Square Prints and Multiples

Catch a glimpse through a porthole of a submarine world, with all the dazzling, intricate appeal of a tropical coral reef.  Guppies tremble their fanned-tails while a stingray drifts away into the deep.  Kristjana has submerged terrestrial touches; a Victorian bow-relief mirror with its peeping cherub and a colonnaded antique brass vase...

Roses/ Love / Bouquet / Pink / Happiness / Couple Artist Statement Rachel Burgess makes autobiographical works on paper of landscapes and domestic scenes. Window-like in scale, her pieces combine elements of oil painting, folk art and commercial illustration...

Artist: Henri Matisse (after) Title: Lierre en Fleur Portfolio: The Last Works of Henri Matisse Medium: Lithograph Date: 1958 Edition: 2000 Frame Size: 17" x 17" Sheet Size: 14" x 10...

This is a stunning limited edition Giclee print reproduced from an original mixed media painting. Blues and golds combine in an intricate Devon landscape that hints at something hidd...

Jesus Rafael Soto “Untitled” Serigraph Ed. 7 of 200 24 ½ x 24 ½ in Provenance: Roland Auction, New York. Estates sale. 27 March 2021, lot #0515.

Vantage point by Chris Keegan. This Five colour handmade screen print depicts a multi-layered dynamic set of landscapes all floating above and below each ...

A limited edition silkscreen poster Keith Haring designed for Playboy. This limited edition run of 1000 was published in 1990 by Special Editions Ltd. The signature and date is in th...

Diecicomeleditadiduemani is a silk-screen print on acetates, realized in 1973 by the artist Ennio Pouchard (1928). Signed on plate on the lower right. Titled at the top left. From...

Keith Haring’s Untitled, 1984 depicts a heart with legs, animated in his signature vibrant style. This open edition reproduction captures the lively essence of Haring’s work, featuri...

Artist: Lloyd Fertig, American (1943 - 1995) Title: Untitled - Purple Abstract Year: 1970 Medium: Serigraph, signed and numbered in pencil Edition: 100 Size: 22 in. x 22 in. (55.88 c...

"Lindor was a walking box of chocolates—caramel-filled, toffee-topped, coconut-cluster chocolates. His beautiful plumage was a gorgeous display of warm tones, bold lines, and rounded...

Indulge in the opulence of Fibonacci Versace, a mesmerizing masterpiece by acclaimed artist Danny Doya. This exquisite artwork intertwines the timeless allure of the Fibonacci sequen...

Homage to the iconic Chanel No. 5 perfume. This playful, one-of-a-kind Giclèe print is printed on archival, acid-free, cold press paper. The lush, yellow brush stroke is hand painted...

This piece is featured in Bruckner’s 2024 solo exhibition at Susan Eley Fine Art titled, “Keeping Memories”. Artist Biography: Karin Bruckner was born in Zurich, Switzerland and...

Calm as a Palm - 21st Century Contemporary Black and White Photographic Print, Polaroid Original, Shadow Gapped Frame - Photographic Print on Aluminium Dibond - Edition of 10 + 1, wi...

Capital letter for the Antiquities of Herculaneum Exposed, original etching from the end of the 18th century after Gaspare Vanvitelli, made by Various Old Masters. In very good cond...

Benzi (Ghostface Killah) by Mark Drew. 2018 print from an edition of 100. Dimensions of 18in x 18in. Numbered and hand-signed by Mark Drew. Mark Drew has a unique style of incorpo...

Vintage Keith Haring Record Cover Art: Set of 4: 1982 & 1987. Haring illustrations appear on front and back of each of the 4 record covers, as well as 2 inserts (see last 2 images). ...

70x70cm, print on canvas Edition 20 pcs.

"New Moon" Black & White Photography 39" x 39" in Edition 2/3 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

Ivan MESSAC The Rolling Stones : Keith Richards, 2012 Original silkscreen Signed by the artist bottom right Numbered / 85 copies Size 20 x 20 in (50 x 50 cm) INFORMATION : This sil...

Grey Kate by BATIK BATIK is an increasingly collectable pop artist currently living and working in London. The artist is purposely elusive with their true identity, sex and age ...

Title: Dokuro Yellow (Gold) - (Both Silver and Gold is available - only one of each available) Edition: 300 Signed, numbered, edition 89/ 300. Made in Japan Brand new Print Size: 5...

"In the Garden 3" Photography 31" x 31" inch Edition 1/7 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

Yaacov Agam Israeli (b. 1928) Hand signed, not individually numbered but from edition of 180. I can include a copy of the title sheet with the edition size and his signature if you r...

Printer’s ink from rubber stamp on vélin Kromekote paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Published b...

Artist: Arthur Boden, American Title: Star Year: circa 1970 Medium: Serigraph, signed and numbered in pencil Edition: 4/50 Image Size: 10 x 9.5 inches Size: 14 x 14 inches Plexi Box ...

"Landscape" is an original drawing in watercolor on cardboard, realized in 1942 by Jean Delpech (1916-1988). The state of preservation of the artwork is good with some ripping on l...

A blue Las Vegas dice suspended on a black background, hypnotically curious in both content and technique, viewers find themselves pleasantly puzzled. Heidler & Heeps have developed ...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

A yellow dice suspended on a black background, hypnotically curious in both content and technique, viewers find themselves pleasantly puzzled. Heidler & Heeps have developed their ow...

Artist: Thomas W. Benton, American (1930 - 2007) Title: Evolution Series Blue Year: 1981 Medium: Silkscreen, Signed and numbered in pencil Edition: 250, XLV, HC Image Size: 32 ...

Jellyfish Eyes - Black 5 by Takashi Murakami Offset print, numbered and signed by the artist 19 ¹¹/₁₆ × 19 ¹¹/₁₆ in 50 × 50 cm Edition 33/300 Takashi Murakami is best known for his...

Ass Hole is a lithograph on paper, initialed lower right 'BD', 9.5 x 9" image size. From the edition of 395, numbered LV/C (there were also 275 Arabic and 20 AP), framed in a contemp...

DRUID POINT is an original hand drawn limited edition lithograph by the Iowa born artist Jim Buckels printed using hand lithography techniques on archival Arches printmaking paper, 100% acid free. DRUID POINT presents a finely detailed fantasy landscape scene depicting a modern architecture cliffside house set high on a hill overlooking sparkling moonlit water and a deep blue night sky full of stars. Dramatic shades of dark blue, light purples, turquoise, greens, light beige, gray, black and touches of white create an intriguing nighttime ambience which keep the viewer's imagination engaged. DRUID POINT is a beautifully detailed picturesque architectural evening landscape with an aura of mystery and fascination. Print size - 27." x 27" unframed, excellent condition, vivid colors, full bleed image, no margins, square size format, pencil signed by Jim Buckels Year published - 1988 Edition size - 350, plus proofs Printer - JK Fine Art Editions Co. NY DRUID POINT is a very impressive, hand crafted original limited edition lithograph not a photo reproduction or digital print! JIM BUCKELS Artist statement- "On one level, I think of myself as a decorative artisan, or at best a scene painter. I don't mind this distinction, because many of my heroes never achieved much more. It's a modest but honorable aspiration. The artists who have influenced me are quite dissimilar and usually less prominent in the pantheon of art history: Canaletto, the Flemish scene painters, the Hudson River artists...

Artist: Jules Engel, Hungarian/American (1909 - 2003) Title: Untitled 3 Year: circa 1970 Medium: Acrylic on Paper Size: 21 x 21 inches

Donald Sultan is an American painter, sculptor, and printmaker. He is particularly well-known for large-scale still life paintings, and one of the first to employ a wide range of ind...

Breathe [2019] limited_edition Etching and aquatint Edition number /40 Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:26 cm x W:26 cm x D:0.1cm Sold Unframed Please...

Heidler & Heeps Vinyl Collection Sixteen Piece Multicolor Square Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this ...

Archival pigment print (Edition of 15) Signed in pencil, verso 9 x 9 inches, image From the series, "Allowed to Grow Old" This artwork is offered by ClampArt, located in New York C...

Artist: Francisco Scavullo Title: Flower Arrangement (Red) Year: 1987 Medium: Screenprint, signed and dated l.r. in pencil Edition: 73/75 (verso) Si...

  “I paint portraits because I am obsessed with the beauty of close-up human faces. I have always spent hours watching faces from behind a camera with a good zoom, and I guess that i...

'Other Side (Blue)' from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesm...

'Test' from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising colle...

The inspiration for this print is to capture the momentary spectacle when shafts of light cast themselves through a densely packed woodland canopy. The print boasts a vibrant array of four stunning colours, featuring an under-layer of metallic Gold ink and finished off with a subtle lush green overprint. Artwork printed...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Evening lights. Paper, screen printing, 18x18 cm Evening lights is an intriguing artwork created through the screen printing technique, capturing the essence of illuminated lights d...

Linocut and Hand painted Screen print Printed with oil based relief inks and acrylic based Screen inks on 300gsm soft white Somerset velvet paper. Mounted Unframed Image size 28 x 30cm Mounted size 40 x 40cm This print features a selection of wayside Spring flowers, primroses, winter aconites, field woundwort and butterbur, all found out and about whilst walking in Norfolk. The wagtail was hopping along beside us as we ventured across the muddy fields. This print is a linocut over a hand painted screen print. It is one of a variable edition due to the hand painted nature of the background. Therefore each one is unique. This is number 7 of a variable edition of 30. Kate Heiss...

Guy Allen Equine Gold Etching, Aquatint and Hand Finished Gold Leaf Edition Size: 75 Year Completed: 2019 Image Size: H 60cm x W 60cm Approximate Size When Framed: H80cm xW 80cm Sold...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

Fear Makes the Wolf Look Bigger, Mushroom Brown, 2016 five color hand pulled screen print, with dimensions of 58 cm x 58 cm and 22.8 in x 22.8 in. Great piece for families, kids room, home or office. Mau Mau is known for his Political Graffiti art prints...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Four trees. Paper, wood carving, 29x29 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Frame: 37 x 37 in This is an artist's proof from the edition of 100 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Artist: Georg Karl Pfahler (1926-2002) Title: Untitled Year: 1987-93 Edition: 49/100, plus proofs Medium: Silkscreen on Arches paper Size: 27.5 x 27.5 inches Condition: Good Inscript...

Signed and numbered from the edition of 25. Seiko Tachibana was born in Japan and completed her Masters of Art Education at Kobe University, Japan. Her distinctive work balances Asian tradition with minimalist modernity. Tachibana’s work is exhibited internationally and has been acquired by many museum collections, including the Los Angeles County Museum, Fine Art Museums of San Francisco, The Portland Art...

"Air Jordan" is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundre...

"Oscar" Black & White Photography 31" x 31" inch Edition of 7 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube...