Recognized Dealers Figurative Prints

Francisco Souto has created his self portrait working on the plate of a mezzotint. This is impression #14 from an edition of only 23. Souto received a BFA from Herron School of Art ...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. In this mezzotint, the sensual profile of a young nude woman is seen sleeping with ...

"Le Schpountz" original 1952 movie poster by artist Albert Dubout. Created for 1952 revival by the French Société Nouvelle des Films of the 1938 movie, "...

Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms...

The Passing Gondola. c. 1926. Etching. Edition 80, #18. Hardie/Carter 230. 8 1/2 x 10 1/2 (sheet 11 1/4 x 13). Illustrated: Fine Prints of the Year, 1927. Printed on antique wove pap...

Max Weber, 'Mother Love' (Madonna and Child), woodcut, 1920, edition not stated, Rubenstein 35. Signed in pencil. A fine impression, on cream wove Japan paper, with full margins (1 5...

Trabucchi (which is a triptych, consisting of three platemarks and three sheets) is an exceptional work in terms of its size, especially considering that it was printed in 1987 when ...

Karl Michel, 'Ex Libris Dr. Witropp - Homunculus und Galatee', etching, 1923, edition not stated. Signed, dated, and numbered 'Op. 140' (the artist's inventory number) in pencil. Si...

Archival pigment inks on Innova etching, 315 gsm fine art paper. Left panel: 46 x 15.25 in. Center panel: 46 x 23 in. Right panel: 46 x 15.25 in. Edition 23/100.

Le Jongleur (The Minstrel). 1930. Etching and aquatint printed in colours. Chapon/Rouault 199 d. 12 1/4 x 8 1/2 (sheet 17 1/4 x 13 1/8). Series: Cirque plate 2. Edition 270. Initial...

Zorn and His Wife. 1890. Etching. Hjert and Hjert catalog 31 state ii. 12 1/2 x 8 3/8 (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. ...

JAMES ABBOTT MCNEIL WHISTLER (1834 – 1903) THE SMITH’S YARD 1895 (Spink, Stratis & Tedeschi 124) lithograph, 1895, on wove paper, from the edition of 3000, published by The Inter...

By removing parts of the image, he explores the tension between what is present and what is omitted, focusing on the reasons behind these choices and their implications. The cutouts ...

Cruche aux oiseaux (A.R. 456), 1962 Ed. 142/200 pcs H. 22 cm I H. 8 5/8 in White earthenware clay, decoration in engobes under partial brushed glaze black, white and red patina Numbe...

Signed and numbered from the edition of 35. Avery's prints often mix elements of satire, myth and legend with his own light touch of surrealism. The ship of fools is an allegory firs...

This work is edition number 33/50. Signed/numbered in pencil, lower lect. By reducing his subjects to their most essential visual components, Alex Katz engages in a reductive proc...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of ‘Fundevogel’. This etching is from the Brothers Grimm tale of ‘Fundevoge...

Une Femme Assise by Lucien Pissarro (1863-1944) Etching 23 x 13 cm (9 x 5 ¹/₈ inches) Stamped lower right, L.P. and numbered lower left, 10/20 Provenance: John Bensusan Butt Private...

In Camouflage, Yuji Hiratsuka fuses whimsy and introspection in a vivid composition that balances humor with psychological nuance. A woman with angelic wings carries a serene white h...

Salvador Dali Le Nu à la Jarretière, from The Hippies Etching with hand coloring on Japon Signed in pencil and embossed signature to lower right Edition V/C to lower left Published ...

Created by Surrealist Fanny Brennan from 1992-96, Shell City is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the edition...

Medium: Intaglio and Chine Colle Year: 2025 Image Size: 16" H x 11" W Edition of 10 Yuji Hiratsuka’s Fertile Nest shows a radiant blossom rising above a woven nest cradling a buddin...

JOSE CLEMENTE OROZCO (Mexican, 1883-1949) MACHINES, (aka Dos cabezas y Maquinas, Dos Cabezas, Maquinas) 1935 (Orozco 26) Lithograph. Image 12 x 17 inches. Full margins, sheet 16 x 2...

David Hockney Spilt Ink with Tests, 2019 signed in pencil and dated ‘19 art edition (1-100): 11-colour inkjet print on cotton-fiber archival paper book: hardcover, 2 volumes in a cla...

Pierre-Yves Trémois’s Un jour, un homme (1986) captures the artist’s characteristic fusion of anatomical precision and surreal tension. Executed in etching and engraving, the composi...

Milton Avery, 'Little Girl', drypoint, 1936, edition 60, Lunn 11. Signed, dated, and numbered '22/60' in pencil. A superb impression, in warm black ink with delicate overall plate tone, on off-white wove paper, with wide margins (2 5/8 to 4 1/8 inches); hinge stains on the top sheet edge, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 8 3/4 x 4 3/4 inches (222 x 121 mm); sheet size 14 7/8 x 13 1/8 inches (378 x 333 mm). Collections: Cantor Arts Center, National Gallery of Art. ABOUT THE ARTIST "I never have any rules to follow; I follow myself." "I paint not by sight but by faith. Faith gives you sight." —Milton Avery 'His is the poetry of sheer loveliness.' —Mark Rothko in his 1965 eulogy to Avery. Milton Avery (1885-1965) is recognized as one of America's foremost modernist artists, renowned for his uniquely expressive style, evocative use of color, and captivating compositions. Growing up in a working-class family in Altmar, New York, Avery's early life was marked by the struggles and realities of rural New York. Despite lacking formal artistic training, he displayed an innate talent for drawing from an early age. In 1905, his family relocated to Hartford, Connecticut, where he worked various odd jobs while developing his artistic skills through self-study and experimentation. In 1915, he enrolled at the Connecticut League of Art Students, where he received formal instruction and began to refine his distinctive style. In 1918, Avery transferred to the School of the Art Society of Hartford and worked in the evenings so that he could paint during the day. He became a member of the Connecticut Academy of Fine Arts in 1924. That summer in Gloucester, Massachusetts, he met the artist Sally Michael...

MARC CHAGALL (1887 – 1985) MATERNITE, 1926. Motherhood I: Honte / Disgrace (Kornfeld 65, Cramer 5, Sorlier, p. 20-21 Etching, Frontispiece from Maternite Au Sans Pareil, Paris, 1926. Marcel Arland, illustrated by Marc Chagall with five original etchings this being one of the five. Image size: 5 5/8 x 4 1/8. 1130 unsigned impressions on various papers. The story begins with a young woman being shunned by the whole village because she had given birth to a child and left its dead body...

Created by Surrealist Fanny Brennan from 1992-96, The Visitor is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the editio...

"Marx Brothers" original etching by Al Hirschfeld. Caricature portraits of the Marx Brothers. Hand pulled from an edition of 150 plus 15 artist's proofs in 1975. Hand numbered 93/150...

Benton Spruance, 'A Wind is Rising and the Rivers Flow', color lithograph, 1945, edition 40, Fine and Looney 242. Signed, dated, and titled, and annotated 'Ed 40' in pencil. A fine ...

Thoma, Hans. RATSELRACHEN III (JAWS OF THE RIDDLE III). Etching, 1908 (Beringer 77, second state). 10 3/8 x 9 5/8 inches (200 x 285 mm), image; 11 x 9 3/4 inches (246 x 296 mm.), plate; 18 3/4 x 15 1/4 inches (477 x 390 mm.), sheet. Monogrammed and dated in the plate, signed "Hans Thoma...

An older couple sits on a beach facing the sea as a shooting object streaks through the sky. There is a feeling of connection and contentment conveyed through the imagery. Does the...

Fred Wilson Queen of Spades: Fool, Faro, Fantom, 2016 A portfolio containing the text of Alexander Pushkin’s, The Queen of Spades and a suite of thre...

"Elvis" original etching by artist Al Hirschfeld. Caricature portrait of Elvis Presley. Hand pulled in 1993 from an edition of 150 plus 30 artist's proofs. Hand numbered 14/150 in lo...

HARRY STERNBERG (American, 1904-2001) THOMAS BENTON, 1943. Color screenprint on gray card stock wove paper. Edition of 30. Signed "Benton by Sternberg" in ink, by hand by the artist...

Paul Gauguin Te Arii Vahine - Opoi La femme aux mangos - Fatigué 1898 Woodcut, Edition of 30 Paper size 18.5 x 28.2 cms (7 1/4 x 11 ins) Image size 16 x 28.2 cms (6 1/4 x 11 ins) Co...

GEORGE SCHREIBER (1904 – 1977) WITHOUT A NET c. 1944 Lithograph, signed in pencil lower right. Image 8 7/8 x 13 5/8 inches, sheet 10 5/8 x 15 ½ inches.Edition approximately 250 as p...

Maurice Pasternak created "Attraction 5", a mezzotint in an edition of 80 that depicts 6 men clearly attracted to something that appears outside the plane of the image. The men seem...

Otto Kuhler, 'The Furnace', drypoint, edition 26, 1924, Kennedy 5. Signed and annotated 'Drypoint. Ltd Ed. Del. et imp.' in pencil. Titled in pencil, in the bottom center sheet edge....

Jim Dine drew the plate for this image in the same period as his “Thirty Bones of My Body” 1972 portfolio of drypoint tool images. Crisbrook paper (30 x 22 in. / 76.2 x 56 cm.) and p...

ANDREAS PAUL WEBER (German 1893-1980) THE LAST PRIVATE PERSON - DER LETZIE PRIVATIER Lithograph signed in pencil and with the artist's Clan Press Stamp l...

Daniel Clifford (born 6 August 1973) is an English chef who is best known for his work at the two Michelin star restaurant Midsummer House. He was also named one of the winners of th...

Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm). Literature and Exhibition: Back cover illustration of the catalog of the artist’s prints, 'Helen Hyde', Smithsonian Institution Press, 1990; 'The International Block Print Renaissance, Then And Now, Block Prints In Wichita, Kansas, A Centennial Celebration — 1922-2022', Barbara J. Thompson, Wichita Art Museum, 2022 (back cover). Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art. ABOUT THE ARTIST Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth. Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work. Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown. After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors. Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene. Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago. During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence. In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California. Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints...

Eye of the Storm is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 231/275 (there were also 100 Roman and 20 AP)....

Wake on the Ferry. 1949. Etching. Morse catalog 313. state v. 5 x 7 (sheet 8 3/4 x 11 7/8). Edition of 350: 200 for the Art Students League and 150 for the artist. A fine impression ...

Le Village (The village) Original lithograph in colors, listed in the artist's catalog raisonne of his prints, 1977 From: Derriere le Miroir, No. 225, Edition 15,000 as published in...

Giovanni Domenico Campiglia, 'Bacchus', engraving, 1734, edition unknown. Signed 'Dom. Campiglia del.' in the plate, lower left. Engraving by Gabbugiani, after the original by Giovan...

Maurice Pasternak has created a surreal landscape that includes several spirit-like creatures seeming to wander in an unknown landscape He moves images around on the paper to create ...

FRANCISCO MORA (1922 - 2002) DUELO (Duel) c. 1945 Lithograph signed in pencil. Published by the TGP Taller de Grafica Popular. Label on verso. 9 5/8 x...

Henri Matisse Le repos du modèle 1922 Lithograph on Chine appliqué on Japon paper, Edition of 575 Paper size: not listed Image size: 22.2 x 30.4 cms (8 3/4 x 12 ins) HM15512

Moody, expressive large scale black and white abstract interior scene with grey watercolor and gouache, depicting a bust, indian Mugal carpet, floral design...

By removing parts of the image, he explores the tension between what is present and what is omitted, focusing on the reasons behind these choices and their implications. The cutouts ...

The Dancer (Anaïs). 1925. Etching. Fletcher catalog 52 state viii. 9 3/4 x 6 1/16 (Sheet 14 1/4 x 10 1/2). Edition 107. An extremely rich proof printed on cream 'MADE IN ENGLAND' ...

A woman in slip-on heels leans languidly on a cloud-like phallus defined with loose, sketched lines. Gazing dreamily past the viewer, the topless woman dons a diaphanous tutu, and at...

ANDREAS PAUL WEBER (German 1893 – 1980) WE’RE OVER THR MOUNTAIN (Wir sind überm Berg) (A68, D2718) Lithograph over tinted ground, signed in pencil and in monogram in the stone. Image, 14 ½ x 19 1/4. Large full sheet with watermark and deckle edge, 24 ½ x 19 ¼. In very good condition. The A. Paul Weber Museum was inaugurated in Ratzeburg in 1973. Andreas Paul Weber died on 9 November 1980. This important German lithographer, draughtsman and painter bequeathed a comprehensive œuvre, in which critical satirical works figure prominently. THE WEBER MUSEUM HAS ADDITIONAL INFORMATION AND A BIOGRAPHY The following is a biography taken from the prominent German auction house KETTERER /KUNST: Andreas Paul Weber attended secondary modern school in Arnstadt between 1903 and 1910 before briefly attending the School for the Decorative and Applied Arts in Erfurt. In 1908 Weber joined the 'Jungwandervogel', a movement which sought to develop a new, modern lifestyle based on walking and living close to nature. At the same time Andreas Paul Weber began experimenting with lithography and worked as a commercial artist. When the first world war broke out, Weber served as a railway engineer on the Eastern Front, where he worked for the army as a draughtsman from 1916. After the war Andreas Paul Weber illustrated numerous books, including Till Eulenspiegel, Reineke Fuchs and the critical contemporary work Der Zeitgenosse by Hjalmar Kutzleb, which were Weber's first successes. In 1925 Weber founded the 'Clan-Presse' ['Clan Press'], where he and his son Christian printed...

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...

This lithographic poster illustrates Aristide Bruant who was a famous performer and cabaret owner in Paris at the turn of the 20th century. Lautrec, seizing on Bruant's trademark cos...

Signed hardcover book in cloth-backed pictorial boards Accompanied by an original lithograph signed by Paula Rego Housed in bespoke cloth-covered slipcase From the deluxe edition, nu...

Signed proof copy from edition of unknown size. Most of Wolff's prints were done in very small numbers, and each was often unique. Born in 1922 in San Francisco, William F. Wolff ...

in Beneath the Surface: Dissolve, Werger captures a fleeting, immersive moment of swimmers beneath the rippling surface of a swimming pool. Echoing the iconic swimming pool paintings...