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Prints and Multiples For Sale
Artist: Banksy
Artist: James Abbott McNeill Whistler
Chelsea Rags
Located in Storrs, CT
Chelsea Rags. Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405). Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 13 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. "And his interest in London has not been restricted to the Thames. Seeing the beautiful, where other men might be discouraged by dullness, he has taken his subject, now in the little cheap shop opening a low window upon the street, now in the forgotten church hidden away in a lonely square. And Chelsea Rags, the Shops of Chelsea, the Drury Lane, as well as The Butcher's Dog, are impressions of vague Rembrandtesque interiors where figures, grim or graceful, peer from out deep shadows— shops as lovely in his prints as the halls of a Veronese, or the palaces of a Claude." Elizabeth Robins...
Category

Late 19th Century American Modern Prints and Multiples

Materials

Lithograph

“Valparaiso”, Approach of evening."
Located in New York, NY
After WHISTLER, James Abbott McNeil. Photogravure 10x12 2/4" paper size, 7 1/2 x 9 1/2" image size Signed in pencil with artist’s butterfly monogram. This photogravure is from the...
Category

1890s Photorealist Prints and Multiples

Materials

Photogravure, ABS

Tête-à-Tête in the Garden
Located in Storrs, CT
Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25-lifetime impressions plus a few proofs re...
Category

Late 19th Century American Modern Prints and Multiples

Materials

Lithograph

Seymour seated
Located in Roma, IT
Not signed. The American artist James Abbott McNeill Whistler can be considered a forerunner of the Post-Impressionist movement. Passepartout included : 53 x 37 cm Image Dimensions ...
Category

Late 19th Century Post-Impressionist Prints and Multiples

Materials

Etching

Drury Lane
Located in New York, NY
James Abbott McNeill Whistler (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upper right in the plate], on...
Category

Late 19th Century Realist Prints and Multiples

Materials

Etching

J.H. Woods’ Fruit Shop, Chelsea
Located in New York, NY
James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4). Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in black ink on ivory laid paper, 3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published. Glasgow accounts for four impressions. watermark: partial arms of Amsterdam(cf. Spink/Stratis/Tedeschi, watermark nos. 12ff.) This is before the third state in which heavy shading was added around the woman at the center, and the heads of figures at right and left of the figure are defined. In Glasgow’s fourth state the shading and the figure were removed; no impression is known of this state, but the state is inferred from the cancelled plate. According to Glasgow “Joseph Henry Wood had a greengrocer’s shop at 1 Park Walk...
Category

1880s Impressionist Prints and Multiples

Materials

Drypoint, Etching

Copper Banksy vs Bristol Museum, Contemporary Art Poster
Located in Draper, UT
Copper Banksy vs Bristol Museum, Contemporary Art Show Poster. Unsigned show poster form Banksy's exhibit in Bristol in 2006. Banksy’s career—filled with art world pranks and political activism—has produced a variety of posters showcasing the street artist’s wry sense of humor. Commissioned by Greenpeace to protest global deforestation, Banksy’s early poster Save or Delete (2002) features blindfolded characters from Disney’s The Jungle Book standing amidst a devastated landscape. In 2005, Banksy pranked The Museum of Modern Art by secretly installing a painting of a Tesco Value soup can (a spoof on Andy Warhol’s famous silkscreens of Campbell’s Soup Cans) in one of its galleries—a hoax that went unnoticed by the museum’s staff for six days and inspired a series of Tesco Value soup can posters years later. Collectible Banksy posters...
Category

2010s Street Art Prints and Multiples

Materials

Lithograph

The Whitesmiths, Impresse des Carmelites
Located in Santa Monica, CA
JAMES ABBOTT MCNEILL WHISTLER (1834 – 1903) THE WHITESMITHS, IMPRESSE DES CARMELITES 1894 (03) Way 53, LEVY 84 Transfer lithograph signed with butterfly in stone 8 ½ x 6 1//8". ...
Category

1890s Impressionist Prints and Multiples

Materials

Lithograph

David Banksy vs Bristol Museum, Contemporary Art Show Poster
Located in Draper, UT
David Banksy vs Bristol Museum, Contemporary Art Show Poster. Unsigned show poster form Banksy's exhibit in Bristol in 2006. Banksy’s career—filled with art world pranks and political activism—has produced a variety of posters showcasing the street artist’s wry sense of humor. Commissioned by Greenpeace to protest global deforestation, Banksy’s early poster Save or Delete (2002) features blindfolded characters from Disney’s The Jungle Book standing amidst a devastated landscape. In 2005, Banksy pranked The Museum of Modern Art by secretly installing a painting of a Tesco Value soup can (a spoof on Andy Warhol’s famous silkscreens of Campbell’s Soup Cans) in one of its galleries—a hoax that went unnoticed by the museum’s staff for six days and inspired a series of Tesco Value soup can posters years later. Collectible Banksy posters...
Category

2010s Street Art Prints and Multiples

Materials

Lithograph

THE BEGGERS - possibly unique state example
Located in Santa Monica, CA
JAMES ABBOTT McNEILL WHISTLER (1834 – 1903) THE BEGGARS 1879-80 (Glasgow 190 x/xvii: K.194 ii/ix?: M.191: W.159) Etching and drypoint, from “Venice, a Series ...
Category

1880s American Impressionist Prints and Multiples

Materials

Etching

AFTERNOON TEA
Located in Portland, ME
Whistler, James A. M. AFTERNOON TEA. Way 147, Levy 114, TS&S 173. Lithograph, 1897. The only State, printed by Clot in an edition of 100, and published b...
Category

1890s Prints and Multiples

Materials

Lithograph

The Bridge, Santa Maria
Located in New York, NY
James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...
Category

1870s Impressionist Prints and Multiples

Materials

Drypoint, Etching

Venus
Located in Storrs, CT
Venus. 1859. Etching and drypoint. Kennedy catalog 59 state ii; Glasgow catalog 60 state ii. 6 x 9 (sheet 8 x 11 3/16). Glasgow records 27 known impressions. A very rich impression p...
Category

Mid-19th Century American Impressionist Prints and Multiples

Materials

Etching, Drypoint

"The Rag Gatherers (Kennedy 23V)"Etching signed by James Abbott McNeill Whistler
Located in Milwaukee, WI
"The Rag Gatherers" is an original etching on zinc plate by J. A. M. Whistler. The artist signed and dated the piece in the plate. It features a scene...
Category

1850s Art Nouveau Prints and Multiples

Materials

Fabric, Etching

Gabled Roofs
Located in New York, NY
James Abbot McNeill Whistler (1834-1903), Gabled Roofs, lithograph, 1893. Reference: Chicago (Spink et al) 64, only state. From the lifetime edition of 12 (there was also a posthumou...
Category

1890s Impressionist Prints and Multiples

Materials

Lithograph

The Venetian Mast
Located in Storrs, CT
The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...
Category

1870s American Impressionist Prints and Multiples

Materials

Drypoint, Etching

Limehouse
Located in New York, NY
James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the lower margin. [Also signed and dated in the plate.]With margins, 5 x 7 7/8 inches, the sheet 6 1/2 x 9 1/2 inches. Published as no. 12 in A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, otherwise known as the Thames Set. In good condition apart from a soft diagonal fold in the sky. A very fine impression, in black ink on a thin Japan paper. Provenance: Dr. John W. Randall (cf. Lugt 2130), without his mark, annotated on the mat. Limehouse, the entrance to the West Indies Docks, lies opposite the Surrey Commercial Docks in Rotherhithe, along the lower Thames. It’s unusual to find the signed butterfly (or any pencil signature) on the early London etchings, but it is known that Whistler signed...
Category

1850s Realist Prints and Multiples

Materials

Etching

The Mill, Amsterdam, 1889
Located in New York, NY
James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso. Reference: Kennedy 413, first state (of 5). Glasgow 457, second state (of 6; see discussion below) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x 9 3/8 inches. A very fine impression of this great rarity, printed in black/brown ink with a slight veil of plate tone. provenance: H. Wunderlich & Co., New York Louis B. Dailey, New York (Lugt 4500) sale, Sotheby’s, New York, October 31, 2003, lot 69 literature; Neue Lagerliste 122: James McNeill Whistler – Etchings...
Category

1880s Impressionist Prints and Multiples

Materials

Drypoint, Etching

The Unsafe Tenement
Located in New York, NY
James Abbot McNeill Whistler (1834-1903), The Unsafe Tenement, etching, 1858. [signed in the plate lower right]. References: Kennedy 17. Glasgow 18, fourth state (of four). In very good condition, printed on a very thin (two ply?) Japan paper, with margins, 6 1/8 x 8 3/4, the sheet 8 1/4 x 11, archival mounting. A brilliant, black impression printed with astonishing clarity and exquisite detailing, on an ivory Japan paper. Presumably this is a proof impression before the relatively large edition published in this state (the edition was not on this paper). Provenance: Inscribed “To Otto J. Schneider from his friend Frederick Keppel”. Schneider (1875-1946) was an American artist, noted for his realism, influenced by Whistler. Keppel was of course the well-known American dealer, one of whose specialties was Whistler prints. Keppel had a good relationship with Whistler until, as in most of his relationships, Whistler became inordinately troublesome – at which point Keppel wrote Whistler a longish, mocking poem, with lines such as these: “Like cackling hens or cocks a-crowing Your tireless trumpet keeps a-blowing. ” After this, Keppel wrote “at this point all my intercourse with this extraordinary man came to an end.” (In the lower right is the ghost of another inscription, now erased, apparently to another friend from Edna (?) Schneider who presumably owned this print after Otto Schneider...
Category

1850s Realist Prints and Multiples

Materials

Etching

Rotherhithe
Located in Storrs, CT
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy catalog 66 state iii; Glasgow catalog 70. state vi. 10 3/4 x 7 3/4 (sheet 12 7/8 x 9 1/2). Series: "Sixteen Etc...
Category

Mid-19th Century American Impressionist Prints and Multiples

Materials

Drypoint, Etching

Venus
Located in New York, NY
James Whistler (1834-1903), Venus, 1859. Etching and drypoint, printed in black ink on laid paper, an impression in the second (final) state: there was no published edition. 6 x 9 inches (15 x 22.6 cm) sheet 73/8 x 117/8 inches (18.8 x 30.3 cm) Reference: Kennedy 59; Glasgow 60 A very fine impression. A study of Héloïse, ‘Fumette’, asleep in bed, her head pressed into the pillow and the bedclothes covering her lower legs. This is one of three portraits Whistler made of Fumette in 1859: one of the others shows her standing and in the third only her head and shoulders are depicted. Venus is a work in the Realist tradition, and may be compared with Courbet’s nudes of the same period. The artist may also have had in mind Rembrandt’s study of Antiope in his etching Jupiter and Antiope. Venus was never published and there is no record of it being shown until 1898 when it was included in an Exhibition of Etchings, Drypoints and Lithographs by Whistler at H. Wunderlich & Co., New York. To have been overlooked for exhibition until so late in Whistler’s life might suggest that the subject was considered improper. Frederick Wedmore, whose catalogue of Whistler’s etchings...
Category

1850s Impressionist Prints and Multiples

Materials

Drypoint, Etching

Battersea Morn (also Battersea Dawn)
Located in New York, NY
James Whistler (1830-1903), Battersea Morn (also Battersea Dawn), drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of ...
Category

1870s Impressionist Prints and Multiples

Materials

Drypoint

Lagoon: Noon
Located in New York, NY
James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches. A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below). Kennedy mades special note that an impression like this, with the clearly visible butterfly, was in the collection of John H. Wrenn. On a commission from the Fine Arts Society, Whistler created the plates of his Venice series...
Category

1870s Impressionist Prints and Multiples

Materials

Drypoint, Etching

The Beggars
Located in New York, NY
James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”. Reference: Glasgow 190, seventh sta...
Category

1870s Impressionist Prints and Multiples

Materials

Drypoint, Etching

Landscape with Horses.
Located in Storrs, CT
Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...
Category

Mid-19th Century American Impressionist Prints and Multiples

Materials

Drypoint, Etching

Penny Passengers, Limehouse
Located in New York, NY
James Whistler (1834-1903), Penny Passengers, Limehouse, 1860. Etching and drypoint, signed in pencil with a butterfly and inscribed imp, printed in black ink on laid paper, trimmed at the platemark, leaving a signature tab, an impression in the second (final) state, one of only six recorded, 31/4 x 81/8 inches (8.2 x 20.7 cm) A fine impression of this great rarity. Provenance: Otto Gerstenberg, stamp verso [Lugt 2785] Reference: Kennedy 67; Glasgow 71 The buildings on the far bank of the Thames and the ship and their masts moored there show the distinctive draughtsmanship of the period 1859–1860 when Whistler worked in Limehouse and made an etching there which was published in the Thames Set. Penny Passengers, Limehouse is very rare, with only five impressions known, all but our impression in public collections. It shows in outline a group of passengers waiting for the ferry...
Category

1860s Impressionist Prints and Multiples

Materials

Drypoint, Etching

The Little Mast
Located in New York, NY
James Whistler (1834-1903), The Little Mast, etching, drypoint and burnishing, 1879-80, signed in pencil with the early shaded butterfly lower left and annotated “imp”. References: G...
Category

1870s Impressionist Prints and Multiples

Materials

Etching

DRURY LANE RAGS
Located in Portland, ME
Whistler, James A. M. DRURY LANE RAGS. Way 21. lithograph, 1888. Edition of only 15. Signed with the butterfly in pencil, and also in the image. Printed on Japan paper. With Rosalind Birnie Philip's square-sha[ed collector's stamp, denoting a lifetime impression, lower left, verso. 6 x 6 1/2 inches (image), sheet: 12 x 8 inches (sheet) Framed to 24 1/2 x 20 1/2 inches. A brownish spot or stain near the center of the sheet, which may have been on the sheet at the time of printing, given Whistler's inclination to utilize old papers...
Category

1880s Prints and Multiples

Materials

Lithograph

THE MEDICI COLLAR
Located in Portland, ME
Whistler, James A. M. THE MEDICI COLLAR. Spink 170, Way 153, Levy 186. Transfer lithograph, 1897. Number of impressions unknown. Printed in Paris by Le...
Category

1890s Prints and Multiples

Materials

Lithograph

Banksy, Visit Historic Palestine, 2019
Located in Manchester, GB
Banksy, Visit Historic Palestine, 2019 Lithograph Official Walled Off Hotel Release 2017-20 (Now Sold Out) 42 x 59 cm Stamped by the artist's estate and embossed logo in the lower left-hand corner and stamped on the verso side of the print Produced and sold at Banksy's iconic 'Walled Off Hotel' in 2019, the Banksy Palestine...
Category

2010s Street Art Prints and Multiples

Materials

Lithograph

Banksy, Monkey Parliament, 2009
Located in Manchester, GB
Banksy, Monkey Parliament, 2009 Offset Lithograph Size: 84 x 53 cm approx. 33.1 x 20.8 in Edition: limited, exact quantity unknown Description: Official Banksy lithograph...
Category

2010s Contemporary Prints and Multiples

Materials

Lithograph

Peckham Rock
Located in Bristol, GB
Wooden postcard Open edition Not signed or numbered, original price tag on the reverse Mint Our mission is to connect art collectors to opportunity. W...
Category

21st Century and Contemporary Contemporary Prints and Multiples

Materials

Wood

Banksquiat (Black)
Located in Tokyo, 13
LOT:20230913S01 Screenprint Signed, numbered and the artist's blindstamp Edition 279 of 300 2019 Accompanied by a Pest Control COA
Category

2010s Contemporary Prints and Multiples

Materials

Screen

Visit Historic Palestine
Located in Kansas City, MO
Banksy Visit Historic Palestine Color Offset Lithograph on fine paper Year: 2018 Dry Stamp, Embossed Logo in the lower Left Corner Size: 22.6 ...
Category

2010s Contemporary Prints and Multiples

Materials

Lithograph

Morons
Located in New York, NY
Edition of 150 Published by Pictures on Walls, London Signed, dated and numbered in pencil with publisher's blindstamp Accompanied by a Certificate of Authenticity issued by Pest Control
Category

21st Century and Contemporary Street Art Prints and Multiples

Materials

Screen

The Sisters
Located in New York, NY
James Abbott McNeill Whistler 1834 Lowell, Massachusetts – London 1903 The Sisters 1894/95 transfer lithograph with scraping, printed on ivory laid Jap...
Category

1890s American Impressionist Prints and Multiples

Materials

Lithograph

Nude Model, Reclining
Located in San Francisco, CA
Original lithograph printed in black ink on antique laid paper. Signed on the stone with the artist’s butterfly monogram center left. A superb impression of Spink’s third and f...
Category

19th Century Aesthetic Movement Prints and Multiples

Materials

Lithograph

Afternoon Tea (or La Conversation)
Located in San Francisco, CA
A superb impression of Spink’s only state from the edition of 100 published and issued by Ambroise Vollard in L’Album d’estampes originales de la Galerie Vollard (second album), Pari...
Category

Late 19th Century Prints and Multiples

Fine Art Prints for Sale — Animal Prints, Abstract Prints, Nude Prints and Other Prints

Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

Find fine art prints for sale on 1stDibs today.

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