Gustave Doré Portrait Prints

Alberto Giacometti The Search , ca. 1968 Restrike Etching unsigned comes with COA from publishers 25.4 × 20.3 cm 51 x 40.5 cm (framed)

An intimate portrait of his second son, Jean Renoir (1894 – 1979), evokes a childlike sentiment and love that Renoir had for his children. Most likely no more than age 3, Jean is shown here with a cookie, beneath a frilly bonnet characteristic of late 19th century French society. His pink, rosy cheeks are defined with rich, glowing hues that contrast from the pale yellow and grey background in which he rests. Jean was also featured in a family portrait of the Renoirs, titled La Famille de l’Artiste (1896). Created in 1899, this Color Lithograph on Cream Laid Paper is from the edition of 100, from the unpublishedL’Album d’estampes originales de la Galerie Vollard; printed by Auguste Clot, Paris. Catalogue Raisonné: It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work): 1. Delteil, Loys. Pierre-Auguste Renoir, l’œuvre grave...

Pablo Picasso Le Vieux Roi (The Old King) Seigneur et deux filles, 1959 Original Lithograph on Arches light paper with Mourlot watermark, signed in the stone with a red signature. p...

The Basque Boy also called Boy with Beret and Fabian. 1944. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4 (sheet 7 1/8 x 13 7/8). Edition 10. Printed on countermarke...

Printed in 1975, this poster features the encounter between an alluring woman dressed in red, and a man with his back to the viewer. The light of a streetlamp is beautifully imitated...

Pablo Picasso (1881-1973) Couverture Mourlot IV is the original book cover of the monograph "Picasso. Lithograph". It consist of spine, front and back. Edition 3000, cat. raisonné M...

Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25-lifetime impressions plus a few proofs re...

La Capeline de Paille d'Italie (The Italian Straw Hat). 1923. Lithograph. Duthuit 430. 17 3/4 x 15 3/4 (sheet 23 1/8 x 17 7/8). Trial proof, apart fr...

Lucille Fink creates slightly bizarre, densely drawn spaces. Signed, titled, and numbered '19,' in pencil. Annotated on the reverse, "June, 1932, week of 6-10-32, last wk of school."...

Harold Barling Town Charlie Chaplin in Sunnyside 1970 Original Lithograph Visible: 19.5 x 14 inches Framed: 26.25 x 20.25 x 1 inches Signed, dated and numbered in pencil along lower edge Edition: 88...

Felice Casorati (Italian, 1883-1963) The Embrace, 1946 Lithograph Sight: 15 1/2 x 11 1/4 in. Framed: 23 1/3 x 18 2/3 x 1 in. Signed lower left, numbered lower right Felice Casorati (December 4, 1883 – March 1, 1963) was an Italian painter, sculptor, and printmaker. The paintings for which he is most noted include figure compositions, portraits and still lifes, which are often distinguished by unusual perspective effects. Casorati was born in Novara. He showed an early passion for music, but abandoned his study of piano after a serious illness, and became interested in art. To please his mother he studied law at the University of Padua until 1906, but his ambition to be a painter was confirmed in 1907 when a painting of his was shown in the Venice Biennale*. The works he produced in the early years of his career were naturalistic in style, but after 1910 the influence of the symbolists* and particularly of Gustav Klimt turned him toward a more visionary approach. In 1915 he had a solo exhibition at the Rome Secession III, where he showed several paintings and the first of his sculptures in varnished terracotta*. His military service in World War I began that year and lasted until his discharge from the army after the death of his father in 1917. In 1918, "intrigued by the decadent atmosphere of Turin with its sinister views", he settled there with his mother and two sisters. His works of the next decade typify, in their emphasis on geometry and formal clarity, the "return to order" then prevalent in the arts as a reaction to the war. Although many critics found his work cold, cerebral, and academic, Casorati achieved international recognition as a leading figure in this movement. Casorati himself wrote, in 1931: "In taking up, against me, the old polemic of classicism and romanticism, people rail against intellectualized and scholastic order, accuse my art of being insincere, and wilfully academic—in a word, of being neoclassical. ... since my art is born, so to speak, from within, and never has its source in changing "impressions", it is quite natural that ... static forms, and not the fluid images of passion, should be reflected in my works". Briefly arrested in 1923 for his involvement with an anti-Fascist group, Casorati subsequently avoided antagonizing the regime. Beginning in 1923, he opened his studio to the young art students of Turin, and to emerging Italian artists such as Quinto Martini and painters of the Gruppo dei Sei (Group of Six). In 1925, one of his students was Daphne Mabel Maugham, later his wife. One of his later students was the Italian painter Enrico Accatino...

Original lithograph in colours on Arches paper, with full margins, framed Signed by the artist in pencil, lower right on recto Image: 68 x 49 cm, Sheet: 94.5 x 67.9 cm, Framed: 105.3...