Horizontal Prints and Multiples

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 8.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (201...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. (similar to the Art Informel and Art Brut in France and the Brutalist artists) Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein, Julio Gero, Naum Knop...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 10.25 x 14 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, La Comédie Humaine, Suite d...

Ancient Roman Frescofrom the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good condition...

Paper Size: 12.25 x 16 inches ( 31.115 x 40.64 cm ) Image Size: 12.25 x 16 inches ( 31.115 x 40.64 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additi...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures. The Athens National Museum of Contemporary Art, which was founded in 2000 and owns Chryssa's Cycladic Books, is in the process of converting the Fix Brewery into its permanent premises. Greek Exhibits, European Cultural Center of Delphi (Council of Europe). "Apollo's Heritage"(July 4, 2003 – July 30, 2003). Works by sixteen artists: Giorgio de Chirico, Salvador Dalí, Nikos Hadjikyriakos-Ghikas, Nikos Engonopoulos, Yannis Tsarouchis, Giorgos Sikeliotis, Takis, Arman, Fernando Botero, Chryssa, Dimitris Mytaras...

Artist: Jay Rosenblum (Americam, 1933-1989) Title: "Grove #1" *Signed by Rosenblum in pencil lower right Year: 1979 Medium: Original Screenprint on white Stonehenge paper Limited edi...

Georges BRAQUE Leda and the Swann Stone lithograph (Art-Litho workshop, Paris) Printed signature in the pate Limited to 399 copies unumbered On Arches vellum 18 x 23" (45 x 58 cm) E...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

Pablo PICASSO (1881-1973) Diurnes, Man with Cats, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 30 X 40 cm (c. 11.2 X 15.7 in) REFE...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Guillaume Corneille 1970 Un Été Souverain Print, Lithograph on wove paper Image size 24 x 19 inches Framed Size 37.5″ x 32.5″ As a co-founder of the famed experimental artist group...

Tan Tan Bo, 2003 by Takashi Murakami Offset lithograph in colors on Wove paper 25 7/10 × 39 3/10 in 65.8x99.8cm Edition 98/300 Tan Tan Bo is a "reincarnati...

Figure and Creek Please note that insitu images are purely an indication of how a piece may look Figure and Creek is a unique contemporary print by Graham Fransella. The warm orange...

Medium: original etching. Published in London in 1868 for P. G. Hamerton's Etching and Etchers. This impression on laid paper was printed from Weirotter's original plate. Plate size:...

A Cart Race Hand colored etching & aquatint, 1788 Signed in the plate (see photo) Published by William Hollande, London Inscribed in the plate with title, artist's name and publication line 'Rowlandson. 1788./ London. Pubd 1789 by Wm Holland No 50. Oxford Street.' Reference: M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VI, 1938) British Museum Satires 7607 Grego, 'Rowlandson', i. 260, Grego II.392 Provenance: Chris Beetles Ltd., London (label), 2003 Jeffrey M. Kaplan, Washington, D.C. (label) Fursten zu Oettingen-Wallerstein, Lugt 2715a, verso (see photo) Condition: Excellent Printed on 18th century laid paper Archival framing by Chris Beetles Ltd., London Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the church... Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the clouds of dust which they have raised, with a row of gabled houses (right) inscribed 'St Giles', terminating in a church spire (left), and probably representing Broad St. Giles. The occupants of the carts are Irish costermongers typical of St. Giles. The foremost horse gallops, urged on by the shouts of a standing man brandishing a club. The other occupants, two women and a man, cheer derisively the next cart, whose horse has fallen, one woman falling from it head-first, another lies on the ground. The driver lashes the horse furiously. The third cart, of heavier construction, is starting. The horses are partly obscured by the clouds of dust, but denizens watch from casement windows and a door. Two ragged urchins (right) cheer the race; a dog barks. "It was said that the amount of copper Thomas Rowlandson etched would sheathe the British Navy. An inveterate gambler, for much of his life Rowlandson had to produce a flood of his comic prints to stay ahead of financial losses.A wealthy uncle and aunt raised Rowlandson after his textile-merchant father went bankrupt. His career developed quickly. He entered London's Royal Academy Schools in 1772, visited Paris in 1774, exhibited at the Royal Academy in 1775, and won a silver medal in 1777. He left school in 1778 to set up in business. Rowlandson's depictions of life in Georgian England exposed human foibles and vanity with sympathy and rollicking humor. During the 1780s he consolidated the delicate style he used for his coarse subjects. He worked mainly in ink and watercolor, his rhythmic compositions, flowing line, and relaxed elegance inspired by French Rococo art...

Howard Cook, 'Soaring New York', aquatint, soft-ground etching, roulette, 1931-32, edition 25, Duffy 165. Signed, dated, and annotated 'imp' in pencil. A superb, richly-inked, atmosp...

Basquiat, The Chi-Chi Show, Massimo Audiello Gallery, New York, March 1985: Original 1980s Basquiat announcement card published on the occasion of: 'The Chi Chi Show': Massimo Audi...

Medium: original etching. This original Max Liebermann etching was published in Paris in 1901 by Gazette des Beaux-Arts (reference number Sanchez & Seydoux 1901-13). A good impressio...

The Lower Ridding is an artwork, realized by the artist Joseph Banks in 1837. Colore etching, titled and signed in the plate. Beautiful engraving with contemporary colouring. Editi...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, Poètes,...

This original exhibition invitation for Matthias Bitzer: Sequences From A Volatile Now at Almine Rech Gallery, London, held from April 17 to May 19, 2018, is a beautifully designed c...

Lithograph, 1961 Handsigned by the artist in pencil and numbered 30/75 Publisher : Maeght (Paris) Printer : Maeght (Paris) Catalog : Maeght 246 51.00 cm. x 66.50 cm. 20.08 in. x 26....

Hand signed and numbered. Edition of 150 prints. Excellent condition.

Fleur d'Helice, 1969 Lithograph in colors on Chiffon de Mandeure paper Maeght Editeur, Paris 29.5 x 43.3 inches Signed and numbered in pencil, edition 62 of 75 Professionally framed...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Etching and aquatint realized by Thomas Rowlandson in 1817. Plate from "The Dance of Life" by William Combe. Very good condition. Thomas Rowlandson (1757-1827) was an english artis...

'Mexican Fishermen in Lake Patzcuaro', lithograph by Yves Brayer (1963). Unframed. The artist, Yves Brayer, spent time painting in Mexico in 1963, one of the many worldwide destinati...

Diasec-mounted Giclée print on aluminium composite panel Edition of 25 42 x 60 cm (16.5 x 23.6 in) Signed and numbered 20/25 on a label affixed to the back After original ink drawing...

Abstract composition is a colored etching realized by Hsiao Chin in 1977. The artwork is hand-signed and dated in pencil on the lower right. Numbered on the lower left.  Edition of...

Disparate General- from Los Proverbios is an original black and white etching realized by Francisco Goya (1746-1828). The artwork is the plate n. 9 fr...

Map of Lucca is an etching realized by Pierre Mortier in the early 18th Century Good condition.

FARM WOMAN, by JONATHAN GREEN, is a hand drawn, limited edition lithograph printed in 19 colors using hand lithography techniques on archival printmaking paper, 100% acid free. FARM ...

Artist: Ana Mercedes Hoyos, Colombian (b. 1942) Title: Colombia Comercio Triangular Year: 2005 Edition: 75 Medium: Screenprint, signed and numbered in pencil Size: 22 x 30 in. (55.8...

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

This lithograph Les baigneuses ( The bathers) by Andre Marchand is part of my private collection since the 1970's. It is in very good condition, artist pencil signed in the lower lef...

Etching and aquatint realized by Thomas Rowlandson in 1817. Plate from "The Dance of Life" by William Combe. Very good condition. Thomas Rowlandson (1757-1827) was an english artis...

Rembrandt van Rijn, After by Bredius, Dutch (1606 - 1669) - The Anatomical Lesson, Year: of Original 1632 (Pubilished 1906), Medium: Photogravure, Size: 10 x 14 in. (25.4 x 35.56...

New World Order by BATIK Satirical pop art artwork featuring Vladimir Putin, VP J.D. Vance, Donald Trump and Elon Musk in WW2 war rooms. BATIK is a London based fine artist and im...

Bernard Buffet -- Le Grand Canal de Venice ( The Grand Canal, Venice ), 1979 Screen print on Tapestry Signed on the back, dated 1979 Edition 137/200 Signed, titled, dated and number...

Lithograph on grand vélin d'Arches pur chiffon spécialement fabriqués paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Œdipe ...

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Compan...

Edition of 75, Set of 6 33 x 71 cms (13 x 28 ins)

Paper Size: 27 x 36.25 inches ( 68.58 x 92.075 cm ) Image Size: 23.25 x 34.75 inches ( 59.055 x 88.265 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Ad...

Edgar DEGAS (after) Whorehouse Scene : The Drunk Prostitutes Original etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the gre...

This is an exclusive handprinted unique cyanotype on watercolor paper. This diptych gets its inspiration from mid-century modern shapes and compositions. It's made by layering paper ...

Letter Z from Alphabet series is an original lithograph realized by Rafael Alberti in 1972. Hand-signed and dated on the lower margin. Numbered on the lower margin. Edition 10/99...

Classic vintage Vegas Casino at the Flamingo Las Vegas. This art deco interior has the South Beach Miami vibe, opened in 1946 it is the oldest in ...

Femme endormie [Dormeuse] By Pablo Picasso Pablo Picasso, a pioneering Spanish artist, co-founded the Cubist movement and played a pivotal role in the development of modern art dur...

HEARTLAND is an original hand drawn, limited edition lithograph by Peter Sculthorpe (b.1948 Ontario, Canada) printed using hand lithography techniques on archival Arches paper, 100% ...

Paper Size: 21.5 x 26 inches ( 54.61 x 66.04 cm ) Image Size: 18 x 23 inches ( 45.72 x 58.42 cm ) Framed: No Condition: A: Mint Additional Details: Limited edition offset lith...

Massimo Listri Reggia di Portici V, Naples, Italy, 2013 40 x 47 inches 100 x 120 cm Edition of 5 47 x 59 inches 120 x 150 cm Edition of 5 71 x 88.5 inches 180 x 225 cm Edition of ...

This piece titled "Cocaine Hurricane" is an original print by Raj Bunnag and is made from linocut. This piece measures 24.5"h x 44.5" without a frame. Raj Bunnag is an Thai America...

Etching and aquatint realized by Thomas Rowlandson in 1817. Plate from "The Dance of Life" by William Combe. Very good condition. Thomas Rowlandson (1757-1827) was an english artis...

Artist Name: Jean-François Larrieu Title: Metamorphic Cityscape Year: 1998 Medium Type: Lithograph on Arches Archival Paper Size-Width Size-Height: 28.75'' x 29.5'' Signed Edition ...

Carlotta Auba by Simon Tozer [2022] limited_edition and hand signed by the artist Screenprint on Paper Edition number of 18 Image size: H:23.5 cm x W:3...

Etching and aquatint realized by Thomas Rowlandson in 1817. Plate from "The Dance of Life" by William Combe. Very good condition. Thomas Rowlandson (1757-1827) was an english artis...

This artwork titled "Casual Dinning" from the suite "Memories Retrospective" c.1990 is an original color serigraph on paper by Israeli artist Itzchac Tarkay 1935-2012. It is hand si...

Together with "Les Musiciennes" one of the largest and most sought after lithographs by Le Corbusier – a purist still-life –, printed by Mourlot on Arches after a collage by LC. Pr...