Inscribed in brown ink on verso, right side: Tiziano Inscribed in black ink on verso, l.r.: F. Te[vey?] (illegible; collector's signature?; not in Lugt) Notation in graphite on verso, l.l.: (H or F?).235.61 Watermark: none visible
Inscriptions: l.l. at edge of plate mark in pencil: Frankfurt a. Main, Beim Dom; s.l.r. Orig. Holzschnits/Borrmann; s.l. center edge of sheet: "Handdrück"; embossed in circle l.l. corner of sheet: ZEICHENBLATT PEYREK'S [w. monogram]; verso inscribed l.r. iin pencil: "comXI./18 k.k.i.
Codex book connected by a series of eight accordian folds composed of lithographs, woodcuts, chine collé, and collage. The work reads right to left with the rightmost page titled "UtopianCannibal.org" and the leftmost page with the single word "Fin" (translates to "end").
From a series of codex books Enrique Chagoya began making in the 1990s. The work contains a variety of images taken from Western culture such as cartoon characters, dollar bills, Barbie, and Sambo; removing them from their original context and juxtaposing alongside art historical images as well as traditional & religious imagery from his native Mexico. Chagoya calls this approach "reverse anthropology" in the way he cannibalizes material from a wide range of sources and creates new stories and commentaries on European colonization and the appropriation and misrepresentation of indigenous cultures.
A shoulder-length portrait of a man occupies the bottom half of the image. The upper portion of the image is untouched. The man's head is silhouetted against a very dark background created by dense marks and hatching that prints very dark. The man looks away from the viewer to the left; behind his head is a partially drawn crow or raven. The man has short hair, moustache and beard.
Mallarmé was a friend to many of the Impressionist painters in the late 1800s, including Whistler, Redon, Manet, Degas, Monet, and Renoir. For both Gauguin and Mallarmé the role of imagination was paramount, and Gauguin’s image of the poet contrasts sharply with that of Whistler’s. Just as with Whistler’s portrait, Gauguin’s also shows the figure emerging from a shaded background although the figure’s placement within the image is quite different. Gauguin brings Mallarmé closer to the viewer than Whistler’s more psychologically distant rendering. Mallarmé translated Edgar Allen Poe’s poem, The Raven, into French and a raven occupies the space just behind the French poet’s head.
This is Gauguin’s only attempt at etching, although he worked extensively in woodcut, and was executed shortly before he left for Polynesia. Very few impressions were taken of this image during Gauguin’s lifetime; this impression, although taken posthumously, is among the limited number taken from the plate.
This black and white print shows a nude woman and young boy with wings within an oval shape.The woman is lounging on a draped surface and has her arm around the boy. He is facing toward her and pushing an arrow against her left breast. Other smaller scenes surround these figures including, a woman in a chariot drawn by swans; a man and a woman conversing in a forest; two figures in a landscape scene and two birds nestled together. Outside the oval in the corners of the work are hearts, flaming arrows and roses . At the bottom is Latin lettering.
Goltzius was known as one of the premiere engravers in Europe and this depiction of Venus and Cupid shows the artist at the peak of his powers. Venus, the goddess of love, is seen reclining at an angle within the oval format of the image. Her left arm is draped around the figure of Cupid, whose arrow is about to pierce her chest near her heart. Notwithstanding the playful threat of Cupid’s arrow, the inscription at the bottom attests to Venus’s uncontested command over men: “Our immense power is observed throughout the world, and my fire has widespread potency. Neither any god or man escapes my arrows to which are attached feathered wings.”