Late 20th Century Figurative Prints

George McNeil, American (1908 - 1995) - Debonair Disco, Year: 1984, Medium: Embossed Etching with Aquatint, signed, numbered and dated in pencil, Edition: 38/50, Size: 31 x 42.25...

Keith Haring Fun Gallery 1983: Original 1983 Keith Haring illustrated exhibition poster published on the occasion of Haring's historic 1983 show at the Fun Gallery in the East Village. A classic array of early Haring imagery that reveals red and black interlocking figures. A rare example in very good overall vintage condition. Offset lithograph in colors on smooth wove paper. 23 x 29 inches. Only some minor signs of handling; in otherwise very good overall vintage condition with strong colors; one of the better examples we've come across. Stored away from light; never mounted or framed. Unsigned from an edition of unknown; scarce. Catalog Raisonne: Keith Haring: Posters (Prestel Publishing). References: Included in the collection of the Cooper Hewitt, Smithsonian Design Museum. About the Fun Gallery: Historic, short-lived, East Village gallery known for giving Keith Haring, Basquiat & Kenny Scharf some of their first solo shows. “FUN Gallery was a place where neighborhood kids, downtown artists, b-boys, rock, film, and rap stars mixed with museum directors art historians and uptown collectors at wild openings featuring artists like Futura, Fab 5...

"Etch A Sketch Sampler" - 1989 Multimedia on Paper Lithograph titled "Etch A Sketch Sampler" by Lilya Vorobey. From a suite of prints from College of San Mateo class of 1989, instru...

In 1988, the Musée Picasso-Château Grimaldi in Antibes hosted a retrospective exhibition of André Brasilier's work, showcasing his artistic journey and contributions. Brasilier, born...

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork entirely made in France: from th...

Moore, Henry (British, 1898-1986). SIX HEADS - OLYMPIANS. (C. 657), 1983. Lithograph in colors on Arches paper, signed in pencil and numbered XXV/XXXV (Artist's Proofs additional to ...

Title: Zion Subject: Various biblical images depicting Creation and prayer 1922 Medium: woodcut Frame: 14" x 18" Image: 12.5" x 16.75" Provenance: owned and signed verso by Peter Keil. Central panel shows the Jewish star over a crown, with inscription in Hebrew: "When God comforts Zion, He will comfort all its ruins and make its deserts look like Eden," and "You have sanctified the seventh day, the goal of creation of Heaven and Earth." This is flanked by a Palestinian farmer pioneer on the left and a Jew praying on the right. The lower tier shows six vignettes of the days of creation from Genesis. Hermann Fechenbach was born in 1897 in Württemberg, Germany. He grew up in Bad Mergentheim where his parents had an inn, which served as a meeting place for the local Jewish community. He left school early and through family connections with clothing retailers received training in window dressing. His skill with brush writing was quickly recognised by a big firm in Dortmund where he was responsible for the displays in 10 large windows. He received his conscription papers in 1916 and recalls “being as patriotic as any other fool”. In August 1917 he was involved in a grenade attack in which he was the sole survivor. With serious injuries to both legs he struggled to safety and was eventually transported to a front line “slaughterhouse” where the first of a series of amputations was performed which led to the loss of his left leg. As a result of his injuries his father dropped his opposition to him becoming an artist. His formal art education started in 1918 with training at a Stuttgart handcraft school for invalids. He attended the Academies in Stuttgart and Munich to learn painting and restoration for 3 years. He was influenced at this time by Max Liebermann. He has been compared to Kathe Kollwitz and was a contemporary of Jakob Steinhardt and hermann Struck. In 1923 he went to Florence for a year. While in Florence he started to produce a series of miniature wood engravings to illustrate the stories of Genesis. This was followed by periods in Pisa, Venice, Vienna and Amsterdam. In 1924 he returned to Stuttgart to paint in the contemporary style “Die Neue Sachlichkeit”. (The New Objectivity was a movement in German art that arose during the 1920s Weimar republic as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. These artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen) Every spring and autumn he exhibited at the “Kunstgebit” which served as the showcase for all serious artists of the period. His professional status “Kunstmaler und Grafiker” was recognised by Berlin in 1926. Practically all his work from this period was sold following exhibition. In 1926 he collaborated with an architect friend to build a bungalow in Hohenheim, a non-Jewish area and a suburb of Stuttgart. Hermann alternately lived in his country bungalow and his town studio, producing portraits for sale or barter and wood engravings for his own pleasure. In 1930 he married a non-Jewish professional photographer – Greta Batze. They had a studio in Stuttgart, which was used to teach art to a group of 12 students. In 1933 the Nazi influence removed his name from the official state register together with the right to exhibit. By spending most of his time in his bungalow out of the Jewish quarter the Fechenbachs escaped being registered by the Nazis for some years. They were ostracised and abused by their non-Jewish neighbours. Hermann made weekly visits to friends in town to teach them the practical skills they would need assuming they were to escape from Germany. His energies were directed towards protection and survival. Ultimately the Nazi persecution forced the Fechenbachs to flee their homeland. They moved to Palestine for 3 months in 1938, but found the political and physical environment unsustainable. Greta arrived in England penniless in January 1939 to work as a domestic servant and to find a guarantor for her husband. Hermann arrived in May 1939. They moved to Blackheath a few months later. Hermann resumed his painting and engraving as a means of earning a living. He raised enough money to get his parents out of Germany to join his brothers in Argentina but was unable to save his twin sister Rosa who died in a Nazi concentration camp. In 1940 Hermann was interned in Bury as a suspect alien. He protested about his treatment by starting a hunger strike. Because of his persistence he was moved to a prison in Liverpool. From Liverpool he was moved to the Hutchinson Camp in the Isle of Man with fellow artist Kurt Schwitters. Arrangements were made for Greta to be accommodated near by. While interned he commenced work on “Refugee Impressions”, a series of linocut prints (no wood was available). In 1941 when released from internment the Fechenbachs came under the sponsorship of Dr. Bela Horovitz, the Austrian art publisher who in turn made an introduction to Professor Tancred Borenius. They were offered lodgings with a family in Oxford. Hermann had his first public exhibition for many years in a small gallery in Oxford in 1942. A second exhibition of oils, pencil drawings, coloured linocut and woodblock prints held later in the year was opened by the mayor of Oxford and critically acclaimed. In 1944 the first London exhibition took place at the Anglo-Palestinian club in Piccadilly. There were two exhibitions at the Ben Uri Art gallery during this period. In 1948 a second exhibition at the Anglo Palestinian club was inaugurated by a member of the Rothschild family and several members of Parliament. This was a great success. In 1944 the Fechenbachs moved to a top floor studio flat in Colet Gardens. Open exhibitions were held each Spring at the Embankment from 1946 to 1951. Movietone News produced a short feature on the artist, which was shown in cinemas in England and Germany. In 1969 he published the Genesis story in a hard back volume containing 137 prints. He started to research the fate of the entire Jewish community of Bad Mergentheim during the period of the second world war, liaising with historian Dr. Paul Sauer and Professor Max Miller, historian and theologian. In 1972 Kohlhammer published his partly autobiographical book “The last Jews of Mergentheim”. He exhibited at the Anglo-Palestinian Club & the Ben Uri Gallery in the 1940s. His works only came to prominence during the last year of his life when he exhibited at Blond Fine Art. Peter Keil part of the Junge Wilde. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl, Hubert Schmalix...

The Godfather Part II - Original 1974 Lobby Card #9 Vintage 1974 The Godfather Part II Lobby Card: The early life and career of Vito Corleone in 192...

Kiki Smith Tattoo Print, 1995 Silkscreen and ink transfer on wove paper Signed, dated 1995 and numbered 96/100 in graphite pencil on the front Another example of this edition is in t...

Senghor, Leopold Sedar. POEMS OF LEOPOLD SEDAR SENGHOR with illustrations by Lois Maillou Jones. Limited Editions Club, NY, 1996. Number 88 of the e...

Luciano Pavarotti & Frank Sinatra in Concert Music Legends Grammys Litho Al Hirschfeld (1903-2003) Luciano Pavarotti and Frank Sinatra in Concert Limited Edition Etching Sight: ...

Olympia - Poster is a vintage poster realized by the italian artist Francesco Clemente (Naples, 1952) in occasion of the XIV Winter Olympics games in Sarajevo, in 1984. Very good co...

Hand signed, dated and numbered by the artist. Serigraph on paper. Edition of 150. Additional images available upon request. Certificate of authenticity included. Artwork in excelle...

This artwork titled "Someday" c.1980 is an original colors offset lithograph on Wove paper by noted American artist Sheldon C. Schoneberg, 1926-2012. It is hand signed, titled and numbered 10/425 in pencil by the artist. The image size is 20 x 25 inches, sheet size is 21.75 x 29.5 inches. It is in excellent condition, it has as a small brown ink spot in the bottom margin under the title. has never been framed. About the artist: Born in Oak Park, Illinois; family moves to Beverly Hills; Attends El Rodeo, Beverly Hills High then Chouinard Art Institute, Los Angeles; University of Southern California, BFA cum laude. MFA, 1951; Academia di Belle Arti, Rome, 3rd Year Certificate; Universidad Michoacana, Morelia, Mexico, 1952, Graduate School - Fresco Printings. TEACHING: Santa Monica College, 1947; Hollywood Art Center School 1948; Pratt University, New York, 1950; Academic Rank of Full Professor of Art - University of New York, New Paltz, 1964 and University of Southern Maine 1967; Master Drawing Classes, Paris-American Academy of Art, Paris, France 1984-1985, Drawing, Painting and Contemporary Art History- University of New England, Biddeford, Maine 1993 - 2002. CYCLES OF WORKS IN ART: • Biblical, American Indian, Rome 1948-62, Oil Paintings • Drawings Wash and Ink, Wood and Ink, Sepia Conte and Ink, Pastels 1940-1968, California, New York, Maine • Archetypal Frescos 1948-55, Mexico, California, Israel • Goyescas, Satiric Ink and Wash Sketches, Spain and Greece 1954-1962 • Tapestries of the Zodiac 1961-1963, Spain • Para-Mandalas, Collages, Mixed-Media, Oil Paintings 1961-1967 • Flower-Children Series and Flag Series, Charcoal Pastel Drawings, California and Maine 1965-2008 • Bas-Relief polyester Resin Sculpture, Bronze Sculpture, 1966-1968 • The Centaurs Garden Suite, Centre Genevois de Grauvure Contemporaine, Geneva, Switzerland, lithographs on stone and etchings 1971 • Oil Paintings,Landscapes, Portraits, Nudes and Still Lifes, Mykonos, Greece, Spain, California, France, Mexico, Maine, British Columbia, Switzerland 1960-2008 • Barbary Coast Drawings, Full Color and Monochromatic 1967-1994 • The Apocalypse Series, Acrylic and Oil Paintings, Drawings 1973-1983 • Charcoal Pastel Drawings, California, Maine, France, Switzerland 1946-2008 • Metamorphous Series, Charcoal Pastel Collage Drawings on Museum Board 1987-2008 • Collage Series Drawings, San Francisco, Limington, New paltz, Los Angeles 1958-2008 • Poster Series, 90+ Charcoal Pastel Drawings on Museum Board 1985-2008 • Fayum Portrait Series, Charcoal-Pastel and Fauve Drawings 1992-2008 • Formal and Informal Portraits - Oil Paintings, Drawings, Models, Commissions, Compositions, Re-Creations 1942-2008 • Murals- Commissiond, Given and Inspired Oil paintings, Drawings, Acrylic Paintings, Collage Drawings 1936-2008 • Maquettes-100+ small original Charcoal Pastel Drawings for commissions 1970-2008 • The Great Masters of Art Series 1998-2008 • Flower Oil Paintings on Canvas ( Sunflowers, Hydrangas,etc) 2000-2008 EXHIBITIONS: INTERNATIONAL: COMBINED TOTAL OF 214, INCLUDING 82 ONE_MAN EXHIBITIONS. A SELECTION FOLLOWS. • Museum of Munich 1948 • Museum of Morelia, Michoacan, Mexico 1952 • Hellenic-American Union, Athens, Greece 1961 • Casa de Cultura, Malaga, Spain 1964 • Exposition Internationale d'Art de Mode, Val de Grace, Paris, France • 20th Anniversaire Paris American Academy 1985 • Gallery International Inc, St Maarten, Netherlands Antilles 1990-93 • National Museum of Mexico,D.F.1970-2008 Genesis Fresco 12'x35' • Galerie du Carlton, La Croisette, Cannes, France 1964-78 • Galerie des Champs-Elysees, Paris, France 1966-78 • Galeria "M" Copenhagan, Denmark 1967 • Galerie del Cisne, Madrid, Spain • Upper Grosvenor Galleries, London England 1966-68 • Kunsthandel Monet, Amsterdam Holland 1960-80 • Harrison Galleries, Vancouver BC Canada 1970-2008 • Guild Gallerie Calgary, Canada 1975-98 SELECTED EXHIBITIONS: USA • University of Southern California 1950 • Palos Verdes Community Galleries, CA 1955 • Cowie Galleries, Los Angeles, CA 1956 • Los Angeles Municipal Galleries, Barnsdall, CA " Art of the Mural" 1959 • Maxwell Galleries, San Francisco, CA 1962-63 • Raymond Burr Galleries Beverly Hills, CA 1961-64 • Gallery 235, Chicago,IL 1967 • Triton Museum of Art, Santa Clara CA (Retrospective 1969-2008) • Lars Laine Art Galleries, Palm Springs, CA 1969-84 • Two Squares Gallery, Denver, CA 1966-70 • Fisk University Art Museum, Nashville TN 1968 • Lewis Galleries, Omaha Nebraska 1973-2008 • Talberts Galleria Tacoma, WA 1978-2008 • Lyon Art Gallery San Francisco CA 1974-1980 • Owl 57 Galleries Woodmere NY 1979-2008 • Walt Kuhn Galleries, Cape Neddick...

Otono Floral, 1995 Hand-painted, 15-color screenprint with poured resin 40 x 30 inches (102 x 76 cm) Edition of 80 signed in pencil and stamped on verso "Sexual Spring-like Win...

RECEIVING HAND is a hand drawn original lithograph printed using hand lithography techniques on archival Arches printmaking paper 100% acid free. RECEIVING HAND a finely detailed hand drawn example of Fantastic Realism...

Al Hirschfeld, American (1903 - 2003) - There's No Biz Like Show Biz, Year: 1989, Medium: Lithograph, signed and numbered in pencil, Edition: 27/175, Size: 30 x 21 in. (76.2 x 53...

Caricature etching by American artist Charles Bragg. A group of jurors stare aimlessly around a courtroom. The Jury Charles Bragg, American (1931–2017) Date: 1976 Lithograph Image S...

THÉO TOBIASSE – "CANTATE 51 DE BACH POUR LES JOURS DE LUMIÈRE" ⚜ Lithograph on paper ⚜ Hand signed and numbered ⚜ Conservation framed SYMPHONIC FIGURATION FROM TOBIASSE’S FEMME SERI...

This whimsical and surreal etching by Mexican artist Maximino Javier, dated 1984, embodies his unique visual language that blends fantasy, folklore, and satire. Executed with intrica...

This artwork titled "La Cote d'Azur" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Jean Claude Picot, 1933-2020. It is hand signed and ...

This artwork, titled "Clown sur Fond Bleu" from the suite "Clowns" 1985, is an original color lithograph on Arches watermarked paper by renown French artist Bernard Buffet, 1928-1999...

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork en...

This artwork titled "Mirror Pass" 1977 is an original color screenprint by noted Native American artist Earl Biss, 1947-1998. It is hand signed, dated and numbered 37/100 in pencil by the artist. The artwork (image) size is 29 x 21 inches, framed size is 38.5 x 30 inches. Custom framed in a wooden silver and blue frame, with fabric matting. It is in excellent condition. About the artist: Born in Washington state, Earl Biss became a well-known Native American artist. He was raised by his grandmother on the Crow reservation in Montana and earned a scholarship to the Institute of American Indian Art in Santa Fe where he studied jewelry design. He attended the San Francisco Art Institute and then traveled widely in Europe where he was heavily influenced by the impressionist style of Monet and other European artists. His paintings have a dream-like, abstract quality with Indian figures merging with the landscape. He worked on numerous paintings, sometimes as many as twenty, simultaneously. On October 18, 1998, he died from a stroke while in his studio painting. • 1965 - 1966 Studied at the Institute of American Indian Arts (IAIA) in Santa Fe, New Mexico. Was a member of the inaugural class. The IAIA was founded in 1962. • Studied under Fritz Scholder, Charles Loloma, Alan Houser...

Jean Sariano, Algerian/American (1943 - ) - Private Parties, Year: 1979, Medium: Etching, signed and numbered in pencil, Edition: 300, Size: 16.25 x 30.5 in. (41.28 x 77.47 cm)...

Jean Jansem (1920-2013) Le coffre et la lanterne, 1986 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 67 x 51 cm / 76 x 54 cm D'une édition à 30...

Original vintage French poster: Christian Dior Homage. (Homage à Christian Dior) Artist: Rene Gruau. Mint condition Original. Size: 15.75" x 24" Very fine condition; read...

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

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Féerie et Le Royaume, Lithographies Originales de Marc Chagall, 1972...

Silkscreen on vélin paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Poems of Léopold Sédar Senghor, 1996. Published by The Limited Editions Club, New York; printed by Studio Heinrici, Ltd., New York, under the direction of Alexander Heinrici, New York, 1996. Excerpted from the album, CCC examples of this album have been printed by Daniel Keleher at Wild Carrot Letterpress. This edition was designed and set in Bodoni types by Dan Cart and Julia Ferrari at Golgonooza Letter Foundry. The silkscreen prints were made by Alexander Heinrici at Studio Heinrici. LOIS MAILOU JONES (1905-1998) was an African American artist and educator, often associated with the Harlem Renaissance. Jones was raised in Boston by working-class parents who emphasized the importance of education and hard work. After graduating from Boston’s School of the Museum of Fine Arts, Jones began designing textiles for several New York firms. She left in 1928 to take a teaching position at Palmer Memorial Institute in North Carolina. At Palmer, Jones founded the art department, coached basketball, taught folk dancing, and played the piano for Sunday services. Two years later, she was recruited by Howard University in Washington, D.C., to join its art department. From 1930–77, Jones trained several generations of African American artists, including David Driskell, Elizabeth Catlett, and Sylvia Snowden...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

"Shiny Nude" by Tom Wesselmann, published by Parasol Press LTD. and printed by A. Colish Press, stands out for its glossy finish and vibrant depiction of th...

Artist: John Maxon (American, born 1947) Title: Dust Time Year: 1993 Medium: Color lithograph Edition: Numbered 146/210 Paper: Arches Image size: 26.5 x 39.75 inches Paper size: 31.5 x 44 inches Signature: Hand signed in pencil by the artist Condition: Excellent, has never been framed About the artist. Coming from a very western tradition in Wyoming, John Maxon developed an expansive view of nature . Moving eventually to the San Francisco Bay area, John's delight in the effects of light and color led him to the decision to become an artist at the young age of 15. His natural ability was encouraged, and at 16 he began figurative art classes with Howard Brodie, the artist well known for his WWII correspondence, drawings and the Watergate trial drawings. Education San Francisco Art Institute B.A., Painting, San Jose State University M.F.A., Painting, University of California, Davis Stanford University, Palo Alto, California Cabrillo College, Aptos, California Selected Solo Exhibitions 2018 Gallery Panza Verde – Antigua Guatemala, Guatemala 2015 Desert Art Collection - Palm Desert California 2015 Galeria Antigua – Antigua, Guatemala 2014 Galeria Panza Verde – Antigua, Guatemala 2008 Linda Durnell Gallery – Los Gatos, California 2006 Linda Durnell Gallery – Los Gatos, California 2005 Robert Allen Fine Art Gallery – Sausalito, California 2004 Ellis West Gallery – Durango, Colorado 2002 Ellis West Gallery – Durango, Colorado 2001 Robert Allen Fine Art Gallery – Sausalito, California 1997 Stanford University Faculty Club – Stanford, California Selected Group Exhibitions 2018 Chemers Art Gallery – Los Angeles, California 2009, 2010, 2016, 2017 & 2018 Robert Allen Fine Art – Sausalito, California 2017 Christopher Hill Gallery - St Helena, California 2013 / 19 Gallery North - Carmel, California 2015 Desert Art Collection - Palm Desert, California 2014 Paul Scott Gallery - Bend, Oregon 2014 Christopher Hill Gallery Healdsberg, California 2013 Firehouse Art Center - Pleasanton, Ca. 2013 2011 - 2013 Robert Allen Fine Art – Sausalito, California 2010 - 2012 Susan Street Gallery – Solano Beach, California 2010 (Awarded 1st place) and 2012 “Contemporary Landscape Painters of California” – Awarded 1st Place 2011 - 2012 Salisbury Fine Art – Avila Beach, California 2010 Bryant Street Gallery – Palo Alto, California 2009 Museum Art and History – Santa Cruz, California 2008 Cabrillo College – Aptos, California 2006 Christopher Hill Gallery – St. Helena, California 2005 Fort Lewis College – Durango, Colorado 2001 St. Supery Winery & Fine Art Gallery, Napa California 2001 Napa Valley Wine Auction – St. Helena, California 1997 West Coast Painting and Sculpture – Ocean Side, California 1997 Wolk Gallery – St. Helena, California Selected Museum Collections Interior Museum, Department of the Interior, Washington D. C. Santa Cruz County Art Museum – Santa Cruz, California University of California – Berkeley, California University of California – Davis, California Napa Valley Art...

Robert Indiana Pop Art: Selections from the Museum of Modern Art (Hand Signed and Inscribed by Robert Indiana), 1999 Offset lithograph poster on poster board (hand signed, dated and ...

Artist: George Clair Tooker, Jr., American (1920 - 2011) Title: Woman with a Sprig of Laurel Year: 1978 Medium: Color Lithograph, signed and numbered in pencil Edition: AP Image: 17....

Signed lower right, "Edinah L. Jewett", inscribed lower left, "1/2" and titled "Ballerina and Friend". A substantial sugar-lift aquatint and etching showing a young woman in coral ...

Robert Indiana New Glory Banner 1997 Silkscreen on heavy woven paper Unsigned as issued Size: 10.4 × 16.8 on 16.6 × 21.7 inches Gallery COA provided Robert Indiana was an American artist associated with the pop art movement. His "LOVE" print, first created for the Museum of Modern Art's Christmas card in 1965, was the basis for his 1970 Love sculpture and the widely distributed 1973 United States Postal...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Artist: Keith Haring Title: Apocalypse 2 Size: 38 × 38 in 96.5 × 96.5 cm Medium: Screenprint in colors on Lenox Museum Board Edition: 22 of 90 Year: 1988 Notes: Hand-signed by artist, Signed, numbered, and dated in pencil. Published by George Mulder Fine Arts, New York. Catalog Raisonne: Littmann, 98. Text: Willliam S. Burroughs Page 2 The planet is pulling loose from its moorings, careening into space, spilling cities and mountains and seas into the Void, spinning faster and faster as days and nights flash by like subway stations. Iron penis chimneys ejaculate blue sparks in a reek of ozone, tunnels crunch down teeth of concrete and steel, flattening cars like beer cans...

ED BAYNARD (American, 1940-2016) Flowers, Flowers in a Vase, Etching. 1979/1980, Hand signed, dated l.r., Hand numbered from small edition 12/24, Dimensions: 23 by 19 in. Framed 25 by 21 in Born in Washington, D.C. in 1940. Raised in Washington, D.C. and newly graduated from high school, he flew to Europe living off and on in Paris and London. During this time, he designed costumes for Jimi Hendrix, worked as a graphic designer for the Beatles as well as Elizabeth Taylor and Richard Burton. Returning to New York, he dedicated his life to art after a surprise success with his first show in 1971 at the Willard Gallery in NYC. Ed's images are Zen-like in their simplicity and grace rendered in a flat, graphic style that recalls Japanese Ukiyo-e prints. His watercolors are luminous, like the rest of his representations regardless of the medium. The Japanese inspired ukiyo-e style woodblock prints and lithograph works he created at Tyler Graphics in 1980 contain a 20th century "floating world" sensibility. Ed's wish was to bring harmony, color, and a meditative stillness to this chaotic planet. He did so in a gentle and powerful way, always as an expression of his deep gratitude for the love and beauty, friendship, and concerns he held dearest. His first solo exhibition was in 1971 at New York's legendary Willard Gallery on the recommendation of Agnes Martin. Baynard went on to have exhibitions at galleries including Betty Parsons Gallery, New York (1973); Marian Goodman Gallery, New York (1977); John Berggruen Gallery, San Francisco (1980); and Barbara Gladstone Gallery, New York (1980/81).. Baynard manages to retain a simplicity of form inspired by a love of Japanese Woodblock prints. His new works reflect the same poetry of his earlier paintings, retaining his stylized compositions with their Zen like minimalism and Oriental calm, along with a new sense of rhythm and movement. Baynard uses familiar themes such as flowers, plants, pots, and vases, incorporating them into his delicate watercolor still lifes, thus creating stunning visual feasts. He was included in the 1972 Landscape exhibition at MoMA NY alone with other luminaries James Boynton...

Screen print on arches aquarelle (rough) paper. Hand signed lower right by Andy Warhol; hand signed lower left by Mick Jagger. Edition 35/250 (there were also 50 artist’s proofs)....

This exquisite lithograph by Henry Moore (1898–1986), titled Reclining Figure, from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle (San Lazzaro and Hi...

Coloured lithograph on paper, edited in 1970.
 Limited edition of 90 copies, numbered as 27/90 in lower left corner. 
Hand-signed by artist in pencil in the lower right corner. Pape...

This artwork "leopard" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered 366/750 in...

Title: The Lantern Medium: Lithograph in colors Year: 1979 Edition: AP (artist's proof, aside from the edition of 175) Signature: Stamped signature Image Size: 23 3/4" x 15 1/2" Shee...

This artwork titled "Confiding" 2008 is an original color serigraph on Wove paper by Israeli artist Itzchac Tarkay 1935-2012. It is hand signed and numbered E.A 63/80 in pencil by t...

Artist: Salvador Dali Title: Sports Medium: Lithograph in colors on Arches paper Year: 1973 Edition: XXXV/CI Sheet Size: 18 7/8" x 23 7/8" Image Size: 16" x 19" Signature: Hand signe...

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

Mireille Kramer, Egyptian/American (1932 - ) - African Dancers, Year: circa 1980, Medium: Etching, signed and numbered in pencil, Edition: 14/300, Size: 17 x 14 in. (43.18 x 35...

Keith Haring Crack Down! 1986: Vintage original Keith Haring anti-drug poster, 1986. Off-set lithograph on heavy weight paper. Dimensions: 17 x 22 inches. Minor signs of handling; ...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Hockney, David. RECLINING FIGURE. Etching and sugarlift aquatint in black, 1974. Edition of 75 published by Petersburg Press, London and printed on Inveresk paper. Signed, dated and ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Kirke (Circe), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by Dac...

This exquisite lithograph after Marc Chagall (1887–1985), titled La Tribu de Levi (The Tribe of Levi), from the special issue of the XXe Siecle Review, Chagall in Jerusalem, originat...

CIRCUS is a hand drawn original lithograph by the Argentine born woman artist Ivel Weihmüller printed using traditional hand printmaking techniques on archival paper 100% acid free. ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

MARC CHAGALL (1887-1985) "Day Break" lithograph in colours, 1983, on wove paper. Signed in pencil, Numbered 26/50 in pencil 21.5 x 17 Inches. LITERATURE: Mourlot 1014 CONDITION: Exce...

Lithograph in colors on Guarro paper. Hand signed lower right by Joan Miro. Hand numbered 'HC' lower left (there is also a main edition of 150 and 15 artist's proofs in Roman numer...

Margo Humphrey, 'The Garden (Adam and Eve)', reductive color woodcut, 1989. Signed, dated, and annotated 'A/P' in pencil. Signed and dated in the image, lower right. A fine, richly-inked, artist's proof impression, with fresh, vivid colors, on BFK Rives, heavy, off-white wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Scarce. Image size 27 1/4 x 39 1/8 inches (692 x 994 mm); sheet size 29 1/2 x 42 inches (749 x 1,067 mm). ABOUT THIS WORK "Humphrey continued to reinterpret stories from the Bible with African American figures. In 1989 she published the woodcut print 'The Garden' at Magnolia Editions in Oakland, CA. For this rare foray into relief printmaking, she employed the reductive method, which uses only one block that is successively carved for each color segment, reducing the block with each cutting. Technically challenging, this lush and elaborate print is a testament to Humphrey’s skills as a printmaker. A youthful Adam and Eve are depicted in a luxuriant tropical landscape. Here, Humphrey chooses not to include the traditional symbols of humanity’s downfall but instead portrays them as being protected by angels in an atmosphere of idyllic bounty. ...Although Humphrey challenges traditional representation of Christian themes, her images are not iconoclastic but present a broader, more inclusive engagement with religious spirituality." — Adrienne L. Childs, 'Margo Humphrey, The David C. Driskell Series of African American Art: Volume VII,' Pomegranate Communications, Inc., 2009, page 71. ABOUT THE ARTIST American printmaker, illustrator, and art teacher Margo Humphrey was born in Oakland, California, in 1942. She earned a BFA in Painting and Printmaking from the California College of Arts and Crafts and a Master of Fine Arts degree in Printmaking from Stanford University. Humphrey began teaching in 1973 at the University of California Santa Cruz and has since taught at the University of Texas at San Antonio, the San Francisco Art Institute, and the School of the Art Institute of Chicago. She has also taught at the University of the South Pacific in Suva, Fiji; Yaba Technological Institute of Fine Art, Ekoi Island, Nigeria; the University of Benin in Benin City, Nigeria; the Margaret Trowell School of Fine Art in Kampala, Uganda, and the Fine Art School of the National Gallery of Art, Harare, Zimbabwe. In 1989, she was appointed Department Head of Printmaking at the University of Maryland in College Park. Humphrey has worked in lithography, monoprint, and woodcut with significant printmaking ateliers, including the Rutgers Center for Innovative Print and Paper, the Bob Blackburn Printmaking Workshop, and the Tamarind Institute in New Mexico. She was one of the earliest African-American woman artists to distinguish herself as a lithographer in a highly technical, male-dominated profession and was the first to have her prints published by Tamarind in 1974. Humphrey’s imagery combines historical perspective, autobiography, and fantasy to illuminate her experience as an African American woman. Bold, saturated color, animated figures, and syncopated rhythmic arrangements are hallmarks of Humphrey's oeuvre. Though Humphrey labels her distinctive style "sophisticated naive," the narrative complexity and technical skill of her works attest to her artistic virtuosity. Joyful, expressive, and at times humorous, her works offer engaging commentary on the presumptions of American culture and myth while embracing her personal vision of authenticity and spirituality. She developed her 1987 work The Last Bar-B-Que, a vividly colored transformation of the Last Supper, following a three-year period during which she examined portrayals of the iconic subject by artists from Pietro Lorenzetti to Emil Nolde. Her narrative work The Garden, a monumentally scaled reductive woodcut, is a further example of an archetypal subject—Adam and Eve in the Garden of Eden—debunked and rendered with fresh, life-affirming vibrancy. Since her first solo exhibition in 1965, Humphrey’s works have been exhibited internationally. They are held in major institutions, including the Museum of Modern Art, The Smithsonian American Art Museum, the Philadelphia Museum of Art, the Hampton University Museum, the Victoria and Albert Museum (London), the Museum of Modern Art, Rio de Janeiro, and the National Gallery of Modern Art, Lagos. In 1996, she was invited to be part of the World Printmaking Survey at the Museum of Modern Art, New York. In 2011, Hampton University Museum mounted a 45-year retrospective of Humphrey’s work Her Story: Margo Humphrey Lithographs and Works on Paper, jointly curated by Robert E. Steele, executive director of the David Driskell...

Etching and aquatint on wove paper, from the suite "Caldéron, La Vie Est un Songe". Image dimension 33.5x25 cm. Artist proof aside an edition of 150. Hand signed in pencil. Ref. ...