Expressionist Figurative Prints

Jean Jansem (1920-2013) La commode, 1986 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 51 x 70 cm / 54 x 76 cm D'une édition à 30 exemplaires d...

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...

Jean Jansem (1920-2013) Joëlle aux jambières, état rouge, 1995 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 65 x 50 cm / 76 x 56 cm Rare édit...

Jean Jansem (1920-2013) Christina et sa poupée, 1985 Lithographie sur papier Arches Signée et justifiée 76 x 54 cm Imprimeur: Mourlot, Paris Editeur Sanbi, Tokyo Bibliographie: Jan...

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...

Jean Jansem (1920-2013) Peintre dans son atelier, 1969 Lithographie sur papier Rives Signée en bas à droite et justifiée en bas à gauche 39 x 52 cm / 56 x 76 cm D'une édition à 120 exemplaires Bibliographie: Jansem Lithographe, 1954-1983, de Francony Editeur, Nice, 1984, n. 211, reproduit p. 53, référencé p. 231. "Ma première lithographie date de 1954. Elle représente un enfant en haillons portant deux seaux d'eau, d'après un croquis rapporté de Cordoue lors de mon voyage en Espagne en 1952. Je l'exécutai sur pierre, au pinceau et à l'encre lithographique. Je fus déçu du résultat et n'en tirai qu'un essai et une épreuve. Quatre ans plus tard, je réalisai une dizaine de nouvelles lithographies, toujours sur pierre, la plupart en noir. Au lieu d'employer l'encre et le crayon...

Artist: Teo Tobiasse (French/Israeli, 1927-2012) Title: "The Songs of Songs of King Solomons" Year: 1975 Medium: Color lithograph Edition: Numbered LVII/C in pencil Paper: Jap...

Woodcut on brownish-gray laid paper. Monogramed ‘HMP‘ upper left in the block. From a part edition of "Almanach auf das Jahr 1920 Fritz Gurlitt". Published by Verlag Fritz Gurlitt, B...

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...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art w...

Cristal de Roche from Le Reincarnations du Pere Ubu Georges Rouault, French (1871–1958) Date: 1928 Aquatint on Arches, signed in the plate Image Size: 12.5 x 8 inches Size: 17.5 x 13...

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...

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 ...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

An original drypoint monotype by American female artist Kathleen Sherin.

20" x 15" Unframed Limited Edition Giclée with Hand Embellishment of 135 Hand Signed by Todd White “Those individuals who just have that power to seduce you. Some definitely have it more than others and it gets dangerous when they know how to use...

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...

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...

Jean Jansem (1920-2013) Joëlle aux jambières vertes, 1995 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 65 x 50 cm / 76 x 56 cm D'une édition ...

Medium: original color woodcut. Catalogue reference JH 771. Published in 1919 for Genius. Image size: 9 1/2 x 7 inches (240 x 178mm), on wove paper with full margins. This print is f...

18" x 10" Unframed Limited Edition Giclée with Hand Embellishment of 135 Hand Signed by Todd White “Being an observational artist of 53 years, I truly understand, only now, life is...

Edvard Munch (1863 - 1944) (after) Young and Old Woman Poster printed in offset lithograph (from Munch's original woodcut "Women on the Shore" of 1898) Printed in Mourlot workshop, Paris 76 x 53 cm (30 x 21") INFORMATION : Realised for the exhibition in the Los Angeles County Museum...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

Niño con pájaros from Rufino Tamayo 16 aguafuertes 1976. Color etching on Guarro paper. Hand signed and numbered in crayon by the artist. HC edition. Published by Ediciones Poligra...

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...

This artwork "Mujere II" c.1960 is an original color silkscreen by noted Argentinian artist Raul Soldi, 1905-1994. It is hand signed and numbered 93/150 in pencil by the artist. The image size is 13.5 x 20.5 inches, sheet size is 19.75 x 22.75 inches. The colors are fresh and bright, it have a 0.85 inches restored tear at the lower margin (see picture #6 for detail) some paper rubs on the verso, not visible from the front. otherwise in good condition. About the artist: Raúl Soldi was born in Buenos Aire in 1905. He was an argentine plastic artist of recognized international experience. In 1920 he began drawing and painting. He makes reproductions of Quinquela Martín...

Raquel Forner (1902-1988) Argentine woman painter and printmaker born in Buenos Aires in 1902 and died in the same city in 1988, regarded as one of the best Argentine female painters...

The Bolshevik Era (1917-1921) was a life and death struggle for the Bolsheviks and their ideology. The propaganda poster was everywhere, as the Bolsheviks struggled to win the Civil War against the Whites and fought the Poles over control of the Ukraine and parts of modern day Belarus. The early Soviet poster - an incredible 3600 designs - was remarkable for its revolutionary fervor and biting wit. Powerful visual symbols were invented, like the red star and hammer and sickle. These four posters are as follows: 1." May 1st All Russian Subbotnik " is a Russian poster promoting the first all Russian Subbotnik held on May 1st, 1920 in which Vladimir Lenin was in attendance. "Subbotnik" were weekend days of unpaid, volunteer community service work following the October Revolution which eventually became obligatory. By Russian artist Dmitry Moor 2. " Anniversary of Vsevobuch--Develop and Learn to Defend Freedom"    celebrates the second anniversary of the implementation of universal military training and says ‘2nd Anniversary of Vsevobuch, Develop and Learn How To Defend Freedom. Artist unknown 3." Devil Doll "    The Devil Doll' (January 1920) shows a soldier pointing his bayonet at a looming monster in the first panel. However, in the second it turns out to be the weak and insignificant enemies of the state behind a pathetic mask and cloak.  Russian artist Dmitri Moor 4. " Forward to defend the Ural"    ’By Russian artist A. Petroff ( pseudonym for Alexander Aspit ) from the ´´Plakate der Russichen Revolution 1917 - 1929´´ Dmitry Moor was a Russian graphic artist, poster designer and cartoonist, also known as D. Moor ("Д. Моор"). During the 1900s and 1910s he was a comic pioneer, making satirical comics ridiculing the Czarist regime and censorship. Under the Soviet regime he became one of the most celebrated propaganda artists. Both during the First and the Second World War he ridiculed the German army. In his work Moor often made use of sequential illustrated narratives or comics. He was the house cartoonist of magazines like Budilnik and later Bezbozhnik. Alexander Petrovich Apsit was born in Riga on 25th March, 1880. He moved to Saint Petersburg in 1894 and attended art school and became a student of Lew Dmitriew-Kawkaski. Aspit worked for various Russian magazines and on the outbreak of the First World War was employed by the government to design war posters. After the Bolshevik Revolution Apsit was commissioned by the State Publishing House to design revolutionary posters.

Klimt Estelle Ginsburg, American Date: circa 1979 Screenprint, signed and numbered in pencil Edition of 500, AP 50 Size: 21.5 in. x 29 in. (54.61 cm x 73.66 cm)

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Printed in Germany in 1922 for the rare Ganymed portfolio of "Das vierte Jahrbuch der Marees...

Georg Tappert (1880 Berlin - 1957 Berlin), Head, 1918 (1964). Wietek 110. Estate print from 1964. Linocut on Japan, 17 cm x 24.5 cm (depiction), 24 cm x 31.5 cm (sheet size), marked ...

Georg Tappert (1880 Berlin - 1957 Berlin), The Mother, 1918 (1964). Estate print from 1964. Linocut on Japan, 31.5 cm x 20 cm (image), 44.5 cm x 28 cm (sheet size), marked lower left...

This artwork, titled, Le Savant au Microscope, 1968, is an original color lithograph printed on Arches paper by French artist Bernard Buffet, 1928-1999. It is hand signed and dedica...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 44-45. Published by Aimé Maeght, Édite...

Etching in colors on Somerset vélin paper. Paper Size: 20 x 23 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Music, Deep Rivers in My Soul, 2003. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengili, Hinsdale, 2003. Excerpted from the folio, This edition of Music, Deep Rivers in my Soul consists of CD examples printed on Somerset paper. Dan Carr and Julia Ferrari designed the typography. Cast the Spectrum and Romulus type in metal, handset the type and printed the text at Golgonooza Letter Foundry and Press in Ashuelot, New Hampshire. The color etchings were printed by hand on Somerset paper by Peter Pettengili at Wingate Studio in Hinsdale, New Hampshire. DEAN MITCHELL...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

Silkscreen on vélin d’Arches paper. Paper Size: 14 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks in the Pages of Life, 1998. Published by The Limited Editions Club, New York; printed by Drexel Press, Inc. Long Island City, 1998. Excerpted from the folio, CCC examples, designed, hand-set in Monotype Perpetua, printed, and hand-bound by Michael and Winifred Bixler, Skaneateles, New York. Paper made in France at Arches. Silkscreens printed by the Drexel Press, Inc. Long Island City, New York. PHOEBE BEASLEY...

Silkscreen on vélin d’Arches paper. Paper Size: 14 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks in the Pages of Life, 1998. Published by The Limited Editions Club, New York; printed by Drexel Press, Inc. Long Island City, 1998. Excerpted from the folio, CCC examples, designed, hand-set in Monotype Perpetua, printed, and hand-bound by Michael and Winifred Bixler, Skaneateles, New York. Paper made in France at Arches. Silkscreens printed by the Drexel Press, Inc. Long Island City, New York. PHOEBE BEASLEY...

Silkscreen on vélin d’Arches paper. Paper Size: 14 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks in the Pages of Life, 1998. Published by The Limited Editions Club, New York; printed by Drexel Press, Inc. Long Island City, 1998. Excerpted from the folio, CCC examples, designed, hand-set in Monotype Perpetua, printed, and hand-bound by Michael and Winifred Bixler, Skaneateles, New York. Paper made in France at Arches. Silkscreens printed by the Drexel Press, Inc. Long Island City, New York. PHOEBE BEASLEY...

31" x 30" Unframed Limited Edition Giclee on Canvas with Hand Embellishment of 25 Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors serving the viewer’s eyes as those in his stolen scenes serve or are served-wine, coffee, cigarettes, cigars, and martinis. He creates timeless scenes of diverse attraction, of known intimacy. Within the exaggerated features and textured skin of his characters lies truth, yours and theirs. Distinctive bodies and details to lips, eyes, hair, skin, hands and what is held in each, separate and blend his characters’ lives. The smoke that rises from their lips, the drinks that linger at their fingertips, the clothing that adorns their bodies and the crowd created among lovers, friends, patrons and co-workers all speak a certain poetry. Each character depicts the subtleties of what one shows and what one hides. An asymmetrical face tells of an asymmetrical life, of how life wears and how we wear life — what we choose to carry in our hands and on our faces — how we wear ourselves, what smoke and color we stand in. Todd’s paintings are captivating, demanding a second look, often invoking humor or thoughts of familiar feelings — I’ve been there, I know them. Above all, the work is infectious and has caught the attention of the public (galleries cannot keep enough of Todd’s work in stock) as well as celebrities (Vin Diesel, Hugh Hefner, Macaulay Culkin, Eric McCormack, Ryan Stiles and Joe Rogan are collectors of Todd’s oil paintings). But who is the artist behind the art and where did his unique style come from? Todd began in at Warner Bros. Studios while working on the popular series, tiny toons. Through character clean-up and development, Todd began to forge his own artistic style. Shortly thereafter, Todd became part of the lead animation team for the internationally renowned cartoon, sponge bob square pants. Over the next three years, Todd sharpened his eye in storyboarding, illustration and character design. Throughout this period, Todd privately experimented with style and concept, eventually arriving at a process which guides him through every piece. The impact is apparent in his paintings; Todd’s rat-pack-meets-Picasso style results, in part, from his desire to reveal his characters’ innermost thoughts and emotions on their faces. Todd likens his portraits to his favorite episode of the Twilight Zone in which people wore masks that later became their faces and revealed who they truly were. Fast forward ten years later, and until Todd can conceptually see the story in his head, he refuses to paint a single signature knuckle curled around one of his famous martinis. "I actually name my pieces first and then i visualise each face and its personality. Then I develop each person’s story." The stark, unblemished delivery of his subjects is very much intended: whatever isn’t necessary to the story isn’t on my canvas. "I don’t waste a lot of time with backgrounds because they don’t interest me. They aren’t necessary. Instead i focus on what is essential. For example, the hands." Hands are a focal point for Todd, reflecting the subject’s state of mind as much as any body language or facial expression. Everyone’s hands are full of personality he surmises. Take Al Pacino; without his hands, he’s not nearly as interesting to watch. In addition to more obvious influences, such as Austrian expressionist Egon Schiele, Todd credits Frank Sinatra, Audrey Hepburn, Bridget Bardot, Nat King Cole and the style and feel of the age of cool. However, Todd’s flirtation with the cool cats begins and ends on the canvas. On any given afternoon, you’ll find Todd’s paint-stained hands not reaching for a fresh cigarette or a third martini, (Todd doesn’t smoke and rarely drinks anything stronger than iced tea), but rather scooping trail mix to feed wild rabbits or throwing a well worn rubber ball for his dogs. Todd keeps his afternoons free because of the one trait he has in common with ol’ blue eyes...

KAREL APPEL (1921 - 2006) BLACK FACE, 1969 Lithograph in colors signed in pencil. Edition 26/75, Image: 19 3/4 x 25 1/4, sheet: 22 x 30 inches. Just hint of a mat line Appel was a member of the Cobra art movement

Artist: Francisco Zuniga, Mexican (1912 - 1998) Title: La Escalera Year: 1986 Medium: Lithograph, signed and numbered in pencil Edition: 150 Size: 30 in. x 21 in. (76.2 cm x 53.34 c...

Artist: Teo Tobiasse (French/Israeli, 1927-2012) Title: "Le Pieton de Paris" Year: c.1975 Medium: Color lithograph Edition: Numbered 42/175 in pencil Paper: Japan paper Image ...

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...

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 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 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 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 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 Déco...

Josef Scharl (1896 Munich - 1954 New York), Mockery, 1935 (1964), Bronner 30 A. Woodcut on Japanese paper, 51.8 x 25.7 cm (image), 65 cm x 37 cm (sheet size), signed lower right in t...

Highly collectible and coveted item: Francis Bacon von [with] John Russell (Monograph, hand signed and inscribed twice by Francis Bacon), 1972 Hardback monograph with dust jacket (ha...

Karl Michel, 'Mehr Sonne fur 1924. Viel Gluck Wunscht Karl Michel U. Frau', woodcut, 1924, edition 20. Signed, dated, and numbered 'op. 162' and '15/20' in pencil. Signed in the image, lower left. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in very good condition. Printed by the artist. Scarce. Matted to museum standards, unframed. New Year's Greeting – English translation: "More Sun for 1924. Good Luck Wishes from Karl Michel and his Wife." Image size 4 5/8 x 4 3/4 inches (118 x 121 mm); sheet size 7 3/4 x 10 inches (198 x 254 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat...

SOUS LES PALMIERS is an original hand drawn limited edition lithograph printed in vivid colors on archival Somerset paper 100% acid free by the Dutch artist known as CORNEILLE(Guilla...

Artist: Teo Tobiasse (French/Israeli, 1927-2012) Title: "The Songs of Songs of King Solomons" Year: 1975 Medium: Color lithograph Edition: Numbered LVII/C in pencil Paper: Jap...

Gill Bradley Monkeys Loose in Notting Hill, 1927 Lithograph 100 x 65 cm "The monkey hunt which has been entertaining all but those immediately associ...