Art by Medium: Lithograph

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Kish-Ke-Kosh, Fox Brave", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart & Co. in Philadelphia in 1848. Kish-Ke-Kosh, means 'The Man with One Leg' or 'He with a Cut Hoof'. He had a reputation for being a fierce warrior. He was a representative of the delegation of Sioux and Fox and Sauk chiefs who attended the gathering with the War Department in 1837. The Fox tribe lived in the Great Lakes region of the United States and merged with the Sauk tribe. This original McKenney and Hall hand-colored lithograph is printed on a sheet measuring 10.38" high and 7" wide. There are tiny spots in the lower left margin, another in the right lower margin and mild smudging in the left margin, but the print is otherwise in very good condition. The original descriptive text pages, 119-120, from McKenney and Hall's 19th century publication are included. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis...

Medium: lithograph (after the watercolor). From the scarce "Trace sur l'eau" portfolio, beautifully printed in 1963 by the Maeght atelier on thin Marais onion skin paper in an editio...

Serge LASSUS (1933-) Horses : Horse Riding in Autumn, 1983 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 56 x 76 cm (c....

Michel DELACROIX Paris : Moulin Rouge Lithograph Printed signature in the plate On wove paper 63 x 74 cm Lithographic poster for the artist personal exhibition at Lublin Gallery. Th...

PEMAQUID LIGHT is an original hand drawn lithograph by the American woman artist Sally Caldwell-Fisher, printed using hand lithography techniques on archival Arches paper 100% acid free. PEMAQUID LIGHT portrays one of mid-coast Maine’s most photogenic and popular lighthouses - The Pemaquid Point Lighthouse. Ms. Caldwell-Fisher presents a nostalgic look back at New England life - a refreshing seaside landscape featuring the white light house with lush green lawn...

Mixed Media work on Paper, hand colored by the artist on a lithographic touch plate. Signed and annotated “bon à tirer” impression on Arches paper, heavily annotated by Chagall. Pap...

This vibrant original poster by Henri Matisse was published by the French Tourism Office to promote tourism in the South of France. Printed by the renowned Atelier Mourlot, it captur...

Color lithograph on Arches, 1970. Signed and numbered 37/75 in pencil (there was also a deluxe edition of 25 in Roman numerals on Japon). Published by Edicions Polígrafa, Barcelona.

The 1953 original travel poster titled "The Caribbean Fly There by BOAC" by artist Hayes captures the allure and excitement of mid-20th-century air travel. Produced in association wi...

This original poster, "Union du Tonkin à la France," designed by E. Conrad, is a striking example of colonial-era propaganda art, commemorating France's expansion into Southeast Asia...

Medium: lithograph (after the woodcut). Printed in Paris in 1954 by Mourlot and published by Berggruen for a scarce catalogue. Image size: 4 1/2 x 4 inches (117 x 100 mm). There is a...

In 1983, Hodgkin was asked by Andy Warhol to contribute to the official art portfolio of the Olympic Winter games to be held in Sarajevo in 1984. He produced this striking print, wit...

This artwork titled "Owl (Rose Ground)" from the suite "Bestiary and some Correspondences" 1968 is an original color lithograph on Arches paper by renown British surrealist artist Gr...

This artwork by Henri Matisse is a lithograph page from the book Cinquante Dessins, published by Les Soins de L'Artiste in 1920. First Edition. The portfolio was edited and printed...

Medium: lithograph (after the watercolor sketch). Printed in 1955 at the Mourlot Freres atelier, this composition is from George Braque's Intimate Sketchbooks (Carnets Intimes). Braq...

Robert Kipniss (American, b. 1931) Left: Leaning, c. 1988 Lithograph Sight: 5 1/4 x 4 in. Framed: 11 x 9 3/4 x 3/4 in. Numbered lower left: 53/175 Signed lower right: Kipniss Right...

Girl in Blue Charles Levier, French (1920–2003) Date: circa 1970 Lithograph, signed in pencil l.r. Edition of 250 Image Size: 24 x 17 inches Size: 30 x 22 in. (76.2 x 55.88 cm)

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...

This first edition lithograph from Derrière le Miroir number 212 is a prime example of Alexander Calder's innovative approach to art. The three-legged figure in high heels reflect hi...

'Schmarotzerpflanzen I' (Parasitic plants) German chromolithograph, circa 1910. Central vertical fold as issued. 245mm by 305mm (sheet)

This exquisite lithograph, titled Sans titre, after Leonor Fini, from the folio L'Histoire d'O (The Story of O), 1962, was published and printed by La Compagnie des Vibliophiles, au ...

Medium: pochoir (after the gouache). Printed in 1962 at the Daniel Jacomet atelier and published in Paris by the Berggruen Gallery in an edition of 1000. Image size: 5 x 3 3/4 inches...

Medium: pochoir (after the gouache). Printed in Paris in 1957 by Jacomet and issued in an edition of 1000 by the Galerie Berggruen for a rare catalogue. Image size: 5 x 3 3/4 inches ...

Joyce Kozloff Pictures and Borders III, 1977 Color lithograph on wove paper Signed, titled, dated and annotated "Solo Impression" in graphite pencil on the back Editions Solo-Impress...

Apocalypse is an original artwork realized by Charles Lapicque in 1974. Colored lithograph. Not signed. as issued. Excellent condition. Printed by Mourlot , France. This lithogr...

A very good impression of this large lithograph on Arches Cover. Signed, dated and numbered 44/170 in pencil by Longo. There were also 30 artist’s proofs and 18 hors-commerce Publish...

Original hand colored lithograph by the French artist, Maurice Jacque of the Place du Tertre in Montmartre Paris, France. Signed in lower right margin. Titled in lower left margin. ...

Medium: original lithograph. This lithograph was printed in 1958 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

This exquisite lithograph after Edgar Degas (1834–1917), titled Croquis de danseurs (Sketch of Dancers), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Studio Publications, Inc., New York, rendered and printed by Albert Carman, City Island, 1945, this work reflects Degas’s sensitive mastery of line, movement, and the intimate psychological nuances of the ballet studio. Executed as a lithograph and pochoir on velin paper, this work measures 13 x 17 inches (33.02 x 43.18 cm). Signed in the plate and unnumbered as issued. Rendered and printed by Albert Carman, City Island. Artwork Details: Artist: After Edgar Degas (1834–1917) Title: Croquis de danseurs (Sketch of Dancers), from Degas, Ten Ballet Sketches, 1945 Medium: Lithograph and pochoir on velin paper Dimensions: 13 x 17 inches (33.02 x 43.18 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1945 Publisher: The Studio Publications, Inc., New York Printer: Albert Carman, City Island Condition: Well preserved, consistent with age and medium Provenance: From the 1945 folio Degas, Ten Ballet Sketches, published by The Studio Publications, Inc., New York Notes: Excerpted from the album, Born in Paris in 1834, Edgar Degas lived, and surely loved the life of that city during most of his years. These continued somewhat sadly beyond those of most of his friends— into the debacle of the first World War, during which he died in 1917. Judging by the frequency with which he used them as models, he must have had an especial admiration for the ballet girls who followed a profession that at the time brought none of the glory and prosperity which attend it today. New aspects of the human body, revealed in movement, fascinated him. But his occupation with the simply anatomical side of his subjects never resulted in a cold interpretation. On the contrary there is a warmth and sympathy that pervades all of his work. The drawings here represent the painter in one important phase of his multi-sensitive view of life; and permit an insight which a more ambitious work might not do-into the operation of the creative process, the artist's transformation of reality as it passes through the mesh of his sensibilities. The Edition of this Portfolio is limited to MMMD examples. Rendered by Albert Carman. About the Publication: Degas, Ten Ballet Sketches (1945) is one of the earliest and most significant American postwar fine art portfolios devoted to Edgar Degas’s intimate works on paper. Published by The Studio Publications, Inc., New York, and rendered and printed by Albert Carman at City Island, the album sought to faithfully reproduce a group of Degas’s ballet-related drawings through a combination of lithography and hand-applied pochoir coloring. This hybrid technique allowed the edition to preserve the immediacy, tonal subtlety, and gestural delicacy central to Degas’s draftsmanship. Conceived as a fine art publication rather than a commercial book, the portfolio provided American audiences unprecedented access to Degas’s private, spontaneous studies—images that reveal the artist’s fascination with movement, anatomy, and the psychological atmosphere of the rehearsal studio. The album exemplifies the mid-20th-century revival of pochoir as a means of recreating the texture and coloristic nuance of original works on paper, and it remains an important document of how Degas’s legacy was translated into high-quality printed form for collectors, museums, and connoisseurs. About the Artist: Edgar Degas (1834–1917) was a French painter, draughtsman, printmaker, and sculptor whose groundbreaking fusion of classical draftsmanship, modern experimentation, and psychological depth helped define the trajectory of Western art, positioning him as one of the most influential figures of the nineteenth and early twentieth centuries; renowned for his depictions of ballet dancers, racehorses, theater scenes, cafe life, domestic interiors, milliners, laundresses, and women at their toilette, Degas reimagined observational realism through radical compositional innovation—employing extreme cropping, asymmetrical framing, oblique viewpoints, and dramatic lighting that anticipated photographic and cinematic language long before these technologies shaped visual culture, and although associated with Impressionism, he rejected plein-air spontaneity in favor of studio-based discipline rooted in the linear precision of Jean-Auguste-Dominique Ingres, the expressive chromaticism of Eugene Delacroix, and the modernity of Edouard Manet while also drawing inspiration from Japanese ukiyo-e prints, classical sculpture, and early photography; his independent artistic philosophy resonated with and helped shape the innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose explorations of movement, form, dream logic, abstraction, and conceptualism all find antecedents in Degas’s investigations into seriality, temporality, and the fragmented figure, and his pioneering use of pastel, monotype, and wax sculpture fundamentally transformed each medium, influencing artists from Henri Matisse, Francis Bacon, Lucian Freud, and Giacomo Manzu to Paula Rego, contemporary realists, experimental photographers, and choreographers; his works are held in nearly every major museum collection worldwide—including the Musee dOrsay, the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Courtauld Institute, and the National Gallery, London—affirming his central place in the history of art, and the highest auction record for Degas was achieved at Sothebys London on February 3, 2015, when Danseuses en Bleu sold for 37,033,000 GBP, cementing his status as one of the most sought-after and enduringly significant artists of the Western canon. Degas pochoir, Degas lithograph...

Vintage original poster for a Joan Miro exhibition of original lithographs. The Exhibition was titled "Les Fauves" and it took place at Le Vallauris in Paris from April 5th through M...

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Arbeiterfrau mit schlafendem Jungen (Working Woman with Sleeping Boy), from the folio Kathe Kollwitz, Ten Lithographs, originates from the 1941 edition published by Henry C. Kleemann, New York, and Curt Valentin, New York; printed by Duenewald Printing Corporation, New York. The composition reflects Kollwitz’s profound engagement with themes of maternal care, hardship, and human resilience, rendered with stark emotional intensity and a powerful graphic economy that underscores her enduring social message. Executed as a lithograph on velin paper, this work measures 19 x 16 inches (48.26 x 40.64 cm), overall; 15 x 13 inches (38.10 x 33.02 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Arbeiterfrau mit schlafendem Jungen (Working Woman with Sleeping Boy), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 15 x 13 inches (38.10 x 33.02 cm), image Inscription: Unsigned and unnumbered as issued Date: 1941 Publisher: Henry C. Kleemann, New York, and Curt Valentin, New York Printer: Duenewald Printing Corporation, New York Condition: Well preserved, consistent with age and medium Provenance: From the folio Kathe Kollwitz, Ten Lithographs, 1941 About the Publication: Kathe Kollwitz, Ten Lithographs, published in New York in 1941 by Henry C. Kleemann in collaboration with Curt Valentin, represents an important early American presentation of Kollwitz’s graphic work at a time when her reputation was expanding internationally. Issued during the turbulence of the Second World War and following the suppression of her work in Germany under the Nazi regime, the folio played a crucial role in introducing her imagery to a broader audience outside Europe. The publication gathers a selection of her most powerful lithographic compositions, emphasizing her mastery of tonal contrast, expressive line, and psychological depth. Produced with careful attention to print quality by Duenewald Printing Corporation, the edition reflects the continued transmission of European modernist printmaking traditions into the American context, serving both as a document of artistic excellence and as a vehicle for the preservation and dissemination of Kollwitz’s humanistic vision. About the Artist: Kathe Kollwitz (1867–1945) was a German draughtsman, printmaker, and sculptor whose profoundly moving imagery, exceptional technical mastery, and unwavering social conscience established her as one of the most important and influential artists of the twentieth century, widely recognized as a master of modern printmaking and one of the most powerful visual chroniclers of human suffering, war, and social injustice. Born in Konigsberg, East Prussia, into a progressive and intellectually engaged family, Kollwitz was encouraged from an early age to pursue art and developed a deep awareness of social inequality that would shape her entire career, studying in Berlin and Munich at a time when women were largely excluded from formal academies while mastering drawing and graphic techniques with extraordinary discipline. Her breakthrough came with the monumental graphic cycle A Weavers’ Revolt (1893–1897), followed by The Peasants’ War (1901–1908), works that combined complex narrative structure with extraordinary technical command in etching, aquatint, and lithography, establishing her reputation as one of Europe’s leading graphic artists. Throughout her career, Kollwitz remained committed to portraying the lives of workers, mothers, and victims of poverty and conflict with unflinching honesty, creating compositions defined by bold, sculptural line, dense shadow, and unparalleled psychological depth that conveyed grief, resilience, and dignity. Working during a period transformed by the radical innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Kollwitz maintained a resolutely figurative and human-centered approach, aligning more closely with German Expressionism and artists such as Ernst Barlach, Max Liebermann, and Edvard Munch, whose emotional intensity and symbolic treatment of the human figure profoundly shaped her artistic language. Her later work, particularly the woodcut cycle War (1922–1923), stands among the most powerful anti-war statements in the history of art, reflecting both personal tragedy, including the death of her son in World War I, and a universal condemnation of violence and loss. In addition to her prints, Kollwitz created deeply moving sculptures that extended her exploration of grief and maternal protection into three dimensions, reinforcing her status as a multidisciplinary artist of exceptional range. She achieved significant recognition during her lifetime, becoming the first woman elected to the Prussian Academy of Arts, though her work was later condemned by the Nazi regime as degenerate, leading to her forced resignation and the removal of her works from public collections, yet her reputation expanded internationally after World War II and she is now regarded as a central figure in modern art. Her influence has been profound and far-reaching, shaping later artists including Francis Bacon, Anselm Kiefer, Leon Golub, Kiki Smith, and numerous contemporary figurative and socially engaged artists who continue to explore themes of trauma, memory, and human vulnerability. Today her works are held in major museum collections worldwide, including the Kathe Kollwitz Museum in Berlin, the Museum of Modern Art in New York, the British Museum in London, and the Art Institute of Chicago, and remain highly sought after by collectors for their emotional intensity and historical significance. The highest auction record for a work by Kathe Kollwitz is held by her sculpture Mutter mit totem Sohn (Mother with Dead Son), which achieved approximately 1.2 million EUR at auction, confirming her enduring importance. Kathe Kollwitz Arbeiterfrau mit schlafendem Jungen 1941 lithograph German Expressionism social realism print.

This is an original 19th century hand-colored folio-sized McKenney and Hall lithograph of a Native American entitled "Tshusick, An Ojibway Woman", lithographed by J. T. Bowen after a...

Lithograph, 1970 Edition : 32/75 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (paper) 54.00 cm. x 39.00 cm. 21.26 in. x 15.35 in. (image) Handsigned by the artist in pencil Certific...

Urbain HUCHET Paris : Saint Germain des Pres, c. 1980 Original lithograph Handsigned in pencil by the artist Numbered / 350 copies On Arches velllum 15 x 18 cm (c. 6 x 7 in) Excell...

BRASS SECTION(Jamming at Minton's) is a limited edition color lithograph by the renowned African American artist Romare Bearden, printed on archival printmaking paper, 100% acid free...

Artist: Marc Chagall Title: Vision of Paris Portfolio: Mourlot Lithographe I Medium: Lithograph Year: 1960 Edition: Unnumbered Framed Size: 22" x 19" Image Size: 12 1/2" x 9 1/2" Sh...

Offset lithograph on smooth wove paper Edition 84 of 300 52.5 x 52.5 cm (20.7 x 20.7 in) 55 x 55 x 2.5 cm, 21.7 x 21.7 x 1 in Signed and numbered on the front Artwork mint, as issued...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Sui...

Medium: lithograph (after the poster). Printed in Paris in 1950 by Mourlot Freres, this lithograph faithfully reproduces the original Toulouse-Lautrec poster in a smaller-size format...

Original Molitg les Bains Vintage French Travel Poster. Santé et Beauté de la Peau. Pyrenees-Orientales. Archival linen backed in Grade A- condition, ready to frame. Slight touch...

EARLY CATCH is an original hand drawn lithograph(not a photo reproduction or digital print) by the American woman artist Sally Caldwell-Fisher, printed using hand lithography techniq...

Medium: lithograph (after the watercolor). Jean Lurçat was one of the artists who contributed compositions to Marcelle Oury's "Lettre à mon peintre" in homage to Raoul Dufy. This lit...

Medium: lithograph (after the poster). Printed in Paris in 1950 by Mourlot Freres, this lithograph faithfully reproduces the original Toulouse-Lautrec poster in a smaller-size format...

Original Vintage 1981 Cappiello Exhibition Poster held at the Paris Grand Palais. Celebrating the Iconic Artwork of Leonetto Cappiello. Linen backed in very good condition without an...

The Cat is a lithograph on ivory-colored paper realized by Giselle Halff in 1950 ca. Hand-signed by pencil on the lower right. Numbered. Edition, 19/20. Good conditions, slight fo...

This exquisite lithograph by Pierre Alechinsky (born 1927), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXIIe Annee, N°14, Juin 1960, originates from the...

Lithograph on Magnani-Pescia paper 310 gr/m2, paper size 60cm x 79cm, 53cmx 70cm . Excellent condition, no defects. Work number P.A.; Artist Signature and date ‘92 Renzo Vespignani, ...

This artwork titled "Spring 69" 1969 is an original color lithograph by American artist Nancy Genn, b. 1929. It is hand signed, titled and inscribed Artist Proof in pencil by the artist. The size is 23.75 x 34.65 inches. It is in excellent condition, it has very small marks in the back due to tape removal from previous framing, not visible from the front. About the artist: Nancy Genn is an American artist living and working in Berkeley, California known for works in a variety of media, including paintings, bronze sculpture, printmaking, and handmade paper rooted in the Japanese washi paper making tradition Her work explores geometric abstraction, non-objective form, and calligraphic mark making, and features light, landscape, water, and architecture motifs. She is influenced by her extensive travels, and Asian craft, aesthetics and spiritual traditions. Genn's first noted solo exhibition was in 1955 at Gump's Gallery in San Francisco. She received international recognition through her inclusion in French art critic Michel Tapié’s seminal text Morphologie Autre (1960), which cited her as one of the most important exponents of post-war informal art. Her abstract expressionist paintings of this period, continuing through the mid-1970s, featured all-over compositions of colorful layers of gestural brushwork and calligraphic mark making resembling asemic writing. In 1961, Genn began creating bronze sculptures using the lost-wax casting method. Influenced by noted sculptor and family friend Claire Falkenstein, who used open-formed structures in her work, Genn cast forms woven from long grape vine cuttings, and produced vessels, fountains, fire screens, a menorah, a lectern, and, notably, the Cowell Fountain (1966) at UC Santa Cruz. In 1963 her sculptural work was exhibited with Berkeley artists Peter Voulkos and Harold Paris in the influential exhibition Creative Casting curated by Paul J. Smith at the Museum of Contemporary Crafts, New York. Genn was one of the first American artists to express herself through handmade paper, first receiving wide recognition via exhibitions at Susan Caldwell Gallery, New York, beginning in 1977, and in traveling exhibitions with Robert Rauschenberg and Sam Francis. In 1978-1979, supported by the National Endowment for the Arts and Japan Creative Arts Fellowship, she studied papermaking in Japan, visiting local paper craftspeople, working in Shikenjo studio in Saitama Prefecture,[5] and exhibiting her work in Tokyo. She also learned techniques from Donald Farnsworth...

This is one of a series of 6 signed and numbered prints created by the great French poster artist, Gerard Courbouleix, known as Razzia. This print measures 10.5" x 14.5" and is from...

Salvador Dali (1904-1989) - Les Songes Drôlatiques de Pantagruel, Planche XVI Lithograph from 1973. Edition 10/250 on Japon paper. Dimensions of work: 76 x 56 cm Publisher: Carpe...

Richard Smith Bramble, 1970 Lithograph on wove paper Signed, numbered and dated 10/75 in pencil lower left Frame included: held in original vintage period frame Pencil signed, dated ...

This exquisite lithograph and pochoir after Jean-Edouard Vuillard (1868-1940), titled Le Salon aux Clayes (The Salon at Clayes), from the folio Vuillard, Douze Pastels (Vuillard, Twe...

This bold 1968 racing poster celebrates the United States Road Racing Championship held at Mid‑Ohio Sports Car Course, one of the most respected road circuits in American motorsport....

Medium: original lithograph. This lithograph is from the rare 1953 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1953 Spr...

Théophile-Alexandre Steinlen's "Lait pur de la Vingeanne stérilisé" poster, created in 1897 for Les Maîtres de l'Affiche in plate number 95, is an outstanding...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1953 album Miro Recent Paintings. Published by the Pierre Matisse Gallery, New Y...

"Judy Garland" Legendary Film and Recording Star. Gay Icon. 20th Century Litho Al Hirschfeld (1903-2003) Judy - All Star Variety - Garland at at the Palace Sight: 15 1/2 x 12 inches...

A luminous blend of cosmology and cartography, this original 1951 Air France poster by Lucien Boucher transforms the night sky into an elegant celebration of flight, mystery, and mod...

Banksy "CUT AND RUN" Technique: Offset Lithograph Paper: Thick Stock Glossy Size: 16.5 X 23.4 Materials Thick glossy paper Size 23 2/5 × 16 1/2 in 59.4 × 41.9 cm Rarity Open editi...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Ap-Pa-Noo-Se, A Saukie Chief", lithographed by J. T. Bowen after a painting ...