Nude Prints

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 10" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always b...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always b...

Medium: original etching. Printed in 1909 for Theodore Duret's "Die Impressionisten" and published in Berlin by Bruno Cassirer. This impression on laid paper bears the Fortuna waterm...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always b...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 46-47, 1952. Published by Aimé Maeght, Éditeur, Paris; ...

This reproduction of Julian Opie's phenomenal image, titled Woman Taking Off Man’s Shirt .5, captures the striking and distinctive style for which the artist is renowned. Originally ...

Chuck Close Untitled Daguerreotypes, 2001 Two (2) pigmented digital output iris prints from daguerroeotype printed in a single sheet of wove paper 22 × 29 1/4 inches Signed in pencil...

Henri Matisse's Planche 51 from the 1920 portfolio Cinquante Dessins features a tender scene of two female figures: an older woman standing to the left and a young girl with long hai...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. Mikio Watanabe created "Confident", a side view of a sensuous female nude, exclusiv...

La Chemise Blancheis a black and white etching realized byGeorges Arnulfin 1969. Hand-signed, dated, hand-numbered and titled by the artist on the lower margin.  Our specimen is th...

Giovanni Domenico Campiglia, 'Dei Praestitis Signumexaere' (God's Providence Signumexaere), engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. E...

Set of 12 woodblock prints in colors on handmade, laid mulberry paper, 6 3/4 x 10 1/4 inches (170 x 258 mm), printed in Ka-ei 4 (1851). Each print with minor handling wear, otherwise in excellent condition with bright and fresh color, and with details printed in silver ink. The images themselves contain several illusive characters indicating the publisher which are obfuscated by figures, as intended. Presented loose, as issued. A fine set. The astrological commentary print has a large and meandering blind stamp with a bird and palm frond motif. This print lists various phrases concerning the Twelve Zodiac Animals as historically counted in Japan, and appears to include erotic commentary on the traits of people born under each of the twelve signs. These Shunga images were issued in books that paralleled (in an erotic fashion...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always being more obsessed with aesthetics than with simulacrum. If he worships more than one of these predecessors who poured into more outrage, it is freely that he suggests to the imagination to imagine without capturing the fantasy of the viewer. The choice had been made of very high quality prints: cotton fiber base baryta paper without chlorine and high grammage (310 gr / m²), pigment inks. They carry on the back an authentication label signed by Eric Ceccarini The enhancement of this limited edition of 100 copies is ensured by the use of a unique high-quality box to keep the 12 fine art prints This is edition #6/100 Eric is a Belgian artist born in 1965. He gained a Degree in Photography from INFAC, Brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Elle, Marie-Claire, L'Oréal, Levi's, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients. Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. Nowadays in his artistic works, he captures women's essence and soul, transcending mere physical representation. Eric's "AMNIOS" series of soul portraits- the model appear in suspended animation, as if they were about to born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes, now showing us the nude in the ethereal form. These forms are certainly beautiful, yet a membrane, whose function is unclear, separates them from us: is it to hide, or protect? In person, these works are monumental in scale, adding to their sense of restrained power. In the "NUDES" series, Eric uses only natural light, just as a traditional painter would do in their study. Using slow exposure speeds which allow the lens more time to capture each model's unique character, he reveals a sense of the sublime feminine, which borders on abstraction. Eric's nudes are the same, yet different. They are all beautiful, yet their differences and unique qualities are magnified. "NUDES" is a series that celebrates the human form. For "PAINTERS", Eric collaborates with a different painter for each photograph. More than 100 of them have been invited throughout Europe and the other continents. The artist paints the model in their own style, while Eric searches for attitudes, then he photographs the result. In this way, the Painters series represents a fusion of two artistic visions - something that's not always easy to achieve, yet this series epitomizes a sense of cohesion and dynamic ynchronicity. His work has been exhibited in Belgium, United Kingdom, France, Switzerland, The US , China, Singapore, The Netherlands, Germany, Spain… Current galleries where Eric is permanently resident: USA —— New-York city Galerie L’Atelier / Fremin Gallery Greenwich, Connecticut Galerie L’Atelier / Emmanuelle G Gallery...

Rockwell Kent, 'Starry Night' wood engraving, 1933, edition 1750, Burne Jones 103. Signed in pencil. A brilliant, black impression, on cream wove Japan paper; with margins (7/8 to 1 ...

Salvador DALI (1904-1969) Casanova : Snail lady, 1967 Original etching Signed in the plate On vellum Rives 38 x 28 cm (c. 14.9 x 11 inch) REFERENCES : - Catalog raisonné Field #67-...

"Sunlit Dive" Nude Photography 42" x 30" in Edition 1/7 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish Com...

Jean Baptiste VETTINER (1871-1935) On the Beach : Bather in the Wind, 1928 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the bli...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always being more obsessed with aesthetics than with simulacrum. If he worships more than one of these predecessors who poured into more outrage, it is freely that he suggests to the imagination to imagine without capturing the fantasy of the viewer. The choice had been made of very high quality prints: cotton fiber base baryta paper without chlorine and high grammage (310 gr / m²), pigment inks. They carry on the back an authentication label signed by Eric Ceccarini The enhancement of this limited edition of 100 copies is ensured by the use of a unique high-quality box to keep the prints Eric is a Belgian artist born in 1965. He gained a Degree in Photography from INFAC, Brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Elle, Marie-Claire, L'Oréal, Levi's, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients. Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. Nowadays in his artistic works, he captures women's essence and soul, transcending mere physical representation. Eric's "AMNIOS" series of soul portraits- the model appear in suspended animation, as if they were about to born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes, now showing us the nude in the ethereal form. These forms are certainly beautiful, yet a membrane, whose function is unclear, separates them from us: is it to hide, or protect? In person, these works are monumental in scale, adding to their sense of restrained power. In the "NUDES" series, Eric uses only natural light, just as a traditional painter would do in their study. Using slow exposure speeds which allow the lens more time to capture each model's unique character, he reveals a sense of the sublime feminine, which borders on abstraction. Eric's nudes are the same, yet different. They are all beautiful, yet their differences and unique qualities are magnified. "NUDES" is a series that celebrates the human form. For "PAINTERS", Eric collaborates with a different painter for each photograph. More than 100 of them have been invited throughout Europe and the other continents. The artist paints the model in their own style, while Eric searches for attitudes, then he photographs the result. In this way, the Painters series represents a fusion of two artistic visions - something that's not always easy to achieve, yet this series epitomizes a sense of cohesion and dynamic ynchronicity. His work has been exhibited in Belgium, United Kingdom, France, Switzerland, The US , China, Singapore, The Netherlands, Germany, Spain… Current galleries where Eric is permanently resident: USA —— New-York city Galerie L’Atelier / Fremin Gallery Greenwich, Connecticut Galerie L’Atelier / Emmanuelle G...

Leonor FINI (1908-1996) Romeo and Juliet, 1980 Lithograph Printed signature in the plate On Vellum 43 x 36 cm (c. 16.92 x 14.1 in) Excellent condition

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always being more obsessed with aesthetics than with simulacrum. If he worships more than one of these predecessors who poured into more outrage, it is freely that he suggests to the imagination to imagine without capturing the fantasy of the viewer. The choice had been made of very high quality prints: cotton fiber base baryta paper without chlorine and high grammage (310 gr / m²), pigment inks. They carry on the back an authentication label signed by Eric Ceccarini The enhancement of this limited edition of 100 copies is ensured by the use of a unique high-quality box to keep the 12 fine art prints This is edition #1/100 Eric is a Belgian artist born in 1965. He gained a Degree in Photography from INFAC, Brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Elle, Marie-Claire, L'Oréal, Levi's, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients. Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. Nowadays in his artistic works, he captures women's essence and soul, transcending mere physical representation. Eric's "AMNIOS" series of soul portraits- the model appear in suspended animation, as if they were about to born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes...

David Hockney XVI RIP ARLES (Hand signed, inscribed and dated by David Hockney), 1985 Offset lithograph poster Hand signed and inscribed with dateline London, 1985 by David Hockney o...

LADIES WITH PARROTS is an original hand drawn lithograph printed using hand lithography techniques on archival Somerset printmaking paper, 100% acid free by the renowned Chinese born...

Boris Lovet-Lorski, 'Untitled (Black Woman Crouching)', lithograph, edition 250, 1929. Signed and numbered 16 in pencil. Number 16 of Volume 2, a series of...

"Firestarter" Black & White Photography Edition 3/7 32" x 24" in by Lukas Dvorak Pigment print on Epson Fine ART paper 2021 Unframed Ships rolled in a tube ABOUT THE ARTIST Luka...

Mury (Mury Rabin) Man Receiving Himself, c. 1960s Softground monoprint Sight: 16 1/2 x 18 1/4 in. Framed: 23 1/8 x 25 1/8 x 7/8 in. Titled lower right, signed lower left Graphic ar...

Original “Coppertone” Colore di Rame vintage Italian poster. Colore de Rame translates into the color of copper. Abbronzatevi! (suntan) Non bruciatevi! (don’t burn) Archival linen-backed in fine condition, ready to frame. This original Coppertone poster is in A condition. The background in the poster is a brighter yellow; after all, it is a sunny day, and you need suntan lotion! Coppertone is an American suntan cream. Interestingly, the American poster of this famous little girl and dog...

"Avant" Black & White Art Print 47" x 32" in Ed. of 15 by Yevgeniy Repiashenko Year photo was taken: 2020 Art Print Limited Edition of 15 Picture size: Height: 47" inch Width: 32"...

Woodcut shunga print attributed to Keisai Eisen and realized in the early 19th century. Good condition except for some signs of time.

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...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always being more obsessed with aesthetics than with simulacrum. If he worships more than one of these predecessors who poured into more outrage, it is freely that he suggests to the imagination to imagine without capturing the fantasy of the viewer. The choice had been made of very high quality prints: cotton fiber base baryta paper without chlorine and high grammage (310 gr / m²), pigment inks. They carry on the back an authentication label signed by Eric Ceccarini The enhancement of this limited edition of 100 copies is ensured by the use of a unique high-quality box to keep the 12 fine art prints This is edition #1/100 Eric is a Belgian artist born in 1965. He gained a Degree in Photography from INFAC, Brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Elle, Marie-Claire, L'Oréal, Levi's, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients. Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. Nowadays in his artistic works, he captures women's essence and soul, transcending mere physical representation. Eric's "AMNIOS" series of soul portraits- the model appear in suspended animation, as if they were about to born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes...

Le Corbusier The Architect's Tools, 1964 Original lithograph Printed signature in the plate Limited to 250 copies On Arches vellum 42.5 x 35.5 cm (c. 16.5 x 13.7 in) Edited by Forc...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

Artist: Renoir, Auguste Title: Femme Nue Couchee Date: 1906 Medium: Softground Etching Unframed Dimensions: 5.5" x 7.8" Framed Dimensions: 18.25" x 20.75" Signature: Unsigned ...

Color lithograph after the work by Henri Matisse, plate-signed by Matisse from the edition of 200. This lithograph was printed and published in 2007 in Paris using 100% cotton 300 g...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. IX, N° 35-36...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 46-47, 1952. Published by Aimé Maeght, Éditeur, Paris; ...

Construction d’un temple – Plate n. 8  is a b/w original etching realized in 1972 (as written on plate on the lower right margin) by Paul Delvaux. From the collection “ Construction...

Standing Female Nude Drypoint, c. 1910 Unsigned Estate authentication on verso (see photo) Estate authentication verso by Frances Frieseke Kilmer (Mrs. Kenton Kilmer, 1914-1998) (see photo) Probably depicts the artist's wife, the artist's favorite model Extremely rare original drypoint by Frieseke Printed with selective inking to highlight the figure Condition: excellent Image/Plate size: 10 x 6 5/8 inches Frame size: 19 1/4 x 15 3/4 inches Provenance: Estate of the Artist By descent to his daughter Frances Hirschl & Adler Gallery, Stock No. APG 1106.3D-B (see photo) Biography Frederick Carl Frieseke was born on April 7, 1874, in Owosso, Michigan. After studying for a short while at the Art Institute of Chicago and the Art Students League in New York, Frieseke left for France in 1898, and almost all of his career was spent as an expatriate, with ties to the United States maintained through his New York dealer, William MacBeth, and by occasional visits to America. Following the pattern of innumerable young Americans, he enrolled at the Academie Julian where he studied with Benjamin Constant (1845-1902) and Jean-Paul Laurens (1838-1921). He appears to have had at least brief contact with and to have been influenced by James McNeill Whistler, who had recently opened his Academie Carmen in Paris. By 1900 Frieseke was spending summers in the town of Giverny, made famous by the residence of Monet and subsequently by other artists, among them many Americans. In 1906, the year after his marriage to Sarah O'Bryan, he leased a house once occupied by the American Impressionist Theodore Robinson. Although the property was adjacent to Monet's, Frieseke had only limited contact with the French master. Instead he apparently found Pierre Auguste Renoir the most influential of all the Impressionists. Frieseke's Giverny house and garden, as settings for a series of female models, provided nearly all of his subject matter for the next thirty years, although in 1930 he made a series of watercolors of Florida scenes remembered from his childhood and painted some Swiss landscapes. After World War I, the artist and his family settled in Normandy. Frieseke's career falls roughly into three stages. In the first, figures most clearly show his academic training and draughtsmanship. Gradually these evolve into the most common images of the next decade, comprised of loosely-applied blotches of bright color. The vast majority of these show their subjects in the garden, standing among the flowers, taking tea, or just basking in the sun. Others include models in colorful, light-filled interiors. In Frieseke's latest paintings, the figures very often appear indoors, their forms are given greater solidity, and the brushwork is less broken. At the height of his career, in the 1910s and early 1920s, Frieseke was perhaps the most popular of all living American artists. He received numerous awards and medals and saw his work purchased by private collectors and major museums. Decades after the initial introduction of Impressionism by Monet and his contemporaries, Frieseke assumed this style for his work, choosing to ignore the newer artistic movements of the early twentieth century. Nevertheless, his paintings were acclaimed in both the United States and in Europe. In 1904 he won a silver medal at the St. Louis Universal Exposition and a gold medal at Munich. He was elected a member of the Société National des Beaux Arts in 1908 and the National Academy of Design in 1912. Seventeen of his canvases were featured at the Venice Biennale in 1909 and he won the Grand Prize at the Panama-Pacific International Exposition in 1915. He was commissioned to execute several murals, including one for the New York store of John Wanamaker, one of his most loyal patrons. He died on August 28, 1939, at his home in Normandy, in the town of Le Mesnil sur Blangy. In the decades following his death, however, after artistic tastes had changed considerably, his work was nearly forgotten until it received renewed attention as interest in American Impressionism grew in the 1960s Courtesy National Gallery of Art, Washington Etchings by Frederick Carl Frieseke include The Balcony and Standing Female Nude. Frieseke was an American Impressionist painter who was popular in the 1910s and 1920s. Etchings by Frederick Carl Frieseke: The Balcony: An etching by Frieseke from 1904 Standing Female Nude Other paintings by Frederick Carl Frieseke: The Garden Parasol...

Medium: lithograph (after the the original lithograph). Printed in sanguine ink on cream laid paper from the Papeteries Casteljoux and published in Geneva by Edito-Service in 1970. T...

Woodcut shunga print attributed to Keisai Eisen and realized in the early 19th century. Good condition except for some signs of time.

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This impression is printed on Hahnemuhle archival paper. Hahnemühle FineArt, Inc. ...

Photolithograph on heavy cream wove paper. Overall sheet size is 12"x18". Signed by the artist, ink right margin, and numbered 35/200 in pencil, lower left margin.

Wood engraving on Japan paper, 1928. Edition of 100. Signed by the artist in pencil, lower right. Framed dimension is 14.5 x 17.25 inches, with full margins. Catalogue raisonne r...

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

Shunga is an original modern artwork realized by Katsukawa Schuncho (1726 – 1793) in the half of the 18th Century. Oban yokoe. Erotic scene from the series "Koshuko zue juni ko" (Erotic pictures...

Color lithograph after the work by Henri Matisse, plate-signed by Matisse from the edition of 200. This lithograph was printed and published in 2007 in Paris using 100% cotton 300 g...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. A signed Certificate of Authority will be included with all photographs. A nude yo...

Ray Smith's aptitude for the surreal is apparent in this portfolio of six drypoint prints, presented in a portfolio case. Each image depicts an intriguing, fantastic landscape populated with chimeric nudes. Each one is carefully printed to appear as if doodled on lined notebook paper with ballpoint pen: Japanese letter paper chine-colle on Kizuki Hosho paper. Translated as "Letters from Japan," Cartas de Japon plays on tropes of an exotic, faraway land. The series of prints perhaps pictures Japan in the imagination of westerners, who for centuries speculated that those from other continents had wildly different bodies and customs. The title may be a reference to iconic Mexican director Carlos Velo's 1973 film Letters from Japan. Cartas del Japon, 1988-89 Portfolio of 6 drypoint prints printed on Japanese letter paper mounted on Kizuki Hosho paper Plate 6 x 7.8 in. Paper 18 x 23.4 in. Ed. 30 with three artist proofs. Printed by Hideharu Mishio, Norimasa Mizutani, and Marie Okada at Woodblock Workshop. Published by AC&T CORPORATION, Tokyo, 1989. Per the Broad: "Ray Smith’s paintings incorporate surrealistic and animistic tendencies informed by his Latin heritage as well as deep study of the history of modern art. Smith was born near the Texas/Mexico border...

CLÉMENT CYCLES is a fine art lithograph re-creation after the original French advertising poster created by PAL(Jean de Paleologue) for Fernand Clément Bicycle Co., France. Hand craf...

Original vintage poster: Bergasol. Artist: Bernard Villemot Professional mounted on acid-free archival linen. Ready to frame. In very fine condition. The Bergasol poster i...

Realized by Picasso in 1956. Lithograph on Arches Paper. Hand Signed and numbered. Edition of 19/50.  Ref. Bloch n.790. 

An erotic dalliance between a nude blonde woman lying down, and nude man, on a bed with white sheets. Subtle shades of peach, tan, yellow, and grey and black shadow behind the couple...

Marc Chagall, Russian (1887 - 1985) - Spring Day from Derrier Le Miroir, Year: 1972, Medium: Lithograph, Size: 15 x 11 in. (38.1 x 27.94 cm), Printer: Mourlot, Paris, Publisher: Ma...

Wayne Ensrud, American (1934 - ) - Flower Dance, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 45, Image Size: 30 x 22, Size: 31 in. x 24 in. (78.74...

Venus III Roberto Carbone, Italian (1949) Date: 1979 Lithograph, signed and numbered in pencil Edition of 250 Size: 27 in. x 20 in. (68.58 cm x 50.8 cm)

Woodcut shunga print attributed to Keisai Eisen and realized in the early 19th century. Good condition except for some signs of time.

Woman from Shoulders is an etching on paper, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed on the lower right. Numbered edition, 11/20. In good condition...

Etching on wove Arches paper. Hand signed and numbered in ink. Edition of 125 prints. Published by Editions Albert Skira, Paris, in 1930. Very good condition. Catalogue Bloch no. 132.

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. IX, N° 35-36...