William De La Montagne Cary

The Battle of Little Big Horn River (Custer Massacre, June 25 1876)

1876

Lithograph on Arches Paper Pencil Signed Lower Right, "Marc Chagall" Numbered Lower Left Ed. 9/40, one of 40 impressions reserved for the artist aside from the standard signed editio...

Signed in Pencil Lower Right Ed. 500 Circulated by Twayne Publishers, New York City Image Size: 16 x 12 3/8 Framed Size: 24 1/4 x 20 1/2 inches The legendary actor actor and musici...

Color Lithograph Signed and Numbered Ed. 75 Marino Marini (February 27, 1901 — August 6, 1980) was an Italian sculptor. Born in Pistoia, Marini is particularly famous for his serie...

Lithograph on Arches Paper Pencil Signed Lower Right, "Marc Chagall" Numbered Lower Left Ed. 51/100 Published by CH. SORLIER SIte Size: 19 x 12.5 Framed Size: approx 27.5 x 22.5

Lithograph and silkscreen, 1978 23 x 31 inches (image and sheet) 28 x 36 framed Signed, dated and numbered ed. 300 lower left Printed by Styria Studios Figurative* artist Larry Rive...

Color Lithograph Signed and Dated Lower Right Numbered Lower Left 22/100 Image Size: approx. 23 x 29 inches Framed Size: approx. 31 x 37.5 inches

The Don: One of the most recognizable figures in poster history ever, quietly reveling in the simple delights of a glass of ruby port – typically thought of as a horseman, clad in a ...

Artist: Toulouse Lautrec (1864 -1901) French Title: The Chestnut Vendor Medium: Lithograph, Year: 1897 Signature: Signed in Plate (TL) Lower Left Dimensions: 20” x 17” Framed, 11” x 8.5” Unframed A lithograph of a Toulouse Lautrec drawing...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA VACHE ENRAGÉE" Wittrock P27B, Adhemar 197 Original color lithograph Wittrock’s State III of III with letters Printed on buff wove paper, c. 1896 Bears artist stamp “TL” upper right, dated 96 Image size: 22 1/2” x 23 5/8” Several examples are known where Lautrec drew on work by other artists whom he admired. In this poster there are clear references to Adolphe Willette's humorous themes and rococo style of illustration. Willette was the founder and illustrator of the short-lived monthly “La Vache Enragee”(the angry cow) edited by the cartoonist Adolphe Roedel. This colored poster of the same title was commissioned for the appearance of the magazine March 1896. As a reference to the wretched financial state of most artists, the term “manger de la vache enrage” (meaning roughly, “meaning not having enough to eat”) was adopted as the motto for the “Vachalcade”which was held on Montmarte annually from 1896. This was an artists' procession, with fanfares and allegories on fame and the muses; it also included a furious cow and a troupe of pretty girls as a satire on Europa with the bull. The event was organized by Roedel"(Adriani p.217) Toulouse-Lautrec took up lithography at a high point in its history, when technical advances in color printing and new possibilities for large scale led to a proliferation of posters as well as prints for the new bourgeois collector. In his short career, he created more than three hundred fifty prints and thirty posters, as well as lithographed theater programs...

CHARPENTIER, ALEX (1856 -1909) "Grande Tuilerie d’Ivry" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, issue # 33, 1898. Plate #131 Unframed Size: 11 3/8 x 15 3/4”The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. The text reads "Great Tileworks of Ivry, founded in 1854, Ivry-Port near Paris; the largest ceramics factory in the world for building, industry and art productions; Emille Muller stoneware; execution of works by masters of statuary; architectural facings; decorative sculpture; showroom and salesroom, 3 rue Halevy; the only tile able to bear the names Muller and Ivry; (tiles) guaranteed against frost" Given the commission for an extremely text heavy poster, the artist executes a masterful design. The angelic young boy holds the wares of this famous ceramics factory, against an abstract background awash in organic green hues. The handling of the immense text that flows from top to bottom in every available space shows great artistic skill, as the overall beauty of the design is intact. In 1989 the Metropolitan Museum of art acquired a stoneware plaque...

ALPHONSE MUCHA (1860 – 1939) Flirt Biscuits Rennert/Weill 72 Lithograph in colors c. 1900 Signed in stone, lower right margin Image: 24” x 11”, Paper: 25 ¼” x 11 ¾” F...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) PROMENOIR Delteil 290, Adhemar 324, Wittrock 315 Lithograph printed in olive black-green ink, c. 1899 Printed on japon paper, Full margi...