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Frame Included
Libra, zodiac collage, print, figurative, gold, tarot, horoscope, metallic edge
Located in Jersey City, NJ
Libra, by Deming King Harriman; collage, print, figurative, gold, tarot, horoscope, metallic gold edge, on glossy heavy card stock with pink design on reverse.
Category

2010s Contemporary Figurative Prints

Materials

Gold Leaf

The Great Sphinx & Pyramids, Giza, Egypt: A 19th C. Lithograph by David Roberts
Located in Alamo, CA
This is an original 19th century duotone lithograph entitled "The Great Sphinx, Pyramids of Gizeh" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publ...
Category

1840s Realist Landscape Prints

Materials

Lithograph

original lithograph
Located in Henderson, NV
Medium: original lithograph. Printed by Mourlot in 1975 and published for the "Miro Lithographe II" catalogue raisonné. Size: 12 1/2 x 19 1/2 inches (320 x 490 mm). Not signed. Cond...
Category

1970s Abstract Prints and Multiples

Materials

Lithograph

Ashtray
Located in Bristol, GB
Screenprint in colours with lamé, on Kakita-shi paper Edition 41 of 100 60 x 68 cm (23.6 x 26.8 in) Signed, numbered, dated and titled on front Artwork in excellent condition conside...
Category

20th Century Abstract Abstract Prints

Materials

Screen

Seascape I - large format photograph of blue tone horizon and sea
Located in San Francisco, CA
large scale photograph capturing the soothing tones of nature's calming blue hour color palette Seascape I by Frank Schott 48 x 64 inches / 122cm x 162cm signed edition of 7 30 x 40 inches / 76cm x 102cm signed edition of 25 archival fine art pigment print signed & numbered by artist on certificate label ------------------------- Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Hiroshi Sugimoto, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco. _________________________ Edition EKTAlux publishes an evolving curated selection of collectable large-scale photography in strictly limited editions, working closely with each artist to guarantee state-of-the-art museum level print and framing quality. Custom / larger print sizes available on request Images can be printed with white border ( 2in L prints / 4in XL prints )
Category

21st Century and Contemporary Contemporary Abstract Prints

Materials

Archival Paper, Photographic Paper, Archival Pigment, Archival Ink, Giclée

Theresa Russell "Nude" print (Hand signed, inscribed and dated by David Hockney)
Located in New York, NY
David Hockney XVI RIP ARLES (Hand signed, inscribed and dated by David Hockney), 1985 Offset lithograph poster Hand signed and inscribed with dateline London, 1985 by David Hockney o...
Category

1980s Pop Art Nude Prints

Materials

Lithograph, Offset

Moon Landscape - Original lithograph, Handsigned and Numbered /100
Located in Paris, IDF
Tiger TATEISHI (1941 - 1998) Moon Landscape, 1973 Original lithograph Handsigned in pencil Numbered /100 On vellum 82.5 x 58.5 cm (c. 33 x 23 in) Exce...
Category

1970s Modern Landscape Prints

Materials

Lithograph

'The Gateway to the New World' — Vintage New York City
Located in Myrtle Beach, SC
Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...
Category

1920s American Modern Figurative Prints

Materials

Etching

Untitled (Black Woman Crouching)
Located in Myrtle Beach, SC
Boris Lovet-Lorski, 'Untitled (Black Woman Crouching)', lithograph, edition 250, 1929. Signed and numbered 16 in pencil. Number 16 of Volume 2, a series of...
Category

1920s Art Deco Nude Prints

Materials

Lithograph

Hand painted Artist Proof-Lemon Rose Cottage-British Awarded Artist-Large OneOff
Located in London, GB
This stunning large Artist's Proof is an one-off, hand-painted by the artist , signed at front and on the back label too; this proof is 60% hand painted on top of the highest quality...
Category

2010s Abstract Impressionist Abstract Prints

Materials

Gesso, Acrylic, Archival Paper, Giclée

Alexander Calder 'Spirales' 1974
Located in Brooklyn, NY
Paper Size: 15 x 11.5 inches ( 38.1 x 29.21 cm ) Image Size: 15 x 11.5 inches ( 38.1 x 29.21 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Supplemental Condi...
Category

1970s Prints and Multiples

Materials

Lithograph

Alexander Calder, 'Convection' from Flying Colors suite 1974-1975
Located in Pembroke Pines, FL
Artist: Alexander Calder (1898-1976) Title: "Convection" (from the Braniff International Airways Flying Colors Collection) Year: 1974-75 Medium: Lithographs on Arches paper Size: 20 ...
Category

1970s Contemporary Prints and Multiples

Materials

Lithograph

Close Up - large format photograph of conceptual billboard sign in landscape
Located in San Francisco, CA
large scale photograph of billboard sign with conceptual message in iconic landscape of the American West. A series of images capturing the unique infi...
Category

21st Century and Contemporary Contemporary Color Photography

Materials

Archival Paper, Photographic Paper, Archival Pigment, Archival Ink, Giclée

Set of Four Engravings from Nash's "History of Worcestershire" /// Landscape Art
Located in Saint Augustine, FL
Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...
Category

1780s Old Masters Landscape Prints

Materials

Laid Paper, Engraving

Henri Matisse 'Editions du Desastre' 1992- Poster
Located in Brooklyn, NY
Paper Size: 31.5 x 23.5 inches ( 80.01 x 59.69 cm ) Image Size: 31.5 x 23.5 inches ( 80.01 x 59.69 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age...
Category

1990s Prints and Multiples

Materials

Offset

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number
Located in Santa Fe, NM
Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...
Category

1990s Contemporary Abstract Prints

Materials

Lithograph

Inglewood
Located in New York, NY
ABOUT THIS ARTIST: Jessica Brilli (Sayville, NY 1977) has been drawing and painting since her childhood. Working in a style that encompasses American realism and 20th century graphic...
Category

2010s Modern Landscape Prints

Materials

Photographic Paper

'Wading Egret' — Japanese Woodblock kacho-e
Located in Myrtle Beach, SC
'Wading Egret', color woodblock, c. 1900 - 1910. Signed 'Koson' in black ink with the artist’s red seal beneath, lower left. A superb, skillfully-inked impression, with fresh colors,...
Category

Early 1900s Naturalistic Animal Prints

Materials

Woodcut

Still life with sunflowers , 70x70cm, print on canvas.Edition 20 pcs.
Located in Yerevan, AM
70x70cm, print on canvas Edition 20 pcs.
Category

2010s Pop Art More Art

Materials

Canvas, Color

Original Unused 1964 Avant La Lettre Lithograph Gaspar Room Metras Belarte
Located in Miami, FL
Joan Miró (Spain, 1893-1983) 'Sala Gaspar, Metras and Belarte Gallery (avant la lettre)', 1964 Lithograph on Paper (Cahiers d'Art magazine Nº4-5) Original lithograph without signing ...
Category

1960s Abstract Figurative Prints

Materials

Lithograph

"Grizzly Shores" 40x60 - Black and White Photography Grizzly Bear, Unsigned Art
Located in Los Angeles, CA
"Grizzly Shores" Unsigned Printed on archival paper using archival ink. Framing available. Inquire for rates. Shane Russeck has built a reputation for capturing America's lands...
Category

21st Century and Contemporary Black and White Photography

Materials

Archival Pigment

Joan Miró - MARAVILLAS CON VARIACIONES... Lithograph Contemporary Art Abstract
Located in Madrid, Madrid
Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró XV Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 71 cm Condition: In ver...
Category

1970s Abstract Abstract Prints

Materials

Lithograph

Infinity Pool Water Reflections, Blue & White Pattern, Handmade Cyanotype Print
Located in Barcelona, ES
This is an exclusive handprinted limited edition cyanotype. "Infinity Pool" is a sophisticated image that captures the water reflections shimmering over ...
Category

2010s Abstract Abstract Photography

Materials

Emulsion, Watercolor, Photographic Paper, C Print, Lithograph, Monotype

Congres National du Mouvement de la Paix - Issy-les-Moulineaux
Located in New York, NY
This rare lithographic poster is steeped in history. in 1949, author Louis Aragon (1897-1982) chose Picasso's lithograph "La Colombe" (The Dove) for posters commemorating the first p...
Category

1960s Prints and Multiples

Materials

Lithograph

Billingsgate
Located in Middletown, NY
Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...
Category

Mid-19th Century Impressionist Landscape Prints

Materials

Laid Paper, Drypoint, Etching

Original Carthusia Capri - Italy, perfume vintage poster
Located in Spokane, WA
Original vintage poster Carthusia Capri (Italy) perfume vintage poster. Artist: Mario Laboccetta. "CARTHUSIA I PROFUMI DI CAPRI" Size 26.5" x ...
Category

1960s American Impressionist Figurative Prints

Materials

Offset

YES - large format photograph of conceptual motivational sign at night
Located in San Francisco, CA
large scale original photograph from a series of conceptual motivational messages on classic Americana billboard signs in iconic landscape of the American West YES by Frank Schott ...
Category

21st Century and Contemporary Conceptual Color Photography

Materials

Archival Ink, Archival Paper, Photographic Paper, Archival Pigment, Giclée

Pablo Picasso 'L'amitie' 1987- Cubism - First Edition - Vintage
Located in Brooklyn, NY
A timeless expression of friendship, warmth, and emotional connection, L'Amitié by Pablo Picasso is a visually striking and deeply evocative composition. Published by Kunstsammlung N...
Category

1980s Cubist Prints and Multiples

Materials

Offset

Interior of the Temple Abu Simbel, Egypt: A 19th C. Lithograph by David Roberts
Located in Alamo, CA
This is an original 19th century duotone lithograph entitled "Interior of the Temple of Aboo Simbel" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, pu...
Category

1840s Realist Landscape Prints

Materials

Lithograph

Roy Lichtenstein M...Maybe-Serigraph Pop Art Vintage
Located in Brooklyn, NY
First edition printing of Roy Lichtenstein's poster titled "M...Maybe, 1965" printed in Tel Aviv, Israel. Serigraph measures 54 1/2 x 39 1/2 inches and it is unsigned and unnumbered....
Category

1970s Pop Art Prints and Multiples

Materials

Screen

Room 102 - Collector Portfolio # 6 out 7 - 12 Fine Art Prints Nude photography
Located in Brussels, BE
His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always being more obsessed with aesthetics than with simulacrum. If he worships more than one of these predecessors who poured into more outrage, it is freely that he suggests to the imagination to imagine without capturing the fantasy of the viewer. The choice had been made of very high quality prints: cotton fiber base baryta paper without chlorine and high grammage (310 gr / m²), pigment inks. They carry on the back an authentication label signed by Eric Ceccarini The enhancement of this limited edition of 100 copies is ensured by the use of a unique high-quality box to keep the 12 fine art prints This is edition #1/100 Eric is a Belgian artist born in 1965. He gained a Degree in Photography from INFAC, Brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Elle, Marie-Claire, L'Oréal, Levi's, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients. Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. Nowadays in his artistic works, he captures women's essence and soul, transcending mere physical representation. Eric's "AMNIOS" series of soul portraits- the model appear in suspended animation, as if they were about to born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes...
Category

2010s Contemporary Nude Photography

Materials

Archival Pigment, Rag Paper

Salvador dali 'Passiflora lauigera - 1968' Lithograph/Etching, Signed & numbered
Located in Pembroke Pines, FL
Artist: Salvador Dali Title: Passiflora laurigera (Le vine, Passionflower) Portfolio: 1968 Flora Dalinae Medium: Photolithograph, etching, and pochoir in colors on BFK Rives Date: 19...
Category

1960s Surrealist Prints and Multiples

Materials

Etching, Photographic Film, Lithograph

Guy Buffet 'St. Tropez'
Located in Brooklyn, NY
In "Le Saint Tropez," Buffet captures the lively and colorful atmosphere of this iconic French Riviera town. This piece, like many of his works, is unframed and in near-mint conditi...
Category

1990s Contemporary Prints and Multiples

Materials

Offset

Guy Buffet 'St. Tropez'
Guy Buffet 'St. Tropez'
$100 Sale Price
20% Off
'The French Farm' — Mid-Century Modernism
Located in Myrtle Beach, SC
Edward Landon, 'The French Farm', color serigraph, 1942, Ryan 86. Signed, titled, and annotated 'Edition 50' in pencil. A superb impression, with fresh colors, on cream, wove paper; ...
Category

Mid-20th Century American Modern Landscape Prints

Materials

Screen

'Lot Cleaning, Los Angeles' — 1930s Modernism
Located in Myrtle Beach, SC
'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Kitakata Japan pape...
Category

1930s American Modern Figurative Prints

Materials

Woodcut

Jose Bedia, 'Nuevas enseñanzas', 2019, Silkscreen, 27.6x35 in
Located in Miami, FL
Jose Bedia (Cuba, 1959) 'Nuevas Enseñanzas', 2019 silkscreen on paper 27.6 x 35.1 in. (70 x 89 cm.) Edition of 30 Unframed
Category

2010s Contemporary Prints and Multiples

Materials

Paper, Silk, Ink

Deluxe Hand Signed Lt Ed Olympic Diver in Swimming Pool coveted lithograph w/COA
Located in New York, NY
"Water in swimming pools changes its look more than any other form. If the water surface is almost still and there is a strong sun, then dancing lines with the color of the spectrum appear everywhere." - - David Hockney David Hockney Offset Lithograph poster (Deluxe Hand Signed Limited Edition) on Parsons Diploma Parchment Paper, accompanied by COA from the Publisher and Olympic Committee 36 × 24 inches Pencil signed and unnumbered from the Edition of 750 (there was a separate, larger unsigned edition) Unframed Also accompanied by gallery issued Certificate of Guarantee One of the most coveted, historic and popular David Hockney limited editions created - beloved by American and international collectors alike: The official edition of this work is 750, but the publisher famously destroyed unsold editions after the Olympic Games and only about 200-250 are said to remain. This hand signed limited edition iconic Hockney work was printed as one of the fifteen Official Fine Art Olympic Posters for the 1984 Olympic Games in Los Angeles. (the XXIII'rd Olympiad). It depicts an aerial view of a swimmer under rippling water broken up into 12 squares. A statement released by the 1984 Olympic committee explains the set as follows - "The posters commissioned for the 1984 Olympics contain an enlightened selection of the best American artists with special emphasis on those who work in Southern California...As the Games develop, transpire and pass into memory, these fifteen posters contain the images, forms and symbols that will represent the 1984 Olympics in the museums, galleries, homes and the minds of people all over the world.” This work is NOT to be confused with the ubiquitous plate signed poster of the same image, which was printed on different paper in an open edition.) In 1982, the Olympic Committee commissioned 15 artists to create posters for the 1984 Games in Los Angeles. Hockney designed this offset lithograph depicting Olympic swimming. It was printed on Parsons Diploma Parchment paper in 1982, in an edition of 750, hand signed in pencil by the artist. Even though this print was published in an edition of 750, after the first marketing blitz, the publisher destroyed the remaining portfolios of signed prints - literally discarding hundreds of them in the dumpster. The Olympic Committee commissioned these portfolios to celebrate and promote the 1984 Olympics, and nobody expected the individual prints to have such enduring value. As the executives running the short-term promotional campaign were neither prophets nor curators, they saw no reason to hold on to these huge prints...
Category

1980s Pop Art Abstract Prints

Materials

Lithograph, Offset

Faith Ringgold Groovin' High Hand Signed Limited Edition
Located in Brooklyn, NY
This piece, titled "Groovin' High", is a printer's proof created by the renowned artist and civil rights activist Faith Ringgold. The print is signed an...
Category

1990s American Modern Still-life Prints

Materials

Screen

Ileana and Michael Sonnabend Collection: Princeton University Art Museum poster
Located in New York, NY
Roy Lichtenstein (after) Eddie Diptych: Selections from the Ileana and Michael Sonnabend Collection, Princeton University Art Museum poster, 1985 Off...
Category

1980s Pop Art Figurative Prints

Materials

Offset

Scarce offset lithograph: Cake Slices, for SFMOMA, Hand signed by Wayne Thiebaud
Located in New York, NY
Wayne Thiebaud Cake Slices, for the New SFMOMA (Hand signed by Wayne Thiebaud), 1996 Color Offset lithograph (hand signed by Wayne Thiebaud) B...
Category

1990s Pop Art Still-life Prints

Materials

Lithograph, Offset

"Cheetah (black & white)"
Located in North Adams, MA
"Cheetah (black & white)," Amir Akhavan, 2017 Silkscreen and iridescence on 290 gram Coventry Rag paper Dimensions: 25" x 19.25" Signed and numbered by the Artist in pencil An editio...
Category

21st Century and Contemporary Contemporary Animal Prints

Materials

Screen

1967 Joan Miro 'Untitled'
Located in Brooklyn, NY
Paper Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Image Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Detai...
Category

1960s Modern Prints and Multiples

Materials

Lithograph

'Weeping Cherry 16 A' — Sosaku Hanga Contemporary Japanese Printmaker
Located in Myrtle Beach, SC
Hajime Namiki, 'Weeping Cherry 16 A', color woodblock print, 2012, edition 200. Signed in pencil with the artist’s red seal. Titled, dated, and numbered ...
Category

2010s Showa Figurative Prints

Materials

Woodcut

Blue Rolling Waves off Sidney, Seascape Diptych Cyanotype, Australian Coast Surf
Located in Barcelona, ES
This is an exclusive handprinted limited edition cyanotype. "Rolling Waves off Sidney" is a gorgeous original cyanotype diptych showing energetic waves embracing the Australian coas...
Category

2010s Photorealist Landscape Drawings and Watercolors

Materials

Emulsion, Watercolor, Lithograph, Monotype, Rag Paper

Floral Crown and Snail: Surreal Portrait with Whimsical Details. Lim. Ed. 25/25
Located in FISTERRA, ES
This vibrant and whimsical artwork combines surrealism with nature-inspired symbolism to create a striking visual narrative. At its center, a female figure gazes outward, adorned wit...
Category

2010s Surrealist Figurative Prints

Materials

Metal

(after) Marino Marini - "Le cheval au manège" pochoir
Located in Henderson, NV
Medium: pochoir (after the lithograph). Printed by the atelier of Daniel Jacomet, and published in Paris in 1955 by Heinz Berggruen. The image measures 5 x 3 3/4 inches (130 x 93 mm)...
Category

1950s Surrealist Prints and Multiples

Materials

Lithograph, Stencil

Kusama Red and White Pumpkin (Yayoi Kusama pumpkin)
Located in NEW YORK, NY
Yayoi Kusama Pumpkin: Red and White: An iconic, vibrantly colored pop art piece - this small Kusama pumpkin sculpture features the universal polka dot patterns and bold colors for wh...
Category

21st Century and Contemporary Abstract Figurative Sculptures

Materials

Resin

Smoke and Mirrors, Artisan Print, Unique Monotype, Memphis Style in Blue & White
Located in Barcelona, ES
This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...
Category

2010s Modern Abstract Prints

Materials

Photographic Film, Emulsion, Printer's Ink, Watercolor, Photographic Pap...

Vintage David Hockney Poster San Francisco Opera 1982, whimsical color drawings
Located in New York, NY
Vintage poster for the 1982 Summer Festival season of the San Francisco Opera. David Hockney designed the whimsical sets and costumes for the San Francisco Opera's production of Igor...
Category

1980s Neo-Expressionist Figurative Prints

Materials

Lithograph

Surrealist composition
Located in Henderson, NV
Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...
Category

1940s Surrealist Prints and Multiples

Materials

Photogravure

The Book, Silkscreen, S/N from the 1776-1976: USA Bicentennial Prints portfolio
Located in New York, NY
Will Barnet The Book, from the 1776 USA 1976: Bicentennial Prints portfolio, 1975 Silkscreen in colors on white Arches wove paper Pencil signed, titled and numbered 65/75 on the fron...
Category

1970s Contemporary Figurative Prints

Materials

Screen

Je suis un volcan
Located in London, GB
Etching on wove paper. Signed and numbered by the artist in pencil. Published by Galerie Le Long. *This print is supplied within a clamshell box, with book of the same name, as iss...
Category

2010s Abstract Impressionist Landscape Prints

Materials

Etching

Roy Lichtenstein - ART for the Poetry Project, 1989 - Hand Signed Serigraph Pop
Located in Brooklyn, NY
Limited edition serigraph hand-signed by Roy Lichtenstein for the Poetry Project, a leading organization promoting poetry across the U.S. Based in St. Mark's Church in NYC's East Vil...
Category

1980s Pop Art Prints and Multiples

Materials

Screen

'Coenties Slip' — Lower Manhattan, Financial District
Located in Myrtle Beach, SC
Luigi Kasimir, 'Coenties Slip', color etching with aquatint, 1927, edition 100. Signed in pencil. Dated in the plate, lower right. Annotated 'NEW YORK HANOVER SQUARE (COENTIES SLIP)'...
Category

1920s American Modern Landscape Prints

Materials

Etching, Aquatint

Surrealist composition
Located in Henderson, NV
Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...
Category

1940s Surrealist Prints and Multiples

Materials

Photogravure

Salvador Dali, "Les Amoureux" Signed & numbered Lithograph Suite Of 3
Located in Pembroke Pines, FL
This beautiful suite consists of "Anthony & Cleopatra", "The Garden of Eden", "Lancelot & Guinevere", Portfolio features three lithographs in colors. Each lithograph editioned and si...
Category

1970s Surrealist Prints and Multiples

Materials

Archival Paper, Lithograph

Torro Negro, Painting, Pop Art, Street Art, Black bull
Located in München, BY
Edition 5 Portrait oof a black bull with Basquiat crown JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a d...
Category

2010s Pop Art Animal Paintings

Materials

Mixed Media, Pigment, Archival Pigment

24x36 Bison American Buffalo Photography Art Poster Print Fine Art Photogrtaph
Located in Los Angeles, CA
Museum quality archival exhibition poster print. Dimensions: 24" x 36" sheet. Photograph © Shane Russeck Excellent condition (Brand new, never framed or displayed).
Category

21st Century and Contemporary American Modern Color Photography

Materials

Archival Ink, Archival Pigment

Mezza Luna
Located in New York, NY
ABOUT THIS PIECE: Julio Larraz is an expert draftsman, adroitly sketching his subjects and enlivening them with vibrant color. Larraz is recognized for his precise and detailed techn...
Category

Early 2000s Prints and Multiples

Materials

Photographic Paper

Circa 1900 original poster for Champagne Jules Pierlot in Epernay
Located in PARIS, FR
This circa 1900 original poster for Champagne Jules Pierlot, Epernay is a prime example of Belle Époque advertising design. Featuring elegant typography, heraldic symbolism, and a re...
Category

Early 1900s Prints and Multiples

Materials

Lithograph, Paper

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