Figurative Prints

Color lithograph, Edition 30. Hung Liu grew up in China and came of age during the Chinese Cultural Revolution. She spent four years in the countryside as a laborer, studied paint...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Publisher GKM. Edition of 200 ex. Unframed. Signed, dated and numbered. Free shipment worldwide. “I paint because painting is a private Utopia,” Erró writes of his art. The landsc...

William Tillyer "some natural flowers that looked like fakes" - Floral follies 1974/2018 Relief and intaglio printing on Arches paper, Edition of 25 Paper size: 65.5 x 50 cms ( 25 3/...

William Tillyer Interior at Fontenay aux Rose with Large Tortoise "Skylight screen and vase of articial looking flowers" 1974/2018 Intaglio and relief printing on Arches paper, Edit...

William Tillyer Interior at Fontenay aux Rose with Large Tortoise "Skylight screen and vase of articial looking flowers" 1974/2018 Intaglio and relief printin...

William Tillyer Interior at Fontenay aux Rose with Large Tortoise "Skylight screen and vase of articial looking flowers" 1974/2018 Intaglio and relief printi...

William Tillyer Interior at Fontenay aux Rose with Large Tortoise "Skylight screen and vase of articial looking flowers" 1974/2018 Intaglio and relief printing on Arches paper, Edit...

William Tillyer "some natural flowers that looked like fakes"- Bosphorus "it all comes down to syphilis in the end" 1974/2018 Copper plate line drawings on Arches paper, Edition of 2...

Original Salins Earthenware Plate Artist: Jean Picart Le Doux Title: Sunshine Signed in the back of the plate Dimensions: Diameter: 24 cm Edited by Salins Earthenware Jean Picart le Doux, French (1902 - 1982) Jean Picart Le Doux, born in Paris January 31, 1902 and died in 1982, was a French painter and painter-cartonnier the revival of contemporary tapestry. He is the son of the painter Charles Picart Le Doux (1881-1959). Without specialized training, he made his debut in bookbinding and publishing, and then he turned to advertising and graphic arts and publishing his first works in 1935. His first tapestry dating from 1943 after winning the Grand Prix of the theater poster exhibition in the imaging. He met Jean Lurçat and, with Marc Saint-Saëns, gather around him in 1947 for the Association of painters cardboard tapestry. In 1950, he projects the idea of ​​the Alliance Graphique Internationale, during the meeting with exhibitors of an exhibition of their work in Basel, two other French designers Jean Jacques Colin and Nathan, and two graphic designers Swiss, Fritz Buhler and Donald Brown...

Signed on plate. From the portfolio “Le Bonheur du Jour” by George Barbier. Etching and Pochoir. Passepartout included : 49 x 34 cm

An original etching from "Le Chef- d’Œuvre Inconnu" by Pablo Picasso, created in 1927 and published in 1931. It is hand signed and numbered 7/99 in red brush from the edition of 9...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio...

Portrait of Emilie Flöge, no. 10 from the first installment of Das Werk Gustav Klimts His confidante and life companion of more than 30 years, Klimt capt...

Water Snakes I, no. 9 from the first installment of Das Werk Gustav Klimts Known by various names, Women Friends, Girlfriends, Water Snakes I and what Kli...

Life is a Struggle (The Golden Knight), no. 10 from the second installment of Das Werk Gustav Klimts With his golden armor meticulously and faithfully rendered after examples found ...

An original etching from "Le Chef- d’Œuvre Inconnu" by Pablo Picasso, created in 1927 and published in 1931. It is hand signed and numbered 7/99 in red brush...

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...

Gustav Klimt created this image for inclusion in Gerlach & Schenk’s Allegorien the year before he formed the Vienna Secession. While this design is similar to his other inclusions, L...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Color lithograph on paper, 1954 by Pablo Picasso ( 1881-1973 ). Printed by " Mourlot ", Paris. Not signed. Dated and numbered lower left: 27.1.54 I Image size: 9.45 x 12.52 in ( 24...

Wood cut in two colors on laid silk woven paper, 1913 by Erich Heckel ( 1883-1970 ). Signed and dated in pencil lower right: Heckel. Framed. Height: 7.13 in ( 18,1 cm ), Width: 4.21 ...

Plastic Jesus I want to be a celebrity screenprint 24 x 19 inches Edition 50 of 50 signed and numbered in pencil

Created in 1936, this drypoint on laid paper is stamped by the Picasso Estate Collection via Marina Picasso on verso. This work is a rare proof, aside from the numbered and signed ed...

Created in 1989-1990, this aquatint with lithographic crayon on Somerset paper is hand-signed by Alex Katz (Brooklyn, 1927 - ) in pencil in the lower left margin and is annotated as an artist proof in pencil in the lower left margin, aside from the numbered edition of 60. About the Framing: Framed to museum-grade, conservation standards, Alex Katz Red...

Edward Ruscha Other, 2004 is hand-signed by Edward Ruscha (1937, Nebraska - ) in pencil in the lower right margin and is numbered from the edition of 250 in pencil in the lower right...

Title: David Salle and Janet Leonard (From the portfolio 'Pas de Deux ') Artist: Alex Katz 1927 - PRESENT Year: 1993 Technique: Color screenprint Alex Katz's paintings and sculptures...

Silkscreen on wove paper. Hand signed and numbered by the artist. AP edition. Sheet size 17.25 x 12.75 inches. Image size approx 15.15 x 10.75 inches. Artwork is in excellent condi...

Vintage original 1960s Alexander Calder lithograph from Derriere le Miroir: Dimensions: 11 x 15 inches. Minor signs of handling; good overall vintage condition with well preserved colors. Unsigned from an edition of unknown. Sold unframed. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. Alexander Calder was an American artist best known for his invention of the kinetic sculptures known as mobiles. Calder also produced a variety of two-dimensional artworks including lithographs, paintings, and tapestries as seen in his Butterfly (1970). “My whole theory about art is the disparity that exists between form, masses, and movement,” the artist once said. Born on August 22, 1898 in Lawnton, PA, Calder turned to art in the 1920s, studying drawing and painting under George Luks and Boardman Robinson at the Art Students League in New York. Calder moved to Paris to continue his studies in 1926, where he was introduced to the European avant-garde through performances of his Cirque Calder (1926–1931). “I was very fond of the spatial relations,” he said of his interest in the circus. “The whole thing of the—the vast space—I’ve always loved it.” With these performances, along with his wire sculptures, Calder attracted the attention of such notable figures as Marcel Duchamp, Jean Arp, and Fernand Léger. Notably, it was his friend Duchamp that coined the term mobile—a pun in French meaning both “motion” and “motive”—during a visit to Calder’s Paris studio in 1931. His earliest mobiles moved by motors, but Calder soon abandoned these mechanics and designed pieces that moved by air currents or human interaction. Over the course of seven decades, along with his mobiles, he also produced paintings, monumental outdoor sculptures, works on paper, domestic objects, and jewelry. The artist lived in both Roxbury, CT, and Saché, France, before his death on November 11, 1976 in New York, NY. Today, his works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London. Related Categories: Alexander Calder prints. Mid Century Modern Calder prints. 1970s. Calder spiral. Calder mobile. Vintage Alexander Calder. Miro. Calder spirals. Calder flowers.

Limited edition of 50 Daiva Kairevičiūtė graduated from the Vilnius Academy of Fine Arts in 1996. She is a prized Lithuanian artist. She became a m...

A highly influential mid-century American artist, Richard Diebenkorn is known for his abstract landscape paintings, in particular, the "Ocean Park" series, which he exhibited when re...

This aquatint etching in strict black and white bears witness of Baselitz' deep engagement with the characteristic appearance of his motifs. 84,5 x 65,2 cm. Edition of 20, signed and...

An aquatint etching out of 1988 in a very good condition and bright colours. 57 x 66 cm. Edition of 90, signed and numbered.

'Lo faro il litterato tutta la vita' Photo Lithography on rag paper hand signed lower right in pencil: Kounellis numbered 37/90. Provenance: The Collection of Ileana Sonnabend (Mrs Leo Castelli) & the Estate of Nina Castelli Sundell I have seen this piece identified as being 1969 and I have seen it as 1972. Jannis Kounellis (Greek: Γιάννης Κουνέλλης; 23 March 1936 – 16 February 2017) was a Greek Italian contemporary artist based in Rome. A key figure associated with Arte Povera, he studied at the Accademia di Belle Arti in Rome. Kounellis was born in Piraeus, Greece in 1936. He lived in Greece during the Second World War and Greek Civil War before he moved to Rome in 1956. From 1960 to 1966, Kounellis went through a period of only exhibiting paintings. In some of his first exhibitions, Kounellis began stenciling numbers, letters, and words onto his canvases, often reflecting advertisements and signs seen on the street. In 1960 he began to introduce found sculptural objects such as actual street signs into his work, exhibiting at Galleria La Tartaruga. This same year he donned one of his stencil paintings as a garment and created a performance in his studio to demonstrate himself literally becoming one with his painting. This newfound convergence of painting, sculpture, and performance was Kounellis' way out of traditional art. By 1961 he began to paint on newspaper to reflect his feelings towards modern society and politics. From 1963, Kounellis introduced found objects in his artworks, among them live animals but also fire, earth, burlap sacks, and gold. He replaced the canvas with bed frames, doorways, windows or simply the gallery itself. Kounellis' work from the 1980s, which also consisted of sculptures and performances using unusual materials, traveled all over Europe. In 1974, he performed with Edward Kienholz, Wolf Vostell and other artists in Berlin at the ADA – Aktionen der Avantgarde. His work has become integral to numerous renowned, international museums' collections. In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations. Kounellis participated in the exhibition 'Arte Povera – e IM Spazio' at the La Bertesca Gallery in Genoa curated by Celant, Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags and twigs. Leading artists were Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Piero Gilardi, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio. They worked in many different ways. They worked in painting, sculpture and photography and made performances and installations, creating works of large physical presence as well as small-scale gestures. To solidify the movement, Celant curated yet another group show, 'Arte Povera', which was exhibited at the De' Foscherari gallery in Bologna in 1968 with similar artists. In the same year Kounellis exhibited 'Senza titolo (Untitled)', which consisted of raw wool, rope and a wooden structure all leaning against a wall. Finally, Kounellis was also included in 'RA3 Arte Povera + Azioni povere' which was organized by Marcello Rumma and curated by Celant. In 1967, Kounellis installed "live birds in cages along with rose-shaped, cloth cut-outs pinned to canvas" alongside his painting. Through this shift in his work, "Kounellis was more interested in anarchical freedom from linguistic norms and conventional materials. The space of the gallery and the exhibition site in general were transformed into a stage where real life and fiction could join in a suspension of disbelief." The viewers became part of the scene of these living natural sources of energy within the gallery space. He continued his involvement with live animals later in 1969, when he exhibited twelve living horses, as if they were cars, in the Galleria l'Attico's new location in an old garage in Via Beccaria. Gradually, Kounellis introduced new materials, such as propane torches, smoke, coal, meat, ground coffee, lead, and found wooden objects into his installations. He also looked beyond the gallery environment to historical (mostly industrial) sites. In 1997, Kounellis installed thirteen wardrobes and two doors that were sealed in lead along a scaffolding ledge that blocked the entry to a central hall. In 1968, in an interview by Marisa Volpi, Kounellis stated that incidental adjustments are certain as aspects that can indicate the human liberty of life. Selected Solo Exhibitions 1960: La Tartaruga gallery, Rome 1969: Attico Gallery, Rome 1981: Van Abbemuseum, Eindhoven 1982: Whitechapel Art Gallery, London 1988: Castle of Rivoli, Turin 1996: Museo Nacional Centro de Arte Reina Sofía, Madrid 2005: Albertina, Vienna 2007: Neue Nationalgalerie, Berlin 2007: Kounellis - Jaffa Port...

"Unknown" is a mixed media edition piece by Israeli artist Dganit Blechner. She expresses a unique perspective on urban life and pop culture through her vivid mixed media artworks....

A bold, vibrant and surreal image, Lichtenstein created Art Critic in 1996 as an original screenprint in colors.  Measuring 26 x 19 1/8 in. (66 x 48.6 cm), unframed, the artwork is s...

Signed in pencil, from the edition of 85. Printed on Arches wove paper and published by Georges Visat, Paris. Plate: 23.8 x 17.7 cm. (Sabatier 266).

After Norman Rockwell Reproduction print of "Barbershop Quartet" 1936 Lithograph Signed in Pencil Lower Right Numbered Lower Left 182/200 This i...

Screenprint in 18 colours on Archivart 100% rag 4-ply Museum Board Signed and numbered in pencil with blindstamp

René Magritte - Indiscrete Jewelry - Original Lithograph Dimensions: 32 x 24 cm XXe siècle Reference: Kaplan, Gilbert E. and Timothy Baum, 'The Graphic ...

Eugene Grasset The Century Magazine : Napoleon, 1897 Stone ithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") ...

1968 One-color lithograph Sheet: 16 x 22 in. (40.6 x 55.9 cm) Edition of 150 + 10AP Signed, dated and numbered in pencil Unframed, mint condition

From the album `Meditations on the Effigy' Signed and numbered in pencil VIII/X aside from the edition

An image synonymous with Pop Art, Camel, by Larry Rivers is emblematic of the artist’s most iconic work.  Created as an original lithograph and measuring 14 ¾ x 13 in (37.5 x 33 cm),...

Color Lithograph Signed and Dated Lower Right Numbered Lower Left 22/100 Image Size: approx. 23 x 29 inches Framed Size: approx. 31 x 37.5 inches

Lithograph on Arches Paper Pencil Signed Lower Right, "Marc Chagall" Numbered Lower Left Ed. 9/40, one of 40 impressions reserved for the artist aside from the standard signed editio...

Lithograph on Arches Paper Pencil Signed Lower Right, "Marc Chagall" Numbered Lower Left Ed. 51/100 Published by CH. SORLIER SIte Size: 19 x 12.5 Framed Size: approx 27.5 x 22.5

Original lithograph printed in black ink on antique laid paper. Signed on the stone with the artist’s butterfly monogram center left. A superb impression of Spink’s third and f...

Signed on the stone with the artist’s monogram device lower left. A fine impression of Wittrock and Adriani’s only state from the edition of 50 printed in this color, numbered “N...