Recognized Dealers Figurative Prints

XXe Siecle-Hommage a Marc Chagall Color lithograph, 1969 Unsigned as issued by XXe Siecle From: XXe Siecle, Volume, Special Issue Marc Chagall Published by G. di San Lazzaro for A. M...

The Wrath of Elihu. 'I Am Young, And Ye Are Very Old, Wherefore I Was Afraid'. 1823-25. Engraving. .Binyon catalog 117 state ii, Bindman catalog 632. Image 7 7/8 x 5 15/16; plate 8 ...

Alex Katz uses outline drawings, called “cartoons”, as templates to transfer full size images onto the canvas prior to painting. Rendered in red chal...

Limited edition (edition number TBA) Suite of four Edition of four $2,500 each, framing is additional $350

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered lower left in pencil. Lullaby features a male figure standing behind a woman sleeping with her head down. This shadowy figure recurs throughout Moore’s Auden lithographs, an ambiguous presence who exists between menace and comfort. The imagery for Lullaby was inspired by Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” Lullaby is one of a group of lithographs...

This striking untitled print by celebrated Mexican artist José Luis Cuevas (1934–2017) presents a vivid parade of distorted and expressionistic figures rendered in his signature grot...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

DAVID ALFARO SIQUEIROS (1896 – 1974) DAMA NEGRA 1937-1945 (Williams 8) Transfer lithograph, signed and no. 38-EE/50 and dated 1945. 13 5/8 x 19 3/16”. Very large full margins,, sheet 29 x 21 ½”. Stamped lower sheet edge “Original Lithograph” It is difficult to determine the various editions of Siqueiros’ prints. He would often reprint small editions of his early prints over time. Some of these were transfer lithographs in reverse and slightly smaller. These are sometimes numbered E/E “Edicion Especial”. Reba Williams discusses the problems with identifying editions in her catalog “Mexican Prints...

In Waterwings, Art Werger captures the ever-shifting surface of a swimming pool as a young child is seen seen from above, the child’s blond hair glows in the sun, with red swim trunk...

This vibrant serigraph by Andy Ledesma, created for the 1996 Día de los Muertos celebration at Self Help Graphics, encapsulates the spirit of the Day of the Dead through its dynamic ...

Bernard Brussel-Smith, 'Sailor and His Girl', wood engraving, 1941, edition 35. Signed, titled, and numbered '21/35' in pencil. Signed in the block, lower right. A superb, richly-in...

Image size: 24 x 12 inches Edition of 30 Portrait of the artist's son Vincent. Internationally recognized painter and printmaker Alex Katz was born in 1927 in Brooklyn, New York. ...

Maurice Pasternak has created a portrait of his signature figure with outstretched arms. He moves images around on the paper to create a sense of mystery and drama. This impression ...

TECHNICAL INFORMATION: Salvador Dali Masque De La Mort 1975 Etching Aquatint 26 x 19 3/4 in. Edition of 240 Pencil signed and numbered; certified authentic by Frank Hunter of the Sa...

The Centenarian. 1930-31. Drypoint. Appleby 144. 10 5/16 x 10 3/8 (sheet 17 3/8 by 12 3/8). Edition 100. A rich impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...

Les Plaisirs du Bal (before 1st State), 1730 The Pleasures of the Ball Pure etching only by Gérard Jean-Baptiste Scotin II (born Paris 1698) 495 x 640 mm.; 19 3/8 x 25 1/8 inches ...

Militarisimus is one of sixteen color mezzotints from James Groleau’s acclaimed suite Flowers of Turbulence, a series composed of eight portraits and eight floral studies. Each portrait was inspired by nineteenth-century daguerreotypes and reimagined as a symbolic product of a turbulent society—traits such as greed, compassion, obedience, or, in this case, the psychological imprint of militarism. The title of the suite, Flowers of Turbulence, intentionally echoes the structure of Baudelaire’s Les Fleurs du Mal...

Woodcut on mulberry paper, variable edition. 18½ x 24½ inches. Edition of 6. Framing is additional $350.

Lucian Freud Woman on a Bed 1991-92 Etching on Somerset Satin White paper 17 1/2 x 15 1/2 inches; 44 x 39 cm Edition of 30 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

The image show a panoramic view of the architectural arches and the boats in the harbor of Dieppe in Normandy France. Dieppe was occupied by German naval and army forces after the f...

This image shows a cleric seated in a church sacristy surrounded by religious statues, croziers, various saints, statues and chalices. It is an origina...

Max Klinger, 'Erinnerung' (Remembrance), original etching with aquatint, 1896. A fine, richly inked impression on off-white, wove paper, with full margins (1 3/4 to 3 1/8 inches), in...

"Reflection" is an etching created in an edition of 50. This is impression #15. Ivan Valtchev, who was born in Germany, an internationally acclaimed scu...

Date: 1931 Medium: Color Lithograph on Paper Dimensions: 14.50" x 16.50" Signature: Signed Lower Right

Interior with a red shawl conveys a quite different mood and feeling: one of calm, and suspension of time. Here the suggestion is that the woman is waiting ...

Xylon 21 Naoko Matsubara USA Woodcuts, two which are printed in color, 1970 2 of the 5 woodcuts signed in pencil (see photos) Five original woodcuts, two of which are signed in penci...

Printed in a rich terra cotta red on pale pink paper, Orgasm depicts a woman’s head in profile with a dark background. Kitaj was fascinated with the female form, often producing edgy...

This lithograph was printed at the Atelier Mourlot in Paris in 1959 and is a part of the "La Ville" portfolio. It is annotated "Epreuve de l'atelier Mourlot /...

Irving Place Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. Eclipse I is from an edition of 90 Mezzotint artist Mikio Watanabe was born in 19...

Created by Surrealist Fanny Brennan from 1993-96, Tremor is a lithograph in colors on wove paper. Hand-monogrammed in pencil and numbered from the edition of 250, the artwork measure...

Created by Surrealist Fanny Brennan from 1992-96, String And Scissors is a lithograph in colors on wove paper. Hand-monogrammed in pencil and numbered from the edition of 250, the ar...

Created by Surrealist Fanny Brennan from 1993-96, Sky Trip is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the edition o...

Created by Surrealist Fanny Brennan from 1992-96, Nuage a La Neige is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the e...

Created by Surrealist Fanny Brennan from 1992-96, Nadine's Bookcase is a lithograph in colors on wove paper. Hand-monogrammed in pencil and numbered from the edition of 250, the artw...

Campendonk, Heinrich. SITZENDER HARLEKIN. Engels/Sohn 59. Woodcut, 1922. 15 x 11 3/8 inches; 380 x 290 mm. Signed in pencil. In Excellent condition. Framed.

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...

Dans les Cendres (In the embers). 1887. Delteil catalog 67 state iii. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). Etching, drypoint and roulette. 16 3/4 x 12 1/8 (sheet 19 1/2 x 14). Edition 50. Illustrated: Print Collector's Quarterly 9 (1921): 254. A very rich impression with plate tone and drypoint burr, printed on simili-japon. Provenance: Frederick Keppel & Co. This is one of the artist's most striking images. Signed in pencil. Housed in 25 x 20-inch archival mat, suitable for framing. Paul Albert Besnard, was an impressionist painter. In 1866, the seventeen-year-old son of artist parents began his studies at the École des Beaux-Arts Paris. In 1874, Besnard won the important Prix de Rome, with which the academy distinguished young talent. A portion of the scholarship is a stay of several years in Rome. Besnard married Charlotte Dubray, a sculptress, during this time in Rome. The couple lived in England, where Besnard exhibited at the Royal Academy London, between 1881 and 1884. He became involved with English portrait painting during this period, which had a lasting influence on his work. In the years that followed, Besnard broke with the academic tradition. In 1886, he presented the portrait of Madame Roger Jourdain...

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

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

Created by Surrealist Fanny Brennan from 1993-96, Safety Pin Clouds is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the ...

Lyonel Feininger, 'Little Locomotive (Kleine Lokomotive)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W158. Annotated 'W 158' (Feininger catalogue number) and '1936' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 3 5/16 inches; sheet size 10 x 7 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. Collections: Cleveland Museum of Art, Museum of Modern Art, Staatliche Museen zu Berlin (East Berlin KK). ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Adriaan Lubbers, 'Times Square', lithograph, 1929, edition 50. Signed, dated, titled, and editioned '(50)' in pencil. A fine impression, on cream wove paper, with full margins (2 1/2...

A vibrant vintage poster in blue, pink, brown, and classic 1960's avocado green, by Scottish Pop art progenitor Eduardo Paolozzi. Machinery extends upward in two arms like a space-age car engine...

Thomas Balfour Garrett, 'Search', monotype in colors, c. 1910, a unique impression. Signed and titled in pencil. A superb, painterly impression with fresh colors on off-white, wove p...

A unique, unpublished print by Claes Oldenburg. This playful, erotic print is printed in shimmering gold. A nude woman in outsized cowboy boots stands with hands on hips, an X scribb...

Medium: Aquatint, Drypoint, Etching Year: 2016 Image Size: 4.33 x 3.54 inches Edition Size: 50 Beautiful impressionist image a japanese woman in traditional Kimono. Lawlor's early ...

Original wood engraving, 1930-31, 14.6 x 6.7 cm. (5.7 x 2.6 in.)

Louis Conrad Rosenberg, 'Mosque of the Sultan Bayazid, Constantinople', etching, 1927. Signed in pencil. Initialed and dated in the plate, lower left. A fine, richly-inked impression...

September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...

Image 19.75 x 26.3 in. / 50 x 67 cm Paper 27.25 x 36 in./ 69.2 x 91.4 cm Etching in one color on white, thick, slightly textured Wookey Hole handmade paper watermarked with artist’s...

Federico Castellon, 'By the Arks', 1941, lithograph, edition 250, Freundlich 10D. Signed in pencil. Signed in the stone, lower left. A fine, atmospheric impression on cream, wove pap...

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 plate size ( 9 x 6 in. / 23 x 15 cm.) are the same. This drypoint comes from the archive of the publisher Petersburg Press. Signed by the artist, numbered 7/10, and dated 1972 lower center in pencil. Edition 10: this impression 7/10. Here, the blade of a hand saw...

Signed print done as a birthday card, from an un-numbered edition. Features a hand framing the number 50. Oldrich Kulhanek is one of the foremost printmakers in the Czech Republic, whose work often featured erotic images an political commentary...

Théodore Géricault 'Cheval de Mecklembourg' (Mecklembourg Horse), lithograph, 1822, 2nd state of 4, Delteil 47. Signed in the matrix 'Gericault', lower left. Published by Godefroy En...

A miniature image in an edition of 30 features two beach huts and magical flying fish going by. The image is surreal and serene both at the same time, A lot of quiet emotion is comm...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 IV. Annotated 'PW 290 state IV / IV 3669', in pencil, in the bottom right sheet corner. With the artist's typed address and date adjacent to the letterhead image: 'Falls Village, Connecticut September 26th, 1940'. A fine impression, on buff, wove letterhead stock; several small losses, and tears, in the sheet edges (not affecting the image area); a crease in the bottom right sheet edge, otherwise in good condition. Very scarce. Image size: 2 3/8 x 2 3/4 inches; sheet size 11 x 8 5/8 inches. Archivally sleeved, unmatted. Feininger moved from Germany to New York City in 1938 and began spending his summers in Falls Village in 1940. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

untitled (Shoeing the Mule, Charleston, South Carolina) Etching, c. 1930 Signed by the artist in pencil lower right (see photo) Condition: Excellent Image/plate size: 8 x 10 inches S...

Coquette Pochoir (silk screen) printed in colors, c. 1923-1925 Signed by the artist in pencil lower right; numbered in ink on the image, (see photo) Edition: 250 (100/250) in pencil in image (see photo) Image size: 10-1/2 x 12-3/4" The artist won a gold medal in Paris in 1925 for his porchoirs Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

Barnet, Will (American 1911-2012) GO-GO. Szoke 93. Screenprint in colors, 1947. Edition of 50, printed and published by Barnet. Titled and signed in pencil. 12 x 9 1/2 inches, plus m...