Nude Prints

"Not from Hollywood" Nude Photography 36" x 24" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin fin...

Underwater nude shot from above a small cenote in Tulum, Mexico. Other size prints, framing options and print methods (such as fine art paper or face mounted plexiglass) available up...

Ray Smith's aptitude for the surreal is apparent in this portfolio of six drypoint prints, presented in a portfolio case. Each image depicts an intriguing, fantastic landscape populated with chimeric nudes. Each one is carefully printed to appear as if doodled on lined notebook paper with ballpoint pen: Japanese letter paper chine-colle on Kizuki Hosho paper. Translated as "Letters from Japan," Cartas de Japon plays on tropes of an exotic, faraway land. The series of prints perhaps pictures Japan in the imagination of westerners, who for centuries speculated that those from other continents had wildly different bodies and customs. The title may be a reference to iconic Mexican director Carlos Velo's 1973 film Letters from Japan. Cartas del Japon, 1988-89 Portfolio of 6 drypoint prints printed on Japanese letter paper mounted on Kizuki Hosho paper Plate 6 x 7.8 in. Paper 18 x 23.4 in. Ed. 30 with three artist proofs. Printed by Hideharu Mishio, Norimasa Mizutani, and Marie Okada at Woodblock Workshop. Published by AC&T CORPORATION, Tokyo, 1989. Per the Broad: "Ray Smith’s paintings incorporate surrealistic and animistic tendencies informed by his Latin heritage as well as deep study of the history of modern art. Smith was born near the Texas/Mexico border...

This artwork "two Native American Girls" c. 1990 is a color offset lithograph by noted artists Popo and Ruby Lee, b.1940. It is Hand signed and numbered 501/750 in pencil by the arti...

Paul Wunderlich From Portfolio "Twilight" with Karin Szekessy Year: 1971 Medium: Color Lithograph Edition: 125 Size: 33 x 25 in. Publisher: A.A.A., New ...

"Untitled (Nr. 3671)" Nude Photography 24" x 18" Edition 2/20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination ...

Attr. to S. Dalì, "Aphrodite", Heliogravure and dry-point. Paris, Argillet. 1963-65. Image dimensions 49,2 x 39,7 cm. Beautiful Proof on vélin filigrané “Arches”, Signed and Dated...

Nude is an original etching realized by Sergio Barletta in 1975 ca. Hand-signed on the lower right in pencil. Numbered in Roman numerals, edition of VI/IX prints, on the lower left ...

Andre DERAIN Two Nude Women Surprised Original drypoint etching Stamp signature of the artist On vellum 45 x 34 cm (c. 18 x 14 in) Excellent condition

- Plate 55 from the Suite 156 - with stamp signature - dated in the plate 2.3.70 - edition 26/50 - cat. raisonné Bloch 1910

Artist: Sam Francis Medium: Lithograph Title: Round Breast of Jayne Mansfield Portfolio: 1964 1¢ Life Year: 1964 Edition: 2000 Framed Size: 21 1/4" x 16 1/4" Sheet Size: 16 1/8" x 11...

Torso Leonard Baskin, American (1922–2000) Date: 1967 Etching, signed and numbered in pencil, dated in the plate Edition of HP Image Size: 10 x 8.75 inches Size: 20 x 15 in. (50.8 x ...

Jean-Baptiste VALADIE Deadly Sins : Luxury Original etching Handsigned in pencil Limited /250 copies On vellum 35 x 45 cm (c. 14 x 18 in) Excellent condition

LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Arts) in the studios of professors Władysław Strzemiński, Adam Rychtarski, Stefan Wegner and Ludwik Tyrowicz. He graduated with special award from the Academy of Fine Arts in Krakow in 1954. In 1958 he became a member of the Piąte Koło association ("Fifth Wheel...

Jean Baptiste VALADIE Fall : Woman under a Tree Originale Etching Signed in pencil Numbered on 225 copies On vellum 45 x 32 cm (c. 17.7 x 15.5 inches) excellent condition

Saint Clair Cemin, Brazilian (1951 - ) - Within You II, Year: 1978, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, Edition: 11/30, Image Size: 5.75 x ...

Woman from Shoulders is an etching on paper, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed on the lower right. Numbered edition, I/X. In good condition ...

Jean-Baptiste Valadie Love me Slow, 1976 Original etching Handsigned in pencil Numbered / 199 On vellum 37 x 52 cm (c. 15 x 21 inch) Excellent condition

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

Mikio Watanabe, Japanese (1954 - ) - Confident, Year: 2004, Medium: Mezzotint, signed, titled, numbered and dated in pencil, Edition: 5/70, Image Size: 9.5 x 2.75 inches, Frame S...

Raymond Pettibon Black Flag 1984: Rare early 1980's Black Flag promotional poster illustrated by Raymond Pettibon for the seminal Black Flag record: My War. A striking, historic 1980s Raymond Pettibon Black Flag poster sure to standout in any setting. Offset printed punk poster...

Wayne Ensrud, American (1934 - ) - Flower Dance, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 29.5 x 22 inches, Size: 31 in. x...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Femme aux Cheveaux Rouge II by Daniel Riberzani, French (1942) Date: circa 1979 Screenprint, signed and numbered in pencil Edition of 300, AP 45 Image Size: 17.5 x 21.5 inches Size: ...

Male nude etching, from a series of 6 male and 6 female images. In January 2018, the Mexican Museum in San Francisco mounted an exhibition An Artist’s Evolution, a retrospective which has elevated Fernando’s exposure in the SF Bay Area...

Artist: Keith Haring, American (1958 - 1990) Title: New Year's Invitation 1988 Year: 1988 Medium: Silkscreen on Paper Image Size: 11 x 8 inches This bears a printed signature. It is not hand signed as issued. Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist and social activist whose work responded to the New York City street culture of the 1980s by expressing concepts of birth, death, sexuality, and war. Haring's work was often heavily political and his imagery has become a widely recognized visual language of the 20th century. Keith Haring was born in Reading, Pennsylvania, on May 4, 1958. He was raised in Kutztown, Pennsylvania, by his mother Joan Haring, and father Allen Haring, an engineer and amateur cartoonist. He had three younger sisters, Kay, Karen and Kristen. Haring became interested in art at a very early age spending time with his father producing creative drawings. His early influences included Walt Disney cartoons, Dr. Seuss, Charles Schulz, and the Looney Tunes characters in The Bugs Bunny Show. In Haring's teenage years, he left his religious background behind and hitchhiked across the country, selling vintage t-shirts and experimenting with drugs. He studied commercial art from 1976 to 1978 at Pittsburgh's Ivy School of Professional Art but lost interest in it. He made the decision to leave after having read Robert Henri's The Art Spirit (1923) which inspired him to concentrate on his own art. Haring had a maintenance job at the Pittsburgh Center for the Arts and was able to explore the art of Jean Dubuffet, Jackson Pollock, and Mark Tobey. His most critical influences at this time were a 1977 retrospective of the work of Pierre Alechinsky and a lecture by the sculptor Christo in 1978. Alechinsky's work, connected to the international Expressionist group CoBrA, gave Haring confidence to create larger paintings of calligraphic images. Christo introduced him to the possibilities of involving the public with his art. Haring's first important one-man exhibition was in Pittsburgh at the Center for the Arts in 1978. He moved to New York to study painting at the School of Visual Arts. He studied semiotics with Bill Beckley as well as exploring the possibilities of video and performance art. Profoundly influenced at this time by the writings of William Burroughs, he was inspired to experiment with the cross-referencing and interconnection of images. He first received public attention with his public art in subways. Starting in 1980, he organized exhibitions at Club 57, which were filmed by the photographer Tseng Kwong Chi. Around this time, "The Radiant Baby" became his symbol. His bold lines, vivid colors, and active figures carry strong messages of life and unity. He participated in the Times Square Exhibition and drew animals and human faces for the first time. That same year, he photocopied and pasted provocative collages made from cut-up and recombined New York Post headlines around the city. In 1981, he sketched his first chalk drawings on black paper and painted plastic, metal, and found objects. By 1982, Haring had established friendships with fellow emerging artists Futura 2000, Kenny Scharf, Madonna and Jean-Michel Basquiat. He created more than 50 public works between 1982 and 1989 in dozens of cities around the world. His "Crack is Wack" mural, created in 1986, is visible from New York's FDR Drive. He got to know Andy Warhol, who was the theme of several of Haring's pieces, including "Andy Mouse". His friendship with Warhol would prove to be a decisive element in his eventual success. In December 2007, an area of the American Textile Building in the TriBeCa neighborhood of New York City was discovered to contain a painting of Haring's from 1979. In 1984, Haring visited Australia and painted wall murals in Melbourne (such as the 1984 'Detail-Mural at Collingwood College, Victoria') and Sydney and received a commission from the National Gallery of Victoria and the Australian Centre for Contemporary Art to create a mural which temporarily replaced the water curtain at the National Gallery. He also visited and painted in Rio de Janeiro, the Musée d'Art Moderne de la Ville de Paris, Minneapolis and Manhattan.[9] He became politically active, designing a Free South Africa poster...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Serigraph of male nude on top of power line, by gay Chicano artist Miguel Angel Reyes. Signed and numbered, edition of 61. Image refers to the tensions of being gay and from a trad...

Reclining Woman is a beautiful and original lithograph from the portfolio "Erotica" by Egon Schiele. It is a reproduction of the homonym charcoal drawing realized by the Austrian ma...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Japanese Block POP ART technique with a nude Geisha Comes unframed About the Artist World-renowned guru of Jap Pop Art - Zane Fix, is an American artist, ...

Contemporary figurative nude monotype print by Belarussian artist, Siergiej Timochow. Print depicts a woman with a tube. The composition is monochromatic in blue. The paper/cardboard...

Artist: Salvador Dali (Spanish, 1904-1989) Title: "Le Viol d'Europe (The Rape of Europa)" Portfolio: Hommage à Albrecht Durer (Suite Mythologique Nouvel...

The Couple is original colored lithography on the cardboard, realized by Leonor Fini, an Argentine-Italian painter who spent her artistic career in France and was associated with the...

Henri Matisse Odalisque à la culotte de satin rouge 1925 Lithograph on Chine paper, Edition of 50 Paper size: 28.5 x 36.5 cms (11 1/4 x 14 3/8 ins) Image size: 19 x 27 cms (7 1/2 x 1...

The Dance is an original etching realized by Louis Jou in the Early 20th Century. Monogrammed on the lower. Good conditions with some foxing. Louis Jou (Gracia, 1882 - Baux, 1968), the twentieth-century etcher and wood engraver, was a prolific illustrator of a large number of books in France, authored by big names like Andre Gide...

Image dimensions: 12.5 x 15.5 cm. Drypoint, etching. Not signed. Good condition.

Willibrord Haas (*1936 Schramberg), The completely naked prostration, 1999. Etching, 32.5 cm x 23.5 cm (plate size), 54 cm x 37.5 cm (sheet size). Signed “Willibrord Haas” in lead by...

Nude from the Back is a Lithograph realized by Franco Gentilini (Italian Painter, 1909-1981), in the 1970s. The state of preservation of the artwork is excellent. Hand-signed. Art...

Limited edition, 8/20. ANNA MIKKE (born in 1950) She graduated from the Academy of Fine Arts in Łódź in 1975. After graduation, she was engaged in graphic design, including designing...

Artist: Dan May (American, 1955-) Title: "Nudes on Towels" *Signed and numbered by May in pencil lower left Year: 1983 Medium: Original Screenprint on unbranded cream wove paper Limited edition: 104/150 Printer: the artist May himself, Oakland, CA Publisher: the artist May himself, Oakland, CA Sheet size: 31.75" x 29.63" Image size: 24.13" x 24.13" Condition: Light wear to lower right corner. In excellent condition. A fantastic image Notes: Titled and dated by May in pencil lower right. Biography: Dan May is an American painter and printmaker born on March 11, 1955 in San Francisco, CA. Raised in aesthetic surroundings heavily influenced by his architect father, May grew up learning to view all things with an eye for design, color, and shape. At age 5, he remembers his father cutting up a book of drawings by Henri Matisse and hanging them on the walls of their home. The French master Matisse as well as Richard Diebenkorn and David Hockney are his favorite art influences. He began his first attempts at painting at age 15, and later began to experiment with printmaking, teaching himself various techniques such as woodblock printing, etching, silkscreen printing, and monoprinting. Monoprinting soon became May's medium of choice due to its wide range of expression and spontaneity that he felt other techniques lacked. May - "With monoprinting, you can only work a piece for as a long as the paint stays wet, so the resulting print has a feeling of movement and immediacy. I also like how monoprinting allows the brush strokes to transfer a transparent light quality to the print. For me, this is a technique that bridges...

"Shiny Nude" by Tom Wesselmann, published by Parasol Press LTD. and printed by A. Colish Press, stands out for its glossy finish and vibrant depiction of the female form. It represen...

Signed Limited Edition , 6 /25 , etching by this collected Scottish artist. Very pretty, mounted unframed. Ian Laurie was born in 1933 and is a self taught artist who made the transition from industry to artistry around 40 years ago when he & his wife opened a gallery specialising in original, hand made prints by artists working in that medium. His own hobby of sketching soon became etching and it wasn't long before he was producing his own limited edition etchings...

Claudio Bravo, (Chilean 1936-2011), Torso, 1978, Screenprint on paper, signed and dated (lower right) and numbered '28/50' (lower left), 18cm x 30cm (image size), 34cm x 46cm (sheet ...

Artist: Henri Matisse (after) Title: Nus Bleus I Portfolio: The Last Works of Henri Matisse Medium: Lithograph Year: 1958 Edition: 2000 Framed Size: 21 3/4" x 18" Sheet Size: 14" x ...

Portfolio of 10 Original Signed Engravings by Salvador Dali Title: Decameron Signed in Pencil by Salvador Dali Dimensions: 45 x 32 cm Edition EA 1/5 1972 References : Field 72-8 (p. ...

Hand signed. Very rare edition of 125 prints. Good conditions. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created over 70 years ago by an a...

Male nude lithograph by Trevor Southey. Lifting is a striking lithograph by the South African-born, Utah-based artist Trevor Southey, celebrated for his masterful draftsmanship and ...

Salvador Dali - Marguerite - Original Etching from "Faust" suite Stamped signature, as issued From the standard edition of 731 Edition number 7 Dimensions: 38,5 x 28,5 cm Edition Arg...

The Red Host is a colored lithograph from the portfolio " Erotica" by Egon Schiele. It deals with a reproduction of the homonym artwork realized in watercolor and pencil by the Aus...

Jean Cocteau White Book - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithograp...

Hand-signed and numbered by artist in pencil. Editions of 90 copies (11/90). Includes some artist's proofs. Image dimensions: 50x35 cm. Very good conditions. Published in general cat...

This etching features a nude woman in high heels. Whipping her head to the left, she gazes intently past the viewer through a wild tangle of tresses. A sunhat with a bow nearly floats off her head, a tongue-in-cheek nod to modesty. Taking a wide stance, she straddles a comically large phallus, which springs up eagerly from the ground like a plant. Unusually, this etching was drawn directly onto the plate from the artist’s imagination and not from a life model. This spontaneity is visible around the woman’s bust and arms, where Oldenburg sketched several variations of her anatomy, giving the impression of a figure in movement. Beside her left breast, Oldenburg extends this halo of lines by cheekily doodling a small, floating phallus. Paper 36 x 27.5 in. / 91.4 x 69.2 cm. Plate 23.5 x 17.7 in. / 59.7 x 45.1 cm. Etching in one color on white, thick, slightly textured Wookey Hole handmade paper watermarked with the artist’s signature. Signed by the artist and dated 1975 lower right in pencil. The edition of 60 includes ten prints in each of six different ink colors: Indigo blue, vermilion, mauve, burnt sienna, astral blue, and yellow-ochre. A copy of each color is available: this listing is for one copy in the color of your choice. As recorded in the artist’s unpublished notes: “In 1974 an ambitious project for a suite of large-scale etchings was hatched with Paul Cornwall-Jones, for production by Maurice Payne in Petersburg Press’s new Pembroke studios in London. The project would consist of meticulous transcriptions of a certain group of drawings...

Salvador Dali - Oysters and Nude - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Polish painter and graphic designer, Czeslaw Tumielewicz was born in 1942. In 1968, he studied at the Architecture faculty of Gdank, before continuing his course at the Technical Un...

Nudes is an Original Etching realized in Early 20th Century by Raphael Drouart (1884-1972). The artwork is in good condition. Hand-signed. Numbered. Edition,18/25. Maurice Raphaë...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Marcel Marceau, French (1923 - 2007) - Nude Man with Marcel, Portfolio: Le Troisieme Oeil (The Third Eye), Year: 1981, Medium: Lithograph on Arches Paper, signed and numbered in p...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Marcel Marceau, French (1923 - 2007) - Nudes in Landscape, Portfolio: Le Troisieme Oeil (The Third Eye), Year: 1981, Medium: Lithograph on Arches Paper, signed and numbered in pen...