Art by Medium: Lithograph

"Machu Pichu" - Black and Grey Lithograph #10/200 Bold black and grey lithograph by David Alfaro Sequeiros (Mexican, 1896-1974). This piece is a high contrast, abstracted landscape....

Hand signed and numbered by artist with pencil. Edition of 100 prints. Colour lithograph on paper, trimmed margins. Medium Foxing. 

Alyza Perez Title: A Real Ghost Print Year: 2018 Medium: Lithograph Size: 15 x 11 inches

CYRK posters from Poland are renowned for their vibrant and imaginative designs, often featuring bold, abstract visuals that go beyond traditional circus imagery. These posters, like...

Diane Burko Lily Pond at Giverny, 1990 Hand colored monoprint (lithograph with hand coloring) Hand signed and numbered 8/95 by the artist and bears publisher's stamp on the front 21 ...

Ella Fort Flower Field (Champ Fleuri) Color Lithograph Signed, numbered or inscribed Edition: 390 + 250 Size: 7.8 × 11.7 on 11.7 × 15.6 inches COA provided *edition number might va...

BIG OLIVES, LITTLE OLIVES is a hand drawn, pencil signed limited edition lithograph by the well known and loved British artist and humorist, Beryl Cook(1926-2008). Printed in 1986 using hand lithography techniques on archival Arches paper, 100% acid free. BIG OLIVES, LITTLE OLIVES presents a humorous piano bar scene depicting a lively group of night club patrons enjoying their cocktails as they enthusiastically sing along with the debonair piano player giving the viewer a true feeling of merriment in this quintessential Beryl Cook image. BIG OLIVES, LITTLE OLIVES is a warm, colorful interior scene printed in shades of golden brown, black, red, blue, lavender, purple, green, orange, pink, peach, gray, and beige. BIG OLIVES, LITTLE OLIVES is one of Beryl Cook's most loved images - the edition is SOLD OUT, this is a rare unsigned printers proof aside from the numbered edition from the master printers private collection, stamped legend on verso with provenance information. Print size - 27 x 27 inches, UNSIGNED Printers Proof, unframed, excellent condition Edition size - 300 plus proofs Year published - 1990, printed at JK Fine Art Editions Co. NYC Beryl Cook's unique artistic humor documented familiar social situations...

Lithograph on paper. Hand signed and numbered. Edition of 50. Very good condition.

Fernando Botero Pedrito, 1975 Lithograph 38 x 29 in / 96,5 x 73,6 cm Edition: AP (Artist's Proof) Signed, named, dated, and numbered by Fernando Botero at the bottom of the paper.

Artist: Alexander Calder Title: Couleurs au Choix Size: 24 x 30 Inches Medium: Lithograph Edition: of 75 Year: 1970 Notes: Hand signed and numbered by the Artist in pencil. Artw...

Fish & Chips is a lithograph on paper, initialed lower right 'BD', 9.5 x 9" image size. From the edition of 395, numbered XLIX/C (there were also 275 Arabic and 20 AP), framed in a c...

Lithograph on paper. Hand and numbered in pencil. Edition of 99. Excellent condition. This striking colour lithograph by Mario Bardi, dated 1979, blends the language of still lif...

Asymmetric Abstract Composition is an original lithograph realized by Marcello Avalani between 1960s and 1970s. Hand-signed in pencil on the lower right margin and numbered in pencil...

Framed in an ornate wood frame with a front profile of 1 1/2 inches and a side profile of 1 inch, this piece is elegantly seated behind a 4-inch mat. This is Edition #669/900, publis...

Lithograph on paper. Hand and numbered in pencil. Edition of 99. Excellent condition. This striking colour lithograph by Mario Bardi, dated 1979, blends the language of still lif...

Nude is an color lithograph on cardboard realized by Ugo Rambaldi. Hand-signed on the lower right in pencil. Numbered, edition 42/150. The state of preservation is very good. Th...

Barry Eisenhart Untitled (Rose, Pink, Abstract, Gestural, Movement) Year: 2015 Lithograph on Arches Edition of 15 Size: 19 x 25 inches Signed in pencil COA provided

Andrea Belag New Moon, 1990 Monotype on Wove Paper 42 × 30 inches Hand signed and dated on the front Published by Pelavin Editions, with blind stamp on the front Unique Unframed Love...

This piece titled "Blind Faith" is an original piece by Kathryn Polk and is made from stone and plate lithography. This piece measures 27.25"h x 22.25"w framed and is shipped in the ...

Color lithograph, Ed. 25 The artist describes this project: “I have a long history of exploring the possibilities of animal and naturalist imagery to fabulist ends. These works ser...

hand pulled limited edition lithograph signed and numbered by the artist Our gallery also presents paintings, prints and sculpture by Southwestern luminary, DAN NAMINGHA. Our colle...

Lithograph realized by Lucio Rofrano in 1990s. Edition of 150, numbered and hand signed. Excellent condition.

JONAS WOOD Interiors, 2019 Offset lithograph in colors on wove paper Signed TWICE: Signed and dated in black marker lower right with the artist's distinctive flourish; hand signed ag...

Lithograph on paper. Hand signed and numbered in pencil. Edition of 50. Very good condition.

Color lithograph with hand coloring, Edition 20 Her most recent prints are "Lines of Force (Fire Red) State II" and "Lines of Force (TBR) State II." Vibrant hand-colored lithograp...

Letter A - from the suite Letters of the Alphabet is a modern artwork realized by Erté (Romain de Tirtoff. Lithograph and Screen Print. The artwork is from t...

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, ...

Ivan Chermayeff Lincoln Center Film Festival Poster (Hand Signed by Ivan Chermayeff), 1999 Offset Lithograph Poster (Hand Signed) - Framed Boldly ...

Peacock Caroline Schultz, American (1936–2004) Date: 1980 Lithograph, signed and numbered in pencil Edition of AP 50 Image Size: 18 x 22.5 inches Size: 23 in. x 29 in. (58.42 cm x 73...

BEN SHAHN - Martin Luther King, Jr. - I Have A Dream is a limited run, plate signed, commemorative lithograph recreated after the wood engraving by Stefan Martin(1936 - 1994), an Ame...

Photolithograph on paper, realized in 1963 for the french Art Review Derrière le Miroir. Not signed. Very good condition.

Summer Sky, limited edition lithograph, landscape, desert, turquoise, orange

This original lithograph by Bram van Velde, published by Arte, Paris, is a striking example of the artist’s intensely expressive abstract style. Printed on a large sheet with full ma...

Artist: Perez, Enoc Title: Puerto Rico 1N Date: 2016 Medium: Photogravures with hand coloring Unframed Dimensions: 25" x 32" Signature: Signed Editi...

Offset lithograph poster Boldly signed by Christo on the front Measurements: 39" (vertical) x 25 inches (horizontal) Published by Christo/CVJ Corp., photograph by Jeanne-Claude Unfra...

Iris With Evian Bottle (Poster) David Hockney, a prominent British artist, is celebrated for his versatile and innovative contributions to 20th-century art. Known for his vivid use...

Artist: Slonem, Hunt Title: Blue Celeste Bunnies Series: Bunnies Date: 2025 Medium: Lithograph on Paper Unframed Dimensions: 24" x 16" Framed Dimensions: 29" x 22" x 1.25" Sig...

Young Woman is an original litograph, realized by Sandro Trotti in 1980s. Representing a young woman exalted by a wonderful contrast of colors, this original print is hand-signed in...

Figures allongées is an print by the British artist  Henry Moore  (Castleford, 1898 - Much Hadham, 1986). This color lithograph on paper was edited by the French magazine XXe Siécle...

Lithograph hand retouched. Hand signed in pencil. Artist's proof, in excellent condition.

BESSIE MAE is a hand drawn, limited edition lithograph/linocut by the African American artist JONATHAN GREEN printed in 10 colors using hand lithography techniques and linoleum cut o...

SUMMER RUSH is an original limited edition lithograph from the Sacred Garden Series of works by the British artist David Leverett (1938-2020), printed using hand lithography techniqu...

Valentino Large: Hand signed and numbered Monograph (gift book) in elegant Clamshell Box Una Grande Storia Italiana Valentino Garavani (Hand Signed and Numbered Collectors Edition),...

Lithograph realized by Antonio Saliola in 1990s. Hand signed in pencil. Edition of e/i, marked in pencil. Excellent condition.

THE DOOR OF JUSTICE is an original, hand drawn, limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor bes...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

HOPI EAGLE DANCE is an original hand drawn, limited edition lithograph by the prominent Native American artist Dan Namingha, a member of the Hopi tribe. H...

The artist describes this project: “I paint and draw flowers, not only out of mesmerized wonder for their presence on earth, but also as a rebellion against the labels of “decorative”, “inconsequential” and “superficial” that have been equated historically to the art of women...

Hand signed and numbered. Limited edition of 350 prints. From the suite “Alphabet”. Near perfect condition. Lithograph/Screen print.

Hobby Horse is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 189/275 (there were also 100 Roman and 20 AP). Fram...

Antoni Tàpies Lithograph 1969 Published by: Sala Gaspar as part of the 1969 Tàpies catalog. Lithograph in colors. 9x7 inches. Very good overall vintage condition. Printed signature from an edition of unknown. Antoni Tàpies: In his wide-ranging practice, Antoni Tàpies combined rich conceptual concerns with material experimentation and monumental scales. His work was variously informed by early modernists including Paul Klee and Joan Miró and by Art Informel artists, such as Jean Dubuffet, who were his contemporaries. Throughout his paintings, prints, sculptures, and works on paper, Tàpies built a visual language full of thick, impastoed gestural marks and a cosmology of symbols and scripts. His materials ranged from trash and earth to dust and stone, which created a sense of solidity and physicality throughout his oeuvre. Tàpies participated in the Venice Biennale four times and exhibited in cities including Paris, London, Barcelona, Brussels, Berlin, Tokyo, Zürich, and New York. His work has sold for seven figures at auction and belongs in the collections of the Centre Pompidou, Moderna Museet, the Kunstmuseum Basel, the Fondation Beyeler, the Museum of Modern Art, and the Tate. Related Categories Spanish painters. Mid Century Modern. 1960s. Contemporary Art. Abstract art. Tàpies prints.

Artist: Henri Matisse Country: France Title: Untitled – 'Figure Study' Medium: Lithograph on Vellum paper Size: 15 x 11 inch Published: 1952 in France Provenance: Derriere le Miroir...

Screen print on paper. Hand signed, dated and numbered. Edition of 290 prints. Very good condition.

Color lithograph on paper. Hand signed and numbered. Edition of 19/50. Dry stamp "Il Torchio", Milan. Very good condition.

Lithograph on paper. Hand Signed. Edition of 70 pieces.  Very good condition.

Peter Doig, Fondation Beyeler, 2015 (Hand Signed by Peter Doig), 2017 Offset lithograph poster (uniquely signed by Peter Doig) This offset lithograph was published by the Fondation B...

"Bal au Musée d'Orsay" Print 35 x 70 inch Ed. of 50 by Gerard Marti Lithograph Not framed. Ships rolled in tube Signed and numbered by the artist. Inspired by the elegance and art...

A striking original lithograph from Hockney's popular The Moving Focus series with Cubist influences. Hockney depicts his studio interior with varying perspectives, shadows, views an...

Original 1967 Milton Glaser Fold Out Poster for Bob Dylan's Greatest Hits. Offset lithograph printed in colors 33 x 22 in (83.82 x 55.88 cm) Fold lines as issued; very good vinta...

Lithograph realized in 1980s. Hand signed in pencil lower left. Artist Proof. Very good condition.