Walt Kuhn Prints and Multiples

Inspiration or L'inspiré - The artist and his wife, self-portrait. This is a self-portrait of the great artist, depicting him as lost in thought before one of his paintings, which is apparently related to his home country Russia, as suggested by the small figure in the lower right of the work. Chagall’s wife Valentina (“Vava”), who was also from Russia, is looking over his shoulder, full of longing. The small surreal elements that are characteristic of Chagall’s paintings are also present here: the silhouettes of the houses that seems to stick out of the painting and a figure with a flute or trombone standing on its head. Chagall Lithographe, Volume II of the catalogue raisonné of Chagall's lithographic work, see Mourlot 398, 1957-1962, Paris 1963, imprinted by Imprimerie Mourlot for the publisher André Sauret. A lithographic plate from the catalog that was published in 10,000 copies. Condition : Excellent Set inside a cream mount bearing brass cartellino Visible sheet size length 23cm, Height 31.50cm In a carved and gilded frame Frame size Length 44cm, Height 55.5cm The reverse with a paper label in Japanese Provenance : Private Collection, purchased with Lovers in Grey

A beautiful turn-of-the-century lake view of Chicago by an American artist known for his Texas landscapes. Etching with drypoint on watermarked Umbria laid paper with deckle edges, 7 1/4 x 10 7/8 inches (182 x 275 mm), full margins. Signed and numbered 4/25 in pencil, lower margin. In good condition with adhesive residue at the sheet edges on the verso, does not show through to the recto. A lovely Lake Michigan landscape...

Etching with drypoint on antique handmade laid Japon paper, 12 7/8 x 7 1/2 (327 x 191 mm); sheet 15 5/16 x 10 7/16 (389 x 265 mm), full margins. Signed in pencil in the lower margin....

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork entirely made in France: from th...

A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Jean Jansem (1920-2013) Ballerine sur fond vert, 1995 Lithographie sur papier Arches, justifiée et numérotée 48/100 Signée en bas à droite 22 x 17 cm / 32 x 26 cm Bibliographie: ...

In this sentimental work from 1939, Benton expresses his admiration for the rural lifestyle of the Midwest. He highlights the connection between man and the land by depicting two fig...

Picasso and the Human Comedy, Verve, Vol. VIII, No 29/30, 1954 Original lithographs published by Mourlot Frères Original lithograph print from Verve Vol. VIII, No 29/30 printed by t...

A man raises his hand to his chin, his neck tilted and face turned to look at a dilapidated farmhouse, barely held together by planks of wood and exposed to the elements. Behind him ...

"Labor in a Diesel Plant" Machine Age American Scene Industrial Mid 20th Century Letterio Calapai (American 1902-1993) ''Labor in A Diesel Plant'' Wood engraving, 1940 17 x 10 1/2...

In this charming regionalist lithograph, Benton captures a classic Midwestern American scene: two men talking, drinking, and smoking together in a bar. Titled 'Discussion', the artwo...