Alphonse Mucha

"Departing Beauty" & "Dreams, " Double-sided Colored Lithograph

1897

"Ilsee's Welcome" and "Pilgrim's Tale" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 83 & 84 of "Ilsee, P...

"Dream Weavers" and "Soul of the Land" are two sides of a double-sided lithograph by Alphonse Mucha. These illustrations were created for "Ilsee, Princess of Tripoli" and are the rare proofs before the text. These artworks were for pages 31 and 32. 8" x 6 1/4" art 19 1/4" x 17 1/8" frame Alphonse Mucha was born in 1860 in the small town of Ivancice, Monrovia. Though it is rumored that Mucha was drawing before he was walking, his early years were spent as a choirboy and amateur musician. It wasn’t until after he finished high school that he came to realize that living people were responsible for the art that he admired in the local churches. That epiphany made him determined to become a painter. He was soon sent off to Paris, where he studied at the Academie Julian. On January 1, 1985, he presented his own new style to the citizens of Paris. Spurning the bright colors and the more square-like shape of the more popular poster artists, the design was a sensation. Art Nouveau can...

'Mad Dash' is a print that exemplifies the work of Joseph Rozman during the 1970s, moving beyond the playful pictographs of the previous decade and morphing into an increasingly surr...

"Personnages with Bird" is an original lithograph by Sebastien Hadengue. The artist signed the piece lower left. It depicts abstracted figures and birds in earth tones. 11" x 8 1/2...

"Bacchanale" is an original color lithograph by Andre Masson. This piece is from the Je Reve (I Dream) portfolio and is edition number H.C. XVV/XVV. Masson signed the piece in pencil...

"Sculptural Objects" is an original color lithograph by Henry Moore. The artist signed the piece lower right. This is from an edition of 3,000. It features abstract, biomorphic figur...

’St Francis in the Wood’ By Arthur Boyd Medium - Lithograph Signed - Yes Edition - Artist Proof Size - 740mm x 500mm Date - 1979 Condition - 9 Colour of pr...

’Eugene Onegin’ By Arthur Boyd Medium - Lithograph Signed - Yes Edition - 27/60 Size - 515mm x 610mm Date - 1996 Colour of print may not be accurate when...

This piece is from my private collection and is a limited edition numbered and signed by the artist. This artist is also very much known for sculpture, he followed the teachings of A...

Original Lithograph signed by the artist and numbered 156/200, and is a limited edition. Ralston Crawford was born in Saint Catherine's , Ontario in 1906. He came to the U.S. in 1910...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

Lithograph on Black Fabriano paper. Signed by the artist and dated 1970 lower right in pencil; numbered 59/68 lower left in pencil. This electric blue image of a neon sculpture was d...