Nude Prints

untitled (Young Woman Washing) Lithograph, c. 1910 Signed in pencil lower right; signed in the plate lower right (see photo) Image size: 11 x 5-1/8" Sheet size: 18 7/8 x 12 5/8 inches Condition: Very good Aging to the tan paper it is printed on Provenance: Estate of the Artist Borghi & Company, NYC Rudolph Bauer 1889-1953 Rudolf Bauer was born in Lindenwald near Bromberg, Silesia, in 1889 but his family moved only a few years later to Berlin. In 1905 Bauer began his studies at the Berlin Academy of Art but left the Academy only a few months later to educate himself. The upshot was paintings, caricatures and comical drawings which were published in 'Berliner Tageblatt', 'Ulk' and 'Le Figaro'. From 1912 Bauer contributed to the magazine and Gallery 'Der Sturm' founded by Herwarth Walden and pivotal to German Expressionism and the international avant-garde. In 1915 Rudolf Bauer participated for the first time in a group show at Walden's gallery. There he met Hilla von Rebay, with whom he began a relationship of many years that was crucial to Bauer's later work. By 1922 Bauer had shown work at about eight exhibitions mounted by 'Der Sturm'. From 1918 he also taught at the 'Der Sturm' art school, where Georg Muche was the director. After the war ended, Bauer was a founding member of the 'November Group' although he did not collaborate closely with the group. In 1919 Bauer joined forces with the painter and architect Otto Nebel and with Hilla von Rebay to found the artists' association 'Die Krater'. Impressionist at the outset, Bauer's early work reveals Cubist and Expressionist influences. By 1915/16 Bauer had switched to an abstract pictorial idiom, which is markedly influenced by Kandinsky. In the early 1920s Bauer was also preoccupied with Russian Constructivism as well as the Dutch de Stijl group. Bauer's decided preference for non-representational painting culminated in 1929 with the foundation of a private museum, 'Das Geistreich', which he directed as a salon for abstract art. Political developments in Germany forced Bauer to sell some of his work in America from 1932. His agent in America was Hilla von Rebay, who was by now director of the Guggenheim Collection. In 1936 she organized a touring exhibition of non-representational European art that included sixty Rudolf Bauer oil...

String bound booklet (portfolio) with six hand colored woodcuts, signed in pencil by the artist, tipped in the book Provenance: Estate of the artist By descent to his daughter Kir...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Released for the Matt Zingler Charity event to benefit cancer research. Screen print in colors on Epsom Somerset Velvet paper. Hand signed and numbered by the artist. About the A...

Reginald Marsh (1898-1954), Fan Dance at Jimmy Kelly’s, etching, 1936, signed and inscribed 50 proofs (only 24 known printed) [also with the initials and da...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

A pin up picture of a woman (in the likeness of Courtney Cox) sitting in a martini glass. In a fine white contemporary frame. Artist: Mel Ramos Title: M...

Artist: Jacques Villon, French (1875 - 1963) Title: Le Mort de Daphnis for Les Bucoliques Year: circa 1960 Medium: Lithograph, Signed in Pencil Image Size: 8 x 19 inches Size: 15 in....

Artist: Dagmar Mezricky (Czech, 1944-) Title: "Tenderness Gives Rise to Harmony" *Signed, numbered, and dated by Mezricky in pencil lower left Year: 1988 Medium: Original Lithograph...

La blouse turque - Étude de jambes is a lithograph from 1925 printed on Japan paper. There were 50 in the regular edition and 10 Artist Proofs. The piece is signed and numbered 30...

Pablo Picasso (after) Helene Chez Archimede Medium: engraved on wood by Georges Aubert Dimensions: 44 x 33 cm Portfolio: Helen Chez Archimede Year: 1955 Edition: 240 (Here it is on...

Plate 2 2 plate drypoint with hand coloring, 1984 Signed and numbered in pencil (see photos) From: Barcelona Suite (6 plates) Edition: A/P 8/10 in pencil lower left Signed in pen...

Arthur B. Davies (1862-1928), Tartessians, soft ground etching with aquatint, 1919-20, signed in pencil lower right. Reference: Czestochowski 96, second state (of 2), total printing ...

Salvador Dali - Louis Pasteur - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel References : Fiel...

Artist: Dan May (American, 1955-) Title: "Nude" *Signed by May in pencil lower left Year: 1997 Medium: Original Monoprint on unbranded white cotton rag laid paper Limited edition: (1...

Hua Chen captured the ethereal beauty of this woman sitting down for an afternoon cup of tea. This piece is a limited edition, embellished giclee, numbered 155/300 and signed by the...

Untitled (Nr. 0979) Photography 36" x 44" Edition of 12 by Ben Cope Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six...

Artist: (after) Raphael (Italian, 1483-1520) Title: "L'Amour Montrant Psyche Aux Graces" Portfolio: Gazette des Beaux-Arts Year: 1883 Medium: Original Etching on chine appliqué on wo...

Artist: Marc Chagall Title: Rahab and the Spies of Jericho Portfolio: Drawings for the Bible Medium: Lithograph Year: 1960 Edition: Unnumbered Sheet Size: 14 3/8" x 10 1/4" Image Siz...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 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...

For sale is an exceptional fine art print titled "Hunt Gather" by the talented Brazilian artist João Ruas. This beautiful giclée print is printed on 350 gsm 100% Cotton Hahnemühle Mu...

This lot is for one etching. --- Derain was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. In 1895 Derain began to study on his own, contrary to claims that meeting Vlaminck or Matisse began his efforts to paint, and occasionally went to the countryside with an old friend of Cézanne's, Father Jacomin along with his two sons. In 1898, while studying to be an engineer at the Académie Camillo, he attended painting classes under Eugène Carrière, and there met Matisse. In 1900, he met and shared a studio with Maurice de Vlaminck and together they began to paint scenes in the neighbourhood, but this was interrupted by military service at Commercy from September 1901 to 1904. Following his release from service, Matisse persuaded Derain's parents to allow him to abandon his engineering career and devote himself solely to painting; subsequently Derain attended the Académie Julian. At about this time Derain's work began overtly reflecting his study of the Old Masters. The role of color was reduced and forms became austere; the years 1911–1914 are sometimes referred to as his gothic period. In 1914 he was mobilized for military service in World War I and until his release in 1919 he would have little time for painting, although in 1916 he provided a set of illustrations for André Breton's first book, Mont de Piete. After the war, Derain won new acclaim as a leader of the renewed classicism then ascendant. With the wildness of his Fauve years far behind, he was admired as an upholder of tradition. In 1919 he designed the ballet La Boutique fantasque for Diaghilev, leader of the Ballets Russes. A major success, it would lead to his creating many ballet designs. The 1920s marked the height of his success, as he was awarded the Carnegie Prize in 1928 for his "Still-life with Dead Game" and began to exhibit extensively abroad—in London, Berlin, Frankfurt, Düsseldorf, New York City and Cincinnati, Ohio. During the German occupation of France in World War II, Derain lived primarily in Paris and was much courted by the Germans because he represented the prestige of French culture. Derain accepted an invitation to make an official visit to Germany in 1941, and traveled with other French artists to Berlin to attend a Nazi exhibition of an officially endorsed artist, Arno Breker...

Salvador Dali - Girl and Pig - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum Signed in the plate References : Field 67-4 (p. 3...

"Pools and Cigarettes" Photography 31.5" x 24" inch Edition of 5 by Lukas Dvorak Pigment print on Epson Fine ART paper 2023 Ships rolled in a tube ABOUT THE ARTIST Lukas Dvorak i...

ARTIST: Salvador Dali TITLE: Hommage a Albrecht Durer Triomphe de Venus MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Vision Nouvelle EDITION NUMBER: EA MEASUREMENTS: 23" x 3...

HENRI MATISSE, Le Cateau Cambrésis 1869 - Nice 1954 Acrobates, 1952- 1958 Color lithograph, from papier gouache-découpé. Bibliography: Claude Duthuit, Catalogue raisonné des ouvrage...

A very good impression of this color etching with aquatint. Signed and numbered 29/75 in pencil. Printed by Jacques David, Paris. Co-published by Leon Am...

"La Pace Tre le Statue" Photography 39" x 29.5" in Edition of 4 by Lukas Dvorak Pigment print on Epson Fine ART paper 2023 Ships rolled in a tube ABOUT THE ARTIST Lukas Dvorak is...

Tracey Emin, Tattoo, Offset Lithograph on Paper, 2001 Colour photocopies on A4 paper, from a limited edition of 200 (No. 129). Hand signed and numbered in pencil by the artist, rect...

Lithograph in black on pale green panel on white Rives paper. Hand signed lower right by Salvador Dali. Hand numbered LXXVII/CXX lower left. Artwork size: 20 x 28 inches. Frame ...

Alberto"El Cuervo" Bustillos (Mexico, 1950) 'Con la mirada fija en tu paisaje ', 2007 etching, aquatint on paper Deponte 300 g. 12.3 x 10.3 in. (31 x 26 cm.)...

Artist: Peter Max Title: Ballet Story Year: 1981 Medium: Lithograph, signed and numbered in pencil Edition: 165 Image Size: 24.5 x 18.5 inches Paper Size: 30 in. x 22.5 in. (76.2 cm...

Artist: Raphael Soyer Title: Nude Woman Portfolio Medium: 2 Lithographs, 1 printed in color & 1 black/white Original paper portfolio cover Signed: Hand Signed Edition: From the editi...

Arthur B. Davies (1862-1928), Torment, soft ground etching with aquatint and roulette, 1919-20, signed with the estate stamp lower right, and signed by the printer Frank A. Nankivell...

Kool Aid Jamaican Sand Piece, Colette (aka Colette Justine) Tunisian/American (1952) Date: 1978 Lithograph, signed and numbered in pencil Edition of 200, AP 3...

The Dream [2022] original Acrylic, natural pigments on paper Image size: H:70 cm x W:100 cm Complete Size of Unframed Work: H:70 cm x W:100 cm x D:0.1cm Sold Unframed Please note th...

Untitled (Nr. 1751) Photography 18" x 24" Edition of 20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a s...

This offering is for one etching. --- Derain was born in 1880 in Chatou, Yvelines, Île-de-France, just outside Paris. In 1895 Derain began to study on his own, contrary to claims th...

Artist: Man Ray, American (1890 - 1976) Title: Sonia from La Ballade des Dames Hors du Temps Year: 1970 Medium: Aquatint Etching, Si...

This lithograph was one of sixteen Federico Castellón produced in 1968, published by Aquarius Press, to illustrate Edgar Allan Poe's 1832 story 'The Mask of the Red Death.' The image...

Leonor Fini - Pride - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned a...

Etching , fifth state , numbered 14/50, signed with stamp used for the edition of 50 by Lucien Pissarro on 1920.

HOLIDAY SITUATIONS,1999, color c-prints on Fuji crystal archive paper, each initialed on verso and inscribed "BAT" sheets 11 ¾ x 11 ¾", printed & published by Muse X, Los Angeles. (female and male nude manikins in front of Mt Vernon), 1999 in the collection of Harvard University art museum where it is described as an Ink jet digital print Born in 1958 in Long Branch, New Jersey, Long currently lives and works in California.Education B.F.A., University of the Arts, Phila, PA; Whitney Independent Study Program, New York, NY; M.F.A., Yale University, New Haven, CT. Since then, the artist has received a number of honors and awards, most recently the 2008 Award of Merit Medal for Sculpture from the American Academy of Arts and Letters in New York. He currently teaches as a professor in the Art Department at the University of California, Riverside. Long’s work has been the subject of major exhibitions worldwide. His most important solo presentations include CATALIN at The Contemporary Austin in Texas (2014), Fountainhead, a public commission in Dallas, Texas organized by the Nasher Sculpture Center (2013), Pet Sounds at Madison Square Park in New York City (2012), Seeing Green, a solo project in conjunction with All of this and nothing: The 6th Hammer Invitational at the UCLA Hammer Museum in Los Angeles (2011), 100 Pounds of Clay at Orange County Museum of Art in California (2010), and More Like a Dream Than a Scheme at David Winton Bell Gallery at Brown University in Rhode Island, which traveled to SITE Santa Fe in New Mexico (2005). His work has been included in many significant museum exhibitions such as the 1997 and 2008 Biennials, Whitney Museum of American Art New York; Open Ends, The Museum of Modern Art; NYC. Performance Anxiety, MCA, Chicago; Happiness, Mori Art Museum, Tokyo; Arte Contemporáneo Internaciona, Museo de Arte Moderno, Mexico City; ART/MUSIC: rock, pop, and techno Museum of Contemporary Art, Sydney; Almost Warm and Fuzzy, Des Moines Art Center, The Shape of Color: Excursions in Color Field Art, AGO/Art Gallery of Ontario, Canada; Gone Formalism, The Institute of Contemporary Art, Philadelphia, PA; The Uncertainty of Objects and Ideas, Hirshhorn Museum and Sculpture Garden, Washington D.C. SculptureCenter in New York, Museum of Contemporary Art Chicago, Magasin 3 Stockholm Konsthall, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Institute of Contemporary Art, Philadelphia, Mori Art Museum in Tokyo, among other museums.Long's sculptures have explored the abstract autonomous art object as a psychological investigation into the nature self and others and have been made from diverse media such as coffee grounds, rubber and hair from Abraham Lincoln. He has collaborated with pop musicians such as Stereolab, Mark Mothersbaugh...

Jamaican Kool-Aid Body Piece (Blue) Colette (aka Colette Justine), Tunisian/American (1952) Date: 1979 Lithograph, signed and numbered in pencil Editio...

Untitled (Nr. 1789) Photography 18" x 24" Edition of 20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a s...

"Twisted Words" Photography 42" x 30" in Edition 1/7 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish Comes ...

Jan Matulka (1890-1972), Three-Quarter View of Nude Bathing Seated Near Lamp, lithograph, 1925, signed and dated in pencil lower right. Reference: Flint 9...

Walt Kuhn (1877-1949), [Nude on Couch, Right Arm on Leg], c. 1920, etching, signed in pencil lower margin. In very good condition, traces of discoloration in...

Henry Moore Reclining Figure Original etching in sepia, hand signed 1979 Image size: 12 5/8 x 15 7/8 inches Framed Dimensions: 25 x 25 inches Numbered 32/50 from the edition of 50 on...

Artist: Mel Ramos (American, b. 1935) Title: I Still Get a Thrill When I See Bill I Year: 1979 Medium: Lithograph, signed in pencil Edition: 175, HC Image Size: 26.5 x 18.5 inch...

Artist: Steven Pollack Title: Rie Miyazawa Les Demoiselles d' Avignon Year: 1992 Medium: Lithograph with Superfine Glitter, Signed in Pencil. Edition: AP Size: 31 x 43 inches

Etching on paper. Hand signed and numbered by the artist. From the 347 series. Bloch 1502. Edition of 50. Sheet size: 18 x 22 inches. Image size 12.375 ...

Artist: Reuben Nakian Title: View from Olympus: Plate II, Reclining Nymph Medium: Etching & Chine Colle, signed and numbered in pencil Edition: 75 Paper Size: 29.5 x 42 inches

Artist: Georges Rouault, French (1871 - 1958) Title: La Fille from Maitres et Petits Maitres d’Aujourd’hui Year: 1925-1927 Medium: Lithograph on ivory Japanese paper, signed and numb...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing is just for the one sheet, not for the cover sheet or the signed sheet. This was printed at Mourlot in Paris, France, on velin D'Arches paper. Apel les Fenosa i Florensa (1899 - 1989) lived in Spain. Apelles Fenosa is known for Expressionist Sculpture. Artist's alternative names: Apel·les Fenosa, Apelles Fenosa Spanish Sculptor Fenosa was born in Barcelona, Spain in 1899 and as a young man worked in the studio of sculptor Enrique Casanovas where he came into contact with the ideas and adherents of the Modernist Movement and its influence in Barcelona, Paris and other European cities. In 1917 he founded together with Joan Rebull, Josep Granyer and Josep Viladomat the group The Evolutionists. He arrived in Paris in 1921. There he quickly gravitated into the Parisian avant garde artist community and became friends with Pablo Picasso, who became an early patron of his work, buying a significant number of his sculptures, and with the sculptor Max Jacob. By 1924 Fenosa was exhibiting in Paris and in his native city of Barcelona. Max Jacob wrote the preface to the catalogs of Fenosa's first Paris exhibition, and his show at the Zborowski gallery in 1928. In 1931 Fenosa was in Catalonia when the Second Spanish Republic was declared. There he remained in order to work with the anarchist movement and participate in the Republican ranks during the Spanish Civil War. He participated in the Venice Biennale in 1936 and with the coming to power of the Franco Fascist regime left Spain once again to settle in Paris. In 1942, he met the painter and poet, Paul Eluard, who became a close friend. In 1944, the Comite de Liberation du Limousin (Organization for the Liberation of the Limousin) commissions a sculpture to commemorate the Nazi killings of Oradour-sur-Glane. He creates the "Monument aux Martyrs d'Oradour-sur-Glane" (Monument to the Martyrs of Oradour) presently in Limoges. From 1946 Fenosa exhibited individually or collectively in Paris, London, Barcelona, ​​Madrid, Prague, New York, Tokyo, Rabat, Osaka, Casablanca, Carrara. His personal exhibition catalogs are prefaced by the most famous writers and poets of his time, including Paul Eluard, Jean Cocteau, Jules Supervielle, Josep Carner, Alexandre Cirici-Pellicer, Francis Ponge, Pablo Neruda, Michel Cournot, Roger Caillois, Salvador Espriu. He was part of a generation of Spanish and Catalan artists that included Jose Amat Pages, Ramon Pichot, Alfredo Opisso Cardona, Ramon Aguilar More, Juan Cardona Llados, Josep Miquel Serrano, Ignacio Zuloaga Y Zabaleta, Andre Beaudin, Francisco Domingo Y Segura, Jose Armet Y Portanel, Jose Ventosa Domenech, Antonio Vila Arrufat, Montserrat Gudiol...

Lithograph print signed by artist-- possibly Etienne--however, illegible. The print measures is 22 x 29; it is in fair/good condition, with slight discoloration around the edges.

© Katie Eleanor, VIII. "Omphalopagus monster, an orphan" Series: Saint Wanderer's Hospital, 2015 Archival Pigment Print of the hand Coloured Photograph on cotton fine art paper, custom framed 7 1/2 × 5 7/10 in 19 × 14.5 cm (unframed print) 35 x 30.5 cm (Framed : Museum mount-board, antireflective art glass in hardwood custom frame) Edition of 15 Framed or Unframed option available - please enquire 'Saint Wanderer’s Hospital' series depicts a fictional tale birthed from the artist’s inherent need to find splendour in the idea of sickness. Rooted first from her own words, Katie used the idea of illustrating as a form of personal art therapy by immersing herself in the realm of the otherworldly characters. Every aspect of each scene was created by Katie alone, from building and designing the sets to printing and hand-colouring the final images. In this act, over the year long course of the projects creation, the artist managed to make certain turmoil in her personal life bearable. In the world of the hospital, the artist adapts the role of medical photographer – creating accurate portraits of each character’s condition as a record for the hospitals future use. The final series comprises of 8 ‘specimen...

Standing Woman Andre Minaux, French (1923–1986) Etching, signed and numbered in pencil Edition of EA 8/10 Image Size: 17.5 x 15.25 inches Frame Size: 29.7...