Drawing Art

Power and Beauty No 1 by Colin Self, British (1941) Date: 1969 Screenprint, signed, titled and numbered in pencil Edition of 74/75 Size: 26.5 x 41 in. (67.31 x 104.14 cm) Publisher: ...

The Lion, Jaguar, Tiger is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and...

Héliogravure on brown-toned paper, so signature. On bot sheets, recto and verso. Edition of 6500 unsigned copies. Printed by Mourlot and published by Tériade, Paris. Ref. Mourlot,...

Black and white etching hrealized by Franco Marzilli.  Hand signed.Artist's proof. Very Good condition. This delicate etching by Italian artist Franco Marzilli captures the lyrici...

Beautiful charcoal drawing depicting a flock of vultures taking flight. Designed by Brozzi, a renewed italian sculptor and engraver, in the first decades of 20th century. Good condit...

In Molvout, François Houtin merges organic vitality with the crumbling geometry of architecture. The composition presents a fantastical form that seems part tree, part tower, entwine...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser and subsequent Expressionist artists such as Egon Schiele. He was born into an impoverished family in Bern, Switzerland in 1853. His entire family succumbed to tuberculosis, and he was orphaned by the age of 13, the only surviving child among his 13 siblings. In the absence of family, the influence and guidance which his art instructors provided Hodler was foundational and profound. Hodler began formal studies in 1872 at the Geneva School of Design. Under Barthelemy Menn, Hodler was drawn to the ordered beauty of Euclidian geometry and Durer’s fundamentals of human proportion that proved to be guiding principles informing his art throughout his life. By the 1880s, Hodler began to enjoy some recognition for his work which put him on a new path towards stability. Remaining in Geneva, he became assistant to the well-known muralist, Edouard Castres. Following his first solo show in 1885, Hodler’s work took on a Symbolist quality. He frequently associated with a group of Swiss Symbolist...

LUIZA KASPRZYK Studied at the Faculty of Graphics and Painting at the Academy of Fine Arts in Łódź, in atelier of Lithographic Techniques of professor W. Warzywoda.

Jean Rhys is a limited edition drypoint etching by Kate Boxer. This print features the novelist Jean Rhys in a bright yellow colour. Kate Boxer manages to capture the essence of Jean...

Arrival in the Empyrean -  "The Divine Comedy" - Song 30 -  Paradise is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante A...

The Couple is an original drawing in pencil and China Ink on paper realized by Angelo Griscelli (1893 - 1970) The state of preservation is good and aged. Han-signed on the lower ri...

Mid Century Modern East Bay V Abstracted Landscape by Erle Loran Dynamic abstracted geometric landscape drawing of the East Bay California landscape by Erle ...

Demons is an original drawing in china Ink by an anonymous artist in the mid-20th Century. Good conditions. The artwork is depicted through confident strokes in a well-balanced com...

Fina Miralles (Spain, 1950) 'Café', N/A lithograph on paper 27.6 x 20.5 in. (70 x 52 cm.) ID: MIR1346-001-000 Hand-signed by author _____________________...

Salvador Dalí­ Iris of Dali's Youth from Surrealistic Flowers, 1972 Etching Hand Signed lower right Numbered: 299/350 Image size 58 x 40 cm Sheet size 75 x 55 cm Literature: Albert F...

Original off set lithograph in black and white with hand colored tinting by the artist. Artist signed, titled and numbered by the artist 47/250. Condition is excellent. Under glass...

Tranquil pen and ink female figurative by artist and architect Reiner Keller (Swiss/American, 1926-2024), dated 2012. With a dynamic point of view, this figure drawing invites us int...

A captivating 1930s Surrealist graphite still life drawing with a hammer, palette and chopper by notable New York Modern artist, Jan Matulka. Artwork size: 8 1/2 x 11 inches. Archivally matted to 14 x 16 1/2 inches. Estate stamped. Provenance: Estate of the artist. An innovative drawing by Matulka reminiscent of the famed series of Modern works by the American painter and contemporary of Matulka, the New York artist Stuart Davis. In 1927, Davis began work on a series of five paintings based on a still life he had created by nailing an eggbeater, an electric fan, and a rubber glove to a table in his studio. Using this group of incongruous and unlikely items, he created his first truly abstract works. An example of these paintings, Egg Beater...

Ink on paper Su Yu is a Chinese artist born in 1987 who lives & works in Beijing in China. He was an old student of prestigious art teachers as Shi Liang & Chen Danqing at Oil Paint...

Palazzo Pio is an etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions except for consumed margins with some foxing...

Baruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throu...

Figures is a pen Drawing realized by Mino Maccari (1924-1989) in the 1960s. Hand-signed on the lower. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an Itali...

Grandmother, Mother and Daughter with Dog Watercolor on Paper Signed – Circa 1930s Charming and finely executed watercolor on paper depicting three elegantly dressed women—grandmoth...

Les Ames mortes (by N. Gogol) is a very rare suite of etchings realized by Marc Chagall (1887-1985). Complete set of 96 etchings hors-texte and 11 etched vignettes en-texte for the ...

"Le Portrait Equestre" is an original color lithograph by Claude Weisbuch. This piece depicts a number of figures in black robes looking at horses. The a...

Small scale contemporary figurative etching print by Polish artist Marian Bocianowski. Artwork depicts man sitting on a bike with a woman. She is seen from behind and he is seen from...

Pierre PUVIS DE CHAVANNES (after) Hope, 1873 Original Etching Engraved by Boilvin under the supervision of PUVIS DE CHAVANNES Printed signature in the plate On laid paper 20,5 x 30 cm (c. 8 x 12 in) INFORMATION : This etchings was edited in 1873 by Galerie Durand Ruel...

Male Portrait is a splendid etching and drypoint signed on the lower left inside the matrix “A. Bayli”. The state of preservation is somewhat good, except for visible fungal foxing e...

The Bride is an original lithograph realized by Gabrijel Stupika in the 1980s Mixed-colored lithograph. Not signed. Good Conditions. Gabrijel Stupika: Yugoslavian painter (Drazgose 1913-1990). He trained in the popular tradition, to the point of becoming one of the most notable representatives, with Pregely, Hededusic and V. Velickovic, of the neo-figurative current of Yugoslav painting...

A Fine 1930s Modern Academic Figure Study Drawing, Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s cha...

Watercolor drawing realized by Mino Maccari in 1960s. Hand signed in pencil lower right. Matted, in very good condition.

Antoni Clavé The Dream (Centaur) Original screen print, 1951 Handsigned in pencil On paper 31.5 x 24 cm (c. 12.5 x 10 in) Very good condition, edge of the sheet slightly yellowed

Yookan Westfield Dancing Pears (art about food), 2024 Ink drawing done with pigment liner on Saunders Waterford 300 GSM Cold Press Watercolor paper Signed in ink on the front Unique ...

Etching, realized by Sergio Barletta in 1960s. Hand-signed in the lower right. Edition of 50. Excellent condition. Sergio Barletta (1934) is an Italian cartoonist and illustrator...

Raoul DUFY The Hunt, c. 1910 Original woodcut Signed with the stamp of the artist's studio Numbered on /220 Titled in the board 50.5 x 65.4 cm (c. 19.6 x 25.5 inch) Excellent condi...

. Here for your consideration is an original signed lithograph by Adolf Arthur Dehn done in 1922 titled 5 O’Clock. The condition of the lithograph is excellent. Signed in the p...

Offset lithograph in colors with cold stamp and high gloss varnishing. Hand signed lower right by Takashi Murakami. Hand numbered 213/300 lower right. Published by Kaikai Kiki Co....

Henry de Waroquier The cat, the dove and the death, 1936 Original drawing : pencil, ink and lavish Handsigned in the lower middle There is a collage of the artist : by opening it yo...

Andre Masson, French (1896 - 1987) - Dalia from Je Reve Portfolio, Year: 1975, Medium: Lithograph on Arches, Signed and numbered in pencil, Edition: 93/125, Size: 20 in. x 26 in....

A Fine, Modern 1930s Academic Anatomical Figure Study Drawing of a Seated Young Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well execu...

Landscape is an original lithograph realized by Raoul Dufy in the early 20th Century. Good conditions except for diffused foxings. Hand-signed on the lower right, Numbered, Editio...

Artist: Andy Warhol Title: Wayne Gretzky #99 Medium: Screenprint on Lenox Museum Board Date: 1984 Edition: 206/300 Frame Size: 51 3/4" x 43 3/4" Sheet Size: 40" x 32" Signature: Hand...

ARTIST: Salvador Dali TITLE: Saint Martin MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: 162/175 MEASUREMENTS: 26.5" x 20.5" YEAR: 1965 FRAMED: No CONDITION: Excellent ...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts dog Tofcia in dynamic poses viewed from the side. Artist's unique technique of p...

Hard Margins - Hell Plate 19, is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued. G...

The Animal Skeleton is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Troi...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. In October 2023 Isabel won the Evelyn Williams Drawing Award at the Trinity Buoy Wharf Drawing Prize. Known as the UK’s most prestigious annual open exhibition for drawing; part of the prize is a solo show at Hastings Contemporary, scheduled for 2024. Whilst Isabel always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you and that that you decide to follow. Shipping: Please note this artwork will be shipped in a professional, wide art tube and will be sent rolled. The cost for shipping will therefore be considerably cheaper than that quoted Artwork Details: Isabel Rock, The Dancing Horse of the Day, mixed media on archival paper , 153cm x 122cm, unframed, 2013 The Long Story of the Dancing Horse of the Day In Rock's own words, 'With seven long strides I traversed a might ocean, the salt spray dried my throat and crusted my lips with crystals. With eight huge hops I vaulted a vast desert of sand dunes, hot sand blew in my eyes, blocked my nostrils and burnt my hooves. With nine large leaps I scaled a stone wall that stretched to the skies, the cold grey lumps seemed to penetrate my heart with their silent indifference. I had come to dance before the Queen who had heard rumours of my beauty. I knelt before her in the great long throne room. 'Your majesty,' I said, 'I will dance for you but you must know that this comes with a price. How great the price will be I cannot tell, it will depend on your deepest heart.' 'Dance,' she commanded, 'I care not for such things. There is no price, I am the Queen.' So I tapped my hooves and jiggled my legs, I tossed my mane and I shook my head. I danced and I danced. My body shimmered and shone, radiant in the light of the chandeliers. As I danced a rumble began, it got louder and louder as the walls of the castle crumbled and fell around me. I carried on dancing until nothing was left and the Queen was nowhere to be seen. I assumed she was crushed under the rocks, but I had given her fair warning...

Monotype ev edition 1/3 with hand coloring. The plate (image of ballet slippers) is 15 x 14 inches and the overall paper size is 23 1/2 x 22 inches. Kim Frohsin spent 12 years workin...

Pochoir realized after André Masson in 1933. Editions Jeanne Boucher (Paris) and John Becker (New York). Not signed. Very goo condition except for a minor rip in the medium right ...

Femme au cochon (Woman with Pig) is an artwork from the Series "Faust" (La Nuit de Walpurgis), realized in 1968/69. Etching, Drypoint, Watercolor and Roulette on Japon Paper. Hand...

The Vera Stretz Murder Trial Lithograph, 1936 Signed in pencil lower right (see photo) Initialed W.S. in the image lower right (see photo) Dated in the image lower right (see photo) ...

Nude Model is an original Modern Artwork realized in the half of the 20th Century. Original colored pastel on paper. Total dimensions: 35 x 50 cm. Good conditions.

Monastero de Monaci Cistericiensi is an original etching of the Late 18th century realized by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Va...

This is a page from Derrière le Miroir no. 246, published in 1981 by Maeght, Paris. The work by Marc Chagall features two distinct images: "Les Clowns Musiciens" on the verso and an ...

Demetrios GALANIS (1879-1966) Studies of Angels Original Indian ink drawing Signed with the blue stamp signature of the artist On vellum 25 x 19 cm (c. 10 x 8") Very good conditi...

Rudolph Carl "R.C." Gorman (1932-2005) "Sora" 1981 Original color woodcut print Hand signed and dated "1981" in pencil by the artist Numbered XV/XXV in Roman numerals 23 x 19 inches ...

Title:"Hercules breaking the bonds of Prometheus II" Artist: Derek Overfield Re-visiting a theme from 2016, this version also depicts the hero Hercules (Heracles) as he rends apa...

Sailing Ship in the Harbour is an original watercolor and pencil realized by a French artist of 20th Century (1929). The artwork is in good conditions, hand-signed by the artist on ...

Watercolor on paper realized by Mino Maccari in 1960 ca. Hand signed lower right. Excellent condition.

Ischia is a beautiful watercolor on paper with soft eathly color tones of a glimpse into the town of Ischia. The piece was realized by Léopold Survage in 1947. This unique piece is h...