Unframed Nude Prints

"Avant" Black & White Art Print 36" x 24" in Ed. of 25 by Yevgeniy Repiashenko Year photo was taken: 2020 Art Print Limited Edition of 25 Picture size: Height: 36" inch Width: 24"...

"Untitled (Nr. 1546)" Nude Photography 24" x 18" Edition 2/20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination ...

Jean-Gabriel DOMERGUE Sun Bath in the Garden, 1956 Original lithograph (Mourlot workshop) Printed signature in the plate On Japan paper 40 x 31 cm (c. 16 x 12") INFORMATION : This ...

From London With Love is an original offset of 1980. There is The state of preservation of the artwork is very good. Sheet dimension :88 x 61.5 cm The poster represents a nude wom...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, richly-inked impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...

Tom Wesselmann Shiny Nude (Stealingworth, 33), 1977 Silkscreen on glossy cast-coated Kromekote paper 8 × 8 inches Edition of 1000 (917/1000) Pencil numbered...

"Two Palms" Black & White Photography 36" x 24" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin fin...

Medium: original lithograph. Catalogue reference: Salomon 27. This lithograph was executed by K X Roussel in homage to Paul Cezanne, printed in 1914 and published in Paris by Bernhei...

Michael Knigin, American (1942 - 2011) - Advance notice, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 26.5 inches, Size: 21...

This work is signed, titled, and dated, in pencil. Grippe was a master printer, highly creative printmaker, and sculptor.

After PABLO PICASSO (1881-1973) Maternity (Grande Maternité) 1963 Offset Lithograph on Paper Signed and Dated Handsigned in Pencil Numbered: 73/200 9...

"Not from Hollywood" Photography 60" x 40" in Edition 1/3 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish C...

Portfolio of 10 Original Signed Engravings by Salvador Dali Title: Decameron Signed in Pencil by Salvador Dali Dimensions: 45 x 32 cm Edition EA 1/5 1972 References : Field 72-8 (p. ...

Alex Katz “Private Domain” announcement card 1970: Rare vintage Alex Katz announcement card published on the occasion of 'Alex Katz New Paintings' Fi...

Henri Clement-Serveau Art Deco : Women with Doves, 1925 Original woodcut Handsigned in pencil Numbered /160 On Perrigot vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp o...

Mel Ramos (born 1935) Coca-Lola No. 4, 2004 Medium: Lithograph in colors Image dimensions: 67.5 x 44.5 cm Sheet dimensions: 88 x 60 cm Edition of 100: Hand signed and numbered “Mr. ...

Lucien Coutaud, French (1904 - 1977) - Le Taureau Blanc IV, Year: 1957, Medium: Etching, Image Size: 7.75 x 5 inches, Size: 13 x 10 in. (33.02 x 25.4 cm), Description: From the col...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, 1984. Published by Centre National des Arts Plastiques, Ni...

Leonor Fini - Pregnant - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Signed, titled and numbered by the artist. This is the last remaining print in the edition. Sonia Romero is a full time artist living and working in East Los Angeles. She received h...

Male nude lithograph by Trevor Southey. Charcoal gray. There was also an edition done in terra cotta. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His African...

Lithograph in Colours on Vélin d'Arches paper. Edition: 350, plus proofs. Signed in the plate by the artist; hand signed in pencil by the printer, Fernand Mourlot. Good Condition; never framed or matted. Notes: From the suite, Les Enfants Trouvés de Magritte, 1968. Published by A.C. Mazo et Cie, Paris; printed by Fernand Mourlot, Paris, 1968. Les Enfants Trouvés de Magritte comprised twelve coloured lithographs, four of which, Ma Mère l'Oye, Pierreries, La Belle Captive...

Reclining Woman is a beautiful lithograph from the portfolio " Erotica " by Egon Schiele. It is a reproduction of the homonym black crayon drawing, a self-portrait realized by the...

Iris print on heavy white wove paper. Signed and numbered 42/50 in pencil by Ruff.

Nude is an original lithograph on greenish paper realized in 1946 by the italian artist Oscar Gallo (1909 - 1994). Signed on the lower left and dated. The state of preservation is ...

Guillaume Corneille Complicite 1980 Print, Signed Lithograph on wove paper 25½ x 19½ " inches Signed in pencil and dated Cat added  by artist As a co-founder of the famed experimen...

Karl Lagerfeld ( 1933 -2019 ) Kaiser de la Mode ! Photograph , dessinateur , designer ... " Rupert Evrett " , magnifique litho-photographie sepia de 1997 , d'un ensemble de modèles...

ARTIST: Salvador Dali TITLE: Hommage a Albrecht Durer Sirene au Dauphin MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: EA MEASUREMENTS: 22.5" x 30.5" YEAR: 1971 FRAMED:...

Nan Goldin Lydia Lunch at the Russian Baths, 268 East 10th Street, 1985 poster, 2018 Offset lithograph poster (unsigned, unnumbered and unframed) 17 × 22 inches Published by The Kitchen in 2018, on the occasion of their Gala honoring Nan Goldin and Lydia Lunch Provenance Acquired from The Kitchen on the occasion of their 2018 Gala Also accompanied by Certificate of Guarantee from Alpha 137 Gallery Excerpt from The Kitchen description of this event: “During the late ‘80s and early ‘90s, icons Goldin and Lunch were vanguards of post-punk New York. Both women have presented their work at The Kitchen throughout the years, consistently returning to premiere new works that went on to exemplify their careers. Goldin’s portraiture of her close-knit circle of friends in New York became emblematic of her generation’s grappling with the social issues of the time, from the epidemic of drug addiction to the AIDS crisis. Lunch is revered as a radical progenitor of No Wave music, fronting the influential Teenage Jesus and the Jerks and collaborating with acts like JG Thirlwell, Birthday Party, and Sonic Youth. Lunch has a broad artistic practice, also working in film, visual art, writing, and spoken-word. Goldin and Lunch have also collaborated on numerous occasions. For instance, the cover of Lunch’s 1995 album Drowning In Limbo featured a portrait of her taken by Goldin. Lunch also posed for Goldin’s project for The Village Voice’s short-lived fashion insert Vue in 1985. Shot as part of an editorial called “Masculine/Feminine,” the image of a reclining Lunch at Russian baths in the East Village was ultimately not included in the final layout, and we were pleased to be present the image for the first time as a limited-edition print in support of The Kitchen. At The Kitchen in November 1980, Goldin presented slides as part of Dubbed in Glamour, a three-day event of “spectacle and extravagance” organized by Edit deAk that featured primarily women artists. Introduced by Cookie Mueller, who served as the master of ceremonies, these slides were an early version of Goldin’s landmark work The Ballad of Sexual Dependency, which continued to take shape during the next few years. The Bush Tetras, who performed at this year’s gala, also participated in Dubbed in Glamour. In 1994, Goldin returned to The Kitchen to premiere three slideshows for the first time in the United States as part of the winter lecture series curated by Ira Silverberg. The first slideshow developed from her 1992 award-winning book The Other Side, which lauded the drag queens she lived with and among in New York. During the ‘70s, when Goldin first moved to the city, the people she lived with became not just her subjects, but also her chosen family. The second slideshow was a series of intimate self-portraits. The evening concluded with a collection of Goldin’s images that traced her relationships to her close friends Alf Bold, Gilles Dusein, and Cookie Mueller and celebrated the joy of their lives and the pain of their deaths from AIDS. In 1985, Lunch first appeared at The Kitchen as part of the two-night screening series of experimental short films, Super 8 Motel. She and Richard Kern...

"Brooke (Blue Waves)" Photography 30" x 22" inch Edition 2/7 by Larsen Sotelo NOT FRAMED - ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin fin...

Paul Wunderlich From Portfolio "Twilight" with Karin Szekessy Year: 1971 Medium: Phototype (Lichtdruck) Edition: 125 Size: 33 x 25 in. Publisher: A.A.A....

A colorful erotic daydream drawing of a nude blonde fantasizing, with a redhead woman, and man. Green and purple patterns on hair and pillows, and art deco motifs, adorn this sensual...

From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...

Man on His Back, Nude Lithograph, c. 1916 Signed by the artist lower right: Geo Bellows (see photo) Annotated bottom left: No. 3 by the artist (see photo) An unredorded trial proof b...

Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 46-47, 1952. Published by Aimé Maeght, Éditeur, Paris; ...

Artist: Hajime Sorayama, Japan, b. 1947 Size: 17" x 24" Medium: Lithograph on High Gloss Paper Signature: Lower Left Subject: Nude Female in Black Leather Jacket and Boots, Urinating...

Medium: original lithograph. Printed on Arjomari paper in 1969 at the Mourlot Freres atelier and published by Editions Richelieu in a limited edition of 2400 for the L'Odyssee portfo...

Fausto Pirandello, Italian (1899 - 1975) - Bathers, Year: circa 1965, Medium: Lithograph, signed and numbered in pencil, Edition: 8/300, Image Size: 13 x 19 inches, Size: 17.25 x 2...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Paul DELVAUX Dreaming Nude, 1950 Original lithograph (Mourlot workshop) Printed signature in the plate On Lana vellum 19 x 13,6 cm (c. 8 x 5.5 in) Excellent condition

Le Corbusier (1887-1965) Three Nudes, 1938 Original lithograph Signature printed in the plate Dated in the plate On light vellum 21 x 27 cm (c. 8 x 11 inch) Very good condition, pa...

"Marche des Méréides" Photography 47 x 36 in Ed 3/15 by Yevgeniy Repiashenko Photography Year photo was taken: 2017 Unframed - ships in a tube This is an archival pigment print...

Keith Haring 1985: Keith Haring off-set illustrated announcement card, NY, 1985: "NY for NY, Help The Homeless" at The Roxy, West 18th St., NYC. Off-set printed, 1985 (folds open in...

Boris Lovet-Lorski, Untitled (Nude with Horse), lithograph, edition 250, 1929. Signed and numbered 10 in pencil. Number 10 of Volume 1, a series of 10 ...

Medium: original lithograph. Catalogue reference: Guerin 265. This lithograph was executed by Aristide Maillol in homage to Paul Cezanne. Printed in 1914 and published in Paris by Be...

after Henri MATISSE Edition of 200 with the printed signature, as issued 76 x 56 cm With stamp of the Succession Matisse References : Artvalue - Succession Matisse

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. A signed Certificate of Authority will be included with all photographs. A young ...

"Two Reclining Nudes" is an exceptional Lithograph of Pearlstein's Realistic style. The nudes are posed reclining, neither engaged with either each other or the viewer, and give the atmosphere of being in a dream state. It is an intimate scene without intimacy. Their full-figured bodies exude power and strength which is reinforced by not fitting within the frame. This Lithograph is #42 of an edition of 100 with one blind stamp, and signed by the artist all located in the upper left corner. Philip Pearlstein is an American painter born in Pittsburgh, PA, and best known for Modernist Realism nudes. Cited by critics as the preeminent figure painter of the 1960s to 2000s, he led a revival in realist art. He is a Distinguished Professor Emeritus with paintings in the collections of over 70 public art museums. In 1941, his junior year in high school, he received his first recognition when awarded first and third prizes in Scholastic Magazine’s 14th National High School Art Exhibition. Upon graduation from high school in 1942, he enrolled in the Carnegie Institute of Technology but the draft limited his attendance to one year. After discharge from the army in 1946, he returned to Carnegie Tech where he received his BFA in 1949. Upon graduation, he moved to New York City where he pursued work in graphic design and received a Master’s degree in art history from New York University in 1955. Pearlstein worked as a graphic designer for Life Magazine before becoming an instructor at the Pratt Institute, and then a professor at Brooklyn College; he has also served as a visiting artist at several prestigious institutions throughout the country. His work has been exhibited in several solo exhibitions throughout the United States with paintings in the collections of over 70 public art museums. Pearlstein served as a President of the American Academy of Arts and Letters from 2003-2006 and currently lives and works in New York. “It is what is painted between the outlines that makes the difference between merely competent painting and really meaningful art.” —Philip Pearlstein In spring of 1946 he becomes assistant to Robert Lepper, head of the Design Program at Carnegie Institute of Technology, at the firm of Altenhof and Bown, Architects, and designs catalogs for building products through 1949. Meanwhile he enrolled at Carnegie Institute of Technology and studied with Robert Lepper, Balcomb Green, and Samuel Rosenberg. Meets Dorothy Cantor, George Klauber, and Andy Warhol (Warhola), fellow students at Carnegie Institute of Technology. Serves as art editor of the Carnegie Technical, the student publication of the Engineering School, through 1949 when he received his BFA and moved to New York to live with Andy Warhol. A few months later he worked with graphic designer Ladislav Sutnar in design and production of catalogs of plumbing fixtures and ventilators for the next eight years. He graduated from the Institute of Fine Arts, New York University where he studied with Karl Lehmann, Craig Smith and Jose Lopez-Rey. In 1954 Clement Greenberg selectd Pearlstein to be in “Emerging Talent” show at Kootz Gallery, New York. Torso is shown. Show includes Herman Cherry, Paul Freeley, Paul Georges, Cornelia Langer, Saul Leiter, Morris Louis, Anthony Louvis, Sue Mitchell, Kenneth Noland, and Theophil Groell. He received his M.A. in Art History from Institute of Fine Arts, New York University. His thesis on Francis Picabia with Jose Lopez-Rey and H.W. Janson as advisors. In September of 1958 he received a Fulbright Grant for Painting in Italy and traveled to Rome, Florence, Venice, Amalfi Coast and Sicily. Back in New York his drawing group includes at various times during the following thirteen years: Ann Arnold, Rudolph Burkhardt, Charles Cajori, Gretna Campbell, Lois Dodd, Louis Finkelstein, Joe Fiore, Sideo and Nora Fromboluti, Mary Frank, Stephen Greene, Theophil Groell (Repke), Philip Guston, Yvonne Jacquette, Diana Kurtz, Alex Katz, Gabriel Laberman, Mercedes Matter, George McNeil, Sidney Tillim, Jack Tworkov and William White. Meets initially in Mercedes Matter’s studio. Continues to meet with group at various locations, including his own studio through 1972. In 1969 and 1971 he received the John Simon Guggenheim Memorial Foundation grant. In 1982 he served as the Artist in Residence at the American Academy of Art, Rome. In addition to other numerous awards and honors he received an Honorary Doctorate Degree from the Center for Creative Studies and the College of Art & Design, Detroit, Michigan in 2000. Other known CCS faculty and graduates are Susan Aaron-Taylor, Richard Jerzy, Harry Bertoia, Doug Chaing, Stephen Dinehart, Tyree Guyton, Renee Radell, Herb Babcock, Jerome Ferretti...

Original vintage advertising poster for the famous Parisian cabaret music hall - Folies Bergère / Folies de Paris. La revue de Helene Martini. Acid-free linen backed, in Grade A- condition and ready to frame. Striking original cabaret poster featuring a classic Folies Bergère showgirl with sweeping blue feathers, white gloves, and heels The "Folies Bergère" is an iconic cabaret music hall established in 1869 in Paris, renowned for its lavish variety shows, extravagant costumes, and brilliant performances that defined Parisian nightlife throughout the Belle Époque and beyond. During the late 20th century, Helene Martini revived the tradition with sumptuous revues, blending classic glamour with modern flair. This poster, illustrated by the renowned artist Alain Aslan, epitomizes the exuberance and allure of Parisian cabaret. Featuring a glamorous showgirl framed by dramatic blue plumes, the artwork captures the spirit of "Folies de Paris," one of the venue’s most celebrated shows. Aslan’s work stands out for its bold colors, stylized elegance, and sensuality, making these posters emblematic of vintage Paris entertainment advertising. Today, vintage Folies Bergère...

LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Arts)...

Tracey Emin (born 1963 in Croydon) Choose Love, 2024 Medium: Lithograph on paper Dimensions: 76 × 60 cm (29 9/10 × 23 3/5 in) Edition of 100: Hand-signed, numbered and titled in penc...

Yasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...

Original CAZALIS & PRATS since 1875. Artist: Emm. Gaillard. Size: 13" x 19.5". Professionally acid-free archival linen backed and ready to frame. Note that a small ink printing line ...

Artist: Dan May (American, 1955-) Title: "Nude Near Pool" *Signed and numbered by May in pencil lower left Year: 1989 Medium: Original Screenprint on unbranded white wove paper Limit...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Rare Original Raymond Pettibon Black Flag Flyer, 1984 Early Black Flag Punk Flyer featuring artwork by Raymond Pettibon. A rare postmarked version. Further details: Flyer / handbill...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

Etching hand colored by Chas Laborde, realized to illustrate "Les Chansons Erotiqies" by Pierre-Jean Beranger. Realized in the early 20th Century. Very good condition.