Drawing Figurative Prints

Yvon TAILLANDIER The Yellow Catitipède from Paris Original screen print Handsigned in pencil Justified e.a (Artist's proof) On thin paper 56 x 38 cm (c. 22 x 14.9 in) Very good co...

Lyonel Feininger, 'Little Locomotive (Kleine Lokomotive)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W158. Annotated 'W 158' (Feininger catalogue number) and '1936' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 3 5/16 inches; sheet size 10 x 7 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. Collections: Cleveland Museum of Art, Museum of Modern Art, Staatliche Museen zu Berlin (East Berlin KK). ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

"H. L'Illusion (L'Estampe Moderne I)" is an original color lithograph by Henri Bellery-Desfontaines. This piece depicts a nude child before a dream-like woman in a blue translucent robe. This piece was published in the French Art Nouveau publication L'Estampe Moderne. Signed in plate. 15 3/4" x 12" art Henri Bellery-Desfontaines , born with Paris in 1867 and dead the October 6th 1909, is a French Noveau artist Jack-of-All- Trades, who produced tables, illustrations, posters, lithographies, drawings of carpet, pieces of furniture and banknotes, and even dabbled with decoration & architecture. In the 1900s, Paris was the perfect place for a group of young artists influenced by artistic currents like neogothic style or symbolism. Most of them started as painters and they switched later to decorative arts, attracted by the idea of an ever-present art, a lifeless art, a total art. Henri Bellery-Desfontaines was a member of this group and he started as as painter in Pierre-Victor Galland’s atelier. He entrusted him the decorative motifs which would frame Panthéon de Paris' drawings: Maillot, Bonnat, Humbert and specially Jean-Paul Laurens, who proposed him to join his atelier in l’École des Beaux-Arts de Paris. With him, he decorated l'Hôtel de Ville de Paris or Le Salon Lobau, Henri Bellery-Desfontaines is thought to have Luc-Olivier Merson (1846-1920) as a teacher. During his years as a student, he started to illustrate magazines and books of tales and in 1895, Bellery-Desfontaines opted rapidly for illustration, probably due to financial problems, and he participated in magazines such as L’Image, L’Estampe Moderne or L’Almanach des Bibliophiles. This year, the Salon des Artistes Français hosted one of his design of tapestry. From 1900 on, he gradually evolved toward an ambitious decorative artist, making tapestries and furniture for rich leaders and patrons. Bellery-Desfontaines was an important artist of his epoch, and he took part in numerous events like Bal de...

Medium: screenprint Year: 1994 Image Size: 11 x 8.5 inches Edition of 75 Diane Gamboa (b. 1957) has been producing, exhibiting and curating visual art in Los Angeles since the 1980s...

Saul Steinberg Lithograph from Derrière le Miroir: Lithograph in colors c.1970. 11 x 15 inches. Very good overall vintage condition with vivid colors. Unsigned from an edition of u...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

This original etching and drypoint is hand signed and dated in pencil by the artist "Erich Heckel 12" at the lower right margin. This work was hand printed by the artist in 1912 in ...

Hermant's “moralistic tale” is interpreted and illuminated by Brunelleschi's radically modern designs, which are found throughout the volume, both as 12 full-page plates and smaller ...

Reed, Doel (American, 1894-1985). UNTITLED (RESTING WOMEN; SLEEPING WOMEN). Etching and Aquatint, 1940. Signed in pencil, lower right. 10 1/2 x 15 inche...

Print Ponte Corvo black and white limited edition no2 of 50 In a moulded gilded frame length 91cm, height 75cm, depth 4cm Framers label on reverse L'Ariete Galleria Torino just pur...

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...

Lithograph on vélin d’Arches paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Picasso au baiser d'Avignon, douze dessins, lavis, aquarelle...

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 extol...

Neue Lieder 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 vorgestell...

Hommage to Gustave Courbet is a lithograph realized by Renato Guttuso in 1980. Hand-signed on the lower. Numbered, edition of 100. Drystamp "La Spirale".

Screen print in colors on Essex Offset Kid Finish paper. Hand signed and numbered by Andy Warhol. Published by Dr. Frank Braun, Düsseldorf. Hand numbered AP 21/35. From the Artist Proof edition (outside the main edition of 250). Frame size approx 31 x 23 inches. The artwork is in excellent condition. Gallery Art issued COA included. All reasonable offers will be considered. Andy Warhol’s Saint Apollonia...

A moody evening in New York City. The buildings capture the quiet that New York sometimes achieves. Signed and dated in pencil.

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

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

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...

A very good, richly-inked impression of this lithograph. Signed and numbered 57/100 in pencil by Matisse. Printed at the studio of Duchatel, Paris 1929.

Woiy ook Lavendelbloom 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...

Reclining into an armchair, the nude woman in this print appears fragmented and reduced to angular shapes. While recognizable, the figure of the woman is seen through multiple perspe...

Pablo PICASSO (1881-1973) Le Goût du Bonheur, Sailor Man, 1964 Lithograph Unsigned Printed date in the plate On vellum 32.5 x 25 cm (c. 12.6 9.8 in) INFORMATION : Created for the ...

Wilhelm Schlote Le Carnaval De Nice (Fun, Colorful, Vibrant, Playful, Comic) Giclee in Fine Paper Year: 2017 Size: 24.01 × 17.20 inches (61.0 x 43.7 cm) Edition: 300 + 30 E.A. Signed...

Rome: Giovanni Giacomo De Rossi, 1625. Etching and engraving on cream laid paper, 8 3/8 x 11 1/4 inches (222 x 286 mm), full margins. In good condition with some light yellow discoloration in the margins and on the verso, the image area remains clean and bright. The inscription in the lower margin reads Paulus Quintus Pont. Maxim ... anno DNI MDCXII Pontif.s sui Septimo' and in the margin 'Fontana e castello dell'acqua Paola a S.Pietro Montorio sul Gianicolo, condotta da Paolo V, vicino a Bracciano, Architett.a di Giovanni Fontana', and signed at left 'G.B.Falda del. et inc.' and at right 'G.Iac.Rossi le stampa in Roma alla pace co priv. del SP', and the number '11' in the lower right corner. Printed in 1691. [Bartsch/Le Pientre graveur XXI.241.13] Book I, plate 11: Fountain of San Pietro in Montorio, from "Le fontane delle ville di Frascati nel Tusculano con li loro prospetti" ("The fountains of the Villas of Frascati in Tusculano and their prospects"); a set of four books on fountains published by Giovanni Giacomo De Rossi (Italian, Rome 1627–1691), after Giovanni Francesco Venturini (active ca. 1650–1700) and Giovanni Battista Falda...

Femme couchée et deux visages, from Suite 156, 1970 signed on lower right, dated in the plate higher right Georges Bloch, Catalogue de l'oeuvre gravé et lit...

Ganesh Pyne - Untitled AP - 6/32 Etching on Paper 11 x 10.5 inches, 1985 ( Unframed & Delivered ) Style : Initially, Pyne painted watercolors and sketches of misty mornings and ways...

Offset lithograph in colors on paper. Artist signature signed in the plate. Hand numbered in pencil. From the edition of 500. Published by Images International Hawaii. Printed by Tree Lautrec...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

En Rubben to seen 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 vorg...

Marc Chagall, Russian (1887 - 1985) - Le Peintre from Derriere Le Miroir No 147, Portfolio:, Year: 1964, Medium: Lithograph, Image Size: 5 x 5.5 inches, Size: 13.75 x 10.75 in. (...

Medium: Lithograph on vélin d’Arches paper Year: 1959 Paper Size: 10.25 X 16.5 inches Catalogue raisonné reference: Cramer, illustration 101 Inscription: Inscription: Unsigned and u...

Color softground etching, drypoint and spitbite aquatint.

After Pablo Picasso - Cubism - Pochoir Dimensions: 48.5 x 36 cm 1962 Edition of 260 Daniel Jacomet, LEDA, Editions d'Art Pablo Picasso Picasso is not just a man and his work. Picas...

"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...

Elizabeth Peyton (American, b. 1965) Camille Claudel Flowers and Books, 2010 Medium: Etching on wove paper Dimensions: 29 × 22 cm (11½ × 8¾ in) Edition of 30 + 6 AP: Hand-signed, dat...

The work "Desnudos" is an artist's proof (PA) print that explores the human figure in a symmetrical and repetitive composition. The piece depicts intertwined bodies that form geometric patterns, highlighting the artist's ability to combine the sensuality of nudes with an almost architectural approach. Guillermo Ceniceros is a Mexican painter and muralist, best known for his mural work in Mexico City, as well as his figurative easel work. He began his mural painting career as an assistant to mural painters such as Federico Cantú...

Maurice de Vlaminck Original Lithograph Signed in the plate 1958 Title: House in Beauce Dimensions: 22 x 27 cm Reference: Catalogue raisonné Walterskirchen 275 Condition : Excellent Maurice de Vlaminck (1876 - 1958) Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

The first of Poiret's two deluxe fashion albums featuring 10 full page (2 fold-out) pochoir illustrations by Paul Iribe. Poiret's syles indicate the new freedom in women's fashions ...

6 plates from the Lobel- Riche books, Les Bars depicting pre- war Paris fashions in the bars and nightclubs.

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

Villon, Jacques. LES PETITS HALEURS. GP 176. Etching and Aquatint, 1907. Edition of 50 on Arches laid paper, signed and numbered in pencil, 5 3/4 x 7 3/4 inch...

the artist, A. Felip is a mystery. The title, Desolation, says it all. Further, this very compelling, post-war subject is so well drawn it has be be by an experienced artist. And th...

Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, a later impression, second state (of 2). In good condition, trimmed outside...

EARLY JACOULET PAUL JACOULET (1896 – 1960) UNE AVERSEA METALANIM, PONAPE , EST CAROLINES, 1935 A DOWNPOUR AT METALANIM PONOPE EAT CAROLINAS (Miles 29) Color woodcut, with metallic ...

Reprint of Andre Masson's book from 1939. Printed on heavy wove paper. 30 plates of black and white drawings.

Glenn O. Coleman, 'Hurdy Gurdy Ballet', lithograph 1928, edition 50. Signed, dated, and numbered '14/50' in pencil. Titled in the bottom left margin, in an...

New York: Associated American Artists, 1950. Drypoint and aquatint on white wove paper, 5 7/8 x 3 15/16 inches (150 x 100 mm), full margins. Signed in pencil in the lower margin. Pri...

Lithograph on vélin d’Arches paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Picasso au baiser d'Avignon, douze dessins, lavis, aquarelle...

Hockney, David. MO ASLEEP. S.A.C. 124. Etching and aquatint, 1971. Edition of 75 plus 16 proofs. Proofed by Maurice Payne and printed by Shirley Clement at The Print Shop, Amsterdam. Published by Petersburg Press. 27 x 21 inches, 680 x 535 mm. (plate), 35 1/2 x 27 3/4 inches (sheet).Mo McDermott...

An impression printed by the artist Etching on antique cream laid paper, 1 7/8 x 3 1/8 inches (49 x 79 mm), full margins. Signed, dated, and titled in pencil, lower margin. From the...

From La Série 347. Bloch 1482; Baer 1497. Etching on Rives paper. Hand signed and numbered by the artist. From the edition of 50. Published by Galerie Louis Leiris...

A brilliant, richly-inked impression of this etching and drypoint printed in dark brownish black on antique cream laid paper with very strong contrasts....

Execution from Ecce Homo is an original offset and lithograph, realized by George Grosz. The artwork is the plate n. 84 from the portfolio Ecce Homo published between 1922/1923, edi...

Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, San Lazzaro et ses Amis, Hommage ...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Etching on cream laid paper, 12 7/8 x 5 1/2 inches (328 x 140 mm); sheet 14 7/8 X 8 3/8 inches (389 x 217 mm), full margins. Signed and dated in pencil in the lower right margin. Fro...

June is an expertly crafted, embossed serigraph on paper with foil stamping and an image size of 27 x 22 inches. From the edition of 650, the art is numbered 203/300 and estate-stamp...