Pablo Picasso

A Los Toros Avec Picasso (Set of Four in Black Frames)

1961

Artist: Pablo Picasso Title: La Pique (I), Le Picador (II), Jeu de la Cape (III), Les Banderilles (IV) Portfolio: A Los Toros Avec Picasso Medium: Set of four transfer lithographs Ye...

Artist: Joan Miro Title: Le Chien Aboyant a La Lune "Barking Dog" Portfolio: Verve Vol VII No. 27-28 Medium: Lithograph Year: 1953 Edition: 6000 Framed Size: 21 1/2" x 28 1/4 Sheet S...

Artist: Pablo Picasso Title: Los Cabestros Retiran al Toro Manso (Halters Withdraw the Tamed Bull) Portfolio: La Tauromaquia Medium: Aquatint Year: 1959 Edition: Deluxe portfolio edi...

Artist: Pablo Picasso Title: Les Banderilles (IV) Portfolio: A Los Toros Avec Picasso Medium: Transfer lithograph Year: 1961 Edition: Unnumbered Frame Size: 16 1/2" x 19" Sheet Size...

Artist: Katherine Bernhardt Title: Shower Power Medium: 14 Colour Lithograph on Somerset Tub Sized Radiant White 410gsm Date: 2023 Edition: 55/75 (from the edition of 75 unique print...

Artist: Pablo Picasso Medium: Transfer lithograph Title: La Pique (I) Portfolio: A Los Toros Avec Picasso Year: 1961 Framed Size: 16 3/4" x 19 1/4" Image Size: 8" x 10" Sheet Size: 9...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Ed...

This is an original 19th century hand-colored folio-sized lithograph entitled "Gallinula Chloropus" (Moorhen) by John Gould, published in his "Birds of Great Britain", published in London between 1862 and 1873. The print, which was drawn by Gould and Henry Richter and lithographed by Walter & Cohn, depicts a family of Moorhens, including two adults and six babies in a beautiful landscape. The adults are in the water and the babies are lying on the leaves a flowering lilly pad. This striking Gould hand-colored moorhen family lithograph is augmented with gum-arabic paint. The sheet measures 14.88" high and 21.75" wide. It is in excellent condition, other than a spot in the upper portion of the right margin and two small spots at the edge of the lower margin on the left. The original descriptive text pages from Gould's 19th century publication are included. There are several other unframed Gould hummingbird lithographs available on our 1stdibs and InCollect storefronts. Two or more of these striking lithographs would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds may be viewed by typing Timeless Intaglio...

Artist: Millard Owen Sheets, American (1907 - 1989) Title: Summer Gold Medium: Lithograph, signed and numbered in pencil Edition: 250, 5 HC Image S...

Artist: Millard Owen Sheets, American (1907 - 1989) Title: Brood Mare Pasture Year: circa 1977 Medium: Lithograph, signed in pencil Edition: 250, A...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

One of Their Pets (Two Farm Boys and Cow at The Watering Hole) By Joseph Vorst (1897-1947) Signed Lower Right Edition 1/50 Lower Left Unframed: 8.5" x 11" Framed: 16" x 18.5" German-born Joseph Vorst came from Essen (born June 19, 1897). His teacher was the leading German impressionist Max Liebermann (1847-1935), who was the champion of French impressionism in Berlin. He had traveled to Barbizon and Paris to see paintings by Manet first hand, including In the Conservatory, which made its way to Berlin. Later Vorst's home town of Essen would acquire a collection of modern art in 1921, which became the Museum Folkwang, one of the earliest of its kind. Most likely to escape the Nazis, Vorst made his way to Missouri; we know that he was a member of the American Artists Congress and he signed the famous "Call" in 1936 at the group's first congress, the left-wing organization that stood up to combat fascism. Surely he would have known Joe Jones...