Coat Figurative Prints

Man from Puebla is an original hand-watercolored lithograph on ivory paper by Anonymous Artist of 19th Century, in 1849. In excellent conditions: As good as new. Not signed. Title...

Yoshitomo Nara and Hiroshi Sugito Untitled (2005), Edition 26/100. Lithograph in colours on wove paper. Image: 29.6 x 22.8 cm. Sheet: 42.7 x 33 cm. Framed: 47.6 x 37.7 x 2.4 cm. Hand...

Field Marshals is an original lithograph by Antonio Zezon. Naples 1853. Interesting colored lithograph which describes a Field Marshals in daily gear and in running gear. In excell...

First Royal Guard Shooter Battalion is an original lithograph by Antonio Zezon. Naples 1856. Interesting colored lithograph which describes the royal guard shooters: on the left, a ...

Richard Dighton (1795-1880) A View from St John's College (1809) Hand coloured engraving 28 x 22 cm Richard Dighton (1795–1880) was a prominent Engl...

Artist: Ben Shahn, Lithuanian/American (1898 - 1969) Title: To Days of Childhood from the Rilke Portfolio Year: 1968 Medium: Lithograph on Richard de Bas, signed in the plate Edition...

Lithograph with hand coloring in watercolor on cream wove paper with a deckle edge, 8 3/4 x 12 1/2 inches (222 x 320 mm); sheet 15 1/4 x 20 7/8 inches (388 x 530 mm), full margins. I...

Militaries in Station is an original lithograph by the Italian artist, painter, and printmaker Anselmo Bucci. Signed on the plate on the lower right. In very good conditions. The ...

French men's fashion design from 'La Revue de l'Homme' a Parisien fashion periodical. 370mm by 270mm (sheet)

Robert Longo "James" 1999 Lithograph 69 x 41 inches unframed dimensions Edition "HC" (Hors Commerce). Printed at the same time as the regular edition and often given to collaborato...

"THEFT" DOT DOT DOT 6 layer screen print 350gsm Arches 88 Edition of 150 65 x 95 cm Signed and numbered by the artist DOT DOT DOT is a visual artist fr...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

36 x 26 inches - Edition 1 of 3 with 2 APs Framing an additional $525 Shot in 2012 in Amsterdam Inspired by Van Eyck’s Arnolfini Marriage, 1434 Photography and acting are kindre...

Edition 2 of 5, with 2 APs. GINA PHILLIPS is a mixed media, narrative artist who grew up in Kentucky and has lived in New Orleans since 1995. The imagery, stories and characters of ...

20 x 15 inches framed

SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & **INSURANCE** Red Rodeo Rider 1981 Bill Schenck Serigraph, edition of 75 Image size 35 x 25 inches UNFRAMED Billy Schenck has been...

Uses and Customs - Bavarian 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 governm...

Raare englische Bleschticken is an artwork, realized by Christoph Suhr in 1808. Etching hand colored. Titled on the lower margin. The artwork belongs to the Series "Der Ausruf in H...

One color screen print hand finished with acrylic paint. Hand signed and numbered on front, thumb print on verso Mr. Brainwash. Edition 30 of 50. Artwork size 24 x 22 inches. Fr...

This lithograph by artist Ron Adams depicts the renowned printer Robert Blackburn in his workshop in NYC. Blackburn was involved with every major player of the Harlem Renaissance alo...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio...

PKZ Reprint - 1981 - Official 1981 reprint for Kunstgewerbemuseum, Zurich Printer: JE Wolfensberger Niklaus Stoecklin – PKZ – 1935 PKZ Burger-Kehl & Co. AG, Zurich, C Switerland Lit...

Ida Applebroog has been employing printed art as part of her artistic practice since the beginning of her very long career. Born in 1929, she has been exhibiting in galleries and mu...

Tarrel koop, koop Trell is an artwork, realized by Christoph Suhr in 1808. Etching hand colored. Titled on the lower margin. The artwork belongs to the Series "Der Ausruf in Hambur...

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...

Jean LOMBARD (1895-1983) Paris : Rainy Day, 1925 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the b...

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

PKZ .Man in Blue Suit. 1924, Color lithograph. Linen backed. PKZ has and still is an important department store in Zurich, Switzerland. PKZ was one of the...

Back to the Land “Farming” by Ludovic-Rodo Pissarro (1878-1952) Colour wood engraving 19.3 x 10.5 cm (7 ⁵/₈ x 4 ¹/₈ inches) Initialed and titled in the plate and numbered, 4th state ...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 18.75 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, L...

CURRIER & IVES (LOUIS MAURER) 1860 LINCOLN ELECTION CAMPAIGN THE IMPENDING CRISES - OR CAUGHT IN THE ACT, 1860 (C.3033, G.3270) Lithograph...

'David Livingstone, The African Explorer' Steel-engraving. C1850. 160mm by 125mm (image) 260mm by 170mm (sheet) David Livingstone was a Scottish missionary and African explorer. ...

French men's fashion design published as a Supplement to 'L'Homme et Le Maitre Tailleur', a Parisien fashion periodical. Jean Darroux was a Parisien tailor, who designed several seri...

French men's fashion design published as a Supplement to 'L'Homme et Le Maitre Tailleur', a Parisien fashion periodical. Jean Darroux was a Parisien tailor, who designed several seri...

Limited edition offset print of the original photorealistic painting, a portrait that portrays a historical reenactment of a civil war volunteer by James Bama...

"SCREAM" DOT DOT DOT 6 layer screen print 350gsm Arches 88 Edition of 150 65 x 65 cm Signed and numbered by the artist DOT DOT DOT is a visual artist f...

Etching hand colored realized by Christoph Suhr in 1808. Belogs to the Series "Der Ausruf in Hamburg vorgestellt in ein hundert und zwanzig colorirten Blättern". Beautiful engravin...

Etching hand colored realized by Christoph Suhr in 1808. Belogs to the Series "Der Ausruf in Hamburg vorgestellt in ein hundert und zwanzig colorirten Blättern". Beautiful engravin...

Etching hand colored realized by Christoph Suhr in 1808. Belogs to the Series "Der Ausruf in Hamburg vorgestellt in ein hundert und zwanzig colorirten Blättern". Beautiful engravin...

Etching with engraving and drypoint printed in brownish black ink on cream laid paper with a partial heraldic A and fleur-de-lis watermark, 5 5/8 x 4 1/4 inches ( 341 x 107 mm), full...

Englisch Schunvachs is an artwork, realized by Christoph Suhr in 1808. Etching hand colored. Titled on the lower margin. The artwork belongs to the Series "Der Ausruf in Hamburg vo...

Artist: Roland Topor (French, 1938-1997) Title: Nouvelles En Trois Lignes III Year: 1975 Medium: Lithograph with pochoir hand coloring Edition: Inscribed A.P (Artist Proof) Paper: Wove Image size: 21 x 15 inches paper size: 25.5 x 19.5 inches Signature: Hand signed in pencil by the artist Publisher: Editions Sauret, Paris, Monaco Condition: Excellent Description: From the suite"Nouvelles En Trois Lignes" About the artist. Roland Topor (January 7, 1938 – April 16, 1997), was a French illustrator, painter, writer, filmmaker and actor, known for the surreal nature of his work. He attended the School of Fine Arts in Paris (1955-1964). He publishes his first drawings in the review « Bizarre », his first short stories appear in the review « Fiction » in 1958. His corrosive humor leads him to collaborate with the satirical newspaper « Hari-Kiri » (1961-1965). « Masochists » his first book is edited by Losfeld in 1961. Totally tragic, absurd and grotesque , the humor he disseminates evokes more the one of Central Europe. All his creations from the beginning till the end remain provocative and bizarre. He is mainly known as an illustrator and graphic artist and famous for combining surrealism with black humor. Abram Topor, father of the artist came to settle in Paris in 1930 thanks to a grant from the Warsow Arts Academy. In his young age during the war, he and his family will stay for a while in Savoie trying to escape Nazis. In 1962 he created the Panic Movement (mouvement panique), together with Alejandro Jodorowsky and Fernando Arrabal. Topor wrote the novel "The Tenant" (1964), which was filmed by Roman Polanski as The Tenant Topor was responsible for the odd visual style of the Czech/French animated sci-fi feature La Planete Sauvage (Fantastic Planet...

The Blindfold is a color lithograph on ivory paper, created by the Italian artist Umberto Brunelleschi(Montemurlo 1879- Paris 1949). Illustration for “Tales and Short Stories” by La...

Old Boots, boot-cleaner of Ripon, Yorkshire, 1692-1762. 1869 (lithograph) by Cooper, Robert (fl.1800-36). Old Boots, boot-cleaner of Ripon, Yorkshire, 1692-1762. Famous for being abl...

French women's fashion design from 'La Revue Paris Mode' a Parisien fashion periodical, illustrated by Bryn Smith. 370mm by 270mm (sheet)

Leon - Original 1994 Lobby Card Vintage Leon Lobby Card: 12-year-old Mathilda is reluctantly taken in by Léon, a professional assassin, after her family is murdered. An unusual re...

Lithograph and pochoir realized by Emile Gallois in the mid-20th Century ca. to illustrate japanese costumes. Signed in the plate. Published by H. Laurens, Paris. Very good condit...

Feine Brillen Koof is an artwork, realized by Christoph Suhr in 1808. Etching hand colored. Titled on the lower margin. The artwork belongs to the Series "Der Ausruf in Hamburg vor...

Woodcut print on vélin, realized by Kobliha in 1909. Image dimensions: 28.5x23 cm. Monogrammed and dated in the plate lower left. Signed in pencil lower right. Rare and valuable ...

Hand colored relief with collage on archival museum board. From 'Standing Couples' portfolio. Hand signed by Julian Opie on label attached on frame verso. Edition of 50 plus 5 Art...

Bokhara, Usbeks is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Bokhara, Usbeks". The work is pa...

French men's fashion design published as a Supplement to 'L'Homme et Le Maitre Tailleur', a Parisien fashion periodical. Jean Darroux was a Parisien tailor, who designed several seri...

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

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

French men's fashion design published as a Supplement to 'L'Homme et Le Maitre Tailleur', a Parisien fashion periodical. Jean Darroux was a Parisien tailor, who designed several seri...

'Sir John Ross' Steel-engraving. C1850. 220mm by 130mm (sheet) Sir John Ross (1777-1856) became an Arctic explorer after distinguished naval service in the Napoleonic Wars. In 18...

Circa 1950. Etching with aquatint on cream wove paper, 6 x 4 3/4 inches (151 x 119 mm), full margins. Signed "Zavel" and numbered 2/55 in pencil, lower margin. In good condition wit...

'Charles Wilkes' Steel-engraving after Alonzo Chappel's sketch after a photograph. 1864. Facsimile signature under the engraving. Charles Wilkes (1798 - 1877) was an American naval...

French men's fashion design from 'La Revue de l'Homme' a Parisien fashion periodical. 370mm by 270mm (sheet)