Pierre-Auguste Renoir

Le chapeau épinglé (La fille de Berthe Morisot et sa cousine), c. 1894

1894

Navona Square - Rome is an original artwork realized by Giuseppe Malandrino. Original print in etching technique. Hand-signed by the artist in pencil on the lower right corner. Num...

Interior of an Animal is an etching realized in 1771 by Louis Legrand (1723-1807). Titled and Signed on the plate. The artwork Belongs to the suite "Histoire naturelle, générale et...

Countryside is an etching realized by Pierre-François Laurent in 18th Century. Good conditions. Signed on plate. The artwork is depicted through confident strokes.

Still Life Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Vincenzo Campana in the 18th Century. Signed on the plate. Good conditions with slight foldin...

Wonderful original etching with aquatint realized by Georges Rouault between 1916 and 1923, published as a suite in 1948. Sheet in perfect conditions. The artwork is part of the important suite Miserere realized by Rouault between 1917 and 1923, considered as the most important religious graphic of XX century. Il a été maltraité et opprimé et il n'a pas ouvert la bouche represents an episode of Christ's passion. Miserere suite is divided in two themes: religious and profane; one is linked to Christ's passion and the other is dedicated to the human event, to the pilgrimage of pain on earth, made even more tragic by war. In the 58 original plates, Rouault lingers on the conditions of humanity. Like few other contemporaries, Rouault represents man, placing him at the center of an absurd and squalid theater. Interesting the use of contrasts and the shapes of the figures with black outlines. In this artwork the figure of Christ is placed in the center facing down. Georges Rouault (Paris, 1871) has been an interesting exponent of French Expressionism...

Original title: Die Tanzerin This original etching and aquatint, blue ink on ivory colored paper is hand-signed in pencil on lower-left. Edition of 530 prints. Including a poem by Amadée de la Houlette. Representing a vintage erotic scene...

Time discovers the Truth is an original modern artwork realized in the first decades of the 19th Century. Original colored Etching on paper. A long inscription is present on the lo...

Tevere col Cornucopia e Lupa (Tiber river with Cornucopia, Romulus and Remus and the Wolf) is a wonderful original burin on laid and watermarked pape...

Leaving Home is a superb etching and drypoint on ivory-colored and laid paper, realized by Edmond Ramus, after Franch Holl, as the inscription on plate and out of the image report. On the higher-margin "Exposition Universelle de 1878". Printed by A. Salmon, this original print represents a crowded waiting room before a departure, better represents all the feelings, thoughts, postures, lost hopes of a departure after leaving home. With deep dramatic and vibrant blacks, and intense greys, sophisticated draperies and deep shadows, this artwork although his intensity has something of deep humanity, and is incredibly modern! A touching original print for your sophisticated private collection. In good conditions, except for a usual burnished paper and a diffused foxing does not affect the image, also the edges. Edmond Ramus (1822 – 1890) was a French etcher best known for his copies of paintings...

Image dimensions: 19.3 x 17.5 cm. Antonio Canova is a beautiful black and white etching on paper, realized between 1770-1810 by the Italian old master, Giovanni Elia Morghen (1721-1789), after a painting by Pellegrini, as the inscriptions on plate report. Title on plate on the lower margin at the center. This original print represents Antonio Canova the Italian sculptor and painter, the greatest exponent of Neoclassicism in sculpture and for this reason called "the new Phidias", in the official portrait reserved to the great personalities. Realized with full mastery of the technique, this old master's print is in excellent condition, as good as new. Absolutely to collect! Giovanni Elia Morghen (Florence, 1721) Giovanni Elia Morghen came from a family of engravers in Florence. According to the testimony of Raphael, the most illustrious member of the family, his grandfather was originally from Montpellier and, after marrying a Genoese woman, he moved to Florence, where he opened a lace shop. Both their sons, Giovanni Elia and Filippo, specialized in chalcographic art: Giovanni was predominantly a draftsman, whilst Filippo mastered the art of carving. In Florence, Giovanni Elia Morghen was a pupil of Giovan Domenico Ferretti, and he probably also worked at the workshop of Carlo Bartolomeo Gregori. Indeed, he, with the other artists of the school, made 26 of the engravings present in the second Florentine edition (1766) of the Salon paintings at the palace of Florence. He then moved to Naples with his brother. From 1756, he began participating in the creation of the tables of the Antiquities of Herculaneum, a work of several volumes published in Naples with various interruptions in the late nineteenth century. In 1767, he published six tables with representations of the temples of Paestum, taken from drawings by Antonio Joli...