Otto Dix Art

Bernard Kretzschmar (1889-1972), Auction, etching, drypoint, and burnished aquatint, 1921, signed and dated (’20) in pencil lower right [also initialed in the plate lower left] Refe...

Mickalene Thomas Portrait de Priscilla Le Petit Chien, 2012 Pigment print on 100% cotton rag paper Edition 148/150 Frame included with official COA affixed to the back Hand numbered from the edition of only 150 with plate signed official Certificate of Authenticity on the verso of the frame. This exquisite print, published in 2012, is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. Highly acclaimed contemporary art star Mickalene Thomas created this collage specifically for children- though adults will appreciate it as well - as will pet lovers! Portrait de Priscilla Petit Chien features Priscilla, Thomas' own dog who frequently attends the artist's photoshoots. This limited edition archival pigment print is printed on cotton rag paper and accompanied by a plate (facsimile) signed and uniquely hand numbered certificate of authenticity. It is matted and comes in a 1"-deep wooden frame with Plexiglas®. Wired for hanging. Edition of 150. This professionally framed limited edition pigment print on 100% cotton rag paper is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. The print is matted and comes in a white wooden frame (16" x 19" x 1") with Plexiglas, wired for hanging. Dimensions: 11" x 14" sheet, 9-1/4" x 12" image. Mickalene Thomas Biography: Mickalene Thomas (b. 1971, Camden, NJ; lives and works in Brooklyn, NY) makes paintings, collages, photography, video, and installations that draw on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense of self are informed by the ways women are represented in art and popular culture. Rhinestones—the artist’s signature material and a symbol of femininity—serve as an added layer of meaning and a metaphor of artifice. Thomas uses rhinestones to shade and accentuate specific elements of each painting, while subtly confronting our assumptions about what is feminine and what defines women. Thomas has drawn inspiration from multiple artistic periods and cultural influences throughout Western art history, particularly the early modernists such as Jean-Auguste-Dominique Ingres, Pablo Picasso, Henri Matisse, Edouard Manet, and Romare Bearden. She models her figures on the classic poses and abstract settings popularized by these modern masters as a way to reclaim agency for women who have been presented as objects to be desired or subjugated. Though Thomas draws from a number of time periods and genres, her use of pattern and domestic spaces often references various periods throughout the 1960s to the 1980s. This was a time of immense social and political conflict, change, and transformation—the civil rights movement, the black is beautiful movement, and the second wave of feminism—during which many women, particularly African-Americans, rejected and redefined traditional standards of beauty. Thomas received a BFA from the Pratt Institute, Brooklyn, NY, in 2000 and an MFA from Yale University School of Art, New Haven, CT, in 2002. Solo exhibitions of her work have been organized at The Dayton Art Institute, OH (forthcoming, 2018); Henry Art Gallery, Seattle, WA (forthcoming, 2018); Pomona College Museum of Art, Claremont, CA (forthcoming, 2018); Georgia Museum of Art, Athens, GA (forthcoming, 2017); Newcomb Art Museum, Tulane University, New Orleans, LA (2017); Spelman College Museum of Fine Art, Atlanta, GA (2017); Museum of Contemporary Art, Los Angeles (2016); Aspen Art Museum, CO (2016); Aperture Foundation, New York (2016); George Eastman Museum, Rochester, NY (2014); Brooklyn Museum, New York (2012-13); Santa Monica Museum of Art (2012); Institute of Contemporary Art, Boston (2012); Hara Museum of Contemporary Art, Tokyo (2011); and La Conservera Centro de Arte Contemporaneo, Ceuti, Spain (2009). Select group exhibitions featuring her work include Third Space / Shifting Conversations About Contemporary Art, Birmingham Museum of Art, AL (2017); Constructing Identity: Petrucci Family Foundation Collection of African-American Art, Portland Art Museum, ME (2017); The Color Line: African American Artists and the Civil Rights in the United States, Musée du quai Branly, Paris (2016); SHE: International Women Artists, Long Museum, Shanghai (2016); No Man’s Land: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami, traveled to the National Museum of Women in the Arts, Washington, DC (2015); 30 Americans, Corcoran Gallery of Art, Washington, DC (2011), which has traveled extensively around the United States (2011-2017, ongoing); and Americans Now, National Portrait Gallery, Washington, DC (2010). Thomas’ work is in numerous international public and private collections, including The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; Art Institute of Chicago; MoMA PS1, New York; Brooklyn Museum, New York; Studio Museum in Harlem, New York; Yale University Art Collection, New Haven, CT; and Hara Museum of Contemporary Art, Tokyo. Thomas has been awarded multiple prizes and grants, including the USA Francie Bishop Good & David Horvitz...

Champagne is an offset lithograph, realized by George Grosz. The artwork is the plate n. 77 from the porfolio Ecce Homo published between 1922/1923, edition of Der Malik-Verlag Berl...

Jean Jansem (1920-2013) Ophélie au coussin rose, 1993 Lithographie sur papier Arches Signée et justifiée 50 x 65 cm / 56 x 76 cm Imprimeur: Arts-Litho, Paris Editeur: Enrico Navarra...

"Conception" - Portrait of a Native American on a Vision Quest Large scale and fine detailed work by the artist. Detailed and evocative depiction of a Native American elder by Frank Howell...

Jean Jansem (1920-2013) La soupière bleue, 1990, Lithographie sur papier Japon Signée en bas à droite et justifiée en bas à gauche 50 x 65 cm / 54 x 76 cm Edition à 120 exemplaires sur Arches plus 30 épreuves d'artiste. Ce rare exemplaire d'une édition à 30 épreuves sur papier Japon numérotées en chiffre romain. Bibliographie: Imprimeur: Mourlot, Paris Editeur: Galerie 10, Paris Bibliographie: Jansem Lithographe, 1984-1993, Flora Jansem, Paris, n. 50, reproduit p. 56, référencé p. 109. "Ma première lithographie date de 1954. Elle représente un enfant en haillons portant deux seaux d'eau, d'après un croquis rapporté de Cordoue lors de mon voyage en Espagne en 1952. Je l'exécutai sur pierre, au pinceau et à l'encre lithographique. Je fus déçu du résultat et n'en tirai qu'un essai et une épreuve. Quatre ans plus tard, je réalisai une dizaine de nouvelles lithographies, toujours sur pierre, la plupart en noir. Au lieu d'employer l'encre et le crayon...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Titles: Male Nude 3 Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 175 Paper Size: 44 x 30 in. (111.76 ...

Jean Jansem (1920-2013) Sophie aux bas rouges, 1993 Lithographie sur papier Arches, justifiée E/A Signée en bas à droite 66 x 50 cm / 76 x 56 cm Bibliographie: CR Jansem, 2000, n°...

Body in the Field #3, 2022 coloured pencils on canvas 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body through the prism of t...

Artist: Georges Henri Manesse (French, 1854-1940) Title: "La Reine Marie d'Angleterre (Queen Mary of England)" Portfolio: Gazette des Beaux-Arts Year: 1893 Medium: Original Etching on cream laid paper Limited edition: approx. 1,500 Printer: Chardon Wittman, Paris, France Publisher: Gazette des Beaux-Arts, Paris, France Reference: Sanchez/Seydoux 1893-7 Sheet size: 10.69" x 7.13" Image size: 7" x 5.25" Condition: Light discoloration at edges. It is otherwise a strong impression in excellent condition Notes: This etching is after a painting from 1554 by Dutch artist Anthonis Mor (c. 1517-1577). Comes with its original tissue cover sleeve. This etching was published by Gazette des Beaux-Arts. The Gazette des Beaux-Arts was a French art review, found in 1859 by Édouard Houssaye, with Charles Blanc as its first chief editor. Assia Visson Rubinstein was chief editor under the direction of George Wildenstein from 1928 until 1960. Her papers, which include all editions of the Gazette from this period, are intact at the Cantonal and University Library of Lausanne in Dorigny. The Gazette was a world reference work on art history for nearly 100 years - one other editor in chief, from 1955 to 1987, was Jean Adhémar. It was bought in 1928 by the Wildenstein family, whose last representative was Daniel Wildenstein, its director from 1963 until his death in 2001. The review closed in 2002. Mary I...

Jean Jansem (1920-2013) Repos, Album Danse, 1999 Lithographie sur papier Arches Signée et justifiée 50 x 65 cm / 54 x 76 cm Imprimeur: Mourlot, Paris Editeur: Jansem, Paris Bibliographie: Jansem Lithographe, 1993-1999, Flora Jansem, Paris, n. 155, reproduit p.81, référencé p. 97. "Ma première lithographie date de 1954. Elle représente un enfant en haillons portant deux seaux d'eau, d'après un croquis rapporté de Cordoue lors de mon voyage en Espagne en 1952. Je l'exécutai sur pierre, au pinceau et à l'encre lithographique. Je fus déçu du résultat et n'en tirai qu'un essai et une épreuve. Quatre ans plus tard, je réalisai une dizaine de nouvelles lithographies, toujours sur pierre, la plupart en noir. Au lieu d'employer l'encre et le crayon lithographiques, j'utilisai l'encre zincographique plus fluide me permettant de travailler à la plume ou avec de fins pinceaux de martre. Le tirage fut très satisfaisant. au grand étonnement du Père Guillard, lithographe. Jusqu'alors l'encre zincographique ne servait qu'à la zincographie. Actuellement elle est d'un usage courant puisque pratiquement toutes les lithographies se font sur zinc et non plus sur pierre, ce qui facilite la manipulation. Par ailleurs, le zinc offre autant de possibilités que la pierre. En 1959, La Guilde de la Gravure me demanda une édition en couleur. Je choisis une nature morte aux chardons, tirée à 220 exemplaires. Par la suite, les tirages varièrent de 10 à 160 épreuves. Mes lithographies en couleur étaient assez proches de mes toiles. A partir de 1968, période de La Danse, je supprimai petit à petit le clair-obscur et la matière pour donner plus de légèreté et de transparence. Les lithographies postérieures à 1970 sont dessinées en noir sur un fond coloré souvent volontairement arbitraire, donnant l'aspect d'un dessin rehaussé. La couleur n'est pas intégrée au dessin mais joue un rôle d'accompagnement du trait qui est lui-même une arabesque écrite. Quand le noir...

"L'Atelier Mourlot Title Page" is an original color lithograph by Pablo Picasso. It depicts a simplified smiling face in blue, red, yellow, and green with the text "Mourlot Workshop"...