Unframed Interior Prints

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...

Fima (born Efraim Roeytenberg) (1914 – 2005) was an Israeli artist born in China. He spent most of his career in France. Ephraim (Yafim) Roeytenberg, known as "Fima" or "Pima", was b...

Archival pigment print on hahnemühle Fine Art Paper (matt finish). Contemporary Photography, Photomontages, Interior Spaces, New life Work Title : "Entrance VIII" Artist : Suzanne Moxhay...

ALBERTO GIACOMETTI 1901-1966 Borgonovo 1901-1966 Chur, Switzerland (Swiss) Title: The Pointing Man, in the Studio L’homme qui pointe dans l’atelier, 1951 Technique: Original Hand ...

There is a time of year when dandelions abound in the local fields. I often see a red tractor ploughing late crops and this view is inspired by a fine day for dandelions. Ploughings give a sense of direction in cantrast with the dandelion clocks. Rob Barnes, artist, is available for sale online and in our art gallery at Wychwood Art. Rob Barnes studied painting and printmaking at Hull College of Art and London University in the early 1960s. He taught etching, screen-printing, lino and related surface printmaking at Keswick Hall College in Norfolk. He later moved to the University of East Anglia, Norwich where he continued teaching in the School of Education until 2006. Presently he divides his time between printmaking and his other passion, playing the violin in local orchestras and for choral performances. In 2017 he began making a small number of sterling silver jewellery pieces following a course at West Dean, Sussex. His artwork follows themes, such as light on water, or shadows in the landscape. Linocuts are hand-printed on an Albion press...

This print featuring Jersey City Apartment (2019) was produced in 2019, in conjunction with the exhibition Jonas Wood at Gagosian, 555 West 24th Street, New York. The exhibition incl...

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...

Limited edition print of the original ‘Gold Finger’ Quality Street Toffee Finger image by Simon Dry. The first print onto Fabriano paper is over painted in white by Simon and then over printed again to create a uniquely textured hand finished surface. Each print becomes a richly coloured and individual piece of art in a limited edition of 50, signed and numbered by the artist.​ Simon Dry original art and prints available online and in the gallery. Simon Dry trained as a graphic designer, graduating with a BA (Hons) from Ravensbourne College of Art & Design. He has run Drydesign in London, Dublin and Suffolk, using skills learned in this time to create SweetArt along with his wife, Vic. Artist Simon Dry has created highly original art of much loved sweets, made solely from discarded Quality Street wrappers. These iconic artworks feature Dolly Mixture, Fab ice lolly...

Philip Guston at David McKee Gallery (pencil signed by Philip Guston), 1974 Lithograph and offset lithograph poster Signed in graphite pencil under the image 24 1/2 × 20 inches Unframed, unnumbered Rare vintage lithographic poster of 1974 Guston exhibition at David McKee Gallery Signed under the image in graphite pencil by Philip Guston Another hand signed edition is in the permanent collection of Vassar College; otherwise we haven't seen another besides the present work; a true collectors item when hand signed by the artist. Philip Guston Biography Philip Guston (1913 – 1980) is one of the great luminaries of twentieth-century art. His commitment to producing work from genuine emotion and lived experience ensures its enduring impact. Guston’s legendary career spanned a half century, from 1930 to 1980. His paintings—particularly the liberated and instinctual forms of his late work—continue to exert a powerful influence on younger generations of contemporary painters. Born in Montreal, Canada, in 1913 to poor Russian Jewish émigrés, Guston moved with his family to California in 1919. Briefly attending the Otis Art Institute in Los Angeles in 1930, he was otherwise completely self-taught. Guston’s first precocious work, Mother and Child, was completed when he was only seventeen years of age. Influenced by the social and political landscape of the 1930s, his earliest works evoked the stylized forms of Giorgio de Chirico and Pablo Picasso, social realist motifs of the Mexican muralists, and classical properties of Italian Renaissance frescoes of Piero della Francesca and Masaccio that he had seen only in reproduction. Painted in Mexico with another young artist, the huge fresco The Struggle Against War and Fascism drew national attention in the US. Guston’s success continued in the WPA, a Depression-era government program that commissioned American artists to create murals in public buildings. While not widely known today, the young artist’s early experiences as a mural painter allowed a development of narrative and scale that he would draw upon in his late figurative work. In the early 1940s, as the WPA program was ending, Guston found work teaching at universities in the Midwestern United States. In his studio, he was working in oils on easel paintings that were more personal and smaller in scale, focusing on portraits and allegories, like Martial Memory and If This Be Not I. His first solo exhibition in Iowa was well received and, within a few years, he was offered his first solo show in New York City. Guston was awarded a Prix de Rome, allowing him to leave teaching and spend a year in Italy, studying firsthand the Italian masters he loved. By the time he had finished The Tormentors, Guston’s move to abstraction was all but complete. On his return from Italy, he continued dividing his time between the artists’ colony of Woodstock in Upstate New York and New York City, which was then emerging as the center of the postwar art world. He rented a studio on 10th Street, where abstract expressionists Jackson Pollock, Willem de Kooning and Mark Rothko also worked. For Guston, success was never what mattered most. He was already impatient with the language of pure abstraction and experimenting with larger forms, using a limited palette of grays, pinks and blacks. As his forms became still more reduced, he stopped painting altogether and embarked on a series of simplified abstract “pure drawings” in brush or charcoal. At this juncture, Guston removed himself from the art scene in New York, living and working in Woodstock for the remainder of his life. Guston’s move ­was hardly a withdrawal. Freed from the distractions and formal constraints of the art world and the opinions of critics, he was able to experiment with new forms and to engage more deeply with the issues that mattered to him. The 1960s was a period of great social upheaval in the United States, characterized by assassinations and violence, civil rights and anti-war protests. “When the 1960s came along I was feeling split, schizophrenic,” Guston later said. “The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines...

Richard Tuttle (American, born 1941) Homesick as a Nail, 1998 Medium: Set of 1 drypoint etching on wove paper and 1 silkscreen, printed in five colors on acetate on both sides, with ...

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...

Dan Flavin Dan Flavin at Albright Knox Gallery (hand signed and inscribed to renowned curator) Offset Lithograph. Hand signed and inscribed by Dan Flavin 18 × 22 inches Provenance: Estate of artist and collector Rick Collar Unframed Uniquely inscribed and hand signed 1972 Dan Flavin exhibition poster from his Albright Knox exhibition. Dan Flavin hand signs and inscribes it to Paulus Hendrik Hefting, the curator of the Neue Nationalgalerie in Berlin. The inscription reads: "Best regards and best wishes to you especially in "diagrams and drawings". What Flavin is referring to is the important exhibition also in 1972, "Diagrams & Drawings" curated by Hefting, at the Rijksmuseum Kröller-Müller (Netherlands), which featured Carl Andre, Christo, Walter De Maria, Dan Flavin, Michael Heizer, Don Judd, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Richard Serra, Robert Smithson. An extremely rare signed poster with a unique inscription to a major European curator referencing an historic Minimalist exhibition in the early 1970s. We may not see the likes of something like this anytime soon! Dan Flavin Biography From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on the wall, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to establish and redefine space. Flavin’s first solo exhibitions were held at the Judson Gallery in 1961 and the Green Gallery in 1964, both in New York. His first European exhibition was in 1966 at Galerie Rudolf Zwirner in Cologne, Germany; and in 1969, the National Gallery of Canada, Ottawa, organized his first major museum retrospective. His work was included in a number of key early exhibitions of Minimal art in the 1960s, among them Black, White, and Gray (Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 1964); Primary Structures (The Jewish Museum, New York, 1966); and Minimal Art (Gemeentemuseum, The Hague, 1968). Flavin’s work would continue to be presented internationally over the course of the pursuant decades at venues including the St. Louis Art Museum, Missouri (1973); Kunsthalle Basel (1975); Museum Boymans-van Beuningen, Rotterdam (1975); Stedelijk Museum, Amsterdam (1986); and the Solomon R. Guggenheim Museum, New York (1992), among others. A major museum retrospective devoted to Flavin’s work was organized, in cooperation with the Estate of Dan Flavin, by the Dia Art Foundation in association with the National Gallery of Art, Washington, DC, where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris...

Artist: Hunt Slonem, American (1951 - ) Title: Chez Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Image Size: 22 x 29 inches Size: 26 in. x 30 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...

David Roberts R.A. 1796 - 1864 CALVARY - HOLY SEPULCHRE First Edition lithograph Full plate: 26 Presented in a acid free mount Modern hand-coloured lithograph for the first editi...

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)

Peter Doig (born 1959 in Edinburgh) Fisherman, 2004 Series: From the “Black Palms” portfolio Medium: Etching in colors, on 250g/qm Zerkall paper Medium: 53.5 × 38 cm (21 1/10 × 15 in...

"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...

UNTITLED (INV# NP2230) Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books Ken Price (1935 - ...

'Oyster Catchers with Geese' is an original linocut by Mark A Pearce. His handprinted linocuts available to buy online and in our art gallery. Mark Pearce grew up in Cumbria where h...

Mychael Barratt On the Shoulders of Giants Limited Edition Screen Print Edition of 100 Image Size: H 60cm x W 58cm Sheet Size: H 78cm x W 74cm x D 0.1cm Signed and titled Sold Unfram...

(There’s A Place) Pensao Amor, Lisbon [2021] limited edition Digital on 315gsm etching paper Edition of 200 Image size: H:50 cm x W:50 cm Complete Size of Unframed Work: H:60 cm x W:60 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look I think the name suggests that this cosy little bar served a slightly more risqué purpose once upon a time. Johnny Bull...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

This is an original 19th century duotone lithograph entitled "The Coffee-Shop of Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in Lo...

32" x 33" Unframed Limited Edition Hand Embellished Giclee of 290 Hand Signed by Damien Elwes

Barbara Kruger (1945, American) I Shop Therefore I Am, 1990 Medium: Photolithograph on paper shopping bag Edition size: 9000 Dimensions: 17 5/16 x 10 3/4 in (43.9 x 27.3 cm) Publishe...

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

Hergé (1907-1983) Red Rackham's Treasure (Le Trésor de Rackham le Rouge), 2024 Official poster On thick glossy paper 70 x 50 cm (c. 27.5 x 19.6 in) INFORMATION : Official and auth...

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...

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 ...

Poster for an exhibition held at the Israel Museum of Art. Hand-signed by Yaacov Agam in black marker. This poster reflects Agam's signature kinetic art style, emphasizing movement, ...

This artwork is part of a project called "In Portugal", which consists of a selection of photographs taken in public sites throughout the Iberian country. Typical of Candida Höfer, the artist has photographed empty interiors of libraries, museums, palaces and theaters. Deutsche Oper am Rhein Düsseldorf - Contemporary, 21st Century, C Print, Limited Edition...

La Negresse (The Negress) Etching & drypoint, 1909 Unsigned (as issued in the portfolio) From the album "Les Bars" (8 plates plus cover illustration) Editi...

This is an original 19th century duotone lithograph entitled "Side View of the Great Sphinx" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published ...

Sigmar Polke (German, 1941 – 2010) Bargeld Lacht, 2002 Medium: Colour offset and screenprint on cardboard Dimensions: 70 × 50 cm Edition of 70 + X: Hand-signed, numbered and dated Co...

Milton, Peter (American, born 1930). INTERIORS VII: THE TRAIN FROM MUNICH. Milton 113. Resist-ground etching and engraving on copper, 1991. Edition of 175. Signed and dated in pencil. Printed on BFK Rives paper. 20 x 36...

A lovely early 20th century printed porcelain miniature of The last supper painting after Leonardo Da Vinci in Italian Cenacolo. This Swiss Fr...

XAVIER MASCARO Year: 1998 Medium: 25-color silkscreen with poured resin Size: 38 x 36 inches (97 x 91 cm) Edition: 90 Price: $4900 Suite of 3 Also ava...

NV4 is an original minimalist print by Jonathan Moss. The N.V series of unique, one-off, relief prints find their origin in his videos of flashing lights found in city centres at nig...

Etching with aquatint on cream wove paper, 1 3/4 x 5 inches (178x 127 mm), full margins. Signed, dated and inscribed "Ed. 150" in pencil, lower margin. Second state (of 3), before th...

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

This vintage lobby card features a memorable moment from the cult classic Gremlins (1984), directed by Joe Dante. The image captures the Barrett family standing outside their home, ...

Louise Giovanelli, An Ex IV, NYC Subway / Frankfurt am Main, 2019 Print on folded paper 50.8 x 69.9 cm (20 x 27 1/2 in) Edition of 200 unsigned Louise Giovanelli (b. 1993, Lond...

MASSIMO LISTRI Massimo Listri - Rijksmuseum Library, Amsterdam, 1994 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed...

Dramatic imagery from Tom Bennett’s series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett ...

'Church of St Helena, Bethlehem', tinted lithograph by Louis Haghe (1806-1885) after David Roberts RA. David Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the l...

MASSIMO LISTRI Reggia di Caserta II, Italy, 1993 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Mounted on aluminum, framed ...

Arnulf Rainer (Austrian, born 1929) Gelbes Meer, 1997 Medium: Etching on grey wove paper Dimensions: 50 x 65 cm Edition of 35: Hand-signed and numbered Condition: Excellent

John Baldessari (American, 1931-2020) Two Assemblages (with R, O, Y, G, B, V Transparent), 2003 Medium: Lithograph and screen print on vellum Dimensions: 61.6 x 91.5 cm Edition of 50...

Günther Uecker (German, born 1930) Prägedruck (from Nagelbuch-Portfolio), 1970-1971 Medium: Relief print on wove paper Dimensions: 34.6 x 34.5 cm Edition of 500: Hand signed in pencil

MASSIMO LISTRI Opera Nacional, Paris, France 40 x 48 inches 100 x 120 cm Edition of 5 48 x 60 inches 120 x 150 cm Edition of 5 71 x 88.5 inches 180 x 225 cm Edition of 5 Framing ...

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...

Günther Förg (German, 1952-2013) Hora, 1999 Medium: Etching on rag paper Dimensions: 82 x 63 cm (32 x 24.75 in) Edition of 99 + 12 AP: Hand-signed and numbered Condition: Mint

Richard Serra Synagoge Stommeln (German Synagogue) The Drowned and the Saved (Hand signed twice by Richard Serra), 1992 Offset lithograph poster (hand signed twice by Richard Serra) ...

Massimo Listri Libraries Biblioteca St. Emmeram II (Library), Regensburg, Germany, 2016 40 x 48 inches 100 x 120 cm Edition of 5 48 x 60 inches 120 x 150 cm Edition of 5 71 x 88.5...

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...

Ed Ruscha (b. 1937) Sweet Taters, 2021 Medium: Fine bone china plate 10 7/10 in diameter 27.3 cm diameter Edition of 250: Printed signature and edition details on verso Condition: E...

This original limited edition graphic art lithographic poster entitled "Chez Panisse Twenty-First Birthday" was created by David Lance Goines in 1992 in h...