Femme Assise, Cubist Lithograph by Pablo Picasso

1979-1982

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting “Claude et Paloma”. The original painting was completed in 1950. In the 1970’s after Picasso’s...

Set against a deep purple background, the work featuring the red figure of Pablo Picasso's daughter, Paloma, and the blue figure of his son, Claude, sitting together while Claude ske...

Pablo Picasso's Cubist rendering of a woman wearing her hair in a ponytail is a classic example of the artist's work. Rendered with high-contrast shading, the head of the woman appea...

Leaning onto the back of the chair in which he sits, the man in this Pablo Picasso print stares back at the viewer. Rendered in soft pastels marked by thick black outlines, the figur...

Sitting in an armchair, the woman with a heart-shaped torso is rendered with simple rectangular shapes outlined by cobalt blue and bright yellow. Set against a soft pastel background...

Bordered by intense shades of yellow and black, the female figure at the center of this Pablo Picasso print appears solid and monumental. Consisting of a series of angled and rounded...

Beautiful black and white lithograph with a bold pop of color with a Mexican blanket titled "The Magic of Teotitlan" by artist Janis Schwartz-Stegall....

Lithograph Handsigned by the artist in pencil and numbered 71/250 31.00 cm. x 45.00 cm. 12.2 in. x 17.72 in. (paper) 23.00 cm. x 33.00 cm. 9.06 in. x 12.99 in. (image) LCD4046

unframed black and white lithograph by Dan Namingha Kachina Katsina Katsinam faces

Mask Assemblage by Dan Namingha black white lithograph Hopi Kachinas Namingha Hand pulled limited edition lithograph unframed unframed hand pulled lithograph signed and numbered by...

Created in 1981 as an original lithograph with screen-printing, Roy Lichtenstein’s, Study of Hands is hand-signed in pencil, dated and numbered, measuring 31 ¼ x 32 ¾ in. (79.5 x 83....

RICHARD LINDNER (American. 1901-1978) Hand Signed limited edition lithograph with blindstamp Publisher: Shorewood-Bank Street Atelier for the Skowhegan School of Painting and Sculpture 29.25 X 22 inches Richard Lindner was born in Hamburg, Germany. In 1905 the family moved to Nuremberg, where Lindner's mother was owner of a custom-fitting corset business and Richard Lindner grew up and studied at the Kunstgewerbeschule (Arts and Crafts School since 1940 Academy of Fine Arts). From 1924 to 1927 he lived in Munich and studied there from 1925 at the Kunstakademie. In 1927 he moved to Berlin and stayed there until 1928, when he returned to Munich to become art director of a publishing firm. He remained there until 1933, when he was forced to flee to Paris, where he became politically engaged, sought contact with French artists and earned his living as a commercial artist. He was interned when the war broke out in 1939 and later served in the French Army. In 1941 he went to the United States and worked in New York City as an illustrator of books and magazines (Vogue, Fortune and Harper's Bazaar). He began painting seriously in 1952, holding his first one-man exhibit in 1954. His style blends a mechanistic cubism with personal images and haunting symbolism. LIndner maintained contact with the emigre community including New York artists and German emigrants (Albert Einstein, Marlene Dietrich, Saul Steinberg). Though he became a United States citizen in 1948, Lindner considered himself a New Yorker, but not a true American. However, over the course of time, his continental circus women became New York City streetwalkers. New York police uniforms replaced European military uniforms as symbols of authority.At a time when Abstract Expressionism was all the rage, Lindner’s painting went against the current and always kept its distance. His pictorial language of vibrant colours and broad planes of colour and his urban themes make him a forerunner of American Pop Art. At the same time, he owes the critical tone of his paintings to the influence of European art movements such as Neue Sachlichkeit and Dada. His first exhibition did not take place until 1954, by which time he was over fifty, and, interestingly, it was held at the Betty Parsons Gallery in New York, a venue associated with the American Expressionists. From 1952 he taught at the Pratt Institute, Brooklyn, from 1967 at Yale University School of Art and Architecture, New Haven. In 1957 Lindner got the William and Norma Copley Foundation-Award. In 1965 he became Guest Professor at the Akademie für Bildende Künste, Hamburg. His Ice (1966, Whitney Museum of American Art) established a connection between the metaphysical tradition and pop art. He did work on Rowlux which was used by a number of pop artists (most notably Roy Lichtenstein)The painting shows harsh, flat geometric shapes framing an erotic but mechanical robot-woman. His paintings used the sexual symbolism of advertising and investigated definitions of gender roles in the media. While influencing Pop Art (Andy Warhol, Tom Wesselmann and Claes Oldenburg amongst others) his highly colourful, hard-edge style seems to have brought him close to Pop Art, which he rejected. Nevertheless, he is immortalised on the cover of the Beatles record "Sgt. Pepper’s Lonely Hearts Club Band" (1967) as a patron of the pop culture. He also did a tapestry banner with the Betsy Ross Flag...