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Luigi Lucioni
Portrait of Abraham Lincoln

c.1920

Price:$1,596

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Self Portraits Jim Dine portfolio of nine self portrait etchings aquatint
By Jim Dine
Located in New York, NY
Jim Dine Self Portraits (1971) Portfolio of nine drypoints, each from one 20.3 x 15.2 cm (8 x 6 inch) copper plate Printed in brown-black on she...
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1970s Realist Portrait Prints

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Etching, Aquatint

Self Portrait by Jim Dine (plate seven from Self Portraits portfolio 1971)
By Jim Dine
Located in New York, NY
Jim Dine, Self Portrait 1971 drypoint on Hodgkinson Hand Made Tone-Weave paper Paper 18 x 14 in. / 46 x 36 cm Plate 8 x 6 in. / 20 x 15 cm plate seven from Self Portraits (1971) port...
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1970s Realist Portrait Prints

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Etching, Drypoint

Jim Dine Rimbaud, the Coffee Exporter poet portrait drawing in earth tone sepia
By Jim Dine
Located in New York, NY
Jim Dine has expertly sketched the accomplished French poet and coffee trader Arthur Rimbaud. A vignette of dark brown surrounds his thin, fine features, which are defined with a flu...
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1970s Realist Portrait Prints

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'Portrait of James Caulfield' by William Hogarth, Etching
By William Hogarth
Located in Oklahoma City, OK
This 21" x 18" etching was produced by William Hogarth in the mid-18th century. The work has been newly matted and framed with archival materials. The subject, identified as James Caulfield, 4th Viscount, 1st Earl of Charlemont (1728-1799), became commander in chief of the Irish Volunteers...
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1780s Realist Portrait Prints

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Homeless. 19th Century Etching
By Charles-Jean-Louis Courtry
Located in Brecon, Powys
A very poignant depiction. A H Marsh is one of the English artists who devoted themselves to the representation of pathetic subjects. The gravity of this painter's idea is always to ...
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Late 19th Century Realist Portrait Prints

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Balaclava - The target in sight -
Located in Berlin, DE
Heinrich Haberl (1869 Passau to 1934 Munich), Sturmhaube, c. 1900. drypoint, 14 x 10 cm (platemark), 28 x 21 cm (sheet size), 39 x 29 cm (passe-partout), titled "Sturmhaube" in lead at lower left and inscribed "Kaltnadelradierung", signed and locally inscribed "Heinrich Haberl Mchn. [Munich]" at lower right, inscribed again in lead on verso and with old collection stamp. - slightly darkened, fixed and mounted - The target in sight - About the artwork The theatrical "role-portrait" is to be seen against the background of the Rembrandt cult, which reached its climax at the end of the 19th century. The soldier seems to have stepped straight out of Rembrandt's Night Watch (1642) to fix something outside the picture with an alert and ready gaze. The steeply rising brim of the morion frames the gaze and thus perspectivises it as the actual 'pictorial action'. The gaze represents both the vigilant defence and the visionary goal of the battle. Not only the subject, but also the style of the etching needle reflect Rembrandt's understanding of the times. Strong contrasts of light and dark are created in a virtuoso free stroke, without losing the effect of the reflections on the helmet and in the eyes. This shows a kinship with the early prints of Lovis Corinth, who also saw himself as an artist in the role of the knight. Against this background, Haberl's picture can also be seen as a representation of his artistic self-image. About the artist Heinrich Haberl first attended the art school in Nuremberg and from 1892 studied at the Munich Academy. There he was a master student of Johann Leonhard von Raab, Rudolf von Seitz, Franz von Defregger...
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Early 19th Century Realist Figurative Prints

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