Horizontal Figurative Prints

Edition of 30 circus ballerina

Etching and drypoint on antique cream laid paper, 12 3/8 x 6 9/16 inches (315 x 167 mm), full margins. Signed, dated, and inscribed "Edition 100" in pencil, lower margin. In very goo...

A playful Pop Art print by American artist John Wesley. This is a limited silkscreen from the Licht Calendar portfolio unsigned portion of the edition. Nicely framed. Artist: Joh...

Barry Leighton-Jones was born in London, England in 1932 and is a direct descendant of the Victorian artist and President of the Royal Academy, Lord Fre...

Artist: Ana Mercedes Hoyos, Colombian (b. 1942) Title: Colombia Comercio Triangular Year: 2005 Edition: 75 Medium: Screenprint, signed and numbered in pencil Size: 22 x 30 in. (55.8...

Image dimensions: 24.5 x 33.5 cm. Bottles Composition is an original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly repr...

Bicentennial Indian by Fritz Scholder, Native American (1937–2005) Portfolio: Kent Bicentennial Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 9.5 x 13 inches Frame Si...

The Good The Bad The Ugly - Original 1966 French Lobby Card Vintage 1966 French Lobby Card: A bounty hunting scam joins two men in an uneas...

Femme au Plateu - Le Petit Déjeuner (Madame Baron et Mademoiselle Popo) is a color lithograph realized by Henri de Toulouse Lautrec in 1896.  cm. 45,5 x 58, matted. Monogrammed in ...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Miró: Cartones, 1959-1965, October - November 1965, 196...

Book 1, line 192: Satan on the Burning Lake Mezzotint, 1825 Engraved signature below the image (see photo) From John Milton's "Paradise Lost" Published by Septimus Prowett Printed by...

Keith Haring's Free South Africa series deftly addresses the nature of South Africa's apartheid regime in Harng's unique and succinct visual language. Signed, dated, and numbered low...

Complete series of 20 original black and white etchings on oblong folio and laid paper, in first state before numeration. On frontispiece with date “1763”, dedication to Prince Marco Foscareno and name and address of Ludovico Furlanetto. Each plate is titled and signed on plate "Jo. Bap. Brustoloni sculp." on the lower right margin. Complete title of the series: Prospectuum aedium, viarumque insigniorum Urbis venetiarum nautico certamine, ac nundinis adiectis. Tomus Primus, tabulas XII complectens, quas Antonius Canale coloribus expressit – Joannes Baptista Brustolon aere incidit. Serenissimo Principi D.D. Marco Foscareno Egregio, emerito, sapientissimo Augustae Republicae Duci D.D.D. Anno AE C. 1763 ab V.C. 1341. This series is considered the most important one by Brustolon after Canaletto (from the engravings of Visentini), and was edited in a first version of 12 tables and in a second version of 22 tables. However, Succi affirms that the I state series includes just 20 tables, and the missing two vary from suite to suite so that this series can be considered complete. Very fresh and bright sheets in wide margins, with restored little tear on 4 sheets and a very light vertical fold on center. Papers show the following watermarks: Big cartouche with half-moon Big cartouche with letters “FO” and “AS” Bound and ripples on paper. In detail: Prospectuum Aedium Viarumque Insignorum Ubis Venetiarum is one of the finest of Venetian topographical print suites, equal in relevance to the publications of Carlevarijs, Canaletto-Visentini, and Marieschi, preciously rare, especially in the first edition (of four) with all plates in first state and in excellent state of preservation. Ten of its twenty vedute of the Serenessima derive from the paintings of Canaletto, drawn and engraved by Antonio Visentini, adapted to a larger size by Brustolon. The Bellunese artist extended the views and enriched the landscapes with new objects and figures that animate the scenes. Other four views are deeply inspired by Michele...

Alex Katz Ada (purple) 2022
 1 Color Woodcut on Somerset Satin White, 300 gsm fine art paper
 18 x 23.5 inches (60 x 46 cm)
 Signed and numbered edition of 75 Alex Katz is an Americ...

DeLoss McGraw Leaving Home (97-301), 1997 Five color lithograph on tan Rives BFK paper with deckled edges Signed and numbered 3/75 in graphite pencil on the front 17 × 24 3/25 inches...

Douglas Gordon Andy Warhol in Drag, for the VANITY of Allegory (hand signed with drawing and warmly inscribed to Tim Hunt, Warhol Foundation curator), 2005 Offset lithograph poster (...

Pablo Picasso Pottery and Fauns (Madoura), 1961 Original linocut (printed in Arnera studios, Vallauris) Printed signature in the plate On vellum 11 x 23.2 cm (c. 4.3 x 9 in) REFERE...

"THEFT" DOT DOT DOT 6 layer screen print 350gsm Arches 88 Edition of 150 65 x 95 cm Signed and numbered by the artist DOT DOT DOT is a visual artist fr...

This double-page etching with contemporary coloring, entitled Accurata totius Archipelagi et Graeciae Universae Tabula, was realized by the cartographer Frederick de Wit for the famo...

Hand signed. Edition 35 of 50. From the Serie “Les 347”, table no. 110. Perfect impression on vélin blanc, very fresh and with sheet in full margins and perfect conditions, numbered ...

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, female figure, greek urns, and an...

Four color process print on vélin paper. Paper size: 10.75 x 18.5 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, George C...

Queen ! Oversize Signed limited edition - Pop Art - HRH The Queen Elizabeth II by the London based contemporary pop art image creator and artist, BATIK. Measures 60 x 40" inches ...

(after) Pablo PICASSO The Parade Lithograph, 1954 With the blind stamp of the editor (Ed. Verve) Size 27 x 37 cm (c. 10.65 x 14.6 inch) A lithograph on wove paper after a drawing b...

"Flowers " Variante 2 by Alphonse MUCHA (1860-1939) Rare original lithograph Each flower, carnation, iris, lily and rose, is signed at the lower part of the plate "Mucha". This lith...

Charles Turzak, 'North Bank of the Chicago River', color woodcut, c. 1935, edition 50. Signed and titled in pencil. A fine, richly-inked impression, with...

Pablo Picasso (after) "Pigeons" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 327/500 lower left From the estate of Pablo Picasso wit...

Speckled Corn Kachina, Dan Namingha, lithograph, Hopi, kachina, blue, orange hand pulled limited edition lithograph signed and numbered by the artist Glenn Green Galleries also pr...

A lithograph based off of an original drawing that was given to Yoko Ono as a wedding gift, published by his estate (Bag One Arts) in 1986 Date: 1986 Lithograph and chine colle on A...

Appearance is a black and white etching on cream-colored paper, realized by Charles-Nicolas Cochin the Elder (1688-1754) in 1750s. Good condition.

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From volume, Joan Miro by Jacques Prévert and Georges R...

This artwork titled "Casual Dinning" from the suite "Memories Retrospective" c.1990 is an original color serigraph on paper by Israeli artist Itzchac Tarkay 1935-2012. It is hand si...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

Original work of the graphic of the Spanish teacher Antoni CLAVE. engraving 55/60 ej CLAVÉ I SANMARTÍ, Antoni (Barcelona, 1913 - Saint Tropez, France, 2005). Antoni Clave is one of...

Patrick Caulfield's cheeky, Pop Art take on a seaside favorite, dressed lobster, abstracted in graphic black strokes atop a field of red decorated with tiny sprigs. Signed by the art...

Artist: Pablo Picasso (1881-1973) Title: Nature Morte au Pichet Rose Year: 1979 Medium: Lithograph on Arches paper Size: 21.25 x 28.25 inches Edition: 224/500;500, plus proofs Condit...

Grand Tier at the Met Etching, 1939 From: Reginald Marsh, Thirty Etchings and Engravings Published by the Whitney Museum of American Art, 1969 Unsigned (as usual for the Whitney edit...

SOCIAL RESEARCH This work is part of the SOCIAL "research" which addresses issues that concern people and the "polis" which in Latin means city but also "political model". WOUNDED T...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with trifold, as issued. Notes: From Derrière le miroir, N° 162. Published by Aimé Maeght, Éditeur, P...

Presenting a monumental original etching by French artist Albert Decaris. Decaris won many honors in France during his extensive career. "Leda and the Swan", depicts the mythologi...

Jean Cocteau (1889-1963) - Double profil d'hommes béliers Lithograph from 1960. With artist stamp. Edition of 151/250. Dimensions of work: 56 x 76 cm Printed by: Lecoeur imprime...

Lincoln and His Family, Philadelphia 1866 is a mezzotint engraving from the painting by Samual B. Waugh and engraved by prestigious engraver William Sartain. This family portrait...

Bold print of "Death Takes the Children" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 9 from a series...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

Artist: Marino Marini, Italian (1901 - 1980) Title: SPARTICO (Bizzarria) (G.A.184) Year: 1975 Medium: Aquatint Etching, Signed and numbered in Pencil Edition: L/L Image: 14.25 x 19.5...

This artwork "Flying Man" c.1990, is an original colors etching with aquatint on Wove paper by noted Mexican artist Jose Esteban Martinez, b.1951. It is hand signed in pencil by the ...

ABOUT THIS PIECE: Amanda Pratt is known and admired for the energetic, inspiring brand of whimsy she brings to photography. Countless clients have benefitted from her technical preci...

Joan Miro (Spain, 1893-1983) 'Maravillas con variaciones acrósticas en el jardín de Miró (cobertura para el estuche)', 1975 lithograph on canvas 21.5 x 32.25 x 21 in. (54 x 82 cm.) Edition of 1500 Unframed ID: MIR2001-014 It is documented in Cramer, P (1992). Miró Litographer V (1972-1975). Maeght Éditeur, pp 162-163. No. 1051. Artwork history: At the end of 1971 Rafael Alberti wrote from Rome to Joan Miró in the following terms “(…) I think I have news that you liked my folder...

Publisher GKM. Unframed. Edition of 140 ex. Signed by the artist. Free shipment worldwide. Adami is the maestro of the unadulterated line,” writes the Swedish poet Lasse Söderberg i...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

Bildnis mit florentiner Hut. is a beautiful black and white etching on cream-colored and laid paper, realized in 1898 by Hans Thoma. Monogram and Date on p...

A very good impression of this early color offset lithograph. Signed in pencil by Lichtenstein. Printed by Colorcraft, New York. Published by Leo Castelli Gallery, New York. Catalo...

New York Graphic Society, Ltd. Printed in U.S.A. Measures 15 x 20 inches and is unframed. The piece is in Good Condition.

Sadeler, Aegidius II, after Bartholomeus Spranger Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife, Christina Muller Engraving on hand made laid paper wit...

David Adickes (Born 1927) Houston Artist Image Size: 10.5 x 13.5 Frame Size: 24 x 26.5 Medium: Lithograph or Etching 7 of 10 "Des Hommes" Biography David Adickes (1927 - present) Houston Artist Adickes spent most of his professional life teaching, painting, and creating small bronzes. Now mainly known as a creator of giant sculpture, A commission for Houston's Performing Art Center in 1982 marks the beginning of his giant sculpture design. After the 36-foot tall cellist called the Virtuoso in a cubist style, he created a number of abstract works, including a giant cornet for the jazz stage at the 1984 World's Fair in New Orleans, Louisiana. Sculptor David Adickes is known for a major project titled Presidents Park in Williamsburg, Virginia, where he created 42 portraits bust of American presidents. Each sculpture is twenty feet tall, and their size was the subject of much protest and controversy. However, a court ruling allowed them to stay. President of Texas, followed by his 42 statue tribute to United States Presidents. Adickes has degrees in mathematics and physics which serve him well in the engineering of his works. Working on a giant sculpture series which includes the Beatles, and he hopes to end with a 280-foot tall cowboy statue...

'Red Demon and Blue Demon with 48 Arthats' is a large-format offset lithograph by Takashi Murakami, image size 28 x 46.5 inches and framed size 37.5 x 56 inches. From the edition of 300, signed lower right and numbered 191/300. Framed in a contemporary, white frame. In the 2017 monograph, ‘The Octopus Eats its Own Legs’, Michael Dylan Foster writes, “Akiko Miki has noted that in his more recent work Murakami has made a ‘shift not only to being concerned with the notion of religion – a main component, along with capitalism, behind the creation of art – but also towards a more serious engagement with the traditions of Japanese art.’ These concerns, manifested in his explicit invocations of folkloric imagery and creatures from both religion and art, are particularly apparent in ‘The 500 Arhats,’ his monumental twenty-four-paneled, 100-meter-long painting. The work portrays five hundred wizened and grotesque arhats, Buddhist religious figures who, as art historian Nobuo Tsuji puts it, ‘normally… stay in the mountains practicing religious austerities, only appearing after a fire, tsunami, earthquake, or some other disaster has occurred, as a kind of rescue team.’ The gargantuan painting represents Murakami’s interest in creating – in the wake of Japan’s tragedy of earthquake, tsunami, and nuclear disaster on March 11, 2011 – ‘a work of art that would be deemed indispensable to our times.’ The inspiration came directly from a series of exchanges between Murakami and Tsuji, whose critical work the artist had long admired.” Regarding the red and blue demons in the present artwork, these are allusions to Japan’s folkloric tradition of ‘oni’ – ogre or devil-like creatures who in ancient times were associated with bad fortunes and events, but in modern times are more ambiguous. “…Murakami’s invocation of the oni suggests that – unlike his arhats, or his baku and hakutaku – these beings have not come as part of the post-disaster ‘rescue team’ but may represent the very inhuman forces that cause disaster. A closer examination of the figures, however, reveals that Murakami has incorporated other cultural allusions that complicate a one-sided interpretation. …these poses are reminiscent of the so-called Niō guardian...

Seaside from Intermezzi belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed on the plate Good ...

Death holds an audience  is an etching realized by Giambattista Tiepolo in 1785.  Death, an old nun with a veiled head leafs through a large book and holds an audience. In front of ...