Small Figurative Prints

Ellen Tiberino (1937-1992). Head of Woman, ca. 1980. edition 450. Offset print on paper, image measuring 15.5 x 21 inches. 21.5 x 27 inches in matting. Hand signed and numbered i...

This portrait depicts Rivera's second wife, the artist Frida Kahlo (1907-54), sitting on a bed wearing stockings and shoes and fastening rows of beads around her neck. An accident wh...

A lithograph by George Bellows. “Tennis (Tennis Tournament)” is a realistic lithograph on paper in black and white by American Realist, George Bellows. Bellows’ depictions of sportin...

The Kiss, no. 1 from the fifth installment of Das Werk Gustav Klimts Undoubtedly Klimt’s best known and most reproduced images, this printed version of The Kiss is the only one with which Klimt was directly involved. Unveiled at Vienna’s Kunstschau 1908, and saved for the fifth and final delivery of Das Werk, The Kiss marks a triumph in Klimt’s career and represents a culmination of many themes in his oeuvre up to that point. After all of the controversy surrounding the State’s prior rejection of the University murals commissioned from Klimt, the Ministry of Education reversed their policy toward the artist with a show of wholehearted support by purchasing for the Osterreichische Galerie BelvedereThe Kiss while it still hung in the Kunstschau exhibit. Considered in relation to the eight multicolored collotypes which preceded its print debut in the Das Werk portfolio, The Kiss literally embraces all which came before it. The golden seaweed dangling in tresses from the lovers’ feet harkens back to Water Snakes I and II. The bed of flowers evokes the settings Klimt created in both The Golden Knight and The Sunflower. In fact, this image sprung out of a particularly happy summer spent in the company of Klimt’s lover, Emilie Floge...

Image dimensions: 22.5 x 19 cm. Editions of 50 pieces (XVIII / L). Published in the Portfolio "La Prière". Signed and numbered on bottom left in pencil.

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Portrait de Jacqueline (Portrait of Jacqueline), from the folio Picasso, La flute double, 16 Dessins, Aq...

This artwork "Landscape with Trees" c.1980 is an original lithograph on wove paper by noted American artist Robert Kipniss, b.1931. It is hand si...

Venus Goddess With Horse from "Antiquities of Herculaneum" is an etching on paper realized by Filippo Morghen in the 18th Century. Signed on the plate. Good conditions with some fo...

Shepard Fairey Jasper Johns (White), 2009 Silkscreen on wove paper 24 × 18 inches Edition 198/450 Pencil signed and numbered 198/450 on the front Unframed Shepard Fairey created this...

In this charming regionalist lithograph, Benton captures a classic Midwestern American scene: two men talking, drinking, and smoking together in a bar. Titled 'Discussion', the artwo...

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...

Paul Cadmus, 'Two Boys On A Beach, No. 1', etching, 1938, edition 75, Johnson & Miller 85. Signed in pencil and initialed in the plate in the lower right image corner. Annotated by t...

Christo Wrapped Building Project for 1 Times Square, New York, 1985 Lithograph, collage on cardboard Ed 17 of 100 18 x 22 in Christo became famous for his monumental collaborations...

This piece titled "Jake Yeager Untitled 7" is an original artwork by Jake Yeager and is made from spray paint and screenprint. This piece measures 24”h x 18”w. About Space 1026...

Judy Rifka (American, b. 1945) 44/84 Lithograph on paper titled "Thou Shalt Not Bear False Witness against Thy Neighbor"; Depicting an abstract composition in blue, green, red and black tones with Hebrew script. Judaica interest. (I have seen this print described as a screenprint and as a lithograph) Hand signed in pencil and dated alongside an embossed pictorial blindstamp of a closed hand with one raised index finger. Solo Press. From The Ten Commandments Kenny Scharf; Joseph Nechvatal; Gretchen Bender; April Gornik; Robert Kushner; Nancy Spero; Vito Acconci; Jane Dickson; Judy Rifka; Richard Bosman and Lisa Liebmann. Judy Rifka (born 1945) is an American woman artist active since the 1970s as a painter and video artist. She works heavily in New York City's Tribeca and Lower East Side and has associated with movements coming out of the area in the 1970s and 1980s such as Colab and the East Village, Manhattan art scene. A video artist, book artist and abstract painter, Rifka is a multi-faceted artist who has worked in a variety of media in addition to her painting and printmaking. She was born in 1945 in New York City and studied art at Hunter College, the New York Studio School and the Skowhegan School of Painting and Sculpture in Maine. Rifka took part in the 1980 Times Square Show, (Organized by Collaborative Projects, Inc. in 1980 at what was once a massage parlor, with now-famous participants such as Jenny Holzer, Nan Goldin, Keith Haring, Kenny Scharf, Jean-Michel Basquiat, and Kiki Smith, the roster of the exhibition reads like a who’s who of the art world), two Whitney Museum Biennials (1975, 1983), Documenta 7, Just Another Asshole (1981), curated by Carlo McCormick and received the cover of Art in America in 1984 for her series, "Architecture," which employed the three-dimensional stretchers that she adopted in exhibitions dating to 1982; in a 1985 review in the New York Times, Vivien Raynor noted Rifka's shift to large paintings of the female nude, which also employed the three-dimensional stretchers. In a 1985 episode of Miami Vice, Bianca Jagger played a character attacked in front of Rifka's three-dimensional nude still-life, "Bacchanaal", which was on display at the Museum of Art Fort Lauderdale. Rene Ricard wrote about Rifka in his influential December 1987 Art Forum article about the iconic identity of artists from Van Gogh to Jean-Michel Basquiat and Keith Haring, The Radiant Child.The untitled acrylic painting on plywood, in the collection of the Honolulu Museum of Art, demonstrates the artist's use of plywood as a substrate for painting. Artist and writer Mark Bloch called her work "imaginative surfaces that support experimental laboratories for interferences in sensuous pigment." According to artist and curator Greg de la Haba, Judy Rifka's irregular polygons on plywood "are among the most important paintings of the decade". In 2013, Rifka's daily posts on Facebook garnered a large social media audience for her imaginative "selfies," erudite friendly comments, and widely attended solo and group exhibitions, Judy Rifka's pop art figuration is noted for its nervous line and frenetic pace. In the January 1998 issue of Art in America, Vincent Carducci echoed Masheck, “Rifka reworks the neo-classical and the pop, setting all sources in quotation for today’s art-world cognoscenti.” Rifka, along with artists like David Wojnarowicz, helped to take Pop sensibility into a milieu that incorporated politics and high art into Postmodernism; Robert Pincus-Witten stated in his 1988 essay, Corinthian Crackerjacks & Passing Go that "Rifka’s commitment to process and discovery, doctrine with Abstract Expressionist practice, is of paramount concern though there is nothing dogmatic or pious about Rifka’s use of method. Playful rapidity and delight in discovery is everywhere evident in her painting." In 2016, a large retrospective of Rifka's art was shown at the Jean-Paul Najar Foundation in Dubai. In 2017, Gregory de la Haba presented a Rifka retrospective at the Amstel Gallery in The Yard, a section of Manhattan described as "a labyrinth of small cubicles, conference rooms and small office spaces that are rented out to young entrepreneurs, professionals and hipsters". In 2019 her video Bubble Dancers New Space Ritual was selected for the International Istanbul Bienali. Alexandra Goldman Talks To Judy Rifka About Ionic Ironic: Mythos from the '80s at CORE:Club and the Inexistence of "Feminist Art" Whitehot Magazine of Contemporary Art. She was included in "50 Contemporary Women Artists", a book comprising a refined selection of current and impactful artists. The foreword is by Elizabeth Sackler of the Brooklyn Museum’s Sackler Center for Feminist Art. Additional names in the book include sculptor and carver Barbara Segal...

Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described extreme reservations, he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill..At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of The beginning and the end of history...

This beautiful color woodblock print by Paul Jacoulet was printed in 1940. This limited-edition work is numbered on the verso: 102 from the edit...

Artist: Henri Matisse Title: Teeny Portfolio: Other Portfolios Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19" x 16 1/4" Sheet Size: 12 1/4” x 9 1/2” Image Size: 11 7/...

Yoshitomo Nara The Little Star Dweller Offset lithograph on paper Sheet size: 51.5 x 36.4 cm Stamped with title, artist's name, copyright and year published by N's Yard, Japan

The Jolly Flat Boat Men, 1847 After George Caleb Bingham (American, 1811-1879) Engraved by Thomas Doney (French, active New York 1844-1849) Engraving with Hand-Coloring Published by The American Art-Union, New York (1838-1851) Printed by Powell and Co. 18 x 24 inches 32 x 38 inches with frame In 1847, the American Art-Union purchased Bingham’s painting "The Jolly Flat Boat Men" (1846; National Gallery of Art) directly from the artist. The subscription-based organization, founded in 1838 as the Apollo Association, boasted nearly ten-thousand members at this date. For an annual fee of five dollars, each received a large reproductive engraving and was entered in a lottery to win original artworks exhibited at the Art-Union’s Free Gallery. Aimed at educating the public about contemporary American art, the organization developed an impressive distribution network that reached members in every state. The broad circulation of the Art-Union's print helped to establish Bingham's reputation and made his river scene famous. Born in Augusta County, Virginia in the Shenandoah River Valley, George Caleb Bingham became known for classically rendered western genre, especially Missouri and Mississippi River scenes of boatmen bringing cargo to the American West and politicians seeking to influence frontier life. One of his most famous river genre paintings was The Jolly Flatboatmen completed in several versions in 1846. This first version of this painting is in the Manoogian Collection at the National Gallery of Art. Fame resulted for this work when it was exhibited in New York at the American Art Union whose organizers made an engraving of 10,000 copies and distributed it to all of their members. Paintings such as Country Politician (1849) and County Election (1852) and Stump Speaking (1854) reflected Bingham's political interests. In 1819, as an eight-year old, he moved to Boon's Lick, Missouri with his parents and grandfather who had been farmers and inn keepers in the Shenandoah Valley near Rockingham, Virginia. Reportedly as a child there, he took every opportunity to escape supervision to travel the River and watch the marine activity. His father died in 1827, when his son was sixteen years old. His mother had encouraged his art talent, but art lessons were not easily obtainable. In order to earn money, he apprenticed to a cabinet maker but determined to become an artist. By 1835, he had a modest reputation as a frontier painter and successfully charged twenty dollars per portrait in St. Louis. "His portraits had become standard decorations in prosperous Missouri homes." (Samuels 46). In 1836, he moved to Natchez, Mississippi and there had the same kind of career, only was able to charge forty dollars per portrait. He remained largely self taught until 1837, when he, age 26 and using the proceeds from his portraiture, studied several months at the Pennsylvania Academy of the Fine Arts. He later said that he learned much of his atmospheric style and classically balanced composition by copying paintings in collections in St. Louis and Philadelphia and that among his most admired painters were Thomas Cole, John Vanderlyn, and William Sidney Mount. Between 1856 and 1859, Bingham traveled back and forth to Dusseldorf, Germany, where he studied the work of genre painters. Some critics think these influences were negative on his work because during that time period, he abandoned his luminist style that had brought him so much public affirmation. Bingham credited Chester Harding (1792-1866) as being the earliest and one of the most lasting influences on his work. Harding,a leading portraitists when Bingham was a young man, had a studio in Franklin, near Bingham's home town. In 1822, when Bingham was ten years old, he watched Harding finish a portrait of Daniel Boone. Bingham recalled that watching Harding with the Boone portrait was a lasting inspiration and that it was the first time he had ever seen a painting in progress. Harding suggested to Bingham that he begin doing portraiture by finding subjects in the river men, which, of course, opened the subject matter that established fame and financial success for Bingham. Harding also encouraged Bingham to copy with paint engravings. He later painted two portraits of Boone but, contrary to the assertions of some scholars, he did not do Boone portraits in the company of Harding. Bingham's portraits of Boone are not located, but one of them, a wood signboard for a hotel in Boonville circa 1828 to 1830, showed a likeness of Boone in buckskin dress...

Title page numbered: 263/450. Includes handmade, gold-leaf frame.

Old Houses, Milbank Grosvenor Road London 1906 This an etching of Grosvenor Road Old Houses, done in 1906 by American printmaker and Whistler biographer Joseph Pennell (American, 18...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Good condit...

Pink time, 2009 by Takashi Murakami Offset print, numbered and signed by the artist in gold and silver ink 19 11/16 × 19 11/16 in 50 × 50 cm Edition 139/300 Dokuro (literally starv...

Jean Cocteau - Olé - Original Lithograph 1934 Signed and dated in the plate Numbered in pencil Edition : /200 Dimensions: 50 x 33 cm Provenance : Succession Dermit, Cocteau's heir

Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron catalog 89.state ii. 9 x 14 7/8 (sheet 13 1/4 x 18 7/16 ). Edition 115 recorded impressio...

Francois BOUCHER Allegory of Love : Woman surrounded by Angels and Doves Etching Unsigned On Vellum 38 x 50 cm (c. 15 x 20 in) Probably edited c. 1950 Excellent condition

This artwork depicts the town of Hirschhorn, a resort town in Germany on the River Neckar near Heidelberg. It is an original color etching by Austrian/American artist Tana Kasimir Ho...

Biagio Civale, Italian/American (1936 - ) - Pieta, Medium: Screenprint, Signed and Numbered in Pencil, Edition: 70/100, Size: 19 x 13 in. (48.26 x 33.02 cm)

DELAYED VD; 1946 military poster by Franz Oswald Schiffers. Delayed! VD, the 1946 U.S. World War II (WWII) health poster warning soldiers overseas of the consequences of venereal disease. He can see the bright lights big city in the distance but he is chained to the VD block... VD Almost! is a vintage 1946 public service announcement poster by Franz O. Schiffers (1902-1976). Schiffers was commissioned to create several posters warning against venereal disease for the U.S servicemen stationed overseas. The artwork is bold, clear and direct. In the post-World War II era, the piece sent a serious message to prevent contracting disease through relations with foreigners. In today's day and age, these pieces are quite humorous and decorative. Virile soldiers are shown to be up against the looming threat of venereal disease. The soldier standing on the pier watching his ship sail away would have to make a very embarrassing explanation to his wife or girlfriend as to why he was left behind. Franz Oswald Schiffers (born August 5, 1902 in Eilendorf in Aachen , February 12, 1976 in Berlin ) was a graphic artist and film poster artist . He was one of the first graphic artists of the 1930s to achieve photorealistic effects in their works. At his father's request, Schiffers initially trained as a teacher before moving to Berlin in 1925 and became a graphic designer at UFA (Universum Film AG). After designing a series of movie posters there, Schiffers became independent in 1932 as a commercial artist (now a graphic designer). In the 1930s, Schiffers specialized in advertising posters for beverage producers - especially beer advertising. The trademark of his beer posters is the meticulous design of beer glass with shiny drops of water that trickle down the misted glass. In this photorealistic context one also speaks of " veristic " graphics. After the seizure of power by the National SocialistsNazis , Schiffers temporarily worked for the Reich Propaganda Ministry. He designed u. a. the so-called "shadow man campaign" with the well-known slogan "enemy hears with!" - A German graphic artist who designed movie posters and advertisements in late-1920s and early 1930s Germany. During the Nazi era, Schiffers was commissioned by the Nazi propaganda office to create German propaganda...

Original 1940 Loterie Nationale Vintage Poster. Tranche de l”Historie de France. Linen-backed in very good condition – excellent, ready to frame. The team of Eddgard Derouet and C...

Alvin Carl Hollingsworth, American (1928 - 2000) - Equis Allegory, Year: circa 1960, Medium: Hand painted Lithograph on paper, signed in the plate lower right, Size: 11 x 15.5 in....

Georg Baselitz (German, b. 1938) Serpentine (Blue), 2022 Medium: Etching with sugar lift aquatint on wove paper Dimensions: 53 × 39 cm (20 9/10 × 15 2/5 in) Edition of 50: Hand-signe...

Al Hirschfeld Sex and the City, 2002 Color lithograph on Arches cover paper with deckled edges Pencil signed and numbered 274/300 on the front 20 × 20 inches Unframed Classic color l...

Price is for the set of 12 framed engravings. Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made pa...

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

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

"Men Who Are Men" is a pseudo-documentary written and directed by Jeff Balsmeyer and Kirby Dick. The film was showcased at the Bleecker Street Cinema, a renowned venue in New York Ci...

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 ...

Accompanied by a lantern, an elderly man sits alone, engrossed in a newspaper. Benton used a lithographic process to draw and produce this image. He renders the face and paper well-l...

Artist: Leonor Fini (Argentine / French, 1908-1996) Title: Blind Man's Bluff Year: circa 1970 Medium: Lithograph, signed in pencil Edition: EA 35 Image Size: 10 x 7 inches Frame Size...

Bob Stanley Lauren Bacall Lights Humphrey Bogart's Cigarette, 1966 Color Silkscreen on paper with full margins (S/N) 22 1/2 × 17 inches Hand signed and dated on the lower right front...

An original fine art print by Jacob Lawrence from the Kent Spirit of Independence Poster Portfolio, published in 1975 by Lorillard. The offset prints from this portfolio are unsigned...

This surreal botanical print by Salvador Dali is from a suite of 10 engravings called "Flora Dalinae". Growing from a vine are leaves shaped like lips an...

Yoshitomo Nara Thinking My Home Offset lithograph on paper Sheet size: 51.5 x 36.4 cm Stamped with title, artist's name, copyright and year published by N's Yard, Japan

Shadows on the Ramp. 1927. Drypoint and sand ground. McCarron 64. 9 x 10 1/2 (sheet 12 3/8 x 14). Edition 75 recorded impressions. A rich, tonal impression with drypoint burr, printe...

Original lithograph on paper Bears the AWAAB and Estate of Andy Warhol stamps, on verso Annotated with initials 'LC' and a unique authenticity number in pencil, on verso Accompanied ...

Kabuki actor Nakamura Shikan II by Utagawa Kunisada Japanese Woodblock Print Wonderful portrait of Nakamura Shikan II, a prominent kabuki actor, in the role of Kisen Hoshi Toyokuni ...

WALKING BLINDLY is an original hand drawn limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor best known for her depictions of the African-American experience. WALKING BLINDLY portrays a young Black woman dressed in a magenta pink cardigan, white blouse, and blue green tweed texture skirt dancing by herself, centered amid a gray watercolor wash background surrounded by simple line drawn figures of an older woman shouting/singing praise, a forlorn young boy seated with his head down, and an older man standing, looking downward, holding a flask in his hand. This moving composition by Elizabeth Catlett is from the FOR MY PEOPLE suite of prints, a set of 6 lithographs...

Valentine Love (number 10 white) R By Agent X [2021] limited_edition Mixed Media Edition number 100 Image size: H:55 cm x W:55 cm Complete Size of Unframed Work: H:55 cm x W:55 c...

Jean Marais (1913 - 1998) Christmas Tree and Horses Original lithograph Signed with the stamp of the artist (Also bears printed signature in the plate) Numbered / 100 copies On vell...

This artwork "chrysanthemum" is an original linocut print on paper by American botanical artist Henry Evans, 1918-1990. It is hand signed, titled, dated and numbered 213/320 in penc...

Love Bird is a lithograph on paper, 9.25 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 202/275 (there were also 100 Roman and 20 AP). Fram...

All The Things - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yoursel...

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

“The Hollywood Divas” portrays two imaginary actresses belonging to the Hollywood world of the 1950s. The outfits each one wears are characteristic of that environment and era. It is...

Tentez Votre Chance Loterie Nationale original antique French art deco poster; image created by artist Francois del Ry. "Try Your Luck National Lottery." This is a small format size...

W Hahn - Adam & Eve, Year: 1954, Medium: Woodblock on Japon, signed, titled, numbered and dated in pencil, Edition: 5/50, Image Size: 15 x 11 inches, Size: 18.5 x 15 in. (46.99 ...

Original American Airlines San Francisco vintage travel poster. Artist: Dong Kingman, 1970s linen-backed authentic travel poster, ready to frame. Grade A- condition. Size 20...

Lithograph on grand vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Parallèlement, Illustré ...