Women Figurative Prints

The Offering is a lithograph by Marc Chagall which was bound in Volume 1 of the Mourlot catalog raisonné of lithographs, printed in 1960. The image is catalogued in Volume II of the...

Hand signed and numbered. Blind stamped in lower left corner. Don't hesitate to ask any questions. Certificate of Authenticity included. Published by AMX Art Ltd., NY and printed by ...

Frasconi, Antonio. SNAPSHOT. Cleveland 165. Woodcut in colors, 1950. Edition of 10. Titled, inscribed "Ed 4/10" and signed and dated in pencil. 22 1/4 x 14 15/16 inches in an oval fo...

This piece is an original lithograph done by Francisco Zúñiga in 1986. Francisco Zúñiga was a Costa Rican-born Mexican artist best known for his stylized figurative paintings and scu...

Artist: Lester Johnson Title: Street Scene 4 Medium: Lithograph Signed: Hand Signed Edition: Edition of 175 Measurements: 29" x 21" Year: 1978 Note: This piece is sold UNFRAMED Con...

Rare print handsigned by surrealist artist Leonor Fini, inscreasingly esteemed with the movement of rediscovering art by women. This rare original lithograph is an artist proof in ve...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Lithograph in colors on paper. Hand signed and numbered by the artist. AE edition of 100. Image size approx 20 x 6 inches. Sheet size is 22 x 8 inches. Artwork is in excellent con...

Limited edition Photographic Mosaic. Edition of 30 The same incredible artwork on a slightly smaller scale. Joel creates these contemporary pieces by adding lots of tiny images of ...

Original lithograph signed lower right, by California/New York artist Don Freeman. Seeing as Don Freeman liked to attend theater in New York and go backstage to meet the players and ...

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Lettr...

Héliogravure on vélin paper. Paper Size: 14.75 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...

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...

"Embrase" Black & White Photography 31" x 31" inch Edition 1/7 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tub...

ANDY WARHOL, Pittsburgh 1928 - New York 1987 Marilyn (Sunday B. Morning), 1967 Color silkscreen (mm. 910x910) Perfect specimen published by the Sunday B. Morning. On the verso stamps...

A dramatic 18th century engraving showing a brutal and bloody battle scene. The engraving is by Antoine de Marcenay de Ghuy, after Joseph Parrocel. There is an inscription at the low...

"A metaphor for the environmental peril we have created and the struggles future generations will face just to navigate climate-related problems like super storms, drought, famine, p...

Salvador Dali - La Fontaine Portrait - Handsigned Engraving 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 inch paper Referenc...

Stride for Days and Stride for Days Upside Down Diptych by Amy Gardner [2021] limited_edition Screenprint Edition number 25 Image size: H:59.4 cm x W:42 c...

"Le Printemps" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (184/200) in the lower left. This piece ...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art w...

from the Padoli Monotypes III

"Women" Black & White Photography 27.5" x 20" in Edition 2/15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube...

Edition of 50 Ger Doornink's limited editions are based on a high resolution scan of the original artwork. They are printed on archival Hahnemühle German Etching paper. This techniq...

SHIPPING FEES INCLUDE SHIPPING CHARGE, PACKAGING & **INSURANCE** Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimnez, pp. 1, 3, 6Biography: Luis Jimnez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimnez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autnoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimnez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimnez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimnez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimnezs works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimnez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimnez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Maurice DENIS (1870 - 1943) Study for Lyric Drama, 1918 Original lithograph enhanced in pastel Unsigned On light cream tinted paper 33.5 x 46.5 cm (c. 13,18 x 18,3 inch) INFORMATIO...

Andre Derain, French (1880 - 1954) - Nu de Dos, Medium: Etching, signed in the plate, Image Size: 13.25 x 11.5 inches, Size: 17 x 15 in. (43.18 x 38.1 cm)

Artist: Leonor Fini Title: Untitled IV Year: circa 1970 Medium: Etching, Signed and Numbered in Pencil Edition: 180/280 Size: 26 in. x 19.5 in. (66.04 cm x 49.53 cm)

"Blind Man’s Bluff at the Imperial Russian Court" lithograph is hand-signed and numbered in pencil. Philippe Noyer was born June 28, 1917 in Lyon. After a traditional course of study at the elite Ecole des Roches, Noyer enrolled in the Beaux Arts (Fine Arts) School of Lyon, before going to Paris to study at the Paul Colin School of Art and experience the whirlwinds of Surrealism first hand on Paris' Left Bank. Philippe Noyer started his painting career in 1943. That same year he met the famous Paris art...

Artist: (after) Johann Daniel Preissler (German, 1666-1737) Title: "Aurora sive Tempus Matutinum; Der Wohl und Übel angewandte Morgen (Dawn or Morning Time; The Morning Used for Better or For Worse)" Portfolio: Die Vier Tageszeiten (The Four Times of Day) Year: 1723 Medium: Original Etching and Engraving on laid paper Limited edition: Unknown Printer: likely Johann Balthasar Probst, Augsburg, Germany Publisher: Jeremias Wolff (Erben), Augsburg, Germany Reference: Le Blanc No. 255, 38; Nagler No. 23 Sheet size: 22.57" x 16.38" Image size: 17.75" x 14" Condition: Soft handling creases, folds, and scattered faint areas of discoloration to sheet. Three tears skillfully repaired from verso. Has been professionally stored away for decades. It is otherwise a strong impression in good condition with full margins Extremely rare Notes: Provenance: private collection - Aspen, CO. Engraved by German artist Johann Balthasar Probst (1673-1750) after a drawing by German artist Johann Daniel Preissler (1666-1737). Comes from Preissler's 1723 "Die Vier Tageszeiten (The Four Times of Day)" portfolio of four etchings and engravings. Printed from one copper plate in one color: black. Descriptions of the portrayed image are printed in Latin and German. Biography: Johann Daniel Preissler, or Preisler (1666–1737) was a German painter and director of Nuremberg's Academy of Fine Arts. He was a notable member of a German artistic family, originating in Bohemia. His children included Johann Justin Preissler (1698–1771), Georg Martin Preisler (1700–1754), Barbara Helena Preisler (1707–1758; married to Oeding), Johan Martin Preisler (1715–1794), and Valentin Daniel Preisler (1717–1765), all in their time renowned artists. Most notable for his portraits, nudes and history paintings, Johann Daniel Preissler also produced drawings and frescoes. He was particularly known beyond his native Nuremberg for his "Die durch Theorie erfundene Practic", a sequence of works on art theory – the individual works were translated into several other languages and served as textbooks for students such as the Swiss Salomon Gessner...

Lithograph in colors on paper. Hand signed lower right by Douglas Hofmann. From the edition of 300. Hand numbered lower left. Artwork is in excellent condition. Certificate of ...

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

Giclee on canvas. Hand signed and numbered on front by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 295. Canvas is not stretched. ...

Héliogravure on vélin paper. Paper Size: 14.75 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...

This artwork "After Lunch" 1994 is an original etching by French/Canadian artist Pierre Roland Renoir b.1958 (Grand son of the famous impressionist artist Pierre Auguste Renoir) It i...

This artwork titled "Liliana" c.1990 in an original color serigraph by Bolivian artist Marion Ferrer (Mario) Cespedes, b.1942It is hand signed, titled and numbered 157/290 in pencil ...

Hand signed, numbered and dated by the artist. From Eight Little Nudes (D'Oench & Feinberg 123-30). Etching with drypoint and aquatint in colors on BFK Riv...

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 From the rare additional suite of 100 aside from the edition of ...

Woman with Apples (Sepia) Branko Bahunek, Croatian (1935) Lithograph, Signed in Pencil Edition of 50 Size: 28.5 in. x 21 in. (72.39 cm x 53.34 cm)

Artist: Marc Chagall Title: Self-Portrait (Frontispiece) Portfolio: Mourlot Lithographe I Medium: Lithograph Date: 1960 Edition: Unnumbered Frame Size: 19 3/4" x 16 5/8" Sheet Size: ...

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...

Giclee on canvas. Hand signed and numbered on front by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 250. Stretched. All reasonable ...

Héliogravure on vélin paper. Paper Size: 10.5 x 14.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Pablo Picasso, Toros y toreros, 1961. Published ...

Infamous art forger David Stein was implicated multiple times for selling faked works of art by renowned artists. In his later years, in order to avoid further lawsuits, he began tit...

Enhanced giclee on canvas (hand coated - embellished with a protective finish). Hand signed front lower right by Fabian Perez; dedicated and signed on verso by Fabian Perez. Hand n...

History Of The Indian Tribes Of North America, With Biographical Sketches And Anecdotes Of The Principal Chiefs. Embellished With One Hundred And Twenty Portraits, From The Indian Ga...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

London: Thomas McLean, 1835. Third Edition. Etching with hand coloring in watercolor on cream wove paper, 1818 (published August 1st, 1835) 9 1/2 x 13 3/4 inches (240 x 348 mm), full...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

“Inside Out 1” Black & White Photography 24" x 36" in Ed. of 7 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From "Park Drive" series Brian Ziff is a mult...

"Rappel" is an original lithograph poster designed by Jules Cheret. This poster depicts a young man drumming. There is a small stain in the upper left corner. This poster was publish...

California (Turquoise Dress) is an expertly crafted, embossed serigraph on black paper with foil stamping and an image size of 33 x 25.5 inches. From the edition of 668, the art is n...

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...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, TLautrec, 1946. ...

Fernando Botero (Colombian, b.1932) is celebrated for his painted and sculpted scenes featuring animals and figures with inflated proportions, reflecting the artist’s predilection for satire, caricature, and political commentary. Born in Medellin, Colombia, Botero began exhibiting his paintings there in 1948, and later worked as a set designer in Bogotá. In the 1950s, he traveled to several different European countries, including Spain, Italy, and France, to study the work of Renaissance and Baroque masters. He also traveled to Mexico to familiarize himself with the current Mexican avant-­‐garde. Botero became renowned for the varied source material he drew upon, from Colombian folk imagery to canonical works by Diego Velázquez, Pablo Picasso, and Francisco de Goya. In his depictions of contemporary Latin American life, he portrays the poverty and violence prevalent in Colombia in somber images, as well as in his iconic inflated figures, satiric images of Latin American presidents, first ladies, and government officials. A meeting with Dorothy Miller from The Museum of Modern Art in the early 1960s proved to be a turning point in his career; she acquired his work at a time when abstraction was the celebrated idiom, and he later exhibited his work in a major exhibition at the museum, solidifying his international reputation. In the 1970s, Botero moved to Paris, where he created large figural sculptures with his signature inflated forms. He remains engaged with images of his Latin American home city, and with overtly political imagery; his recent works include large paintings of prisoners at Abu Ghraib in a direct commentary on the war in Iraq. Botero has exhibited his work at the Museum of Modern Art in Copenhagen, the Maillol Museum in Paris, the Palazzo Benezia in Rome, the Hermitage Museum in St. Petersburg, and the National Museum in Bogotá. He currently lives and works in Paris, Montecarlo, and New York. 2012–2013 Museo Bellas Artes de Bilbao, Bilbao, Spain 2012 Una celebración, Palacio Bellas Artes de México, Mexico 2012 Hommage zum 80. Geburtstag, Botero -­‐ Gemälde, Skulpturen und Zeichnungen, Samuelis Baumgarte Galerie, Bielefeld, Germany 2010 Art is deformation, Nassau County Museum of Art, Roslyn Harbor, NY (solo) Inaurgural Exhibition: Fernando Botero, David Benrimon Gallery, New York, NY (solo) Latinas!, Nassau County Museum of Art, Roslyn Harbor, NY 2009 Gary Nader Fine Art, Coral Gables, FL Fernando Botero: The Circus. James Goodman Gallery, New York, NY El Dolor de Colombia, Pinacoteca Diego Rivero, Xalapa, Veracruz, Mexico 2008 The Baroque World of Fernando Botero, Brooks Museum of Art, Memphis, TN; New Orleans Museum of Art, New Orleans, LA; Delaware Art Museum, Wilmington, DE 2007–2008 Botero: Oeuvres récentes, Marlborough Monaco, Monte Carlo, Monaco (solo) 2007 Fernando Botero: Abu Ghraib, University of California, Berkeley, CA (solo) The Baroque World of Fernando Botero, Musée National des Beaux-­‐Arts du Québec, Canada (solo) Delaware Art Museum, Wilmington, DE (solo) New Orleans Museum of Art, New Orleans, LA (solo) Summer Exhibition, Marlborough Gallery, New York, NY Latin Masters...

Vintage Peter Max Poster – 1967 Original Psychedelic Artwork – Rare Collectible Vintage Wall Decoration Introduce a piece of 1960s pop culture...

Pablo PICASSO (1881-1973) Acrobats: Plate of Drawings by Picasso and Max Jacob, 1913 Original Etching (Paul Fort Workshop) Signed in the plate On Arches vellum, 48 x 38 cm (c. 19 x ...

26" x 17.5" Unframed Limited Edition Giclée with Hand Embellishment of 100 Hand Signed by Todd White

A Womans Strength by Amy Gardner [2021] limited_edition Mono Print/Screen Print Edition number 23 Image size: H:42 cm x W:59.4 cm Complete Size of Unframed Work: H:42 cm x W:59.4 cm...

Villon, Jacques. CAKE WALK DES PETITES FILLES. GP.102, second state of four. Drypoint and aquatint in colors, 1904. Edition of only 10 (there was an edition of 30 in state 4, with th...