Small Figurative Prints

ROBERT WALKER MACBETH (British 1848-1910) After GEORGE FREDERIC WATTS (British 1817-1904) A Greek Idyll Proof etching Signed in pencil by both the artist l.l. and engraver l.r. Framed Plate size 42 by 54 cm., 16 ½ by 21 ¼ in. (frame size 72.5 by 85 cm., 28 ½ by 33 ½ in.) After Watt’s 1894 painting...

Judith Bledsoe’s astrological series would not be complete without her colorful and inspiring depiction of Scorpio, featuring a knight holding a shield with the sign emblazoned on it...

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

A charming depiction of two young children sat at a shop counter. One girl clutched a doll whole the other soothes our the ruffles of her shawl with a flat iron. From behind the coun...

Artist unknown "Gold and Blue Gun" c. 1970s Silkscreen on paper Image size 21.25"x17" paper size 26"x40" unframed $350 Unsigned *Listed price reflects custom framing selected by sell...

Brinton, D. UNTITLED [GENTLEMAN OBSERVING BILLIARDS GAME]. Drypoint, n.d. (c. early to mid-20th Century). 8 x 6 inches (image), 11 1/2 x 8 inches (sheet). In excellent condition, wit...

Lithograph in colors on paper. Hand signed and numbered by the artist. AE edition of 100. Image size approx 20 x 6 inches. Sheet size is 22 x 8 inches. Artwork is in excellent con...

Aquarium and Up II Diptych Overall sheet size cm : H102 x W90 Anne Storno – Aquarium – A limited edition, hand printed screen print, made in England. – This work is inspired by collage and surrealist artworks. I like combining images removed from their original narrative context and reconfigured into a new scenario. Aquarium is mixing an old image of Joan Collins, the actress, with a view of the earth from space...

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful...

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...

This serigraph print is for sale from Roy Fairchild's Personal Collection. This print will come with a certificate of authenticity from London Contemporary Gallery and a unique signe...

The flower prince lifts his head up to the sky, seeking the warmth of the sun. His eyes are closed, and while he is dreaming, the world is cast in blue. A cousin to Xōchipilli, he wa...

This artwork titled "Scene Galante au XVIII eme Siecle" c.1930 in an aquatint on paper by French artist Antoine Calbet, 1860-1944. It is hand signed in pencil at the lower right corner. The plate mark (image) size is 9.60 x 12.25 inches, framed size is 16.5 x 19.5 inches. Framed in a wooden gold and black frame, with fabric matting. The artwork is in very good condition, frame and matting are in good condition, frame have some minor dents, matting have a small point of discoloration at upper left. About the artist. Antoine Calbet is the son of Marie Singlande and Jean-Baptiste Calbet, landowner at a place called Gaubert. Trained at the School of Fine Arts in Montpellier by Édouard - Antoine Marsal (1845-1929) where he learned drawing, this illustrator and illustrator, a painter of nudes and gallant scenes, was very popular during his lifetime. Antoine Calbet is then admitted to the School of Fine Arts in Paris in the studio of Alexandre Cabanel (1823-1889). He was a member of the admission jury of the Beaux-Arts from 1913 to 1930. He began to exhibit in 1880 and became a member of the Society of French Artists . He was the friend of his compatriot of Lot-et-Garonne, the President of the Republic Armand Fallières , for which he drew the menus of his meals, which made him known in Parisian salons.He illustrated works by Jean Lorrain , Henri de Regnier , Pierre Loues 3 and for periodicals like L'Illustration . Selected museums and collections Dallas , Dallas Museum of Art : Back woman...

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

Sir Frank Short, R.A., P.R.E. 1857-1945. The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 19 x 24). A rich, glowing impression p...

Maurice DENIS (1870 - 1943) Study for Lyric Drama, 1918 Original lithograph enhanced in pastel Unsigned On light cream tinted paper 33.5 x 46.5 cm (c. 13,18 x 18,3 inch) INFORMATIO...

Artist: Peter Max, German/American (1937 - ) Title: Reflections II Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 165 Size: 19 in. x 24 in. (48.26 cm x 60.96 cm)

"Ichimura Hazaemon as Hatsuyumeya Mitsujiro" is a woodcut print by Toyoharu Kunichika in red, blue, and black. 14" x 9 1/2" art 20 3/4" x 16 3/4" framed From the series “First Per...

A little Bit of London and A little bit of Canary Wharf diptych Overall size cm : H48 x W102 Jayson Lilley A little bit of Canary Wharf Limited Edition City Scape Print Hand pulled Screen Print with Gold Leaf, Finished with Pen and Ink on Archival Museum Board Size: H 24cm x W 51cm x Sold Unframed Edition of 50 (Please note that in situ images are purely an indication of how a piece may look.) Jayson Lilley A little Bit of London Limited Edition City Scape Art...

New York and California Artist, Harry Sternberg (1904-2001) Ooriginal etching. Pencil Signed lower right. The edition size is small, only 40, seen lower center on the print. It is un...

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

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 ...

Untitled . Offset Lithograph by Izumi Kato Printed in 2020 for the Exhibition at Perrotin Gallery Paris Sheet size: 58.5 × 39 cm (Framed 63 x 43 cm)

Frasconi, Antonio. SNAPSHOT. Cleveland 165. Woodcut in colors, 1950. Edition of 10. Titled, inscribed "Ed 4/10" and signed and dated in pencil. 22 1/4 x 14 15/16 inches in an oval fo...

Jules Perahim (1914-2008) The Light of Wisdom, 1974 Original lithograph Signed in pencil by the artist Numbered / 199 On Arches vellum 56 x 38 cm (c. 22 x 15 inches) INFORMATION : ...

Pablo PICASSO (1881-1973) Acrobats: Plate of Drawings by Picasso and Max Jacob, 1913 Original Etching (Paul Fort Workshop) Signed in the plate On Arches vellum, 48 x 38 cm (c. 19 x ...

Limited edition Photographic Mosaic. Edition of 30 The same incredible artwork on a slightly smaller scale. Joel creates these contemporary pieces by adding lots of tiny images of ...

1926. Drypoint. Appleby 119. 6 7/8 x 8 7/8 (sheet 9 x 12 1/4). Edition 100, #97. Printed by David Strang on cream laid paper. Wrinkling in the margins; otherwise fine condition. A rich impression with tonal wiping and drypoint burr. Signed and numbered in pencil.n pencil. Housed in a 16 x 20-inch archival mat, suitable for framing. The bathing machine...

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...

Marc Chagall - Bath-Sheba at the Feet of David - Original Handsigned Etching 1958 Printed by Tériade Dimensions: 54 x 39 cm Handsigned and numbered handcolored Edition: 100 Reference: Cramer 30. Etching with hand-coloring, circa 1930, initialled in pencil, numbered 75/100 (there were also twenty hors-commerce copies) , published 1958 by Tériade, Paris, on Arches wove paper Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Medium: original lithograph. Printed in 1970 for the art revue Derriere le Miroir (issue No. 188) and published in Paris by Maeght. Size: 15 x 22 inches (380 x 560 mm). There is a ce...

Butterfly blossom by Anne Storno Limited edition print and hand signed by the artist Screenprint on paper Images Size: H:52 cm x W:40 cm Complete size of unframed work: H:52cm x L:40cm x D:0.1cm Sold unframed Please note that the insitu images are purely an indication of how a piece may look. I have always believed that butterflies are magical and that if one lands on you, you can make a wish! So delicate and beautiful, I adore them. They effortlessly glide from flower to flower embracing their opportunity for freedom and change. Signifying sunshine and beauty, butterflies are everywhere in our culture. Often people say how butterflies are inspiring and that they can motivate one to change for the better. Maybe it’s their stunning beauty, or the fact that through metamorphosis they inspire change in a short period. Discover new works by Anna Harley available to buy online and in our art gallery. Anna Harley is a professional fine art screen-printer, making prints at Spike Print Studio in Bristol. She has a Masters Degree in Multi-Disciplinary Printmaking and lives in South Bristol...

Diane Keaton & Woody Allen "Annie Hall" Movie Oscar Academy Award Caricature Al Hirschfeld (1903-2003) Diane Keaton and Woody Allen in "Annie Hall" Plate Size: 13 x 9 3/4 Paper Size...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Artist: Keith Haring Title: Plate 2 from Story of Red and Blue (L. pp. 128-133) Medium: Screen print in colors on wove paper Sheet Size: 22 x 16.5 inches Frame Size: approx 28.5 x 22...

Excelsior by Simon Tozer [2021] limited_edition and hand signed by the artist Screenprint on Paper Edition number of 30 Image size: H:23 cm x W:30 cm ...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...

From a wonderful selection of hand-coloured mezzotint engravings from: "Phytanthoza Iconographia", c1739, presented in a hand-made parcel-gilt, ebonised and decalcomania frame...

Presented here as a group are four original etchings of women in European national dress from the master printmaker Wenceslaus Hollar's series "Aula V...

Moonlit by Ian Phillips [2022] limited_edition and hadn't signed by the artist Linocut Edition number 19/30 Image size: H:41 cm x W:28.5 cm Complete Size ...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. A signed Certificate of Authority will be included with all photographs. A nude boy...

"Dream Weavers" and "Soul of the Land" are two sides of a double-sided lithograph by Alphonse Mucha. These illustrations were created for "Ilsee, Princess of Tripoli" and are the rare proofs before the text. These artworks were for pages 31 and 32. 8" x 6 1/4" art 19 1/4" x 17 1/8" frame Alphonse Mucha was born in 1860 in the small town of Ivancice, Monrovia. Though it is rumored that Mucha was drawing before he was walking, his early years were spent as a choirboy and amateur musician. It wasn’t until after he finished high school that he came to realize that living people were responsible for the art that he admired in the local churches. That epiphany made him determined to become a painter. He was soon sent off to Paris, where he studied at the Academie Julian. On January 1, 1985, he presented his own new style to the citizens of Paris. Spurning the bright colors and the more square-like shape of the more popular poster artists, the design was a sensation. Art Nouveau can...

A print by Shepard Fairey. “Alto Arizona” is a contemporary, popular culture screenprint in black, red, and white by American street artist Shepard Fairey. The artwork is signed iin pencil, lower right, "Shepard Fairey 10", lower middle, "EAY 10" (Ernesto Yerena...

3 Panel Hand Colored Japanese Woodcut Print Lithograph Three panel hand colored woodcut lithograph from Nanso Satomi hakkenden, Tale of the Eight Dogs...

Medium: Color Etching with aquatint Year: 2024 Edition: 25 Image Size: 24 x 18 inches Signed, titled and numbered in pencil by the artist Dramatic etching of high wire walker Philip...

Artist: Eric Fischl, American (b. 1948) Title: Vincent: A Delirium Year: 1993 Medium: Collection of 6 Aquatints with prose by Frederic Tuten, lithograph inset into cover, signed and ...

Hand signed, numbered and dated by the artist. From Eight Little Nudes (D'Oench & Feinberg 123-30). Etching with drypoint and aquatint in colors on BFK Riv...

Artist: Francois Fanch Ledan Title: Monte Carlo - The Arms, Year: 1997 Medium: Lithograph on Arches Paper Size: 19 x 22 inches Signed in pencil and marked 198/200 UNFRAMED Born ...

Artist: Dan May (American, 1955-) Title: "Devil at Cocktail Hour" *Signed by May in pencil lower left Year: 2003 Medium: Original Monoprint on unbranded ...

Maurice DENIS (1870 - 1943) Study of a Praying Woman, 1918 Lithograph enhanced with pastel Printed signature in the plate On vellum 48.5 x 26.5 cm (c. 19,1 x 10,4 inch) INFORMATION...

The Shell Game is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 223/275 (there were also 100 Roman and 20 AP). F...

"A metaphor for the environmental peril we have created and the struggles future generations will face just to navigate climate-related problems like super storms, drought, famine, p...

Crite, Alan Rohan. THE REVELATION OF SAINT JOHN THE DIVINE. Limited Editions Club, NY, 1995. Number 88 of the edition of 300 copies. Large folio (22 x 16 inches) clamshell box in black cloth with morocco label, book in Black Cloth, with morocco label, 58 pages with the text of Revelations in the King James Version, and fifteen "relief engravings" (wood-engravings?) by Alan Crite...

Artist: Harold Altman (American, 1924-2003) Title: November 1981 III (Jardin du Luxembourg, Paris) Year: 1981 Medium: Original color lithograph Edition: Inscribed "Artist Proof" in pencil Paper: Arches Image size: 7.75 x 11.70 inches Framed size: 18.65 x 22.5 inches Signature: Hand signed and titled in pencil by the artist Condition: Excellent Frame: Custom framed in a wooden silver frame frame, with light light grey matting and brownish green fillet. About the artist. Print...

Artist: John Giorno Title: Poppies Have Pockets Packed With Narcotic Treats Portfolio: Welcoming the Flowers Date: 2007 Screenprint, signed, numbered, and dated in pencil Edition of ...

Artist: Robert Indiana, American (1928 - 2018) Title: Black Diamond from the American Dream Portfolio Year: 1962 (1997) Medium: Screenprint (unsigned) Edition: 395 Image Size: 14 x 1...

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 ...

Jellyfish Eyes - Black 5 by Takashi Murakami Offset print, numbered and signed by the artist 19 ¹¹/₁₆ × 19 ¹¹/₁₆ in 50 × 50 cm Edition 33/300 Takashi Murakami is best known for his...

This is a beautiful very small limited edition of only 10 - screen print. This is the only piece left and it is a beautiful no. 10/10. We love this piece because it imagines the fasc...

Numbered: 138/275 Color lithograph after the 1929 oil on canvas by René Magritte, printed signature of Magritte and numbered from the edition of 275. The lithograph features the dry...