Pablo Picasso “The Bull” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman etcher,  More »

Pablo Picasso “The Bull” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman etcher, lithographer and sculptor.

As one of the most recognized figures in twentieth-century art, he is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-Cubist Les Demoiselles d’Avignon (1907) and his depiction of the German bombing of Guernica during the Spanish Civil War, Guernica (1937). The work measures 12 by 9.75 inches approximate (image in the mat open). Framed in a lovely brown carved frame, single matted with plexiglass. Frames size is 26 by 22 inches. This is published during the artist’s lifetime with his supervision and in good condition. This and the other four are recorded works, in the Cramer catalogue Resume, Goeppert/Cramer, edition of 666. Printed-published by Cercle d’Art, Paris. Publication issued in 1970. There is no CoA. Numbered 506 / 666 in pencil. Sold as is.   « Less

Great image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in late 19th century impression on arches laid paper with margins. Etched work  More »

Great image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in late 19th century impression on arches laid paper with margins. Etched work measures approximately 5.5" by 7.5". This is in mint condition. Rembrandt created his etchings in the 1600's, but by the 1800's the plates for the etchings were worn and in poor condition. Armand Durand, a well respected engraver, dedicated the major part of his life re-creating Rembrandt's 347 etchings in exacting detail. Armand-Durand used as his guide, not the worn and flat plates, but the first and second state etchings of the master's original works. Durand's original etchings were so well respected they were purchased by major collectors throughout Europe, and as well as the Louvre Museum in Paris and the French Biblioteque Nationale. Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age. Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population.Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."   « Less

Amand-Durand (after Rembrandt) Le Femme A La Fleche Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in late  More »

Amand-Durand (after Rembrandt) Le Femme A La Fleche Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in late 19th century impression on arches laid paper with margins. Etched work measures approximately 4.75" by 8". This is in mint condition. Rembrandt created his etchings in the 1600's, but by the 1800's the plates for the etchings were worn and in poor condition. Armand Durand, a well respected engraver, dedicated the major part of his life re-creating Rembrandt's 347 etchings in exacting detail. Armand-Durand used as his guide, not the worn and flat plates, but the first and second state etchings of the master's original works. Durand's original etchings were so well respected they were purchased by major collectors throughout Europe, and as well as the Louvre Museum in Paris and the French Biblioteque Nationale. Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age. Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population.Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."   « Less

The Mantegna Tarocchi, also known as the Tarocchi Cards,Tarocchi in the style of Mantegna, Baldini Cards, are two different sets each of fifty 15th century Italian old  More »

The Mantegna Tarocchi, also known as the Tarocchi Cards,Tarocchi in the style of Mantegna, Baldini Cards, are two different sets each of fifty 15th century Italian old master prints in engraving, by two different unknown artists. The sets are known as the E-series Tarocchi Cards and the S-series Tarocchi Cards (or E series, e-series etc), and their artists are known as the “Master of the E-series Tarocchi” and the “Master of the S-series Tarocchi”. There are also a number of copies and later versions. Despite their name, they are educational visual aids. Art historians no longer believe Andrea Mantegna was the engraver of any of them, as was thought until the nineteenth century, but the name is still used, mostly as “the so-called Mantegna Tarocchi”.Baccio Baldini was a Florentine engraver who was also brought into consideration as a possible author in the past, hence the name also used in the past of Baldini Cards or Tarocchi. E and S series They remain important examples of Italian engraving, and are mostly owned by museums as part of their collections of old master prints. The original two sets are called the E-series and the S-series, of which the E-series is generally considered the older (since AM Hind made the case). It is on the whole the better engraved, and usually the better printed of the two. Differences between the two show the E-series Master was more aware of the literary sources for his images. Most images are reversed between the series (ie mirror-images). Their place and dates of creation are still debated, but Ferrara about 1465 (E-series) and 1470-5 (S-series) are considered most likely. Some of the images are copied in a manuscript dated 1467, which is believed to give a terminus ante quem for the E-series. The titles of some cards are written in a Ferraran or Venetian dialect — “Doxe” for Doge or Duke, and “Artixan” for artisan. Some subjects were copied from playing-cards, and some from other sources in contemporary art. Other designs had to be invented. Two prints on quite different subjects have been generally attributed to the unknown “Master of the E-series Tarocchi”, and one to the “Master of the S-series Tarocchi”. In card terms all are “picture” or “court” cards. There is the name and number of the card in Roman numerals at the bottom, and the group capital letter and number in arabic numerals in squares in the bottom corners. All have simple decorative borders. The subjects are grouped in five sequences numbered: 1-10, 11-20, 21-30, 31-40 and 41-50, each group consisting of ten engravings: This is what we believe to be a later impression of this image on trimmed laid paper and with NO plate-mark otherwise in good condition and have been recently professionally cleaned. No visible signs of repair.   « Less

Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (November 24, 1864 — September 9, 1901) was a French painter, printmaker,  More »

Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (November 24, 1864 — September 9, 1901) was a French painter, printmaker, draftsman, and illustrator, whose immersion in the colorful and theatrical life of fin de siècle Paris yielded an oeuvre of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-Lautrec is known along with Cézanne, Van Gogh, and Gauguin as one of the greatest painters of the Post-Impressionist period. In a 2005 auction at Christie's auction house a new record was set when "La blanchisseuse", an early painting of a young laundress, sold for $22.4 million U.S. Throughout his career, which spanned less than 20 years, Toulouse-Lautrec created 737 canvases, 275 watercolors, 363 prints and posters, 5,084 drawings, some ceramic and stained glass work, and an unknown number of lost works. Toulouse-Lautrec is known along with Cezanne, Van Gogh, and Gaugin as one of the greatest painters of the Post-Impressionist period. His debt to the Impressionists, in particular the more figurative painters Manet and Degas, is apparent. In the works of Toulouse-Lautrec can be seen many parallels to Manet’s bored barmaid at A Bar at the Folies-Bergère and the behind-the-scenes ballet dancers of Degas. He excelled at capturing people in their working environment, with the colour and the movement of the gaudy night-life present, but the glamour stripped away. He was masterly at capturing crowd scenes in which the figures are highly individualized. At the time that they were painted, the individual figures in his larger paintings could be identified by silhouette alone, and the names of many of these characters have been recorded. His treatment of his subject matter, whether as portraits, scenes of Parisian night-life, or intimate studies, has been described as both sympathetic and dispassionate. Toulous-Lautrec’s skilled depiction of people relied on his painterly style which is highly linear and gives great emphasis to contour. He often applied the paint in long thin brushstrokes which often leave much of the board on which they are painted showing through. Many of his works may best be described as drawings in colored paint. After Toulouse-Lautrec’s death, his mother, the Comtesse Adèle Toulouse-Lautrec, and Maurice Joyant, his art dealer, promoted his art. His mother contributed funds for a museum to be built in Albi, his birthplace, to house his works. As of 2005, his paintings had sold for as much as US$14.5 million. Lithographed AFTER the larger posters of by the renowned French artist, Toulouse Lautrec. In an edition of 999, Printed on special watermarked Arches paper and issued by the Albi Museum (Largest Collection of Latrec Works. Special edition supervised and published by the Estate of the artist and the Lautrec Museum, Albi, France in a limited Edition on Arches paper. The Image-sheet measure 19.50 by 14.25 inches and in good condition, This and others are all from the same portfolio and the Colophon can be downloaded for your purchase from this listing . NUMBERED only in the colophon … #839 out a edition of 999!   « Less

Toulouse-Lautrec “La Grande Loge” Limited Edition Lithograph Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (November 24,  More »

Toulouse-Lautrec “La Grande Loge” Limited Edition Lithograph Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (November 24, 1864 — September 9, 1901) was a French painter, printmaker, draftsman, and illustrator, whose immersion in the colorful and theatrical life of fin de siècle Paris yielded an oeuvre of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-Lautrec is known along with Cézanne, Van Gogh, and Gauguin as one of the greatest painters of the Post-Impressionist period. In a 2005 auction at Christie's auction house a new record was set when "La blanchisseuse", an early painting of a young laundress, sold for $22.4 million U.S. Throughout his career, which spanned less than 20 years, Toulouse-Lautrec created 737 canvases, 275 watercolors, 363 prints and posters, 5,084 drawings, some ceramic and stained glass work, and an unknown number of lost works. Toulouse-Lautrec is known along with Cezanne, Van Gogh, and Gaugin as one of the greatest painters of the Post-Impressionist period. His debt to the Impressionists, in particular the more figurative painters Manet and Degas, is apparent. In the works of Toulouse-Lautrec can be seen many parallels to Manet’s bored barmaid at A Bar at the Folies-Bergère and the behind-the-scenes ballet dancers of Degas. He excelled at capturing people in their working environment, with the colour and the movement of the gaudy night-life present, but the glamour stripped away. He was masterly at capturing crowd scenes in which the figures are highly individualized. At the time that they were painted, the individual figures in his larger paintings could be identified by silhouette alone, and the names of many of these characters have been recorded. His treatment of his subject matter, whether as portraits, scenes of Parisian night-life, or intimate studies, has been described as both sympathetic and dispassionate. Toulous-Lautrec’s skilled depiction of people relied on his painterly style which is highly linear and gives great emphasis to contour. He often applied the paint in long thin brushstrokes which often leave much of the board on which they are painted showing through. Many of his works may best be described as drawings in colored paint. After Toulouse-Lautrec’s death, his mother, the Comtesse Adèle Toulouse-Lautrec, and Maurice Joyant, his art dealer, promoted his art. His mother contributed funds for a museum to be built in Albi, his birthplace, to house his works. As of 2005, his paintings had sold for as much as US$14.5 million. Lithographed AFTER the larger posters of by the renowned French artist, Toulouse Lautrec. In an edition of 999, Printed on special watermarked Arches paper and issued by the Albi Museum (Largest Collection of Latrec Works). Special edition supervised and published by the Estate of the artist and the Lautrec Museum, Albi, France in a limited Edition on Arches paper. The Image-sheet measure 19.50 by 14.25 inches and in good condition, This and others are all from the same portfolio and the Colophon can be down loaded for your purchase from this listing . NUMBERED only in the colophon .... # 839 out a edition of 999!   « Less

William Merritt Chase (November 1, 1849 — October 25, 1916) was an American painter known as an exponent of Impressionism and as a teacher. He was born in  More »

William Merritt Chase (November 1, 1849 — October 25, 1916) was an American painter known as an exponent of Impressionism and as a teacher. He was born in Williamsburg (now Nineveh), Indiana, to the family of a local merchant. Chase’s father moved the family to Indianapolis in 1861 and employed his son as a salesman in the family business. Chase showed an early interest in art, and studied under local, self-taught artists Barton S. Hays and Jacob Cox. After a brief stint in the Navy, Chase’s teachers urged him to travel to New York to further his artistic training. He arrived in New York in 1869, met and studied with Joseph Oriel Eaton for a short time, then enrolled in the National Academy of Design under Lemuel Wilmarth, a student of the famous French artist Jean-Léon Gérôme. In 1870 declining family fortunes forced Chase to leave New York for St. Louis, Missouri, where his family was then based. While he worked to help support his family he became active in the St. Louis art community, winning prizes for his paintings at a local exhibition. He also exhibited his first painting at the National Academy in 1871. Chase’s talent elicited the interest of wealthy St. Louis collectors who arranged for him to visit Europe for two years, in exchange for paintings and Chase’s help in securing European art for their collections. In Europe Chase settled at the Academy of Fine Arts, Munich, a long-standing center of art training that was attracting increasing numbers of Americans. He studied under Alexander Von Wagner and Karl von Piloty, and befriended American artists Walter Shirlaw, Frank Duveneck, and J(oseph) Frank Currier. Upon Chase’s death, in his Estate auction, he owned more works by Currier than any other artist. In Munich, Chase employed his rapidly burgeoning talent most often in figurative works that he painted in the loosely-brushed style popular with his instructors. In January, 1876, one of these figural works, a portrait titled “Keying Up” — The Court Jester (now in the collection of the Pennsylvania Academy of the Fine Arts) was exhibited at the Boston Art Club; later that year it was exhibited and won a medal at the Philadelphia Centennial Exposition, and this success gained Chase his first fame. Chase traveled to Venice, Italy in 1877 with Duveneck and John Henry Twachtman before returning to the United States in the summer of 1878, a highly skilled artist representing the new wave of European-educated American talent. Home in America, he exhibited his painting Ready for the Ride (collection of the Union League Club) with the newly-formed Society of American Artists in 1878. He also opened a studio in New York in the Tenth Street Studio Building, home to many of the important painters of the day. He was a member of the Tilers, a group of artists and authors, among whom were some of his notable friends: Winslow Homer, Arthur Quartley and Augustus Saint Gaudens. This work, “Jester; Keying Up”, is an etching, rare proof on Japon Paper and attached to a support sheet. The work is 4 by 6 inches and in great condition   « Less

Manet’s “La Parisenne” engraving AFTER THE WORK, represents a portion of a painted portrait of Nina de Callias entitled Woman with the Fans, which is  More »

Manet’s “La Parisenne” engraving AFTER THE WORK, represents a portion of a painted portrait of Nina de Callias entitled Woman with the Fans, which is housed at the Louvre Museum. Created in 1874, this work is from the second state of two and was printed by Prunaire. The printer’s and artist’s signatures appear in the plate in the lower left and lower right. This woodcut is from an edition published in Manet and the French Impressionists by Duret in 1910, and is the second version of two with an added fan in the background. Through the use of varying tones, patterns and composition, the artist’s captures the sitter’s attitude of repose. However with her smart attire, delicate features and penetrating dark eyes, the young female figure commands the attention of the viewer. This seeming contradiction causes the viewer to further explore the work creating a personal connection with the subject. Jean C. Harris stated of this work: “This wood engraving appeared in ‘La Revue du Monde Nouveau’ as an accompaniment to a poem by Charles Cros entitled ‘Scene in the studio’ (‘scène d’atelier’). The poem describes Nina posing for Manet at the end of 1873…As in the portraits of Berthe Morisot, Manet made use of the device of juxtaposing areas of sharply contrasting value in order to focus attention upon the silhouette. There is little modeling or textural variation within the silhouette and only three values, black, white, and gray, are used. The drawing of form is restricted to a few bold areas so that only the image as a whole is emphasized.” (Harris 221) Manet’s “La Parisenne” Wood Cut Engraving AFTER THE WORK is one of two being offered, printed on smooth finish Vellum finished wove paper. The work measures 4 by 6 inches, image signed only by both Manet and the engraver A. Prinaire S.C. Light color discoloration on the outer edges But otherwise in good condition.   « Less

Pierre-Auguste Renoir (February 25, 1841—December 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a  More »

Pierre-Auguste Renoir (February 25, 1841—December 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that “Renoir is the final representative of a tradition which runs directly from Rubens to Watteau”. Lithographed by Mourlot after his Lithographed portrait. Sheet size 11 by 8.25 inches. These were redrawn with the supervision of the Artist Estate and published in a limited edition. Generally 90 percent the size of the images work of the Vollard Edition, with little text on verso. Sheet size are 8.75. by 11.50 inches, with title of preceding work on verso with plate number NOT effecting the lithographed side. These are lovely lithographs re-created by the master printed at Mourlot, Paris and very fine works for those not fortunate to own the impressions from the small and very expensive Vollard Edition!   « Less

Pierre-Auguste Renoir (February 25, 1841—December 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a  More »

Pierre-Auguste Renoir (February 25, 1841—December 3, 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty, and especially feminine sensuality, it has been said that “Renoir is the final representative of a tradition which runs directly from Rubens to Watteau”. Lithographed by Mourlot after his Lithographed portrait. Sheet size 11 by 8.25 inches. These were redrawn with the supervision of the Artist Estate and published in a limited edition. Generally 90 percent the size of the images work of the Vollard Edition, with little text on verso. Sheet size are 8.75 by 11.5 inches, with title of preceding work on verso with plate number NOT effecting the lithographed side. These are lovely lithographs re-created by the master printed at Mourlot, Paris and very fine works for those not fortunate to own the impressions from the small and very expensive Vollard Edition!   « Less