Bernard Buffet Portrait Prints

Lithograph by C.W. Anderson from 1948 folio edition, All Thoroughbreds. Published by Harper & Brothers, New York, 1948. Nebraskan born Clarence William Anderson...

YOUNG WOMAN COMBING HER HAIR is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the artist Raphael Soyer - Russian/American Social Realism Painter, 1899-1987. Printed using traditional hand lithography techniques from a hand drawn and etched lithographic stone in black ink on archival Rives BFK printmaking paper 100% acid-free rag. YOUNG WOMAN COMBING HER HAIR is a sensitive, realistically drawn portrait of a young woman combing her long dark hair while seated on a bed, her facial expression appearing somewhat melancholic and pensive, a glimpse of her reflection appearing in the wall mirror behind her. Print size - 14.75 x 11 inches Image size - 10.5 x 8 inches Year printed c.1976 by Master printer Joseph Kleineman in NYC Print is in excellent condition, deckled paper edges, hand signed in pencil and signed in the printing stone on lower right corner, printers chop mark embossed on lower left. From the master printers private collection. Raphael Soyer was a Russian-born painter. He was the twin to the artist Moses Soyer (1899-1974) and the older brother of the painter Isaac...

Françoise GILOT (1921) Portrait of a Woman Daydreaming, 1951 Original lithograph On Marais vellum 28 x 22.5 cm (c. 11 x 9 inches) Information: From the poetry book "Pages d'Amour" ...

Lithograph by C.W. Anderson from 1948 folio edition, All Thoroughbreds. Published by Harper & Brothers, New York, 1948. Nebraskan born Clarence William Anderson...

Rare Original limited edition lithograph, printed by Mourlot in Paris, France on vélin du Marais watermarked paper. this is not signed as issued. This is from a signed and numbered ...

Akira Kito Enfant 1964 Original Color Lithograph on Velin d'Arches Size: 10x7.375in Edition: 2,000 Signed in the Stone Annotated verso Publisher: Mourlot, Paris Printer: Mourlot, Par...

Lait Pur de la Vingeanne Stérilisé is an offset lithographic print reproduced after the original 1894-95 Belle Epoque advertising poster created by Théophile Steinlen, printed using 4-color offset lithography on heavyweight archival paper. Lait Pur de la Vingeanne Stérilisé depicts a seated rosy cheeked young girl (the artist's daughter) wearing a long red dress sipping milk from a bowl as a group of envious animal friends - 3 cats...

Highly detailed and realistic portrait lithograph of the modernist watercolor artist Sam Colburn (American, 1909-1993) by Jack Coughlin (American, b. 193...

The poster reproduces David Hockney's 1972 drawing Celia in a Black Dress. Viewed through elegantly drooping tulip stems, Celia Birtwell stares dreamily ahead. With one hand paused i...

Steve McCurry Sharbat Gula, Afghan Girl, Pakistan (Hand Signed), 1984 Offset Lithograph poster Hand signed by the photographer in black felt pen on the front 24 × 20 inches Unframed...

Mr. Brainwash "Lady in the Gardern" 2014 Signed Fine Art Lithograph Street Art, 2014 Lithograph on thin stock paper with vibrant inks. 24 ×...

Hand signed in pencil and numbered. A very small edition. Old Lower East Side of New York or East European Shtetl. Jewish Shtetl Hasidic Klezmer Musicians. humorous Yiddish Chassidic art. The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original color lithograph print is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...