Horizontal Prints and Multiples

Celestial Music is an original black and white etching on cream-colored paper, realized by Charles-Nicolas Cochin the Elder (1688-1754), the well-known ...

Pierre Clerk Black and White - 1973 Print - Silkscreen on Somerset paper 32'' x 36'' Edition: Signed in pencil and marked 27/100 image size: 28" x 32" i...

James Houston McConnell, 'Equus Uirumpu' (The Man's Horse), color serigraph, c. 1945, edition not stated but small. Signed and titled in pencil. Initialed in the image, lower right. ...

'Canard Nyroca - Canard Milouinan' (Ferruginous Duck) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series o...

edition 19/200 signed "Childs '55 (c)" at lower left paper size is 17 3/4 x 22 1/4 inches mat size is 20 x 24

Still, Life is a woodcut print on paper, realized by an Anonymous artist in 1936 It is monogrammed and dated on the lower with pencil and numbered, rare edition of 1/20 prints. Goo...

Interspaceograph - multidimensional silkscreen print on two clear plexiglass panes. There is space between the two silkscreen print plexiglass panes in the custom frame giving the a...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie D, var. 11 (Series D, Variation 11), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Th...

Artist: Jimmy Ernst Title: Untitled Year: 1970 Medium: Screenprint, Signed and numbered in pencil Edition: 52/125 Paper Size: 27.5 x 37 inches (69.85 x 93.98 cm)

Rufino Tamayo, Mexican (1899 - 1991) - El Perro Mueve La Cola, Year: 1974, Medium: Mixografia, signed and numbered in pencil, Edition: 61/100, Size: 22.25 x 30 in. (56.52 x 76.2 ...

Emmanuel Brune’s Pavillon d'Agrément sur un Étang (Pavilion of Leisure on a Pond) is a refined architectural rendering that exemplifies Brune’s mastery of combining functionality and...

This artwork titled 'Helping with the Dress" 1996, is an original color lithograph on paper by noted American realist artist Malcolm Liepke, b.1953. It is hand signed and numbered A...

Zeal harris's art is often colorful, funny, deep and full of life. under the surface, these micro-narratives offer socio-political commentary about a range of larger issues that ofte...

This striking contemporary abstract serigraph by Eyvind Earle (1916-2000) is entitled "Eucalyptus Forest". It depicts a stylized scene of cloud like trees with a radiating pattern in the foreground, possibly tilled fields. It is signed in pencil in the lower right and numbered in pencil 119/267 in the lower left. This colorful print is presented in a glossy black wood frame with a French mat...

This exquisite four color process archival pigment print after George Condo (born 1957), titled Parallel Figures, from the folio George Condo, Drawing Paintings, originates from the ...

This realistic limited edition print by John Harris features an earth-toned palette and captures a close-up view of water rushing over small rocks in a river bed. Toward the top of t...

Ladies, photograph by Richard Heeps, from his Jersey Shore series. Taken in Wildwood, the historic Doo-Wop Town of New Jersey, this kitsch signage is perfect Pop Art and is typical o...

Alexander Calder Lithograph c. 1973 from Derrière le miroir: Lithograph in colors; 15 x 22 inches. Very good overall vintage condition; contains center fold-line as originally issue...

COOPER'S RAINBOW is an original, hand drawn, limited edition lithograph by the American painter Wayne Cooper printed in NYC using traditional hand lithogr...

Plate IV, Le Cocu Magnifique etching & aquatint, 1968 Unsigned on the print Signed on the portfolio justification page (see photo) From the unsigned edition of 200 impressions printe...

Rod Nelson (British, 20th Century) Angry cats woodblock print signed and dated ‘Rod Nelson 1992’ (lower left) 7.1/4 x 7.5/8 in. (18.3 x 19.3 cm.)

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 9.5 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

London: Thomas McLean, 1835. Etching with hand coloring in watercolor on cream wove paper. 6 1/4 x 8 3/8 inches (157 x 210 mm), full margins. Initialed in the plate by Cruikshank, a...

This exquisite linocut by Henri Laurens (1885–1954), titled Sirenes (Sirens), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommair...

Sol LeWitt (American, 1928-2007) Isometric Figures (Plate I), 2002 Medium: Linocut in colors on Somerset Satin Dimensions: 50 × 75 cm (19½ × 29½ in) Edition of 55: Hand-signed and nu...

Laurent Marcel Salinas, Egyptian/French (1913 - 2010) - French Villa II, Year: circa 1950, Medium: Lithograph, Edition: Double Pulled Proof, Image Size: 13 x 18 inches, Size: 19...

This offset lithograph in colors from the Project for Central Park, New York City, was created in 2004. One of 300 prints hand-signed by the artist in pencil, from the unnumbered edi...

Julián Grau Santos (Spain, 1911-2013) 'Figura en el jardín', 1985, Artist Proof lithograph on paper 22.1 x 30 in. (56 x 76 cm.) Unframed ID: GRA1332-001-000 Hand-signed by author Go...

Christo and Jeanne-Claude The Umbrellas, Japan - USA (Hand Signed), 1991 Offset lithograph poster Boldly signed by Christo upper right 25 × 38 inches Unframed This rare vintage poster was published by Christo and Jeanne-Claude to promote and raise funds for Christo's famous Umbrellas Japan-USA project in the early 1990s. It is hand signed boldly in black marker "Christo" on the recto - upper right corner. This work was acquired from the Estate of Jacob and Aviva Baal-Teshuva, collectors, curators, authors, early supporters and good friends of Christo. Authenticity unconditionally guaranteed. ABOUT THE UMBRELLAS JAPAN-USA PROJECT: At sunrise, on October 9, 1991, Christo and Jeanne-Claude's 1,880 workers began to open the 3,100 umbrellas in Ibaraki and California, in the presence of the artists at both sites. This Japan-USA temporary work of art reflected the similarities and differences in the ways of life and the use of the land in two inland valleys, one 12 miles (19 kilometers) long in Japan, and the other 18 miles (29 kilometers) long in the USA. In Japan, the valley is located north of Hitachiota and south of Satomi, 75 miles (120 kilometers) north of Tokyo, around Route 349 and the Sato River, in the Prefecture of Ibaraki, on the properties of 459 private landowners and governmental agencies. In the USA, the valley is located 60 miles (96.5 kilometers) north of Los Angeles, along Interstate 5...

Signed, titled and numbered by the artist, from the serigraph edition of 40 prints completed at Self Help Graphics in Los Angele. Trouble in Paradise is based on tourism postcards and California orange crate art...

"Blind Man’s Bluff at the Imperial Russian Court" lithograph is hand-signed and numbered in pencil. Philippe Noyer was born June 28, 1917 in Lyon. After a traditional course of study at the elite Ecole des Roches, Noyer enrolled in the Beaux Arts (Fine Arts) School of Lyon, before going to Paris to study at the Paul Colin School of Art and experience the whirlwinds of Surrealism first hand on Paris' Left Bank. Philippe Noyer started his painting career in 1943. That same year he met the famous Paris art...

'Strahlinge' (Protozoa - Radiolarians or Radioza) German lithograph, circa 1895. Key to protozoa in German below the image. 250mm by 305mm (sheet). Central vertical fold as iss...

This unique sculpture by Clifford Singer features a combination of silkscreen on Sintra and a hand-painted black wood lathed wheel. The intricate design showcases Singer's innovative...

Yayoi Kusama Night Flowers (B) (2003) Screenprint [23 screens, 24 colors, 24 runs] image 28 x 66.3 cm sheet 42.8 x 80 cm ed. 69/120, AP 12, PP5 signed, dated and numbered in pencil ...

This captivating Joseph Raffael poster, published by the Lincoln Center for the Mostly Mozart Festival in 2004, is a limited edition piece, with only 500 prints available. Renowned f...

All That Glitters is Golden, from the Heidler & Heeps Tape Collection. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Ricky Powell ANDY WARHOL & JEAN-MICHEL BASQUIAT SOHO. NYC. 1985 - 44 X 32 INCH EDITION Archival Pigment Print on 310gsm Fine Art Paper 44 x 32 Inches Run of 25 (Printers Proof) Bor...

Henri RIVIERE (1884-1951) Art Nouveau : Golden Age, Peaceful Life in the Forrest, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On paper 90 x 120 cm ...

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

Pablo Picasso Peintre peignant la nuque de son jeune modele, 1968 From La Serie 347 Aquatint with sugar lift on vélin de Rives paper Edition 43/50 Hanf signed low right Image Size 1...

Isac Friedlander, 'Run Little Chillun' also 'Revival', wood engraving, 1933, edition 50. Signed, titled and annotated 'New York 1933' in pencil. A sup...

Subject : Ancient Greek vase-painting depicting two women and two youths from an unidentified vase. Technique : Copper-line engraving with original hand-colouring Background inf...

RICHARD ANUSZKIEWICZ Grey Tinted Rainbow, 1992 Assemblage with 14 Color Silkscreen and Lithograph Pencil signed and numbered 11/40 on the front Frame included: elegantly framed in a ...

Original linen-backed Lisieux travel poster, printed by the French State Railways. Centre Mondial de Pèlerinage. Archival linen-backed and in very fine condition, ready for framing. Artist: Fred...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

TECHNICAL INFORMATION Keith Haring Free South Africa, complete set of 3 1985 Lithograph Sizes vary Edition of 60 Pencil signed, dated and numbered ...

This long narrow blue and white monotype was made by carefully arranging hundreds of individual flowers of fresh-cut Dutch clover growing wild. This unique print is the same size as ...

A lithograph print by Karel Appel from 1974. An expressionist portrait of two figures in bright contrasting colors. Artist: Karel Appel, Dutch (1921 - 2006) Title: Deux Personnage ...

Iris print on heavy white wove paper. Signed and numbered 42/50 in pencil by Ruff.

This artwork titled "Brandenburger Tor, Berlin (Brandenburg Gate, Berlin)". c1930 is a color etching on paper by Austrian artist Luigi Kasimir, 1881-1962. It is hand signed in pencil by the artist at the lower center. The plate mark (image) size is 13 x 16.5 inches, framed size is 23.75 x 27 inches. Custom framed in a wooden ornate gold frame, white beige matting and green color fillet. It is in excellent condition, the artwork is very slightly toned around the plate mark, barely visible. About the artist. Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings...

Uses and Customs -Jupiter and Juno is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the ...

This exquisite lithograph after Maurice Utrillo (1883–1955), titled Vers Franconville (Toward Franconville), from the album Eloge de Maurice Utrillo (In Praise of Maurice Utrillo), originates from the 1956 edition published by Editions d'Art Manuel Bruker, Paris, and printed by Mourlot Freres, Paris, June 5, 1956. The work embodies Utrillos mastery of atmospheric mood, architectural clarity, and emotional restraint, distilling the quiet poetry and introspective spirit that define his modernist vision. Executed as a lithograph on papier velin Vidalon blanc, fabrique au Moulin de Vidalon, Canson paper, this work measures 13.18 x 21.1 inches (33.5 x 53.6 cm), with centerfold as issued. Unsigned and unnumbered, as issued. The edition exemplifies the refined craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Maurice Utrillo (1883–1955) Title: Vers Franconville (Toward Franconville), from the album Eloge de Maurice Utrillo (In Praise of Maurice Utrillo) Medium: Lithograph on papier velin Vidalon blanc, fabrique au Moulin de Vidalon, Canson paper Dimensions: 13.18 x 21.1 inches (33.5 x 53.6 cm), with centerfold as issued Inscription: Unsigned and unnumbered, as issued Date: June 5, 1956 Publisher: Editions d'Art Manuel Bruker, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album Eloge de Maurice Utrillo (In Praise of Maurice Utrillo), published by Editions d'Art Manuel Bruker, Paris; printed by Mourlot Freres, Paris, June 5, 1956 Notes: Excerpted from the album (translated from French), This album was completed and printed on June 5, 1956 on the presses of madame Jean-Gabriel Daragnes for typography and by the Mourlot Freres for lithographs. It was shot on Vidalon blanc. Two hundred numbered examples from I to CC, including the first XX with a suite on velin paper of the Marais. It has been attached to each example a simulated fac of the Sonnet d'Utrillo: "Lyric art...

"Golconde" is a thought-provoking work that embodies Magritte's signature style of surrealism and his exploration of the subconscious and the irrational. It continues to captivate vi...

Chelsea Old Church. 1924. Etching, drypoint, and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. Chelsea Old Church, also known as All Saints, is an Anglican church, on Old Church Street, Chelsea, London SW3, England, near Albert Bridge. It is the church for a parish in the Diocese of London, part of the Church of England. Inside the Grade I listed building, there is seating for 400 people. There is a memorial plaque to the author Henry James (1843–1916) who lived nearby on Cheyne Walk. To the west of the church is a small public garden containing a sculpture by Sir Jacob Epstein. When he was seventeen,William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

large format photograph of iconic Icelandic hot springs by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Myvatn Nature Baths (2016) 61.25” x 81” / 156 cm x 206 cm signed, titled and dated verso edition of 6 + 2AP original archival photography print with diasec (acrylic glass) face mount in contemporary white gallery frame Each limited edition original photograph is printed in Italy under artist supervision in strictly limited edition (6 + 2AP) , signed/titled/dated upon final inspection and expertly framed at renowned European art framing facility About the artist: Massimo Vitali was born in Como, Italy, in 1944. He studied photography at the London College of Printing, in the 1970s initially working as a photojournalist, but at the beginning of the 80s a growing mistrust in the belief, that photography had an absolute capacity to reproduce the subtleties of reality, led to a change in his career path. He worked in cinematography for film and television before beginning a fine art practice in 1995. Over the next two decades, Vitali’s large scale works would become recognizable for his highly detailed sociopolitical observations of the natural habitat of humankind at leisure. His iconic series of beach panoramas, captured from a distance with an elevated large format camera platform, began in the light of drastic political changes in Italy. Drawing inspiration from Renaissance and Old Flemish masters, in which the central space is fully exploited and the urban or natural landscape becomes the background, Vitali’s photographs grasp the viewer by capturing highly detailed observances of humanity’s coastal habitats in the bright light of summer. Vitali’s work has been collected in six monographs: Beach and Disco, Natural Habitats, Landscapes With Figures, Swimming Pools, Short Stories and the just published Entering A New World. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporaine in Paris, the Centre Pompidou in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris and the Museo Luigi Pecci in Prato. Massimo Vitali lives and works in Lucca (Italy) and in Berlin (Germany). __________________________ SOLO EXHIBITIONS 2021 'PienoVuoto' Forte di Belvedere, Florence 2021 'No Country For Old Men...

Agam, Yaacov, (Jacob Gipstein) (Israeli, b. 1928). UNTITLED. Screenprint in colors, not dated. Edition of 180, signed in blue pencil, and numbered 80/180. 26 3/8 x 33 1/4 inches, 669...

"In triptych form, the mythical Dubo, Dubon, Dubonnet is in a way the ancestor of the animated gif! A simple, poetic visual narrative wrapped in a humorous tone. A silhouette darkens as the Dubo, Dubon, Dubonnet sequence progresses. Some say that it's these gestures and features that have given rise to our image of the aperitif. Cheers, Cassandra! Today, the Evin law would forbid this type of alcohol promotion, but that hasn't stopped this poster from becoming a cult image, taken up and quoted by every generation of graphic designers. Dubonnet is a brand of vermouth flavored mainly with cinchona, available in red and white. It was created by French chemist Joseph Dubonnet. It was in Paris, near the future site of the Garnier opera house, that Joseph Dubonnet developed his cinchona wine in 1846. To combat malaria, he developed this bitter-tasting medicine, which he masked with a strong-tasting decoction of herbs and spices. Soldiers in the Foreign Legion...

Screen print & hand-finished watercolor on paper. Hand signed and numbered by the artist. Pest Control included. Banksy’s Dumbo is an extremely rare Ban...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Peintre et l’Ane (The Painter and the Donkey), from the folio Derriere le miroir, No. 182, originates from the 1969 e...