George Ferdinand Bigot Prints and Multiples

Etching on cream wove paper. 6 5/16 x 3 3/4 inches (159 x 94 mm), full margin. Signed in pencil lower center margin, from the edition of 111. A well inked impression with a minor cre...

on Hahnemuhle paper, hand signed and numbered. poster is not included. These depict synagogue interiors, Rabbis at prayer etc. Judaic religious events. Mauritz Lennart Rosensohn , bo...

Artist: Lambrecht Hopfer (German, Active c. 1525-1550) Title: "The Crucifixion (Christ on the Cross)" Portfolio: (after) The Engraved Passion *Issued unsigned, though monogram signed by Hopfer in the plate (printed signature) lower right Circa: 1530, (published c. 1690, second state of three) Medium: Original Etching on laid paper Limited edition: Unknown Printer: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Publisher: The Hopfer family, Augsburg, Germany; (David Funck, Nuremberg, Germany) Framing: Recently framed, the sheet is floated over, and top-matted with a 100% cotton fabric rag mat from Holland in a wood moulding and Museum glass Framed size: 14.88" x 13.88" Sheet size: 5.5" x 3.63" Reference: Bartsch No. VIII.527.12; Hollstein No. 12.II Condition: Trimmed to platemark. A few tiny professional repairs: at elbow of Jesus's right arm and the inside thigh of Jesus. Some light skinning upper right corner and lower right area. It is otherwise a strong impression in good condition Very rare Notes: Provenance: private collection - Green Bay, WI; acquired from Sotheby's, New York, NY in c. 2015. The artist Lambrecht Hopfer's printed monogram signature "LH" lower right. The printer/publisher David Funck's (plate) number "182" lower right. This etching is after Albrecht Dürer’s 1511 engraving "The Crucifixion (Christ on the Cross)", ("Dürer-Katalog" - Meder No. 13, page 73). Printed in black from an iron plate. The image depicts Christ on the cross at center, the Virgin at left, two Maries behind her, St. John standing at right, a Roman solider behind him. It is after the eleventh plate of Dürer's sixteen plates from his 1507-1513 "The Engraved Passion" series, ("Dürer-Katalog" - Meder No. 3-18, page 70-74). "The print was originally designed without the number engraved in the lower margin (First state: Lambrecht Hopfer, c. 1530). The Hopfers' descendant David Funck (Nuremberg, 1642–1705) acquired over two hundred of their original iron plates, engraved numbers into them, and re-printed them around 1686-1700. The "182" indicates that "The Crucifixion" was the 182nd print in Funck’s series (Second state: David Funck, c. 1686-1700). About a century later, 92 of these plates were acquired by Carl Wilhelm Silberberg in Frankfurt and printed for the third and final time in the book "Opera Hopferiana", of which "The Crucifixion" was the 90th print (Third state: Carl Wilhelm Silberberg for "Opera Hopferiana", 1802)". - Elizabeth Upper, Cambridge University Library, University of Cambridge, Cambridge, UK Biography: Lambrecht (Lambert) Hopfer (Active c. 1525-1550) was a German Old Masters printmaker. He was the brother of Hieronymus Hopfer (Active c. 1520-1530) and son of Daniel Hopfer...

Corralled Horse is a rare WPA-era modernist etching by acclaimed American artist Ethel Magafan, created in the 1940s. This artist’s proof depicts a lone dark horse within a wooden co...

Paul Cadmus (American, 1904-1999), "Waiting for Rehearsal", Etching, 1984, signed in pencil lower right, titled and numbered edition "140/175" lower left, and blind stamped "Pelavin ...

Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil. A superb impression, with fresh colors, on heavy, cream wove paper; with margins...

Hand-coloured drypoint etching on Arches paper, edited in 1971. Limited edition of 145 copies, numbered as 89/145 in lower left corner.
 Hand-signed in pencil by artist in lower righ...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of ecstasy and repose. The loose sketches were drawn directly onto the plate by the artist, a master draftsman whose erotic etchings are largely unknown. The composition is based on the drawing: Clinical Study, Towards a Heroic-Erotic Monument in the Academic/Comic Style...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...

This artwork "City Children Playing" c.1970 is an original colors etching with aquatint on paper by noted Bolivian artist Graciela Rodo Boulanger, b.1935. It is hand signed and numbe...

The Taming of the Shrew is a print from Salvador Dalí's homage to Shakespeare - "Shakespeare II" from 1971. An etching on paper, the image size is 6.75 x 5 inches and the framed siz...

Charles Bragg, American (1931 - 2017) - In the Beginning There Were Mistakes, Year: circa 1970, Medium: Etching, signed, numbered, and titled in pencil, Edition: 300, Image Size: 7...