Vertical Interior Prints

"I’ve made several images over the years addressing police brutality, and I think humor and absurdity help make such a heavy topic more digestible. There is a violent history of poli...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Screenprint on Museum Board, signed and numbered in pencil Edition: 150 I...

James McQueen, I had fun once it was awful, 2022 (Framed) Mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper 101.5 × 67.5 cm (40 × 26 3/5 in) Edition of 9...

Kara Walker (American, b. 1969) Theme for the Fons Americanus, 2021 Medium: Archival digital pigment print on paper Dimensions: 77.5 x 56 cm Edition of 80: Hand-signed and numbered C...

Unique screenprint of an edition of 60. Signed and numbered "30/60" in pencil lower right. Published by Andy Warhol, New York. Printed by Rupert Jasen Smith, New York. Andy Warhol P...

A long romance is a limited edition hand coloured unique collograph print by RBA artist Vicky Oldfield. The artist is renowned for her distinctive pictures; the subjects are the stor...

This is one print – printed in full color on 15" x 20" heavy cream-colored paper. It is from a limited edition series of 175, the portfolio is hand numbered and hand signed by Chris Ware. the individual prints are not. The page with the hand signature is included here as a photo for reference only it is not included in this sale. Franklin Christenson "Chris" Ware (born December 28, 1967), is an American cartoonist known for his Acme Novelty Library series (begun 1994) and the graphic novel Jimmy Corrigan, the Smartest Kid on Earth (2000) and Building Stories (2012). His works explore themes of social isolation, emotional torment and depression. He tends to use a vivid color palette and realistic, meticulous detail. His lettering and images are often elaborate and sometimes evoke the ragtime era or another early 20th-century American design style. Ware often refers to himself in the publicity for his work in self-effacing, even withering tones. He is considered by some critics and fellow notable illustrators and writers, such as Dave Eggers, to be among the best currently working in the medium; Canadian graphic-novelist Seth has said, "Chris really changed the playing field. After him, a lot of [cartoonists] really started to scramble and go, 'Holy [expletive], I think I have to try harder.'" While still a sophomore at UT, Ware came to the attention of Art Spiegelman, who invited Ware to contribute to Raw, the influential anthology magazine Spiegelman was co-editing with Françoise Mouly. Ware has acknowledged that being included in Raw gave him confidence and inspired him to explore printing techniques and self-publishing. His Fantagraphics series Acme Novelty Library defied comics publishing conventions with every issue. Ware's art reflects early 20th-century American styles of cartooning and graphic design, shifting through formats from traditional comic panels to faux advertisements and cut-out toys. Stylistic influences include advertising graphics from that same era; newspaper strip cartoonists Winsor McCay (Little Nemo in Slumberland) and Frank King (Gasoline Alley); Charles Schulz's post-WWII strip Peanuts and the cover designs of ragtime-era sheet music. Ware has spoken about finding inspiration in the work of artist Joseph Cornell and cites Richard McGuire's strip Here as a major influence on his use of non-linear narratives. He is one of the great practitioners who have elevated the graphic novel style along with, Shepard Fairey, Ben Katchor and Robert Crumb. Quimby the Mouse was an early character for Ware and something of a breakthrough. Rendered in the style of an early animation character like Felix the Cat, Quimby the Mouse is perhaps Ware's most autobiographical character. Ware's Building Stories was serialized in a host of different venues. It first appeared as a monthly strip in Nest Magazine. Installments later appeared in a number of publications, including The New Yorker, Kramer's Ergot, and most notably, the Sunday New York Times Magazine. Building Stories appeared weekly in the New York Times Magazine from September 18, 2005 until April 16, 2006. A full chapter was published in Acme Novelty Library, number 18. Another installment was published under the title "Touch Sensitive" as a digital app released through McSweeneys. The entire narrative was published as a boxed set of books by Pantheon in October 2012. Ware was commissioned by Chip Kidd to design the inner machinations of the bird on the cover of Haruki Murakami's novel The Wind-Up Bird Chronicle. In 2011, Ware created the poster for the U.S. release of the 2010 Palme d'Or winning film Uncle Boonmee Who Can Recall His Past Lives by Thai director Apichatpong Weerasethakul. Awards and honors Over the years his work garnered several awards, including the 1999 National Cartoonists Society's Award for Best Comic Book for Acme Novelty Library and Award for Graphic Novel for Building Stories. Ware has won numerous Eisner Awards and multiple Harvey Awards. In 2002, Ware became the first comics artist to be invited to exhibit at Whitney Museum of American Art biennial exhibition. With Will Eisner, Jack Kirby, Harvey Kurtzman, Robert Crumb and Gary Panter, Ware was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from September 16, 2006 to January 28, 2007. His work was the subject of solo exhibitions at the Museum of Contemporary Art, Chicago in 2006 and at the University of Nebraska's Sheldon Museum of Art, in 2007. Many famous artists have done covers for the New Yorker Magazine including, Saul Steinberg, Maira Kalman, Art Spiegelman, Francoise Mouly, Charles Addams, Peter Arno, Roz Chast, Ed Koren...

Civic Building – Manaus, Eliza Southwood Limited Edition Silkscreen Print of 20 Silkscreen Print on Paper Size: H 97cm x W 67cm Signed and titled Silkscreen Print – A printing techn...

Artist: Andre Minaux, French (1923 - 1986) Title: Linge from the Helene Portfolio Year: 1974 Medium: Lithograph, signed and numbered in pencil Edition: 15...

David Hockney Paintings and Drawings for Parade - Metropolitan Museum (Hand Signed by David Hockney), 1981 Offset Lithograph. Hand signed by David Hockney...

Etching and aquatint on cream laid, watermarked Rives paper. 6 5/8 x 5 inches (167 x 126 mm). Sixth and final state, a posthumous impression. A fine, inky impression with full margin...

Stamped on the Verso of the print and in Mint Condition. From the David Kordansky Gallery show in 2017. Very rare poster that has been stored flat since purchase. One of his most ...

Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit) According to the frontis these were produced by Hand Lithography. According...

Kerry Day Elephant Ears Begonia Limited Edition Linocut Print Edition of 10 Size: H 43cm x W 42cm x D 0.1cm Sold Unframed Please note that insitu images are ...

This is an original 19th century duotone lithograph entitled "Bazaar of the Coppersmiths, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publis...

Title: IHeart Screenprint "The Night Shift" Glow In The Dark Inks Contemporary Street Art Year: 2018 Classification Limited edition Medium Type Print Medium/Materials Hand Pulled Screen Print On 100# (260/m2) French Cover Stock Categories Silkscreen / Graffiti and Street Art / Pop and Contemporary Pop / Nude / Feminist Art and Contemporary Feminist Provenance Comes With C.O.A. From The Artist. Additional Info Print Glows in the Dark with Special UV Inks. Signature Signed & Numbered In Pencil By The Artist, I Heart Stencil...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

This is a 17th century engraved mezzotint portrait of the Duchess of St. Albans by John Smith, after a painting by Sir Godfrey Kneller. It was published in London by John Boydell in 1694. The Duchess of St. Albans (1642-1712) was a woman named Diana de Vere. She was born in 1642, the daughter of Aubrey de Vere, the 20th Earl of Oxford. In 1662, she married Charles Beauclerk, the illegitimate son of King Charles II and his mistress, Nell Gwyn. As a result of her marriage, Diana became the Duchess of St. Albans, and she and Charles had several children together. Diana was known for her beauty and charm, and she was a prominent figure in the court of King Charles II. Despite her husband's illegitimate birth, Diana was highly respected in the royal court and was known for her intelligence and wit. She was a patron of the arts and supported many artists and writers of the time. Diana lived through a tumultuous period of English history, including the Great Fire of London and the Glorious Revolution, which saw King James II replaced by William of Orange. She died in 1712 at the age of 70 and was buried in Westminster Abbey. Descendants of Diana and her husband, who was an illegitimate son of King Charles II, include Diana, Princess of Wales and her son William, Duke of Cambridge. An author wrote of her: "The line of Vere, so long renown’d in arms, Concludes with luster in St. Albans’s charms; Her conquering eyes have made their race complete, It rose in valor, and in beauty set." This striking mezzotint engraving depicts Diana, Duchess of St Albans in a three-quarter length pose, standing, wearing loose flowing dress and a wrap. She has a very serene, calm appearance as she is looking straight at the viewer. There is a landscape of trees in the background. The print is adhered in the corners to an archival backing, which is itself adhered in the upper corners to a larger backing. The print is trimmed to just beyond the plate mark. There are areas of discoloration in the margins and in the inscription area, but the print is otherwise in very good condition. The sheet measures 14.5" high and 10" wide. This mezzotint is held by multiple museums and institutions, including The British Museum, The National Portrait Gallery London, The Fine Arts Museum of Boston, The Lewis Walpole Library at Yale, The Yale Center for British Art, The Fitzwilliam Museum at Cambridge and The National Galleries of Scotland. The original Kneller painting is part of the British Royal Collection Trust and hangs in the King's Private Dining Room at Hampton Court Palace. Sir Godfrey Kneller (1646-1723) was a leading portrait painter of his time, particularly renowned for his depictions of the British aristocracy and royalty. He was born in Lübeck, Germany, and trained in Amsterdam under the painter Ferdinand Bol...

"My Children in Brittany II" is a Post War color lithograph work on paper by Francoise Gilot in 1974. The artwork is 26 x 19 5/8 inches and 34 ...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Serigraph on Museum Board, signed and numbered in pencil Edition: 150 Ima...

Artist: Alexander Calder Medium: Original lithograph Title: Damier Portfolio: Derriere le Miroir #156 Year: 1966 Edition: Unnumbered Framed Size: 21 1/4" x 17 1/4" Sheet Size: 15" x...

This is an original 19th century duotone lithograph entitled "The Gate of the Metwalis, or Bab Zuweyleh, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio ...

Manufacturer: Obey Giant Edition Details: Year: 2019 Class: Art Print Status: Official Released: 01/08/19 Run: 417/450 Technique: Letterpress Paper: Cream Cotton Size: 10 X 13 Markin...

Contemporary artist Peter Milton created this etching and engraving entitled "Interiors VI: Soundings" in 1989. The printed image size is 29 7/8 x 23 13/16 and paper size is 36 x 29 inches. This impression is signed, dated, and titled in pencil and inscribed “93/175” – the 93 impression of 175. “I do love to draw. I feel that I am being granted membership in the Brotherhood of Merlin, conjuring forth some apparition. As a drawing develops, I sense a vague presence coming more and more into focus, something in a white fog emerging and becoming increasingly palpable.” – P. Milton, “The primacy of touch. The Drawings of Peter Milton” “Working in layers, Milton begins with drawings based on people and places, with nods to Western art history and culture. He is a master of the appropriated image, a term that may conjure Andy Warhol and his Pop Art comrades. But Milton steps further back in history, avoiding the Pop sense of cool advertising and popular culture references. Instead, a broader cultural past is tapped through historical photographs of key players, architecture, and locales, which he reinvents by hand. He adds content drawn from his life as an avid reader – always with multiple possible interpretations – thus incorporating deeper meaning in his cinematic worlds. Elements of Greek mythology, classical music, art history, and history coalesce in his images, which embrace the messiness, sorrow, and elation that is life. One is hard-pressed to imagine a more erudite, skilled, passionate, and cheeky soul." – T. L. Johnson and A. Shafer Peter Milton was born in Pennsylvania in 1930. He studied for two years at the Virginia Military Institute...

"Orient Express" is a lithograph poster by Pierre Fix-Masseau. The artist signed his name in the lower right of the image. This piece depicts a fashionable woman smoking in one of the rooms of the Venice Simplon...

Chris Keegan Under The Clouds Limited Edition Screen Print Edition of 50 Size: H 56cm x W 40cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indication of how...

Edward Williams "A College Scene" After Thomas Rowlandson Color Engraving C.1787 Late 18th century hand colored engraving after Thomas Rowlandson A scene of a young student asking ...

Dylan Lloyd Island Path VIII Original Oil Painting on Canvas Oil Paint on Canvas Framed in a White Box Frame Image size: H 30cm x W 24cm x D 0.5cm Framed S...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Screenprint on Museum Board, signed and numbered in pencil Edition: 150 I...

Gaiety Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition); Numbered in pencil lower left; Blind stamp of the Whitney Museum (WM) lower right Edition: 114, regular ed...

Rupprecht Geiger (German, 1908-2009) Orange on Yellow (from "Colour in the Round"), 1969 Medium: Silkscreen in colours, on thin cardboard Dimensions: 28 × 26 in (71 × 66 cm) Edition ...

Original Vintage 1933 French Automobile Poster – Roby Ranty Marot Art Deco Calendar Art Print Classic Car Advertisement. Archival linen backed in...

Third in the popular Pool boy series. Celebrating summer, positivity and the male form. Pool boy ripples is a CMYK screen print with beautiful spot layer for the simple pool ripples...

Ken Price (1935 - 2012) Untitled Silkscreen on Arches 88 Paper 12.375”x 14.875” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books BIO Ken Price (19...

Original Groceries and Fruits vintage chromolithograph poster. Antique Cromo lithograph of your early fruit and grocery store. What service! Printed in Germany. This printing st...

Vicky Oldfield Moments of Reflection Limited Edition Hand Coloured Collagraph Print Edition of 30 Sheet Size: H 49cm x W 40cm x D 0.1cm Sold Unframed Please note that insitu images are purely and indication of how a piece may look. Moments of Reflection is a limited edition still life print...

Dave Buonaguidi Party Like It's 1999, 2021 Medium: Screenprint on paper Dimensions: 42 x 29.7 cm Edition of 60: Hand-signed and numbered in pencil Condition: Excellent (sold unframed)

Original Toulouse-Lautrec Museum in Albi, exhibition June 23 - September 15, 1972 for Pierre Bonnard (1867 – 1947). Archival linen is backed in very fine condition and ready to fram...

Year: 2015 Class: Art Print Status: Official Run: 3/200 Technique: Letterpress Size: 10 X 13

JAMES ABBOTT MCNEIL WHISTLER (1834 – 1903) THE SMITH’S YARD 1895 (Spink, Stratis & Tedeschi 124) lithograph, 1895, on wove paper, from the edition of 3000, published by The Inter...

This is an original 19th century duotone lithograph entitled "Minarets and Grand Entrance of the Metwaleys, at Cairo" by David Roberts, from his Egypt and Nubia volumes of the large ...

Artist: Robert Clutterbuck (English, 1772-1831) Title: "St. Alban's Abbey Church, High Altar screen" Portfolio: The History and Antiquities of the County of Hertford Year: 1815-1827 (First edition) Medium: Original Engraving on wove paper Limited edition: Unknown Printer: Nichols, Son, and Bentley, London, UK Publisher: Nichols, Son, and Bentley, London, UK Reference: Brunet II, No. 112; Lowndes No. 483; BAL RIBA No. 666; Upcott I, page 623 Sheet size: 17.63" x 11.38" Image size: 11.57" x 8.57" Condition: Scattered foxing throughout sheet; it doesn't show much within the image. Creasing to upper left and right corners. Has been professionally stored away for decades. It is otherwise a strong impression in good condition Notes: Provenance: private collection - Aspen, CO. Engraved by English artist John Henry Le Keux (1812-1896) after a drawing by English artist Frederick Nash (1782-1856). Comes from Clutterbuck's three volume "The History and Antiquities of the County of Hertford", (1815-1827) (First edition), which consists of 54 engravings. Printed from one copper plate on one color: black. "Vol. I. p. 65" printed upper right in margin. "Proof" printed lower right in margin. St Albans Cathedral, officially the Cathedral and Abbey Church of St Alban, also known as "the Abbey", is a Church of England cathedral...

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...

CB Hoyo, Time Will Tell - Another Corny Generic Quote About Time, 2024 22 colour hand-pulled silk screen print on paper with deckled edges 60 x 40 cm (23.62 x 15.75 in) Signed and...

Offset Lithograph (poster) Edition of Unknown Size Unsigned 27.56 x 19.68 in (70.0 x 50.0 cm) This is an original, authorized David Hockney poster, produced by the Kunsthalle Hels...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

Annual Events for Young Murasaki (July) - Tales of Genji - Japanese Woodblock Rightmost panel a triptych, depicting monthly events for Wakamurasaki (Young Murasaki). This is the month of July. There appears to be a lesson taking place, possibly for writing or poetry. Artist: Toyokuni III/Kunisada (1786 - 1864) Publisher: Ebisu-ya Shoshichist Presented in a new blue mat. Mat size: 19"H x 13"W Paper size: 14.5"H x 10"W Commentary on the triptych: In the Edo period, Tanabata was designated as one of the five seasonal festivals, and became an annual event for the imperial court, aristocrats, and samurai families, and gradually came to be celebrated by the general public. Its origins are said to be a combination of the Kikoden festival, which originated from the Chinese legend of Altair and the Weaver Girl, and Japan's ancient Tanabata women's faith. Ink is ground with dew that has accumulated on potato leaves, poems and wishes are written on five colored strips of paper, which are then hung on bamboo branches to celebrate the two stars that meet once a year. Although the illustration is a Genji painting...

Damien Hirst: Pop Art Is: My Problem Is You Exhibition Poster, 2007 Offset lithograph on paper 27 1/5 x 39 3/8 inches (69 x 100 cm) Original Damien Hirst Exhibition poster from ...

Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm). Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art. ABOUT THE ARTIST Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth. Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work. Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown. After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors. Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene. Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago. During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence. In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California. Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints...

'Luire de Cheminees a la Moderne nouvellement Invente et Grave par Jean Dolivar.' Collection of 4 engravings with designs for chimney-pieces. Published in Paris, circa 1670. 210mm ...

18th century image of a priest presiding over a traditional Japanese nuptual ceremony. One plate from A new and complete collection of voyages and travels containing all that have b...

Michele Zalopany was born in Detroit, Michigan. She attended the Columbus College of Art and Design from 1973 to 1974 and the Cleveland Institute of Art from 1976 to 1978. She earned her Bachelor of Fine Arts degree from the School of Visual Arts in 1981. Through her labor-intensive mezzotints, Zalopany employs realism to depict fictitious scenes, bearing witness to the disintegration of what was once the fulcrum of the American economy in Detroit. Zalopany’s work is widely represented in many public and private collections in the United States and in Europe including The National Gallery of Art, The Yokohama Museum of Art, The Whitney Museum of American Art, The Walker Art Center, The Museum of Fine Art in Boston, The Cleveland Museum of Art, The Royal College of Art in London, and numerous others. Her work has been exhibited in galleries that include P.P.O.W., John Good...

Caroline Walker, Study for Nurture, 2025 Offset lithograph Print 23 2/5 × 16 1/2 in (59.4 × 42 cm) Edition of 200 Caroline Walker’s lustrous oil pain...

NARAZAKI EISHO (1864-1936), 'Asakusa Kannon-do no naido' (Interior of the Kannon Temple at Asakusa), color woodblock print, 1932. Signed Eisho lower right, with the artist’s red seal beneath. A fine impression with fresh colors; the full sheet with slight overall age toning, a drying tack...

Günther Uecker (German, born 1930) Lichtungen III, 1997/1998 Medium: Woodcut on wove paper Dimensions: 62.5 x 51.5 cm Edition of 100 + XX: Hand-signed and (Roman) numbered in pencil ...

James McQueen, Oh bollocks, 2024 Silkscreen and Archival Pigment in Colour on Deckled Edge Somerset Satin 410gsm Paper floated on a frame with 3mm Float Glass 112.5 × 78.5 cm (44 3...

Au coin du feu is a beautiful original etching realized by Armand Queyroy (1830 -1893), printed on ivory colored paper by Delatre, Paris. This is an original print signed on plate o...

"Orient-Express" is a lithograph poster by Pierre Fix-Masseau. It depicts two people dining and being served drinks on a luxury train. The artist signed the artwork in the image lower right. There was a small tear on the margin that has been repaired. 38 5/8" x 24 1/4" art 40 1/2" x 26" frame French Poster...