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Additional notes:
This is not a modern print. This impression is more than 130 years old. The strike is crisp and the lines are sharp. 
Additional notes:
Nude figure of the devil, winged, seated and facing the viewer. His chin is resting on his right hand. 
Franz von Stuck's Lucifer is the pendant to his first masterpiece, The Guardian of Paradise, an image of a heroic, idealized youth. Von Stuck etches a strong, sculpted man cloaked in dark wings encircled in shadow. The antithesis of purity, Lucifer's tense posture and possessed, penetrating eyes aggressively confront his beholder. But his furrowed brow and head resting on hand, possibly referencing Auguste Rodin's introspective Thinker, betrays an afflicted soul who is both pitiful and intimidating. Von Stuck's medium, etching, is able to capture the bald white of the devil's eyes and the encroaching darkness with stark immediacy.  
Von Stuck created at least two painted versions of this subject matter, which are closely related to this print. One is in the National Gallery in Sofia. 
Artist Biography:
Franz von Stuck was a German painter, sculptor, printmaker, and architect. Stuck was best known for his paintings of ancient mythology, receiving substantial critical acclaim with The Sin in 1892. In 1906, Stuck was awarded the Order of Merit of the Bavarian Crown and was henceforth known as Franz Ritter von Stuck. Born at Tettenweis near Passau, Stuck displayed an affinity for drawing and caricature from an early age. To begin his artistic education he relocated in 1878 to Munich, where he would settle for life. From 1881 to 1885 Stuck attended the Munich Academy. He first became well known by cartoons for Fliegende Blätter, and vignette designs for programmes and book decoration. In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise. In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, Athlete. The next year he won further acclaim with the critical and public success of what is now his best known work, the painting The Sin. Also during 1893, Stuck was awarded a gold medal for painting at the World's Columbian Exposition in Chicago, and was appointed to a royal professorship. In 1895, he began teaching painting at the Munich Academy. In 1897 Stuck married an American widow, Mary Lindpainter, and began work designing his own residence and studio, the Villa Stuck. His designs for the villa included everything from layout to interior decorations; for his furniture Stuck received another gold medal at the 1900 Paris World Exposition. Having attained a high public profile by this time, Stuck was ennobled on December 9, 1905, and would receive further public honours from around Europe during the remainder of his life. He continued to be well respected among young artists as professor at the Munich Academy, even after his artistic styles became unfashionable. His students over the years included Paul Klee, Hans Purrmann, Wassily Kandinsky, Alf Bayrle and Josef Albers. He was a member of the International Society of Sculptors, Painters and Gravers. His work was also part of the sculpture event in the art competition at the 1928 Summer Olympics. Franz von Stuck died on August 30, 1928, in Munich; his funeral address memorialized him as "the last prince of art of Munich's great days". He is buried in the Munich Waldfriedhof next to his wife Mary. Stuck's subject matter was primarily from mythology, inspired by the work of Arnold Böcklin. Large forms dominate most of his paintings and indicate his proclivities for sculpture. His seductive female nudes are a prime example of popular Symbolist content. Stuck paid much attention to the frames for his paintings and generally designed them himself with such careful use of panels, gilt carving and inscriptions that the frames must be considered as an integral part of the overall piece. Ritter von Stuck's Kämpfende Amazone (Fighting Amazon), created in 1897, graced Hermann Göring's Carinhall. By the time of his death, Stuck's importance as an artist in his own right had almost been forgotten: his art seemed old-fashioned and irrelevant to a generation that had endured World War I. Stuck's reputation languished until the late 1960s when a renewed interest in Art Nouveau brought him to attention once more. In 1968 the Villa Stuck was opened to the public; it is now a museum. In Robert Waite's 1977 book The Psychopathic God: Adolph Hitler and numerous other sources it is noted that Franz Stuck was Hitler's favorite painter from childhood on.

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