People Figurative Prints

Screenprint 23.75 x 39.50 in (60.3 x 100.3 cm). Published by K21 Kunstammlung Nordrhein-Westfalen, Dusseldorf. Unknown edition size. Publisher text detailed along the bottom. CATALOGUE RAISONNÉ: Watkins, Jonathan. "Julian Opie: Editions 1984 - 2011. Catalogue Raisonné", Alan Cristea Gallery, 2011, p.244. In a handful of simple black lines and splashes of red and yellow, Julian Opie presents a sensual figural study in ‘Woman Taking Off a Man’s Shirt...

GATHERING is an original hand drawn stone lithograph by Raphael Soyer, the renowned Russian-born American realist painter, draftsman, and printmaker. Hand proofed and printed in 1977...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Nude is a modern artwork realized by Andrè Derain in Early 20th century. Lithograph on simili-Japan paper. Realized for "Les Travaux et les Jeux" by Vincent Muselli. Published by J...

"Venus Goes Swimming" Photography 18" x 18" inch Edition 1/15 by Brendan North Available sizes: Edition of 15: 18" x 18" inch Edition of 7: 30" x 30" inch Edition of 3: 40" x 40" i...

Flower Pot is an artwork realized by Paul Butin (20th century) in the middle of the 20th century. Lithograph. Not signed. Good condition.

'Anti-Vivisection' Vanity Fair portrait of The Hon. Stephen Coleridge Hentschel-Colourtype. 1910. Stephen William Buchanan Coleridge (1854-1936) was an English author, barrister,...

Salvador Dali Le Ciel de Mercure (1960) Heliogravure reworked with drypoint Signed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - F...

12 Mai 1970 (The King and The Queen) is an artwork realized by Pablo Picasso in 1970. Etching on paper. Date printed on plate. Artist's stamp of signature in the lower right. Hand...

José Luis Cuevas La Maga (The Sorceress), 1972 Color lithograph Unframed dimensions: 22.50 x 30 inches Framed dimensions: 28 x 34 inches From The Mexican Masters suite Edition 99/100...

Engraving with lithographic color on paper. Hand signed and numbered in pencil. From the series La Conquete du Cosmos (Conquest of Cosmos). Frame approx size 45 x 35 inches. Sheet ...

Lithograph on vélin a la forme des papeteries d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Repli, Gravures de Henri Matisse, 1947. Publ...

Ada in Blue Hat By Alex Katz 2004 Etching and aquatint in colors on paper. 85.1 × 170.2 cm Edition of 75 (edition number 56) Signed, dated and numbered

'A Good Soldier' Chromolithograph. 1884. Vanity Fair portrait of Lt.General George Wentworth Alexander Higginson. He joined the Grenadier Guards at 19 and fought in the Crimean W...

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...

Heaven Canto 8 is a wood engraving on BFK Rives with an image size of 10 x 7" from the popular French edition of the portfolio. Framed in a classic, gold-tone frame. Cataloging: Mi...

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: 9.05 x 7.08 inches Inscription...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.375 x 9.5 inches; image size: 12.2 x 9.45 inches Inscription: Unsigned and unnumbered, as issued Notes: From ...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 5 (double)...

Fin DAC Belloloha "Disintegration" is a Collage/Decollage with Screenprint and Spraypaint created in 2014. The artist made 10 different versions in different c...

"Mexican Orchestra" is one of the George Overbury Hart's largest pieces. It is #14 from a limited edition of 50. The image captures a festive event with hanging lanterns, an orches...

"Hypha will cover the world, little by little. 'We should be able to get our hands on that door to the alien world soon. Wait 'til we get there!'" is an offset lithograph 25.87 x 50....

The Tale of a Thousand and One Nights is interpreted by Dutch painter and illustrator Kees Van Dongen in over one hundred full-page original black and white line drawings and seven f...

A collection of 50 copperplate engravings featuring early 19th century costume scenes set in the Roman countryside. With characters dedicated to work, games, revelry, and various act...

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...

Original 1970s Las Vegas Fun Map. Archival linen backed and in very good condition, ready to frame. The poster is not signed by is presumed to be done by “King”. Size: 22 5/8" x 34" The linen backing corrected the pin holes in the poster, and the borders were restored. The edge tear was restored. The color matches the known existing copy, which is housed at Standford. B condition. As you venture down the strip in this vintage Las Vegas Fun Map, you will find the Tropicana, Aladdin, the old MGM Grand...

L'Eventail (Anaïs) also called The Fan. 1921. Etching. Fletcher 22. Final state. 6 3/8 x 4 7/16 (sheet 11 1/2 x 9 1/4). Edition 76. An extremely rich, tonal impression printed on cr...

Elizabeth Catlett - CHILDREN WITH FLOWERS 1995, limited edition lithograph printed in twelve colors using traditional hand lithography techniques on archival Arches paper, 100% acid ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Théodore Géricault and Eugène Lami, 'Mazeppa' from the series 'Oeuvres de Lord Byron', lithograph, 1823, 2nd state of 3, Delteil 94. Rendered by Thé...

Etching and drypoint realized to illustrate Pierre Ronsard's "Les Amours de Cassandre". Published by Argillet, Paris, in 1968. Edition of 299 pieces. One of 165 specimen on Arches ...

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...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.69 x 12.87 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Medium: Lithograph on vélin paper Year: 1952 Paper Size: 12.125 x 9.25 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the album, The Circus by Toulouse...

Lady Washington's Levee - 1932 Etching on Paper 1932 black and white etching titled "Lady Washington's Levee" (from the portfolio "The Bicentennial Pageant of George Washington"), 1...

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

BARBIER, George. Nijinsky as 'the poet' in Les Sylphides. London, C. W. Beaumont, 1913. ‘The designs, although somewhat fantastic in treatment, do convey the impression produced b...

Pablo PICASSO (1881-1973) Diurnes, The Man From French Riviera, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 40 x 30 cm (c. 15.7 11...

Utagawa Kunisada (Tokoyuni III), 'Tokaido', color woodblock, 1863. Signed in the cartouche, lower right. A fine impression, with rich, fresh colors and pronounced woodgrain, the full...

Lithograph in colors on Arches paper hand signed and numbered by the artist. Mourlot 976. Sheet size 28.70 x 21.10 inches. Image size 37.25 x 24.25 inches. Frame size 53.25 x 39.25 ...

Star Trek: The Motion Picture 1979 Original Vintage Poster measures 27×41" inches / 68 x 104 cm Star Trek: The Motion Picture is a 1979 American science fiction film directed by Robert Wise and based on the television series Star Trek created by Gene Roddenberry, who also served as its producer. It is the first installment in the Star Trek film series, and stars the cast of the original television series. In the film, set in the 2270s, a mysterious and immensely powerful alien cloud known as V'Ger approaches Earth, destroying everything in its path. Admiral James T. Kirk (William Shatner) assumes command of the recently refitted Starship USS Enterprise...

Egyptian tomb paintings, Thebes. Elephant folio engraving, by Allais after Andre Dutertre, from 'Description de l'Egypte', published after Napoleon's e...

Woodcut on vélin Tosa Hanga à la main paper. Paper Size: 16 x 12 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Description of a Masque, 1998. Publis...

Artist: Louis Icart, French (1888 - 1950) Title: Conchita Year: 1929 Medium: Etching, signed in pencil Image Size: 20 x 13 inches Frame Size: 32.5 x 25 inches Reference: Figure 361 ...

Shahn, Ben. IMMIGRANT FAMILY. Serigraph, 1941. Prescott 2. Edition size unknown; Prescott knew of only 3. This copy unsigned. 11 1/2 x 18 inches (image), 19 1/4 x 25 1/4 (sheet), framed to 23 x 28 1/4 inches. This was only the second print made by Shahn, and the first serigraph, a medium in which he continued to use for his prints throughout his career. Provenance: Kennedy Galleries, with its label, George Krevsky Gallery...

"Toy Horse Dance" Japanese Woodblock Triptych with Beauties and Mt Fuji Vibrant three-panel woodblock print by Utagawa Toyohiro (Japanese,...

Medium: offset lithograph (after the Rodin watercolor). Printed in 1945 on Vélin de Lana paper and published in Paris by the Musée Rodin in an edition of 2500. Image size: 7 1/4 x 5 ...

François-Louis SCHMIED (1873-1941) The White Villa, 1938 Original Woodcut Print Signed with the stamp of the artist On Japan paper 35 x 24 cm (c. 13.8 x 9.5 inch) Excellent condition

'Famiglia di Karaibi' / 'Tartarnughe deponenti le uova alle sponde dell' Orenoko'' Italian lithograph, c1841. Originally from 'Galleria universale di tutti i popoli del mondo' by Gi...

Kiki Kogelnik wurde 1935 in Graz geboren und wuchs in Bleiburg, Kärnten auf. Nach ihrem Studium an der Akademie der bildenden Künste in Wien wurde sie Teil der Avantgarde rund um Ott...

'Red Demon and Blue Demon with 48 Arthats' is a large-format offset lithograph by Takashi Murakami, image size 28 x 46.5 inches and framed size 37.5 x 56 inches. From the edition of 300, signed lower right and numbered 191/300. Framed in a contemporary, white frame. In the 2017 monograph, ‘The Octopus Eats its Own Legs’, Michael Dylan Foster writes, “Akiko Miki has noted that in his more recent work Murakami has made a ‘shift not only to being concerned with the notion of religion – a main component, along with capitalism, behind the creation of art – but also towards a more serious engagement with the traditions of Japanese art.’ These concerns, manifested in his explicit invocations of folkloric imagery and creatures from both religion and art, are particularly apparent in ‘The 500 Arhats,’ his monumental twenty-four-paneled, 100-meter-long painting. The work portrays five hundred wizened and grotesque arhats, Buddhist religious figures who, as art historian Nobuo Tsuji puts it, ‘normally… stay in the mountains practicing religious austerities, only appearing after a fire, tsunami, earthquake, or some other disaster has occurred, as a kind of rescue team.’ The gargantuan painting represents Murakami’s interest in creating – in the wake of Japan’s tragedy of earthquake, tsunami, and nuclear disaster on March 11, 2011 – ‘a work of art that would be deemed indispensable to our times.’ The inspiration came directly from a series of exchanges between Murakami and Tsuji, whose critical work the artist had long admired.” Regarding the red and blue demons in the present artwork, these are allusions to Japan’s folkloric tradition of ‘oni’ – ogre or devil-like creatures who in ancient times were associated with bad fortunes and events, but in modern times are more ambiguous. “…Murakami’s invocation of the oni suggests that – unlike his arhats, or his baku and hakutaku – these beings have not come as part of the post-disaster ‘rescue team’ but may represent the very inhuman forces that cause disaster. A closer examination of the figures, however, reveals that Murakami has incorporated other cultural allusions that complicate a one-sided interpretation. …these poses are reminiscent of the so-called Niō guardian...

Original “The City of New Orleans” Amtrack railroad travel poster. The only thing that separates Chicago from New Orleans is your imagination. Archival linen backed in excellent, ...

Miquel Barcelo Vanity with Three Skulls, 2005 Original etching with aquatint Unsigned On ivory vellum 50 x 65 cm (c. 20 x 26 in) Authenticated with the...

Constantin Terechkovitch, Russian (1902 - 1978) - Girls with Dachshund, Medium: Lithograph, signed and numbered in pencil, Edition: 91/150, Image Size: 25.5 x 19.75 inches, Size: 28....

Dans les Cendres (In the embers). 1887. Delteil catalog 67 state iii. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). Etching, drypoint and roulette. 16 3/4 x 12 1/8 (sheet 19 1/2 x 14). Edition 50. Illustrated: Print Collector's Quarterly 9 (1921): 254. A very rich impression with plate tone and drypoint burr, printed on simili-japon. Provenance: Frederick Keppel & Co. This is one of the artist's most striking images. Signed in pencil. Housed in 25 x 20-inch archival mat, suitable for framing. Paul Albert Besnard, was an impressionist painter. In 1866, the seventeen-year-old son of artist parents began his studies at the École des Beaux-Arts Paris. In 1874, Besnard won the important Prix de Rome, with which the academy distinguished young talent. A portion of the scholarship is a stay of several years in Rome. Besnard married Charlotte Dubray, a sculptress, during this time in Rome. The couple lived in England, where Besnard exhibited at the Royal Academy London, between 1881 and 1884. He became involved with English portrait painting during this period, which had a lasting influence on his work. In the years that followed, Besnard broke with the academic tradition. In 1886, he presented the portrait of Madame Roger Jourdain...

Original XXII Gran Premio de Espana vintage poster; artist Michael Turner, size: 26.5" x 38". Year 1975. Archival linen backed original Spanish racing poster. 17th Gran Prix...

"The Poet" is an etching on paper, realized by Léopold Flameng . The state of preservation of the artwork is very good. Sheet dimension: 21.3 x 27 cm...

Known for addressing difficult issues, this lithograph by Sue Coe tackles the difficult subject of rape culture. It is numbered in the lower left corner and signed and dated in the l...

Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margin...