Portrait Figurative Prints

Giclee on canvas. Hand signed on front by the Tomasz Rut. Hand numbered on verso. From the edition of 350. Custom framed as pictured. Frame size approx 42 x 33 inches. Please ...

Hadar takes euphoric moments and try to generate a three dimensional feeling with every image inviting the viewer to jump into the game and to be part of it. There's a hidden message...

12 x 16 inches - Edition 3 of 7 with 2 APs Shot in 2011 in New Orleans and Amsterdam Inspired by Édouard Manet’s Le Déjeuner sur l’herbe, 1863 Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien). Their current photographic project, In Empathy We Trust, presents viewers with re-imagined iconic images from the history of art. The collaborators re-envisioned the work of old master painters beginning with the Flemish Primitives and spanning nearly 600 years. With subjects enacting roles with varied representations of race, age, and sexual orientation, e2 “remakes with a twist” works by artists such as van Eyck, Rafael, Velázquez, Rembrandt, Vermeer, Fragonard, and Manet. Inspired by the original paintings, e2 hopes to “jar viewers” into questioning their own perceptions. They invite viewers to see these images, and indeed the world anew, using humor, wit and playfulness. In addition they hope that the viewers will see how stereotypes can lead to prejudice and discrimination. The collaboration began in 2010, after completing work on the traveling exhibition and book project Before (During) After: Louisiana Photographers Respond to Hurricane Katrina. This natural and man-made disaster brought social inequities in Louisiana into vivid focus. Conversations between Kleinveld and Julien revealed their mutual interest in issues of social justice. Accompanying e2’s series is its own coat of arms, bringing new meaning to the traditional symbol of the aristocracy. Heralded with pelicans and a fleur de lis, the shield reflects the artists’ Louisiana roots. It also features their motto: In Empathy We Trust, which reflects the core values of e2’s work. The artists believe in the power of empathy...

Wreath. Paper, lithograph, 29x24 cm Apsitis Aleksandrs (1880. 06. 04. Riga – 1943. 19. 09. Germany) – painter, graphic artist. 1894. – His family gone to St. Petersburg and in this time to his made copies from good known artists. (1898. – 1999.) – he learned at the art Studio of L. Dmitriev – Kavkazski. He is best known as a book and journals graphic (his pseudonyms were Aspids, A. Petrovs, Čūska, Skits, Oseņevs and others). In this time living at St. Petersburg and Moscow he cooperated with journals «Родина», «Нива», «Звезда» (1902. – 1906.), and also with book publishes I. Sitina, A. Stupina and P. Soikina. He illustrated a Russian classic writer’s books (A.Chechov, I. Turgenev, M. Gorky, M. Saltikov - Scedrin and others). 1912. – Illustrated the jubilee edition to L. Tolstoy „War and Peace”; 1913. – Illustrating to first Russian’s children...

24 x 24 inches - Edition 1 of 5 with 2 APs framing is an additional $420. Shot in 2013 in Amsterdam Inspired by Metsys’ Moneylenders, 1514 Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld...

24 x 17 inches - Edition 1 of 5 with 2APs framing is an additional $420. Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld...

36 x 30 inches - Edition 3 of 3 with 2 APs Framing is an additional $525 Shot in 2012 in Amsterdam Inspired by Vermeer’s The Girl with a Pearl Earring...

36 x 10 inches - Edition 1 of 3 with 2 APs framing is an additional $525. Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien)....

36 x 26 inches - Edition 1 of 3 with 2 APs framing is an additional $525. Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien)....

Floating [2021] limited_edition Etching and aquatint Edition number /40 Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:28 cm x W:28 cm x D:0.1cm Sold Unframed Pleas...

From Poor Richard's Almanac portfolio. Hand signed and numbered by the artist. Lithograph on arches. Sheet size 25.5 x 19.5 inches. Image size approx 16.75 x 13.5 inches. From t...

Original poster for "Katharina Sieverding", an exhibition about the German artist in Düsseldorf. The show took place at Galerie Oppenheim from 1 October 1973 - 1 November 1973.

El Mar is a serigraph on canvas printed by the award-winning Kolibri Art Studio, 25 x 32 inches, signed 'Felix Mas' lower right and numbered 229/295 lower left. Framed in a gold-tone, acanthus leaf frame. Felix Mas is in many ways an alchemist, transforming each canvas into treasure. These once void foundations are developed into dreamlike visions – some elements recognizable to us as grounded in reality but blended with areas of surreal fantasy. It is the gentle genius of Felix Mas that lays claim to these lyrical beauties. Each limited edition print by Mas is an expertly crafted reproduction of the original painting, with every detail approved by the artist. Martin Lawrence Galleries is an affiliate of the publisher Chalk & Vermilion Fine Arts. This print therefore has no prior ownership, coming straight from the publisher. Sea, siren, Great Wave off Kanagawa Hokusai

Handcoloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo’s desire. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: Daphne II...

Hand painted, 1 layer varnished giclee print. Hand signed and numbered 1/1 by James Bullough. A unique, one of kind variant. Frame size approx 37 x ...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...

Clare Grossman Overture 1 Limited edition of 70 solar plate etchings hand printed by the artist on 300gsm Somerset paper. Actual image/plate size 13x10cm. One example from a portfoli...

This is a Silkscreen it is Titled Paul Cezanne, Post Impressionist, French. John Brower worked in Chicago as a billboard designer for 12 years. He taught art at Alverno College of Milwaukee, Wright Junior College in Chicago, the University of Illinois, and the University of Kentucky. A Pop Artist. In John Browers' work two important things come forward: the design and the image. In the painting "Indian 2" you are denied simply enjoying the background or the realistic figure in the foreground. They both on their own would make an interesting painting but Johns' insistence on putting them together leaves you with a picture scrubbed clean of indecision, so clear that you can hardly help yourself from needing to understand its meaning. John Browers' pictures are modern - no matter how instant they look you can tell they have been thought about and realized with a lot of calculation and intentionality. He has exhibited regularly in galleries throughout the country over the past 40 years and his work is in numerous collections, including the Metropolitan Museum of Art in NYC. Art After Art 1971. The exhibition featured works by contemporary artists who borrow and rework to their own ends famous paintings or traditional themes from the past.This exhibition consists of twenty-two paintings, drawings, sculptures, and graphics by 20th century artists , including Marcel Duchamp, Rene Magritte, John Clem Clarke, Tom Wesselmann, Roy Lichtenstein, Alain Jacquet, John Chamberlain, John Brower, Larry Rivers, Al Pounders, Joseph Cornell, Jose Luis Cuevas, and Sante Graziani...

Giclee print on paper with screen printed varnish. Hand signed and numbered by James Bullough. From the edition of 50. Certificate of authenticity i...

Pencil signed original limited edition woodcut woodblock print great depression era. from the 1930s. Abramovitz, Albert 1879-1963 Born in Riga, Latvia, Abramovitz studied art at the Imperial Art Academy School in Odessa and at the Grande Chaumière in Paris. In Paris, he became a member of the Salon in 1911 and in 1913 he became a member of its jury. He also became a member of the Salon d'Automne. While in Europe he received a medal at Clichy as well as the Grand Prize at the Universal Exhibition in Rome and Turin, Italy in 1911. In 1916, Abramovitz emigrated to America settling...

Edition 1/13 Signed to lower right Ananda Kesler was born in Haifa, Israel. In 2002 she received her BA in Fine Art from the University of Iowa. She has continued her art education...

1896 Print Sz: 14 1/2"H x 9"W Mat Sz: 20"H x 12 7/8"W Samuel Loates (1865–1932) was a British Thoroughbred horse racing jockey who was the Champion Jockey of 1899 in his home coun...

Linda Stein, Gloria Steinem 812 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love. ...

Katie Eleanor, St Medard and the Devil, 2019 Handcoloured portrait of a devil creature, immobilised in marble, inspired by the tale of St Medard. Purchasing on his rock, he lovingly...

Linda Stein, Shirley Chisholm 763 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love...

1890 Sz: 20"H x 12 7/8"W James Woodburn 1863-1919 Born at York on September 20, 1863, James began life as a doctor’s errand boy but, wanting to become a jockey, he ran away from home. Covering the 13 miles on foot, he arrived at the Hambleton stables of Mr Sanderson, who took an instant liking to the runaway. Woodburn rode his first winner for the stable...

Linda Stein, Lucy Stone 798 - Signed Limited Edition Feminist Contemporary Fine Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love....

Color screen print on 300 GSM somerset paper. Hand signed and numbered on front by Snik. AP (artist proof) edition. Frame size approx 32 x 32 inches. Artwork is in excellent cond...

Hand-coloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo...

Linda Stein, Eleanor Roosevelt 785 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of lov...

Hand signed and numbered by the artist. Serigraph on paper. Sheet size 30.75 x 41.75 inches. Image size 23.75 x 35.75 inches. Edition of 275. Artwork is in excellent condition....

Unique, one of a kind hand embellished screen print on somerset paper with varnish Hand signed lower front by Snik. Artwork is in excellent condition. Certificate of Authenticity i...

Offset lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 500. Artwork is in excellent condition. Certificate of authenticity included. Al...

A print by Shepard Fairey. “Commanda” is a contemporary, popular culture offset print on paper in black, red, yellow, and white by American street artist Shepard Fairey. The artwork ...

Screen print on arches cover paper. Hand signed, dated and numbered on front by Frederick J. Brown. From the edition of 175. Artwork is in excellent condition. Certificate of au...

GRAPHICTHERAPY is David Calderley: an Englishman in New York, Creative/Art Director, Graphic Designer and Illustrator. After graduating from the esteemed St. Martin’s School of Art in Covent Garden, London and beginning a freelance career, he moved to New York City in 1990. Over the last 30+ years he has designed over 1200 albums and single covers, as well as promotional and full campaigns for a myriad of artists including, Interpol, Madonna, The White Stripes, RZA, Moby, The Black Crowes, Elvis Costello, to name a few. After a 10 year spot as the Creative Director for Sir Richard Branson’s North American Record Label V2, he set up GRAPHICTHERAPY in 2007, a small boutique creative agency that offers a complete range of design services, both in print and media. A unique mix of art direction, design and creative illustration can be seen across a wide variety of brands, products and publications in music, fashion, events and campaigns. His largest illustrated piece is a 90ftx50ft mural on 57th and Park Avenue for the British menswear company, Turnbull & Asser, as part of their rebrand. David’s work has been recognized by numerous global companies and publications, and has won several industry awards. He continues to work from his studio in Harlem. This capsule of collage/mixed media prints: ‘Eating Vinegar with A Fork,’ reflecting a dry wit, as suggested in the title; juxtaposing formal Victorian etchings...

Foil block print Edition 2 of 2 Born in Bristol England, in 1965, Damien Hirst grew up in Leeds and studied at Goldsmiths College, London. Most notable amongst the exhibitions he curated while at college was Freeze, in 1988, in which he exhibited his work and that of his contemporaries. The exhibition is widely believed to have been the starting point of the Young British Artist Movement, and a defining moment in kick-starting cutting edge British contemporary art. Hirst’s body of work confronts the scientific, philosophical and religious aspects of human existence and includes sculpture, painting and printmaking. He has exhibited widely and was awarded the Turner Prize in 1995 for The Physical Impossibility of Death in the Mind of Someone Living. In 2004, Hirst collaborated with Sarah Lucas and Angus Fairhurst to exhibit recent works at Tate Britain, under the title In-a-Gadda-da-Vida. In 2006, works from the artist’s Murderme collection were exhibited at the Serpentine gallery, London: ‘In the darkest hour there may be light. ‘More recently, Hirst exhibited No Love Lost: Blue Paintings at The Wallace Collection, London, 2010; Cornucopia at Musée Océanographique de Monaco, 2010 and with Michael Joo...

Camille Lévesque, born on March 15, 1985, in the picturesque town of Aix-en-Provence, is a visionary French artist whose creativity knows no bounds. Her artistic journey is a testame...

Screen print on arches cover paper. Hand signed, dated and numbered on front by Frederick J. Brown. From the edition of 175. Artwork is in excellent condition. Certificate of au...

Offset lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 500. Artwork is in excellent condition. Certificate of authenticity included. Al...

Offset lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 500. Artwork is in excellent condition. Certificate of authenticity included. Al...

Hand signed and numbered by the artist. Serigraph on paper. Sheet size 39 x 37 inches. Image size 35.75 x 34 inches. Edition of 275. Artwork is in excellent condition. Certific...

Drawn and published by Dighton Art Sz: 10.75"H x 7.75"W Frame Sz: 15.8"H x 12.75"W Custom framed in Oyster Bay, N.Y. w/ French hand colour mat London: 1806. Robert Dighton (1752-1...

Silkscreen on canvas with diamond dust. Hand signed, dated, and numbered on verso by the artist. Edition of 25. Canvas is stretched. Artwork is in excellent condition. Certificate ...

"Count Strickland" by Hay is a chromolithograph print from Vanity Fair, published on May 4, 1893, depicting Count Della Catena, a Maltese jockey who also rode in the Grand National a...

Color screen print on 300 GSM somerset paper. Hand signed on front by Snik. Donated by Graffitiprints for the Eco Moyo Auction 2018. Unnumbered edition (outside the main edition o...

Screen print on black plike paper. Hand signed on front by Snik. Unnumbered edition (outside the main edition of 20). Artwork is in excellent condition. Certificate of Authenticit...

Screen print on black plike paper. Hand signed on front by Snik. Unnumbered edition (outside the main edition of 12). Artwork is in excellent condition. Certificate of Authenticit...

Edition of 100 Digital print on paper Hand signed by the artist

New mixed media Original artwork, 1/1

Sz: 20 1/8"H x 12 3/4"W 1903 John "Jack" Watts was a British flat-race jockey. In a career that lasted from 1880 until 1900 he rode the winners of 19 Classics. He was noted for his...

Digital print on paper Edition of 10 Aziz Anzabi is a British artist with Iranian origins born in 1970 who lives & works in London, UK. He exhibits many artworks in the U.S, the Ne...

Honore Daumier (1808-79),La fortune fait oublier les amis,lithograph, plate 31 from the series Caricaturana, published in Le Charivari in 1837; later in Alb...

Hand signed and numbered by the artist. Serigraph on paper. Sheet size 32 x 40 inches. Image size 23.75 x 36 inches. Edition of 275. Artwork is in excellent condition. Certific...

Hand signed and numbered by the artist. Serigraph on paper. Sheet size 30 x 42 inches. Image size 24.5 x 37 inches. Edition of 275. Artwork is in excellent condition. Certifica...

Claudine Loquen is a French artist born in 1965 who lives & works in Paris, France. She depicts portraits, especially women faces as Colette for liter...

Hand signed and numbered by the artist. Serigraph on paper. Edition of 275. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offers will be ...

Etching on paper. Hand signed and numbered by the artist. Sheet size 11.5 x 14.5 inches. Image size 4 x 5.25 inches. Edition of 150. Artwork is in excellent condition. Certificat...