Unframed Nude Prints

Medium: Etching with aquatint Year: 2024 Edition: 25 Image Size: 24 x 18 inches Signed, titled and numbered in pencil by the artist Dramatic etching of high wire walker...

Opium Night is an Etching realized by Edouard Chimot in 1930s. The very beautiful artwork is in good condition. No Signature. Represents a young lady with red hair...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

"Twisted Words" Nude Photography 35" x 25" 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...

Nude From Back is lithograph on Japanese paper realized by Marcel Vertès in the mid-20th Century. Hand-signed on the lower. Included a Passepartout: 58 x 38 cm The artwork is in go...

Knave of Sticks is an etching realized by Franco Gentilini (Italian Painter, 1909-1981) in the 1970s. The state of preservation of the artwork is good. Hand-signed. Numbered, edit...

Auguste Rodin, French (1840 - 1917) - Aristophane, Medium: Etching on BFK Rives, signed in the plate, Image Size: 6.5 x 4.5 inches, Size: 11 x 9 in. (27.94 x 22.86 cm), Description:...

Image dimensions: 97 x 69.5 cm. Silhouette VI is an original color etching realized by the Italian artist Giacomo Porzano (Lerici, 1925 - Rome, 2006) in 1972. Hand-signed and dated...

Screen print realized in 1976 by Nicolas Simbari. Hand Signed. Edition of 99 pieces.

Signed, titled and numbered by the artist from an edition of 100. Male nude etching by Trevor Southey. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His Afri...

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 ...

Charles CAMOIN Standing Nude, 1946 Original etching Printed signature in the plate Numbered / XX copies On Lana vellum 26 x 36 cm (c. 10.2 x 14 inch) Excellent condition

Icon 2010. Paper, mixed media, 30.5x21.5 cm Atis Ievins (1946) The exhibition by artist Atis Ieviņš reminds the very origins of serigraphy technique in Latvian art in the time of t...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Stehendes nacktes Mädchen im Profil (Standing Naked Girl in Profile)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 220, page 45; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Sheet size: 8.5" x 5.38" Image size: 6.5" x 3.57" Condition: Toning to sheet (as normal). In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

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

Saint Clair Cemin, Brazilian (1951 - ) - Nude Woman in Bed, Year: 1978, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, Edition: 9/30, Image Size: 5.75...

Artist: Alfred Leslie Title: Women, from One Cent Life Series: One Cent Life Year: 1964 Medium: Lithograph Initialled in Plate, lower right Dimensions: 1...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: Abstract Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins, Luiz Sacilotto and hiró. Guersoni was awarded a scholarship by the French government, and traveled to Paris, where he began work in engraving. Back in Brazil, in 1951, he founded the Art Workshop, in São Paulo. In 1954, he returned to Europe for a year, financed by the International Labor Organization (ILO). In Geneva, he studied engraving with René Cottet (1902 - 1992) and worked in Stanley william Hayter's studio, Atelier 17, in Paris (1901 - 1988). From 1956 to 1957, he became director of the Union of Plastic Artists of São Paulo. From 1960, he attended, as a trainee, some art schools in the United States and Japan such as The New York School of Printing and Osaka University. In 1971, also in Japan, he attended the workshop of I. Jokuriti. Two years later, he was voted Best Recorder of the Year by the Paulista Association of Art Critics - APCA. He took part in a special room at the Ibero-American Biennial in Montevideo in 1983. The Pinacoteca do Estado de São Paulo - Pesp presents a retrospective of his work in 1994. Odetto Guersoni explores the wide spectrum of possibilities of the engraving. In addition to using techniques such as metal etching, lithograph, serigraph, linocut and, especially, woodcut he developed, in the 1950s, the philigraphy, in which the forms he developed gained points of embroidery made by Bonadei (1906 - 1974) . And, in the 1960s, the plastigraphy, in which he makes engravings on pasty surfaces, obtained from gypsum or other soft material. In the 1970s, technical investigations were associated with pictographic, ideographic, archaic symbol searches, Brazilian cave paintings and plant forms. The drawings are reduced to stylized, geometric shapes and transformed into abstract graphic elements. The artist works with few matrices, which, organized in rectangles, squares or circles, become modules to be combined. Guersoni juxtaposes them, adds, changes colors, and thereby composes colorful mandalas and structural geometries. Based on concise compositions, it produces color vibrations through optical illusions. In many of his woodcut works of the 1980s he uses smooth wood, knives, saws, gouges, punches, avoiding the natural textures of wood. In printing, it leaves the vibrant color and employs dosed inks with colorless masses, obtaining transparencies by superpositions. New journeys of study and specialization in engraving techniques took him in 1954 to Switzerland, 1960 to the United States, and in 1966 to Germany and Austria. Today, after having performed more than 40 individuals including 16 abroad and having participated in more than 50 collectives in several countries, Guersoni is considered one of the most notable Brazilian engravers. Conquered awards in several shows. CHRONOLOGY Individual exhibitions 1946 - Sao Paulo SP - 10th Salon of the Artists' Union, at the Prestes Maia Gallery 1947 - São Paulo SP - 19 Painters, at the Prestes Maia Gallery 1948 - Paris France - Peintres et Graveurs Etrangers at the École des Beaux-Arts 1949 - São Paulo SP - 13th Salon of the Artists' Union, at the Prestes Maia Gallery 1951 - São Paulo SP - 1st Paulista Salon of Modern Art, at Prestes Maia Gallery - silver medal 1953 - São Paulo SP - 2nd International Biennial of São Paulo, at MAM / SP 1954 - São Paulo SP - 3rd Paulista Salon of Modern Art, in the Prestes Maia Gallery 1955 - Rio de Janeiro RJ - 4th National Salon of Modern Art 1955 - Salvador BA - 5th Baiano Salon of Fine Arts, in Belvedere da Sé - honorable mention 1962 - São Paulo SP - Leirner Prize for Contemporary Art at the Folha Art Gallery - 1st printing award 1963 - Curitiba PR - 20th Salão Paranaense de Belas Artes, at the Public Library of Paraná 1963 - Rio de Janeiro RJ - Individual, no MAM / RJ 1968 - Bradford England - First International Print Biennale 1970 - São Paulo SP - Antonio Henrique Amaral, Odetto Guersoni, Tomie Ohtake, Pedro Tort and Gerda Brentani, in the Alberto Bonfiglioli Gallery 1971 - São Paulo SP - 11th International Biennial of São Paulo, at the Biennial Foundation - acquisition award 1973 - Punta del Este Uruguay - 1st Engraving Meeting of the Prata Basin Countries - International Prize 1977 - São Paulo SP - The Groups: the 40's, at the Lasar Segall Museum 1982 - São Paulo SP - Ismenia Coaracy, Odetto Guersoni and Alice Brill...

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)...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, Verve: Revue Artistique et Li...

JACEK SOWICKI (born in 1948) He studied at the Academy of Fine Arts in Cracow and graduated from the Academy Of Fine Arts in Warsaw in 1973. In 1984-89 he run the graphics atelier at...

Medium: original lithograph. Printed in 1979 and published in Barcelona by La Poligrafa in an edition of 1000. Size: 10 x 7 1/2 inches (255 x 188 mm). Not signed.

Nude Girl With Raised Arms is a beautiful lithograph from the portfolio " Erotica " after Egon Schiele. It is a reproduction of the homonym pencil drawing ...

Title: IHeart Screenprint "The Night Shift" Glow In The Dark Inks Contemporary Street Art Year: 2018 Classification Limited edition Medium Type Print Medium/Materials Hand Pulled Screen Print On 100# (260/m2) French Cover Stock Categories Silkscreen / Graffiti and Street Art / Pop and Contemporary Pop / Nude / Feminist Art and Contemporary Feminist Provenance Comes With C.O.A. From The Artist. Additional Info Print Glows in the Dark with Special UV Inks. Signature Signed & Numbered In Pencil By The Artist, I Heart Stencil...

Vitaly was considered an up and coming artist in his native Ukraine, after years of training under one of the Ukraine’s greatest graphic artists...

Hand Signed. From the Portfolio "Petit Traité de Morale", Paris, Editions Georges Visat, 1968. Copy on Japon Nacré from the additional suite. Includes passepartout. Hans Bellmer wa...

Homme nu assis en Tailleur, Plate 121 from Series 347 (B. 1600; Ba. 1616). Etching on wove paper. Hand signed and numbered by the artist. Edition of 50. Ima...

"Jotunheimen 24:00" Photography Edition 2/7 32" x 24" inch by Lukas Dvorak Pigment print on Epson Fine ART paper 2017 Unframed Ships rolled in a tube ABOUT THE ARTIST Lukas Dvo...

Actual sheet is 25 X 20 size includes frame. Hand signed and numbered. The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. B...

Printer’s ink from rubber stamp on vélin Kromekote paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Published b...

A very good impression of this color lithograph printed in black on pale green background. Signed and numbered LXXXIII/CXX in pencil. Printed by Desjobert, Paris.

Untitled (Nr. 0517) Photography 36" x 44" Edition 1/12 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: Mel Ramos Title: Pepsi Cola Year: 2005 Medium: Enamel Print on Aluminum, signed and numbered in marker Edition: 999 Size: 16 x 16 x 1 inches; 40.64 x 40.64 x 2.54 cm

Nude and Mango is an original lithography artwork on ivory paper realized by Alejandro Ramon in 1943. Hand-signed on the lower right in pencil, with dedication on the lower left. T...

A hand-colored linocut created circa 1950 by Wedo Georgetti (American, 1911-2005) and stamped verso with Certification of Authenticity. Born in Italy, this California Post-Impressi...

Reclining Male and Female Nude, Entwined is a beautiful, original, and colored lithograph from the portfolio "Erotica" by Egon Schiele. It is a reproduction of the homonym original ...

Raymond Pettibon Black Flag 1984: Rare early 1980's Black Flag promotional poster illustrated by Raymond Pettibon for the seminal Black Flag record: My War. A striking, historic 1980s Raymond Pettibon Black Flag poster sure to standout in any setting. Offset printed punk poster...

Three graces. Paper, etching, 12x11cm

LA TOUR, LA NUIT, LE JOUR is an original hand drawn limited edition lithograph by the Dutch artist known as CORNEILLE(Guillaume van Beverloo) an abstract expressionist who co-founded...

Original vintage poster: Paglieri dai fiori le Cipri i Profumi. Italian artist: Gino Boccasile (1901 - 1952). Size: 13.25" x 19". Archival linen backed authentic Italian post...

Signed and numbered linocut, from a series of 4 male and female nudes. Reyes attended The School of the Art Institute of Chicago, where he received a Bachelor of Fine Arts degree in...

Male nude etching, from a series of 6 male and 6 female images. In January 2018, the Mexican Museum in San Francisco mounted an exhibition An Artist’s Evolution, a retrospective which has elevated Fernando’s exposure in the SF Bay Area...

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...

Reclining Nude, Left Leg Raised is a beautiful and original lithograph from the portfolio "Erotica" by Egon Schiele. It is a reproduction of the homonym pencil drawing realized by t...

Artist: After Pablo Picasso (1881-1973) Title: Modèle et Grande Tête Sculptée (after Bloch 170) Year: 1992 Medium: Reproduced from the original edition using the grain Autotype halft...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; ...

Signed, titled and numbered by the artist from an edition of 100. Male nude etching by Trevor Southey. Trevor Southey was born in Rhodesia, Africa (now Zimbabwe) in 1940. His Afri...

- Plate 55 from the Suite 156 - with stamp signature - dated in the plate 2.3.70 - edition 26/50 - cat. raisonné Bloch 1910

TWO GIRLS DANCING Year: 2011 Medium: 2-color lithograph Size: 27 x 30 inches (69 x 76 cm) Edition: 100 Price: $1,900 Born in New York City in 1948, Eric Fischl grew up in the suburbs of Long Island , his parents having moved there shortly before his second year.”Safer place to raise a family”, they used to say. Against a backdrop of alcoholism and a country club culture obsessed with image over content, Fischl became focused on the rift between what was experienced and what could not be said. Until the late 70’s, suburbia was not considered a legitimate genre for art. With his first New York show at the Edward Thorp Gallery, epithets like “psycho-sexual suburban dramas” became velcroed to his disturbing images of dyfunctional family life. Fischl began his art education in Phoenix, Arizona where his parents had moved in 1967. First at Phoenix Junior College, then a year at Arizona State University, and finally getting his BFA in 1972 at the recently opened California Institute of the Arts in Valencia, California. After graduation he moved to Chicago where he worked as a guard at the Museum of Contemporary Art. It was in Chicago that Fischl was exposed to the non-mainstream art of the Hairy Who. “The underbelly, carnie world of Ed Paschke and the hilarious sexual vulgarity of Jim Nutt...

"Dive In" Black and White Photography 40" x 56" in Edition 1/3 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 15: 25" x 35" inch Editi...

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...

At the sauna 1960s, paper, lithography, 38x49 cm Dzidra Bauma (1930) Dzidra Bauma works in watercolor technique. She paint figural compositions, portraits, landscapes, flowers and still life. She is one of the most productive watercolors artists, in first post-war generation - the number of jobs estimated in the thousands. Especially popular paintings with floral motifs. The artist about herself says: "I was born in Jelgava in 1930 in family of teachers. As a child, together with brother we loved to draw and made figures of clay or plasticine. In Riga elementary school №8 was a great art teacher, artist Alphonse Mihaylovskis, he also gave the first direction in art. Father let us buy a good brushes, watercolors, art books and publications related to the Latvian art. We also visited the exhibition. Enthusiastically I absorb all that read, studied the basic concepts...

Keith Haring Painted Man: Original 1983 announcement card for Keith Haring’s well-documented exhibition, Keith Haring 'Into 84' at Tony Shafrazi Gallery, New York, 1983. For this series Haring borrowed Jones' body — from head to toe — as the canvas to his work. A bodily canvas defined by much of the bold pictograms characteristic of Haring's artistic signature. Photos by Haring's long-time friend and collaborator Tseng Kwong Chi. Off-set printed, 1983. Dimensions: 6 x 4 inches. Some minor fading to the reverse; otherwise very good overall condition with strong colors. Literature: Keith Haring: Posters (Prestel pub.) Further About In 1983 Keith Haring teamed up with award-winning choreographer and dancer Bill T. Jones, founder of the Bill T. Jones/Arnie Zane Dance Company. Keith and Bill met in London in 1983 at a time when the graffiti artist was opening a major show at the Robert Fraser Gallery, and together they produced a series of exceptional collaborations in both performance and drawing. Related Categories Keith Haring dancer. Ballet. Keith Haring Figurative Drawings. Keith Haring Into 84 poster. Keith Haring and Tony Shafrazi. Haring Shafrazi.

Study of an old woman - Plate 25 is the last collotype from “ Gustav Klimt : Fünfundzwanzig Handzeichnungen” , a limited-edition collection of 25 monochrome and two-color collotype...

Nude is an original etching realized by an unknown artist in the mid-20th Century. Good conditions except for some foxings. The artwork is depicted through strong strokes in a well...

Kneeling Male Nude in Profile is a beautifulcolored lithograph from the portfolio " Erotica " after Egon Schiele. It is a reproduction of the homonym artwork realized in gouache, w...

Ecce Homo Plate X Woodcut, 1921 Signed, titled, and dated in pencil by the artist (see photos) Edition: One of two known impressions This image wwas unknown to the catloger Ingrid Rose in 1984 when she published the catalog raisonne of Drewes prints. Done while Drewes was studying at the Bauhaus. Reference: Ingrid Rose, Werner Drewes: A Catalogue Raisonne of His Prints (Munich: Verlag Kunstgalerie Esslingen, 1984), 33, one of two known impressions. Provenance: Gift of the artist to one of his Bauhaus professors. Held in East Germany until the opening of the wall Jorg Maas Kunsthandel, Berlin Other image from the suite of Ecce Homo images are available. Extremely early, rare Bauhaus works. n 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...

Sunbathing Etching and color aquatint on watermarked Umbria Italy paper, c. 1915 Signed by the artist in pencil lower right (see photo) Annotated: "No. 6" in pencil lower left (see photo) An early color print by the artist Condition: Excellent Plate size: 11-3/4 x 15-7-8" (30 x 40.3 cm.) Frame size: 21 x 26 1/8 x 1 inches Provenance: Estate of the artist By decent Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop...