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This exquisite lithograph after Edgar Degas (1834–1917), titled Danseur debout de profil (Dancer Standing in Profile), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Studio Publications, Inc., New York, rendered and printed by Albert Carman, City Island, 1945, this work reflects Degas’s sensitive mastery of line, movement, and intimate observation, capturing the grace, poise, and psychological immediacy that define his iconic ballet imagery. In Danseur debout de profil (Dancer Standing in Profile), Degas reveals gesture and inner emotion through economical contour and lyrical nuance. Executed as a lithograph and pochoir on velin paper, this work measures 17 x 13 inches (43.18 x 33.02 cm). Signed in the plate and unnumbered as issued. Rendered and printed by Albert Carman, City Island, one of the notable American ateliers specializing in fine art lithography during the mid-20th century. Artwork Details: Artist: After Edgar Degas (1834–1917) Title: Danseur debout de profil (Dancer Standing in Profile), from Degas, Ten Ballet Sketches, 1945 Medium: Lithograph and pochoir on velin paper Dimensions: 17 x 13 inches (43.18 x 33.02 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1945 Publisher: The Studio Publications, Inc., New York Printer: Albert Carman, City Island, 1945 Condition: Well preserved, consistent with age and medium Provenance: From the 1945 folio Degas, Ten Ballet Sketches, published by The Studio Publications, Inc., New York Notes: Excerpted from the album, Born in Paris in 1834, Edgar Degas lived, and surely loved the life of that city during most of his years. These continued somewhat sadly beyond those of most of his friends— into the debacle of the first World War, during which he died in 1917. Judging by the frequency with which he used them as models, he must have had an especial admiration for the ballet girls who followed a profession that at the time brought none of the glory and prosperity which attend it today. New aspects of the human body, revealed in movement, fascinated him. But his occupation with the simply anatomical side of his subjects never resulted in a cold interpretation. On the contrary there is a warmth and sympathy that pervades all of his work. The drawings here represent the painter in one important phase of his multi-sensitive view of life; and permit an insight which a more ambitious work might not do-into the operation of the creative process, the artist's transformation of reality as it passes through the mesh of his sensibilities. The Edition of this Portfolio is limited to MMMD examples. Rendered by Albert Carman. About the Publication: Degas, Ten Ballet Sketches, published in 1945 by The Studio Publications, Inc., New York, stands as one of the most elegant and scholarly mid-century American fine art folios devoted to the ballet imagery of Edgar Degas. Conceived as a high-quality interpretive portfolio, the album presents a series of lithograph-and-pochoir renderings based on Degas’s original drawings, executed with exceptional attention to tonal subtlety, contour fidelity, and the emotional interiority that defines the artist’s draftsmanship. Rendered and printed by Albert Carman on City Island, the publication embodies an American postwar effort to restore and celebrate European masterworks through meticulous handcraft and artisanal color application, honoring Degas’s distinctive line and the atmospheric delicacy of his studio-based studies. Produced in a substantial edition of MMMD examples, the portfolio offered audiences rare access to Degas’s private working drawings—images rarely seen outside institutional collections—while exemplifying the technical refinement and interpretive care characteristic of Carman’s workshop. Today, Degas, Ten Ballet Sketches remains a sought-after historical publication, valued for its craft, fidelity to Degas’s aesthetic, and its role in preserving and disseminating the artist’s intimate ballet imagery in a beautifully executed mid-century fine art format. About the Artist: Edgar Degas (1834–1917) was a French painter, draughtsman, printmaker, and sculptor whose groundbreaking fusion of classical draftsmanship, modern experimentation, and psychological depth helped define the trajectory of Western art, positioning him as one of the most influential figures of the nineteenth and early twentieth centuries; renowned for his depictions of ballet dancers, racehorses, theater scenes, cafe life, domestic interiors, milliners, laundresses, and women at their toilette, Degas reimagined observational realism through radical compositional innovation—employing extreme cropping, asymmetrical framing, oblique viewpoints, and dramatic lighting that anticipated photographic and cinematic language long before these technologies shaped visual culture, and although associated with Impressionism, he rejected plein-air spontaneity in favor of studio-based discipline rooted in the linear precision of Jean-Auguste-Dominique Ingres, the expressive chromaticism of Eugene Delacroix, and the modernity of Edouard Manet while also drawing inspiration from Japanese ukiyo-e prints, classical sculpture, and early photography; his independent artistic philosophy resonated with and helped shape the innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose explorations of movement, form, dream logic, abstraction, and conceptualism all find antecedents in Degas’s investigations into seriality, temporality, and the fragmented figure, and his pioneering use of pastel, monotype, and wax sculpture fundamentally transformed each medium, influencing artists from Henri Matisse, Francis Bacon, Lucian Freud, and Giacomo Manzu to Paula Rego, contemporary realists, experimental photographers, and choreographers; his works are held in nearly every major museum collection worldwide—including the Musee dOrsay, the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Courtauld Institute, and the National Gallery, London—affirming his central place in the history of art, and the highest auction record for Degas was achieved at Sothebys London on February 3, 2015, when Danseuses en Bleu sold for 37,033,000 GBP, cementing his status as one of the most sought-after and enduringly significant artists of the Western canon. Edgar Degas lithograph...

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This exquisite lithograph by Keith Haring (1958–1990), titled Untitled, from the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989), originates from the 1990 edition published by Publishing House Bebert, Rotterdam, in collaboration with Mera Rubell, New York, and Donald Rubell, New York, and printed by Nieuwe Grafische, Rotterdam, Spring, 1990. Untitled embodies Haring’s signature visual vocabulary—dynamic lines, rhythmic energy, and universal symbolism—infused with the social urgency and optimism that defined his generation. Executed as a lithograph on velin acid-free Rivoli paper, this work measures 8.5 x 10.3 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Nieuwe Grafische, Rotterdam, and the bold spirit of Bebert’s late twentieth-century artist collaborations. Artwork Details: Artist: Keith Haring (1958–1990) Title: Untitled, from the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989) Medium: Lithograph on velin acid-free Rivoli paper Dimensions: 8.5 x 10.3 inches (21.59 x 26.16 cm) Inscription: Unsigned and unnumbered as issued Date: 1990 Publisher: Publishing House Bebert, Rotterdam, in collaboration with Mera Rubell, New York, and Donald Rubell, New York Printer: Nieuwe Grafische, Rotterdam Condition: Well preserved, consistent with age and medium Provenance: From the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989), Bebert, Rotterdam, 1990 Notes: Excerpted from the album, 20 drawings - Oct. 3, 1989 was published with the collaboration of Mera and Donald Rubell by Bebert Publishing House in Spring 1990. The edition consists of MMD hard cover examples, of which D are numbered (I/D - D/D) and signed by the artist. The edition was printed on acid-free Rivoli paper by Nieuwe Grafische in Rotterdam. and bound by Stokkink B.V. in Amsterdam. ©Keith Haring, M.Y.6. 1990. Mera + Don Rubell, NYC 1990. Bebert Publishing House. Westersingel 22-3014 GP, Rotterdam, Holland - 1990. About the Publication: Against All Odds is both an artist’s album and memorial publication comprising twenty lithographs created by Keith Haring on October 3, 1989, just months before his death in February 1990. Conceived in collaboration with Mera and Donald Rubell and published by Bebert Publishing House, Rotterdam, the album encapsulates Haring’s final creative statement. Haring’s accompanying handwritten foreword and brief text meditate on the fragility of human life, ecological collapse, and the artist’s struggle to preserve hope “against all odds.” The drawings—executed in Haring’s immediately recognizable graphic line—depict writhing figures, embryos, skeletons, animals, and cosmic symbols that echo his lifelong concern with birth, death, sexuality, and transcendence. Together, the images and text form a narrative of resistance and endurance amid personal illness and global crisis. The album’s title encapsulates Haring’s sense of perseverance: humanity’s and the planet’s fight for survival despite overwhelming forces of destruction. Published posthumously in spring 1990, Against All Odds stands as a poignant summation of his ethos—celebrating vitality and compassion in the face of mortality and despair. About the Artist: Keith Haring (1958–1990) was an American artist, activist, and cultural innovator whose bold visual language and socially engaged practice redefined contemporary art and the role of the artist in society. Born in Reading, Pennsylvania, and raised in Kutztown, Haring was inspired from an early age by comic art, calligraphy, and graphic design, influences that would later shape his instantly recognizable style of radiant lines, rhythmic movement, and universal symbols. After moving to New York City in 1978 to study at the School of Visual Arts, he immersed himself in the downtown art scene, drawing influence from modernist pioneers such as Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose innovations in form, abstraction, and conceptual art informed his radical approach to public expression. Haring began creating chalk drawings in the New York subway system, transforming urban walls into democratic spaces for creativity and communication. His imagery—radiant babies, barking dogs, flying saucers, and dancing figures—spoke a universal visual language that combined accessibility with profound emotional and political resonance. He became a leading figure in 1980s New York, working alongside Jean-Michel Basquiat, Andy Warhol, and Kenny Scharf to bridge the worlds of street art, pop culture, and fine art. Influenced by Picasso’s expressive energy, Calder’s movement, Miro’s playfulness, and Duchamp’s conceptual wit, Haring developed an art of optimism, immediacy, and activism that addressed issues of love, unity, social justice, and human rights. His work carried urgent commentary on apartheid, AIDS awareness, drug abuse, and inequality, while radiating the joy and vitality of life. In 1986, he opened the Pop Shop, a groundbreaking experiment in making art accessible to all, selling affordable objects featuring his designs without compromising his artistic vision. His monumental public murals, including Crack Is Wack in Harlem and Tuttomondo in Pisa, Italy, continue to stand as symbols of art’s power to educate and inspire collective action. Haring’s dynamic compositions merged the energy of graffiti with the structural clarity of modernism, synthesizing the spiritual abstraction of Kandinsky, the surreal imagination of Dali, and the sensual immediacy of Man Ray. His work influenced generations of artists, including Banksy, Shepard Fairey, KAWS, Takashi Murakami, and RETNA, who continue to echo his fusion of activism and aesthetics. Despite his untimely death from AIDS at age 31, Haring’s impact on art and culture endures globally through the Keith Haring Foundation, which supports children’s programs and HIV/AIDS research. His works are housed in major museums such as the Museum of Modern Art, the Whitney Museum of American Art, the Centre Pompidou, and the Tate Modern, affirming his legacy as a cornerstone of twentieth-century art. The highest auction record for Keith Haring was achieved with Untitled (1982), which sold for $6.5 million USD at Sotheby’s, New York, on May 16, 2017, solidifying his status as one of the most influential, beloved, and enduring artists of the modern era. Keith Haring Untitled Against All Odds 20 drawings Oct 3 1989 Bebert Publishing House Rotterdam 1990 lithograph...

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This exquisite lithograph by Pablo Picasso (1881–1973), titled La Petite Corrida (The Little Bullfight), from the album Special issue of the XX Siecle Review, Hommage a Picasso, originates from the 1971 edition published by Tudor Publishing Co., New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris. La Petite Corrida reflects Picasso’s lifelong fascination with the bullfight—a subject that symbolized vitality, struggle, and creation throughout his career. Executed with the spontaneity and graphic brilliance characteristic of his late lithographs, the composition captures both movement and ritual, merging ancient spectacle with modern energy. Executed as a lithograph on velin paper, this work measures 12.5 × 9.75 inches (31.75 × 24.77 cm). Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris, the atelier that produced many of Picasso’s greatest lithographic works. Artwork Details: Artist: Pablo Picasso (1881–1973) Title: La Petite Corrida (The Little Bullfight), from the album Hommage a Picasso, 1971 Medium: Lithograph on velin paper Dimensions: 12.5 × 9.75 inches (31.75 × 24.77 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1971 Publisher: Tudor Publishing Co., New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Catalogue de L’oeuvre Grave et Lithographie, Pablo Picasso: Catalogue of the Printed Graphic Work. Editions Kornfeld, 1967, illustration 839. Goeppert, Sebastian, et al. Pablo Picasso, the Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1983, illustration 92. Picasso, Pablo, and Fernand Mourlot. Picasso Lithographs, Translated by Jean Didry, Boston Book and Art Publisher, 1970, illustration 302. Condition: Well preserved, consistent with age and medium Provenance: From the album Hommage a Picasso, published 1971 by Tudor Publishing Co. and Societe Internationale d'Art XXe siecle, Paris 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 printed by the foremost ateliers of Paris, including Mourlot, Arte, and Bellini, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design—an enduring testament to Gualtieri di San Lazzaro’s belief that the visual arts are the soul of the modern age. About the Artist: Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, and ceramicist whose extraordinary vision revolutionized modern art and defined the visual language of the 20th century. A child prodigy from Malaga, Spain, Picasso’s career spanned more than seven decades and encompassed an astonishing range of styles and innovations—from the melancholic Blue and romantic Rose periods to his pioneering invention of Cubism with Georges Braque, which shattered conventional notions of perspective and form. Influenced by the bold expressiveness of El Greco, the structure of Cezanne, and the vitality of African and Iberian sculpture, Picasso became a central figure of the Paris avant-garde, working in creative dialogue with contemporaries such as Henri Matisse, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. His insatiable experimentation extended across painting, drawing, printmaking, ceramics, and sculpture, forever expanding the boundaries of artistic expression. A master of reinvention, Picasso profoundly shaped generations of artists who followed—from Andy Warhol, Roy Lichtenstein, David Hockney, and Jean-Michel Basquiat to Jeff Koons and Banksy—cementing his status as a timeless cultural icon whose works remain among the most sought after worldwide. His landmark painting Les Femmes d’Alger (Version “O”) achieved a record-breaking sale of $179,365,000 at Christie’s, New York, on May 11, 2015, affirming Picasso’s enduring legacy as one of the most influential and valuable artists in history. Pablo Picasso La Petite Corrida, Picasso Mourlot Freres, Picasso XXe siecle, Picasso Hommage a Picasso, Picasso 1971 lithograph, Picasso velin paper, Picasso bullfight lithograph...

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This exquisite lithograph after Edgar Degas (1834–1917), titled Danseur au bar (Dancer at the Barre), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Studio Publications, Inc., New York, rendered and printed by Albert Carman, City Island, 1945, this work reflects Degas’s sensitive mastery of line, movement, and intimate observation, capturing the grace, poise, and psychological immediacy that define his iconic ballet imagery. In Danseur au bar (Dancer at the Barre), Degas reveals gesture and inner emotion through economical contour and lyrical nuance. Executed as a lithograph and pochoir on velin paper, this work measures 17 x 13 inches (43.18 x 33.02 cm). Signed in the plate and unnumbered as issued. Rendered and printed by Albert Carman, City Island, one of the notable American ateliers specializing in fine art lithography during the mid-20th century. Artwork Details: Artist: After Edgar Degas (1834–1917) Title: Danseur au bar (Dancer at the Barre), from Degas, Ten Ballet Sketches, 1945 Medium: Lithograph and pochoir on velin paper Dimensions: 17 x 13 inches (43.18 x 33.02 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1945 Publisher: The Studio Publications, Inc., New York Printer: Albert Carman, City Island, 1945 Condition: Well preserved, consistent with age and medium Provenance: From the 1945 folio Degas, Ten Ballet Sketches, published by The Studio Publications, Inc., New York Notes: Excerpted from the album, Born in Paris in 1834, Edgar Degas lived, and surely loved the life of that city during most of his years. These continued somewhat sadly beyond those of most of his friends— into the debacle of the first World War, during which he died in 1917. Judging by the frequency with which he used them as models, he must have had an especial admiration for the ballet girls who followed a profession that at the time brought none of the glory and prosperity which attend it today. New aspects of the human body, revealed in movement, fascinated him. But his occupation with the simply anatomical side of his subjects never resulted in a cold interpretation. On the contrary there is a warmth and sympathy that pervades all of his work. The drawings here represent the painter in one important phase of his multi-sensitive view of life; and permit an insight which a more ambitious work might not do-into the operation of the creative process, the artist's transformation of reality as it passes through the mesh of his sensibilities. The Edition of this Portfolio is limited to MMMD examples. Rendered by Albert Carman. About the Publication: Degas, Ten Ballet Sketches, published in 1945 by The Studio Publications, Inc., New York, stands as one of the most elegant and scholarly mid-century American fine art folios devoted to the ballet imagery of Edgar Degas. Conceived as a high-quality interpretive portfolio, the album presents a series of lithograph-and-pochoir renderings based on Degas’s original drawings, executed with exceptional attention to tonal subtlety, contour fidelity, and the emotional interiority that defines the artist’s draftsmanship. Rendered and printed by Albert Carman on City Island, the publication embodies an American postwar effort to restore and celebrate European masterworks through meticulous handcraft and artisanal color application, honoring Degas’s distinctive line and the atmospheric delicacy of his studio-based studies. Produced in a substantial edition of MMMD examples, the portfolio offered audiences rare access to Degas’s private working drawings—images rarely seen outside institutional collections—while exemplifying the technical refinement and interpretive care characteristic of Carman’s workshop. Today, Degas, Ten Ballet Sketches remains a sought-after historical publication, valued for its craft, fidelity to Degas’s aesthetic, and its role in preserving and disseminating the artist’s intimate ballet imagery in a beautifully executed mid-century fine art format. About the Artist: Edgar Degas (1834–1917) was a French painter, draughtsman, printmaker, and sculptor whose groundbreaking fusion of classical draftsmanship, modern experimentation, and psychological depth helped define the trajectory of Western art, positioning him as one of the most influential figures of the nineteenth and early twentieth centuries; renowned for his depictions of ballet dancers, racehorses, theater scenes, cafe life, domestic interiors, milliners, laundresses, and women at their toilette, Degas reimagined observational realism through radical compositional innovation—employing extreme cropping, asymmetrical framing, oblique viewpoints, and dramatic lighting that anticipated photographic and cinematic language long before these technologies shaped visual culture, and although associated with Impressionism, he rejected plein-air spontaneity in favor of studio-based discipline rooted in the linear precision of Jean-Auguste-Dominique Ingres, the expressive chromaticism of Eugene Delacroix, and the modernity of Edouard Manet while also drawing inspiration from Japanese ukiyo-e prints, classical sculpture, and early photography; his independent artistic philosophy resonated with and helped shape the innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose explorations of movement, form, dream logic, abstraction, and conceptualism all find antecedents in Degas’s investigations into seriality, temporality, and the fragmented figure, and his pioneering use of pastel, monotype, and wax sculpture fundamentally transformed each medium, influencing artists from Henri Matisse, Francis Bacon, Lucian Freud, and Giacomo Manzu to Paula Rego, contemporary realists, experimental photographers, and choreographers; his works are held in nearly every major museum collection worldwide—including the Musee dOrsay, the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Courtauld Institute, and the National Gallery, London—affirming his central place in the history of art, and the highest auction record for Degas was achieved at Sothebys London on February 3, 2015, when Danseuses en Bleu sold for 37,033,000 GBP, cementing his status as one of the most sought-after and enduringly significant artists of the Western canon. Edgar Degas lithograph...

This modern Silvorra ring is crafted in 925 sterling silver and designed in an open wave for a chic, stacked look. The top wave band is coated in smooth white enamel and dotted with ...

Sunbathing in Capri, Catherine Wilke 1980 Chromogenic Lambda print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Catherine Wilke...