Mid-20th Century Figurative Prints

Helio etching on hand-made paper, 1930 by Paul Klee. From portfolio " Paul Klee, Handzeichnungen 1921-1930. Here no 64. Image: 7.4 x 5.71 in ( 18,8 x 14,5 cm ), Framed: 15.16 x 13.4...

The woodblock print of a girl in red depicts a moment of introspection with the defined closed eyes of a little girl at the top of the work and the vision of a malicious face at the bottom. Kaoru Kawano was a woodblock...

Sailboat and Gull Ferol K. Sibley Warthen (American, 1890-1986) Color Woodblock Print Edition 31/31 7 x 7 inches 14 x 14 inches with frame Signed Lower Right Titled and Numbered Lower Left Born 1890, Died 1986...

Salvador DALI Flordali : Surrealist self-portrait, 1969 Original Lithograph and Etching Signed in the plate and handsigned in pencil Numbered /175 copies On Japan paper 77 x 57 cm ...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.01 x 12.09 inches. Inscription: Signed in the plate and unnumbered, as issued....

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.09 x 12.2 inches. Inscription: Signed in the plate and unnumbered, as issued. ...

LA MAGIE NOIRE, 1945 (BLACK MAGIC) Date of creation: 2010 Medium: Lithograph on BFK Rives Paper Edition: 275 Size: 60 x 45 cm Observations: Lithograph on BFK Rives paper plate signed...

Salvador Dali (1904-1989) Hell 18 - The Deceivers woodcut with the printed signature Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFERENCES : - Catalog Raiso...

Medium: original zincograph (a lithograph which was printed from a zinc plate rather than a stone). This original Henri Michaux was executed in 1958 for the hard-to-find XXe Siecle (...

Artist: Salvador Dali Title: The corridor of Katmandu Portfolio: The Hippies Medium: Etching on Arches wove paper Date: 1969 Edition: Unnumbered proof Frame Size: 34 1/4" x 27 1/2" S...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Lettr...

Artist Name: Barbara Kwasniewska Title: Anadyomine Year: 1969 Medium Type: etching Size-Width Size-Height: 22.5'' x 30" inches Signed Edition Size: Signed, Titled, and Numbered 5...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 15 x 11.25 inches Catalogue ...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

A vintage helio-etching on hand-made paper, 1930 after a drawing by Paul Klee. From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 70 Image: 5.12 x 7.48 in ( 13 x 19 cm ), ...

Helio-etching on hand-made paper, 1930 by Paul Klee. From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 72 Image: 5.51 x 7.36 in ( 14 x 18,7 cm ), Framed: 13.46 x 15.16 in ...

Fog Bound Tod Lindenmuth (American, 1885-1976) Woodblock Print 14 x 11 inches 26 x 20.25 inches with frame Signed Lower Right Titled Lower Left A founder of the Provincetown Art Association and one of the original Provincetown Printers, Tod Lindenmuth was a semi-abstract painter and graphic artist who did much to promote modernist styles. Although he was much influenced by Abstract Expressionism, his subject matter was realistic enough to be recognizable. He did linoleum cuts and was one of the first to work with that medium, and towards the end of his life, he experimented with collage. In the 1930s, he had commissions for the Public Works of Art Project and the Works Progress Administration. Lindenmuth was born in Allentown, Pennsylvania. He studied with Robert Henri at the New York School of Art in Manhattan, and in Provincetown with E. Ambrose Webster and George Elmer Browne. He first exhibited in Provincetown in 1915, and between 1917 and 1928 served on the jury for the Provincetown Art Association's 'First Modernistic Exhibition". He exhibited regularly with the Society of Independent Artists in New York. He married artist and illustrator Elizabeth Boardman Warren...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Museo Picasso. Palacio Aguilar.', 1966 Four-color offset printing on paper 30 x 21.5 in. (76 x 54.5 cm.) Unframed Ref: PIC2001-P009 Conservatio...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

René Magritte - LA DURÉE POIGNARDÉE, 1938 (TIME TRANSFIXED) Date of creation: 2010 Medium: Lithograph on BFK Rives Paper Edition: 275 Size: 60 x 45 cm Condition: In very good conditi...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Pablo Picasso The Ballet Dancer, 1954 Lithograph on paper 32 x 24 cm - sheet 49.5 x 37 cm - Framed unknown edition size Printed signature Reference: Bloch 767 Frontispiece for the b...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Salvador DALI (1904-1969) Casanova : Sommelier Love with Cucumber, 1967 Original etching Signed in the plate On vellum Rives 38 x 28 cm (c. 14.9 x 11 inch) REFERENCES : - Catalog r...

Silkscreen in colours on wallpaper. Inscription: printed, “Andy Warhol” in margin, as issued. Excellent condition. Notes: Published by Leo Castelli Gallery, New York; printed by Bill...

Medium: original lithograph. Printed in Paris in 1967 at the atelier of Clot, Bramsen et Georges and published in an edition of 2500 for "Les Temps Situationistes" (The Situationist ...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Dibujos. Sala Gaspar', 1961 lithograph on paper 27.6 x 19.7 in. (70 x 50 cm.) Unframed Ref: PIC2001-P004 Conservation: Not previously owned, an...

Salvador Dali (1904-1969) The Hand (La main) Original lithograph Signed in pencil Limited edition of 150 ex On BFK Rives vellum 65 X 50 cm (c. 26 x 20 in) REFERENCES : - Catalog...

Héliogravure on Papeterie de Mandeure vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Alice's Adventures in Wonderland...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

Héliogravure on Papeterie de Mandeure vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Alice's Adventures in Wonderland...

Pablo PICASSO Cubist Still Life with a Glass, 1944 Original engraving (printed on letterpress) Printed signature in the plate On heavy paper 32 x 24 cm (c. 12 x 10 in) REFERENCES...

Marc CHAGALL Music Angel (L'Ange de la Musique), 1966 Stone lithograph Engraved by Charles Sorlier under the supervion of Marc Chagall in Atelier Mourlot Printed signature in the pl...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Museo Picasso. Palacio Aguilar.', 1966 Four-color offset printing on paper 30 x 21.5 in. (76 x 54.5 cm.) Unframed Ref: PIC2001-P011 Conservatio...

Edouard Benedictus, 'Poppy' from the portfolio 'Relais', plate 14, color pochoir, 1930. Signed in the matrix, in the center bottom margin. A superb, richly-inked impression, with fresh, vibrant colors, including metallic gold and silver inks, on heavy, cream wove paper; the full sheet with margins (1 3/8 inches), in excellent condition. Published by Éditions Vincent, Fréal et Cie, Paris. The pochoir production is by Jean Saudé, the French printmaker known for his mastery of the technique and the author of the first how-to book on the pochoir process. Matted to museum standards, unframed. Image size 14 3/8 x 11 inches (365 x 279 mm); sheet size 17 1/4 x 13 7/8 inches (438 x 352 mm). Impressions of this work are held in the following museum collections: Cooper-Hewitt National Design Museum Library (Smithsonian), Metropolitan Museum of Art, Minneapolis Institute of Art, New York Public Library, Toledo Museum of Art, Victoria and Albert Museum (London), Virginia Museum of Fine Arts. ABOUT THIS WORK The Pochoir process is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by virtue of its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Edouard Benedictus (1878 -1930), artist, designer, composer, and chemist, was born and died in Paris. A highly-regarded designer and art critic of the Art Nouveau era, Benedictus gained renown as a colorist and creator of Art Deco-inspired geometric and floral motifs. His work had a significant influence on international fashions in clothing, home furnishings, graphic design, and decorative objects of the period, earning him commissions from leading European design firms. In 1925 he was invited to represent Art Deco textile design...

Pablo PICASSO (1881-1973) Comédie Humaine, The King's Muse, 1954 Lithograph (Mourlot workshop) Unsigned On paper 26 .5 x 35.5 cm (c. 10,2 x 13.7 in) INFORMATION : Created for port...

Medium: Lithograph on vélin du Marais paper Year: 1957 Paper Size: 14.5 x 11 inches Catalogue raisonné reference: Cramer, illustration 84 Inscription: Inscription: Unsigned and unnum...

Salvador Dali (1904-1989) Hell 12 - The Minotaure Woodcut Printed signature in the plate 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFERENCES : Fie...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 13.75 x 19 inches. Inscription: Signed in the p...

Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove paper, with margins, in excellent condition. Published by Associated American Artists. Archivally matted to museum standards, unframed. Image size 9 7/16 x 11 7/8 inches; sheet size 10 3/4 x 13 5/16 inches. Impressions of this work are held in the following museum collections: Figge Art Museum, Georgetown University Art Collection, Indianapolis Museum of Art, Library of Congress, Metropolitan Museum of Art, and the Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987. Born in 1889 in Neosho, Missouri, Thomas Hart Benton spent much of his childhood and adolescence in Washington, D.C., where his father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to prepare Benton for a political career, his father sent him to Western Military Academy. After nearly two years at the academy, Benton persuaded his mother to support him in attending the Art Institute of Chicago for two years, followed by two additional years at the Académie Julian in Paris. In 1912, Benton returned to America and moved to New York to pursue his artistic career. One of his first jobs involved painting sets for silent films, which were being produced in Fort Lee, New Jersey. Benton credits this experience with equipping him with the skills necessary to create his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of camouflaged ships arriving at Norfolk Naval Station. These renderings were used to identify vessels that might be lost in battle. Benton later remarked that being a "camofleur" profoundly impacted his career: "When I came out of the Navy after the First World War," he said, "I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world—as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in." While developing his Regionalist vision, Benton also taught art, first at a city-supported school and later at The Art Students League from 1926 to 1935. One of his students was a young Jackson Pollock, who regarded Benton as both a mentor and father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The "America Today" mural, now permanently exhibited at the Metropolitan Museum of Art, led to many more commissions as Benton’s work gained wide recognition. The Regionalist Movement became popular during the Great Depression of the 1930s. Painters such as Benton, Grant Wood, and John Steuart Curry rejected modernist European influences, choosing instead to depict realistic images of small-town and rural life—comforting representations of the American heartland during a period of upheaval. Time Magazine referred to Benton as "the most virile of U.S. painters of the U.S. Scene," featuring his self-portrait on the cover of a 1934 issue that included a story titled "The Birth of Regionalism." In 1935, Benton left New York and returned to Missouri, where he taught at the Kansas City Art Institute. His outspoken criticism of modern art, art critics, and political views alienated him from many influential figures in both political and art circles. Nonetheless, Benton remained true to his beliefs, continuing to create murals, paintings, and prints that captured enduring images of American life. The dramatic and engaging characteristics of Benton’s artwork drawn the attention of Hollywood producers, leading him to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s "The Grapes of Wrath," produced by Twentieth Century Fox. During the 1930s, The Limited Editions Club of New York asked Benton to illustrate special editions of three of Mark Twain’s books...

Pierre AMBROGIANI (1907-1985) Tiny Houses in Provence, 1974 Original Lithograph (Gourdon Workshop) Signed with the artist's stamp On vellum 38 x 28 cm (c. 14.9 x 11 in) Excellent c...

Mid Century Nocturnal Horses with Riders Under Moonlight Lithograph Limited Edition Compelling nocturnal lithograph of two women on horseback by ...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Museo Picasso. Palacio Aguilar.', 1966 Four-color offset printing on paper 30 x 21.5 in. (76 x 54.5 cm.) Unframed Ref: PIC2001-P008 Conservatio...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 46-47, 1952. Published by Aimé Maeght, Éditeur, Paris; ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Lithograph in four colours on Japon nacré paper 31 x 31 cm - framed Edition of 75 Hand-signed and numbered by the artist Henry Moore’s prints are a vital aspect of his artistic lega...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°5-6, 1939. Published and printed under the direction...

GOLCONDE, 1953 Date of creation: 2010 Medium: Lithograph on BFK Rives Paper Edition: 275 Size: 60 x 45 cm Observations: Lithograph on BFK Rives paper plate signed and numbered of a l...

Max ERNST (1891-1976) Ficus Elastica, c. 1965 Original lithograph Unsigned Numbered / XXV copies On Japanese paper 57 x 42 cm INFORMATION: Edition produced by Lucien Treillard, pub...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

"La Protesta" - 1943 Linocut on Paper "La Protesta" (from the portfolio "25 Prints of Leopoldo Méndez") shows the struggle of the working class in Mexico during the 1930s and 1940s....

A fine, atmospheric impression, with fresh colors; the full sheet, in excellent condition. Signed 'Hasui' with the artist’s seal 'Kawase', lower left. Published by Watanabe Shozaburo with the Watanabe 6mm round seal indicating a lifetime impression printed between 1945 - 1957. Archivally sleeved, unmatted. Image size 14 1/4 x 9 3/8 inches (362 x 238 mm); sheet size 15 1/2 x 10 3/8 inches (391 x 264 mm). An impression of this work is in the permanent collection of the Fine Arts Museum of San Francisco, Achenbach Foundation. ABOUT THE ARTIST “I do not paint subjective impressions. My work is based on reality...I can not falsify...(but) I can simplify…I make mental impressions of the light and color at the time of sketching. While coloring the sketch, I am already imagining the effects in a woodblock print.” — Kawase Hasui Hasui Kawase (1883–1957) is the most celebrated Japanese print designer of the shin-hanga ('new prints') movement. His prints, produced under the guidance and discerning eye of his publisher, Watanabe Shozaburo, represent the modern legacy of the renowned 19th-century Ukiyo-e masters Hiroshige and Hokusai. Hasui was able to evoke the fleeting beauty of Japan during the interwar period as no other printmaker of his time could. Hasui's work enjoyed huge popularity upon producing his first print in 1918. Watanabe recognized and developed the enormous potential of the American market, resulting in Hasui's prints achieving high prices at auctions in New York as early as the 1920s. After the Second World War, his prints became highly sought-after collectible works among the American occupying forces in Japan. Hasui designed more than 600 prints during the 40-year span of his artistic career, and in 1956, he was named a 'Living National Treasure' of Japan. Hasui’s woodblock...

A group of 14 Blackfeet Indians prints created by the artist Winold Reiss. The Great Northern Railway printed and released these prints in c. 1940. This is for the entire group...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, XXe Siècle, n°26, May 1966. Published ...

Pablo PICASSO (1881-1973)(after) Woman with a Turkish bonnet, 1974 Lithograph (Mourlot workshop) Printed signature in the plate Numbered / 300 copies On vellum 75 x 52.5 cm (c. 30 x...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image of the story ‘The boy who left home to learn fear’. Hockney chose this story for its obscu...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Original vintage poster Carthusia Capri (Italy) perfume vintage poster. Artist: Mario Laboccetta. "CARTHUSIA I PROFUMI DI CAPRI" Size 26.5" x ...