Nudes, Signed (805 results)

Edition of 200. Signed and dated in pencil by the artist, and publisher's ink stamp signet lower left. This was Schiele's first commercial print which was made at the behest of the Munich based artists' association Sema. The transfer drawing for the lithograph was submitted by Schiele prior to 23 January 1912, for publication by Sema, which he had joined in late 1911. The work was titled Akt (Nude) in the association's portfolio and simply Zeichnung (Drawing) by Schiele himself. Kallir Graphics 1.b2 Brush and ink transfer lithograph in black on yellowish vellum paper. Sheet size: 45 x 39.9 cm. Framed size: 68.5 x 59 cm. Two small pin holes to upper corners, paper toned, otherwise an excellent copy. Presented in a rosewood veneer and gold leaf frame with conservation acrylic glazing.

Medium: Watercolor A watercolor on paper painting by American Master artist George Benjamin Luks (1867 ?? 1933) measuring approximately 9 1/8 x 12 1/2 inches in a contemporary frame measuring approximately 15 3/8 x 18 5/8 inches. This is similar to Seated Nude with Bobbed Hair pictured here for teference only. A gift by Luks to Harley Manlius Perkins (1883 - 1963), a modernist painter in The Boston Five. In a lesser-known chapter of his life, Luks painted more than a dozen oils and watercolors during an extended visit to Boston in 1922 and 1923. Last origin Boston, MA. Good condition with minor tear upper center as pictured. Thanks for looking. George Benjamin Luks (1867 ?? 1933) George Luks was by most accounts a vibrant, energetic and unapologetically honest personality.?ÿ He would throughout his career translate this to his works which are perhaps best known for their portrayal of the less genteel sides of life, capturing the true character of average Americans during the turn of the century. Luks was born in 1867 in the city of Williamsport, Pennsylvania.?ÿ In 1884 he began studies at the Pennsylvania Academy of the Fine Arts under Thomas Anshutz.?ÿ By 1889 he found himself at the Staatiche Kunstakademie in Dusseldorf but the structured class agendas ultimately did not suit him and he would travel to Paris and London in 1889 and 1890 to study the art there independently.?ÿ He returned to the United States in 1894 and in 1895 he secured work creating illustrations, comic strips and caricatures for the Philadelphia Press and the Philadelphia Evening Bulletin.?ÿ In Philadelphia he would align himself with what was known as the Eight, a group of artists who focused on realistic portrayals of the darker and coarser side of American life.?ÿ Because of the subject matter and the dark tonalities of the art, this group was popularly known as the Ashcan School. He would continue throughout this time to work as a newspaper illustrator and in 1896 the Evening Bulletin would send him to Cuba as a war correspondent during the Spanish-American War.?ÿ Later that same year he would move to New York and find employment as the foremost humorist for the New York World.?ÿ In the meantime, however, Luks ?? painting skills were being rapidly honed and improved.?ÿ He focused his painting on portraits of poorer and working class professionals such as shopkeepers, peddlers and street urchins.?ÿ In addition to the portraits he would also sporadically capture common urban scenes of the streets and docks of New York.?ÿ In 1908 he exhibited with the Eight at the Macbeth Gallery of New York where the group ??s dark and realistic portrayals created some controversy with the art establishment of the time.?ÿ Ironically perhaps, by the time Luks exhibited at the Armory Show in 1913, his formerly radical subject matter and style were overshadowed by the developing abstract movement.?ÿ Luks would teach at the Art Students League in New York from 1920 to 1924 and go on to establish the George Luks School of Painting in New York.?ÿ He died in New York City in 1933. Collections Include: Brooklyn Museum, New York Carnegie Museum of Art, Pittsburgh, Pennsylvania Fine Arts Museums of San Francisco, San Francisco, California Indianapolis Museum of Art, Indianapolis, Indiana Joslyn Art Museum, Omaha, Nebraska Los Angeles County Museum of Art, Los Angeles, California New Britain Museum of American Art, Connecticut North Carolina Museum of Art, Raleigh, North Carolina Philadelphia Museum of Art, Philadelphia, Pennsylvania Princeton University Art Museum, Princeton, New Jersey Art Institute of Chicago, Chicago, Illinois Dallas Museum of Art, Dallas, Texas Hirshhorn Museum and Sculpture Garden, Washington D.C. Metropolitan Museum of Art, New York Museum of Fine Arts, Boston, Massachusetts National Gallery of Art, Washington D.C Smithsonian American Art Museum, Washington D.C. Whitney Museum of American Art, New York Addison Gallery of American Art, Andover, Massachuset.

Medium: Oil An oil on canvas painting by American artist E.E. Cummings measuring approximately 48 x 36 inches behind glass in a modern frame estimated to be from the mid to late 1930s. Cumming's produced approximately 1,600 works of art during his life with some held by major institutions such as the Metropolitan Museum of Art, Smithsonian and Whitney Museum. Large oils by Cummings are scarce. Serious inquires only. Thanks for looking.E. E. Cumming ??s LifeNicholas EverettEdward Estlin Cummings (October 14, 1894 ?? September 3, 1962), aka e.e. cummings, was born in Cambridge, Massachusetts, to liberal, indulgent parents who from early on encouraged him to develop his creative gifts. While at Harvard, where his father had taught before becoming a Unitarian minister, he delivered a daring commencement address on modernist artistic innovations, thus announcing the direction his own work would take. In 1917, after working briefly for a mail-order publishing company, the only regular employment in his career, Cummings volunteered to serve in the Norton-Harjes Ambulance group in France. Here he and a friend were imprisoned (on false grounds) for three months in a French detention camp. The Enormous Room (1922), his witty and absorbing account of the experience, was also the first of his literary attacks on authoritarianism. Eimi (1933), a later travel journal, focused with much less successful results on the collectivized Soviet Union.At the end of the First World War Cummings went to Paris to study art. On his return to New York in 1924 he found himself a celebrity, both for The Enormous Room and for Tulips and Chimneys (1923), his first collection of poetry (for which his old classmate John Dos Passos had finally found a publisher). Clearly influenced by Gertrude Stein ??s syntactical and Amy Lowell ??s imagistic experiments, Cummings ??s early poems had nevertheless discovered an original way of describing the chaotic immediacy of sensuous experience. The games they play with language (adverbs functioning as nouns, for instance) and lyric form combine with their deliberately simplistic view of the world (the individual and spontaneity versus collectivism and rational thought) to give them the gleeful and precocious tone which became, a hallmark of his work. Love poems, satirical squibs, and descriptive nature poems would always be his favoured forms.A roving assignment from Vanity Fair in 1926 allowed Cummings to travel again and to establish his lifelong routine: painting in the afternoons and writing at night. In 1931 he published a collection of drawings and paintings, CIOPW (its title an acronym for the materials used: charcoal, ink, oil, pencil, watercolour), and over the next three decades had many individual shows in New York. He enjoyed a long and happy third marriage to the photographer Marion Morehouse, with whom he collaborated on Adventures in Value (1962), and in later life divided his time between their apartment in New York and his family ??s farm in New Hampshire. His many later books of poetry, from VV (1931) and No Thanks (1935) to Xaipe (1950) and 95 Poems (1958), took his formal experiments and his war on the scientific attitude to new extremes, but showed little substantial development.Cummings ??s critical reputation has never matched his popularity. The left-wing critics of the 1930s were only the first to dismiss his work as sentimental and politically na??ve. His supporters, however, find value not only in its verbal and visual inventiveness but also in its mystical and anarchistic beliefs. The two-volume Complete Poems, ed. George James Firmage (New York and London, 1981) is the standard edition of his poetry, and Dreams in a Mirror, by Richard S. Kennedy (New York, 1980) the standard biography. e. e. cummings: The Art of His Poetry, by Norman Friedman (Baltimore and London, 1960) is still among the best critical studies of his poetic techniques.From The Oxford Companion to Twentieth-century Poetry in E.

Hardcover. Condition: As New. 1st Edition. Please inquire. Pricing and availability are subject to change (price is net to all; promotional discounts do not apply). PAYMENT: by check or wire transfer (please inquire about payment by credit card). SHIPPING NOTE: due to size and weight, additional shipping fees apply (calculated at actual cost). Special limited edition of 40 signed and numbered copies, plus 5 artist's copies, with ten bound-in vintage gelatin silver prints (plates 1, 14, 15, 17, 24, 28, 33, 53, 69 and 80 in the trade edition book Nudes, 1991, Pantheon Books, New York and Jonathan Cape, London), printed on thesis-weight paper by Friedlander, housed in a black cloth-covered slipcase. Each print is signed in pencil on recto. Copyright stamp in black ink on verso. Images 9-3/4 x 14-3/4 inches, whether horizontal or vertical; sheets 14 x 17 inches. Binding by George Wieck. Half pink leather and corners, with textured paper cutout (black); gold stamped lettering. Designed by Catherine Mills, San Francisco. Unpaginated (44 pp.). 14-5/8 x 17-1/2 inches. [See: Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #27.] Lee Friedlander's work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work. As New (from Friedlander's personal archive). From the publisher (in 1991): "Over the last fifteen years, Friedlander has been working with a number of models to create his own way of seeing and photographing the female nude. Little of this work has ever appeared. The photographs are both highly intimate and coolly detached. The frequently surprising perspectives are balanced by the mundane backdrops of ordinary life, the real domestic interiors of the models. He appears to have taken a primary theme of Western art and re-invented it." Signed by Author.

Medium: Oil [[skipped]] Description is too long for Excel. Leave skipped tag in place to skip on re-import Region of Origin: Unknown Size Type: Medium (Up to 30in.).

Medium: Oil [[skipped]] Description is too long for Excel. Leave skipped tag in place to skip on re-import Region of Origin: US Size Type: Large (Greater than 30in.).

Hardcover. Condition: Fine. Kawada, Kikuji (photographs) (illustrator). 1st edition. Facinating and famous nude artworks by masters of painting Lucas Cranach d.A, Gustave Moreau, Jean Cousin, and others, shot in monochrome by famous Japanese photographer Kawada Kikuji. No.7 of 30 limited copies. Includes 10 original prints, photographed, printed and all signed in pencil on the back by Kawada Kikuji. Includes stamp mark (hanko) of Kawada Kikuji. All prints with original tissue guards. Rare with original shipping box. Includes original black slipcase, in fine condition, with title embossed on front. Slightly scratched and with small white spots. Small bump and scrape on bottom edge. Book itself in fine condition, with only tiny scratches on the spine and cover, small stain on title page. Title embossed in gold on cover. Endpapers red marbled. Text in Japanese. EXTREMELY rare. Signed. Used book.

Pierre-Auguste Renoir. Impressionist painter. Rare photographic reproduction, 6.25" x 10.5", of one of Renoir's paintings of a nude woman kneeling, The image has an original signature on the lower border in black ink, "Renoir." The photograph was originally part of the archive of Renoir's art dealer, the great Ambrose Vollard. In order to avoid any future disputes regarding the authenticity of works by artists Vollard represented, he had all the original paintings photographed, then asked the artist to sign each photo, and had the signature witnessed. This one is signed by Renoir above a stamp which reads "Seen in order to authenticate the signature of Pierre Auguste Renoir, painter, witnessed January 10, 1911." Renoir's signature is witnessed by the mayor of Cagnes-Sur-Mer. To the left is his official stamp, which reads "Cagnes Alpes Maritimes" and the word in the center reads "Mairie" inside of a laurel. Double-matted and framed to an overall size of 12.75" x 17". In fine condition. While we have seen several of these photographs signed, very few are of a human subject, making this portrait more desirable.

Die Höhe der Figur beträgt incl. des schmalen Bronzesockels 39 cm, die Figur ist auf profiliertem Marmorsockel montiert ( Gesamthöhe der Figur mit dem Marmorsockel ist ca. 43,5 cm ), max. Breite der Figur 20 cm, max. Tiefe 10 cm. Der Marmorsockel mit den Abmessungen 19 x 14 x 4,5 cm ( Länge x Breite x Tiefe ). Die Figur ist am Bronzesockel unterhalb des als *Teppich* ausgearbeiteten Sockels rückwärtig mit *F. Preiss* signiert, undatiert ( ca. um 1920 ). Die nackte Tänzerin ist nur mit Geschmeide im Bereich der Brust *bekleidet* sowie mit einem Perlencollier im Haar, Armreifen sowie Armbändern und Fußbändern. Die Bronze von guter Erhaltung, der profilierte Marmorsockel gering bestoßen. Die Bronze ist etwas schräg auf dem Marmorsockel montiert - offenbar damit die Tänzerin in der Vorderansicht sich geradeaus bewegt - selten - ( Gewicht ca. 5000 Gramm ).( Provenienz: Alter Privatbesitz ) ( Lagerort Gondel hinten, Fenster )( Bitte beachten: Export außerhalb der EU nur auf Anfrage / export outside of the EU only at request )( Weitere Bilder auf Anfrage / further pics at request ).

Corinth, Lovis (illustrator). Corinth, Lovis. WEIBLICHER AKT MIT BREITKREMPIGEM HUT (Female Nude with Broad-Brimmed Hat). Schwartz 226A. Etching, 1916. 11 3/4 x 7 3/4 inches, 300 x 198 mm. The earlier version, before cutting down of the plate. Schwartz identifies three states of version A, of which this appears to be the third state (with diagonal lines through the bright spot in the center of the hat), for each of which he notes only one proof, and states that only the three were printed. Inscribed "Probedruck" and signed in pencil, and further inscribed below. With margins of 1 1/4 to 1 1/2 inches. In excellent condition. Rare, possibly unique. Schwartz's version B, measuring 6 5/8 x 4 3/4 inches, 168 x 120 mm., shows the head down to just below the breasts. It was published in an edition of 50 signed and numbered copies.

First Edition. First Edition. Compiles 24 erotic nude photogravures by noted Czech photographer Franz Fiedler. Included with the collection is a typed letter of recommendation on Fiedler's letterhead and signed by Fiedler, dated March 4, 1939, discussing an apprentice photographer's work. The letter discusses Fiedler's experiences with Heinz Hahn, an apprentice photographer who worked at Fiedler's studio between 1936 and 1939. Fiedler details Hahn's work as a photographer, noting his proficiency, craftsmanship, good humor, and particular skill in architectural and interior photography. After serving in the German army during World War I, Franz Fiedler opened up a photography studio in 1920 in Dresden, concentrating on portraits, nudes, and advertising photography. During this period he also began experimenting with gum and carbon print processes, as well as oil and bromoil print processes. During World War II, much of Fiedler's work was destroyed along with his studio, and he spent the later years of his life in East Germany, authoring books on photography. Although Fiedler would apprentice under master portrait photographers Rudolf Dührkoop and Hugo Erfuth, he was regarded as an eccentric by many of his contemporaries for his dark, uncanny, and macabre subject matter. Fiedler's 1919 staged triptych "Hexensabbat" ("Witches' Sabbath") was deemed "an offense to common humanity" by the board of the National Gallery of Prague, and his infamous 1922 series, "Narre Tod, Mein Spielgesell" ("Fool Death, My Playmate") depicted a romance between a nude model and a skeleton. The photogravures on offer here juxtapose darkness and light, sensuality and the grotesque, with a strong sense of subjectivity on the part of the models. While not as openly morbid as the photographs for which Fiedler is now best remembered, the images share the same surreal quality that characterized his larger body of work, evoking the uncanny and erotic in equal measure. Photogravures: 10.5 x 14 inches. Near Fine to Very Good plus, with light age toning. Letter: 8.5 x 11 inches. Near Fine. Portfolio: 11 x 14.5 inches. Very Good, with light wear at the joints, a few short closed tears, and old tape remnants on the top edges.

Kuniyoshi, Yasuo. FOUR NUDES. Davis L-28. Lithograph on stone, 1928. Edition of 41. Signed, dated, and numbered 23/41, and inscribed "To Myra - Yas" all in pencil. Printed by Desjobert, Paris, chine colle. 9 1/4 x 13 1/4 inches, 235 x 337 mm. (image), 12 3/4 x 18 3/4 inches, (sheet). Provenance: estate of the recipient; Brock & Co. In excellent condition.

Jones, David (illustrator). Pencil, colored chalk, heightened with white on buff wove paper, measuring 11 by 15 inches. Signed and dated to left of sitter's foot. Additionally dated in upper right corner "11. 4. 27". As a fine artist, Jones is perhaps best-known for his landscapes and religious iconography; early in his career, particularly during his time with the Gill family in the mid-1920s, he produced portrait work, though very few of them were nudes. Jones's engagement to Petra Gill ended in 1927, the year this portrait was completed, and her physical attributesâ "long neck and high foreheadâ "subsequently became an archetype for Jones's female forms in his art. Similar nude studies by Jones are held at the Tate and the Derek Williams Trust. Adhesive residue and remainder of cloth adhesive tabs to rear, else fine. Framed.

Hardcover. Condition: Fine. Alberto Vargas (illustrator). 1st Issue. a unique important portait study in the nude of Ms. Carol Lynley, a young starlet who once posed nude for Playboy, she was nubile and innocent with a marvelous figure, now revealed by the genius of Alberto Vargas who worked with Hef at Playboy from 1956 until his death in 1984. Ms Carol was featured in a rare article nude and this appearance inspired her to pose for the master Alberto Vargas, signed by Vargas in ink and bears his original label on verso. By the Artist.

Pencil drawing of a nude woman seated, and reclining somewhat, with a half smile. Signed in pencil in the lower third of the sketch, with a notation beneath that indicates that the sketch was given to E--- Cameron S/S "Rama" Sydney NSW Sept 12, 1935". Pencil on paper, with The Bloomfield Galleries Certificate of Authenticity. Cream drawing paper, slightly ragged edge on left side. A little toned, with a lighter strip down the center of the paper. Overall, very good condition. 31 x 23.3 cms.

Pearlstein, Philip. TWO FEMALE NUDES ON ROCKER AND STOOL. Field 36. Lithograph, 1975. Edition of 20. Signed and numbered XII/XX in pencil. Printed on Arches White Roll paper by U.S.F. Graphicstudio, Tampa, FL, and published by them. 36 x 71 1/2 inches, 915 x 1880 mm., and framed to 76 x 41 inches. In excellent condition.

Botello, Angel (Puerto Rican/American, 1913-1986). NUDE IRONING. Color Linocut, circa 1960. Signed in pencil and numbered 44/50, lower right. Edition of 50. 24 5/8 x 13 inches (image), 30 1/2 x 19 inches (sheet). In very good condition with a few minor losses at the sheet edges top and bottom.

Condition: fine. Photo by Morris Glassman (illustrator).

Kuniyoshi, Yasuo (illustrator). Kuniyoshi, Yasuo. NUDE AT DOOR. Davis L-31. Lithograph, 1928. Edition of 36. Printed by Desjobert, Paris. Chine colle printed on cream colored China paper, and laid to a white wove support. Numbered 18/32 (erroneously), and signed and dated on the mount in pencil, and also signed in pencil in the lower right corner of the image. Further inscribed "To Myra - Yas," numbered "#43" at the lower left corner of the sheet, and with an original price of $15.00 marked in pencil at the lower right corner. 13 1/8 x 7 3/8 inches, 333 x 187 mm. (image); 18 3/4 x 12 7/8 inches (sheet). In excellent condition. One of the artist's most engaging images.

unbound in box. Condition: Fine. 1st Edition. Outsized gold-stamped brown cloth portfolio containing 6 lithographs of female nudes printed in sanguine red by Burr Miller, each pencil-signed & numbered by De Ruth. With cover & colophon sheets, as issued. One of 150 sets; we have 2 sets: #83, #86. Mint collectible condition! 33900 shelf. Signed by Illustrator. Book.

Kuniyoshi, Yasuo (illustrator). Kuniyoshi, Yasuo. NUDE AT DOOR. Davis L-31. Lithograph, 1928. Edition of 36. Printed by Desjobert, Paris. Chine colle printed on cream colored China paper, and laid to a white vove support. Numbered 18/36, and signed and dated on the mount in pencil, and this copy also signed and dated in pencil in the lower right corner of the image. 13 1/8 x 7 3/8 inches, 333 x 187 mm. (image); 18 7/8 x 12 7/8 inches (sheet). The support sheet with unevenly trimmed edges, as well as some abrasions and creases; the printed sheet in excellent condition. One of the artist's most engaging images.

Sloan, John (illustrator). Sloan, John. NUDE WITH BOWL OF FRUIT. Etching, 1931. M. 259. 131 x 273mm; 5 1/4" x 10 3/4", signed, titled and inscribed "100 proofs" in pencil (only 50 were printed). In very good conditon, framed, and with the label of Bethesda Art Gallery, onthe verso of the frame. "Someone said the etching of the Nude with Fruit was like steel. I think that is a very good remark about it. Do you notice the work done all through it with the graver? I enjoy using it. You get a kick out of digging the copper out with the tool. And then it is a handsome dry line to use with etched lines." (JS 1931).

Bishop, Isabel (illustrator). Bishop, Isabel. LITTLE NUDE. T. 60. Etching with aquatint, 1964. 5 3/4 x 5 inches; 145 x 125 mm. Signed and titled in pencil and inscribed "Love to Helen Goodall." A proof printed by the artist aside from the incomplete edition of 30 (28 were printed). A fine impression in excellent condition.

Figural Carving Material: Wood A exquisite American folk art carving from a baseball bat measuring approximately 37 3/4 inches. Thanks for looking. Sellers: Get your own map of past buyers. Fast. Simple. Region of Origin: US-Northeast.

Medium: Acrylic A bursting acrylic painting on canvas on wood board by Japanese artist Hige Nishimoto measuring approximately27 3/4 x 11 1/2 x 1/2 inches as a complete piece. Last origin Chicagoland area. Listed exhibition is from Shigeki Kitani catalogue. Thanks for looking. Normal 0 false false false EN-US X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable On Jun-12-11 at 16:11:10 PDT, seller added the following information: Sellers: Get your own map of past buyers. Fast. Simple. Posted with eBay Mobile Region of Origin: Asia Size Type: Medium (Up to 30in.).

No Binding. Condition: As New. Limited Edition. A portfolio of six etchings by Matt Phillips, featuring nudes, in a blue clamshell box. Edition of 6; 3 black and white, 3 handcolored. This being one of three hand colored. Clamshell box bound in blue title in red on the front cover. Paper size of the etchings 15 x 11 1/4" (38 x 28.4 cm). Each etching is signed, dated and inscribed "3/3" in pencil. In excellent condition, purchased directly from the artist. Inventory #93917-1. This item needs special handling in shipping. Signed by Illustrator(s).

Pearlstein, Philip. NUDE ON STRIPED HAMMOCK. Field 59. Etching with aquatint, 1974. Edition of 100, signed, titled and numbered 59/100 all in pencil. Printed on Copperplate Paper at Orlando Condeso Workshop, New York, and published by Alan Frumkin Gallery, New York. 23 1/2 x 25 1/2 inches (plate) In excellent condition.

Hardback. Condition: Near Fine. Bill Brandt (illustrator). First edition. A signed first edition of this important publication of nude images from British photographer Bill Brandt. The first edition, first impression of this important work from British photographer and photojournalist Bill Brandt, in the publisher's original price unclipped dust wrapper. This work is signed by Bill Brandt to the half title: 'For Sir George Pollock with gratitude Bill Brandt'. Sir George Pollock was an accomplished photographer in his own right, a president of the Royal Photographic Society whose abstract work in the 1960's drew huge attention in the art world. He also acted as a consultant to the BBC in advising them in the iconic opening credits for the original 'Doctor Who'.The publication of this work in 1961 marked, in the words of curators Martina Droth and Paul Messier, 'the point at which Brandt"s stature as an art world figure came onto assured footing', and it was after this seminal work that people came to recognize Brandt as an artist rather than a journalist.This was Brandt's firs publication of nudes, a subject 'which has obsessed him since 1945', according to the dust wrapper. Chronologically arranged, the photographs in this work record the transition from 'an early romantic style to more classical themes'. In the publisher's original paper covered boards with price unclipped dust wrapper. Boards clean, with bumping to head of spine. Losses to either side of back strip at dust wrapper head, and another small loss at back strip tail. Minor marks to rear wrap. Internally, firmly bound. Signed to half title. Pages bright and clean. Near Fine. signed by author. book.

Sloan, John (illustrator). Sloan, John. NUDE IN A CHAISE LONGUE BY THE WINDOW. Morse 273. Etching, 1933. 6" x 11 1/2" (177x139 mm). signed, titled and numbered 100 proofs (50 printed of which this is one of 10 done by Platt, and signed by him in the lower margin). Tack holes, hinges, else in very good condition. Sloan: "I had intended to go on with this plate; however, experience tells me that further work does not always mean improvement.".

Hirsch, Joseph (illustrator). Hirsch, Joseph. NUDE DRAWING. Lithograph, 1963 (Cole 45). 14 5/8 x 18 1/4 inches. Edition of 50, printed by Lucien Dutruit, Paris, and published by A.A.A. Numbered and signed in pencil. Excellent condition. Framed.