Small Prints and Multiples

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró VI Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Observations: L...

Hand signed and numbered. Edition of 35 prints. Rare and precious artwork by Chagall, in excellent conditions. Ref. Cat. Cramer, n. 32 Image dimensions : 30.5 x 24 cm

Marc Chagall (1887-1985) - He wrote in the Tables the wordes of the covenant, even the Ten Commandments Lithograph from 1966. The edition of 20 on Japanese paper. Dimensions of w...

'Oyster Catchers with Geese' is an original linocut by Mark A Pearce. His handprinted linocuts available to buy online and in our art gallery. Mark Pearce grew up in Cumbria where h...

Beautiful poster of Sophie Taeuber-Arp's exhibition at the National Museum of Modern Art in 1964. Sophie Henriette Gertrud Taeuber-Arp was a Swiss arti...

Jimi Hendrix - From the suite of 3 silkscreens, blue, red + silver - hand pulled by the artist Paper size: 28 x 28" Image size: 24 x 24" Number of colors: 3 Paper: Coventry 320gm wt. Edition number + studio (Modern Multiples) chop: Lower left Artist's signature + chop: Lower right The Edition: (Blue, Silver + Red): 120 total; 40 each color Artist Proofs: 9 (3 each) Printer Proofs: 9 (3 each) Publisher proofs: 9 (3 of each) NOTE: full suite is available at discount John Van Hamersveld (born September 1, 1941) is an American graphic artist and illustrator who designed record jackets for pop and psychedelic bands from the 1960s onward. Among the 300 albums[3] are the covers of Magical Mystery Tour by the Beatles, Crown of Creation by Jefferson Airplane, Exile on Main Street by the Rolling Stones, and Hotter Than Hell by Kiss. His first major assignment, in 1963, was designing the poster for the surf film The Endless Summer, after which he served as Capitol Records' head of design from 1965 to 1968. During that time, he worked on the artwork for albums by Capitol artists such as the Beatles and the Beach Boys.[5] He also oversaw the design of the psychedelic posters for the Pinnacle Shrine exposition.[6] The Endless Summer The Endless Summer (John Van Hamersveld illustration) In 1963, Van Hamersveld was hired by director and filmmaker Bruce Brown to design the iconic Endless Summer movie poster using a photograph taken by Bob Bagley, general manager and camera man for Bruce Brown Films. In the staged photograph originally taken at Salt Creek, Brown is positioned in the foreground with his surfboard on his head and the movie's two stars, Robert August...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 212, published by Aimé Maeg...

The Dance of Herodias Daughter, 1967 is a colored lithograph from the gouache original on heavy rag paper from Salvador Dali’s five volume Biblia Sacra Suite published in Rome...

Lithograph on vélin des Papeteries du Marais paper. Signed in the plate. Good condition with centerfold and binding pinholes, as issued. Notes: From the volume, Verve: Revue Artistiq...

Ancel Nunn (1928-1999) Austin, Tyler, Palestine Artist Image Size: 12 x 17.5 Frame Size: 18 x 24 Medium: Lithograph "Water Stop" Texas Biography Ancel Nunn (1928-1999) Born in Sey...

Shirley MacLaine Dances Broadway Film Star 20th Century Litho NYRT Published Al Hirschfeld (1903 -2003) "Shirley MacLaine Dances on Broadway" Hand-signed L...

The first visible phase after the New Moon. The Moon has had an importance in human culture since the dawn of history and likely before. Often revered as a feminine deity and count...

Image dimensions: 21.5x39 cm. Beautiful plate from the volume "Campi Flegrei" by William Hamilton including 59 plates by Pietro Fabris. This particular plate illustrates the eruptio...

Jacqueline Kennedy I, from 11 Pop Artists I. Screenprint in silver, on wove paper. Artist's stamped signature on the reverse and numbered. From the edition of 200. Published by O...

Black & White Photography Gold Dust Printed to Order Unframed Also available in 20"x30" The area that would become Gold Point, one of Nevada’s best ghost towns, was first settled ...

This original lithograph in colours is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also hand numbered 47 in pencil from the edition of 50, at...

Reclining Male and Female Nude, Entwined is a beautiful, original, and colored lithograph from the portfolio "Erotica" by Egon Schiele. It is a reproduction of the homonym original ...

Dog is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In good conditions. Including a cream-colored cardboard passepartout, 34 x 50 cm. An exciting original print, with all the dignity of a mythological or epic story, represented with an incredible balance of black and white, light and shadow, and a typical Baroque dynamism. Antonio Tempesta, also known as Il Tempestino (Florence, 1555 - Rome, 1630), was an Italian painter and engraver of the early Baroque period. Antonio Tempesta trained in the culture of late Mannerism, with a naturalistic but also calligraphic taste, acquired from the frequentation of Giovanni Stradano, with whom he collaborated in the decoration of Palazzo Vecchio. Moving to Rome in 1573, he worked for Pope Gregory XIII, frescoing some maps of Rome in the Vatican, including the famous Map of Rome (1593). In the pontifical capital, he worked for many noble families and for important cardinals, such as Alessandro Farnese and Scipione Borghese. His works are in San Giovanni dei Fiorentini, at the villa in Caprarola, in Tivoli. He returned to Florence for a brief stay, where he collaborated with Alessandro Allori...

Available sizes: 18” x 23.91”, Edition 2 of 8, Pigment Print 28” x 37.2”, Edition of 8, Pigment Print 38” x 50.48”, Edition of 6 Silver Gelatin Wildlife fine art photographer and co...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

Finely balanced etching by Benjamin Vasserman (Estonian, b 1949). A squash sits atop a small black box with a latch. There is a drapery behind the squa...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 10.94 x 11.69 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Artist: Pablo Picasso Title: Square Head of a Woman Pouting (Plate XIII) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18" Sheet S...

Paper Size: 23.5 x 24 inches ( 59.69 x 60.96 cm ) Image Size: 19 x 19 inches ( 48.26 x 48.26 cm ) Framed: No Condition: A: Mint Additional Details: Part of the "For the Love of...

"Homage to the Square - Portfolio 2, Folder 4, Image 1" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origina...

The He-Goats Of The Wild She-Goats On The Face Of The Earth shows the angel Gabriel hovering on the left side of a tornado. He has come to help Daniel interpret his vision about ...

Raymond Pettibon Revolutionary Sex (Deluxe signed edition of Patty Hearst SLA Poster), 1982 Offset print (hand signed and numbered) Hand-signed by artist, Boldly signed by Raymond Pe...

Eberhard Dänzer (German, 1938-2005), "Untitled" Edition 83/100, Abstract Lithograph signed and numbered in Pencil, 23 x 17, Late 20th Century, 1966 Colors: Black and White Eberhar...

Fun Loving Criminals By B A T I K Signed Limited Edition Archival pigment pop art print of infamous criminal arrest mugshots of Fifty Cent, Elvis Presley, David Bowie, Snoop Dogg...

Richard Haas City Service Building (70 Pine Street, Manhattan), 2005 Etching Signed, titled, dated and numbered 7/20 in pencil on the front 20 × 16 inches Unframed Rare print by Rich...

Artist: Jean Berain (the Elder) (French, 1640-1711) Title: "Untitled" (Plate 35) Portfolio: Ornemens Inventez par J. Berain (Ornament Designs Invented by J. Berain) Circa: 1711 (Firs...

Claude MANOUKIAN Normandy : A Colorful Spring Day Original lithograph Printed signature in the plate On Arches vellum 43 x 56 cm (c. 17 x 22 inch) ...

My Parents is a modern artwork realized by Alberto Savinio in 1944-1947. Black and white lithograph. Hand-signed in pencil on the lower right. Edition of 32 prints, this piece is a...

Sku: R176 Artist: Henri Matisse Title: Nadia Au Menton Pointu Year: 1995 Signed: No Medium: Offset Lithograph Paper Size: 23.5 x 17.5 inches ( 59.69 x 44.45 cm ) Image Size: 16 x 12....

[MERIAN, Maria Sibyl]. Pineapple with foliage. The Hague, Gosse, 1719. Engraving of a Pineapple with foliage by J. Mulder, P. Sluyter and D. Stoopendaal after Merian, with later hand-colour, from Dissertatio de Generatione et Metamorphasibus Insectorum Surinamensium. Framed and glazed, overall dimensions: 40cm by 53.2cm by 4.5cm. Superb engravings which depict the metamorphoses of South American insects and the exotic plants on which they feed. Maria Sybilla, daughter of the German engraver and publisher Matthias Merian, devoted herself to the study of European insects and their metamorphoses. As a result of the wealth of tropical varieties being brought back by the Dutch West Indies Company...

Joan Miro Lithographier Originale (Les Peintures Sur Carton De Miro) Original Color Lithograph, doublefold Year: 1965 Size: 14.5x21.25in Edition: 1,500 Portfolio: DLM 151-152 Publi...

Lee, Doris (American, 1905-1983). THE DOVE. Lithograph, 1952. Edition of 250 published by Associated American Artists. Signed in pencil. 11 3/8 x 9 1/2 inches...

Hiroshi Sugimoto Photogenic Drawings (Hand Signed), 2012 Offset Lithograph Poster. (Hand signed by Hiroshi Sugimoto) Unframed This offset lithograph poster was hand-signed by photogr...

The Arrest of Marie Antoinette is a rare etching realized by Jean Baptiste Verite in the Late-18th Century. Good conditions with slight foxing. The artwork is realized through deft...

This original double-page lithograph by Joan Miró, featured on pages 24-25 of Derrière le Miroir No. 193-194, was published by Maeght Editeur in Paris in 1971. As part of this presti...

Silkscreen Edition of 100 Signed and numbered on the front Mint, as issued Sold in the original KaiKai KiKi packaging Our mission is to connect art collectors to opportunity. Whethe...

From the portfolio "Formulation: Articulation", created by Josef Albers in 1972. In the portfolio, there were 127 screenprints, with only the colophon bearing Albers' signature and t...

A very good impression of this color engraving, soft-ground etching and scorper on Johannot paper. Artist's proof, aside from the edition of 200. Signed, dated and titled in pencil, ...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Artist: Alexander Calder, American (1898 - 1976) Title: Damier from Derriere Le Miroir Year: 1966 Medium: Lithograph Size: 14.5 x 10.5 in. (36.83 x 26.67 cm) Frame Size: 23 x 19 inches

"I made this custom art for Blake Mycoskie and TOMS' End Gun Violence Together campaign which benefits organizations that I believe in like Everytown for Gun Safety, March For Our Li...

The circa 1950 original poster titled La Pelle de Stockholm pour Enterrer Nos Libertés was created by the French artist Michat during the early Cold War era. This poster is closely a...

Victor Vasarely Sidney Janis Gallery Exhibition Poster, 1974 Silkscreen poster on glossy thick paper Bears copyright stamp, printer name and ...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Artist: Marc Chagall Title: The Clown with Flowers Portfolio: Mourlot Lithographe II Medium: Lithograph Date: 1963 Edition: Unnumbered Frame Size: 21 7/8" x 18 7/8" Sheet Size: 12 3/...

Henri Matisse: Colour Lithographs after the Cut-Outs, Framed Print, 1958 In 1941 Matisse underwent abdominal surgery after which he found painting to be physically taxing. Increasi...

Artist: Alexander Calder Medium: Lithograph Title: Derriere le Miroir #201 Portfolio: Derriere le Miroir #201 Year: 1973 Edition: Unnumbered Framed ...

Signed, titled and numbered lithograph. An early work by this artist known for his southwestern imagery, showing an oncoming herd of buffalo appearing out of the vast space of the...

This striking abstract monotype painting, created by 20th-century Colorado artist Wilma Fiori (1929-2019), showcases her exceptional mastery of color and form. The artwork features v...

Artemis Goddess from "Antiquities of Herculaneum" is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditions with some folding. ...

Embossed lithograph with foil stamping on paper. Hand signed and numbered by the artist. From the edition of 750. Artwork is in excellent condition. Certificate of authenticity in...

Andy Warhol Gagosian Gallery 1992: Rare highly decorative & classic vintage Andy Warhol exhibition poster published on the occasion of: "LATE PAINTINGS AND RELATED WORKS, 1984-1986:...