Horizontal Figurative Prints

"Ada" from 2011 is a Japanese woodblock in thirty-one colors on New Hosho paper. We are offering the number 18/70. 3 Artist's proofs. Ada is Alex Katz' wife and his most important mu...

Henri ROUSSEAU (called Le Douanier ROUSSEAU) (after) The Snake Charmer Stone lithograph after a painting Printed signature in the plate Numbered /300 copies On vellum 57 x 75 cm (c....

Etching on cream laid paper, 3 7/8 x 5 7/8 inches (99 x 150 mm), full margins. Signed, dated, and inscribed "Sketch Grolier Club Library Demonstration Print," and numbered "I" in pen...

Benton Spruance, 'A Wind is Rising and the Rivers Flow', color lithograph, 1945, edition 40, Fine and Looney 242. Signed, dated, and titled, and annotated 'Ed 40' in pencil. A fine ...

Screenprint on Velin Arches paper. Hand signed and dated by Andy Warhol and stamp numbered on verso. This is 106/250 (there were also 50 artist's proofs in Roman numerals). Publish...

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 60 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 Jean Cocteau W...

William T. Wiley Good Luck with Your Art-istry (Hand Signed Card), 2002 Offset lithograph invitation card. Hand signed in green ink with inscription "Good Luck with your ART istry" ...

Offset lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 500. Artwork is in excellent condition. Certificate of authenticity included. Al...

Still life with eleven objetcs in a sphere (Original Italian title: Natura morta in un tondo) is an etching realized by Giorgio Morandi (1890-1964) in 1942. Hand numbered Edition 5...

Artist: Alexander Calder (after), American (1898 - 1976) Title: Beastie, Flying Colors for Braniff Airlines Year: 1974 Medium: Lithograph, signed in the plate Size: 20 in. x 26 in. (...

This artwork titled " Biachee-Itdah Bah Achbeb" 1990 is a color offset lithograph on Artcote paper by Crow Indian artist Penni Anne Cross A.K.A. (Alaw...

Etching with drypoint on cream laid paper with a deckle edge, 7 7/8 x 13 1/8 inches ( 200 x 334 mm), full margins. Signed and numbered 27/100 in pencil in the lower margin. With two ...

Scenery of the Upper Mississippi Indian Village Currier & Ives lithograph is a tranquil scene of an Indian village camped in a meadow next to a be...

Trois Hommes se Disputant une Femme Devant un Emir is an original artwork realized by Spanish artist Pablo Picasso in 1966. Black and white etching on wove paper. Fine proof edited...

Artist/Designer; Manufacturer: CRASH aka John Matos (American, b. 1961) Marking(s); notes: signed; ed. 24/35; 1990 Materials: serigraph Dimensions (H, W, D): 22"h, 30"w (work is not ...

Robert Rauschenberg Robert Rauschenberg at Leo Castelli (postmarked to artist Ludwig Sander), 1960 Offset lithograph poster 19 × 26 inches Unframe...

Etching and aquatint realized by Henry Alken in 1822. Table from "The Sporting Repository", first edition. Very good condition. Henry Alken (1765-1851) was en english painter and e...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by The Collector's Guild Ltd., New York in association with Th...

A finely detailed etching realized after William Fowler, showing a tranquil pastoral scene under blossoming spring trees, where cows rest or graze and a woman tends to calves. The s...

Lyonel Feininger, 'Three Masted Ship, 2 (Dreimastiges Schiff, 2)', woodcut, 1937, one of a small but unknown number of letterhead proofs; Prasse W296. Feininger estate stamp and inventory no. 'W 865' in pencil, bottom left sheet corner. Annotated 'W 296' and 'on block : 3702a' in pencil, bottom right sheet corner. A fine impression, on cream, laid, letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 2 11/16 inches; sheet size 10 x 6 3/4 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Signed, dated and numbered in pencil Printer: Rebekah Wilhelm, Zygote Press, Cleveland Created at Zygote Press, Cleveland, 2015, while the artist was an Artist in Residence. Exhib...

Jean Jansem (1920-2013) La commode, 1986 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 51 x 70 cm / 54 x 76 cm D'une édition à 30 exemplaires d...

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...

Screen print realized by the italian painter Rolandi, in the 1980s. Hand signed in pencil on the lower right margin. Artist's proof (as reported in the lower left margin) Dry stam...

John Sloan (1871-1954), Barbershop, 1915, etching and aquatint, signed in pencil lower right, inscribed in pencil “For John Quinn, Esq. – John Sloan” lower left margin, (also signed ...

'Uniformen des deutschen Reichsheeres und der Marine' (Uniforms of the German Imperial Army and Navy) German chromolithograph, circa 1910. Central vertical fold as issued. 245mm ...

Fernando Aceves Humana (Mexico, 1969) 'Se volvió a salir el perro' (The dog came out again), 2007 woodcut on paper 17.6 x 23.1 in. (44.5 x 58.5 cm.) Edition of 10 ID: ACE-103 Unframed

A masterful rendering of Kukulkan at the base of the west face of the northern stairway of El Castillo, Chichen Itza. Etching on antique watermarked fine Barcelona cream laid paper,...

Etching with engraving on cream laid paper with a large unidentified alphabetic watermark, 6 1/2 x 9 7/8 inches (165 x 251 mm), the full sheet. In good condition with handling wear a...

Etching on cream wove paper, 2 3/8 x 3/14 inches (61 x 83), full margins. Signed, dated and inscribed "IV" in the artist's hand. In superb condition with the numerals "365" written i...

Yue Minjun, Remarkable People Contemporary, 21st Century, Lithograph, Limited Edition, Chinese Lithograph Edition of 130 80 × 120 cm (47 1/5 × 31 1/2 in) Stamped Signature, numbered ...

Saint George - "The Rider and the Dragon" is a dynamic, strong and elegant work of art featuring a Hero on horseback fighting a dragon. The artist paints on gold leaf. This is a uniq...

Size of sheet is ca. 21 x 29.5 cm (A4) Contemporary figurative giclee print by Polish artist Rafal Olbinski. Print is signed, numbered and has a stamp of an artist's atelier. It com...

Sergio Hernández (Mexico, 1957) 'Lluvia de Estrellas', 2011 woodcut on paper Velin Arches 300 g. 45.7 x 81.9 in. (116 x 208 cm.) Edition of 10

Venus et l'amour, dans le style du XVIIE siecle is a contemporary artwork realized by Pablo Picasso realized in 1968. Black and white etching. The artwork is the plate 159 from se...

Lithograph on paper realized by Auguste Raffet in 1859. Signed and dated in the plate. Very good condition. The Siege of Sevastopol was the decisive event of the Crimean War, wher...

Mr. Brainwash World Class, 2009 Thirteen color silkscreen on hand stained archival art paper. Individually finished with spray paint and stencil balloon; unique variant Hand signed t...

**STORE CLOSURE - UP TO 80% OFF - TAKE ADVANTAGE OF IT** ***EVERYTHING MUST GO BY DECEMBER 31ST!*** The artist is moving to a new full time venture in 2026. _...

Original Bosch Battery Ignition System Robert Bosch GmbH, Stuttgart, Germany vintage poster. Linen-backed and in good condition, but restored. This undated German automotive poster ...

Salvador Dali (1904-1989) Costumes for Tristan Fou: Flower Women, 1970 Original lithograph (Desjobert workshop) Signed in pencil Numbered X / XXV copies On Japanese paper, 56 x 76 c...

Lithograph realized by Karl Bodmer (1809-1893) in the mid-19th Century. Not signed. Published as part of the “École de Dessin” series (noted as the 10th year, 110th book, plate 655...

Lithograph on paper realized by Auguste Raffet in 1840. It is part of the suite "Crimée". Image dimension cm. 20x36. Signed and dated in the plate. This print shows the interior ...

Etching realized by Jules Jacques Veyrassat (1828-1893) after Rosa Bonheur (1822-1899). It depicts the bustling Paris horse market, showing vigorous movement as horses are led and s...

- with the stamped signature on the lower right, as issued - numbered 15/50 - dated in the plate 29.3.71 - from the Suite 156 - published by Galerie Louise ...

Etching on laid paper Signed in plate lower left: F. Buhot Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes, lower...

The Colour Of Money Al Capone and Pablo Escobar by BATIK signed limited edition POP ART print Paper Size 40x30" inches / 101 x 76 cm Signed & numbered by artist on front Archival Pigment print Limited to 10 only Featuring arrest sheet portraits of the infamous criminals Capone & Escobar in dollar green inks. *Note other sizes and framing options available* 20x24 inches 40x30 BATIK is a London based contemporary pop artist keywords gangsta gangster Medellin cartel drugs mafia south america...

Peter Saul Shicago Justus (Chicago Justice) from Conspiracy: The Artist as Witness, 1971 Lithograph on Arches paper Edition AP (Rare AP, aside from the regular edition of 150) Hand-s...

M.F. Husain - Horses Serigraph on Paper 19 x 39 inches (Unframed & Delivered) This vibrant painting is a striking work by M.F. Husain, who is often celebrated as the “Picasso of Ind...

Medium: original woodcut. Printed in Germany in 1917 for Die Aktion; this impression is from the deluxe edition of 100 on Bütten laid paper. Catalogue reference: Schapire 202. Image ...

Signed, titled, and numbered, in pencil. The proposed edition was 100 although it is very unlikely that these were printed. This large and intensely urban lithograph, Family Flats, by Millard Sheets, portrays the Bunker Hill neighborhood of Los Angeles. Now drastically changed, it's still home to the Angels Flight funicular railway built in 1901. Sheets (1907-1989) was a painter, watercolorist, printmaker, mosaic artist, and teacher, who worked in Southern California. He attended the Chouinard Art institute and studied with F. Tolles Chamberlin and Clarence Hinkle...

Etching on laid paper Signed and dated in plate lower center: Dresde Oct. 1863 / Fantin Inscribed: Un morceau de Schumann Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Pa...

This artwork titled "Western Film" 1976 is an original color lithograph on Arches paper by renown artist Hiro Yamagata (Japanese, b. 1948) It is signed and numbered 39/185 in pencil ...

Hand signed and numbered by the artist. Serigraph on paper. Sheet size 32 x 40 inches. Image size 23.75 x 36 inches. Edition of 275. Artwork is in excellent condition. Certific...

Antique engraving titled "Apollon Sortant Des Eaux" over 250 years old by Simon Henri Thomassin, circa 1720. Signed lower right. Original artwork on paper displayed on a white ma...

Taevernier No. 102 - Etching is in very good condition and of very good quality. Although the plate was deleted in the presence of a bailiff in 1950 or 1951, this print was made afte...

Printed in a rich terra cotta red on pale pink paper, Orgasm depicts a woman’s head in profile with a dark background. Kitaj was fascinated with the female form, often producing edgy...

Medium: Lithograph on vélin de Lana paper Year: 1950 Paper Size: 9.75 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Signac Dessins, 1950. Publi...

Vintage Spanish lithographic print Measuring 19 x 23 inches overall and 14.5 x 18.5 image alone. In excellent original condition, ready to hang and enjoy.

Etching and aquatint realized by Edolo Masci. Hand signed and numbered in pencil. Edition of 90. Excellent condition.

Lithograph on paper realized by Auguste Raffet in the mid-19th Century. Printed by Jean-Baptiste André Bertrand in Paris. The image depicts a Representative of the People on horseb...