Men Figurative Prints

Colored lithograph with pouchoir details on ivory colored paper. Beautiful satiric illustration by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier, 1804-1866). Plate 54, from the series Les Débardeurs, Aubert and C.ie, Paris, 1848. Numbered on plate on lower-left corner. With the amusing and smart printed...

The Academy of Plato Plato and His Disciples Etching and drypoint c. 1662, printed c. 1710 Signed in the plate lower left Inscribed lower left: 'In villa ab Academo attributa sua[m]...

Artist: (after) Edvard Munch (Norwegian, 1863-1944) Title: "Detroit Institute of Arts (Two People - The Lonely Ones)" Year: 1972 Medium: Original Screenprint, Exhibition Poster on sm...

Military is an Original Lithograph realized by Auguste Raffet in 1857. Hand-Signed and dated by the artist on the lower left corner. Good conditions on a cream colored cardboard. ...

"The Newlyweds" is an original etching on ivory-colorated paper by R. de Los Rios. In very good conditions. Sheet dimension: 27 x 20.5 cm. Image Dimensions: 13.5 x 9 cm Hand-sign...

Les Deux Edmond is a lithograph on ivory-colored paper, realized by the French draftsman Paul Gavarni (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in the mid-19th Century. ...

Engraving on cream wove paper, 8 x 5 3/8 inches (203 x 137 mm), narrow to thread margins. First state (of 2). A fine impression with archival paper adhered at left top and bottom cor...

A perfect summer day. A young mother, little boy, and even smaller girl have their luncheon under a make shift 'fly' -- a stripped cloth canopy fixed up with poles. Although it is titled 'Seaside Nomads,' to me it has the look of a bay or inlet. It's relatively flat and there are all sorts of grasses, old...

Le Grelot - Le Manifeste Orléaniste - is an original Modern Artwork realized in 1887. Original Lithograph on paper. Passepartout is included. Dimensions: 70 x 50 cm. Fair conditi...

Antiquities of Herculaneum - Letter of the Alphabet E, from the series "Antiquities of Herculaneum", is an etching on paper realized by V. Aloja in the 18th century. Good conditio...

Ancient Roman Bust, original etching from the end of the 18th century, made by Various Old Masters. Good condition. Units of measurements typical of the period in the lower center...

Image dimensions: 20 x 15.2 cm. After Leonard Tsuguharu Foujita Lithographic reproduction in colors, from the set of sixteen illustrations from Propos d’un intoxiqué, by Jules Boiss...

Not Yet (Original Title: Non ancora) is an original Contemporary artwork realized in 1975 by the italian artist Leo Guida (1992 - 2017) Original black and white etching. Hand sign...

Artist: Will Barnet, American (1911 - 2012) Title: The Doorway Year: 1998 Medium: Lithograph on Arches, signed and numbered in pencil Edition: AP Image Size: 33 x 18 inches Size: 39 x 23 inches Printer: TK Fine Art Editions, NY Publisher: Smithsonian, Wash DC Fig 198, pg 78 from Will Barnet: Prints 1931-2005, published by John Szoke...

Image dimensions: 15.8 x 23.5 cm. Les sénateurs de Kellogg is a wonderful black and white xilograph on paper, realized around 1880's by the French wooden engraver Charles Laplante (...

"Portrait of Stefan George" is an original woodcut on brown-colored paper, realized by Reinhold Lepsius (1857-1922). The state of preservation of the ar...

The Protest is a woodcut print on ivory-colored paper realized by Paul Baudier (1881-1962) in the 1930s. Good conditions. Paul Baudier, (born October 18...

This artwork titled "Maurice Chevalier, Casino de Paris" created 1925 is a lithographic poster on paper by French noted artist Charles Kiffer, 1902-1...

Nakamura Daikichi and Seki Sanjuro is an original modern artwork realized by Utagawa Toyokuni I in 1820-30. Woodcut Print Oban Dyptich Format Nakamura Da...

Hand-pulled screen print. printed on 290gsm Coventry Rag paper with deckled edges 61 x 61 cm 24 x 24 in Edition of 75 hand-signed and numbered on the front Cleon Peterson is a conte...

Eugène DELACROIX (1798-1863) Tasso in the Madhouse Engraving after a drawing Signed on the plate On vellum 38 x 50 cm INFORMATION: In 1839, Delacroix painted his famous painting "T...

Danza di Scheletri is an original Lithograph realized by Italian artist Carlo Carrà in 1944, signed in the plate, the edition of 55 copies, by La Conchigl...

Artist: Jean Charlot (French 1898-1979) Title: Qaravi Yaqona: Kava Ceremony from Kei Viti (No. 2) Portfolio: Kei Viti – Melanesian Images Year: 1978 Printed by Lynton Kistler Medium...

Sacrificio di 60 donne Suliote is an artwork realized from 1856 to 1862 . Black and white woodcut. Published on the book "Usi e costumi di tutti i popoli dell'universo", Milano Bor...

Artist: Kevin Red Star, American (1942 - ) Title: Mr. & Mrs. Choke Cherries Year: Circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 150, AP Size: 22.5 in. x 30.5 i...

Two men is an original lithograph artwork on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in Pari...

Artist: Steve Kaufman Title: 50 Dollar Bill Medium: Screenprint on Canvas Edition: AP 5 of 50 Year: 2000-2010 Notes: Hand Signed and Numbered by the artis...

Black and white etching on wire rod paper, representing the Greek myth of Phineus. Beautiful plate with fresh impression and sharp details, from the volume “Le Temple des Muses”, pu...

The Gentleman and the Vicar is an original lithograph realized by Horace Vernet. Signed on plate on the lower left corner. Edition I. Lith de Delpech. P...

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), The Zero Hour, 1948. Woodcut on yellowish wove paper, 20 cm x 14.8 cm (image), 43 cm x 30 cm (sheet size), signed “Rud.[olf] Nehmer” i...

The fisherman is an original artwork realized in 1975 by Giovanni Omiccioli (February 25, 1901 – March 1, 1975). Original Colored Lithograph o paper. Hand-signed and dated on the lower right corner in pencil by the artist: Omiccioli 1975. Numbered on the lower left corner in pencil. The dimensions are indicative. Mint conditions. Giovanni Omiccioli (February 25, 1901 – March 1, 1975), was an Italian painter belonging to the modern movement of the Scuola romana...

Drunkards is an original Modern Artwork realized in 1880. Original Lithograph on paper. The work is part of a satirical series. Printed by Imprimerie Robert, Paris. Passepartout...

Le Jeune Garde is an original modern artwork realized in 1888 by an unknown illustrator. Original colored lithograph on paper. Sheet dimensions: 70 x 50 cm. Good conditions.

Portrait of Julius Caesar is an original artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Know...

Screenprint with 7 colour and varnish on Somerset Velvet White 300 gsm paper Signed by the artist and numbered, 76 x 60 cm Edition of 75 Jon Key’s paintings o...

The Physiognomy - Portrait is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Lo...

ARTIST: Salvador Dali TITLE: Aaliyah The Wailing Wall MEDIUM: Lithograph SIGNED: Hand Signed EDITION NUMBER: 232/250 MEASUREMENTS: 25" x 19.6" YEAR: 1968 FRAMED: No CONDITI...

Original lithograph by Marc Chagall from The Bible of 1960 "Esther" Unsigned 35 x 26 cm Excellent condition

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...

Sketchof Cat View is an original lithographia realized by Helène Neveur in 19870s. Good conditions. Numbered. Edition, 4/75. The artwork is depicted t...

Ernest Stephen Lumsden RE, RSA (1883 – 1948) Enthusiast Image Size: 15cm x 30 cm Sheet size: 21.5 cm x 35 cm Mounted: 50cm x 41 cm Lumsden reference: 254 Edition 33/50 Whatman ...

Allan Mardon, Canadian (1931 - ) - Dribble, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 28 x 21 inches, Size: 28 in. x ...

The Human body is an original etching, plate no. 13 of the famous "De Humani Corporis Fabrica" by Andrea Vesalio. The "De Humani Corporis Fabrica is com...

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 ...

Image dimensions: 20 x 15.2 cm. After Leonard Tsuguharu Foujita Lithographic reproduction in colors, from the set of sixteen illustrations from Propos d’un intoxiqué, by Jules Boiss...

Pencil signed and numbered 74/100 in black crayon in lower margin. Printed by Taller de Gráfica Mexicana, Mexico City. A very good impression with vibrant colors. The current prin...

The Human Body is a original etching realized as plate no. 33 of Andrea Vesalio's "De Humani Corporis Fabrica". The "De Humani Corporis Fabrica is comm...

This piece is an original lithograph in five colors by Pablo Picasso, created in 1954. Each of the 5 colors of this lithograph was executed with litho crayon on transparent transfer...

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...

London: Thomas McLean, 1835. Etching with hand coloring in watercolor on cream wove paper, 4 3/4 x 6 1/2 inches (120 x 165 mm), full margins. Printed by Thomas McLean. Light, small c...

Military Education Institute is a original lithograph by Antonio Zezon. Naples 1853. Interesting colored lithograph which describes some members of the Military Education Institute:...

Mary Sister of Martha is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of...

Japanese Custom is an original Hand-colored lithograph on creamy paper realized by an anonymous artist in the 19th Century. Titled in Italian in Italian on the lower center "Dama Giapponese". Very good conditions. A precious hand-colored artwork representing a Japanese costume...

Japanese Customs is an original Hand-colored lithograph on creamy paper realized by an anonymous artist in the 19th Century. Signed on the plate on the lower. Titled in Italian on t...

Erotic is an original etching by Chas Laborde in the 1920s. This original print is hand-colored in watercolor. In very good condition, including white cardboard Passepartout, 52 x 37cm. This artwork belongs to the erotic series of Chas Laborde in which you recognize his authentic style of illustration. Chas Laborde (Buenos Aires, 1886 - Paris, 1941) Charles Laborde...

Artist: Sandro Chia, Italian (1946 - ) Title: Athletes Year: 1988 Medium: Lithograph, signed and numbered in pencil Edition: 300 Image Size: 29.5 x 21.5 inches Paper Size: 34 in. x ...

Prints Lover is an original etching artwork on paper, realized by H. Daumier. Plate signed on the lower left. Titled on the lower center in French "L'Amateur D'Estampes". Very goo...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

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...

Il Festino is a beautiful etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work, which presents a remarkable quality of strokes and brillian...