Florida - Figurative Prints

Nelson Dominguez (Cuba, 1947) 'Martí', 2005 engraving on paper Velin Arches 300 g. 14.6 x 14.6 in. (37 x 37 cm.) Edition of 50 ID: DOM-108 Unframed

Eduardo Naranjo (Spain, 1944) 'Creación V', 1984 engraving on paper 15 x 20.9 in. (38 x 53 cm.) Edition of 225 ID: NAR1115-002-225 Hand-signed by author

Rigoberto Mena (Cuba, 1961) "Parece que fue ayer" (Seems was yesterday), 2010 Series: Bon a Tirer engraving, mixed media, chine colle on paper Guarro Super Alpha 250g. 15.8 x 15.8 in...

Agustin Bejarano (Cuba, 1964) 'Los ritos del silencio', 2005 etching on paper 17.4 x 24.9 in. (44 x 63 cm.) Edition of 40 ID: BEJ-109 Unframed

ARTIST: Salvador Dali TITLE: Trilogy of Love Love's Promise MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Levine & Levine for DALART EDITION NUMBER: EA MEASUREMENTS: 21.5"...

Manuel Rivera (Spain, 1927-1995) 'Tela metálica', 1990 engraving on paper 19.7 x 23.7 in. (50 x 60 cm.) ID: RIV1303-002-000 Hand-signed by author

Bold color lithograph, hand signed in pencil and numbered AP IX/X (artist’s proof 9/10), Jerusalem Print Workshop blind stamp lower right. On French Arches paper. Gabriel Cohen, Sel...

Luis Lara (Mexico, 1972) 'Reflejo', 2000 mezzotint on paper Velin Arches 300 g. 28 x 19.7 in. (71 x 50 cm.) Edition of 13 ID: LAL-305 Unframed

Luis Lara (Mexico, 1972) 'Obsecacion', 2000 mezzotint on paper Velin Arches 300 g. 26 x 18.9 in. (66 x 48 cm.) Edition of 10 ID: LAL-303 Unframed

José Viera (Uruguay, 1949) 'La noche', N/A engraving on paper 15.8 x 24.5 in. (40 x 62 cm.) Edition of 225 ID: VIE1176-001-225 Hand-signed by author

Hand signed and numbered by the artist. Image radius approx 24 inches. From the main edition of 300. Artwork is in excellent condition. Certificate of Authenticity is included. All...

Francisco Benjamín López Toledo (born July 17, 1940, Juchitán, Oaxaca) is a Mexican painter, sculptor, and graphic artist. He studied at the Escuela de Bellas Artes de Oaxaca and the Centro Superior de Artes Aplicadas del Instituto Nacional de Bellas Artes, Mexico, where he studied graphic arts with Guillermo Silva Santamaria...

Artist: Eileen Alice Soper (English, 1905-1990) Title: "The New Pupil" *Signed by Soper in pencil lower right Year: 1925 Medium: Original Etching on unbranded white wove paper Limite...

Antonio Núñez (Cuba, 1971) 'Untitled (La Huella Múltiple)', 2002 engraving on paper 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition of 300 ID: HUE-241 Hand-signed by author

Luis Miguel Valdes (Cuban, 1949). 'Albys en la ENA', 2020. Woodcut. Limited edition of 10. Overall size: 89.5 x 134.5 cm. (35-1/4 x 53 in.). Surface: Heavy-weight paper Hand-signed,...

Antonio Lopez Garcia (Spain, 1936) 'Lirio blanco', 2021 etching, lithograph on paper Rives BFK 300 g. 23.1 x 17.8 in. (58.5 x 45 cm.) Edition of 75 Unfram...

Raul Martinez (Cuba, 1927-1995) 'Untitled', 1976 silkscreen on paper 17.5 x 21.5 in. (44.3 x 54.4 cm.) Edition of 10 ID: MRT-303 Hand-signed by author

Fina Miralles (Spain, 1950) 'Café', N/A lithograph on paper 27.6 x 20.5 in. (70 x 52 cm.) ID: MIR1346-001-000 Hand-signed by author _____________________...

Sergio Hernández (Mexico, 1957) 'Untitled', 2016 woodcut on paper 46.9 x 82.7 in. (119 x 210 cm.) Edition of 30 Signed by the author in pencil, lower right. Publisher Taller LSH, Mex...

"Sergio Hernández (Mexico, 1957) 'Untitled', 2011 woodcut on paper 30 x 41.4 in. (76 x 105 cm.) P.A I/III (Proof of Artist) ID: HER-158-2"

Hand painted 3D multiple with archival inkjet on paper. Hand signed lower right by Patrick Hughes. Hand numbered AP 10/10 lower left (there is also a main edition of 100). Publishe...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable offers will be considered. About the artist: As a self taught artist, Jake's style has developed over many years, evolving since childhood. Early in life he nurtured a bond with nature and wildlife that eventually became the basis for his artistic endeavors. Jake captures the landscape with striking compositions emphasizing light and color. Among the artist\'s favorite subjects are serene lakes, forests, and mountains of North America. Jake has enjoyed a popular following throughout the past 23 years that he has been showing, and his art continues to attract collectors throughout Canada and beyond. His art has found homes...

Fernando Aceves Humana (Mexico, 1969) 'Clase de dibujo primer día', 2007 woodcut on paper 17.8 x 22.5 in. (45 x 57 cm.) Edition of 20 ID: ACE-102 Unframed

Esteve Casanoves (Spain, 1954) 'La silla' (Chair), 2008 silkscreen on paper Velin Arches 300 g. 23.1 x 15.4 in. (58.5 x 39 cm.) Edition of 50 ID: CAE-301 Unframed

Rigoberto Mena (Cuba, 1961) 'El Jueves puede ser un gran día' (Thusday could be a great day), 2010 engraving, mixed media, chine colle on paper Guarro Super Alpha 250g. 15.8 x 15.8 i...

R.B. Kitaj (British American 1932-2007) Hand signed and numbered Screenprint Measures approximately 24.5 X 16.65 inches This is from the Robert Creeley daybook. They were done in ...

Antonio Lopez Garcia (Spain, 1936) 'Díptico Rosas de invierno y Lirio blanco', 2021 etching, lithograph on paper Rives BFK 300 g. 23.5 x 30.8 in. (59.5 x ...

Sergio Hernández (Mexico, 1957) 'Corral III, 2011 silkscreen on paper Velin Arches 300 g. 29.6 x 41.4 in. (75 x 105 cm.) Edition of 10 Unframed

Rafael Zarza (Cuba, 1944) 'Pink floyd', 1987 silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 50 Unframed ID: ZAR1183-001-050 Hand-signed by a...

Kcho (Alexis Leiva Machado), (Cuba, 1970) 'Bote con espinas', 2003 engraving, sugarlift on paper 28.8 x 41.3 in. (73 x 104.8 cm.) Ref: KCH-109

Original artist proof engraving, aquatint, intaglio on archival paper by the Russian/American artist, Nahum Tschacbasov. Signed in pencil lower right and dated 1947. Condition: good...

ARTIST: Salvador Dali TITLE: Our Historical Heritage King Solomon MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: 175/400 MEASUREMENTS: 26" x 19.87" YEAR: ...

Carlos Quintana (Cuba, 1966) 'Sin título II', 2001 silkscreen on canvas 39.4 x 28.8 in. (100 x 73 cm.) Edition of 75 ID: QUI1316-002-075 Unframed

Perla Krauze (Mexico, 1953) 'El exilio de los sentidos' (The exile of the senses), 2004 engraving and screenprint on paper 15 x 15 in. (38 x 38 cm.) Edition of 75 ID: KRA1662-001 Han...

Abramovitz, Albert 1879-1963 Born in Riga, Latvia, Abramovitz studied art at the Imperial Art School in Odessa and at the Grande Chaumière in Paris. In Paris, he became a member of ...

Theo Tobiasse Suite: Shavuot Festival Year: 1984 Medium: Original carborundum embossed etching lithograph in colors on Arches paper (deckle edged paper) Signature: Hand signed by the artist Publisher Nahan Gallery, New Orleans Theo Tobiasse, born Tobias Eidesas, 1927 in Jaffa then in British Mandate Palestine, died 2012 in Cagnes-sur-Mer in France. Well known painter, engraver, draftsman and sculptor. French Jewish artist. The youngest son of Chaim (Charles) Eidesas and Brocha (Berthe) Slonimsky from Kaunas, Lithuania, Théo Tobiasse was born in Mandatory Palestine in 1927, where his Jewish parents lived since 1925, far from the threat of pogroms and upheavals of East European policies. The family encountered material difficulties and decided to return to Lithuania, ultimately leaving for Paris in 1931 where his father typographer finds work in a Russian printing press. Theodore Tobiasse...

Luis Enrique Camejo (Cuba, 1957) 'Estudio de olas', 2022 aquatint, direct acid on paper Canson 320 g. 18.4 x 29.2 in. (46.5 x 74 cm.) ID: CAQ-102 Unframed

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Sergio Hernández (Mexico, 1957) 'Corral V, 2011 silkscreen on paper Velin Arches 300 g. 29.6 x 41.4 in. (75 x 105 cm.) Edition of 10 Unframed

Jose Sacal (Mexico, 1944-2018) 'Angel', 2002 mezzotint on paper 22.1 x 18.4 in. (56 x 46.5 cm.) Edition of 25 ID: SAC-101 Hand-signed by author

Born in 1940 in Shostka, Ukraine, Konstantin Bokov immigrated to New York City in 1974.Born the son of Viktor Bokov, the well known poet who perished in the Soviet gulag, Konstantin ...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in t...

Andrés Barajas (Spain, 1941) 'Untitled from Portfolio "Los Deseos"', ca.1990-1999 mixed media on paper 20.9 x 15 in. (53 x 38 cm.) Edition of 200 ID: BA...

Ernesto Garcia Peña (Cuban, 1949) '¡Y ya! ' (And that's it!), 2007 etching, engraving on paper 28.5 x 21.2in. Edition of P.A (Prueba de Artista) Ref: GAE-103

Luis Miguel Valdes (Cuba, 1949) "Another sitting on the wall", 2024 monotype (monoprint) on paper 22.5 x 28.75 in. (57x73 cm.) Hand-signed by author ________________________________...

From Historia de Don Quixote de la Mancha. Hand signed and numbered by the artist. Sheet size: 29.92 x 22.44 inches. Image size: 15.75 x 17.5 inches. From the edition of 300 on Arch...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

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...

Lucio Muñoz Martinez (Spain, 1929-1998) 'Discurso para navegantes I', 1983 engraving on paper 18.2 x 13 in. (46 x 33 cm.) ID: MUÑ1114-011-007 Hand...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 100. Artwork is in excellent condition. Certificate of Authenticity included. All reasonab...

"Detente" according to the artist: "These two silkscreen prints were made in 1987, edition of 5 prints. They were published by Kent Fine Art, NYC. Signed and numbered they sell for $...

Sergio Hernández (Mexico, 1957) 'Alacranes Azules', 2016 woodcut on paper 46.9 x 82.7 in. (119 x 210 cm.) Edition of 30 Unframed

ARTIST: Salvador Dali TITLE: Our Historical Heritage Jeremiah MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: 175/400 MEASUREMENTS: 26" x 19.87" YEAR: 1975...

Enrique Cattaneo (Mexico, 1946) 'Emulando a Allen Jones', 2010 silkscreen on paper Velin Arches 300 g. 15 x 15 in. (38 x 38 cm.) Edition of 40 ID: CAT-311 Unfr...

Gustav Klimt created this image for inclusion in Gerlach & Schenk’s Allegorien the year before he formed the Vienna Secession. While this design is similar to his other inclusions, L...

Francisco Castro Leñero (Mexico, 1954) "Haz del Viento / Bco / Azul/" from serie "El exilio de los sentidos", 2004 Engraving, aquatint on paper...

Artist: Steve Kaufman Title: 50 Dollar Bill Medium: Screenprint on Canvas Edition: AP 5 of 50 Year: 2000-2010 Notes: Hand Signed and Numbered by the artis...

Luis Rodolfo Trimano (Argentina, 1943) ' Untitled III from Estigmas', 2006 silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 106 ID: TRI1706-001-106_3 Hand-signed by author

Antonio Lopez Garcia (Spain, 1936) 'Vaso con Azucenas II', 2022 etching, lithograph on paper Rives BFK 300 g. 23.1 x 26.7 in. (58.5 x 67.7 cm.) Edition of...

Abel Barroso (Cuba, 1971) 'Untitled (La Huella Múltiple)', 2002 engraving on paper 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition of 300 ID: HUE-206 Hand-signed by author