Small Prints and Multiples

Anemogra Phica is a rare ancient map realized in 1650 by Johannes Janssonius (1588-1664). First modern map of the Pacific Ocean. Good conditions. From Atlantis majoris quinta pars,...

UNDER THE SKIN 5 Surreal Nude, part of my "Under the Skin" series. Printed on Hahnemuhle art photo paper with white borders, size is 20x16in. In mat overall size 28x20in. This par...

The fourth of 20 of this limited edition Marielle Guégan engraving created in 2011 The engraving size : H 34.5 cm x w 13.5cm Marielle Guégan is a French painter and engraver. Durin...

"Play" is an original etching by Kenneth Hayes Miller. The artist signed the piece in pencil and in the plate. This piece features a nude figure with two smaller doll-like figures. ...

Una (The Young Creole). 1929. Etching. Fletcher 65 catalog iv/x. Image: 8 1/2 x 6 1/4 (sheet 15 3/8 x 10 1/4). Edition of 3 in this state (total 140 impressions). A very rich impress...

Yoshitomo Nara Midnight Truth Offset print on paper Sheet size 51.5 × 36.4 cm

Artist: Pablo Picasso Title: Square Head of a Man with Clenched Mouth (Plate IX) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18"...

Artist: Ben Shahn, Lithuanian/American (1898 - 1969) Title: To Days of Childhood from the Rilke Portfolio Year: 1968 Medium: Lithograph on Richard de Bas, signed in the plate Edition...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Kathe Kollwitz, Ten Lithographs. Published by Henry C. Kleemann and...

After Gustav Klimt, Max Eisler Plate #19, Bildnis einer alten Dame; sepia-toned monochrome collotype after the 1917 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I in 1804 and whose collotype printing innovations of Klimt’s art...

This charming poster was created by an anonymous artist in the early 1900's for the Champagne Brand Veuve Amiot. The company was named for the widow Amiot who succeeded her husband i...

SHOUT by the African American woman artist Samella Lewis, is an original hand drawn lithograph printed using hand lithography techniques on archival Rives BFK paper, 100% acid free. ...

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 ...

Three Horses Robert Goodnough, American (1917–2010) Date: 1961 Lithograph, signed, numbered, dated and titled in pencil Edition of AP Image Size: 11.25 x ...

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...

This framed hand-colored etching and aquatint entitled "A Great Man on The Turf or Sir Solomon in all his Glory" by James Gillray was published in London by Hanna Humphrey, 27 St. James Street on July 7th 1803. The print is signed in the plate in the lower right. It depicts a man, possibly a caricature of the racehorse breeder Sir Solomon. However, there has been some controversy about the identity of the central figure on the mound. Traditionally the man has been thought to represent John Russell, 6th Duke of Bedford...

JOAN MIRÓ, Montroig 1893- Palma de Mallorca 1983 Le chien aboyant à la lune, 1952 Original color lithograph, signed on plate. (mm.353x531) Bibliography, catalog raisonné: Mourlot I....

"Bon Apetit" is an original black and white woodcut by Carol Summers. It depicts a table set for four people. The artist signed the piece in t...

Complete set of 20 color lithographs in a beautiful burgundy board with ties, plate-signed by Magritte and numbered from the edition of 275. The lithograph features the dry stamps of the Magritte Foundation & ADAGP and is countersigned in pencil by Mr. Charly Herscovici, President of the Magritte Foundation, Chairman of the Magritte Museum and unique representative of the Magritte Succession. A proof of edition is printed on the back of the lithograph, guaranteeing its authenticity. Magritte was a Belgian surrealist artist whose witty and thought-provoking images challenged observers? preconditioned perceptions of reality. Magritte's work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things.Magritte grew up in a simple and somewhat tragic household. His father was a modest tailor. His mother, who was mentally unsound, committed suicide in the year 1912. Magritte started drawing at a young age, and his first paintings, produced c. 1915, were Impressionistic in style.Magritte first worked as a draughtsman in a wallpaper factory and, in the year 1922, fell in love with and married Georgette Berger. In 1926, Magritte signed...

Artist: Joan Miro Title: Joan Miro Medium: Lithograph in colors Date: 1975 Edition: Unnumbered Frame Size: 15 1/8" x 22 3/4" Sheet Size: 7 7/8" x 15 1/2" Signature: Signed in the pla...

David Shrigley The Paper Weighs Nothing, 2014 Lithograph on paper Signed and numbered by the artist, on verso 38 x 57 cm Edition 90 of 100 pu...

Valentino Large: Hand signed and numbered Monograph (gift book) in elegant Clamshell Box Una Grande Storia Italiana Valentino Garavani (Hand Signed and Numbered Collectors Edition),...

This piece titled "Weed Wreath" is an original artwork made from hand colored cut-plate intaglio on Somerset by Katie VanVliet. This piece is shipped in the pictured white frame and ...

Thomas Ruff (German, b. 1958) Substrat, 2019 Medium: Chromogenic print Dimensions: 32 × 45.8 cm (12 3/5 × 18 in) Edition of 300: Hand-signed and numbered in pencil Condition: Excellent

Selected from Derujinsky: The Around The World Portfolio, shot in Kowloon, Hong Kong for Harper's Bazaar Artist: Gleb Derujinsky Title: Kowloon Year: 1957 Estate Edition: signed, stamped and numbered on verso. Signed by Andrea Derujinsky. Archival pigment print on 100% cotton paper, baryta finish. Worldwide authorized edition: 24X24 from a portfolio edition of 20 36X36 from an edition of 5 Gleb was raised in a home dedicated to the arts. His father Gleb Derujinsky Sr. was a renowned sculptor, and his mother, Alexandra Micholoff Derujinsky, a classic pianist. By the age of 6 Gleb’s life long passion for photograph blossomed as he began to shoot, develop and print his own photographs. At 15 he became the youngest member of the famed New York Camera Club where he met and was influenced by the legendary photographers in the club including Edward Steichen and Alfred Stieglitz. Gleb’s fashion photography...

This is a larger version of the 18 x 11 inch photograph of the same name. This is an original, hand-printed contact photograph using the antique cyanotype process. These Monterey pin...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, The Intimate Sketchbooks of G...

This beautiful, original hand-colored orchid lithograph entitled "Trichosma Suavis" Orchids by John Nugent Fitch is plate 114 in Robert Warner's publication 'The Orchid Album, Compri...

David Shrigley Distractions, 2022 Linocut, Somerset 300 gsm paper 20 1/2 × 15 in 52 × 38 cm Edition of 100 Hand-signed and numbered Published by schaefergrafik

Salvador Dali (1904-1989) - The Paradise, Canto 18 - La Splendeur de Béatrice Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publi...

After Gustav Klimt, Max Eisler #5, Mohnwiese; multi-color collotype after 1907 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Price is for the set of 12 framed engravings. Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made pa...

You definitely need this fantastic Mid-Century serigraph of Chicago's Executive House hotel and the Chicago River by artist Mark Coomer, in its original of...

This is an original 19th century hand-colored folio-sized lithographic portrait of a Native American entitled "Qua-Ta-Wa-Pea, A Shawanoe Chief", from McKenney and Hall's 'History of the Indian Tribes of North America'. It was lithographed by J. T. Bowen after a painting by Charles Bird King and published by E. C. Biddle in Philadelphia in 1836. Quatawapea wears a maroon head covering, a white ruffled shirt and blue shawl with gray trim. His presidential peace medal is attached to a maroon fabric...

Paper Size: 15 x 22 inches ( 38.1 x 55.88 cm ) Image Size: 15 x 22 inches ( 38.1 x 55.88 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Detai...

This is a rare 19th century satirical lithograph by Honoré-Victorin Daumier entitled "Types Parisiens, L'InstItuteur: Votre fils me fera honneur!....c'est un joli sujet!!!", No. 24 (Parisian Types, The Institutor: Your son will be my honor! ... it's a nice subject !!), published in Paris in the satirical magazine La Caricature, May 24, 1840 by Aubert et Cie. It depicts a man presenting his son to another man, presumably a teacher or school headmaster, who politely states that it would be an honor to take care of such a nice boy, as he watches the boy picking his nose. An apparent teaching poster or map hangs on the wall in the background. This rare Daumier lithograph...

Offset lithograph, circa 1954, on wove paper, with the Estate of Andy Warhol and the Warhol Foundation ink stamps on the reverse, 49.1 x 34.2 cm. (19¼ x 13½ in.) From the '25 Cats Name[d] Sam and One Blue Pussy' series. 25 cats name[d] Sam, and One Blue Pussy, circa 1954, was one of Warhol’s first illustrated bound books. Produced with Seymour Berlin of Record Offset Corporation in New York, and written by Charles Lionsby, Warhol illustrated 25 cats name[d] Sam, and One Blue Pussy with sixteen drawings of cats...

Jean-Baptiste VALADIE Seated Nude Original lithograph Handsigned in pencil Justified EA (artist proof) On vellum 51 x 39 cm (c. 20 x 16 in) Very good condition, light defects at th...

This is an original 18th century hand-colored map entitled "A New & Accurate Map of The Whole Russian Empire, As Contain'd Both In Europe and Asia, Drawn from Authentic Journals, Sur...

Medium: original lithograph. Executed by Hans Erni in 1970 for the "Dames des Décans" deluxe book portfolio. There were 324 copies of the book issued, but this impression was apart from the book edition...

Coloured lithograph on Arches paper, edited in 1977. Limited edition, numbered as LXIII/LXXX on left corner. Signed in pencil by artist in lower right corner. Paper size: 45 x 37 cm...

Poster. Measures 22.5 x 16.25 inches and is Unframed. Good Condition-signs of wear consistent with age and handling/pencil-mark near Title.

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 130, 1961. Published by Aim...

Medium: lithograph (after the 1947 Andre Derain painting). Printed in Paris on Arches paper at the Mourlot studio in 1970 in an edition of 1000 for the Collection Pierre Lévy deluxe ...

Frederick K. Detwiller, 'The Sixth Avenue Spur, New York City', lithograph, 1924, edition 20. Signed, dated, titled, and annotated 'Lith 20' in pencil. Inscribed 'To my Friend Herbert L. Jones' in pencil. Signed and dated, in the stone, lower right; initialed and dated '1927' in the stone, lower left. A fine, richly-inked impression, on cream wove paper, with margins (7/8 to 1 1/4 inches); slight toning in the top left sheet edge, otherwise in good condition. Scarce. Image size 20 1/2 x 14 inches (521 x 356 mm); sheet size 22 1/2 x 16 inches (572 x 406 mm). Archivally matted to museum standards, unframed. ABOUT THE IMAGE The Sixth Avenue El was constructed in the late 1870s by the Gilbert Elevated Railway and reorganized as the Metropolitan Elevated Railway. By 1878, it was running from Rector Street to 58th Street. Soon after that, it was taken over by the Manhattan Railway Company, with three other Manhattan elevated train lines. The company built a connection, the ‘spur’ by which it turned west on 53rd Street to merge with the 9th Avenue El—paralleling the present-day route of the 6th Avenue subway. The Sixth Avenue El served the “Ladies Mile” shops (including the Siegel-Cooper emporium, whose building now houses Bed...

This is a hand-colored copper plate engraving depicting flowering "Hyosciamus albus and Hyosciamus vulgaris" (Henbane) plants from Basilius Besler's landmark work, Hortus Eystettensi...

"Walking Tiger" Antoine Louis-Barye Antique Engraving by Firmin Gillot Circa. 1870 11 1/3 x 7 3/4 (21 3/8 x 17 1/2 frame) inches This is "Walking Tig...

This work is framed. Dimensions: 27 x 27 inches. Rachelle Krieger received a BFA from Pratt Institute in 1989. She also studied at the New York Studio School and the Art Students League in New York City. Krieger’s work has recently been featured in The Heckscher Museum of Art’s inaugural Biennial as well as in exhibitions at Mark Humphrey...

"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A ri...

Untitled is a modern artwork realized by Bernard Buffet in 1961. Mixed colored lithograph. Signature and date on plate. Hand signed in pencil on the lower right margin.

Original etching by Michel Delacroix hand signed and numbered out of 3 Printer's Proof. Delacroix is known for his lithographs and etchings, which further showcase his talent for capturing the essence of Parisian life. His work has been collected by art enthusiasts and collectors worldwide, cementing his reputation as one of the most beloved contemporary artists inspired by the French capital...

Plate 240 from Johanna Goodman's Catalogue of Imaginary Beings Giclée print on Archival Matte Paper with Archival Pigment Ink In 2017 Goodman was awarded the New York State Council...

David Everett was born in Beaumont, Texas, and received both his B.F.A. and M.F.A. from The University of Texas at Austin. Valley House began showing his multi-articulated, painted w...

Lithograph and stencil on vélin papier a la cuve du Moulin Richard de Bas spécialement filigrané pour cette édition paper. Signed in the plate and unnumbered, as issued. Good conditi...

This is an 18th century engraved portrait of "Edward Stanley" created by Francesco Bartolozzi (1728–1815), after a drawing by Hans Holbein the Younger (1497- 1543) in the 16th century. Holbein was the official artist in the court of King Henry VIII. Bartolozzi used both etching and stipple engraving techniques to create the work which was published by John Chamberlaine in London in 1793 in "The Book of Imitations of Original Drawings by Hans Holbein in the Collection of His Majesty". Edward Stanley, 3rd Earl of Derby...

Jean-Pierre HENAUT (1942-) Surrealist Beach & Guitar Original lithograph Handsigned in pencil Limited /275copies On vellum 60 x 54 cm (c. 24 x 22 in) Excellent condition

Red Horse on Orange, Three Geishas is an original hand drawn lithograph on archival Somerset printmaking paper, 100% acid free, by the renowned Chinese born artist Walasse Ting (DING...

This is a hand-colored folio sized lithograph entitled "Saucerottia Cyanifrons", Blue-capped Saucerottia Hummingbirds by John Gould, published in his "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts two green, blue and a little brown colored hummingbirds about a plant with green leaves and pink flowers. This beautiful Gould hand-colored hummingbird lithograph has a few very small faint spots, but it is otherwise in excellent condition. The original text page is included. There are other unframed Gould hummingbird...

'Durham Cathedral' Wood-engraving after Samuel Read. From 'The Illustrated London News'. Samuel Read was an English illustrator who provided many illust...

"Casa Marquez" Original Woodblock Print, Signed and Numbered 93/100 Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a closeup on a large stone building, with a landscape reflected in the windows. The building has carved ornamentation in a classical style. There is a bright red sunset in the background behind the building. The title refers to the author Gabriel García Márquez. Signed "Carol Summers" in the lower right corner. Numbered and titled "93/100 Casa Marquez" in the upper right corner. Presented in a silver colored aluminum frame. Frame size: 19.25"H x 23.25"W Paper size: 16"H x 20"W 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...