Kent Prints

Poster by Gianni Versace for the opening of the exhibition "Theater der Mode" in 1992. The poster was made for the exhibition dedicated to his theater collection in Munich, Germany, in Villa Stuck...

Nicolas de Larmessin Etching – Habit de Tabletier. 20th century print. Nicolas de Larmessin (1640-1725) was an enormously creative and productive artist. Nicolas was part of a long ...

Set of etchings of views of a Greek ceremonial klismos chair. In his fifties, G.B. Piranesi was interested in archaeology and studied in Southern Ita...

Original antique French etchings in their original gilt frames that would be awesome used in most any room of the home.

Amazing set of four equestrian mid 19th century aquatint plates that have been hand-colored. Fores' national sports series after John Frederick Herring who did commissions from Queen...

This handcoloured lithograph titled "Jeune fille indoue de la haute classe" depicts a young high-class Indian woman adorned in traditional attire. The print is part of Auguste Wahlen's "Moeurs, Usages et Costumes de tous les Peuples de Monde," published in 1844. This lithograph utilizes handcolouring techniques to enhance the vividness and detail of the traditional Indian saree, which is characterized by its bright pink and green hues and intricate draping style. The saree, a timeless symbol of Indian femininity, is elegantly wrapped, showcasing the elaborate textile craftsmanship of India. The woman's jewelry, including bangles and necklaces, reflects the cultural importance of adornments in Indian society, often indicating social status and personal wealth. This print is captivating due to its rich depiction of cultural attire and the graceful demeanor of the woman, which together illustrate the refined aesthetic and social codes of India's upper class during the 19th century. The lithograph not only serves as a beautiful piece of art but also as an important cultural document that provides insights into the traditional attire and societal norms of historical India. Keywords: - Antique Indian prints...

Three gorgeous early 19th century architectural prints by Louis-Pierre Baltard de la Fresque (1764 — 1846).

Made for the 1984 Winter Olympic Games. Cy Twombly used the same characteristic scrawl that he had previously used on 1976 series. Lithograph numbered/ signed

Old print of Indian decorative art. This print originates from 'L'Ornement polychrome'. A beautiful work containing about 2000 patterns of all the st...

Large Framed French Etching of Versailles – Le Bassin d’Encelade Pair of Versailles themed prints available. From Mis en Demeure, Paris.

Antique print titled 'Prairie am Arkansas'. View of Native American Indians on a prairie in Arkansas. This print originates from 'Meyer's Universum', published circa 1850.

He began painting and writing in 1947 in Madrid while suffering from tuberculosis, having already been confined to his bed for five years. In his beginnings he created numerous drawings and paintings with a dreamlike surrealist character that most often represented imaginary landscapes, employing a flat smooth treatment that offers a rich palette of colors. He claimed Hans Arp and Yves Tanguy as his artistic influences. He stayed in Paris in 1952 and in 1954–1955 during which he met Benjamin Péret and associated with the Surrealists, although he soon parted with the group, joining instead the company of his friend the painter Simon Hantaï. Using the technique of scraping, he adopted a gestural style and created an abstract type of painting, still very colorful with an organic, aleatory design. The first appearances in his work of forms that will soon become archetypes of the female body or the human figure occur in the mid-1950s. Starting in 1956 Saura tackled the register of what will prove to be his greatest works: women, nudes, self-portraits, shrouds and crucifixions, which he painted on both canvas and paper. In 1957 in Madrid he founded the El Paso Group and served as its director until it broke up in 1960. During this period Saura met Michel Tapié. During the 1950s he had his first solo exhibition at the Rodolphe Stadler Gallery in Paris, where he regularly exhibited throughout his life. Stadler introduced him to Otto van de Loo in Munich and Pierre Matisse in New York City, both of whom exhibited his work and represented him, and eventually his paintings were collected by major museums. Limiting his palette to blacks, grays and browns, Saura asserted a personal style that was independent of the movements and trends of his generation. His work followed in the tradition of Velasquez and Goya. Starting in 1959 he began creating a prolific body of works in print, illustrating numerous books including Cervantes's Don Quijote, Orwell's Nineteen Eighty-Four, Nöstlinger's adaptation of Pinocchio, Kafka’s Tagebücher, Quevedo’s Three Visions, and many others. In 1960 Saura began creating sculptures made of welded metal elements which represented the human figure, characters and crucifixions. In 1967 he settled permanently in Paris, and joined the opposition to Francoist Spain. In France he participated in numerous debates and controversies in the fields of politics, aesthetics and artistic creation. He also broadened his thematic and pictorial register. Along with his Femmefauteuil (literally "Womanarmchair"), he also worked on the series "Imaginary Portraits",and Goya’s Dog...