Small Prints and Multiples

Kiki Kogelnik wurde 1935 in Graz geboren und wuchs in Bleiburg, Kärnten auf. Nach ihrem Studium an der Akademie der bildenden Künste in Wien wurde sie Teil der Avantgarde rund um Ott...

Color Lithograph on wove paper, 1896. Artist's orange-red and black signature stamps, numbered in pencil (#12), from edition of 100 published by A. Vollard in the 2nd "Album des esta...

This David Hockney poster is printed in Bradford, West Yorkshire, England, on 270gsm Accent Fresco (Gesso), a textured, uncoated paper made from 100% ECF virgin fibre. FSC certified ...

"Cabaret" Liza Minnelli Joel Grey Broadway Film Academy Tony Award Musical Signed and numbered 12/150 in pencil, lower margin. Etching with aquatint, 15” x 10 1/2”. Framed 22” x 1...

Joan Mitchell Untitled Abstract Expressionist Print for the Carnegie Museum of Art, 1972 Lithograph on wove paper 15 × 22 inches Limited Edition of 1000 (unnumbered) Printer: Maeght...

Paul Jouve Tiger Eating, c. 1931 Original etching Unsigned proof On vellum 42 x 50 cm (c. 16 x 20 in) REFERENCES : Félix Marcilhac, "Paul Jouve, Peintre sculpteur animalier", Les É...

After Gustav Klimt, Max Eisler #1, Die Freundinnen II; multi-color collotype after 1916/17 painting in oil on canvas which was destroyed by fire in May 1945 at Immendorf Castle Lower Austria. Eisler’s choice to begin his 1931 portfolio of works by Klimt with Girlfriends II was both bold and prescient. Just 14 years later, the painting was tragically destroyed in a fire. With such a loss, this rare and exquisite image is all the more valuable by virtue of having been made in color. In works from his late period, Klimt continued his fascination with exploring female dynamics and their various forms of love. Girlfriends II is a fine example of how space, color and ornament play a noticeable role in the evolution of his symbolic language. Wide swaths of space in the background as well as the two female forms create the structure. Klimt’s strong brushstrokes show a painterly quality and a new move toward abstraction which feels very far away from his earlier work. Nor should Klimt’s economy of line be overlooked. His draughtsmanship is what infuses the female bodies with movement, emotion and a profundity of life. Both women confront the viewer’s gaze unselfconsciously, as if they are modern-day Viennese women stepping out of a Klimtesque ukiyo-e print. Characteristic of this late period, Klimt uses ornament...

Judith I, no. 9 from the second installment of Das Werk Gustav Klimts Much like his treatment of the Classical personage, Danae, from Greek mythology, Klimt’s depiction of Judith takes an Old Testament character, a heroine who avenges the death of her husband by killing an Assyrian king, and firmly positions her in his present-day Vienna. His multicolored collotype rips the canvas from its gilded frame which directly references the subject with its title: “Judith und Holofernes”. Now in print form, Judith, holding the severed head of a male in murky shadow, is the ultimate Viennese femme fatale. Her likeness is unmistakably similar to a former lover of Klimt’s and famous Viennese soprano, Anna von Mildenburg. Though his allusion to ancient Assyria is apt, Klimt literally lifted the gold patterned background’s design motif from a relief detail from Sennacherib’s Palace displayed in a London museum. His context then is contemporary. In a sensual and sexually powerful tour de force, Klimt’s Judith...

Giovanni Battista Piranesi, The Well, Carcere XIII , from “ Images of Prisons”, Buchard , Rome, 1749-50 Etching on laid paper. Signed on plate “ Piranesi F.” lower-right. Very good ...

Robert Indiana, American (1928 - 2018) - Die Deutsche Liebe, 1968, Portfolio: The American Dream, Year: 1997, Medium: Screenprint on Wove Paper, Edition: 395, Image Size: 14 x 1...

Litografia Original IV by Joan Miró, a 1972 color lithograph from Litografo (Volume I, Spanish edition), listed as Mourlot 860. Published by Ediciones Poligrafa, Barcelona, with ve...

Medium Print Condition Print is in Pristine Condition and has been stored flat since purchase in 2019. Four sharp corners and in Mint Condition. Signature Hand-signed by artist, Hand signed and numbered in Pencil by the Artist, Estevan Oriol...

Pablo Picasso (1881-1973) - Guitare Lithograph, pochoir from 1962. An unnumbered copy from a limited edition of 261. Dimensions of work: 48.5 x 36 cm Publisher: Leda, Éditions d'...

The Eye and the Beard of God by Friedensreich Hundertwasser was originally created as a painting in 1962. Hundertwasser, known for his distinct, whimsical style, often combined bold ...

The Motherhood is an original lithograph on paper by Carlo Levi in 1960s Hand-signed on the lower right. Artist's proof. good conditions except for a lon...

Artist: Pablo Picasso Title: Les Banderilles (IV) Portfolio: A Los Toros Avec Picasso Medium: Transfer lithograph Date: 1961 Edition: Unnumbered Frame ...

Rene Magritte Le Fils de L'homme Lithograph, Signed in a Pate, Stamped & Framed One of Magritte’s ( Belgian 1898- 1967) most iconic and enigma...

Artist: MARC CHAGALL Title: God Turns Moses Staff into a Serpent (FROM STORY OF THE EXODUS) Medium: Lithograph on arches paper Image Size: 18.50x13.50 inches paper size: 20 x 15 inch...

Gary John has been a street artist since 1985, originally from Seattle Washington, then moving to Venice Beach selling his art on the boardwalk for 10 years before exploding onto the...

Wassily Kandinsky
 Bunt im Dreieck, 1965
 Lithograph in colours on Arches paper
 Signed in the plate
 50 x 37.5 cm
 Sheet: 74 x 45.5 cm

Women’s Equality by Marisol Escobar, French/Venezuelan (1930–2016) Date: 1975 Offset Lithograph (Unsigned as issued) Size: 17 in. x 14 in. (43.18 cm x 35.56 cm) Frame Size: 20 x 17 i...

Warhol and Basquiat Paintings, 1985 'Boxing Poster' First edition original exhibition poster published by Tony Shafrazi / Bruno Bischoberger Offset sheet printed in color Photographe...

Joe Tilson Mnemonic Device, 1975 Silkscreen with hand coloring on Thin Bamboo Wood Sheet 21 1/4 × 19 1/2 inches Edition 96/100 Hand signed and numbered from an edition of 100 on rect...

Artist: Agnes Martin Title: On a Clear Day #15 Year: 1973 Screenprint Japanese Rag paper Image size: 6 7/8 x 8 inches (17.5 x 20.3 cm) Paper size: 12 x 12 inches (30.5 x 30.5 cm) Fra...

Helen Frankenthaler Air Frame, from the New York Ten portfolio (Harrison 6), 1965 Color silkscreen on Arches double-weight watercolor paper Signed and annotated AP in graphite on the front; this is an Artist's Proof, aside from the regular edition of 200 “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler Pencil signed AP, one of 25 proofs aside from the regular edition of 200 Catalogue Raisonne: Harrison 6, Berggruen 7, Clark 6 Printed by Chiron Press, New York. Published by Tanglewood Press, New York. This work has been newly framed in a museum quality wood frame under UV plexiglass. The original label from the famed John Berggruen Gallery in California has been affixed to the back to preserve provenance. Other examples of this coveted 1965 work can be found in major institutional and museum collections worldwide. Measurements: Framed 29 inches vertical by 24 inches (horizontal) by 1.5 inches Artwork: 22 inches vertical x 17 inches horizontal This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Medium: original lithograph. Printed in 1966 for the art revue Derriere le Miroir (issue number 160) and published in Paris by Maeght. Size: 15 x 22 inches (378 x 557 mm). Published ...

Original Winston Churchill Poster Lithograph 51 x 40 cm c.1940-1945 "Never in the field of human conflict have so many owed so much to so few." ...

Artist: Red Grooms Title: Sarajevo Year: 1968 Medium: Marker Drawing on Paper, Signed and Dated l.l. Paper Size: 13.5 x 19 inches (34.29 x 48.26 cm) Frame: 17 x 22.5 inches (43.18 x ...

ABOUT THIS PIECE- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x17, edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, br...

A Mardi Gras Indian known as Spoons during Super Sunday 2007, in which Mardi Gras Indians parade down from the Bayou St. John in New Orleans. Photograph Print is 12 x 9 inches, Frame is approximately 19.5 x 15 inches. Statement: "My mission is to capture the vitality of human experience and to present it on paper in a visually compelling manner. I work with daily life, ritual and celebration within which I look for moments of insight. From Coney Island, to New Orleans, Cuba, Haiti, Colombia and India I use my camera as a tool for understanding and mutual respect between cultures!" Andy...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Marlon Mullen (b. 1963, Richmond, CA) has been painting at NIAD Art Center, a progressive studio for artists with developmental disabilities since 1986. Mullen draws his inspiration ...

Paper Size: 19.75 x 17 inches ( 50.165 x 43.18 cm ) Image Size: 19.75 x 17 inches ( 50.165 x 43.18 cm ) Framed: Yes Frame Size: H: 20.75 x W: 18 x D: .75 in. Condition: A: Mint ...

Artist/Designer; Manufacturer: Sol Lewitt (American, 1928-2007) Marking(s); notes: signed; ed. 23/39; 1989 Materials: etching and aquatint on Arches 88 Dimensions (H, W, D): 21.25"h,...

After Gustav Klimt, Max Eisler #9, Haus Im Garten; aka Forester’s House in Weissenbach II; multi-color collotype after 1914 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GU...

Marc Chagall (1887-1985) - La Souris Metamorphosée en Fille (The Mouse Transformed into a Girl) Etching from 1954. Edition of 85. Enhanced with watercolour by the artist. Dimensi...

This is an original 19th century duotone lithograph entitled "Great Hall at Karnac, Thebes" by David Roberts, from his Egypt and Nubia volumes of the larg...

Signed lower right, 'Zarou' for Victor Zarou (French, b. 1930), inscribed 'Epreuve d'Artiste' with number and limitation 'XIII/XXV' (13/25), lower left and titled lower center 'Lourm...

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

Still Life is an original vintage offset print on ivory-colored paper, realized by Franco Gentilini ( Italian Painter, 1909-1981), in 1970s. The state of preservation of the artwor...

Yayoi Kusama Dots Infinity (1986). Edition 58/100 Screenprint [2 screens, 2 colors] Signed, titled, dated and numbered 58/100 in pencil by the artist 28 x 32 cm [11 ¹/₃₂ x 12 ¹⁹/₃₂ ...

6-Colour Screen Print on Archival Paper hand-signed and numbered by the artist 57.2 cm x 57.2 cm Edition 108 of 150 Artwork by Mr. Brainwash, (the pseudonym of French-born artist ...

This piece is from a collection of originally designed etchings with drypoints by Rembrandt. It is printed on Ingres D'arches off-white laid paper. The prints are the sixth and final state Posthumous Impression. Printing plates were made in 1650, this collection was printed in 1998. Rembrandt van Rijn was one of the masters of the landscape genre in his prints and drawings. In his etching, "Landscape with a Cow...

Lithograph on vélin du Marais paper. Inscription: unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, Éloge de André Lhote, 1960. P...

Joan Miró (Spanish, 1893–1983) Cartones, 1965 Original color lithograph on paper Hand-signed in green crayon by Miró Dimensions: Printed by Mourlot, Paris Published by Pierre Matiss...

Artist: Pablo Picasso Title: Le Picador (II) Portfolio: A Los Toros Avec Picasso Medium: Transfer lithograph Date: 1961 Frame Size: 17 1/4" x 19 3/4" Sheet Size: 9 1/2" x 12 1/2" Ima...

Hand signed and dated, and signed on plate. Artist's proof. Good conditions.

Jean Baptiste Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. His prolific works simultaneously referenced the Neo-Classical tradition a...

This original Art Deco lithograph from the 1930s captures the elegance and dynamism of tennis during the golden age of the sport. The artwork, crea...

Marc Chagall (1887-1985) Lovers with a Bouquet, 1984 Original color lithograph Signed with the artist's stamp Justified EA (artist proof) On Arches vellum, 56 x 43 cm (c. 22 x 17 in) Authenticated by the artist's studio dry stamp REFERENCES: Sorlier / Mourlot catalogue raisonné...

"Fondly Do We Remember" From the Four Ages of Love Suite by Norman Rockwell Media: Lithograph on Paper Image Dimensions: 21" x 22" Year Produced: 1977 Edition Size: 200 Numbered (1-200), 60 Artists Proofs (1-60) Edition Number: A/P (Artist proof) Signed and Numbered in pencil by the artist Condition: In excellent condition Norman Rockwell was an American painter and illustrator known for his iconic depictions of American culture created for The Saturday Evening Post. With a range of favorite subjects that included nuclear families, mischievous children, and small-town life, his work has achieved an iconic status: the 1943 painting of a Thanksgiving dinner, Freedom from Want, has been reproduced and parodied countless times in contemporary culture. As an artist, Rockwell has had a lasting effect on US society beyond any singular work, with his paintings seen as indelible images that went on to inspire American directors such as George Lucas, Steven Spielberg, and particularly Robert Zemeckis, whose 1994 film Forrest Gump recreates several of Rockwell’s paintings as scenes throughout the film. Though he enjoyed success throughout his career, Rockwell’s idyllic and sentimental outlook on American society was not necessarily embraced by art critics, though his later politically activist work garnered praise for its tackling of controversial subjects. Born on February 3, 1894 in New York, NY, he went on to study at the National Academy of Design and the Art Students League. Rockwell notably had a longstanding relationship with the Boy Scouts...

Artist: Mark Adams (American, 1925-2006) Title: Pink Poppy Year: 1980 Medium: Color aquatint Paper: Wove Image size: 11.25 x 8.5 inches Sheet size: 18 x 13.5 inches Framed size: 20.25 x 15.75 inches Signature: Signed and dated (1980) in pencil lower right Edition: 50 This one 21/50 Condition: Very good Frame: Framed in dark wood frame with Plexiglas This beautiful aquatint is by the noted San Francisco Bay Area artist Mark Adams (1925-2006). The print is in excellent condition. It is framed, floating in a simple dark wood frame with Plexiglas. The frame is in good condition and goes very well with the print. About the artist: Mark Adams attended Syracuse University and left to study art in New York with Abstract Expressionist Hans Hoffman. He was also a tapestry and stained-glass designer. He designed the windows for Temple Emanu-El, San Francisco’s largest synagogue, as well as has textiles featured in the de Young Museum and San Francisco International Airport. Later in life, Adams transitioned to watercolors, employing everyday objects–such as a flag, a bowl of fruit, and ballet shoes–as his subjects and creating pristine and almost hyper-real images. Through Adams’s vivid, delicate, and translucent colors, these mundane items take on deeper meanings. The artist was married to Beth Van Hoesen, who has portrayed him in an interior scene surrounded by objects he might have also portrayed. Adams attended Syracuse University and left to study art in New York with Abstract Expressionist Hans Hoffman. He was also a tapestry and stained-glass designer. He designed the windows for Temple Emanu-El, San Francisco’s largest synagogue, as well as has textiles featured in the de Young Museum and San Francisco International Airport. Later in life, Adams transitioned to watercolors, employing everyday objects–such as a flag, a bowl of fruit, and ballet shoes–as his subjects and creating pristine and almost hyper-real images. Through Adams’s vivid, delicate, and translucent colors, these mundane items take on deeper meanings. The artist was married to Beth Van Hoesen, who has portrayed him in an interior scene surrounded by objects he might have also portrayed. 1983 Mark Adams: Prints and Watercolors, Hastings Gallery of Art, Hastings College of the Law, University of California, San Francisco, California Mark Adams: Recent Watercolors, John Berggruen Gallery, San Francisco, California 1981 Mark Adams: Recent Watercolors, Graham Galleries, New York, New York 1980 Mark Adams: Recent Watercolors, John Berggruen Gallery, San Francisco, California 1978 John Berggruen Gallery, San Francisco, California 1972 Smith-Anderson Gallery, Palo Alto, California 1971 San Francisco Museum of Modern Art, San Francisco, California 1971 – 74 Fire; Water, stained-glass windows, Temple Emanu-El, San Francisco, California 1970 Mark Adams: An Exhibition of Tapestries, Fountain Gallery, Portland, Oregon Mark Adams, California Palace of the Legion of Honor, San Francisco, California 1968 Hansen Gallery, San Francisco, California 1967 Tapestries and Drawings, Santa Rosa County Public Library, Santa Rosa, California 1966 Hansen Gallery, San Francisco, California 1963 I Am the Light of the World, stained-glass windows, Woodside Village Church, Woodside, California 1964 Tapestries by Mark Adams, French & Company, New York, New York 1962 Tapestries, San Francisco Museum of Modern Art, San Francisco, California 1961 Contemporary Tapestries by Mark Adams, California Palace of the Legion of Honor, San Francisco, California Contemporary Tapestries by Mark Adams, Portland Art Museum, Portland, Oregon 1959 Tapestries by Mark Adams, San Jose State College, San Jose, California Tapestries: Mark Adams, M.H. de Young Museum, San Francisco, California 1958 Modern Tapestries by Mark Adams, San Diego State College, San Diego, California 1957 Tapestries by Mark Adams, Stanford University, Stanford, California 1954 Gump's Gallery, San Francisco, California 1997 Structures: Buildings in American Art, 1900-1997, John Berggruen Gallery, San Francisco, California Second Annual Collaboration, Friesen Gallery, Sun Valley, Idaho 1996 The Robert Arneson Tribute Exhibition, John Berggruen Gallery, San Francisco, California A Collaboration, Friesen Gallery, Sun Valley, Idaho 1995 Objects of Desire, John Berggruen Gallery, San Francisco, California XXV Years, John Berggruen Gallery, San Francisco, California Mark Adams, A Way with Color; Beth Van Hoesen, Works on Paper, John Berggruen Gallery, San Francisco, California 1994 Twenty-Six Artists: A Selection of Works from John Berggruen Gallery, San Francisco, Friesen Gallery, Seattle, Washington Mark Adams: Watercolors, Jane Haslem Gallery, Washington, D.C. 1991 Mark Adams: Tapestries, Drawings, Prints, Jane Haslem Gallery, Washington, D.C. 1989 Jane Haslem Gallery, Washington, D.C. 1987 Mark Adams/Beth Van Hoesen, Pacific Presbyterian Professional Building, San Francisco, California Watercolors, Shasta College, Redding, California Master Exhibition Series, Palo Alto Cultural Center, Palo Alto, CA Flo Allen: a Model for a Generation, Stephen Wirtz Gallery, San Francisco, California Recent Acquisitions of the Achenbach Foundation for the Graphic Arts, San Francisco, California 1986 Tapestry-Contemporary Imagery/Ancient Tradition: United States, United Kingdom and Canada, Cheney Cowles Memorial Art Museum, Spokane, Washington Airport Cafe: An Exhibition About Food and Art, San Francisco International Airport, San Francisco, California The Golden Land, San Diego Museum of Art, San Diego, California Life Drawings - 1960's: Seven San Francisco Artists, Charles Campbell Gallery, San Francisco, California 1985 American Realism: Twentieth-Century Drawings and Watercolors, San Francisco Museum of Modern Art, San Francisco, California American Realism, William Sawyer Gallery, San Francisco, California Two California Artists: Mark Adams/Beth Van Hoesen, University of Tennessee, The Small Press Phenomenon: Work from 18 Bay Area Fine Art Presses, Glastonbury Gallery, San Francisco, California 1984 Contemporary American Realists, Orr's Gallery, San Diego, California The Art of Connoisseurship and the Print, DeSaisset Museum, University of Santa Clara, Santa Clara, California California Drawings, Modernism Gallery, San Francisco, California Recent Acquisitions, San Jose Museum of Art, San Jose, California Painters at U.C. Davis: Part II, Richard L. Nelson Gallery, University of California, Davis, California 1983 Bon a Tirer, DeSaisset Museum, University of Santa Clara, Santa Clara, California Contemporary Drawings, Glastonbury Gallery, San Francisco, California California Contemporary: Recent Work of 23 Artists, Monterey Peninsula of Art, Monterey, California Figure Drawings: Five San Francisco Artists, Charles Campbell Gallery, San Francisco, California 1982 New American Graphics II, Crossman Gallery, University of Wisconsin, Wisconsin Whitewater, traveling through 1983 by The Art Museum Association of America 1981 Drawings from the Figure, Art Gallery, California State University, Hayward, California 1980 Water Works, Art Gallery, University of North Dakota, North Dakota 1979 Tapestries: 15-20th Centuries, Transamerica Pyramid, San Francisco, California 1978 Contemporary Tapestries, Allrich Gallery, San Francisco, California 1977 Works on Paper - 3 Artists, Smith-Anderson Gallery, Palo Alto, California Invitational American Drawing, Fine Arts Gallery of San Diego, San Diego, California Contemporary Tapestries, San Jose Museum of Art, San Jose, California 1976 Five Centuries of Tapestry, California Palace of the Legion of Honor, San Francisco, California 1975 Contemporary Tapestries, Allrich Gallery, San Francisco, California Fiber and Clay, California State University, Hayward, California 1973 Mark Adams: Drawings, Paintings, Tapestries; Beth Van Hoesen: Intaglio Prints, Temple Emanu-El, San Francisco, California 1970 West Coast '70: Painters & Sculptor, E.B. Crocker Art Gallery, Sacramento, California Tapestries by Mark Adams and Graphics by Beth Van Hoesen, Monterey Peninsula Museum of Art, Monterey, California 16th Painting Annual 1969, Richmond Art Center, Richmond, California 1966 Newman Guild Religious Art Invitational, E.B.Crocker Gallery, Sacramento, California The 5th Biennial National Religious Art Exhibition, Cranbrook Academy of Art, Bloomfield Hills, Michigan 400 Years of Tapestry, Norfolk Museum, Norfolk, Virginia California Design, Pasadena Museum, Pasadena, California 1964 84th Annual Exhibition of the San Francisco Art Institute, San Francisco Museum of Art, San Francisco, California Bienale Internationale de la Tapisserie, Musée Cantonal des Beaux-Arts, Lausanne, Switzerland COLLECTOR; Object/Environment, Museum of Contemporary Crafts, New York, New York Religious Art, City Art Museum of St. Louis, St. Louis, Missouri 1963 5 Bay Area Artists, San Francisco Art Institute, San Francisco, California Vistas, San Francisco Art Institute, San Francisco, California 1962 California Design, Pasadena Museum, Pasadena, California Fourth Winter Invitational Exhibition, California Palace of the Legion of Honor, San Francisco, California Fine Arts for Architecture, California Council, American Institute of Architects Convention, Monterey, California Paintings...

After Gustav Klimt, Max Eisler #12, Aus dem Stoclet-Fries: Erwartung; multi-color collotype after the cartoon for the 1910-1911 mosaic frieze on the west wa...

Pallas Athene, no. 9 from the third installment of Das Werk Gustav Klimts The Klimt-led Vienna Secession which rebelled against the Academic State-run e...

Artist: Al Hirshfeld Title: Sex in the City Size: 20 x 20 Inches Medium: 5-Color Lithograph on Fine Art Paper Edition: 223/300 Year: Hand Pulled in 2002 Notes: Hand Signed a...

In this sentimental work from 1939, Benton expresses his admiration for the rural lifestyle of the Midwest. He highlights the connection between man and the land by depicting two fig...

After Gustav Klimt, Max Eisler #22, Bildnis Baronin Bachofen-Echt; multi-color collotype after 1914-1916 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...

Duke Ellington Jazz Music Legend African American Grammys NY Times Published Al Hirschfeld (1903 – 2003) Duke Ellington Sight Size: 12 x 12 1/4 inches Etching with aquatint Signed ...

This exquisite lithograph after Pablo Picasso (1881–1973), titled Au Baiser d'Avignon II (At the Kiss of Avignon II), from the folio Picasso au baiser d'Avignon, douze dessins, lavis...

Selected from Phillip's acclaimed series, The Horses of Deep Hollow Ranch. Working with a vintage Mamiya handed to him by a stranger in NYC, Graybill creates contemporary photographic compositions in a style that is reminiscent of the Pictorial School from the early 1900’s. Artist: Phillip Graybill Title: Silver Edition: Signed and numbered in the margin, archival pigment prints on 100% cotton rag paper, remastered and printed at FATHOM Los Angeles Phillip Graybill is from Atlanta, Georgia. He moved to NYC in 1996 where he lived for 20 years and now splits his time between NYC and Venice, Ca.  He has exhibited with celebrated artist Julian Schnabel. He has also exhibited alongside such photographic luminaries as Peter Lindbergh and Nigel Barker. Graybill was the primary photographer for the Nine Inch Nails...