Expressionist Figurative Prints

Lithograph on vélin d’Arches 300gm paper. Paper Size: 21.8125 x 18.3125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, For My People, 1992. Published...

This exquisite lithograph by Marc Chagall (1887–1985), titled Sara et les Anges (Sarah and the Angels), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revu...

Max Weber, 'Seated Figure", woodcut, edition not stated, 1919-20, Rubenstein 17. Signed in pencil. A fine impression on cream Japan paper; the full sheet with margins (2 to 3 1/8 in...

This exquisite lithograph after Marc Chagall (1887–1985), titled Ulysses und Eumaios (Ulysses and Eumaeus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-lan...

This exquisite lithograph after Marc Chagall (1887–1985), titled Frontispiz (Frontispiece), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio publ...

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Inspiree (The Inspired Woman), from the album The Lithographs of Chagall, Volume II, originates from the 1963 edition ...

Figura de Hombre en Azul con Fondo Gris / Figure of a Man in Blue with Gray Background. Carborundum etching on paper. Hand signed lower right by Ruffino Tamayo. Hand numbered HC 3...

Jean Jansem (1920-2013) Deux danseuses, 1995 Lithographie sur papier Arches, justifiée et numérotée EA Signée en bas à droite 22 x 17 cm / 32 x 26 cm Bibliographie: Catalogue raiso...

Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant-garde group, Painted on anything handy. Ben-Zion often used cabinet...

Silkscreen on vélin paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Poems of Léopold Sédar Senghor, 1996. Published by The Limited Editions Club, New York; printed by Studio Heinrici, Ltd., New York, under the direction of Alexander Heinrici, New York, 1996. Excerpted from the album, CC examples of this album have been printed by Daniel Keleher at Wild Carrot Letterpress. This edition was designed and set in Bodoni types by Dan Cart and Julia Ferrari at Golgonooza Letter Foundry. The silkscreen prints were made by Alexander Heinrici at Studio Heinrici. LOIS MAILOU JONES (1905-1998) was an African American artist and educator, often associated with the Harlem Renaissance. Jones was raised in Boston by working-class parents who emphasized the importance of education and hard work. After graduating from Boston’s School of the Museum of Fine Arts, Jones began designing textiles for several New York firms. She left in 1928 to take a teaching position at Palmer Memorial Institute in North Carolina. At Palmer, Jones founded the art department, coached basketball, taught folk dancing, and played the piano for Sunday services. Two years later, she was recruited by Howard University in Washington, D.C., to join its art department. From 1930–77, Jones trained several generations of African American artists, including David Driskell, Elizabeth Catlett, and Sylvia Snowden...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

This exquisite lithograph by Marc Chagall (1887–1985), titled Moise recoit les Tables de la Loi (Moses Receives the Tablets of the Law), from Marc Chagall, Dessins Pour La Bible (Dra...

Title: Die Zauberflöte (Mourlot CS. 38), The Metropolitan Opera Year: 1973 Medium: Lithograph on wove paper Size: 39.5 x 25.75 inches Notes: From the opening of Mozart's 'The Magic F...

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Printed in Germany in 1922 for the rare Ganymed portfolio of "Das vierte Jahrbuch der Marees...

This exquisite silkscreen by Faith Ringgold (1930–2024), titled For Whites Only, from the folio Letter from Birmingham City Jail, originates from the 2007 edition published by The Li...

This exquisite lithograph after Marc Chagall (1887–1985), titled Sisyphos (Sisyphus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published ...

KATHE KOLLWITZ (1867-1945) HAMBURGER KNIEPPE, 1901) (K.58 IIIb) Soft Ground Etching, Plate 9 ¾ x 8 ¼ sheet 10 ½ x 13 ¾. With the von de Becke blind stamp in the lower right. Prin...

Jean Jansem (1920-2013) Lydia au coussin indien, 1993 Lithographie sur papier Arches Signée et justifiée 49 x 64,5 cm / 56 x 76 cm Imprimeur: Arts-Litho, Paris Editeur: Jansem, Pari...

This exquisite lithograph after Marc Chagall (1887–1985), titled Das Bett des Odysseus (The Bed of Odysseus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-l...

This artwork titled "Juges" from the suite "Les Fleurs du Mal" created in 1937/38, is an original color aquatint on Montval paper by renown French artist Georges Rouault, 1871-1958....

Lithograph on vélin d’Arches 300gm paper. Paper Size: 21.8125 x 18.3125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, For My People, 1992. Published...

This exquisite lithograph by Marc Chagall (1887–1985), titled La Jongleuse (The Juggler), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edition publis...

KAREL APPEL (1921 - 2006) BLACK FACE, 1969 Lithograph in colors signed in pencil. Edition 26/75, Image: 19 3/4 x 25 1/4, sheet: 22 x 30 inches. Just hint of a mat line Appel was a member of the Cobra art movement

This exquisite lithograph after Marc Chagall (1887–1985), titled Athene senkt Odysseus in den Schlaf (Athena Lulls Odysseus to Sleep), from Homer, Die Odyssee (The Odyssey), originat...

Karl Michel, 'Venus, Ex Libris - Hanns U. Herta Heeren', woodcut, 1923, edition not stated but small. Signed, dated, and numbered 'op.154' in pencil. Signed in the block, lower left. A fine impression, on cream Japan paper, with full margins (15/16 to 2 11/16 inches), in good condition. Printed by the artist. Matted to museum standards (unframed). . Translation: Venus Ex Libris for Hanns and Herta Heeren. Image size 5 15/16 x 4 inches (156 x 102 mm); sheet size 9 5/8 x 6 inches (245 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Dan, from the album Marc Chagall, The Jerusalem Windows, originates...

A monotype created with oil based etching inks and oil paint printed from a plexiglass matrix. Expressive, Figurative image with stark light and shadow.

This exquisite lithograph by Marc Chagall (1887–1985), titled Devant St-Jeannet (Before St-Jeannet), from the album Les Ceramiques et Sculptures de Chagall (The Ceramics and Sculptur...

Silkscreen on vélin paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Poems of Léopold Sédar Senghor, 1996. Published by The Limited Editions Club, New York; printed by Studio Heinrici, Ltd., New York, under the direction of Alexander Heinrici, New York, 1996. Excerpted from the album, CC examples of this album have been printed by Daniel Keleher at Wild Carrot Letterpress. This edition was designed and set in Bodoni types by Dan Cart and Julia Ferrari at Golgonooza Letter Foundry. The silkscreen prints were made by Alexander Heinrici at Studio Heinrici. LOIS MAILOU JONES (1905-1998) was an African American artist and educator, often associated with the Harlem Renaissance. Jones was raised in Boston by working-class parents who emphasized the importance of education and hard work. After graduating from Boston’s School of the Museum of Fine Arts, Jones began designing textiles for several New York firms. She left in 1928 to take a teaching position at Palmer Memorial Institute in North Carolina. At Palmer, Jones founded the art department, coached basketball, taught folk dancing, and played the piano for Sunday services. Two years later, she was recruited by Howard University in Washington, D.C., to join its art department. From 1930–77, Jones trained several generations of African American artists, including David Driskell, Elizabeth Catlett, and Sylvia Snowden...

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt Biermann in an edition of 500. Catalogue re...

This exquisite lithograph by Marc Chagall (1887–1985), titled L'apparition au cirque (The Vision at the Circus), from the album The Lithographs of Chagall, Volume II, originates from...

This exquisite lithograph by Marc Chagall (1887–1985), titled Adam et Eve et le fruit defendu (Adam and Eve and the Forbidden Fruit), from Marc Chagall, Dessins Pour La Bible (Drawin...

Edvard Munch (1863 - 1944) (after) Young and Old Woman Poster printed in offset lithograph (from Munch's original woodcut "Women on the Shore" of 1898) Printed in Mourlot workshop, Paris 76 x 53 cm (30 x 21") INFORMATION : Realised for the exhibition in the Los Angeles County Museum...

Pierre AMBROGIANI (1907-1985) House Surrounded by Lavender, 1974 Original Lithograph (Gourdon Workshop) Signed with the artist's stamp On vellum 38 x 28 cm (c. 14.9 x 11 in) Excell...

This exquisite lithograph by Marc Chagall (1887–1985), titled Daphnis et Chloe (Daphnis and Chloe), from the album XXe Siecle, Nouvelle serie, XXIIe Annee, No. 14, Juin 1960, originates from the 1960 edition published by Societe Internationale d'Art XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1960. Daphnis et Chloe reflects Chagall’s poetic fusion of love, mythology, and dreamlike imagery, inspired by the ancient Greek pastoral romance and reimagined through his luminous color harmonies and floating forms. The work embodies Chagall’s timeless exploration of passion, innocence, and the spiritual beauty of nature, rendered in his signature chromatic radiance and lyricism. Executed as a lithograph on velin paper, this work measures 12.5 x 9.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Daphnis et Chloe (Daphnis and Chloe), from the album XXe Siecle, Nouvelle serie, XXIIe Annee, No. 14, Juin 1960 Medium: Lithograph on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Societe Internationale d'Art XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne reference: Mourlot, Fernand, and Marc Chagall. Chagall Lithographe, Volume II, 1957–1962. Chagall Lithographe, Sauret, 1963, illustration 227 Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Nouvelle serie, XXIIe Annee, No. 14, Juin 1960, published by Societe Internationale d'Art XXe Siecle, Paris; printed by Mourlot Freres, Paris, 1960 About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs and woodcuts printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. The 1960 issue, XXe Siecle, Nouvelle serie, No. 14, showcased Daphnis et Chloe, one of Chagall’s most celebrated lithographic subjects, coinciding with his work on the monumental suite of lithographs inspired by the same pastoral tale, published by Teriade. Through this publication, San Lazzaro further cemented Chagall’s reputation as the modern poet of color and love, uniting myth, nature, and emotion in visual form. Today, XXe Siecle remains an essential record of 20th-century modernism, celebrated for its seamless integration of fine art, literature, and design. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Daphnis...

Eduardo Chillida (Spain, 1924-2002) '5 Livres Gravés', 1974 Original poster from show lithograph on paper 25.2 x 17 in. (64 x 43 cm.) Unframed Ref: CHI100-202 Eduardo Chillida He be...

This artwork, titled "Clown sur Fond Bleu" from the suite "Clowns" 1985, is an original color lithograph on Arches watermarked paper by renown French artist Bernard Buffet, 1928-1999...

Contributors to Gerlach & Schenk’s publications valued design and innovation in the graphic arts just as much as they examined allegories as subject matter for exploration. Here, Gus...

Plate 12 From: 10 Origi, 1942 Signed in the block with the artist's initials lower left (printed) From: 10 Origin Not from the First edition 100, published by Allianz-Verlag, Zurich,...

Plate #14 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

KARL SCHMIDT-ROTTLUFF 1884-1976 Rottluff, Germany 1884 - 1976 Berlin (German) Title: By the Nets Bei den Netzen, 1914 Technique: Original Hand Signed Woodcut on Laid Paper Paper size: 51.2 x 62.4 cm. / 20.2 x 24.6 in. Additional Information: This original woodcut is hand signed in pencil by the artist "S. Rottluff" at the lower right margin. This is the fifth woodcut of the portfolio "Zehn Holzschnitte von Schmidt-Rottluff" [Ten Woodcuts by Schmidt-Rottluff] that was published in 1919. It was published by Graphisches Kabinett J. B. Neumann, Berlin in a limited unnumbered edition of 75 plus some proofs. The printer was Fritz Voigt...

Lithograph on vélin bouffant d'Alfa paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Dur Désir de Durer, illustré par Marc Chagall, ...

This exquisite etching by Marc Chagall (1887–1985), titled Le traktir (The Inn), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc C...

This exquisite etching by Marc Chagall (1887–1985), titled L'arrivee de Tchitchikov (The Arrival of Tchitchikov), originates from the celebrated folio Nicolas Gogol, Les Ames mortes,...

As an artist trained in the applied arts, Gustav Klimt valued all forms of art, including the graphic arts. This final design from 1896 for inclusion in Allegorien published by Gerlach & Schenk demonstrates respect for artistic precedent and for a wide range of media and technique. The publication was printed in an unknown number of copies. Klimt’s rendering in latin of the title, “SCVLPTVR.,” with three-dimensional effect on the wall, is a figurative allusion to this medium as well as a literal reference to Ancient Rome. By doing the same with his signature and date in roman numerals on the right hand side of the image, Klimt places himself, The Artist, firmly in this linear and legitimizing context of art history and as its modern standard-bearer. Playing on Classical mythology and the story of Pygmalion, in which a statue comes to life, Klimt presents his modern Venus holding an apple. Klimt’s Venus exhibits a curvilinear softness; there are no angles. Klimt deftly shows the possibilities in a graphic image to give life to dark, wavy hair and tenderness to swelling breasts and belly. To further emphasize the allegory of thriving modern art, he contrasts his Venus with the cold, hard ancient classical head whose eyes are vacuous and whose hair is but a stylized mass of curls. Klimt’s living Venus stands in front of the large bust and large classical pillar upon which is a sculpture of a Sphinx and a Greek Attic bust. As if a gallery to represent sculpture’s “best of” through the ages, the upper horizontal panel includes bust depictions in marble, cast metal and wood...

Original Limited Edition Lithograph on Arches paper. Edition: 180, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition, with centerfold, as issued; neve...

This exquisite lithograph by Marc Chagall (1887–1985), titled Moise II (Moses II), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litte...

This exquisite lithograph by Marc Chagall (1887–1985), titled Nu au Collier (Nude with Necklace), from the folio Derriere le miroir, No. 198, originates from the 1972 edition publish...

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 ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Cirque au Soleil (Circus in the Sun), from the folio Derriere le miroir, No. 235, originates from the 1979 edition publi...

This artwork titled "Clown et Enfant (Clown and Child)" from the suite "Cirque (Circus) by Andre Suarez" created in 1930, is an original color aquatint, etching and drypoint by renown French artist Georges Rouault, 1871-1958. It is signed in the plate as issue. According to Isabelle Rouault (Daughter of the artist) the total edition was 500. Published by Ambroise Vollard, Paris and printed by Maurice Potin, Paris. Referenced and pictured in the artist's catalogue raisonnes by Rauch #153, Kornfeld, Klipstein Catalog 120, #134 to #144, Soby pages 110 and 120, and Ambroise Vollard Editeur by Una E. Johnson #202 and page #109. . The plate mark (image) is 12.15 x 8.25 inches, framed size is 24.75 x 21 inches. Custom framed in a wooden black and gold frame, with fabric matting, fabric spacer, and gold color bevel. Artwork and frame are in excellent condition, the colors are fresh and bright. Example of this artwork is held in many museums including The Museum of Modern Art, New York About the artist: French painter, draughtsman, printmaker and designer, Georges Rouault created a personal style of Expressionism that gives him a highly distinctive place in Modern Art. Rouault was born in 1871, in the cellar of a house in Belleville, a working class quarter of Paris near the Père Lachaise cemetery, while the city was being bombarded by government troops quelling the Paris Commune. His father was a finisher and varnisher of pianos at a local factory. Rouault's grandfather was an amateur art...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

Plate #7 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

Georg Baselitz (1938) Elke Up Side Down : Tribute to Woman Original etching On Rives vellum 66 x 50 cm (c. 26 x 20 in) Authenticated with Chalcographie of Louvre Museum blind stamp ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Moise III (Moses III), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Lit...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

Kathe Kollwitz, German (1867 - 1945) - Kinder halten Essensschusseln (Children holding Food Bowls), Year: 1923, Medium: Lithograph, Image Size: 16 x 11 inches, Frame Size: 25.2...

LeRoy Neiman, American (1921 - 2012) - Springfield Museum of Fine Arts (Tennis), Year: 1974, Medium: Poster, Size: 24.5 in. x 34 in. (62.23 cm x 86.36 cm)