Face Figurative Prints

Lithograph on vélin paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the album, Les Cavaliers d'Ombre; Sous le Manteau de Feu, 1956. Pub...

Full Moon Night (from "In the Floating World" series) Fuji Xerox copy print Signed, dated, and numbered 11/50 in pencil. Image: 29.5 x 41.5 cm. Sheet: 29.5 x 41.5 cm. BSS No. : E-199...

Publisher GKM. Unframed. Edition of 140 ex. Signed by the artist. Free shipment worldwide. Adami is the maestro of the unadulterated line,” writes the Swedish poet Lasse Söderberg i...

Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Year: 1951 Paper Size: 12.5 x 9.5 inches; image size: 11.02 x 8.66 inches Inscription: Signed in th...

Original etching and lavis in black ink on Arches watermarked crème laid paper by Paul Gauguin. Titled: “La Femme aux Figues” (The Woman with Figs). This impression is from the 3rd s...

Satiricon is a colored lithograph, realized in 1970 by Leonor Fini, an Argentine-Italian painter who spent her artistic career in France and was associated with the Surrealist movement. Not signed nor numbered. In very good condition. From series "Satiricon de Petron". The artwork represents a portrait of a nude woman with her delicate beauty expressed perfectly through confident strokes by bright and harmonic colors. Leonor Fini (1907-1966) was an emblematic painter, illustrator, writer, scene painter and draftswoman; one of her favorite subjects was human bodies painted with hybrid shapes, as animals, plants or minerals. Her subjects are neither naked nor dressed, their body is crossed by nervous tissues, veins and blood vessels.

Lovers is an artwork realized by Filippo De Pisis (1896, Ferrara - 1956, Milano) in the 1960s. Black and white lithograph. Good condition.

Lithograph on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cirque, Lithographies Originales. Published by Les Édition...

Femme espèrent is a wonderful original photolithograph applied on paper, realized after the French artist, Guys Constantin (1802 -1892). In very good condition, including a petrol-g...

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...

Bijinga is an original artwork realized in 1833-1835 by Utagawa Kunisada (1786-1865). Chuban. From the series "Tokaido gojusan tsugi no uchi" (The 53 Tokaido Stations). Courtesan i...

Al Hirschfeld Sex and the City, 2002 Color lithograph on Arches cover paper with deckled edges Pencil signed and numbered 274/300 on the front 20 × 20 inches Unframed Classic color l...

Cosmic Girls: Eyes Opened / Eyes Closed (two works) The pair of offset lithographs in colors, on smooth wove paper, 2008, from the edition of 500, each with the artist's copyright st...

Artist/Designer: Andy Warhol (after) (American, 1928-1987) Marking(s); notes: copyright/publisher’s ink stamp, blind stamp; unknown edition size; 1986 Materials: screenprint in color...

Arashi Rinosuke II is an original modern artwork realized by Utagawa Hirosada (Japanese, active 1825–75) in 1848. Woodcut Print Chuban format, 1848 From the series "Kokon yujin ki"...

Pablo Picasso ( 1881 – 1973 ) –Portrait de Famille , Six Personnages ( Ref Bloch 1031; Mourlot 385 ) lithograph on Arches paper, edited in 1962 Limited edition of 50 copies signed ...

The Couple is original colored lithography on the cardboard, realized by Leonor Fini, an Argentine-Italian painter who spent her artistic career in France and was associated with the...

Wouldn't it be nice if we could do such a thing, 2018 by Takashi Murakami, published by Kaikai Kiki. Offset lithograph, numbered and signed by the artist; signed in the plate with th...

Artist: Tony Minartz (French, 1873-1944) Title: "L'Avant-Foyer de l'Opera" Portfolio: Revue de l'Art Ancien & Moderne *Issued unsigned Year: 1903 Medium: Original Etching on cream laid paper Limited edition: Unknown Printer: Unknown Publisher: Revue de l'Art Ancien & Moderne, Paris, France Framing: Recently framed in a traditional gold and black moulding with 100% cotton rag matting Framed size: 18.63" x 16.38" Sheet size: 12" x 9" Image size: 9" x 7.25" Condition: In excellent condition Notes: Printed in one color: bistre. This review was founded in 1897 in the continuity of the review Les Beaux-Arts published between 1861 and 1865; Jules Comte, the founder, entitled his first issue Les Beaux-Arts - Revue nouvelle then changed the title to La Revue de l'art ancien et moderne. Jules Comte directed the review until his death in 1912. Raymond Woog took over , who was provisional director until the start of the war in July 1914. In 1919, André Dezarrois took over this review and was its director until December 1937, date of last issue (published in January 1938). In the meantime, it publishes the Bulletin of ancient and modern art, which has gained a certain notoriety in the community. Biography: Tony Minartz, pseudonym of Antoine Guillaume, born 8 April 1873 to Cannes and died in that city on 13 December 1944 Is a painter, draftsman , illustrator and engraver French. Painter autodidact , Tony Minartz starts to become known in 1896 by exhibiting paintings at the Salon of the National Society of Fine Arts , and then decorates the Pompadour theater of painted panels for fashion shows " Grand Guignol ", directed by L. Darthenay. In 1903, Henri Béraldi , with whom he worked, praised him in The Journal of ancient and modern art, writing that "it was thirty years ago," and he has received advice from Paul Renouard to be formed the technique of etching ; Béraldi adds that his favorite subjects are "Paris at night Paris at night, always." Minartz also gives them some high-remarkable in The Journal of ancient and modern art until 1910: balls, cafe concerts, Parisian in their most beautiful dresses, but also music-halls, music halls, restaurants, large and small theaters, are the preferred settings of his compositions. Its fertile period seems to end in 1914. In addition to the National Salon, Minartz exhibited in Paris at the gallery Bartholomew (1903), the Independent Living (1905, 1906) and the gallery Devambez (1909) and received the Academic Palms . He occasionally collaborates with periodic illustrated as The Almanac Sports (Ollendorff, 1899), or satirical as Gil Blas...

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue Art...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Kunsthalle Bern (Hopeless)" Year: 1968 Medium: Original Screenprint, Exhibition Poster o...

Original CAZALIS & PRATS since 1875. Artist: Emm. Gaillard. Size: 13" x 19.5". Professionally acid-free archival linen backed and ready to frame. Note that a small ink printing line ...

Yoshitomo Nara Sorry, Couldn't Draw The Left Eye Offset lithograph on paper Sheet size: 72.8 x 51.5 cm Stamped with title, artist's name, copyright and year published by N's Yard,...

Alex Katz (born 1927) Vincent, 1972 From the Prints for Phoenix House portfolio Chalk lithograph in two gray colors on Arches paper Signed in pencil and numbered 93/120 Printed by Pa...

Ya es hora from Los Caprichos is an original artwork realized by the artist Francisco Goya and published for the first time in 1799. Etching and aquatin...

The Shepherd is an original artwork realized in the 1950s by Italian artist Pietro Morando (Alessandria 1889- 1980). Hand-colored lithography print. Hand-signed on the lower left i...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Lithograph on vélin paper. Paper Size: 9.06 x 15.75 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Marc,...

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...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

The Player is an original artwork realized by Italian artist Pietro Morando (Alessandria 1889- 1980). Hand-colored lithograph. Good Condition except for ...

LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Arts)...

Judith Grasping The Head Of Holofernes By The Hair And Looking To The Left, and Old Woman to the Right. circa 1640 Etching on cream laid paper with a foolscap watermark, 10 x 7 inche...

Title page numbered: 263/450

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 107-109. Published by Aimé Maeght, Édi...

Héliogravure on vélin de Rives pur chiffon paper, manufactured by Les papeteries de Rives, Voiron, France. Paper Size: 16.93 x 14.17 inches. Inscription: Signed in the plate and unnu...

HENRI de TOULOUSE-LAUTREC (French 1864 - 1901) EROS VANNE (Cupid Exhausted), 1894 (Delteil 74; Adhemar 81; Adriani 92) Original lithograph, cover of music / song sheet words by Maur...

Artist: Itzchak Tarkay (1935-2012) Title: Gossip Year: Circa 2000 Medium: Silkscreen on wove paper Size: 13.5 x 11.5 inches Edition: 493/750, plus 100 Remarques Condition: Excellent ...

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...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 7.87 x 6.3 inches Inscription:...

Nan Goldin Lydia Lunch at the Russian Baths, 268 East 10th Street, 1985 poster, 2018 Offset lithograph poster (unsigned, unnumbered and unframed) 17 × 22 inches Published by The Kitchen in 2018, on the occasion of their Gala honoring Nan Goldin and Lydia Lunch Provenance Acquired from The Kitchen on the occasion of their 2018 Gala Also accompanied by Certificate of Guarantee from Alpha 137 Gallery Excerpt from The Kitchen description of this event: “During the late ‘80s and early ‘90s, icons Goldin and Lunch were vanguards of post-punk New York. Both women have presented their work at The Kitchen throughout the years, consistently returning to premiere new works that went on to exemplify their careers. Goldin’s portraiture of her close-knit circle of friends in New York became emblematic of her generation’s grappling with the social issues of the time, from the epidemic of drug addiction to the AIDS crisis. Lunch is revered as a radical progenitor of No Wave music, fronting the influential Teenage Jesus and the Jerks and collaborating with acts like JG Thirlwell, Birthday Party, and Sonic Youth. Lunch has a broad artistic practice, also working in film, visual art, writing, and spoken-word. Goldin and Lunch have also collaborated on numerous occasions. For instance, the cover of Lunch’s 1995 album Drowning In Limbo featured a portrait of her taken by Goldin. Lunch also posed for Goldin’s project for The Village Voice’s short-lived fashion insert Vue in 1985. Shot as part of an editorial called “Masculine/Feminine,” the image of a reclining Lunch at Russian baths in the East Village was ultimately not included in the final layout, and we were pleased to be present the image for the first time as a limited-edition print in support of The Kitchen. At The Kitchen in November 1980, Goldin presented slides as part of Dubbed in Glamour, a three-day event of “spectacle and extravagance” organized by Edit deAk that featured primarily women artists. Introduced by Cookie Mueller, who served as the master of ceremonies, these slides were an early version of Goldin’s landmark work The Ballad of Sexual Dependency, which continued to take shape during the next few years. The Bush Tetras, who performed at this year’s gala, also participated in Dubbed in Glamour. In 1994, Goldin returned to The Kitchen to premiere three slideshows for the first time in the United States as part of the winter lecture series curated by Ira Silverberg. The first slideshow developed from her 1992 award-winning book The Other Side, which lauded the drag queens she lived with and among in New York. During the ‘70s, when Goldin first moved to the city, the people she lived with became not just her subjects, but also her chosen family. The second slideshow was a series of intimate self-portraits. The evening concluded with a collection of Goldin’s images that traced her relationships to her close friends Alf Bold, Gilles Dusein, and Cookie Mueller and celebrated the joy of their lives and the pain of their deaths from AIDS. In 1985, Lunch first appeared at The Kitchen as part of the two-night screening series of experimental short films, Super 8 Motel. She and Richard Kern...

This artwork, "Woman From Paris" 1979 (State I) is an original lithograph on creme Arches paper by renowned Navajo artist Rudolph Carl (R.C.) Gorman, 1932-2005. It is signed, dated and numbered 129/150 in pencil by the artist. The sheet size is 21.75 x 29 inches. It is in excellent condition, has never been framed, the colors are fresh and bright. About the artist: Born in Canyon de Chelly, Arizona and raised in a hogan on the Navajo Reservation, R.C. Gorman became one of the Southwest's best known late 20th-century artists. His signature works were Navajo women in a variety of poses. Many persons have been fascinated by the fact that he, an Indian artist, became famous in the white man's world with some calling him the "Picasso of Indian artists". Of this kind of attention, he said: "I wish people would quit pushing my being Indian. The only time I was interviewed as If I were a normal person was by the Jewish Press in Tucson. It was the first time I felt international and almost white". (Samuels 222) His parents were Carl Nelson...

Original linen-backed 1974 Spoleto poster. Roman Polanski directed Alban Berg's opera LuLu at the Spoleto Festival, which was conducted by Christopher K...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Arístides Esteban (ARES) Hernández Guerrero (Cuba, 1963) 'The Rolling Stone (verde)', 2016 silkscreen on paper 27.6 x 19.7 in. (70 x 49.8 cm.) Edition of 50 ID: ARE-204 Hand-signed ...

Lithograph on vélin paper. Paper size: 9.25 x 12.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Marc Chagall Original Lithograph 1969 From the revue XXe Siecle, edition of 12,000 Unsigned, as issued Dimensions: 32 x 24 Condition : Excellent Reference: Mourlot 572 Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Allegoric engraving of the French Revolution, designed by François Marie Beaurain and Jean-Baptiste Mallet between 1793 and 1794. Both Beaurain ...

"Yanagibashi in Snow" is an original color woodcut by Utagawa Kunisada. This woodblock print depicts a woman walking in the snow near the Motoyanagi canal, which was located in Tokyo...

Imagerie de Wissembourg Christmas Santa Claus, c. 1906 Lithograph, woodcut and stencil Drawing by C. Burckardt On paper 43 x 32.5 cm (c. 17 x ...

An original etching created by Pablo Picasso in 1966 . It is stamp signed and numbered from the edition of 50. This piece measures 8.8 x 12.8 inches and the framed dimensions are 1...

This reproduction of “Superman” by Mel Ramos, part of the De Young Museum’s permanent collection, showcases the artist’s signature Pop Art style, blending comic book aesthetics with ...

LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Arts)...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas paper, spécialement filigrané pour cette édition. Unsigned and unnumbered, as issued. Good condition. Notes: From ...

This portrait depicts Rivera's second wife, the artist Frida Kahlo (1907-54), sitting on a bed wearing stockings and shoes and fastening rows of beads around her neck. An accident wh...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

HENRI DE TOULOUSE-LAUTREC Blanche et Noire 1948 Lithograph on paper Ed. 166/740 20.5 x 14 inches

Francesco Battalia, the Stone Eater, 17th century. Born in Rome with three stones in his hands, he lived on a diet of stones and red wine. Performed in London at Bartholomew Fair and...