Mid-20th Century Figurative Prints

Limoges porcelain in "Bleu de Sèvres" and gold. Artist: Salvador Dali Exclusive limited edition to 2000 copies "Raynaud & Co. Limoges", France, 1968. "Faust" drawn by Salvador Dalí. Print signed. Plate Signed in the back of the plate Dimensions: Diameter: 26 cm Edited by Salins Earthenware Sold in its original box The company "Raynaud-Limoges" specialized in the production of porcelain products in small runs, among the company's customers - crowned people and representatives of the old aristocratic families of Europe. Dali - the Prodigy Child without an Exam. Salvador Dali was born as the son of a prestigious notary in the small town of Figueras in Northern Spain. His talent as an artist showed at an early age and Salvador Felipe Jacinto Dali received his first drawing lessons when he was ten years old. His art teachers were a then well known Spanish impressionist painter, Ramon Pichot and later an art professor at the Municipal Drawing School. In 1923 his father bought his son his first printing press. Dali began to study art at the Royal Academy of Art in Madrid. He was expelled twice and never took the final examinations. His opinion was that he was more qualified than those who should have examined him. In 1928 Dali went to Paris where he met the Spanish painters Pablo Picasso and Joan Miro. He established himself as the principal figure of a group of surrealist artists grouped around Andre Breton, who was something like the theoretical "schoolmaster" of surrealism. Years later Breton turned away from Dali accusing him of support of fascism, excessive self-presentation and financial greediness. By 1929 Dali had found his personal style that should make him famous the world of the unconscious that is recalled during our dreams. The surrealist theory is based on the theories of the psychologist Dr. Sigmund Freud. Recurring images of burning giraffes and melting watches became the artist's surrealist trademarks. His great craftsmanship allowed him to execute his paintings in a nearly photo-realistic style. No wonder that the artist was a great admirer of the Italian Renaissance painter Raphael. Salvador Dali and Gala. Meeting Gala was the most important event in the artist's life and decisive for his future career. She was a Russian immigrant and ten years older than Dali. When he met her, she was married to Paul Eluard. Gala decided to stay with Dali. She became his companion, his muse, his sexual partner, his model in numerous art works and his business manager. For him she was everything. Most of all Gala was a stabilizing factor in his life. And she managed his success in the 1930s with exhibitions in Europe and the United States. Gala was legally divorced from her husband in 1932. In 1934 Dali and Gala were married in a civil ceremony...

This original lithograph in colours is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also numbered 14 in pencil from the edition of 24, at the l...

This exquisite lithograph after Henri Matisse (1869–1954), titled Madame L.D. (Mrs. L.D.), from the album Portraits par Henri Matisse (Portraits by Hen...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Original vintage poster Algeciras Feria 1948 vintage Spanish travel poster. Archival linen backed in very fine condition, ready to frame. N...

Niki de Saint Phalle Last Night I Had a Dream, 1968 Silkscreen on colored paper Signed and numbered 67/75 in graphite pencil on the front Frame included It is elegantly floated and f...

A colorful, myth-based female nude along with a portriat of a mermaid by the same artist. Lithograph in color on white wove paper, 18 1/4 x 11 3/4 inches (462 x 297 mm), full margin...

Adolf Dehn's, lithograph on chine collé, Curtain or The Flora Dora Girls, is an ode to burlesque with dancing girls and fabulous costumes. It comes on the heals of a 1930 pre-code mo...

Color lithograph realized by Marc Chagall in 1960 to illustrate "The Bible".  Edition of 6500, published by Tériade in no. 33 and 34 of the Art Magazine Verve. Printed by Mourlot a...

Salvador Dali - The Beach At Sete - Original Etching Dimensions: 38 x 28 cm Edition: 235 Editor : Argillet 1967 embossed signature On Arches Vellum From the series : Poemes Secrets P...

Andy Warhol Bodley Gallery 1957: A rare, 1950s gallery announcement offset illustrated by Andy Warhol on the occasion of: Andy Warhol Golden Pictures: December 2 - December 24, 1957: The Bodley Gallery 223 East 60th St., New York, NY. A scarce, historical Andy Warhol Pre-Pop illustration; highly collectible. Medium: Double-sided offset lithograph in colors, on wove paper, with full margins, before folding. Dimensions: 12 3/4 x 19 1/2 in. (32.4 x 49.5 cm) Good overall vintage condition. Minor signs of aging & handling. Well-preserved. Unsigned from an edition of unknown. Warhol Foundation annotations in pencil on one side. Provenance: The Andy Warhol Foundation for the Visual Arts, New York. Susan Sheehan Gallery, New York. Private Collection, New York. Literature: Kornbluth: Pre-Pop Warhol, no. 66, pp. 164-165. Further background: Warhol’s career began as a commercial illustrator on New York’s Madison Avenue in 1949, during the massive post-war economic boom. His arrival additionally coincided with an extensive change in the motivations and strategies behind advertising, utilizing applied psychology to influence American consumers to purchase products. This stint as an ad man would further his Pop interest in cultural commercialization and start his artistic career; thus began the first chapter of Warhol’s oeuvre. Several of Andy Warhol's earliest exhibitions in New York were at the Bodley during the 1950s, starting with two in 1956. _ Obsessed with celebrity, consumer culture, and mechanical reproduction, Pop Art king, Andy Warhol created some of the 20th century’s most iconic images. Warhol was widely influenced by popular & consumer culture, with this being evident in some of his most famous works: 32 Campbell's soup cans, Brillo pad box sculptures, and portraits of Marilyn Monroe & Mick Jagger, for example. Rejecting the standard painting and sculpting modes of his era, Warhol embraced silk-screen printmaking to achieve his characteristic hard edges and flat areas of color. The artist mentored Keith Haring and Jean-Michel Basquiat and continues to influence contemporary art around the world: His most bold successors include Richard Prince, Takashi Murakami, and Jeff Koons. Warhol has been the subject of exhibitions at the Whitney Museum of American Art, Museum of Modern Art, Tate Modern, and Centre Pompidou, among other institutions. Related Categories 1950s Andy Warhol. Vintage Andy Warhol. Mid century modern. Pop Art. Andy Warhol advertising...

"Borgia" lithograph by Jose Luis Cuevas from his "Crimes by Cuevas" portfolio of 11 images which addresses criminality throughout history. This lithograph depicts brother and sister Cesare and Lucrezia...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Madame Mary Hutchinson (Mrs. Mary Hutchinson), from the album Portraits par Henri Matisse (Portraits by Henri Mati...

Artist: Henri Matisse (after) Title: Zulma Portfolio: The Last Works of Henri Matisse Medium: Lithograph Date: 1958 Edition: 2000 Frame Size: 21" x 15" Sheet Size: 14" x 10 1/2" Sign...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing...

Pablo PICASSO (1881-1973), Harlequin and the Horse Trainer, 1954 Lithograph (Mourlot workshop) Unsigned Printed date in the plate On paper 26 .5 x 35.5 cm (c. 10,2 x 13.7 in) INFO...

Albert Potter, 'Modern Music' also Twilight Melodies', linocut, c. 1935, from the posthumous edition of 20, printed in 1977, authorized by the artist’s widow. Estate authenticated in...

This exquisite lithograph by Henri Matisse (1869–1954), titled Lithographie I (Lithograph I), from the album Repli, Gravures de Henri Matisse (Repli, Engravings by Henri Matisse), or...

Louis Conrad Rosenberg, 'Bowling Green, New York', etching, 1940. Signed in pencil. A superb, richly-inked impression, with all the fine lines printing c...

Pablo PICASSO (1881-1973), The Little Old man with a Mask, 1954 Original lithography (Mourlot workshop) Unsigned Printed date in the plate On paper 26 .5 x 35.5 cm (c. 10,2 x 13.7 ...

This exquisite lithograph by Henri Matisse (1869–1954), titled La Chute d’Icare (The Fall of Icarus), from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the...

This exquisite lithograph by Henri Matisse (1869–1954), titled De la couleur (Of Color), from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the 1945 issue p...

Linocut on Arches wove paper. Hand signed and numbered by the artist in pencil. Image size 25 x 20.75 inches. Sheet size 29.6 x 24.5 inches. Frame size approx 34.5 x 29.5 inches. Pri...

Harry Shokler used serigraphy to great advantage in this landscape. It's colorful and detailed. It is signed in the image at the lower left. When printmakers began making serigraphs...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

This is a cast metal sculpture of a woman and child, mother and baby in a rocking chair. It has a patina on a white metal. Not sure if it is steel or aluminum. It is and older vintage piece and has wear to patina where it sits and rocks on table. It is not signed or numbered and there is no foundry mark. Hence it is being sold as being after or in the manner of Henry Moore. Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history...

This exquisite lithograph after Henri Matisse (1869–1954), titled Mademoiselle Yvonne Landsberg (Miss Yvonne Landsberg), from the album Portraits par Henri Matisse (Portraits by Henr...

Georges Rouault Crucifixion Woodcut and embossing (Raymond Jacquet workshop) Printed signature in the plate On Arches vellum 15 x 11" (38 x 28 cm) INFORMATION : Woodcut published i...

This exquisite lithograph after Henri Matisse (1869–1954), titled Madame L.D. (Mrs. L.D.), from the album Portraits par Henri Matisse (Portraits by Hen...

Artist Name: Barbara Kwasniewska Title: Anadyomine Year: 1969 Medium Type: etching Size-Width Size-Height: 22.5'' x 30" inches Signed Edition Size: Signed, Titled, and Numbered 5...

This artwork "Tulips in a Vase" 1995 is an original color lithograph on Wove paper by noted American artist Gary Bukovnik, born 1947. It is hand signed, dated and numbered 169/200 in...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

This exquisite heliogravure after Pablo Picasso (1881–1973), titled 11.3.59., from the album Pablo Picasso, Toros y Toreros (Bulls and Bullfighters), originates from the 1961 edition...

An original 1930 Art Deco lithograph poster by French artist Maurice Dufrene. Rayon des Soieries Maurice Dufrene, (1876–1955) Date: 1930 Lithograph Size: 46 x 30 in. (116.84 x 76.2 c...

Works by Jon Corbino (1905-1964) feature drama. Here he's showing us the chaos produced by a major earthquake in rural Montana in 1936 -- an actual historical event. The horses (ear...

This color lithograph is part of my private collection since the 1970's. Marie Raymond was a pioneer post WWII painter of her generation. She was a lyrical abstractionist of her time...

Raoul DUFY Normandy Countryside , 1953 Original Lithograph with stencil watercolor On Arches vellum 28 x 38 cm (c. 11 x 15 inch) Excellent condition

Artist: Henri Matisse (after) Medium: Original lithograph Title: Lierre Portfolio: The Last Works of Henri Matisse Year: 1958 Edition: 2000 Framed Size: 17" x 17" Sheet Size: 14" x 1...

This exquisite heliogravure after Henri Matisse (1869–1954), titled A la memoire d'Auguste Lumiere (In Memory of Auguste Lumiere), from Verve, Revue Artistique et Litteraire, Vol. IV...

Artist: Marc Chagall Title: Sarah and the Angels Portfolio: Drawings for the Bible Medium: Lithograph Date: 1960 Edition: Unnumbered Sheet Size: 14 3/8" x 10 1/4" Image Size: 14 3/8"...

Salvador Dali - Attack on the Windmils - Original Lithograph Joseph FORET, Paris, 1957 PRINTER : Atelier Mourlot. SIGNATURE : printed in the image LIMITED : 197 copies. SIZE : 64.5...

Lithograph in colors on Arches paper. Hand signed and numbered by Marc Chagall. Mourlot 569 Edition 43/50 (there were also 25 artist's proofs). Image size 22 x 14.5 inches. Sheet size 29.75 x 20.75 inches. Frame size approx 35 x 27 inches. Artwork is in excellent condition. All reasonable offers will be considered. About the Artist: Marc Chagall (French/Russian, 1887–1985) was an artist whose work anticipated the dream-like imagery of Surrealism. Over the course of his career, Chagall developed the poetic, amorphous, and deeply personal visual language evident in paintings like I and the Village...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

Rare print handsigned by surrealist artist Leonor Fini, inscreasingly esteemed with the movement of rediscovering art by women. This silkscreen is in perfect condition and from a ver...

Medium: original woodcut. Catalogue reference Roethel 145. Printed in Paris in 1938 for the art revue XXe Siecle (issue number 3). Image size: 7 x 8 1/2 inches (170 x 218 mm). Sheet ...

A handsome 1930s Rockwell Kent lithograph on paper, titled "Canterbury Tales". Nicely matted and framed in a gold-toned frame. Image size: ...

Original Swiss Kaffee Rahm Pilatus ; Swiss coffee cream poster. Linen backed. The coffee-colored woman poises with a coffee cup on her head, pouring s...

This exquisite lithograph by Marc Chagall (1887–1985), titled Bouquet à l’Oiseau (Bouquet with Bird), from the album The Lithographs of Chagall, Volume I, originates from the 1960 ed...

Etching on antique cream laid paper with a partial watermark (likely Arches), 12 1/8 x 6 1/8 inches (308 x 156 mm), full margins. Signed and dated in pencil in the lower right margin...

This exquisite lithograph by Henri Matisse (1869–1954), titled Femme au Chapeau (Woman with a Hat), from Verve, Revue Artistique et Litteraire, Vol. II, No. 5–6, originates from the ...

Zincograph on Vélin Bouffant paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Non Vouloir, 1942. Published by Éditions Jeanne Bucher, Paris; printed...

This exquisite lithograph after Francois Auguste Rene Rodin (1840–1917), titled Sans titre (Untitled), from the folio La Varende, Rodin (La Varende, Rodin), originates from the 1944 ...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 11.42 x 7.87 inches Inscription: Signed in the plate and unnumber...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

Screenprint in colors on wove paper. Hand signed, dated and numbered 'AP' by the artist (main edition of 150 plus 10 artist proofs made). Image size 19.5 x 37 inches. Sheet size 25.7...

Lou Barlow (Louis Breslow), 'On the Beach' (Coney Island) wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. Stamped 'FEDERAL ART PROJECT NYC WPA' in the bottom left margin. A fine, richly-inked impression, with all the fine lines printing clearly, on cream wove paper, with full margins (1 1/2 to 3 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 11 x 8 1/8 inches; sheet size 16 x 11 3/8 inches. Created during the Great Depression for the Works Progress Administration (WPA), Federal Art Project, New York City. Impressions of this work are in the permanent collections of the Amon Carter Museum of Art, Illinois State Museum, and the New York Public Library. ABOUT THE IMAGE Due to Coney Island's proximity to Manhattan, Brooklyn, and other New York boroughs, it began attracting vacationers in the 1830s and 1840s. Most of the vacationers were wealthy and went by carriage roads and steamship services that reduced travel time from a formerly half-day journey to two hours. By the late 1870s, the development of Coney Island's amusement park attractions and hotels drew people from all social classes. When the Brooklyn Rapid Transit Company electrified the steam railroads and connected Brooklyn to Manhattan via the Brooklyn Bridge at the beginning of the 20th century, Coney Island turned rapidly from a resort to an accessible location for day-trippers seeking to escape the summer heat in New York City's tenements. In 1915, the Sea Beach Line was upgraded to a subway line, and the opening of the Stillwell Avenue station in 1919 ushered in Coney Island's busiest era. On the peak summer days, over a million people would travel to Coney Island. In 1937, New York City purchased a 400-foot-wide strip of land along the shoreline to allow the boardwalk to be moved 300 feet inland. At this point, Coney Island was so crowded on summer weekends that parks commissioner Robert Moses...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Martin Lewis, 'Tree, Manhattan', drypoint, 1930, edition 91 (including 10 trial proofs), McCarron 87. Signed in pencil. A superb, atmospheric impression, in warm black ink, on cream...