Bride Figurative Prints

Vintage poster realized in occasion of the Exhibition of Albrecht Durer's Etchings at Galleria Marino, Rome in 1970s. Limited edition of 1000. Very good condition.

Lieutenant J.R.N. Graham Photogravure after Lucy Kemp-Welch (1869-1958). C1920. 330mm by 505mm (image) 470mm by 630mm (sheet). Lieutenant J.R.N. Graham (1882-1980), 9th Battalion Argyle & Sutherland Highlanders, was attached to 136 Company Machine Gun Corps...

Image Size: 6" x 3" Unframed Limited Edition Etching of 20 Hand Signed by Mariko Ando 2012

11" x 7.5" Unframed 3 Ink Woodcut Print on Paper Hand Signed by Iván Bautista

Man and Woman Planting a Young Tree Together is a print realized by Auguste Lepere in the 19th century.  Woodcut on paper. Monogrammed on paper. Good conditions.

Albert DECARIS May : Blossom Spring Original etching Signed in pencil Exceptional copy bearing n° 1/100 Titled Janvier (January) On vellum 66 x 50 cm (c. 26 x 20in) Excellent condi...

This double-page etching with contemporary coloring, entitled Nova et Accurata Totius Europae Descriptio, was realized by the cartographer Frederick de Wit for the famous Atlas publi...

This etching, representing Glaucus and Scylla, is an 18th century copy after Salvator Rosa (ca. 1661). Signed lower right “S.Rosa” The state of preservation is very good. Foxings d...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 11.24 x 8.46 inches Inscription: Unsigned and unnumbered, as issued Notes: From the fo...

Henri Matisse La Persane 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 63 x 44.5 cms (24 3/4 x 17 1/2 ins) Image size: 44.8 x 29 cms (1...

This artwork "Merry Couple" c.1980 is an original etching by noted American artist Charles Bragg, 1931-2017. It is hand signed and numbered 157/300 in pencil by the artist. The image...

Marc Chagall (1887-1985) - Meeting of Ruth and Boaz Lithograph from 1960. Dimensions of work: 35 x 26 cm Publisher: Tériade, Paris. The work is in Excellent condition. Fast and...

"Sunshine of My Life" (letzte Exemplare der Edition!) Giclee auf Hahnemühle Bauwollpapier handsigniert und nummeriert Edition: Clever-Art (Trockenstempel) Auflage: E.A. Hinweis: ...

Jean Jansem (1920-2013) Pélerin au cierge, 1986 Lithographie sur papier Japon, justifiée XIV / XXX Signée en bas à droite 67 x 51 cm / 76 x 54 cm Bibliographie: CR Jansem, 1993, n...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

Estate stamped, verso, for Victor Di Gesu (American, 1914-1988) and created circa 1950. A substantial monotype showing a young woman seated, her kimono fallen open, and brushing her...

Hand signed and numbered. Blind stamped in lower left corner. Don't hesitate to ask any questions. Certificate of Authenticity included. Published by AMX Art Ltd., NY and printed by ...

Hand Signed and numbered. Edition of 100 prints. Matting included. Ref. Kornfeld, no. 41 IIb. Published by Albert Morance, Paris. Excellent condition. Bella Rosenfeld was a Jewish...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

Black and white with pale orange figurative linocut print by Polish artist Franciszek Bunsch. Print comes from limited edition, it is numbered and signed by the artist. FRANCISZEK ...

Lithograph, stencil on vélin paper. Paper Size: 10 x 7.75 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Fernand Léger, Dessins de Guerre ...

They spin finely (Hilan delgado) is a black and White aquatint, drypoint, and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-188...

Lithograph, stencil on vélin paper. Paper Size: 10 x 7.75 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Fernand Léger, Dessins de Guerre ...

Hand signed & numbered by the artist. Sheet size: 26 x 25 inches. Image size: 22.5 x 22.5 inches. Edition of 150. Artwork is in excellent condition. Certificate of authenticity inc...

Etching and drypoint realized by Luis Garcia Falgàs (1881-1954) in the early 20th Century. Not signed. Very good condition.

This artwork titled ""Parasols and Wildflowers"" 1991 is an original color serigraph on heavy Coventry paper by noted American artist Donald (Don) Hatfield, b.1947. It is hand signed...

Swimming under waterfalls is a color lithograph on ivory paper, created by the Italian artist Umberto Brunelleschi (Montemurlo 1879- Paris 1949). Illustration for “Tales and Short S...

Apocalyptic etching of a sailing ship beached in a desert and captained by a skeleton - a rumination on our situation in our new post-rational world. Avery's work is characterized b...

Lithograph on grand vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Parallèlement, Illustré de lithographies originales ...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

This artwork titled "Kabalat Shabbat" c.1990 is an original color serigraph by Israeli artist Zamy Steynovitz, 1951-200. It is hand signed and numbered 170/300 in pencil by the artist. The image size is 27.5 x 19.5 inches, framed size is 43.5 x 34 inches. Custom framed in a wooden gold frame, with gold color bevel and black fabric matting. It is in excellent condition. About the artist: Zamy Steynovitz was born in Liegnitz, Poland in 1951 and at a very early age he aspired to be a painter. He won first prize in an art competition for children before immigrating to Israel in 1957. Formally educated at the Art School in Tel-Aviv and the Royal Academy in London, he completed his studies and began artistic pursuits in earnest. Zamy established his place in the art world after displaying his work in one-man exhibitions around the world. His art subjects has been strongly influenced by Jewish tradition and folklore. Additionally, his work presents general themes such as Paris cafes, still lives, flowers, circuses and landscapes. In the early stages of his work, he used rich pastels and light brush strokes. When he visited South America in the early 1980’s, his work reflected his new surroundings and were further enhanced by local brightness and colorfulness. His paintings are a reflection of his Eastern-European Jewish heritage, and they are enhanced by a rich choice of warm tones and colors He became known in the circles of the Nobel Institute for Peace in Norway, and consequently was acquainted with many Nobel prize winners, such as Anwar Sadat, Menahem Begin, the Dalai Lama, Itzhak Rabin, Shimon Peres, Elie Wiesel, Desmond Tutu, Oscar Arias Sanchez, as well as many of the world’s greatest leaders and artists. He tragically passed away in September of 2000. The work of Zamy Steynovitz is held in numerous collections worldwide. Selected exhibitions 1970 – Museum – Ramat – Gan 1973 – Brussels – gallery L’Angle Aigu 1974 – London – International Gallery 1974 – Paris – Grand Palais Gallery 1975 – Milan – Brera Gallery 1976 – N.Y. Valentino Gallery – N.Y. Hilton 1977 – N.Y. Valentino Gallery – N.Y. Hilton 1978 – Basel - Aactual Gallery 1978 – Geneva – Bohren Gallery 1978 – Oslo – Nobel Peace Prize Exhibit 1979 – London – Hamilton Gallery 1979 – N.Y. – Canty Art Gallery 1979 – Amsterdam – Schipper Gallery 1979 – Washington – International Art Fair 1980 – Cleveland – Jewish Museum 1980 – Tel-Aviv – Habima National Art Fair 1981 – Abraham – Goodman House N.Y. 1981 – San Lucas Gallery – Bogotá 1981 – Petach-Tikva – Israel – Shelanu Gallery 1982 – Pedro Gerson Gallery – Mexico City 1983 – Simon Bolivar...

Original aquatint by Mexican artist Emilio Amero (1901-1976) created 1969. Titled: “The Fetish.” Edition size is 9 of 50. Signed and dated in pencil lower right and numbered lower l...

Charles Bragg, American (1931 - 2017) - Divorce Court, Year: circa 1970, Medium: Etching, signed, numbered, and titled in pencil, Edition: 300, Image Size: 6 x 9 inches, Size: 10 x...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

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...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 385. Artwork is in excellent condition. Certificate of Authenticity included. All reasona...

Signed, titled and numbered in pencil from the edition of 30. Miguel Condé is a superb Mexican figurative painter, draftsman and etcher. He was Born in 1939 in Pittsburgh, Pennsylva...

As Florence Ingersoll-Smouse wrote in 1921 in her book devoted to Jean-Baptiste Pater, "a painter of the Fête galante, Pater is interesting both by his intimacy with Watteau, to whom many of his works are still attributed, and by his own value as an artist.” This sanguine, full of life and spontaneity, is typical of the preparatory studies made by the painter to be used later in the composition of his paintings. 1. Jean-Baptiste Pater, pupil and disciple of Antoine Watteau Antoine Pater, Jean-Baptiste's father, belonged to the petty bourgeoisie of Valenciennes where he worked as a merchant-sculptor. His brother Jacques was a local painter who was probably involved in his nephew's training. Born on December 29, 1695, Jean-Baptiste Pater was first trained with Jean-Baptiste Guider, a local painter whose death in 1711 was probably the reason for Jean-Baptiste’s departure alongside Watteau, who was visiting Valenciennes. Watteau's difficult character led to their separation in 1713. Back in Valenciennes, Jean-Baptiste Pater encountered difficulties with the powerful Corporation of Saint-Luke (to which he refused to belong) which forced him to return to Paris in 1718. He reconciled with Watteau shortly before his death (on July 18th 1721), inherited the commissions that Watteau had been unable to fulfil and completed some of his paintings. Pater was accepted by the Académie Royale in 1725 but did not produce his reception painting The soldier’s revels until three years later. Throughout his brief career (he died at the age of forty on July 25th 1736), he mainly had a clientele of amateurs and received only one royal commission, shortly before his death. 2. Description of the drawing and related artworks Pater had adopted his master Watteau's method of composition. His study drawings were carefully glued in a notebook and were used to animate his compositions. His paintings sometimes suffer from a somewhat artificial composition, since the figures seem to be pasted one next to the other. This point has also been made about Watteau’s. The theme of military scenes (which was at the time included in the genre of Fêtes galantes!) was one of Pater’s favourite subjects. Together with the Bathing Women...

Jules Cheret created this captivating French poster to promote Emile Reynaud's "Theatre Optique," where he introduced the groundbreaking "Pantomimes Lumi...

Jean Jansem, French (1920 - 2013) - Three Children, Year: circa 1960, Medium: Lithograph, signed in the plate lower right, Image Size: 12.5 x 9.5 inches, Frame Size: 20.25 x 17.2...

Salvador Dali - Bicephale - from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,5 x...

Pablo PICASSO (1881-1973) Diurnes: Jacqueline Through the Fabric, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 40 x 30 cm (c. 15.7 ...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Medium: Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper Year: 1948 Paper Size: 12.5 x 9.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 13.78 x 13.31 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

London: Allen & West, 1797. Engraving with hand coloring in watercolor on cream wove paper, 8 1/8 x 10 5/8 inches (213 x 270 mm), wide margins. Scattered toning, mat tone, and dog-e...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Mourlot, Fernand. C...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Construction d’un temple – Plate n. 11  is a b/w original etching and dry-point  realized in 1973 (as stated on plate on the lower right margin) by Paul Delvaux. From the collection...

Armenian Bishop is an Artwork realized in 1828 by the Engraver, Giuseppe Capparoni (Rome 1800- 1879). Etching hand colored on ivory paper. Signed on plate and dated on the right mar...

Lynd Ward, 'Pope' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. Annotated 'POPE - CARDINAL - BISHOP' - 1943 in ink, lower left. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...

Three Nude Women is an Original Lithograph on ivory-colored paper realized by Luc Albert Moreau. The artwork is in good condition with slight foxing. Hand-signed on the lower. Lu...

Aquellos Polbos 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 Edition. ...

'St Jean D'Acre', tinted lithograph by Louis Haghe (1806-1885) after David Roberts RA. David Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the late 1830s produc...

Vladimir Vlady Kibalchich (Russia, 1920-2005) 'Leja el cisne y el santo', 1991 engraving on paper Velin Arches 300 g. 15.2 x 22.1 in. (38.5 x 56 cm.) Edition of 40 ID: VLA-302 Hand-s...

Transport yourself to the elegance of Victorian French fashion with this vintage lithograph print featuring exquisite ladies' La Mode dresses. The unframed siz...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Marc Chagall (1887-1958) Bible : Dance of Mary, sister of Moses, (Danse de Marie, sœur de Moïse), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 c...

Billet-Doux (L'incomunicabilité) is an original litography realized after Aubrey Beardsley in 1970. The drawing is part of a 1970 "Eyes Open" edition of "Les Erotiques de Beardlsey"...

Subject : Ancient Greek vase-painting depicting young nude man with thyrsus and flowers, opposite two young women with fillet, situla, phiale and thyrsus. Above left, Hercules in Nem...