Modern Figurative Prints

Andrews, Sybil (English/Canadian, 1898-1992), C. SA26. "SLEDGEHAMMERS", Color Linocut, 1933, ed. 60 plus 4 trial proofs, Ref. C. SA 26, 10-1/4 x 12-1/2, signed, titled and numbered 6...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Artist: Sylvia Roth Title: The Emperor Year: circa 1980 Medium: Etching with Aquatint, signed in pencil Edition: AP Image Size: 23.5 x 22 inches Size: 34 x 28.5 inches

(after) Constantin (Kostia) Terechkovitch Title: Magical Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis&qu...

J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil.

Lithograph after Georges Braque From the deluxe art review, Derrière le Mirroir 1964 Printed signature Dimensions: 38 x 28 cm DLM No. 148, 1964 Edition: Foundation Maeght at Saint P...

Dante et Virgile is an original artwork realized by Lucian Carred in 1886. Original etching on paper. Passepartout included (cm 32.5 x 50). Artist Proof after Eugène Delacroix. Bon à tirer...

Piper is an original artwork realized by Guberti in the 1970s. Hand-signed in pencil on the lower right by the artist. Good conditions, except for a fold of paper on the lower left. ...

This 1929 lithograph by Louis Lozowick was printed in an edition of 50. Lozowick signed this impression in pencil lower right with a monogram on stone, in the lower left. The sheet...

L'Horoscope is an original artwork realized by the artist Paul Edme LeRat and Felix-Augustin Milius. The artworks include two different sheets representing "L'Horoscope" by Paul Edme LeRat and "L'Horoscope Realisé" by Felix-Augustin Milius in 1879. Both the artworks has been realized in 1879. Original etchings d'aprés Freudenberger chez Cadart, Paris. Very good conditions. The first artwork represents an old female figure with cards and a young girl listening to her. In the center of the composition there is a man with a headgear that is listening to the response too. In the second etching, L'Horoscope Realisé, we see the realization of the response: the young girl stays with a baby and the old city is looking the scene; the man is in the center of the composition and shows the scene to the old lady. Paul Edme LeRat (Paris, 1849 - Paris, 1892) a French etcher noted for his interpretations of other artists paintings into etchings and engravings which were often used for book illustrations. He studied under Lecoq de Boisbaldran and L. Gaucherel and first exhibited at the Paris Salon in 1869. Today many museums and libraries include his works in their catalogs. Félix-Augustin Milius(Marseilles, 1843 - 1894) a French painter, engraver and illustrator; he was a portraitist and genre scenes painter. A pupil of Hippolyte Flandrin, Charles Gleyre, Léon Gaucherel...

Hand Signed and numbered. Edition of 125 prints. Published in the artwork series: "Giacomo Manzù: Fifteen original etchings and aquatints", by Touchstone Suite, New York, 1970. Gi...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (...

Louis Lozowick created the lithograph entitled Traffic in 1930. This stunning impression is signed and dated in pencil in the lower right just under the image and inscribed "2/20" i...

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...

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state...

Barnet 173. Number 83 in an edition of 150. Titled in pencil lower left margin: "Circe II"; numbered in pencil lower center margin: "83/150"; signed and dated in pencil lower right m...

Alexander Calder - Original Lithograph - Behind the Mirror 1 Original lithograph created in 1976 Dimensions: 38 x 28 cm Source: Derrière le miroir (...

Hand signed, dated, and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 300. All reasonable offers will be considered.

1928. Etching. Morse catalog 235. state ii. Image: 9 3/4 x 7 (sheet 17 1/4 x 11 3/8). From the first printing of 100 proofs by Peter Platt. There were an additional 10 printed by Er...

September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...

An original Dutch propaganda poster by M. Deleu, 1930's. A very bold, red and linear composition with a very striking palette.

An original linocut print by American artist Irene Zevon. The reclining nude is one of Zevon's most coveted subject matters. This 1959 print is one of a series of ten prints.

Artist: Martin Barooshian, American (1929 - ) Title: The Entrance to the Peaceful Kingdom Year: 1951 Medium: Woodcut, signed in pencil Edition: 30 Size: 12 x 18 inches

Wren's City. 1909. Mezzotint. Wuerth 504. 10 x 11 7/8 (sheet 12 3/8 x 14 3/8). Printed on laid wove paper. A rich impression printed by the artist. Signed and annotated 'imp' in penc...

1932. Drypoint. Appleby 167. 9 1/4 x 11 5/8 (sheet 11 3/8 x 17 15/16). Edition 100 #48. Mat line, well outside the image; otherwise excellent condition. A rich impression with drypo...

Windy Night, Stockholm. 1935. Drypoint. Dodgson 457.x. 11 7/8 x 7 5/8 (sheet 15 1/2 x 10 7/8). Edition of 80 in this state (total 93 in 10 states). Illustrated: Guichard, British Etc...

Barnet, Will. SLEEPING MAN (REST). Szoke 42, Cole 41, Johnson 40. Woodcut, 1937. Edition of 10. Titled "Sleeping Man" at left, and signed at right, both in pencil. This print is usua...

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

An original woodblock print by female modern artist Irene Zevon edition 19/25 and dated 1979. Zevon was inspired by the Flamenco dancer Dolores Vargas who used to practice in the ar...

Dorothy J. Krueger (1926-2011) Austin Artist Image Size: 14 1/2 x 7 1/2 Frame Size: 19 x 12 Medium: Etching Mid Century Modern Ancient Oracle Biog...

Roofs, Summer Night. 1906. Etching. Morse catalog 137 state ii. 5 1/4 x 7 (sheet 9 1/2 x 12 1/8). Series: New York City Life. A fine impression on cream ...

Crucifixion Engraving, 1958 Signed, dated, titled, and annotated 'Printers Proof II' in pencil A printed by Master Printer Jon Clemens, c. 2000 A brilliant impression full of burr Im...

Artist: Rex Clawson, American (1929 - 2007) Title: Family Year: circa 1979 Medium: Oil on Board, signed l.r. Size: 22 in. x 14 in. (55.88 cm x 35.56 cm) Frame Size: 26 x 18 inches

10 x 13 3/8 (sheet 14 5/16 x 18 7/8). Edition 75. A rich impression printed on light tan laid. Published by the Fine Art Society. Signed in pencil. Born in Lewisham, Edward Bouverie-Hoyton studied etching under Malcolm Osborne...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state...

Schwabe 171.v. 18 x 11 3/4 (sheet 20 1/2 x 14 5/8). Illustrated: Print Collector's Quarterly 13 (1926): 373; Guichard, British Etchers, 1850-1940. A rich impression printed on the fu...

Bacon, Peggy. THE CLINIC. Flint 109. Drypoint, 1932. Edition size not known, but likely very small as the print is rare. 4 15/16 x 6 7/8 inches, plus wide margins (the sheet is 11 x ...

Fifth Avenue Critics. 1909. Etching. Morse 128.x/xi. 6 x 8 (sheet 9 3/4 x 12 1/4). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for t...

GEORGES ROUAULT (1871 -1958) THE GOOD CANDIDATE, BOUDOUBADABOU, 1928 (Chapon & Rouault 10) Etching, aquatint and roulette. From “Reincarnations du Pere Ubu...

Study/Falling Man (Series I), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927-...

Created in 2008, this woodcut is hand-signed by Jim Dine (Cincinnati, Ohio, 1935 –) on verso and is numbered from the edition of 118 on verso. Published by Lincoln Center List Poster & Print Program, New York. About the Framing: Framed to museum-grade, conservation standards, Jim Dine Pinocchio...

Created in 1974, this color lithograph on Richard de Bas paper is hand-signed by Jasper Johns (Augusta, 1930 - ) in pencil in the lower right margin. Numbered from the edition of 47 ...

Created in 1990, this color lithograph is hand-signed by Jasper Johns (Augusta, 1930 - ) in pencil in the lower right margin and is numbered from the edition of 250 in pencil in the ...

Edward Ruscha Coyote, 1986 is a color lithograph on Arches paper that is hand-signed by Edward Ruscha (1937, Nebraska - ) on verso and is numbered from the edition of 30 in pencil on...

Giclee print mounted on aluminium 147.3 x 132.1 cm Edition of 500, this edition 466/500

.The Passing Freight, Danbury. 1934. Drypoint and sand ground. McCarron 108. 8 7/8 x 14 7/8 (sheet 12 1/7 x 17 5/8). Edition 46 (including 6 trial proofs). A rich, tonal impression p...

This is not editioned. According to his wife this was done privately for his 80th birthday and just given to friends and family. they were not sold. This is from a group of very few that were hand signed by Hyman Bloom for his close friend the artist Martin Sumers. It depicts a 1955 charcoal drawing Rabbi with Torah. Provenance: Acquired from the Martin Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...

Shunga is an original modern artwork realized by Utagawa Kuniyoshi (1798 – 1861) in the half of the 19th Century. Original woodcut print on paper. ...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state fro...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state fro...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state fro...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state fro...

Original linocut printed in black ink on Rives wove paper. Bearing the artist's estate monogram blindstamp in the paper lower right. A superb impression of the definitive state fro...

Bright, vibrant purple, red and black bull or ox. 1959 Lithograph "Bull". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon K...

Drypoint on off-white laid paper Edition of 75 Signed & dated in pencil

Unique Monotype with woodblock and hand painting in charcoal and ink on Arches cover white paper

Le Corbusier (1887-1965) Hands and Dancer, 1961 Original lithograph Signature printed in the plate From a limited edition of 150 proofs On BFK Rives vellum 57 x 46 cm (c. 23 x 18 in...