Apollo 9...

Audrey Flack Une Bouchee D'Amour, 2013 Mixed media: Digitized drawing with silkscreen Signed, titled and numbered recto (front) in graphite pencil Annotated presentation proof Frame included: in elegant vintage wood frame Print Club of New York, Publisher; Printer: Experimental Printmaking Institute, Lafayette College, Easton, PA Digitized drawing with silkscreen Flack's "Une Bouchee d'Amour" was the 2013 presentation print commissioned by The Print Club of New York, and it is accompanied by a COA issued by the Print Club of NY as well as Alpha 137...

Yvonne Jacquette EAST 15th Street (Faberman 8), 1974 Lithograph in five colors on Arches Cover paper Hand signed by the artist on lower right front This is a rare pencil signed proof, aside from the regular edition of 125. Printed by Paul Narkiewicz and Chip Elwell; published by Brooke Alexander, Inc. (to benefit the Horace Mann School in NYC) 17 3/8 × 21 1/8 inches Unframed Other examples of this exquisite work are in major museums and collections such as the Whitney Museum of American Art. Literature: Aerial Muse: The Art of Yvonne Jacquette by Hilarie Faberman (2002-01-29), 8. Yvonne Jacquette Biography: Yvonne Jacquette (1934 - 2023) was born on December 15, 1934 in Pittsburgh, Pennsylvania and grew up in Stamford, Connecticut. She attended the Rhode Island School of Design, Providence from 1952 to 1955, when she moved to New York City. She continued to live and work in New York City, as well as in Searsmont, Maine. A flight to San Diego in 1969 sparked Jacquette’s interest in aerial views, after which she began flying in commercial airliners to study cloud formations and weather patterns. She soon started sketching and painting the landscape as seen from above, beginning a process that has developed into a defining element of her art. Her first nocturnal painting with an aerial perspective, East River View At Night (1978), inspired a lasting exploration of the effects of bright lights, reflections, and indistinct objects set against surrounding darkness. The city of New York was a special focus of Jacquette’s. In the 1980s and 1990s, she chartered planes from Teterborough Airport in New Jersey to circle the city while she sketched the scene below. She also worked from the Empire State Building, and, from 1974 through early 2001, often used empty offices or an enclosed deck at the World Trade Center. Jacquette painted aerial landscapes across the country, as well as city views in San Francisco, Chicago, Minneapolis, Philadelphia, Vancouver, Tokyo, and New Orleans. After a trip to Hong Kong in 1990, she began incorporating composite viewpoints into her work, realizing that she could better express the city’s many layers of complexity by creating new spatial configurations through multiple perspectives. Since then, she continued to base her paintings on pastels made from direct observation, while frequently enlivening compositions through heightened color, repetition of certain elements, and manipulation of light, scale, and perspective. As she approached the rendering of space with greater freedom, her paintings became both more inventive and disjunctive, combining aspects of observation, memory, and imagination.  Jacquette participated in her first group show in New York City in 1962 and has been exhibiting steadily since. In 1965 she had a one-person exhibition at Swarthmore College, PA. In 1983, the St. Louis Art Museum organized her first major museum exhibition. A comprehensive retrospective, Aerial Muse: The Art of Yvonne Jacquette, originated at the Cantor Center for Visual Arts, Stanford University, CA in 2002 and traveled to Colby College Museum of Art, Waterville, ME; Utah Museum of Fine Arts, Salt Lake City; and the Hudson River Museum, Yonkers, NY. In 2008, the Museum of the City of New York organized Under New York Skies: Nocturnes by Yvonne Jacquette, which was shown concurrently with Street Dance, an exhibition of photography by her late husband, Rudy Burckhardt...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...

Christo The Gates, Historic New York City Subway Banner Poster (hand signed by Christo), 2005 Offset lithograph poster (uniquely hand signed on the front by Christo) Hand signed by C...

Kenny Scharf Thou Shalt Have No Other Gods Before Me (The First Commandment), 1987 5-Color lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Hand signed, date...

Geometric Woman's Portrait - Rare Signed Graphite Drawing on Paper 1962 Beautiful, soft original drawing by Eugene Hawkins (American, b. 1933). A realistic depiction of a short-haired woman, her large lips parted into a soft smile. She's surrounded in geometric shapes offering a wonderful juxtaposition to the natural curves of her face and hair. Signed in pencil, "Eugene Hawkins '62" Presented in a new black mat. Mat size: 20"H x 16"W Paper size: 18.5"H x 14.5"W Eugene Hawkins (American, b. 1933) is a BIPOC artist known for his detailed portraiture and printmaking. He is listed in Who Was Who in American Art, 1564-1975, and his work was exhibited in the Whitney Museum of American Art. He spent the majority of his life working and exhibiting in Southern California. His work frequently touches upon socio-political subjects, making strong statements about the world. The California African American Museum features Eugene Hawkins's work in the Permanent Collection. Exhibition: 2017 Paperworks: Selections from the Permanent Collection focuses on works on paper produced from 1950-2000 and includes figurative, impressionistic, and abstract styles. The exhibition showcases the radically diverse range of works on paper created by African American and other artists over the last two centuries, and includes drawings, prints, paintings, and collages by Edward Mitchell Bannister...

Julio Le Parc Jeux Enquête - Choisissez vos Ennemis, 1970-2014 Screenprint on wove paper Hand signed, dated and numbered 46/50 in graphite by the artist on the front Published by Ser...

Christo Wrapped Paris Review (Deluxe hand signed edition), 1982 Lithograph and offset lithograph Hand signed and numbered 244/250 by Christo on th...

MEL BOCHNER Kick Against the Pricks (Blah..Blah...Blah...), 2018 Two color silkscreen on boutique silk fair paper with blue-colored back, 350 gsm paper Signed, dated, and numbered lower left from the limited edition of 30 in graphite by Mel Bochner Frame included: elegantly framed in a museum quality white wood frame with UV plexiglass is included Measurements: Framed: 12.5 inches x 30 inches x .5 inch Artwork: 10.5 inches x 28 inches Published by Two Palms Press Bibliography Catalogue Raisonné of Editioned Prints Krakow Witkin...

Estate stamped, verso, for Victor Di Gesu (American, 1914-1988) and created circa 1950. A substantial monotype and gouache showing a young woman seated, her kimono fallen open and b...

ROBERT INDIANA Santa Fe Opera (Hand signed, numbered), 1976 Silkscreen on wove paper 37 1/2 × 27 inches Edition AP 7/50 Hand Signed and dated lower rig...

Robert Indiana Purim: The Four Facets of Esther (I) Sheehan, 36, 1966 Color silkscreen on off white wove paper Printed by Stephen Poleskie, Chiro...

Gray toned abstract landscape of a desert with mother and child walking by coves. Original print is at the Portland Art Museum collections. Signed and titled by the artist. Framed and matted in a black wooden frame. Dimensions Without Frame: H 12 x W 17.38 Artist Biography: William Givler was one of the most influential artists and teachers in Oregon. He devoted forty-two years to the Museum Art School, beginning in 1931 as an instructor, interrupted by service as a forester during World War II, and then as dean from 1944 until his retirement in 1973. He established the four-year degree program and secured accreditation for the school. In 1949 Givler inaugurated the first Print Annual at the Portland Art Museum. In 1953 Givler, Carl Hall, and two Washington artists exhibited in a four-person show at the Seattle Art Museum. He had many one-person shows throughout the United States during his long career: Seattle Art Museum, Portland Art Museum, Santa Barbara Museum of Art, University of Virginia, and others. In 1959 Givler painted an oil, Mt. Hood, for Timberline Lodge...

This drawing, three studies of figures, was done by the contemporary artist Claude Weisbuch in 1979, but it shows his interest in the old masters and his academic approach to drawing. The figures are based on sculptures at the Louvre Museum in Paris, especially the ancient Greek sculptures of the Venus de Milo int he center and the Winged Victory of Samothrace...

In this monotype print, Sylvia Spicuzza presents the viewer with a scene of two young men relaxing within a pastoral landscape. On the back of the print, Spicuzza has left her prepar...

Modern Head #5, from Modern Head Series (C. 95). Hand signed, numbered and dated by the artist. Embossed graphite with die-cut paper overlay. Image size 20 x 11.5 inches. Sheet size ...

Arentz, Joseph M. (American, born Germany, 1903-69). SHEET METAL WORKER. Pencil Drawing, not dated 9 1/2 x 8 1/2 inches. Pencil signed. Framed. Modernist drawing of an industrial...

Created in 1952, this Engraving, paper, cut paper, tissue paper and graphite on paper mounted on paperboard is hand-signed by Robert Rauschenberg (Port Arthur, 1925 - Captiva, 2008) in pencil in the lower left margin. Numbered from the edition of 65 in pencil in the lower left margin. About the Framing: Framed to museum-grade, conservation standards, Robert Rauschenberg Untitled (Christian Symbol) from the North African Collage...