Pablo Picasso

La femme au tambourin

1939

"Femme assise en pyjama de plage" is a linocut by Pablo Picasso. It is edition 47/100. The work is signed in the lower right, "Picasso". The framed size is 23 1/4 x 18 5/8 x 1 1/2 in...

A print by Robert Motherwell. "Frontispiece from 'A la Pintura'" is an aquatint executed in blue and brown and depicts the writing A la Pintura below a small blue rectangle by Post War artist Robert Motherwell. Signed lower right, in ink, "Robert Motherwell 1972...

"Buste au Corsage à Carreaux" is a lithograph by Pablo Picasso from 1957. It is number 46 from an edition of 50. The work is signed and dated in pencil, lower right, "Picasso 23.3.63...

"Jan Asselyn, Painter" is an etching by Rembrandt van Rijn. The etching is signed in plate, lower right, "Rembrandt". The etching depicts fellow Dutch Golden Age painter Jan Asselijn. The framed work measures 22 5/8 x 20 5/8 x 1 1/2 in. A prolific painter, draftsman, and etcher, Rembrandt van Rijn is usually regarded as the greatest artist of Holland’s “Golden Age.” He worked first in his native Leiden and, from 1632 onward, in Amsterdam, where he had studied briefly (ca. 1624) with the influential history painter Pieter Lastman. Rembrandt never went abroad, but he voraciously surveyed the work of Northern artists who had lived in Italy, like Lastman, the Utrecht painter Gerrit van Honthorst (Rembrandt’s main link to Caravaggio), Anthony van Dyck, and—mostly through prints—Adam Elsheimer and Peter Paul Rubens. In the Leiden period, Rembrandt also responded strongly to earlier Netherlandish artists such as Lucas van Leyden (ca. 1494–1533). However, a crucial aspect of Rembrandt’s development was his intense study of people, objects, and their surroundings “from life,” as is obvious in paintings like his early self-portraits and the Saint Paul in Prison of 1627 (Staatsgalerie, Stuttgart). Even by Dutch standards, Rembrandt’s preoccupation with direct observation was exceptional and continued throughout his career. Despite the constant evolution of his style, Rembrandt’s compelling descriptions of light, space, atmosphere, modeling, texture, and human situations may be traced back even from his late works (such as The Jewish Bride, Rijksmuseum, Amsterdam) to the foundations of his Leiden years. It was also this program, in good part, that made Rembrandt a great teacher. His many pupils included Gerrit Dou, Govert Flinck, Ferdinand Bol...

An abstract screen print by Post War artist Josef Albers. Signed lower right, "Albers '72". Editioned lower left, "LC 134/144".

A color lithograph, digital, chine colle collage by contemporary artist Jane Hammond. "Snapshot Odyssey" depicts a collection of black and white snap shots along a winding board game...

Very good, well-inked impressions of these three color aquatints with etching on one sheet of Guarro paper. Signed and numbered 58/99 in pencil by Bacon. Printed and published by Pol...

Unsigned as usual From the unsigned edition of 200 impressions printed on Rives BFK paper There is also a signed edition of 30 impressions The set of 12 etching & aquatints is sig...

Signed in pencil lower right Color etching with aquatint From: Monsour and Matta, Les Damnations, 1966 (11 plates, this one of 7 hors text images) Edition: 85 portfolios in the re...

Ernst Fuchs (Austrian, 1930 - 2015) Jesus speaking from the cross A rare Artist proof sheet from the Folio “Jean Paul. Die Rede des toten Christus vom Weltgebaude herab, dass kein Gott sei”, published in 1972 by Propyläen, Berlin, Germany. • Aquatint etching on French Arches paper (watermarked) • Sheet ca. 57 x 38 cm • Plate, ca. 24.7 x 19.7 cm • Signed bottom right • Inscribed in pencil bottom left: IV/XX E. A. (Print No. 4 out a run of twenty, Épreuve d'artiste (Artist’s proof) Ernst Fuchs was an Austrian painter...

Seven Sculpture Ideas I (Cramer 589) Etching, aquatint and roulette in 10 colors, 1982, on Arches, signed in pencil. From the numbered edition of 50. Published by The Raymond Spence...

KURT SELIGMANN (1900–1962 American, born in Switzerland,) LA SORCIERE - (The Witch) 1934 Etching and aquatint, unsigned ? possibly a proof aside from The ...