20th Century Nude Prints

Henri Matisse (1869-1954) (after) Romanian Blouse Lithograph in blue Signed in the plate, Numbered out of 250 copies On Arches vellum, 65 x 50 cm (c. 25.6 x 19.7 in) INFORMATION: P...

Nude is an original black and white etching realized by Leo Guida. Not signed. The state of preservation is good. "INV.C. 29B", on the lower right margin. Leo Guida: Artist sens...

Hand Signed. Edition of 100 prints plus 5 prints in Roman Numerals. From the portfolio: "Dieci Litografie (Numerus, Mensura, Pondus)". Very rare print in perfect conditions. This a...

Nude is a fine lithograph on paper, realized by the Italian artist Pericle Fazzini in 1958. The print depicts a female nude posing. Hand signed and d...

Image dimensions: 35.5 x 49.5 cm. Lampshade is an original etching on paper, realized by an Anonymous artist of the XX century. There is The state of preservation of the artwork is very good. hand-signed on the lower right but unreadable. numbered, edition IV/X Sheet dimension : 50.5 x 69 cm The artwork represents the leg of a nude woman on a bed...

This artwork "Deux Femmes Nues" 1979 is an original color lithograph by noted Belgian artist Guillaume Cornelis Van Beverloo, A.K.A. Corneille, 1922-2...

Published by Tyler Graphics Ltd. in 1994, this portfolio contains nine miniature color reproductions from Roy Lichtenstein’s Nudes series, including Nude Reading, Roommates, Two Nude...

Nude of Women is an original etching realized by Henry Forge in 1940. Good condition, with some pencil notes on the back of the cardboard. Hand-signed by the artist. Henry Forge (...

Henri Matisse Repos sur la banquette 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 49.5 x 65.5 cms (19 1/2 x 25 3/4 ins) Image size: 44.5 x 54.5 cms (17 1/2 x 21 1...

Michael Knigin, American (1942 - 2011) - Advance notice, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 26.5 inches, Size: 21...

Depicting a model leaning on a board or canvas, the work reflects Picasso's sustained interest in the human figure and the artist's studio. Created during a period in which classical...

Nudes in Space John Hardy, American (1923–2014) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 275 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Futura 2000 NYC 1984: A rare 1980s Futura announcement card published on the occasion of: FUTURA 2000 at Pizza A Go-Go June 27, 1984; 121 W 31st, New York, NY. Offset printed annou...

Leonor Fini - Untitled - Original Handsigned Etching Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

From London With Love is an original offset of 1980. There is The state of preservation of the artwork is very good. Sheet dimension :88 x 61.5 cm The poster represents a nude wom...

A signed and numbered etching of a nude couple sitting outside and laughing. This black-and-white print is done in Bragg’s signature caricature style. The Lovers Charles Bragg, Amer...

Artist: Peter Max, German/American (1937 - ) Title: Nude with Crop Year: circa 1975 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 25 x 19 inches Paper S...

Sunbathing Etching and color aquatint on watermarked Umbria Italy paper, c. 1915 Signed by the artist in pencil lower right (see photo) Annotated: "No. 6" in pencil lower left (see photo) An early color print by the artist Condition: Excellent Plate size: 11-3/4 x 15-7-8" (30 x 40.3 cm.) Frame size: 21 x 26 1/8 x 1 inches Provenance: Estate of the artist By decent Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop...

Robert Beauchamp, American (1923 - 1995) - Blonde, Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 18 in. x 26 in. (45.72 cm x 66.04 cm),...

Composition Andre Beaudin, French (1895–1972) Date: 1934 Etching on Arches, signed and numbered in pencil Edition of 81/100 Image Size: 11.75 x 9.25 inches Size: 24.25 x 18.25 in. (6...

Deux Femmes au Miroir by Pablo Picasso is a fascinating exploration of reflection, identity, and perception. The composition presents two women interacting with a mirror, their forms...

Alvin Carl Hollingsworth, American (1928 - 2000) - Nude, Medium: Hand colored Lithograph, signed, titled and numbered in pencil, Edition: AP, Image Size: 18 x 9.25 inches, Frame S...

Wayne Ensrud, American (1934 - ) - Flower Dance, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 45, Image Size: 30 x 22, Size: 31 in. x 24 in. (78.74...

Wayne Ensrud, American (1934 - ) - Lady With Cat, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 26 x 21.5 inches, Size: 3...

Leonor Fini - Pride - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned a...

Limited Edition Serigraph with Gold Leafing, HC 29/50. Print measures 27.5 x 36.5 inches and is unframed. Signed by the Artist. The piece is in Good Condition-the print shows signs ...

Lithograph after photo Number 1642 publishid by Pome granate PO BOX 980 Corte Madera CA ; On the right 1987 Estate of M.M reprented by the Roger Richman Agency Inc BH CA from the o...

after Henri MATISSE Edition of 200 with the printed signature, as issued 76 x 56 cm With stamp of the Succession Matisse References : Artvalue - Succession Matisse

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

Drei Grazien (Three Graces) Etching and drypoint, 1920 Signed and titled in pencil (see photo) Total Edition 100: 30 on Japan and 70 on Butten paper as here Published by von Wohlgemu...

Passages I John Hardy, American (1923–2014) Date: 1981 Lithograph, signed and numbered in pencil Edition of 275 Image Size: 28 x 20 inches Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Title: Gestreckter Akt Medium: Etching Edition: 50 Signed and numbered by hand Size: 21.5 × 17.4 on 25.2 × 19.9 inches COA provided Claude Garache is a French artist. He has worked ...

Three graces. Paper, etching, 12x11cm

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

Hand signed and numbered. with Hebrew calligraphy "Zion" Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

Auguste Rodin, After, French (1840 - 1917) - Jardin Des Supplices, Year: 1920, Medium: Lithograph, Image Size: 10 x 7 inches, Size: 17.75 x 12.5 in. (45.09 x 31.75 cm), Description...

Artist: Dan May (American, 1955-) Title: "Nude Near Pool" *Signed and numbered by May in pencil lower left Year: 1989 Medium: Original Screenprint on unbranded white wove paper Limit...

Artist: Reuben Nakian, Armenian/American (1897 - 1986) Title: Leda and The Swan - 1 Medium: Etching and Chine Colle [Signed and Numbered in Pencil] Edition: 75 Paper Size: 42 x 29.5...

Artist: Dan May (American, 1955-) Title: "Nude and Cat" *Signed and numbered by May in pencil lower left Year: 1987 Medium: Original Screenprint on unbranded w...

Jean Cocteau - Under the Fire Coat - Lovers - Original Lithograph Signed "Jean" in the plate and dated 1954 in the plate. Joseph Forêt Editions Dimensions: 4...

Artist: Dan May (American, 1955-) Title: "Nude" *Signed and numbered by May in pencil lower left Year: 1987 Medium: Original Screenprint on unbranded soft-cream wove paper Limited ed...

Finis le Paradis Jan Peter Tripp German (1945) Date: 1994 Etching, signed, numbered, dated, and titled in pencil Edition of 6/66 Image Size: 39 x 20 inches ...

Leonor Fini - Prisonners - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsig...

Artist: Dan May (American, 1955-) Title: "Sun Therapy" *Signed and numbered by May in pencil lower left Year: 1982 Medium: Original Screenprint on unbranded white wove paper Limited edition: 1/150 Printer: the artist May himself, Oakland, CA Publisher: the artist May himself, Oakland, CA Sheet size: 30.88" x 29.13" Image size: 23.13" x 23.13" Condition: Minor wear to lower right corner. In excellent condition Notes: Titled and dated by May in pencil lower right. The paper is white wove, however the entire recto sheet is screenprinted with color. The margins are screenprinted in red which connect throughout the central image. Biography: Dan May is an American painter and printmaker born on March 11, 1955 in San Francisco, CA. Raised in aesthetic surroundings heavily influenced by his architect father, May grew up learning to view all things with an eye for design, color, and shape. At age 5, he remembers his father cutting up a book of drawings by Henri Matisse and hanging them on the walls of their home. The French master Matisse as well as Richard Diebenkorn and David Hockney are his favorite art influences. He began his first attempts at painting at age 15, and later began to experiment with printmaking, teaching himself various techniques such as woodblock printing, etching, silkscreen printing, and monoprinting. Monoprinting soon became May's medium of choice due to its wide range of expression and spontaneity that he felt other techniques lacked. May - "With monoprinting, you can only work a piece for as a long as the paint stays wet, so the resulting print has a feeling of movement and immediacy. I also like how monoprinting allows the brush strokes to transfer a transparent light quality to the print. For me, this is a technique that bridges drawing...

Howard Daum Nude Woman, 1945 Signed and dated in pencil in the margin Etching on paper Plate 3 3/4 x 2 1/2 inches Sheet 4 1/4 x 3 1/4 inches The artist Ashby Gallery, New York Carl ...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered in pencil from limited edition of 100 Aquatint etching Image size: cm 39.5 x 29.5, sheet cm 53 x 39 ...

Light Struck Etching & Drypoint, 1984 Signed, dated and numbered in red pencil (see photos0 The artist's chop stamp (CS) lower right corner Edition: 25 (18/25), 5 artist's proofs, B....

Salvador Dali - Cup of Chocolate - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Salvador Dali - Cut Cucumber - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Offset color lithograph poster. Signed by the artist in felt-tip pen and black ink. This color print is based on the same-titled painting in the Böckmann collection, Berlin.

Artist: John Kacere, American (1920 - 1999) Title: Splendid Diane Year: 1979 Medium: Lithograph, signed in pencil Publisher: Circle Gallery, Chicago Size: 20.5 in. x 26.5 in. (52.07 ...

XXe Siecle Color lithograph, 1974 Signed in the stone on right (see photo) From: XXe Siecle, Volume 42, 1974 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, P...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Leonor Fini - Duo - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned and...

Salvador Dali - Girl on Rhinoceros Horn - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum Signed in the plate References : Fi...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Etching, 1916. Signed by the artist with the monogram in pencil, lower right margin. Professionally and archivally matted and framed (framed dimensions is 21 x 17.25 inches).

Leonor Fini - Rejection - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsign...