Late 19th Century Figurative Prints

Charles Pachter is one of the most collected and cherished Canadian artists. His iconic, uplifting and patriotic images have independently earned their place in the nation's museum...

1896 Print Sz: 14 1/2"H x 9"W Mat Sz: 20"H x 12 7/8"W Samuel Loates (1865–1932) was a British Thoroughbred horse racing jockey who was the Champion Jockey of 1899 in his home coun...

1890 Sz: 20"H x 12 7/8"W James Woodburn 1863-1919 Born at York on September 20, 1863, James began life as a doctor’s errand boy but, wanting to become a jockey, he ran away from home. Covering the 13 miles on foot, he arrived at the Hambleton stables of Mr Sanderson, who took an instant liking to the runaway. Woodburn rode his first winner for the stable...

"From Ilsee, Princess of Tripoli Recto: "Visiting Women" Verso: "Departing Pilgrims" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from...

LOUIS J. RHEAD (1858-1926) THE BOOKMAN / CHRISTMAS NUMBER. Circa 1895. 19x11 1/2 inches, Dodd, Mead & Company, New York. Color Lithograph. Good condition. No rips or tears or folds. Good color. Framed. Ref: Das Plakat...

Jean-Emile Laboureur (1877-1943), La Rentree au Seminaire, 1897, woodcut, signed in ink lower right and inscribed “tire a 15 ex.” [also with monogram in the plate]. Reference: Laboureur 566, only state. In good condition, with some staining toward margin edge not affecting image, tack-holes at corners, 4 3/8 x 4 3/8, the sheet 9 5/8 x 8 1/2 inches. A fine impression, printed on a grey/green wove paper. A very early woodcut; the first time that Laboureur used a monogram within the plate. This woodcut was made shortly after Laboureur learned printmaking from the famed printmaker – and woodcut specialist – Auguste Lepere; and the composition, with its ordering of a mass of marchers, appears to be influenced by Felix Valloton...

Rassenfosse, Armand.( 1862-1934) Sortie De Bal, 1894. Original drypoint in colors on Japan, initialled in red ink by artist with his monogram. Beautiful impression. In addition, the ...

Embossing (gaufrage) with typographical color printing. Fine impression with good embossing on simili-japon paper, printed to the edges of the sheet (as issued). The combination of techniqes is unusual and may be unique. Ref: Artistes et Theatre d'Avant-Garde Programmes illustres Paris 1890-1900 Aitken p 22 pl 11; Artists and the Avant-Garde Theatre in Paris 1887-1890 Boyer p.44 pl 9. Alexandre Charpentier was French sculptor, medalist, craftsman, and cabinet-maker. He experimented with a wide variety of formats and materials—tin, marble, wood, leather, and terra cotta work, the latter executed by ceramic artisan Emile Müller...

ELIOT, Maurice (1864-1945). Printemps. September 1897. British Artist. Color lithograph. Color Lithograph from L'Estampe Modern. 1897-1898. Each print shows the blindstamp imprint o...

Program for A Bas Le Progres. By Edmond de Concourt 1894. Four-color lithograph. 12 3/4 x 9 7/8" 25 April 1894. Signed in the stone. Rare. Ibels’ images were powerful and heavily ...

Etching and acquatint in black ink, 1875. B/g 100 For Une vielle mistress before the symphonic margins were removed and the plate cut. Printed on japon paper. State iii/v. 6 . Signed Felix Buhot...

Color lithograph, 1896. On Linen. Signed on the plate. Ref: Dad Plakat 501; American Poster Renaissance, Margolin p. 74 American Painter and Illustrator. Charles Herbert Wo...

Ibels, Henri-Gabriel.."Le Devoir", fouth programme for Le Theatre Libre. four-color lithograph, 1892-1893. 9 1/2 x 12 1/2". Ref: Artistes et Theatre d' Avant-Gardes, Programmes ...

Program for Theatre Libre Boubouroche Valet De Coeur. Sixth program for Le Theatre Libre, four-color lithograph, 1892-1893. Ref: The Color Revolution 101: Artistes et Theatre d' Ava...

"Philadelphia Sunday Press" is an original figurative lithograph poster of black and red. 1895. 21.75" x 15.3125" art 28.5" x 22.75" framed George Brill was born August 27, 1867 in...

CHERET, JULES (1836 - 1932) "Emilienne d’Alencon" Original lithograph from “Les Maitres de L’Affiche” series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #29, 1898. Plate #113 Unframed Size: 11 3/8 x 15 3/4” The “Les Maitres de l’Affiche” series was offered as a subscription series to...

CHARPENTIER, ALEX (1856 -1909) "Grande Tuilerie d’Ivry" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, issue # 33, 1898. Plate #131 Unframed Size: 11 3/8 x 15 3/4”The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. The text reads "Great Tileworks of Ivry, founded in 1854, Ivry-Port near Paris; the largest ceramics factory in the world for building, industry and art productions; Emille Muller stoneware; execution of works by masters of statuary; architectural facings; decorative sculpture; showroom and salesroom, 3 rue Halevy; the only tile able to bear the names Muller and Ivry; (tiles) guaranteed against frost" Given the commission for an extremely text heavy poster, the artist executes a masterful design. The angelic young boy holds the wares of this famous ceramics factory, against an abstract background awash in organic green hues. The handling of the immense text that flows from top to bottom in every available space shows great artistic skill, as the overall beauty of the design is intact. In 1989 the Metropolitan Museum of art acquired a stoneware plaque...

Toyohara Kunichika "Sumo Wrestling Tournament" Woodcut Print on Paper 13.5 x 28.5" Framed size 35 x 20" The print pictures an exciting scene featuring t...

Elizabeth Catlett “Man” 1975 (The Print Club of Cleveland Publication Number 83, 2005) Woodcut and Color Linocut Printed in 2003 at JK Fine Art Editions Co., Union City, New Jersey Signed and Dated By The Artist Lower Right Titled Lower Left Ed. of 250 Image Size: approx 18 x 12 inches Elizabeth Catlett (1915-2012) is regarded as one of the most important women artists and African American artists of our time. She believed art could affect social change and that she should be an agent for that change: “I have always wanted my art to service black people—to reflect us, to relate to us, to stimulate us, to make us aware of our potential.” As an artist and an activist, Catlett highlighted the dignity and courage of motherhood, poverty, and the working class, returning again and again to the subject she understood best—African American women. The work below, entitled, “Man”, is "carved from a block of wood, chiseled like a relief. Catlett, a sculptor as well as a printmaker, carves figures out of wood, and so is extremely familiar with this material. For ‘Man’ she exploits the grain of the wood, allowing to to describe the texture of the skin and form vertical striations, almost scarring the image. Below this intense, three-dimensional visage parades seven boys, printed repetitively from a single linoleum block in a “rainbow roll” that changes from gold to brown. This row of brightly colored figures with bare feet, flat like a string of paper dolls, raise their arms toward the powerful depiction of the troubled man above.” Biography: Elizabeth Catlett (1915-2012) Known for abstract sculpture in bronze and marble as well as prints and paintings, particularly depicting the female figure, Elizabeth Catlett is unique for distilling African American, Native American, and Mexican art in her work. She is "considered by many to be the greatest American black sculptor". . .(Rubinstein 320) Catlett was born in Washington D.C. and later became a Mexican citizen, residing in Cuernavaca Morelos, Mexico. She spent the last 35 years of her life in Mexico. Her father, a math teacher at Tuskegee Institute in Alabama, died before she was born, but the family, including her working mother, lived in the relatively commodious home of his family in DC. Catlett received a Bachelor of Arts degree from Howard University, where there was much discussion about whether or not black artists should depict their own heritage or embrace European modernism. She earned a Master of Fine Arts degree in 1940 from the University of Iowa, where she had gone to study with Grant Wood, Regionalist* painter. His teaching dictum was "paint what you know best," and this advice set her on the path of dealing with her own background. She credits Wood with excellent teaching and deep concern for his students, but she had a problem during that time of taking classes from him because black students were not allowed housing in the University's dormitories. Following graduation in 1940, she became Chair of the Art Department at Dillard University in New Orleans. There she successfully lobbied for life classes with nude models, and gained museum admission to black students at a local museum that to that point, had banned their entrance. That same year, her painting Mother and Child, depicting African-American figures won her much recognition. From 1944 to 1946, she taught at the George Washington Carver School, an alternative community school in Harlem that provided instruction for working men and women of the city. From her experiences with these people, she did a series of paintings, prints, and sculptures with the theme "I Am a Negro Woman." In 1946, she received a Rosenwald Fellowship*, and she and her artist husband, Charles White, traveled to Mexico where she became interested in the Mexican working classes. In 1947, she settled permanently in Mexico where she, divorced from White, married artist Francisco Mora...

Tristesse ou Jalousie. 1896. Color lithograph. One of 50 on laid Japan paper from the deluxe edition of "Le Centaure;, blind stamp lower left. Signed in ink and annotated W; in blue ...