Boy Figurative Prints

The Caricature is an original drawing in ink and pen realized by a French Anonymous artist of the XX century. Sheet dimension: 20 x 15.5 cm In good conditions, except for the sign ...

Nude is an Etching realized by Enotrio Pugliese in 1963. Limited edition of 10 copies numbered and signed by the artist. Good condition on a white cardboard. Enotrio Pugliese (May...

The Head is an original Woodcut from "Old King", realized by Ebba Holm in 1925. Good conditions. The artwork is depicted through perfect hatching in a well-balanced composition.

Image Size: 23" x 16.5" Unframed Limited Edition Fine Art Print of 295 Hand Signed by Annora Spence

Military Kitchen is an original Modern Artwork realized in 1870. Original Lithograph on paper. Passepartout is included. Fair conditions: some foxing is present on the surface. ...

An ex libris print featuring the nude fantasy figure of a woman representing the mythical Phoenix. Roman Sustov's prints often provide a fantastic blend of classical technique and im...

Scarp Cars is an original lithograph on paper realized by Giuseppe Megna in 1970 ca. Hand-signed on the lower right and numbered on the lower left in pencil, edition of 6/80 prints....

Manchester Massacre Etching on copper. Image Dim:cm 11 x 9.2; Sheet Dim: cm 22 x 13.5. Passepartout Dim: cm 30 x 23.5 Title at the center. Signed on plate under the image: "PHIZ". From the series of 17 etchings on copper illustrating Charles Dickens's novels, published in London by "Thomas Tegg Cheapside" in XIX century. Browne Hablot Knight, alias Phiz, (Kensinghton 1815 - Brighton 1892) English painter, watercolorist and engraver. He illustrated books by Charles Dickens...

Image dimensions: 20 x 15.2 cm. Back Home is a color lithograph on paper, from the volume "Propos d'un intoxiqué, written by Jules Boissiére and illustrated with 16 color plates by ...

Garibaldi in the battle is an artwork realized in the 19th century by Anonymous italian artist. Lithograph with hand colored additions (oil and tempera). Includes gilded frame.

Ottone Base Legno: Study for a Sculpture (Brass base Wood: Study for a Sculpture) is an original Contemporary artwork realized by the italian artist Leo Guida (1992 - 2017). Origina...

Ira Moskowitz, Polish/American (1912 - 2001) - Blessings, Year: 1972, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 29.5 x 21 in. (74.93 x 53.34 cm), Des...

Israel Rubinstein, (1944 - ) Date: 1980 Screenprint on Arches, signed and numbered in pencil Edition of 350 Image Size: 21 x 18 inches Size: 29.5 x 2...

"Ex Libris RS" is an original woodcut artwork on creamy paper by Michel Fingesten, Early 20th Century. Hand-signed on the lower right and with notes in pencil. In excellent conditio...

Allegories: St. Jerome is an original Contemporary artwork realized after a work by Renato Guttuso (Bagheria, 1911 – Rome, 1987) in 1979. Original Colored Offset on paper. The autograph signature of the artist is present on the lower right corner: Guttuso. On the lower left corner: Renato Guttuso - Le Allegorie: San Girolamo...

Risorgimento and Society is an original offset poster print realized in 1978. The artwork was realized on the occasion of the exhibition in the Museum of Palazzolo Acreide represent...

Figures is a vintage offset print on ivory-colored paper, realized by Franco Gentilini ( Italian Painter, 1909-1981), in 1970s. The state of preservation of the artwork is excellen...

La libertè guide nos jour is an original artwork realized by French artist Marc Flèchet (19th-20th). He was a painter, engraver and illustrator. Etching print, signed on plate on ...

The Family is an original Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981), in 1970s. The state of preservation of the artwork ...

The Patriot Soldier is an Original Colored lithograph realized by Honore Petitdidier ( 1824-? ) in the 19th century. Signed on the lower by the artist. Good conditions. The delica...

General Ant is a Linocut Print realized by Mino Maccari in 1951. Not signed, very good condition. Mino Maccari (1898-1989) was an Italian writer, painter, engraver and journalist,...

Alois Schönn (born March 11, 1826 in Vienna , died September 16, 1897 in Krumpendorf , Austria ) was an Austrian historian and genre painter . He specialized in oriental genre pictures. Alois Schönn was after the visit of the Unterrealschule and a year of commercial school as a diurnist in the Treasury. He took private lessons with Leander Russ , from 1841/42 he studied engraving, and from 1845 to 1848 historian painting at the Academy of Fine Arts Vienna with Joseph von Führich and Edward van der Nüll . He participated in the Italian campaign and painted his first battles. In the following years he undertook numerous study trips to Hungary, France, Turkey, Egypt, Italy, Galicia and Holland. In 1861 he became a member of the Cooperative of Fine Artists of Vienna , in 1866 he was a member of the Vienna Academy, and in 1877 honorary ao. Professor ebendort. For his contributions to the Viennese world exhibition in 1873 , he received the Order of Franz Joseph . In 1898 the Schönngasse was named after him in Vienna Leopoldstadt (2nd district). Works Homecoming Hungary from the campaign 1848/49 , oil on wood, 1853, 51 × 66 cm, military history...

View of the Fireworks over the Ryogoku Bridge is an original modern artwork realized by Katsuda Kunihisa in 1890. Original woodcut print Meishoe tryptich. Original late 19th centur...

With private collectors like, Elton John, Rod Stewart, Pete Davidson, Grant Cardone and Hugh M. Hefner, Ceravolo's Large scale paintings have received in...

Toilette militaire is an original modern artwork realized in the 1880s. Original colored lithograph on paper. Sheet dimensions: 70 x 50 cm. Passepartout is included. Mint condit...

This is an etching with hand painted watercolor applied After Isidor Kaufmann (1853-1921) was an Austro-Hungarian painter of Jewish themes. Having devoted his career to genre painting, he traveled throughout Eastern Europe in search of scenes of Jewish, often Hasidic life. Born to Hungarian Jewish parents in Arad, Kingdom of Hungary (presently in Romania) In 1875, he went to the Landes-Zeichenschule in Budapest, where he remained for one year. In 1876, he left for Vienna, but being refused admission to the Academy of Fine Arts there, he became a pupil of the portrait painter Joseph Matthäus Aigner. He then entered the Malerschule of the Vienna Academy, and later became a private pupil of Professor Trenkwald. His most noted paintings refer to the life of Jews in Poland. They include: Der Besuch des Rabbi (the original of which was owned by Emperor Franz Joseph I, in the Kunsthistorisches Museum), Schachspieler, Der Zweifler (for which he received the gold medal at the Weltausstellung of 1873). Kaufmann's other honors include: the Baron Königswarter Künstler-Preis, the gold medal of the Emperor of Germany, a gold medal of the International Exhibition at Munich, and a medal of the third class at the Exposition Universelle in Paris. One of his most prominent students was Lazar Krestin. Lazar Krestin was born in Kovno, Lithuania and studied in Vienna. He worked in Munich, Vienna and Odessa before emigrating to Palestine. He achieved fame in the German art world for judaic genre scenes and his many sober portraits of Eastern European Jews. He was part of an important group of Jewish European artists of the 19th and early 20th centuries, such as Moritz Oppenheim, Max Liebermann, Lesser Ury, Jakob Steinhardt, Jehudo Epstein...

Royal Guards is an original lithograph by Antonio Zezon. Naples, 1854. Interesting colored lithograph which describes the Royal Guards, Two Officers in dressing uniform. In excelle...

Jeffrey Dunstan (1759?–1797) was a second-hand wig seller in the West End of London who was the elected "mayor" of Garrat from 1785 to 1796, becoming a notable figure of his time. A...

Briganti Assetati (Thirsty Brigands) is a beautiful artwork realized by Bartolomeo Pinelli in 1820. Etching and Watercolor technique. In Good condition, worn paper on the marginal l...

Africa - Hunters is an original artwork realized by Emmanuel Gondouin (Versailles, 1883 - Parigi, 1934) in 1930s. Original Lithograph, part of a collection entitled "Africa". The w...

L'Hercule Mesquin – From Les Dames Galantes is an original b/w etching on laid ivory-colored paper, by Émile Boilvin. Excellent condition, with fresh imp...

Baby is an original Contemporary artwork realized in the 1970s by the italian artist Leo Guida. Original Etching on paper. Hand-signed, titled and dated in pencil on the lower mar...

Encore un Nouveau Divertissement (Another New Pastime) is a original b/w lithographed plate (n. 7) from La Fluidomanie. This is a satiric series composed of 12 plates of caricatures...

The Couple is an original etching realized by Sergio Barletta in 1975 ca. Hand-signed on the lower right in pencil. Numbered in Roman numerals, edition of VIII/IX prints, on the low...

Artist: Rupert Jasen Smith, American (1953 - 1989) Title: Astroboy (Trial Proof) Year: 1989 Medium: Screenprint on Lennox Museum Board with Diamond Dust, signed and numbered in pen E...

Family Scene is an original Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981) in the late 20th Century. The state of preservatio...

The Order is an original drawing artwork in black marker and watercolor on paper realized by Mino Maccari in the 1960s. Hand-signed by the artist on the lower right. Good condition...

"Der Abend" is a Black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe, a port...

"Bal de l'AAAA Festival of Light" is an original lithograph poster by Paul Emile Pissarro. It depicts a silhouetted couple dancing in white, pink, and yellow ...

This artwork titled "Nude woman combing Her Hair" is an original etching on wove paper by German/American artist Carl Joseph Bauer, 1895-1964. It is signed in pencil at the lower right corner by the artist. The image (plate mark) size is 5.5 x 5.5 inches, framed size is 19.85 x 19 inches. It is framed in a custom wooden gold frame, with gold color bevel and fabric matting. It is in excellent condition. About the artist. Born in 1895, German painter, etcher and illustrator Carl Joseph Bauer studied at the Academy of Fine Arts in Munich under Wilhelm von Diez and Angelo Jank. Among many others, Bauer exhibited his work at the famous "Glaspalast" (Glass Palace) in Munich and was President of the Allotria Art Association for ten years. From 1914-1928, Bauer created Art Deco style etchings of women and nudes, including Hollywood luminaries Greta Garbo and Norma Shearer...

Eric Ravilious’s eat by Mychael Barratt [2022] Eric Ravilious's eat by Artist Mychael Barratt is a limited edition print. In this scene there are two women reading under a tree sur...

Spielende Kinder is a black and white lithograph on ivory-colored tessue paper applied on paper, realized in 1905 by the German artist, Franz Skarbina. Signed and dated on plate on lower right margin. From the portfolio “Deutscher Kunstverein zu Berlin “ published by Vereinsgabe, Berlin, in 1904-1905 and composed by a frontispiece, a index, and eleven etchings by Karl Koepping, Leopold Graf Kalckreuth, Hans Herrmann, Max Slevogt, Ludwig Hofmann, Reinhold Lepsius, Fritz Klimsch, max klinger, Heinrich Reifferscheid, Arthur Kampf, in addition to this plate. This beautiful original print representing some children playing in nature- as the title suggests, demonstrating a very wide gradient of greys and blacks, is titled in blue ink on lower left margin and on lower right has the inscription in ble ink “D.K.V.”. In excellent condition, this wonderful modern original print could be a joyful piece for your home collection. Franz Skarbina (Berlin, 1849 - 1910) The German impressionist artist and etcher studied at the Prussian Academy of Arts and after he spent two years as a tutor to the daughters of Count Friedrich von Perponcher-Sedlnitzky, during which time he travelled to Dresden, Vienna, Venice, Munich, Nuremberg and Merano. But when he did a study trip to the Netherlands, Belgium and France, here he was influenced by the Impressionism. He began an academic career as a teacher, until 1893 when he resigned his teaching position due to disagreements with the Academy's Director, Anton von Werner...

A stipple engraving with etching, coloured in plate, by Charles Wilkin (c.1750-1814) after Sir William Beechey RA's (1753-1839) painting 'Portrait of...

Limited edition. JANUSZ PRZYBYLSKI (b. 1937, d. 1998) A graduate of the Warsaw Academy of Fine Arts where he studied under Alexander Kobzdej (graduated with honors in 1963). He was a teacher at his alma mater. His artworks represented Poland, among others, at the Fifth Biennial of Young Art in Paris (1967...

Exceptional aquatint etching on paper by master print maker Zhang Biao. His daughter Fang Fang was published on a full page in the official catalog of the exhibition. This print rece...

Lithograph on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Taureaux, Lithographies de Jean Cocteau, 1965. ...

Bauhaus by Mychael Barratt [2022] limited_edition and hand signed by the artist Silkscreen print on paper Edition number 20 Image size: H:22 cm x W:22 cm Complete Size of Unframed Work: H:40 cm x W:38 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Bauhaus is a limited edition hand made print by artist Mychael Barratt. As part of his series of artist's pets this print features a sausage dog running up the stairs inside the Bauhaus with its brutalist architecture. Inspired by a Oskar Schlemmers 1931 stairs painting...

Pool Boy Ripples Third in the popular Pool boy series. Celebrating summer, positivity and the male form. Pool boy ripples is a CMYK screen print with beautiful spot layer for the  s...

The Red Chair Robert H. Cumming, American (1943–2021) Date: 1987 Screenprint, signed, titled, dated and numbered in pencil Edition of AP 3/3 Image Size: 45.5 x 35 inches Size: 48 x 3...

Cundo Bermúdez "Cuarteto Habanero" Serigraphy Ed of 100 30 x 42 in Frame included Cundo Bermúdez was a Cuban painter known for his colorful depictions of figures and patterns. I...

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 Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser and subsequent Expressionist artists such as Egon Schiele. He was born into an impoverished family in Bern, Switzerland in 1853. His entire family succumbed to tuberculosis, and he was orphaned by the age of 13, the only surviving child among his 13 siblings. In the absence of family, the influence and guidance which his art instructors provided Hodler was foundational and profound. Hodler began formal studies in 1872 at the Geneva School of Design. Under Barthelemy Menn, Hodler was drawn to the ordered beauty of Euclidian geometry and Durer’s fundamentals of human proportion that proved to be guiding principles informing his art throughout his life. By the 1880s, Hodler began to enjoy some recognition for his work which put him on a new path towards stability. Remaining in Geneva, he became assistant to the well-known muralist, Edouard Castres. Following his first solo show in 1885, Hodler’s work took on a Symbolist quality. He frequently associated with a group of Swiss Symbolist...

"The Rag Gatherers" is an original etching on zinc plate by J. A. M. Whistler. The artist signed and dated the piece in the plate. It features a scene...

Screen print and spray paint on hand torn archival art paper. Hand signed and numbered on front, thumb print on verso by the artist. Edition 19/75. Artwork size 30 x 22 inches. F...

A striking lino print depicting an officinal on horseback with two policemen carrying bibles alongside him. Unsigned. Presented in a wooden frame. On paper.

To see our other original Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller". Percy Drake Brookshaw (1907-1993) Marching Ban...

Etching realized by Félix Milius d'après Van Dyck in 1872. Very good condition.

"Congregate," is one of DC-based artist, Samantha Viotty's most recent illustrations. This work is part of a larger series that display the beauty, str...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...