Boy Figurative Prints

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th century. Signed on the plate, on the lower righ...

Andre DERAIN Birth of Venus Original drypoint etching Stamp signature of the artist On vellum 45 x 34 cm (c. 18 x 14 in) Excellent condition

Obsequio á el Maestro is a black and White aquatint, drypoint and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886. 6th Edit...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Fernand Léger: Dessins de Guerre, 1956. Plates rendered by l'atelier Daniel Jacom...

Woman With Flower is a lithograph realized by Ibrahim Kodra in 1973. Hand-signed and numbered. Edition of 75. Good conditions. Ibrahim Likmetaj Kodra (22 April 1918 – 7 February ...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

The Lustful -  "The Divine Comedy" - Song 25 -  Purgatory is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. P...

Larry Clark Untitled Larry Clark Kids Skateboard Skate deck, 2013 Screenprint on 7-ply Canadian maplewood skatedeck Signed on the deck 31 × 8 inches Long sold out 2013 skateboard dec...

Simplicius' Writing Lesson (Simplici Schreibstunde) (plate VII) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etchi...

In 1991 Harry Sternberg published a book with Brighton Press, San Diego. It was My Life in Woodcuts. At the time it was the only known woodcut autobiography. The deluxe editions of...

Cecil Charles Windsor Aldin, was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rura...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparuli in the 18th century. Signed on the plate on the l...

Lyre is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws, of th...

Raiders Of The Lost Ark - Original 1981 Lobby Card #8 Vintage 1981 Indiana Jones Raiders of the Lost Ark lobby card showing Karren Allen Framing options available: Black, brown, w...

BEGGARSTAFFS Harper's Magazine, 1895 Lithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 16 of "Les Maîtres de...

Cundo Bermudez "Quinteto Matancero" 1994 Lithograph 30 x 43 in Cundo Bermúdez was a Cuban painter known for his colorful depictions of figures and patterns. In works such as The Bal...

Brittany Noriega Magnolia Laser Transfer on Handmade Paper Year: 2021 Size: 6 x 4 inches Edition: 10 Signed by hand COA provided Ref.: 924802-1044 Tags: floral, print, drawing, pap...

Paul KLEE (after) The Man With Pear Tree Lithograph and stencil (Jacomet process), on canson paper Signed in the board 50 x 38.2 cm (19.6 x 14.9 in) INFORMATION : This lithograph w...

Frank Brenner Have A Nice Day (Graffiti, Urban Art, Street Art, Mickey Mouse, Darth Vader) 3D-Construction on Hahnemühle Velvet Year: 2021 Signed and ...

Rembrandt Portrait Du Peintre Par Lui-Meme is from the Changes in Great Masterpieces suite. In this series of six original lithographs in full color, Master Dali has given us a conce...

Veni, domine Iesu (The Spirit is willing, but the flesh is weak) is an artwork realized in 1964. It is part of Biblia Sacra vulgatæ editionis published by Rizzoli-Mediolani between ...

Music is an original woodcut on ivory-colored paper, realized at the beginning of the XX century by the Italian artist Arturo Martini (Treviso, 1889 - Milan, 1947). On the lower margin, the printed inscriptions with the title and the author: "Music / Martini de la Valle...

Star Wars: The Empire Strikes Back 1980 Vintage Lobby Card #1 measures 8×10″ inches / 20 x 25 cm The Empire Strikes Back (also known as Star Wars: Episode V – The Empire Strikes Ba...

To Goya is an original etching on paper by Louis-Léopold Boilly. Hand-signed. Very good condition except for some stains. The artwork represents a composition of two men with perf...

Don't listen! (Non ascoltare!) is an Artwork realized by Mino Maccari  (1924-1989) in the Mid-20th Century. B./W.  woodcut on paper. Hand-signed on the lower, numbered 4/89 specimen...

Agent X The adventures of Dixwell Hastings (episode 200) (Pop Art, Street Art, Urban Art) Digital Print on Archival Paper Year: 2021 Edition: 125 Size: 30 x 30 in - 78 x 78 cm Signed...

The Resurrection is a Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Mediolani between 1967 and 1969. Signe...

Image dimensions: 20 x 15.2 cm. After Leonard Tsuguharu Foujita Lithographic reproduction in colors, from the set of sixteen illustrations from Propos d’un intoxiqué, by Jules Boiss...

Eurydice And Orpheus from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions with some folding a...

The Mistress is an Artwork realized by Mino Maccari  (1924-1989) in the Mid-20th Century. B./W. Woodcut on paper. Hand-signed on the lower, numbered 1/89 specimens and titled on the...

Sword Fight is an original artwork realized in 1878 by Kunichika Toyohara. Color woodcut 1878. Dimensions: 22 x 48 cm. Actors portraits against red bac...

Real Guard is an original lithograph by Antonio Zezon. Naples, 1852. Interesting colored lithograph which describes the Real Guard, alongside with a Sapper in dressing uniform, a Gu...

Rare#163/264 edition direct from Zedsy. 21 x 26 Inches (53 x 66 cm) Screen print on 100% cotton 330gsm archival fine art paper. Print edition of Zedsy's 'Needle in a Haystack' Mon...

Stan Phillips (American, 1923-2012) Jacob's Pillow, c. 1970 Lithograph 14 7/8 x 10 7/8 in. Signed and inscribed Phillips was born in Brooklyn, New York and spent most of his young l...

The Falsifiers from the Series "The Divine Comedy" is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not sig...

Artist: Sandro Chia Title: Untitled 5 Medium: Carborundum etching with hand coloring on handmade paper, each piece is unique Size: 39 x 49 Inches Signed: Hand Signed Edition: 31/50...

Figures is an Etching and Drypoint realized by Mino Maccari in the Mid-20th Century. Hand-signed in the lower right part. Numbered. Edition,3/40. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an Italian writer, painter, engraver and journalist, winner of the Feltrinelli Prize for Painting in 1963 and first winner of the Forte dei Marmi Satira Prize in 1973.After completing his secondary education, he enrolls in university. An interventionist like many young people of his time, he took part in the Great War at the age of nineteen as a field artillery officer. At the end of the conflict he resumed his university studies in Siena and in 1920 he graduated in law. In 1924 he was called by Angiolo Bencini to take care of the printing of the magazine Il Selvaggio, openly uncompromising fascist, revolutionary and anti-bourgeois, where his first engravings were published. After a few years of coexistence between work at the newspaper and the law firm, at the beginning of 1926 he left the legal profession to take over the direction of Il Selvaggio which he would hold until 1942. In 1928 he was the author of the small book published by Vallecchi (Florence), Il Trastullo di Strapaese (little songs and engraved woodwinds) which collected fascist songs (the same book was seized several times from Antonio Gramsci during his detention). With the transfer of the editorial staff of the Selvaggio in 1925 from Colle di Val d'Elsa to Florence, Maccari collaborated with Ardengo Soffici, Ottone Rosai and Achille Lega. In the meantime, between 1927 and 1930, he made himself known to the general public as a painter by participating in various national exhibitions. Also in 1930 Maccari works in Turin at La Stampa as editor-in-chief and has the writer Curzio Malaparte as director. His presence in the cultural and editorial world of the fascist regime is very intense, he writes and collaborates with various magazines: Quadrivio, L'Italia Letteraria, L'Italiano and Omnibus by Leo Longanesi; then, during the war, in il Primato di Bottai and, subsequently again, in Il Mondo di Pannunzio (from the first number, in 1949), up to Documento by Federigo Valli. His graphic production is also vast, ranging from the Album of Vallecchi (1925), Il trastullo di Strapaese (1928) to Linoleum (1931). Maccari illustrated in 1934 La vecchia del Bal Bullier by Antonio Baldini and in 1942 he published the Album folder, followed by Come quando fuori Piove and Il superfluo illustrata.For his pictorial work full of evident chromatic accentuations and fast brushstrokes, the violent drawing combined with the lively stroke of the graphic sign of his engravings, he is recognized by critics as a complete artist. In 1962 he was also entrusted with the presidency of the Accademia di San Luca in Rome and managed to obtain a personal exhibition at Gallery 63 in New York. His production of drawings, watercolors, temperas, etc. is endless, sometimes in collaboration with prestigious publishing houses; it is worth mentioning, just as an excellent example, the 32 b/w and color drawings with which he illustrated Il gusto di vivere, a volume that collects writings by Giancarlo Fusco, edited by Natalia Aspesi and published by Laterza in 1985. Maccari, Sienese and great contradaiolo della Torre, painted the Palio...

Ira Moskowitz, Polish/American (1912 - 2001) - Dancing Group, Year: circa 1960, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 3/150, Image Size: 11.75 x 13...

Papou du Havre Dorey is a hand colored lithographs realized by Auguste Wahlen in 1844. Good condition. The artwork belongsto the Suite Moeurs, usages et costumes de tous les peuple...

Hermes, Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ludovico Boily in the 18th century. Signed on the plate, on t...

A Lying Animal is a black and white print realized by Friedrich Specht in 1880. Lithograph on dark paper. Original Title: Derendet. Dated 1880, p.24. Signed by the artist on the r...

"Le Talpe" is a woodcut on brown-colored paper, realized by Anonymous Artist of the 20th Century, in 1914s, Paris. The state of preservation of the artwork is...

Ancient Hang Cheong Photograph is an original vintage albumen print on single cardboard. It is realized in the 1890s. Fair condition with missi...

Hermes, Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nicola Fiorillo in the 18th century. Signed on the plate, on ...

Raid On A Sand-Swallow Colony " How Many Eggs?" is an original wood engraving from Harper’s Weekly June 13, 1874 in very good condition. One of Am...

Peloton by Robyn Forbes [2020] limited edition Screen print on paper Edition of 20 Image size: H:20 cm x W:29 cm Complete Size of Unframed Work: H:29....

Artist: Dan May (American, 1955-) Title: "Dancing (Orange and Blue)" *Signed by May in pencil lower left Year: 1978 Medium: Original Monoprint on unbra...

Le Petit Journal is an original Magazine realized in 1892. Original poster with printed writings. Good conditions except for the margins that pres...

Don Quixote On Battle is an etching and drypoint print on ivory-colored Japanese paper, realized by Wladyslaw Jahl in 1951. It belongs to a limited edition of 125 specimens. Good c...

The Battle of Fontenoy is an etching realized by Nicholas Cochin in 1755. Signed on the plate. Good conditions with foxing. The artwork is depicted through confident strokes. The...

International Folklore is a screen print and offset print on ivory-colored paper realized in the 1970s by Simone Vaulpré. Signed on the lower right. Good conditions with slight fol...

The Crop is an original lithograph on paper realized by an anonymous artist in the Mid-20th Century. Good Conditions. Numbered. Edition, 109/220. The Artwork is Depicted through s...

Little Soldier is an original artwork realized by Nicolas Touissaint Charlet in the first half of the XIX Century. Original lithograph on paper. Passepartout included (cm 50 x 31.5...

See-saw, Margery Daw, 1994 Paula Rego Etching with aquatint and hand-colouring, on velin Arches Signed and numbered from the edition of 50 From Nursery Rhymes Printed by Culford P...

Abstract Composition is an original Etching realized by an unknown Artist in the mid-20th Century. Good Conditions. The artwork is depicted through soft strokes in a well-balanced ...

Careful With That Ax Eugene Mark Kostabi, American (1960) Date: 2001 Screenprint, signed and numbered in pencil Edition of 100 (Roman Numerals) Size: 35.5 x 27.5 inches

Helle Reaching for Phrixus On His Flying Golden Ram from "Antiquities of Herculaneum" is an etching on paper realized by Francesco Cepparoli in the 18th ...

Le Allegorie: San Gerolamo, o le tre età is a vintage poster realized by the Italian artist Renato Guttuso (Bagheria, 1911 – Rome, 1987) in 1981 Original Colored Offset on paper. The artwork was realized on the occasion of the exhibition realized in 1981 at Galleria Rondanini in Rome. The offset poster depicts the artwork Le Allegorie: San Gerolamo, o le tre età realized by the artist in 1978 Printed on the lower left corner: Le Allegorie: San Gerolamo, o le tre età - 1978 Renato Guttuso (Bagheria, 1911 – Rome, 1987). His father Gioacchino, a land-surveyor and amateur watercolourist, and his mother Giuseppina d’Amico, due to disagreements with their own town depending on their liberal ideas, registered the birth on 2 January 1912 in Palermo. In his birthplace Guttuso discovered painting at a very early age; as he himself wrote: “… among my father’s watercolours, the studio of the painter Domenico Quattrociocchi and the workshop of the cart painter Emilio Murdolo my path was taking shape when I was six, seven, ten years old…”.Guttuso was awarded the Lenin Prize at the time of his exhibition at the Art Academy in Moscow, 1972. The same year a large retrospective toured Eastern Europe calling at Praha, Bucarest, Bratislava and Budapest. Two major paintings belong to this period: La Vucciria (1974), later presented by the artist to the University of Palermo, and Caffe Greco...