Art by Medium: Lithograph

Louis Icart, French (1888 - 1950) - Silk Robe, Medium: Offset Lithograph on paper, signed in plate, Image Size: 17.5 x 21.5 inches, Size: 19 x 22.5 in. (48.26 x 57.15 cm), Descrip...

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

Part of the Divine Comedy collection. Paper dimensions: 65 x 50 cm; plate dimensions: 40 x 30 cm. Numbered in pencil and signed in the plate. 68/350 DALÍ, Salvador (Figueras, Geron...

This circa 1900 original advertising poster by Mourgue was created to promote the pioneering automobiles of De Dion-Bouton, one of the most influential names in the early history of ...

A very good impression of this lithograph with embossing on Arches. One of 4 numbered printer's proofs, aside from the edition of 30. Signed and dated in pencil, lower right, and ins...

Henry Pearson FACE, from Portfolio 9, 1964 Color lithograph with deckled edges Signed, titled, and numbered 84/100 in graphite pencil on the front; with publishers' blind stamp 17 1/2 × 22 1/10 inches Publisher Irwin Hollander, with blindstamp Hand Signed and Numbered 84/100 with Irwin Hollander (printer) Blindstamp Unframed Henry Pearson's iconic Pop Art lithograph "Face" from the mid-Sixties is in the permanent Collection of the Museum of Modern Art as well as other public institutions. This Classic Sixties psychedelic designed Op Art lithograph was created as part of the legendary 'Portfolio 9' in 1967 - one of the most influential eras in 20th century art. It was housed in a gray cloth-colored box with maroon paper inner panels and a large maroon "9" designed by Richard Lindner on the cover. Portfolio 9 featured nine of the most important artists of the era, representative of the three major trends: Pop Art, Minimalism and Abstract Expressionism: Roy Lichtenstein, Saul Steinberg, Richard Lindner, Robert Motherwell, Henry Pearson, Louise Nevelson, Sam Francis, Willem de Kooning- and Ellsworth Kelly. The Introduction to the portfolio was written by Una E. Johnson, Curator of Prints & Drawings, The Brooklyn Museum. Johnson wrote in 1967 for the colophon page: "The artists were selected to demonstrate the great diversity and character of lithography in the United States today... the dialogue of diverse forms and many faceted idioms that compose this graphic journal mirror the eloquence and delight the strengths and caprices of a period. Furthermore, they reflect in fine measure the creative achievements of artists attuned to their time." The lithograph offered here has superb provenance: it comes directly from 'Portfolio 9', numbered 84/100. This is the very first time since 1967 that this hand signed & numbered print will be separated from the original portfolio presentation box. According to the description of this print in the catalogue raisonne, "Organized as a celebration of Irwin Hollander's collaboration with American artists working in the medium of lithography, the Portfolio 9 is a compendium of images by nine of Hollander's artist collaborators. Henry Pearson Biography: Henry Pearson was born in Kinston, North Carolina in 1914. He studied art at the University of North Carolina where he received his B. A. and later at Yale University where he received an M. F. A. Pearson spent over eleven years in the army during and after WWII. On one tour of duty in Japan he was assigned to interpret topographical maps due to his past training in Theatrical Set Design. He returned to Japan on another tour after the war in order to immerse himself more fully in the culture. Pearson returned to the United States in 1953 and enrolled at the Art Students League in New York where he studied with Reginald Marsh. The Op-Art Movement was beginning to gain popularity and Pearson...

Mark di Suvero Future Shadow II, ca. 2001 Lithograph on Arches 88 Paper with Deckled Edges Signed and numbered from an edition of 5 by the artist on the front 32 × 23 inches Unframed The work was gifted directly by the artist to the present owner. This is a variation of a print the artist created as a donation to the Venice California...

Lithograph on wove paper, realized in 1980s. Hand signed under each image. Excellent condition. In Vedute italiane, Franco Marzilli pays homage to the timeless charm of Italy’s u...

'Ragwort (Senecio Jacobaea, Linne) Colour lithograph, 1909.

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled Marine (Seascape), from the folio Vieira da Silva, Peintres d'aujour...

Shore Sentry, is an original color, limited edition lithograph on handmade German black etching paper; printed by Topaz Editions in 1977. Artist proofs 10. Edition size 100. Provenance:: A Sarasota, Florida collector Signed: Artist signed lower left with edition size Image size: 22 by 30 inches Sheet size: 30 by 38 inches Edition 38/100 Condition: Excellent Overall framed size: 30.25 by 38.25 inches Framed under plexiglass in chrome colored metal gallery frame SYD SOLOMON BIOGRAPHY Written by Dr. Lisa Peters/Berry Campbell Gallery “Here, in simple English, is what Syd Solomon does: He meditates. He connects his hand and paintbrush to the deeper, quieter, more mysterious parts of his mind- and he paints pictures of what he sees and feels down there.” --Kurt Vonnegut Jr. from Palm Sunday, 1981 Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow...

The simple elegance of this original lithograph, created by Henri Matisse in 1955, is undeniably beautiful. From the edition of 2850, the print measures 12 ½ x 10 in. (31.5 x 25 cm...

'Eglise de L'abbaye de St Denis', tinted lithograph by Felix Benoist (1818-1896). From a series of lithographs depicting the famous buildings of Paris - 'Paris dans sa Splendeur', p...

David Roberts: 1796-1864. Very important and well Listed 19th century Scottish artist. He has had Auction results for paintings in excess of $1 million. Nevertheless, he is most reco...

Baie Des Anges after Marc Chagall 1962 Stone lithograph 39 2/5 × 26 in 100 × 66 cm

Henri Matisse (After), French (1869-1954) Icare (Icarus) Portfolio: Jazz Year: Of Original: 1947 Year Printed: 1983 Medium: Lithograph Image Size: 14.75 x 9.75 inches Size: 15.25 x ...

after Henri MATISSE (1869-1954) Lithograph Signed in the plate Vélin Paper Dimensions: 32 x 24 cm (12 x 9") This lithograph is one of a rare edition made during the Second World War ...

Artist: Mel Ramos (American, b. 1935) Title: Playboy Bunny Year: 2012 Medium: Lithograph, signed and numbered in pencil Edition: 199 Image Size: 16....

Lithograph on Chine appliqué, 9 1/4 x 8 1/8 inches (235 x 206 mm), full margins. First state (of 4). Extremely minor uniform age tone, otherwise in good condition. A superb, richly-inked impression. [Delteil 61.1] ______ At an early age Delacroix became a lover of music and literature and had been drawing from the time he entered school.  He expected painting would be a hobby, but on the death of his father he found he had to make his own way in life.  In 1817 he entered the studio of Pierre-Narcisse Guerin; amongst his fellow pupils was Gericault.  His first exhibited work was Dante and Virgil...

Artist: Murakami, Takashi Title: Let Us Devote Our Hearts Date: 2022 Medium: Offset Lithograph in colors on smooth wove paper Unframed Dimensions: 28" x 28" Framed Dimensions: ...

"Art is a mirage of the conscious and the unconscious." -Jean Cocteau This original lithographic poster by Jean Cocteau was created for an exhibition of works related to his project...

GARDEN FLOWERS is unique original hand drawn lithograph enhanced with hand coloring by the renowned American Pop artist, Peter Max. GARDEN FLOWERS was created in 1979 printed using t...

Artist: Joan Miro Title: Joan Miro (Plate 3) Portfolio: Joan Miro Medium: Original lithograph Year: 1956 Edition: Unnumbered Framed Size: 16 1/4" x 22 1/4" Sheet Size: 9" x 15" Signa...

Arnaldo Pomodoro Untitled, 1970 Color Lithograph on Wove Paper Hand signed and numbered 15/15 Hand-signed by artist, pencil signed and dated lower right margin, limited edition noted...

TENOR SERMON is a limited edition color lithograph by the renowned African American artist Romare Bearden(September 2, 1911 – March 12, 1988), printed on archival printmaking paper, ...

Peter Halley New Works, The Butler Institute of American Art (Hand Signed), 1999 Offset lithograph poster (signed by Peter Halley) 38 × 21 1/2 inches Boldly signed in black marker by...

Medium: original lithograph. Printed in 1967 for the art revue Derriere le Miroir (issue number 167) and published in Paris by the Maeght atelier. Size: 15 x 22 inches (377 x 560 mm)...

Épouse-la – Original Vintage Poster by R. Laroche (1923). Professionally preserved on acid-free archival linen backed and ready to frame. Vibrant colors. Excellent condition with no ...

Marc Chagall, Vintage Exhibition Poster (1977) — 30 × 20.5 in — Very Good, A- Lithography poster (Mourlot workshop). Expertly printed in Paris by the renowned Mourlot Printers. Engra...

'1. Castnia eudesmia 2. Castnia huebneri 3. Synemon catocaloides 4. Neocastnia nicevelli' Late 19th century colour lithograph of butterflies.

Erte Summer Breeze Serigraph in colors on wove paper 30 1/2 x 23 1/8 in. 1978 Artist Proof Signed and numbered in pencil Circle Fine Art Corporation, Chicago - Publisher

This lithograph is ideal for adding a sophisticated and calming presence to various interior spaces. Its abstract and natural qualities make it suitable for living rooms, offices, or...

Original 1960s Gemini Zodiac Poster by Dick Moore – Vintage Psychedelic Astrology Wall Art. Bright colors, never framed. In very fine condition, be...

Marc Chagall (1887-1985) Lovers with a Bouquet, 1984 Original color lithograph Signed with the artist's stamp Justified EA (artist proof) On Arches vellum, 56 x 43 cm (c. 22 x 17 in) Authenticated by the artist's studio dry stamp REFERENCES: Sorlier / Mourlot catalogue raisonné...

Lithograph in colors on Arches from Robert Indiana's "Mother of Us All" portfolio. Starting in 1965, Indiana collaborated with composer Virgil Thompson to design the sets and costume...

Views of Hotel Well I, from Moving Focus series (T. 280; DH. 67). Lithograph printed in colors on TGL handmade paper. Hand signed, dated and numbered by the artist. original Artist's...

Nabuchodonosor Rex Babulonis ("Nebucchadenezzar King Of Babylon") is an artwork realized in 1964. It is part of Biblia Sacra vulgatæ editionis published by Rizzoli-Mediolani between...

Guillaume Corneille 1970 Un Été Souverain Print, Lithograph on wove paper Image size 24 x 19 inches Framed Size 37.5″ x 32.5″ As a co-founder of the famed experimental artist group...

Les Vins de Bourgogne de Henri de Bahèzre - Nuits-St. Georges Original Vintage French Wine Poster by Guy Arnoux, c. 1916 Linen-backed. This wine poster is one of the earliest zinc lithographs. The poster does have a printer's mark or flaw above and on the man's leg. This was done at the time of printing. This is the only issue that keeps the poster from being graded A. Great colors, linen-backed, and otherwise excellent condition. This rare and exquisite original vintage poster, created by renowned French artist Guy Arnoux around 1916, stands as a true testament to Burgundy's rich winemaking heritage. Made to promote the distinguished wines of Henri de Bahèzre, this poster is a highly sought-after piece for serious collectors of wine memorabilia...

Artist: Mel Ramos (American, 1935-2018) Title: "Marquet's Mannequin" *Unsigned proof Year: 1979 Medium: Original Lithograph on unbranded white wove paper Limited edition: an unsigned...

Original Agricoltori Tafanoide Italian vintage poster. Linen-backed and in good condition with edge wear. Colors are still bright and vibrant. Museum linen backed. This is a good pi...

Printed in 1972 at the Mourlot atelier and published for the "Miro Lithograph I" catalogue raisonne. Size: 12 1/2 x 19 1/4 inches (320 x 490 mm). This work was published as a folded ...

Picasso and the Weeping Woman — 1994 Metropolitan Museum of Art Exhibition Poster (Linen-Backed). Grade A- condition. Size is 40” x 37.5”. The painting’s original name is “The Pa...

Medium: lithograph (after Matisse). Printed in sanguine ink on cream laid paper from the Papeteries Casteljoux and published in Geneva by Edito-Service in 1970. This reproduces one o...

This exquisite lithograph by Andre Brasilier (born 1929), titled Le Cadre noir (The Black Frame), from the album Prints from the Mourlot Press, exhibition sponsored by the French Emb...

Artist: Will Barnet, American (1911 - 2012) Title: Meditation and Minou Year: 1980 Medium: Lithograph and Serigraph on BFK Rives, signed and numbered in pencil Edition: 40/150

Medium: original lithograph. Printed in 1949 for the art revue Derriere le Miroir (issue number 20-21- L'art abstrait) and published in Paris by the Maeght atelier. Sheet size: 15 x ...

Make Every Minute Count For Pershing. United States Shipping Board Emergency Fleet Corporation Original 1917 World War 1 vintage poster. Artist: Adolph Treidler Original linen backed World War I vintage poster. Tonnage built in American ship yards tripled after the U.S. entered the war. Poster shows a riveter using his wrench to bolt the steel plates of the hull of a ship together. Until the 1930s, when arc welding was introduced, bolts were secured by hand. Standardization speeded production. Make every minute count for Pershing. United States Shipping Board Emergency Fleet Corporation Artist: Adolph Treidler Dimensions: 27.75 x 22 in. Published: Philadelphia Linen backed, ready to frame. Remember Rosie the Riveter...

From the estate of Jerry and Ruth Opper Abstract Fireworks 1950's Stone Lithograph on Paper 12.5" x 19", Unframed Came from a portfolio of his work from his estate. Jerry Opper (192...

This is an exclusive handprinted limited edition cyanotype. "Pacific Foamy Shoreline" is a handmade cyanotype print portraying a smooth wave reaching the shore. Details: + Title: Pa...

This is an exclusive handprinted limited edition cyanotype. "Rolling Waves off Sidney" is a gorgeous original cyanotype diptych showing energetic waves embracing the Australian coas...

'1. Hestia idea 2. Ideopsis daos' Late 19th century colour lithograph of butterflies.

Janick LEDERLE Little Street in Santorini Original lithograph (Mourlot) Handsigned in pencil Limited /275 copies On vellum 55 x 39 cm (c. 21.6 x 15,3 in) Excellent condition

'1. Streptosolon Jamesoni 2. Leschenaultia Biloba Major' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

This exquisite lithograph by Jean Cocteau (1889–1963), titled Scene XXXIX, Theatre de Poche (Scene XXXIX, Pocket Theater), originates from the 1957 album Jean Cocteau de l'Academie f...

This original lithograph in colours is hand signed in pencil by the artist "Miró" in the lower right corner. It is also hand numbered in pencil from the edition of 75, at the lower ...

This limited edition print, La Grenouille et la Scie, is a unique and intriguing work that reflects the whimsical and imaginative spirit of contemporary art. Published in 1971, this ...

Lithograph on paper realized by Auguste Raffet in 1840. It is part of the suite "Crimée". The lithograph shows a group of Tatar men exiting a mosque or religious building, surround...

Artist: Georges Schreiber, Belgian/American (1904 - 1977) Title: Going Home Year: circa 1945 Medium: Lithograph, signed and titled in pencil Image Size: 9.25 x 13.25 inches Size: 12 ...

Medium: pochoir (after the lithograph). Printed in 1960 at the Jacomet atelier and published by Berggruen in an edition of 1500. Size: 8 1/2 x 9 inches (218 x 227 mm). There is anoth...