Lithograph Black and White Photography
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Style: Contemporary
Medium: Lithograph
Audrey Hepburn, Breakfast at Tiffany's (1961)
Located in Manchester, GB
Audrey Hepburn, Breakfast at Tiffany's (1961)
Semi Gloss 250gsm conservation digital paper where the semi gloss finish creates an intense quality. Manufactured in Japan on a Fourdri...
Category
2010s Contemporary Lithograph Black and White Photography
Materials
Lithograph
Marilyn Monroe, Academy Awards 1958 (Framed)
Located in Manchester, GB
Marilyn Monroe, Academy Awards 1958 (Framed)
Image size: 30 x 30 cm
Framed size 44 x 44 cm
Semi-Gloss 250gsm conservation digital paper. This paper is especially suited to photog...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Nat Finkelstein, Bob Dylan in the dark, The Factory NYC, 1965/2020
Located in Manchester, GB
Nat Finkelstein, Bob Dylan in the Dark, The Factory NYC, 1965/2020
Bob Dylan sits for a screen test at The Factory, New York 1965
Semi-Gloss 250gsm conse...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Mexican Revolution Portrait (3)
Located in Columbia, MO
Artist Unknown
Mexican Revolution Portrait (3)
1972
Lithograph (poster) reproduction of original photograph c. 1917
24 x 14 inches
26.5 x 20.5 (framed)
Category
20th Century Contemporary Lithograph Black and White Photography
Materials
Silver Gelatin, Lithograph
Nat Finkelstein, Bob Dylan in the dark, The Factory NYC, 1965/2020
Located in Manchester, GB
Nat Finkelstein, Bob Dylan in the dark, The Factory NYC, 1965/2020
Bob Dylan sits for screen test at The Factory, New York 1965
Semi Gloss 250gsm conserv...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Marilyn Monroe, Gentlemen Prefer Blondes (Framed)
Located in Manchester, GB
Marilyn Monroe, Gentlemen Prefer Blondes
Semi Gloss 250gsm conservation digital paper. This paper is especially suited to photographic images, where the semi gloss finish creates an...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Marilyn Monroe, At home in Palm Springs (Framed)
Located in Manchester, GB
Marilyn Monroe, At home in Palm Springs (Framed)
Semi Gloss 250gsm conservation digital paper. This paper is especially suited to photographic images, where the semi gloss finish c...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Marilyn Monroe, The Seven Year Itch (Framed)
Located in Manchester, GB
Marilyn Monroe, The Seven Year Itch (Framed)
Image size: 37 x 50 cm
Framed size: 41 x 54 cm
Semi Gloss 250gsm conservation digital paper. This paper is especially suited to photo...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Marilyn Monroe, How To Marry A Millionaire (Framed)
Located in Manchester, GB
Marilyn Monroe, How To Marry A Millionaire
Semi Gloss 250gsm conservation digital paper. This paper is especially suited to photographic images, where the semi gloss finish creates ...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Nat Finkelstein, Silver Clouds Installation at Leo Castelli Gallery NYC, 1966
Located in Manchester, GB
Nat Finkelstein, Silver Clouds Installation at Leo Castelli Gallery, NYC, 1966/2020
Andy Warhol prepares the first exhibition of his 'Silver Clouds...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Nat Finkelstein, Andy Warhol at Typewriter NYC, 1966/2020
Located in Manchester, GB
Nat Finkelstein, Andy Warhol at Typewriter NYC, 1966/2020
Intimate and contemplative portrait of Andy Warhol at The Factory, New York c.1966
Semi Gloss 250gsm conservation digital ...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Mexican Revolution Portrait (1)
Located in Columbia, MO
Artist Unknown
Mexican Revolution Portrait (1)
1972
Lithograph (poster) reproduction of original photograph c. 1917
24 x 14 inches
26.5 x 20.5 (framed)
Category
20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph, Silver Gelatin
Mexican Revolution Portrait (2)
Located in Columbia, MO
Artist Unknown
Mexican Revolution Portrait (2)
1972
Lithograph (poster) reproduction of original photograph c. 1917
24 x 14 inches
26.5 x 20.5 (framed)
Category
20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph, Silver Gelatin
The Roof of Bugeaud, Algeria - Vintage Photograph - Mid-20th Century
Located in Roma, IT
The Roof of Bugeaud, Algeria is an original black and white vintage photograph realized by an Anonymous photographer.
With the stamp of copyright "Associated Press Photo" on the rear...
Category
Mid-20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Kiki Smith Offset Lithograph Photograph "My Secret Business" Photo Litho Print
By Kiki Smith
Located in Surfside, FL
My Secret Business, 1992-1993
Duotone offset litho, Lithograph
Sheet measures 30.13'' x 22.5'' (76 X 56 cm). 23 1/2 × 18 in (59.7 × 45.7 cm) image.
Hand-signed by artist, Signed, da...
Category
1990s Contemporary Lithograph Black and White Photography
Materials
Photographic Film, Lithograph, Offset
Untitled
Located in New York, NY
Untitled (Collaboration with Sebastiao Salgado)
2005
Signed and numbered in pencil, recto
Lithograph (Edition of 100)
24.25 x 20 inches, framed
This...
Category
Early 2000s Contemporary Lithograph Black and White Photography
Materials
Lithograph
Related Items
Chanel Vertical, 1990
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Located in Hudson, NY
Listing is for UNFRAMED print.
Edition 1 of 15.
CURRENT EXHIBITION - runs through September 4th, 2016. Any framed photographs purchased during the show will be available after September 4th. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production.
Shipping time depends on method of shipping.
Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph.
ABOUT: Since the early ‘90s, gallerist Robin Rice and designer Antony Todd...
Category
1990s Contemporary Lithograph Black and White Photography
Materials
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Stieglitz, O'Keeffe Hands w/Thimble, Alfred Stieglitz Memorial Portfolio (after)
Located in Auburn Hills, MI
Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial Portfolio 1864-1946, 1947. Published by Twice a Year Press, New York; printed by Lakeside Press, Chicago, 1947. Excepted from the folio, edition limited to fifteen-hundred copies. INTRODUCTORY NOTE-AMERICA WITHOUT ALFRED STIEGLITZ, Twice during his life, and now again after his death, the compelling and magnetic personality of Alfred Stieglitz has evoked spontaneous group tribute. In America and Alfred Stieglitz, as in the earlier and memorable No. 47 of Camera Work, the elusive question: What is the meaning of Stieglitz? was posed. In both volumes—as in so much other writing about him-it was answered in as many ways as there were artists, writers, composers-individuals in all fields of endeavor attempting to "explain" him. Indeed, the meaning and influence of Stieglitz as artist, patron, teacher, inspirer, friend, critic, were so vastly complex, it may be that no single estimate of him could at any point fully cover all facets of his character. Thus it may be both inevitable and particularly fitting that a memorial volume to him should also be in the form of a group tribute the more so since he himself so firmly believed that no matter how diligently one attempts to evaluate the meaning of any individual or work of art (or life itself for that matter) there can never be one single interpretation, one single estimate that can be viewed as absolute or final. That tribute should be paid by a group is fitting for still another reason, for although Stieglitz was ostensibly a great individualist, no one believed more firmly than did he in the idea that individuals dedicated to the same ends should come together and work together for a common purpose each leaving the other free to say his say without interference. In reading over the tributes now published in this portfolio as they have been received, I have felt what I always feel about any writing concerning Stieglitz that is born of deep feeling: That those who are moved to write about him invariably do so more from a desire to share a sense of wonder about him, than actually to "explain" his meaning or importance. This again is as it should be, for Stieglitz's entire life was dedicated to the sense of wonder-his own, as well as that of others. There were those who scoffed at the title "America and Alfred Stieglitz" when the volume bearing that name first appeared (the inference having been that those responsible for it overestimated Stinglitz's importance). The question now is-What of America without Alfred Stieglitz? What has gone out of our lives now that Stieglitz is no longer here? For certainly we have suffered a great and abiding loss in his death. And although America is infinitely richer for his having lived, it is not quite the same now that he is gone. Certainly there is no one in this country now standing up for the arts in precisely the manner in which Stieglitz stood up for them. There is no one now fighting as he fought to keep art from being regarded as a commodity. There is no gallery in America at this moment whose spirit and approach are even remotely related to the spirit of "291," the Intimate Gallery, An American Place. Wherever Stieglitz functioned there was a sacred feeling about the artist, about the work of art, about the cleanliness of walls, about those seeking art. There is now no one photographing as he photographed; no one speaking as he spoke. America without Alfred Stieglitz is indeed changed subtly but incontrovertibly changed. This portfolio is published to re-evoke the tradition in which he lived. It is issued as a labor of love, in tribute to a great and lovable man, in deep sadness that he is no longer alive and in dedication to the principles for which he stood, and the spirit in which he worked. The tributes received have been printed without editing, except for corrections of important errors of fact. They express the views of their authors; they are inevitably as much portraits of their authors as of their subject. I have included excerpts from a few letters received after Stieglitz's death, which, although not written for publication, seem somehow to belong; various pieces written about Stieglitz some time ago by those who would surely have contributed related tributes now, had they not died within recent years; several articles meant for this portfolio but already published elsewhere; a cross-section of obituaries and memorial pieces from leading newspapers and journals; a few tributes received after the portfolio was planned, at the request of their authors. As for the decision to include reproductions of Stieglitz's photographs: As with all attempts to reproduce his work, I have felt a certain degree of hesitation. Although he disliked very much having his work reproduced, he would, in general, permit reproductions to be published when requested. I have attempted to procure the best approximation of his work that could be made in America at this time. To those who believe it
unfitting to reproduce Stieglitz's work at all, or that one should wait to do so until conditions are perfect, I can only state this: Stieglitz was indeed a great perfectionist, but he spoke out vigorously against making such a fetish of perfectionism that one might finally do nothing whatsoever in behalf of the very things about which one claims to care the most. Years ago he wrote to someone who asked to reproduce his work: "My photographs do not lend themselves to reproduction. The very qualities that give them their life would be completely lost in reproduction. The quality of touch in its deepest living sense is inherent in my photographs. When that sense of touch is lost, the heartbeat of the photograph is extinct. In the reproduction it would become extinct dead. My interest is in the living. That is why cannot give permission to reproduce my photographs." He wrote this, despite giving permission to reproduce his work many times both before and after the statement was written. At another time he wrote: "As for reproductions, I feel that if the spirit of the original is lost, nothing is preserved. My work might be reproduced if properly interpreted, that is, the spirit might be preserved. Of course, some of the things can't possibly be reproduced for obvious reasons. Above all, the reproductions must have a clean feeling— an absolute integrity of their own."
Aware of these feelings and despite the paradox that he so often granted permission to reproduce his work in spite of them—wish to make it clear that the reproductions herewith included are in no sense offered as substitutes for Stieglitz originals. They are published rather as a reminder of the originals themselves. In concentrating so intently upon the fostering of other artists, Stieglitz paid far too little attention to seeing that his own work might be better known to the general public. It is high time that this situation was remedied. To print a mere twenty reproductions, in the light of the enormous scope of Stieglitz's work, is also not to suggest that this portfolio represents a true "cross-section" of his work. All that could be done under the present circumstances was to choose a few representative prints, from various periods, that might possibly be reproduced without losing too much of the form of the originals, and thereby show at least the general direction in which Stieglitz's work evolved even though obviously only in a cursory-and therefore perhaps misleading-fashion. But if the inclusion of these few reproductions should do nothing more than lead those who see them to the originals, their publication may be justified. In the final analysis, in paying tribute to Stieglitz one cannot help but wish-first and foremost-to enable his contribution as an artist to speak for itself. For his contribution as photographer will live on—as symbol and portrait of all that he stood for, envisioned, created, expressed-quite independently of whatever else he fostered and inspired. And that contribution is one of the greatest in the world of art in our time. —Dorothy Norman...
Category
1940s Modern Lithograph Black and White Photography
Materials
Lithograph
Signed Keith Haring Pop Shop poster (vintage Keith Haring)
By Keith Haring
Located in NEW YORK, NY
Signed Keith Haring Pop Shop poster 1988:
A historical 1980s Keith Haring Pop Shop poster/fold out catalog (reverse), endearingly inscribe...
Category
1980s Pop Art Lithograph Black and White Photography
Materials
Offset, Lithograph
Some Los Angeles Apartments - Artist Book published in a limited edition of 3000
By Ed Ruscha
Located in New York, NY
Ed Ruscha
Some Los Angeles Apartments, 1970
Softback monograph with stiff wraps
Second Edition Limited Edition of 3000 (the first edition in 1968 was 700)
Not Signed
7 × 5 1/2 inches...
Category
1970s Pop Art Lithograph Black and White Photography
Materials
Lithograph, Offset, Mixed Media, Paper
Original Barbara Kruger Vinyl Record Art
Located in NEW YORK, NY
Vintage original Barbara Kruger Record Art, 1994
Off-set lithograph on vinyl record cover
Measure: 12 x 12 inches
Minor shelf wear; in otherwise good vintage condition.
Very cool fr...
Category
1990s Pop Art Lithograph Black and White Photography
Materials
Lithograph, Offset
Stieglitz, The Terminal, Alfred Stieglitz Memorial Portfolio (after)
Located in Auburn Hills, MI
Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial ...
Category
1940s Modern Lithograph Black and White Photography
Materials
Lithograph
"Does your Gucci Make You Happi?" Photography 20x16in Ed. 3/15 by Brendan North
Located in Culver City, CA
"Does your Gucci Make You Happi?" Photography 20x16in Ed. 3/15 by Brendan North
From “Painted Poetry” series:
“Painted Poetry” is a collection of 40 photographs created over 4 years...
Category
21st Century and Contemporary Contemporary Lithograph Black and White Photography
Materials
Archival Paper, Digital
Stieglitz, Spring Showers, New York, Alfred Stieglitz Memorial Portfolio (after)
Located in Auburn Hills, MI
Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial ...
Category
1940s Modern Lithograph Black and White Photography
Materials
Lithograph
No Reserve
H 16 in W 12 in
"Reverie" Photography 30" x 24" inch Edition 1/7 by Brendan North
Located in Culver City, CA
"Reverie" Photography 30" x 24" inch Edition 1/7 by Brendan North
Available sizes:
Edition of 15: 20" x 16" inch
Edition of 7: 30" x 24" inch
Edition of 3: 50" x 40" inch
ABOUT:
B...
Category
21st Century and Contemporary Contemporary Lithograph Black and White Photography
Materials
Archival Paper, Digital
"Playboy Daydream" Photography 40" x 40" inch Edition 4/7 by Brendan North
Located in Culver City, CA
"Playboy Daydream" Photography 40" x 40" inch Edition 4/7 by Brendan North
Not Framed
Ships rolled in a tube
ABOUT:
Brendan North is a fine art photographer based in Los Angeles. H...
Category
21st Century and Contemporary Contemporary Lithograph Black and White Photography
Materials
Archival Paper, Digital
H 40 in W 40 in D 0.1 in
Stieglitz, New York Series, Spring, Alfred Stieglitz Memorial Portfolio (after)
Located in Auburn Hills, MI
Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial Portfolio 1864-1946, 1947. Published by Twice a Year Press, New York; printed by Lakeside Press, Chicago, 1947. Excepted from the folio, edition limited to fifteen-hundred copies. INTRODUCTORY NOTE-AMERICA WITHOUT ALFRED STIEGLITZ, Twice during his life, and now again after his death, the compelling and magnetic personality of Alfred Stieglitz has evoked spontaneous group tribute. In America and Alfred Stieglitz, as in the earlier and memorable No. 47 of Camera Work, the elusive question: What is the meaning of Stieglitz? was posed. In both volumes—as in so much other writing about him-it was answered in as many ways as there were artists, writers, composers-individuals in all fields of endeavor attempting to "explain" him. Indeed, the meaning and influence of Stieglitz as artist, patron, teacher, inspirer, friend, critic, were so vastly complex, it may be that no single estimate of him could at any point fully cover all facets of his character. Thus it may be both inevitable and particularly fitting that a memorial volume to him should also be in the form of a group tribute the more so since he himself so firmly believed that no matter how diligently one attempts to evaluate the meaning of any individual or work of art (or life itself for that matter) there can never be one single interpretation, one single estimate that can be viewed as absolute or final. That tribute should be paid by a group is fitting for still another reason, for although Stieglitz was ostensibly a great individualist, no one believed more firmly than did he in the idea that individuals dedicated to the same ends should come together and work together for a common purpose each leaving the other free to say his say without interference. In reading over the tributes now published in this portfolio as they have been received, I have felt what I always feel about any writing concerning Stieglitz that is born of deep feeling: That those who are moved to write about him invariably do so more from a desire to share a sense of wonder about him, than actually to "explain" his meaning or importance. This again is as it should be, for Stieglitz's entire life was dedicated to the sense of wonder-his own, as well as that of others. There were those who scoffed at the title "America and Alfred Stieglitz" when the volume bearing that name first appeared (the inference having been that those responsible for it overestimated Stinglitz's importance). The question now is-What of America without Alfred Stieglitz? What has gone out of our lives now that Stieglitz is no longer here? For certainly we have suffered a great and abiding loss in his death. And although America is infinitely richer for his having lived, it is not quite the same now that he is gone. Certainly there is no one in this country now standing up for the arts in precisely the manner in which Stieglitz stood up for them. There is no one now fighting as he fought to keep art from being regarded as a commodity. There is no gallery in America at this moment whose spirit and approach are even remotely related to the spirit of "291," the Intimate Gallery, An American Place. Wherever Stieglitz functioned there was a sacred feeling about the artist, about the work of art, about the cleanliness of walls, about those seeking art. There is now no one photographing as he photographed; no one speaking as he spoke. America without Alfred Stieglitz is indeed changed subtly but incontrovertibly changed. This portfolio is published to re-evoke the tradition in which he lived. It is issued as a labor of love, in tribute to a great and lovable man, in deep sadness that he is no longer alive and in dedication to the principles for which he stood, and the spirit in which he worked. The tributes received have been printed without editing, except for corrections of important errors of fact. They express the views of their authors; they are inevitably as much portraits of their authors as of their subject. I have included excerpts from a few letters received after Stieglitz's death, which, although not written for publication, seem somehow to belong; various pieces written about Stieglitz some time ago by those who would surely have contributed related tributes now, had they not died within recent years; several articles meant for this portfolio but already published elsewhere; a cross-section of obituaries and memorial pieces from leading newspapers and journals; a few tributes received after the portfolio was planned, at the request of their authors. As for the decision to include reproductions of Stieglitz's photographs: As with all attempts to reproduce his work, I have felt a certain degree of hesitation. Although he disliked very much having his work reproduced, he would, in general, permit reproductions to be published when requested. I have attempted to procure the best approximation of his work that could be made in America at this time. To those who believe it
unfitting to reproduce Stieglitz's work at all, or that one should wait to do so until conditions are perfect, I can only state this: Stieglitz was indeed a great perfectionist, but he spoke out vigorously against making such a fetish of perfectionism that one might finally do nothing whatsoever in behalf of the very things about which one claims to care the most. Years ago he wrote to someone who asked to reproduce his work: "My photographs do not lend themselves to reproduction. The very qualities that give them their life would be completely lost in reproduction. The quality of touch in its deepest living sense is inherent in my photographs. When that sense of touch is lost, the heartbeat of the photograph is extinct. In the reproduction it would become extinct dead. My interest is in the living. That is why cannot give permission to reproduce my photographs." He wrote this, despite giving permission to reproduce his work many times both before and after the statement was written. At another time he wrote: "As for reproductions, I feel that if the spirit of the original is lost, nothing is preserved. My work might be reproduced if properly interpreted, that is, the spirit might be preserved. Of course, some of the things can't possibly be reproduced for obvious reasons. Above all, the reproductions must have a clean feeling— an absolute integrity of their own."
Aware of these feelings and despite the paradox that he so often granted permission to reproduce his work in spite of them—wish to make it clear that the reproductions herewith included are in no sense offered as substitutes for Stieglitz originals. They are published rather as a reminder of the originals themselves. In concentrating so intently upon the fostering of other artists, Stieglitz paid far too little attention to seeing that his own work might be better known to the general public. It is high time that this situation was remedied. To print a mere twenty reproductions, in the light of the enormous scope of Stieglitz's work, is also not to suggest that this portfolio represents a true "cross-section" of his work. All that could be done under the present circumstances was to choose a few representative prints, from various periods, that might possibly be reproduced without losing too much of the form of the originals, and thereby show at least the general direction in which Stieglitz's work evolved even though obviously only in a cursory-and therefore perhaps misleading-fashion. But if the inclusion of these few reproductions should do nothing more than lead those who see them to the originals, their publication may be justified. In the final analysis, in paying tribute to Stieglitz one cannot help but wish-first and foremost-to enable his contribution as an artist to speak for itself. For his contribution as photographer will live on—as symbol and portrait of all that he stood for, envisioned, created, expressed-quite independently of whatever else he fostered and inspired. And that contribution is one of the greatest in the world of art in our time. —Dorothy Norman...
Category
1940s Modern Lithograph Black and White Photography
Materials
Lithograph
Mexican Revolution Portrait (1)
Located in Columbia, MO
Artist Unknown
Mexican Revolution Portrait (1)
1972
Lithograph (poster) reproduction of original photograph c. 1917
24 x 14 inches
26.5 x 20.5 (framed)
Category
20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph, Silver Gelatin
Previously Available Items
Marilyn Monroe, Academy Awards 1958 (Framed)
Located in Manchester, GB
Marilyn Monroe, Academy Awards 1958 (Framed)
Image size: 30 x 30 cm
Framed size 44 x 44 cm
Semi Gloss 250gsm conservation digital paper. This paper is especially suited to photog...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
Nat Finkelstein, Bob Dylan in the dark, The Factory NYC, 1965/2020
Located in Manchester, GB
Nat Finkelstein, Bob Dylan in the dark, The Factory NYC, 1965/2020
Bob Dylan sits for screen test at The Factory, New York 1965
Semi Gloss 250gsm conserv...
Category
Late 20th Century Contemporary Lithograph Black and White Photography
Materials
Lithograph
H 27.56 in W 39.38 in
Untitled (Hands) [Collaboration with Izhar Patkin]
Located in New York, NY
Untitled (Collaboration with Izhar Patkin)
2005
Signed and numbered in pencil, recto
Archival pigment print (Edition of 100)
17.5 x 11.75 inches, image...
Category
Early 2000s Contemporary Lithograph Black and White Photography
Materials
Lithograph
WAVE
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Located in Aventura, FL
Hand signed, dated and numbered by the artist. Lithograph and screenprint on wove paper for Lincoln Center Festival. Published by the Lincoln Center List Poster and Print Project, Ne...
Category
Early 2000s Contemporary Lithograph Black and White Photography
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Paper, Lithograph, Screen
Betty Page Pin Up series with Rescue Animals
By Simone Gad
Located in New York, NY
Simone Gad
Betty Page Pin Up series with Rescue Animals, 2015
70 x 44 inches (20 Pages)
11 x 14 inches each some double sided
oil crayon on vintage off...
Category
21st Century and Contemporary Contemporary Lithograph Black and White Photography
Materials
Archival Ink, Lithograph, Offset, Oil Crayon
Time Exposed: #361 English Channel, Fecamp
Located in New York, NY
Hiroshi Sugimoto
Time Exposed: #361 English Channel, Fecamp 1989
tri-toned offset lithographic print
image size: 9 1/2 x 12 1/2 inches
dry mount size: 14 x 18 inches
blindstamp...
Category
1980s Contemporary Lithograph Black and White Photography
Materials
Lithograph
Time Exposed: #337 Irish Sea, Isle of Man
Located in New York, NY
Hiroshi Sugimoto
Time Exposed: #337 Irish Sea, Isle of Man 1990
tri-toned offset lithographic print
image size: 9 1/2 x 12 1/2 inches
dry mount size:...
Category
1980s Contemporary Lithograph Black and White Photography
Materials
Lithograph
Lithograph black and white photography for sale on 1stDibs.
Find a wide variety of authentic Lithograph black and white photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Sigmar Polke, Helmut Newton, William Wegman, and (after) Keith Haring. Frequently made by artists working in the Contemporary, Pop Art, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Lithograph black and white photography, so small editions measuring 0.63 inches across are also available