Paper Figurative Prints

Paul Resika Untitled Signed lower right Etching on wove paper 10 1/2 x 6 inches Paul Resika (born 1928, New York, New York) is primarily recognized for his artwork featuring the di...

Lithograph with hand tinting on heavy wove paper, full margins. Significant condition issues in the margins which include adhesive residue, edge tears and minor edge losses. The image area is clean with minor mat tone, however, colors are slightly attenuated. The verso shows moderate uneven toning. Issues primarily exist outside of the image area. This large and lively work was printed by Charles Hullmandel. _______ The images in Boys's 1842 portfolio, Original Views of London...

Etching on cream laid paper with an indiscernible horizontal watermark, 6 1/8 x 4 11/16 inches (154 x 120 mm). Thread margins. The first state (of two), before the additional work on...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Screen print in colors on hand made wove paper. Hand signed on horizontal black bar by Jim Dine. Hand numbered 78/200 lower left. From 11 Pop Artist's Volume II (Mikro 36). Publi...

Woodblock engraving on paper from the Divine Comedy series. Sheet size 13 x 10 inches. Frame size approx 18 x 15 inches. Edition 4,765 in French, 3,000 in Italian, 300 in German. ...

A wonderful print by African American artist, Charles White (1918 - 1979) "Blues" Color lithograph on Rives paper, 1971. 11.5 x 26.75 inches (28.55 x 68.7 cm) Signed, titled, dated and numbered in pencil, lower right. Number 63/100 from the numbered edition of 100. Framed Printed by William Law III and the Tamstone Group, Los Angeles, with their blindstamps lower right.  Charles Wilbert White...

An original woodcut print depicting the social unrest of the 1960s by Herman Roderick Volz. Pencil signed by the artist lower right. Image measures 14" x 24," sheet measures 18 1/2"...

"Music is Eternal" Black & White Photography 24x24 in Ed 2/15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

Serigraph on paper. Hand signed and numbered by the artist. Printer's Proof edition. Sheet size 7.75 x 5.75 inches. Certificate of Authenticity Included. Artwork in Excellent Condi...

Screenprint in black on wove paper, hand signed and inscribed 'to Camilla and Earl' by the artist. From the edition of 20. Sheet size 25.25 x 19.25 inches. Custom framed as pictu...

Contemporary etching print by Polish artist Elzbieta Bocianowska. The print depicts landscape with tree in the foreground and trees in the background. The artwork is minimalistic. Pr...

"Savor" Black & White Photography 60" x 60" in Ed. of 8 by Yevgeniy Repiashenko Photography Year photo was taken: 2022 Unframed - ships in a tube This picture is a part of Spir...

"Armed and Dangerous" Photography 16" x 24" inch Edition of 15 by Brendan North Available sizes: Edition of 15: 16" x 24" inch Edition of 7: 24" x 36" inch Edition of 3: 40" x 60" i...

Sidewalk (FS.II.304) from MOCA's 'Eight by Eight' portfolio is a screenprint on paper, 29 x 42 inches, signed 'Andy Warhol' and numbered 167/250 lower left. From the edition of 349 (there were also 30 AP, 45 TP, 3 TPPP, 6 PP, and 15 HC). Framed in a contemporary gold leaf, closed-corner frame. LITERATURE Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, New York, 2003, II.304. In 1983, Warhol created Sidewalk for the Eight by Eight to Celebrate the Temporary Contemporary portfolio. The portfolio itself consisted of eight prints created by various artists as a fundraising vehicle for the MOCA in Los Angeles. The participating artists included: Richard Diebenkorn, Sam Francis, David Hockney, Ellsworth Kelly, Robert Rauschenberg, Niki de Saint Phalle, Jean Tinguely, and Andy Warhol. The Eight By Eight portfolio was printed in an edition of 250. Warhol also produced 45 unique trial proofs for the Sidewalk edition. Warhol's contribution of Sidewalk is based on his own photograph of film stars' signatures, footprints, and handprints as they appeared at the Grauman's Chinese Theater in Hollywood, CA (now called TCL Chinese Theater). This particular shot showcases Cary Grant, Judy Garland, Jack Nicholson and Shirley Temple. “Much of Warhol’s work was concerned with celebrity, but while he cultivated the appearance of the ultimate fan, often celebrating the glamour of the American dream and its cultural heroes, his works also challenge the beliefs intrinsic to those ideals. It was Warhol who famously declared that everyone could have fifteen minutes of fame. The immortalising nature of appearing in Grauman’s forecourt of the stars, where one’s name is set in concrete for future generations, seems a way to counteract this idea of such fleeting fame.” (“Andy Warhol Sidewalk...

Pas de Deux III (Francesco and Alba Clemente) is a serigraph on paper with an image size of 36 x 20 inches, signed ‘Alex Katz’ lower left and numbered 106/150. From the edition of 17...

18th century image of a priest presiding over a traditional Japanese nuptual ceremony. One plate from A new and complete collection of voyages and travels containing all that have b...

Keith Haring ‘No On 64’ (Keith Haring 1986): A rare vintage 1986 Keith Haring activist announcement illustrated by Haring in effort to denounce California's Proposition 64. Proponents of the then ballot, argued that the measure would merely return AIDS to the list of communicable diseases under public health laws. Opponents characterized 64 as an effort to force HIV-positive individuals out of their jobs and into quarantine. The measure was soundly defeated by voters. A rare historic 1980s Keith Haring activist collectible with striking imagery; seldom comes to market. Offset printed folding announcement card. 8.5x11 inches. Good overall vintage condition. Minor signs of aging & handling. Printed signature from a scarce edition of unknown; few known to have survived. Please message us for more works in this category. Keith Haring was an American artist and social activist known for his illustrative depictions of figures and symbols. His white chalk drawings could often been found on the blank poster marquees in New York’s public spaces and subways. “I don't think art is propaganda,” he once stated. “It should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it.” Born on May 4, 1958 in Reading, PA, he grew up in neighboring Kutztown, where he was inspired to draw from an early age by Walt Disney cartoons and his father who was an amateur cartoonist. After briefly studying commercial art in Pittsburgh, Haring came across a show of the works of Pierre Alechinksy and decided to pursue a career in fine art instead. He moved to New York in the late 1970s to attend the School of Visual Arts, and soon immersed himself in the city’s graffiti culture. By the mid-1980s, he had befriended fellow artists Andy Warhol, Kenny Scharf, and Jean-Michel Basquiat, and collaborated with celebrities like the singer Grace Jones. Diagnosed with HIV/AIDS in 1988, Haring’s prodigious career was brief, and he died of AIDS-related complications on February 16, 1990 at the age of 31. Before his death, Haring established the Keith Haring Foundation, a non-profit committed to raising awareness of the illness through art programing and community outreach. Throughout his career, Haring made his art widely available through the location of his murals, as well as through the Pop Shop—Haring's own storefront which he used to sell his memorabilia.The artist’s mural Crack is Wack (1986), can still be seen today on a retaining wall along FDR Drive in Manhattan. Haring’s works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Smithsonian American Art Museum in Washington, D.C. Related Categories: Keith Haring figurative. Keith Haring foundation. Keith Haring activist. Keith Haring Aids...

Exhibition of the Rose (Plate 74) is an 1887 lithograph of Carlos Schwabe's poster, printed at Imprimerie Chaix by Jules Chéret and included in the fame...

Archival pigment inks on Innova etching, 315 gsm fine art paper. Left panel: 46 x 15.25 in. Center panel: 46 x 23 in. Right panel: 46 x 15.25 in. Edition 23/100.

From the Shawl Suite. Serigraph on paper. Hand signed and numbered by the artist. Artwork is in excellent condition. Artwork image size: 18 x 11 in. Framed size: approx. 30.5 x 23 i...

Fahamu Pecou Bag of Tricks, 2015 Lithograph 28 x 22 inches (71.1 x 55.9 cm) Edition 113/150

Lithograph on paper. Hand signed, dated and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 195. Image size: 27.5 x 18.5 i...

Manzu Collection is an original offset poster print realized in 1981 by Giacomo Manzu. The artwork was realized on the occasion of the exhibition In the National Gallery of Modern A...

Screen print in colors on paper. Hand signed and numbered by the artist. From the edition of 250. Sheet size 43 x 36 inches. Image size approx 36.5 x 30.25 inches. Certificate o...

"Moon Birth 3" Black & White Photography 16" x 16" in Ed of 24 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube....

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Original pen & ink drawing by well-known Cuban artist Victor Manuel (1897-1969). The subject is a man and woman seated near the water. This pen and ink drawing on graph paper bears a rubber stamp on the verso. Image measures: 10" H x 8" W image. Paper size 12" x 9.” The work presents in an archival mat and is unframed. Born in Havana, Victor Manuel began studying the arts at San Alejandro Art School at age 12. When he was 14, he started to act as unofficial professor of elementary drawing classes. He studied with Leopoldo Romañach, another famous Cuban painter, and performed his first personal exhibition in 1924. In 1925, he traveled abroad, visiting France. He returned home in 1927 and participated in an exhibition at the Painters and Sculptors Association of Havana. In this time, he dedicated himself, for almost two years, to train other Cuban painters free of charge. Afterwards, he returned to Europe, visiting Spain and Belgium, returning to Cuba again in 1929. It was in this year that he created his most famous painting: La Gitana Tropical ("The Tropical Gipsy"), popularly known as La Gioconda...

The Offering is a lithograph by Marc Chagall which was bound in Volume 1 of the Mourlot catalog raisonné of lithographs, printed in 1960. The image is catalogued in Volume II of the...

Richard Huntington (b. 1936) is an american painter, printmaker, and writer, is Critic Emeritus at The Buffalo News and has written for High Performance magazine, ARTnews, and Art Ne...

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

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...

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...

Silkscreen collage on paper. Hand signed, titled and numbered by Peter Blake. From the edition of 175. Image size 19 x 16 inches. Sheet size: 27 x 23 inches. Frame size approx 31....

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

Bad Hare Day (Whistler's Mother) is a lithograph on paper, initialed 'BD' lower right, 9 x 9 inches image size. From the edition of 395, numbered 178/275 ...

No Title (No 83) Ballet Photography 47 x 36 in Ed of 18 by Yevgeniy Repiashenko Photography Year photo was taken: 2020 Unframed - ships in a tube This picture is a part of Spir...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Die cut digital print on 330gsm museum cotton rag paper. Hand signed and numbered by Hebrew Brantley. Edition of 275. Frame size approx 29 x 43 inches. Artwork is in excellent co...

"Beautiful Lies" Photography 40" x 60" inch Edition of 3 by Brendan North Available sizes: Edition of 15: 16" x 24" inch Edition of 7: 24" x 36" inch Edition of 3: 40" x 60" inch ...

"Censored" Black & White Photography 45" x 60" inch Ed. 2/3 by Brendan North From “Painted Poetry” series: “Painted Poetry” is a collection of 40 photographs created over 4 years an...

Gallant is an original lithograph artwork on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in Pari...

Two men is an original lithograph artwork on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in Pari...

From El Ultimo Viaje del Buque Fantasma suite made to illustrate the text of Gabriel Garcia Marquez. Hand signed and numbered by Wifredo Lam. Published by Polígrafa, Barcelona. From the edition of 99. Frame Size: approx 31 x 39 inches. Artwork is in excellent condition. Please note the frame has some minor scratches on the molding. No broken or missing parts. Plexi glass covering is new. Certificate of Authenticity included. All reasonable offers will be considered. About the Artist: Wifredo Lam was an Afro-Cuban artist best known for his unique Surrealist aesthetic that combined European artistic movements with the imagery of his native country. “I responded always to the presence of factors that emanated from our history and our geography, tropical flowers, and black culture,” Lam once said. In one of his most famous paintings, The Jungle (1943), these various influences are melded together, onto a single large-scale canvas. Born Wifredo Oscar de la Concepción Lam y Castilla on December 8, 1902 in Sagua la Grande, Cuba, the painter moved to Madrid, Spain in 1923 to study with Fernando Álvarez de Sotomayor, who had been the teacher of famed Surrealist Salvador Dalí. Lam moved to Paris after seeing an exhibition of Pablo Picasso’s work in Spain. Having arrived in Paris, he introduced himself to Picasso who subsequently showed Lam his collection of primitive artworks...

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...

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...

The Cat 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 published i...

Mr. Cat and Miss. Fox Playing Rope Game With Little Cricket and Beetles is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et p...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

Todros Geller (1889 – 1949) was a Jewish American artist and teacher best known as a master printmaker and a leading artist among Chicago’s art community.Geller was born in Vinnytsia, the Russian Empire (now Ukraine) in 1889.[2] He studied art in Odessa and continued his studies after moving to Montreal in 1906 where he immigrated to Canada. He married and moved to Chicago in 1918, where he studied at the School of the Art Institute of Chicago until 1923. Geller produced paintings, woodcuts, woodcarvings, and etchings. His work focused on Jewish tradition, often including moralistic themes and social commentary, shtetl, ghetto life, and the intersection of Jewish tradition with modern-day Chicago. He regarded art as a tool for social reform and he spent a large part of his career teaching art. His work was commissioned for stained glass windows, bookplates, community centers and Yiddish and English books. He was regarded as a leader in the field of synagogue and religious art. He designed stained glass window for synagogues in Omaha, Fort Worth, Dayton, Stamford, and Chicago Heights. Over the course of his career he illustrated more than 40 books. In addition to conducting classes in his studio, Geller was head of art at the Jewish People’s Institute (JPI), supervisor of art for the Board of Jewish Education and director of art for the College of Jewish Studies (which became the Spertus Institute for Jewish Learning and Leadership) and taught at Hull House. Many prominent Chicago artists studied drawing and painting under Geller. Geller was a source of inspiration to Aaron Bohrod and Mitchell Siporin...

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 ...

Hand signed, numbered, and dated by Keith Haring. Screenprint in colors, on wove paper, with full margins, Image size 10.5 x 13.375 inches.. Sheet size 12 x 15 inches. Littmann p. ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

The Paint Horse: Magritte is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 241/275 (there were also 100 Roman a...

“Emergence 2” (FRAMED) Photography 24" x 36" inch Edition 1/7 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag American Dreams - From "Park Drive" series The...

KAWS Share, 2021 Screenprint in colours, on Stonehenge grey paper, with full margins 20 × 16 in 50.8 × 40.6 cm Edition of 500 Published by KawsOne Signed and numbered The seller ca...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

No Title (No 83) Photography Edition of 28 36 x 27 inch by Yevgeniy Repiashenko Photography Year photo was taken: 2020 Unframed - ships in a tube This picture is a part of Spir...

Tsukuda Sumiyoshi no yashiro (Sumiyoshi Shrine on Tsukuda Island) is the original title of this superb ten colour woodblock print on paper, by the Japanese master, Utagawa Hiroshige ...

Japanese Customs is an original Hand-colored lithograph on creamy paper realized by an anonymous artist in the 19th Century. Signed on the plate on the lower. Titled in Italian on t...