Charles de la Haye Figurative Prints

Albert Einstein portrait, "Albert", a color collotype print, watercolor by Lilya Vorobey (American, 21st C). Titled "Albert with his wry smile and electrifying white hair" lower righ...

Albert Einstein silhouetted portrait, a collotype print, watercolor by Lilya Vorobey (American, 21st C). Unsigned. From a collection of her works. Image, 9.75"H x 5.88"W. Full Sheet...

Original etching printed in black ink on wove paper bearing the Arches script watermark. Signed and dated in the plate lower left Matisse / 45 A fine impression of the definitive state, from the edition of 25 stamp numbered in the margin lower right, (there was one trial proof and six artist’s proofs printed at the same time in 1966), also bearing the artist’s monogram stamp in the margin lower right. Catalog: Duthuit-Matisse 268; Fribourg 344; Duthuit Illustrated Books 12. 13 15/16 x 10 15/16 inches Sheet Size: 20 7/8 x 15 3/4 inches In excellent condition, printed on a sheet with full margins. This etching was commissioned by Marguerite and Jacques Maret, founders of the bibliographic society Le Gerbier, Paris, in 1945 to be part of an album titled Alternance which was comprised of sixteen etchings by Jean-Emilé Laboureur, Edouard Goerg, Jean Cocteau, Marie Laurencin, André Lhote, Hermine David, H. de Waroquier, Jacques Villon, Valentine Hugo...

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...

The Two Mélisandes. 1928. Etching. Fletcher 60. 5 3/4 x 3 1/2 (sheet 10 1/2 x 7 1/2). Edition size not stated. Illustrated: Fine Prints of the Year, 1928; Salaman, Modern Masters of ...

Etching monogrammed in the plate. Illustration for a Robert Ganzo's poem "Lespugue" Editions Marcel Sautier, Paris, 1966. Conditions: Good Conditions Dimensions: 25,5 x 16,5 cm. Vellum paper Référence Czwiklitzer n°55. 1890 Zadkine was born on the 14th of July in Vitebsk, a city in Belarussia, on the Dvina. His father Ephime teaches classical languages at the local seminar. His mother Sophie Lester descended from Scots, who emigrated at the time of Peter the Great. 1905 His parents send him to Sunderland, in the North of England, where his mother’s family lives. He studies English and attends modelling courses at the local Art School. 1905-1909 He travels to London without his parents permission where he attends courses at the Regent Street Polytechnicum. In order to earn his living, he plans to work with a stonecutter. He visits the British Museum and studies classical sculpture there. Returns to Smolensk where he produces his first sculpture. Goes back to London. 1909-1910 Zadkine settles in Paris and studies in the ecole Nationale des Beaux-Arts. Finds a workshop in a building called La Ruche, in the XVe arrondissement. 1911 Zadkine presents statues and drawings at the annual Salon d’Automne and at the Salon des Indépendants. It is the ‘cubists’ who draw his attention in Paris. Is essentially close to Russian students who get together in a cafe of the ‘Quartier Latin’. Has himself called Joe Zadkine until 1914. 1912-1913 Finds a room in the neighbourhood of Montparnasse, in the rue de Vaugirard. Studies Roman sculpture. Zadkine is immortalized by his neighbour, photographer Marc Vaux, in his new workshop. Meets Brancusi, Guillaume Apollinaire, Jacques Lipchitz, Pablo Picasso, Antoine Bourdelle, Leopold Survage and Robert Delaunay. Henri Matisse visits Zadkine’s workshop. 1914-1915 Exhibition at the Freie Sezession in Berlin, at De Onafhankelijken in Amsterdam (Holland) and at the Allied Artists Association in London. Thanks to collector Paul Rodocanachi, he can settle in a workshop in the rue Rousselet. Becomes friends with Modigliani. 1916-1917 Works as a stretcher-bearer on the front. Produces drawings and watercolours dealing with war. Zadkine is discharged in 1917. He says he is ‘bodily and spiritually’ ruined by the war. After his stay in the Epernay hospital he recovers in Bruniquel, in the southwest of France. 1918-1919 Makes a series of 20 war etchings...

Jacques Villon - Woman - Original Etching Circa 1949 Signed in pencil and numbered Dimensions : 34.8 x 25 cm

Hand colored original artist proof etching by the well known Russian/American artist Nahum Tschacbasov. Marked “AP” lower left for artist proof in pencil. Signed by the artist lower...

Set of 3 etchings and aquatints in colours by Marino Marini "Triade", 1976-1978 73,7 x 57,5 cm Copy 4/90 Edition of 125 Marino Marini (Pistoia 1901–1980 Viareggio 1980) - Hardly an...

Here for your consideration is a wonderful original etching on archival paper by the well known American artist, Ralph Fabri. Strong impression; signed in pencil by the artist lower right margin. Titled and dated bottom left of the sheet “1947-Americana”. Condition of the etching is excellent. Top corner of sheet and bottom right corner of sheet have tiny creases. Not visible, under the mat. Sheet size is 12 by 15 inches. Image size is 8 by 9.75 inches. Matted but not framed. Provenance: A Long Island, New York collector. Painter and printmaker, commercial artist, writer, and teacher, Ralph Fabri was born Fabri Reszo in Hungary in 1894. He was educated in Budapest, first studying architecture at the Royal Institute of Technology from 1912 to 1914. He then enrolled in the Royal Academy of Fine Arts, from which he graduated in 1918 with a Professor's Diploma (M.A.) "for teaching drawing, painting and geometry – including descriptive and projective geometry – in schools of higher education." Fabri arrived in New York City in 1921 and soon adopted the anglicized version of his name, Ralph Fabri. He began doing commercial design work and during the academic year of 1923/24 was enrolled as an evening student at the National Academy of Design. After becoming an American citizen in 1927, he traveled extensively in Europe. Upon returning to New York that same year, Fabri decided his financial situation was stable enough to allow him to focus his attention on fine art. During the Great Depression, Fabri's already inadequate portrait commissions and art sales further declined and he returned to commercial work. He established a workshop known as the Ralph Fabri Studios, that designed theatrical and movie sets, window displays, and retail interiors. But Fabri found the workshop dirty and distasteful, and eventually was able to concentrate on advertising work which could be done from home. The largest clients for his pen and ink drawings were The Stamp and Album Co. of America, Inc. (for which he designed covers for stamp albums and produced illustrations for envelopes housing sets of stamps sold to collectors), Geographica Map Co., and Joseph H. Cohen & Sons (for whom he designed and illustrated mail order catalogs). Another source of income during this period was the design and construction of an addition to "Iroki," Theodore Dreiser...

Oliver St. John Gogarty. 1935. Etching. Fletcher 78. 6 7/8 x 5 1/2 (sheet 11 1/4 x 8 3/8). Edition 100. 75 intended for the Cuala Press, Dublin. A rich impression, printed on cream-...

Old Colony Statehouse, Newport, Rhode Island. c. 1931-1933. Etching. Hausberg 187. iii. 7 7/8 x 6 (sheet 12 1/2 x 9 1/4). Printed on the full sheet of cream wove paper with deckle ed...