Modern Portrait Prints

Noémie (Marguérite). 1926. Etching. Fletcher catalog 57 state vi 7 1/8 x 4 3/16 (sheet 10 15/16 x 8 7/16). Edition 111 in this state (total 132 impressions). A fine impression print...

Robert Kushner is an American contemporary painter who is known especially for his involvement in Pattern and Decoration and has been called "a founder" of that artistic movement. In addition to painting, Kushner creates installations in a variety of mediums, from large-scale public mosaics to delicate paintings on antique book pages. Kushner draws from a unique range of influences, including Islamic and European textiles, Henri Matisse, Georgia O'Keeffe, Charles Demuth, Pierre Bonnard, Tawaraya Sotatsu, Ito Jakuchu, Qi Baishi...

Avery, Milton. MARCH WITH BABUSHKA (HEAD OF MARCH). Drypoint, 1948. Edition of 100, published by Collectors of American Art. Unsigned, as called for (prints from this edition were not signed). 7 x 6 5/8 inches (plate size, measured along the edges), 9 3/4 x 9 5/8 (image, measured on the diagonal, as oriented), 11 1/4 x 11 inches (sheet). In excellent condition. Three of the four corners of the plate have been trimmed to about one inch from the platemark. A spare and elegant portrait of the artist's daughter, the artist March Avery.

This image is #12 from an edition of only 75, Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after...

Albert Einstein portrait, "A L E", a color collotype print, watercolor by Lilya Vorobey (American, 20th C). Unsigned. From a collection of her works. On mat board. Image, 9.75"H x 7....

Anaïs No. 2. 1930. Etching. Fletcher 67. 8 7/8 x 6 3/4 (Sheet 15 x 11). Edition 111. An extremely rich proof printed on cream wove paper, on the full sheet with deckle edges. Anaïs F...

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 7 1/2 x 9 1/2 Frame Size: 15 1/4 x 17 1/4 Medium: Lithograph "Portrait of a Woman" Biography Margaret Putnam (1913-1987) ...

George Zachary Constant (American/Greek 1892-1978), "Untitled: Head Of A Woman No. 1", Portrait/ Figurative Etching and Drypoint signed on Paper, 12 x 10 (15 x 13 Framed), Early to M...

Born Julius Pincas in 1885 in Bulgaria, the artist adopted the name Jules Pascin under which his paintings are known. Pascin studied in Vienna and Munich, and traveled and painted regularly in Paris and Berlin. Pascin came to the United States in 1914 and in 1920 became a US citizen. He returned later...

Zorn and His Wife. 1890. Etching. Hjert and Hjert catalog 31 state ii. 12 1/2 x 8 3/8 (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. ...

Albert Einstein portrait, "A E", a black and white collotype print by Lilya Vorobey (American, 21st C). Unsigned. From a collection of her works. On mat board. Image, 9.75"H x 7.75"W...

Albert Einstein portrait, "A E", a color collotype print, watercolor by Lilya Vorobey (American, 20th C). Titled "AE" lower left. Signed "L. Vorobey" and dated "89" lower right. On m...

"Portrait of a Girl" is an original wood engraving by Barbara K. Warren Weisman. It features an an overhead view of a girl, with her arms crossed and eyes clothes. A plant sits on a ...

"Untitled (Girl Reading)" is an original wood engraving by the artist Stella Emma Harlos. A young girl rests on a large armchair, head resting on one hand as she reads a book. Image: 4" x 5" Frame: 12.12" x 13.18" Stella Harlos...

Fabian (The Ideal Head). 1921. Etching. Fletcher catalog 23 state ii/iii. 7 x 5 (sheet 11 5/8 x 9 7/16).Edition 76 (total 90 impressions).Exhibited at the R.E., 1921. llustrated: Pr...

J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil.

Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25-lifetime impressions plus a few proofs re...

Artist: Alexander Calder Title: Cover (Derriere le Miroir #156) Portfolio: Derriere le Miroir #156 Medium: Lithograph Date: 1966 Frame Size: 21 1/4" x 17 1/4" Sheet Size: 15" x 11" I...

Lollipop Lane. 2005. Etching. Chernow 157. Image size: 1 7/8 x 2 7/8. Sheet size: 9 x 9. Edition 5, #1. A fine impression printed in black/brown ink on white wove paper on the full sheet with deckle edges. Signed, titled and numbered in pencil. Housed in a 12 3/4 x 17 1/8-inch archival mat awaiting your choice of presentation. Chernow's work focuses on American film genres from the 1930s and 1940s. This technically difficult miniature etching...

Christmas from the Gorslines. 1942. Etching. 4 7/8 x 2 7/8 (sheet 8 3/4 x 5 7/8). A fine impression on off-white laid paper with deckle edges on 2 sides. Excellent condition apart fr...

Chelsea Rags. Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405). Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 13 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. "And his interest in London has not been restricted to the Thames. Seeing the beautiful, where other men might be discouraged by dullness, he has taken his subject, now in the little cheap shop opening a low window upon the street, now in the forgotten church hidden away in a lonely square. And Chelsea Rags, the Shops of Chelsea, the Drury Lane, as well as The Butcher's Dog, are impressions of vague Rembrandtesque interiors where figures, grim or graceful, peer from out deep shadows— shops as lovely in his prints as the halls of a Veronese, or the palaces of a Claude." Elizabeth Robins...

screenprint in colors AP V/XX ed.100 ON THE BOWERY, West Germany, Edition Domberger

In these beady-eyed playboys, Durieux pokes some fun at the pride and pretensions of the Great Gatsby class. Here are two Americans pretending to be macho on a Mexican beach. Caroline Durieux (American, 1896 – 1989) Printmaker, painter, satirist, innovator, social activist, Caroline Durieux was born in New Orleans and was already making sketches by the age of four. Her formal art training was at Newcomb College (1912-1917) and the Pennsylvania Academy of Fine Arts (1918-1920). Carl Zigrosser of the Philadelphia Museum of Art encouraged Durieux to try lithography. While living in Mexico, she learned lithography from Emilio Amero...

Hand signed, dated, and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 300. All reasonable offers will be considered.

Elisabeth (Anaïs) also called The London Caster Girl. 1922. Etching. Fletcher catalog 32 state x. 5 5/8 x 4 1/4 (sheet 11 1/2 x 9). Edition 76 (total 94 impressions). A rich impress...

Artist: Herve Bordas Title: L'Homme Year: circa 1970 Medium: Lithograph, signed and numbered in pencil Edition: 3/100 Size: 25.5 in. x 20 in. (64.77 cm x 50.8 cm)

Marquett. 1925. Etching. Fletcher 51. 8 7/16 x 6 7/8 (sheet 12 13/16 x 8 7/8). Trial proof, apart from the edition of 106 (total 113 impressions). A rich impression, printed on cream...

Schwabe 72. 14 x 10 5/8 (sheet 20 1/2 x 14 5/8). Edition 67,#31. A rich impression printed on the full sheet of Japanese mulberry paper. Signed and numbered in pencil.

Schwabe 171.v. 18 x 11 3/4 (sheet 20 1/2 x 14 5/8). Illustrated: Print Collector's Quarterly 13 (1926): 373; Guichard, British Etchers, 1850-1940. A rich impression printed on the fu...

Artist: Jean Dubuffet Title: l'Homme au Chapeau Year: 1961 Medium: Lithograph, signed and numbered in pencil Edition: 49/50 Image Size: 23.5 x 18.5 inches Frame: 33 x 27.5 inches

From the artist’s iconic, Men in the Cities series, Robert Longo created Gretchen & Eric in 1985, each as an original lithograph measuring 72 x 35 7/8 in. (182.9 x 91.1 cm), unframed...

Artist: Matisse, Henri Title: Tête de Femme (frontispiece from Portraits) Date: 1954 Medium: Lithograph Unframed Dimensions: 12.5" x 9.75" Framed Dimensions: 20.75" x 18" Signa...

Rembrandt Salvador Dali (Spanish, 1904-1989) Signed Lower Right "E.A." (Artist Edition) Lower Left 12 x 10 inches 23.25 x 19.25 inches with frame Salvador Dali was born in May 11, 1...

Alex Katz (born 1927) Big Smile (Vivien) 2021 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 35 x 70 inches (89 x 178 cm) Edition of 75/100 With flat plane...

This exquisite portrait of Pablo Picasso's first daughter, Maya Picasso, exudes a personal, loving charm that only a father could capture. A playful, childlike nostalgia is forever e...

Created in 2008, this woodcut is hand-signed by Jim Dine (Cincinnati, Ohio, 1935 –) on verso and is numbered from the edition of 118 on verso. Published by Lincoln Center List Poster & Print Program, New York. About the Framing: Framed to museum-grade, conservation standards, Jim Dine Pinocchio...

Created in 1981, this color screenprint on wove paper is hand signed by Tom Wesselmann (Cincinnati, 1931 – New York City, 2004) in pencil in the lower right margin and is numbered fr...

Created in 1936, this drypoint on laid paper is stamped by the Picasso Estate Collection via Marina Picasso on verso. This work is a rare proof, aside from the numbered and signed ed...

Created in 1986, this color woodcut on Japon paper is hand-signed by Chuck Close (Washington, 1940 - New York, 2021) in pencil in the lower right margin and numbered from the edition of 150 in pencil in the lower left margin. Published by Crown Point Press, San Francisco. About the Framing: Framed to museum-grade, conservation standards, Chuck Close Leslie...

David Hockney Self Portrait, 1980; Created in 1980, this lithograph on paper is hand signed and dated in pencil by David Hockney (Bradford,...

Fashion serigraph featuring the work of Patrick Nagel that was produced as a part of a commemoration series from 1984-1988 after the artist's untimely death in 1984. This image was number 8 out of 15. Currently hung in a navy frame with multiple light blue mattings. Signed within the print. Dimensions Without Frame: H 35.5 in. x W 23.5 in. From the Catalogue: Rendered with an economy of line and flat, cool planes of color, Patrick Nagel’s Kristen presents a piercing portrait that distills the artist’s iconic aesthetic with which he garnered widespread popularity in the 1980s. Nagel, who studied art at Chouinard Art Institute in the 1960s, emerged in the Pop era alongside contemporaries such as Tom Wesselmann and Andy Warhol. While similarly working with a Pop aesthetic, Nagel infused elements from Deco and Japanese Woodblock prints into his graphic works – echoing such artistic forebears as Henri de Toulouse-Lautrec. A skilled illustrator, Nagel first photographed models before using ink and acrylic to boldly emphasize features. In the present work, ghostly pale skin is set against jet black hair – her features evocative of Nagel’s portrait that featured on Duran Duran’s Rio album in 1982 and catapulted him to widespread acclaim. Kristen presents us with the “Nagel Women” par excellence, perfectly encapsulating his reductive aesthetic. As actress Joan Collins recalled, "I remember when he (Patrick Nagel) first photographed me he remarked that my lips were my most outstanding facial feature. He said they seemed to have an anatomy of their own. Never have lips felt so naked. He had a way of seeing every detail and revealing them all on canvas" (Joan Collins, quoted in Elena G. Millie, Nagel: The Art of Patrick Nagel, New York, 1985, p. 16). Though Nagel passed away prematurely in 1984, his works continue to resonate – with important examples held in the permanent collections of the Library of Congress, The Smithsonian Institution and the Musée des Arts Décoratifs in Paris. —Courtesy of Phillips Artist Biography: The Pop Art of Patrick Nagel needs little introduction. His minimalist style defined an era with cool, seductive women that became the most iconic of any single generation. His elegant graphic work and his portrayal of the contemporary woman made figurative design before him look instantly old. Today his unique sensibility and style continue to resonate with generations of young designers, illustrators and artists who have found inspiration from his trend-setting style. Nagel was in the forefront of a new wave of illustration in Los Angeles in the late 1970’s and early 80’s, re-imagining the graphic arts and in the process defining Los Angeles as the epicenter of award-winning visual arts. It was a reciprocal relationship; Los Angeles influenced his evolving style and in return he left his indelible mark on the city and far beyond. Through cultural cross-pollination, his work absorbed the moment – from the fashion photography of Guy Bourdin and Helmut Newton to influencing the look of music videos by David Bowie, Robert Palmer and George Michael, to creating the album cover art of Duran Duran. Patrick Nagel was born in Dayton, Ohio in 1945 and was raised in Orange County, California. After returning from his tour in Viet Nam, he studied fine art at Chouinard Art Institute and California State University, Fullerton where he received his BA in 1969 in painting and graphic design. He then taught at Art Center College of Design while simultaneously establishing himself as a free-lance designer and illustrator with memorable ads for Ballantine Scotch, IBM and covers for Harper’s magazine. In the mid-70’s he began illustrating stories for Playboy magazine, bringing instant exposure and a large appreciative audience to his work. His years working with Playboy established him as the heir apparent to 50’s pin-up artist Alberto Vargas and gave Nagel the subject matter that he would continue to use to illustrate the newly liberated woman. Over the last one hundred years, poster art has been one of the most humble, influential and pervasive of all the arts. But in the U.S in the 70’s, where poster art had not been used to its best effect, an opportunity arose to change the status quo. Nagel, in partnership with Mirage Editions and fine art printer Jeff Wasserman, sought to recapture the beauty and power that posters once held in popular culture by returning to a model created at the turn of the century with artists such as Toulouse Lautrec and A. M. Cassandre. They sought to produce the highest quality hand screened art prints that would also serve as collectible advertising...

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 developments in the world around him, Picasso contributed significantly to a number of artistic movements, notably Cubism, Surrealism, Neoclassicism, and Expressionism. In 1949 Picasso’s illustrations...

Henri Matisse Visage de profil reposant sur un bras, paravent Louis XIV, 1924 lithograph on China paper, edition 7 of 50, + 10 AP 26 x 20 1/16 in. (66 x 51 cm) Ref: Duthuit 447; Cat....

Henri Matisse Petite Liseuse, 1923 lithograph on Japanese vellum, edition 3 of 12 AP, apart from the edition of 50 17 3/16 x 11 in. (43.7 x 27.9 cm) Ref: Duthuit 431; Cat. 40 signed...

Henri Matisse La capeline de paille d'Italie, 1923 lithograph on China paper, AP 22 7/16 x 18 1/16 in. (57 x 45.9 cm)

Henri Matisse Jeune fille en robe fleurie au col d'organdi, 1923 lithograph on China paper, edition of 50 14 15/16 x 11 1/4 in. (37.9 x 28.6 cm)

Henri Matisse Jeune fille au col d'organdi, 1923 lithograph on China paper, edition of 50 14 15/16 x 11 3/8 in. (37.9 x 28.9 cm)

Henri Matisse Figure devant tapa africain, 1929 lithograph on Japanese vellum, edition of 50 25 3/8 x 19 11/16 in. (64.5 x 50 cm)

Henri Matisse Danseuse endormie, 1926-27 lithograph on Japanese vellum, AP 17 5/16 x 22 in. (44 x 55.9 cm)

Henri Matisse Danseuse à mi-jambes, Main au Menton (Pl. de l'album Dix danseuses), 1927 lithograph on wove paper 19 3/4 x 13 in. (50.2 x 33 cm)

Larry Rivers Map With Fraser, 1966 screenprint, ed. of 14 25 x 20 1/4 in. (63.5 x 51.4 cm)

Abstract Composition, 1959 Silkscreen Lithograph "Phoenix". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Jacob Wexler, Moshe Tamir and Michael Gross. Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surrealist, surrealism. belongs to the generation of people uprooted from childhood landscapes and forced by circumstance to build a life elsewhere. Uniquely, he became an Israeli without shedding his Jewish cosmopolitan-refugee identity, an identity he zealously guarded in the melting pot of Israel of the "fifties" and "sixties". In the years that have passed since he acquired his art education at the Melbourne National Gallery Art School in Australia, concepts in the art world have changed many times over. from the Jewish paintings and the depictions of Australian Aborigines through the children of safed, the wall paintings, the masks, the angels and kings, the still lifes, the "Surrealistic" paintings, the toys and flowers, the paintings inspired by the Bird-head Haggada, the Kafka paintings, the Pioneers, the Kimberley fantasy (about his father's excursion in 1933 to northern Australia, in search of a "territory for the Jews"), Brighton Beach and the seascapes inspired by Eugene Boudin, through the chairs in the "Kings of Nissim Aloni" episode to the "Zionists" and the recent "Tahies". "During the six years that Bergner has lived in Israel," wrote Eugene KoIb, Direct. or of the Tel Aviv Museum, in the catalog of the Bergner exhibit in 1957, "he has established himself among Israeli artists." Bergner was indeed one of the artists who represented Israel in the Venice Biennial (1956; 1958) and in the Sao Paulo Biennial in 1957; this, in spite of the fact that Yosl Bergner did not harness his art to serve the Zionist ethos, that being, at the time, the order of the day (his paintings were in fact rejected at first as being those of a "Diaspora Jew"); he didn't "naturalize" himself by alliance to the country's landscape or its special light, nor did he turn to abstract painting. Painter of "the Jewish condition". the painter involved in Nissim Aloni's theater and the popular illustrator of poetry books and literary texts, he stuck to the narrative which drew its images from his childhood world, from Yiddish and from the Jewish culture of Poland in whose bosom he grew, with its literature, theater and fantasy. From this point of view his position as an "outsider", first in Australia and later in Israel, like that of the European Jew on the periphery of the dominant culture, afforded him a special dialectic vantage point from which to view his human and cultural surroundings. He was and remains a figurative painter even when he verges on the abstract. Israeli painter of Austrian birth, active in Australia. He grew up in Warsaw. His father, the pseudonymous Jewish writer Melech Ravitch, owned books on German Expressionism, which were an early influence. Conscious of rising anti-Semitism in Poland, Ravitch visited Australia in 1934 and later arranged for his family to settle there. Bergner arrived in Melbourne in 1937. Poor, and with little English, his struggle to paint went hand-in-hand with a struggle to survive. In 1939 he attended the National Gallery of Victoria’s art school and came into contact with a group of young artists including Victor O’Connor (b 1918) and Noel Counihan...

This is not editioned. According to his wife this was done privately for his 80th birthday and just given to friends and family. they were not sold. This is from a group of very few that were hand signed by Hyman Bloom for his close friend the artist Martin Sumers. It depicts a 1955 charcoal drawing Rabbi with Torah. Provenance: Acquired from the Martin Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...

The Flight Into Egypt. 1969. Color dye stencil (Kappazuri). 20 5/8 x 17 5/8 (sheet 27 x 24). Edition 50, #35. Printed on crumpled, hand-made paper on...

Alex Katz (born 1927) Big Smile (Vivien) 2021 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 35 x 70 inches (89 x 178 cm) Edition o...

Alex Katz (born 1927) Big Smile (Vivien) 2021 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 35 x 70 inches (89 x 178 cm) Edition o...

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...