Prints and Multiples

A pochoir after Georges Braque from 1957. A still life sketch of a pair of apples. Artist: (after) Georges Braque Title: Les Pommes from the Espace...

Screenprint in colors on Essex Offset Kid Finish paper. Hand signed and numbered by the artist in pencil. Published by Dr. Frank Braun, Düsseldorf. From the edition of 61/250 (aside...

Georges BRAQUE Bouquet of flowers, 1961 Original lithograph in six colors Handsigned in pencil by the artist Edition of 125 copies Frontispiece for the book "Braque lithographe" (on...

Georges Braque - Birds - Original Lithograph Published in the deluxe art review, XXe Siecle 1958 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

GEORGES BRAQUE 1882-1963 Argenteuil-sur-Seine, 1882-1963 Paris Title: The Dance, 1934 Technique: Original Hand Signed Etching with Aquatint on paper Paper...

Screenprint in colors on Lenox Museum Board Frame: 43.5 x 32.5 in. Edition of 2000 (plus 200 APs) Printed by Rupert Jasen Smith, New York Published by Committee 2000, Munich, Germany...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

"Braque Graveur" is an original color lithograph poster signed with initials by the artist Georges Braque. It depicts a moth or butterfly landed on a black abstract form. There are b...

Lithograph, 1960 38.00 cm. x 25.00 cm. 14.96 in. x 9.84 in. (paper) 38.00 cm. x 25.00 cm. 14.96 in. x 9.84 in. (image) Annoted "EA" Handsigned by the artist in pencil Ref : LCD3390

Hand signed and numbered. Edition of 125 prints. Ref.: Catalogue D.Vallier pag.284 Passepartout included : 69 x 49 cm Very good conditions. Georges Braque (Argenteuil, 1882 – Paris...

An invitation to "Andy Warhol: A Print Retrospective 1963-1981" held at the Leo Castelli Gallery in New York City, printed with the iconic image of Marilyn Monroe. Published by Caste...

Artist: Georges Braque Medium: Original lithograph Title: Grecian Urn Year: 1959 Framed Size: 20 1/8 x 16 5/8 inches Sheet Size: 15 x 11 inches Signed: Uns...

Artist: Georges Braque Title: "La Charrue" (The Plow) Year: 1960 Medium: Original Hand Colored Lithograph on Printed Japan Nacre Signature / Edition: Signed in pencil "G. Braque" in ...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

Jacqueline Kennedy I, from 11 Pop Artists I. Screenprint in silver, on wove paper. Artist's stamped signature on the reverse and numbered. From the edition of 200. Published by O...

This piece is an offset lithograph in orange on green paper created by Andy Warhol circa 1955. Warhol used this piece as a business calling card in his early years as an illustrato...

Hand signed and numbered by the artist. Edition of 200. From the Myths Portfolio. Screenprint With Diamond Dust on Lenox Museum Board. Published by Ronald Feldman Fine Arts, Inc.,...

From the Ladies and Gentlemen Portfolio. Screenprint in colors on arches paper. Hand signed and numbered by the artist on verso. Artwork sheet size 43.33 x 28.5 in. Framed. From...

From Cowboys and Indians series. Screenprint in colors, 1986, on Lenox Museum Board. Hand signed and numbered by the artist. Printed by Rupert Jason Smith...

Unsigned screenprint on wallpaper, from the unpublished edition of unknown size, with the 'The Estate of Andy Warhol' and 'Authorized by the Andy Warhol Foundation for the Visual Art...

Lithograph, 1961 handsigned by the artist in pencil 27 x 20 cm (image) - 32 x 25 cm (sheet) References catalogue Vallier 171 Mourlot 78 very good condition LCD2805

From the Ladies and Gentlemen Portfolio. Screenprint in colors on arches paper. Hand signed and numbered by the artist on verso. From the edition of 125. Published by Luciano Ans...

Lithograph on Japan Paper, 1961 handsigned by the artist in pencil 23 x 19 cm (image) - 32 x 25 cm (sheet) very good condition LCD2804

From the series Cowboys and Indians. Unique screenprint in colors, 1986, on Lenox Museum Board. Hand signed and numbered by the artist. Published by Gaultney, Klineman Art, Inc., Ne...

Hand signed and numbered on front by the artist. Screenprint on Essex Offset Kid Finish paper. Published by Dr. Frank Braun, Düsseldorf, Germany. From the edition of 250. Framed si...

Signed by both Andy Warhol and Mick Jagger and from the edition of 250 measuring 43 ½ x 29 in. (110.5 x 73.7 cm), unframed, Andy Warhol’s, Mick Jagger #145 was created by the artist ...

1967 Screenprint in colors, on thin wove paper 45 x 24 1/4 in. (114.3 x 61.6 cm) Edition of 500 Signed on the front

Frame size: 14 3/4 x 19 inches Stamped on verso by The Estate of Andy Warhol and The Warhol Foundation

LOT:20240217N01 Andy Warhol [MICK JAGGER, from the portfolio of ten screenprints] Artist signed and numbered in the lower right; Mick Jagger signed in the lower left Edition 181 of ...

Created in 1986, this color screenprint on Lenox Museum Board is hand signed by Andy Warhol (Pennsylvania, 1928 - New York, 1987) in pencil in the lower left. A unique work inscribed ‘TP’ (trial proof) and numbered 7 from the edition of 36 unique trial proofs; aside from the edition of 250; published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York. Andy Warhol Cowboys and Indians Series: Andy Warhol’s Cowboys and Indians series of 1986 consists of ten prints each depicting their own respective subject—John Wayne, Annie Oakley, Kachina Dolls, Geronimo, Buffalo Nickel, Tonto, Theodore Roosevelt, General George Custer, Plains Indian Shield, and Northwest Coast Mask. Featuring images of famous American Western icons, Warhol’s series explores the relationship between Native Americans and Hollywood's portrayal of them in Western films. Warhol, being fascinated with celebrity culture, uses these famous figures to examine ways in which fame and popular culture intersect with history and myth. The Cowboys and Indians series was also created during a time at which Warhol was exploring his own Native American heritage. His mother was of Ruthenian and Carpatho-Rusyn descent, but Warhol claimed that his father was of Slovakian and Native American ancestry. Overall, the Cowboys and Indians series reflects Warhol's interest in American culture and history, as well as his fascination with celebrity and the intersection of art and commerce. This screenprint is part of a portfolio of works Warhol created in 1986 titled Cowboys and Indians. Other works in the Cowboys and Indians Series include General Custer, Sitting Bull, Kachina Dolls, Geronimo, Annie Oakley, War Bonnet Indian, Buffalo Nickel, Action Picture, Northwest Coast Mask, Plains Indians Shield, Mother and Child, Indian Head Nickel, and Teddy Roosevelt. Catalogue Raisonné: Andy Warhol Plains Indian Shield...

ANDY WARHOL (1928-1987) Andy Warhol's 'Shoe Fly Baby' from A La Recherche du Shoe Perdu is an offset lithograph and watercolor on paper conceived in 1955. It is signed in pencil wit...

ANDY WARHOL (1928-1987) Andy Warhol 'Wayne Gretzky' is a 1984 screenprint in colors on Lenox Museum Board. It features a certificate of authenticity from the Estate of Andy Warhol t...

Andy Warhol, Electric Chair 1971 A stunning screenprint, edition 250. Signed and numbered in the back. In very good conditions, both paper and col...

Andy WARHOL (1928-1987) 10 Statues of Liberty Original poster (offset and direct colors) Published by Galerie Lavignes, Paris This poster was published by Galerie Lavignes in 1986 f...

From the Ladies and Gentlemen portfolio, a screenprint on Arches paper in superb conditions. Published on Andy Warhols’s Catalogue Raisonne with numbe...

ANDY WARHOL 1928-1987 Pittsburgh 1928-1987 New York (American) Title: The Nun, from: Ingrid Bergman, 1983 Technique: Original Hand Signed and Numbered Screen print in Colours on Wo...

Flowers. Original silkscreen and hand Watercolor, 1974. Initialed "AW" in pencil lower right and signed on verso in pencil. Edition of 250 signed and numbered impressions on Arches p...

Flowers. Original silkscreen and hand Watercolor, 1974. Initialed "AW" in pencil lower right and signed on verso in pencil. Edition of 250 signed and numbered impressions on Arches p...

Screenprint in colors, 1975, signed in pen and numbered 31/250 (total edition includes 50 artist's proofs), also signed in black felt-tip pen by Mick Jagger and Andy Warhol, on Arche...

Screenprint on BFK paper, UNIQUE proof authenticated by the Andy Warhol Foundation for Visual Arts

This Andy Warhol print consists of an array of yellow, purple and orange flowers in a bed of green grass. This pop art floral original silkscreen print on paper is guaranteed authen...

Saint Apollonia - Portfolio of four screen-prints 1984, each signed Andy Warhol Numbered 248/250. 4 colored screen-prints on Essex offset kid finish paper, 76.2 x 55.9 cm, Printed...

Technical Information: Andy Warhol Flowers, FS II.67 1970 Screenprint 36 x 36 in. Edition of 250 Signed and stamped number on verso

Andy Warhol Marilyn Monroe (Marilyn), 1967 is from the highly sought after series. Set against a background of hot pink, this pop art portrait is feminine and iconic. The image is ba...

Andy Warhol was the most prolific of all pop artists and used repeat motifs of elements of pop culture regularly in his work. This screenprint, signed and dated in ballpoint pen and numbered with a rubber stamp...

TECHNICAL INFORMATION: Andy Warhol Dollar Sign, FS II.277 1982 Screenprint on Lenox Museum Board 19 3/4 x 15 5/8 in. 48/60 - Each Piece is Unique Pencil signed and numbered Conditi...

TECHNICAL INFORMATION: Andy Warhol Campbell's Soup I, Chicken Noodle 1968 Screenprint 35 x 23 in. Edition of 250 Signed and stamped number on verso, si...

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...

Created by Andy Warhol in 1986, Plains Indian Shield was one of ten screenprints that comprised the Cowboys and Indians portfolio. Measuring 36 x...

This Warhol work consists of a white background with a Campbell's Chicken Noodle Soup can of red and white with the word "soup" in gold. This pop a...

Screenprint with diamond dust, 1980, on Arches Aquarelle (Cold Pressed) paper, signed and numbered in pencil, verso, from the edition of 60 (there were also 10 artist’s proofs), printed by Rupert Jason Smith...

Signed by both Andy Warhol and Mick Jagger and from the edition of 250 measuring 43 ½ x 29 in. (111 x 73.5 cm), unframed, Andy Warhol’s, Mick Jagger #147 was created by the artist in 1975 as a color screenprint, published by Seabird Editions. It is designated in the artist’s catalogue raisonne as FS. II. 147. Available for local pick up from Michael Lisi...

An indelible part of American culture in the 1950’s and incorporated into The Myth’s suite of ten individual screenprints, Andy Warhol’s, Howdy Doody was c...

Commissioned by the World Federation of United Nations Association (WFUNA) in 1979, Andy Warhol created UN Stamp to promote the ideals and goals of the United Nations. This color l...

TECHNICAL INFORMATION: Andy Warhol Mick Jagger FS 11.140 1975 Screenprint on Arches Aquarelle Paper 43 1/2 x 29 in. Edition of 250 Pencil signed and numbered by Warhol. Signed in bl...

TECHNICAL INFORMATION: Andy Warhol Brooklyn Bridge, FS 11.290 1983 Screenprint on Lenox Museum Board 39 1/4 x 39 1/4 in. Edition of 200 Pencil signed & numbered Accompanied with CO...