Portrait Prints

In Prayer is a splendid print in etching technique engraved by the Federico Pastoris (1837-1884). The state of preservation of the artwork is excellent. Sheet Dimension: 36 x 27 cm...

Date: 2004 Mixografia print on handmade paper, signed and numbered in pencil Edition of 25 Size: 44 x 31 in. (111.76 x 78.74 cm) Printer: Mixografia Publisher: Mixografia

A prolific and tireless innovator of art forms, Pablo Picasso impacted the course of 20th-century art with unparalleled magnitude. Inspired by African and Iberian art and developme...

Paul DELVAUX Elegant Woman, 1970 Engraving (Georges Leblanc workshop) On vellum applied on vellum 32 x 24.5 cm (c. 12.6 x 9.4 inches) Limited edition of...

Hand signed in pencil and numbered with Roman numerals 8/24. A very small edition. Old Lower East Side of New York or East European Shtetl. Jewish Shtetl Hasidic Klezmer Musicians. ...

Hand signed in pencil and numbered with Roman numerals 8/24. A very small edition. Old Lower East Side of New York or East European Shtetl. Jewish Shtetl Klezmer Musicians. humorous Yiddish art. The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original color lithograph print is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...

Shepard FAIREY Mayday Flag Original screen print (serigraphy) Handsigned in pencil On cream paper 19 x 25.5 cm (c. 7.5 x 10 inch) Excellent condition ABOUT : "We found a stash of...

Pablo PICASSO Smiling Face for Madoura, 1958 Original linocut (printed in Arnera workshop) Handsigned with red pencil From a limited edition of 200 unumbered proofs On vellum 60 x ...

Ben Shahn From Portfolio "For the Sake of A Single Verse by Rainer Maria Rilke" Year: 1968 Lithograph on Richard de Bas hand-made paper ...

Henri MATISSE (After) Relaxing Woman Lithograph after a drawing Signature and date printed in the plate On vellum 24.5 x 32.5 cm (c. 9.4 x 12.6 inch) INFORMATION : This lithograph...

Leonard Tsuguharu FOUJITA Two Japanese women with dolls, 1955 Original etching Unsigned On Arches Vellum 33.5 x 25 cm (c. 13 x 10 inch) REFERENCES : C...

Henri MATISSE (After) On the Sofa : Waiting for the Lover Lithograph after a drawing Signature and date printed in the plate On vellum 24.5 x 32.5 cm (c. 9.4 x 12.6 inch) INFORMA...

Henri MATISSE (After) Dreaming Woman with a Floral Shirt Lithograph after a drawing Signature and date printed in the plate On vellum 32.5 x 24.5 cm (c. 12.6 x 9.4 inch) INFORMATI...

Paul DELVAUX The Empress, 1974 Original stone lithograph Signed in pencil Justified HC (aside the edition of 50 numbered copies) On Arches vellum 100 x 70...

Edition 40. Image: 5 3/16 x 5 (sheet 6 1/2 x 6 1/4). A rich impression printed on cream laid paper. Signed, dated, titled and annotated in pencil. Housed in an archival mat, suitabl...

Original lithograph printed in olive-green ink on wove paper. Signed on the stone with the artists monogram device lower right. A fine, impression of Wittrock and Adriani’s on...