Lithograph Landscape Prints

Edition of 20

Edition of 10

Ella Fort Spring in Brittany Color lithograph Signed, numbered or inscribed Edition: 390 + E.A. Size: 7.8 × 11.7 on 10.9 × 14.8 inches COA provided Tags: Provence landscapes, French countryside...

Artist: Georges Schreiber, Belgian/American (1904 - 1977) Title: Going Home Year: circa 1945 Medium: Lithograph, signed and titled in pencil Image Size: 9.25 x 13.25 inches Size: 12 ...

STEPPIN OUT is a hand drawn original lithograph printed using hand lithography techniques on archival Arches printmaking paper 100% acid free. STEPPIN OUT is a highly detailed drawing printed in light sepia brown ink depicting a procession of muscular stone men walking...

Richard Florsheim created this color lithograph entitled “Warf-Side” in 1962 in an edition of 60 pieces. This impression is signed and inscribed “Trial Proof” and printed at the Mour...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Paysage de Dinard". The original painting was completed in 1922. In the 1970's after Picasso'...

Eight Scenic Spots along Sumida River is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 19th century. Very Good conditions. Collect an oriental artwork...

Balmoral by His Majesty King Charles III (formerly known as HRH Prince Charles, The Prince of Wales) - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associated with the artworks of HRH The Prince of Wales for over 25 years. Anna Hunter, gallery owner, wrote a handwritten letter to the Prince asking him if he would consider making signed lithographs from his beautiful watercolours which could be sold in aid of his charities. The gallery subsequently worked with the Prince for over 10 years publishing some 18 different editions and raising over £4million for the Prince’s Charitable Foundation. Lithographs were made from the Prince’s original watercolours under the guidance of Stanley Jones – a celebrated printmaker who had previously worked with Henry Moore for 30 years, and with Elizabeth Frink, David Hockney and others. Each one is hand-signed. “…One thing I have discovered in the course of my painting efforts is that Balmoral Castle...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." David Roberts (1769 - 1864) Citadel of Sidon - April 28th, 1839 (published 1943) Lithograph with hand-colouring 23 x 35 cm (sheet size 17.5 x 24.5 cm) The Citadel of Sidon, or Sidon Sea Castle, was built by crusaders in the thirteenth century as a fortress of the holy land. This lithograph is part of David Roberts' series of views of the Holy Land, which he produced from sketches made during lengthy tours of the Near East in the 1830s. Egypt was much in vogue at this time, and travellers, collectors and lovers of antiquities were keen to buy works inspired by the East or depicting the great monuments of ancient Egypt; Roberts was more than happy to produce pictures on this lucrative theme. Queen Victoria was one of his 400 subscribers, and her set of lithographs is still held by the Royal Collection Trust...

Lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 350. Artwork is in excellent condition. Certificate of authenticity included. All reason...

Lithograph after an original watercolor by Salvador Dali Title: New-York City : Plaza (pre-text/"avant la lettre" poster edition) Printed Signature, da...

Ella Fort Flower Field (Champ Fleuri) Color Lithograph Signed, numbered or inscribed Edition: 390 + 250 Size: 7.8 × 11.7 on 11.7 × 15.6 inches COA provided *edition number might va...

Ira Moskowitz, 'Relic of the Insurrection of 1845' also 'Taos Pueblo with Ruin)', lithograph, 1944, edition 30, Czestochowski 121. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 3/8 to 1 15/16 inches). Very pale light toning within a previous mat opening, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 5/8 x 15 1/2 inches (296 x 394 mm); sheet size 15 1/8 x 19 inches (384 x 483 mm). ABOUT THE IMAGE The Taos Revolt was a populist insurrection in January 1847 by Hispano and Pueblo allies against the United States occupation of present-day northern New Mexico during the Mexican–American War. The rebels killed provisional governor Charles Bent and several other Americans. In two short campaigns, United States troops and militia crushed the rebellion of the Hispano and Pueblo people. The New Mexicans, seeking better representation, regrouped and fought three more engagements, but after being defeated, they abandoned open warfare. The hatred of New Mexicans for the occupying American army, combined with the rebelliousness of Taos residents against imposed outside authority, were causes of the revolt. In the uprising's aftermath, the Americans executed at least 28 rebels. The Treaty of Guadalupe Hidalgo in 1850 guaranteed the property rights of New Mexico's Hispanic and American Indian residents. ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of American Indian...

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GIARDINO SEGRETTO is a hand drawn limited edition lithograph created in 1988 by the Iowa born artist, Jim Buckels who is known for his dream-like images. GIARDINO SEGRETTO was render...

'Mexican Fishermen in Lake Patzcuaro', lithograph by Yves Brayer (1963). Unframed. The artist, Yves Brayer, spent time painting in Mexico in 1963, one of the many worldwide destinati...

Original Fly to South America Pan American – Panagra vintage travel poster. Linen backed in excellent condition. Artists were both Jean Carlu and Fred Dubois. 1952 full lithogr...

Artist Kipp Soldwedel's Nautical piece titled, "Interpid" Poster with frame measures 26 x 38 Poster is signed and ready to hang!

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Ira Moskowitz, 'The Three Gods of Healing (Navajo Medicine Ceremony of the Night Chant)', lithograph, 1945, edition 30, Czestochowski 148. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 1/4 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Image size 12 1/4 x 15 13/16 inches (311 x 402 mm); sheet size 17 1/8 x 20 7/8 inches (435 x 530 mm). ABOUT THIS WORK The nine-night ceremony known as the Night Chant or Nightway is believed to date from around 1000 B.C.E. when it was first performed by the Indians who lived in Canyon de Chelly (now eastern Arizona). It is considered the most sacred of all Navajo ceremonies and one of the most difficult and demanding to learn, as it encompasses hundreds of songs, dozens of prayers, and several highly complex sand paintings. And yet the demand for Night Chants is so great that as many as fifty such ceremonies might be held during a single winter season, which lasts eighteen to twenty weeks. The Night Chant is designed both to cure people who are ill and to restore the order and balance of human and non-human relationships within the Navajo universe. Led by a trained medicine man who has served a long apprenticeship and learned the intricate and detailed practices that are essential to the chant, the ceremony itself is capable of scaring off sickness and ugliness through techniques that shock or arouse. Once the disorder has been removed, order and balance are restored through song, prayer, sand painting, and other aspects of the ceremony. The medicine men who supervise the Night Chant ensure that everything—each dot and line in every sand painting, each verse in every song, each feather on each mask is arranged precisely, or it will not bring about the desired result. There are probably as many active Night Chant medicine men today as at any time in Navajo history due to the general increase in the Navajo population, the popularity of the ceremony, and the central role it plays in Navajo life and health. ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of...

Swiss painter. Lithography and woodcut. Mural Lithograph numbered 54/80 Work on paper with frame, Total size with frame is 68x53 cm

Amazing original architectural rendering on board (artist: C. Smith 1-97) for the Polo Ralph Lauren Chicago store at #730 No Mich Ave (which opened in 1998) designed by Naomi Leff (1...

Ira Moskowitz, 'Navajo Reservation Landscape', lithograph, 1945, edition c. 30. Signed and titled in pencil. Signed and dated in the stone, lower left. A fine, richly-inked impression, on cream wove paper, the full sheet with margins (1 3/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 12 3/4 x 15 3/4 inches (324 x 400 mm); sheet size: 15 1/2 x 19 inches (394 x 482 mm). ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of American Indian...

Fine print from the 1960's London. Embackment in London, by the Thames. City side with Houses of Parliamant looking west. Fine piece of history. Banham made many works of Central London...

Original Le “Rouen” vintage French travel by ship poster. Linen-backed stone lithograph in B condition but ready to frame. The Rouen going out of the Dieppe Harbour, Dieppe - Newhaven Line, 6 moderns boats". This France - England line was joined with the "Chemins de Fer de l'Etat and the Southern Railway from Paris to London". A French original poster printed in stone-lithography. Printed for both the British Southern Railway...

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"Snowscape" is a study in contrasts being both a landscape and an abstract study of black and white negative/positive shapes. It is very powerful in the stark scene created and because of the interesting placement of the black and white areas. Being an "Artist's Proof" means that it was the first print pulled before the artist approved the look of the print and initiated further printing. It is an accomplished piece of depth and intellectual complexity. It is a Lithograph. Lithography is a planographic printmaking process in which a design is drawn onto a flat stone (or prepared metal plate, usually zinc or aluminum) and affixed by means of a chemical reaction. Like an actual storm whose characteristics are unique this monoprint is a one-off print and unique. She has captured the heavy dark feel of storm clouds and the slashing rain that accompanies a storm. Nagel has the ability to infuse her work with the intricate characteristics found in nature. Joyce Tilley Nagel...

Brooklyn Waterfront Lithograph, 1931 Signed, titled, and dated in pencil by the artist Edition: Undetermined (very small), plus artist's proofs Printed by Meister Schulz, Berlin Provenance: Estate of the artist Virginia Dehn, the artist's widow Dehn Quests Bibliography: Lumsdaine and O'Sullivan 152 Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression) Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer, the publisher of the most notable modernist art and poetry magazine...

David Roberts 1796 - 1864 Facade of the Pronaos of the Temple of Edfou First Edition lithograph Full plate: 208 Presented in a acid free mount We have all 250 of the Lithograph set...

Original Vintage French Travel Poster "LE HOHWALD" by ROGER BRODERS ca. 1930. Size: 24.5" x 39.25". Archival linen-backed antique skiing French vinta...

Artist: Henri Matisse (after) Medium: Original lithograph Title: Lierre en Fleur Portfolio: The Last Works of Henri Matisse Year: 1958 Edition: 2000 Framed Size: 17 1/2" x 17 1/2" Sh...

Original Linen backed vintage travel poster. De Rouen au Havre et vice versa par la Seine Maritime. Billets directs aller et retour Chemin de Fer et Bateau. Chemins de Fer de L...

Backyard II Lithograph, 1972 Signed lower right Signed lower right Annotated: Printer's Proof Reference: Karl Lunde 58 An impression is in the collection of the Art Institute of Chic...

Original Cycles Omnium antique vintage French bicycle poster from the late 1880s-1890s. Printer: N. Weill, Paris, France. Archival linen backed and ready to frame. There was an area in the right-hand sky (creamish yellow) top area that had had some restoration. Touched up the border in the upper right corner. The poster was folded in half, with the fold mark restored during linen backing. Artist is: F. Capelli. Printer: Imp. N. Weill, Paris The image of a couple with their child on a bicycle ride out in the countryside of France, all in art nouveau clothing...

La Promenade en Bateau is an original modern artwork realized by Raoul Dufy in 1930s Original Lithograph. Good conditions. Raoul Dufy (1877-1953) He was a French artist and design...

’Pulpit rock and cockatoos’ By Arthur Boyd Medium - Lithograph Signed - Yes Edition - Artists Proof Size - 840mm x 610mm Date - c1990 Condition - 9 Colour of print may not be accurate when viewed on a monitor. Hand drawn metal plate lithograph printed with Senefelder press on rag paper. Being sold from the Andrew Purches collection. Arthur Merric Bloomfield Boyd AC OBE (24 July 1920 – 24 April 1999) was a leading Australian painter...

David Roberts 1796 - 1864 Kom Ombo First Edition lithograph Full plate: 210 Presented in an acid free mount

Gabriel GODARD Abstract peasant Original lithograph Handsigned in pencil Artist proof On Vellum 56 x 38 cm (c. 22 x 15 in) Excellent condition

The Village on the Lake is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 8/99, on the left margin...

Abstract Composition, 1959 Silkscreen Lithograph "Phoenix". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana...

The artwork was personally obtained by me when I visited the Walled Off Hotel. It has a stamp in the lower left corner that reads, "The Walled Off Hotel". Comes with Certificate of Authenticity from the Hotel which also has a stamp on it. The verso of the print is also a stamp which cannot be seen from the front of the print. The print is in pristine condition and has been stored flat since my arrival back from the Hotel. Also has four crisp corners and is in near mint/mint condition. Banksy’s career—filled with art world pranks and political activism—has produced a variety of posters showcasing the street artist’s wry sense of humor. Commissioned by Greenpeace to protest global deforestation, Banksy’s early poster Save or Delete (2002) features blindfolded characters from Disney’s The Jungle Book standing amidst a devastated landscape. In 2005, Banksy pranked The Museum of Modern Art by secretly installing a painting of a Tesco Value soup can (a spoof on Andy Warhol’s famous silkscreens of Campbell’s Soup Cans) in one of its galleries—a hoax that went unnoticed by the museum’s staff for six days and inspired a series of Tesco Value soup can posters years later. Collectible Banksy posters also include promotional prints for his exhibition “Barely Legal...

A fine impression with good margins published by Associated American Artists.

"Winter in Flanders" by Pieter Brueghel, Limited Edition Litho, 4751 Published by New York Graphic Society, 1950 Printed in USA. Measures 16 in x 18 in Print is in good/fair condition

Whirlpool at Awa is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 19th c...

Lithograph with foil stamping on paper. Hand signed and numbered by the artist. From the edition of 350. Artwork is in excellent condition. Certificate of authenticity included. A...

Alloney is a lithograph on paper realized by the artist W.H. Bartlett . Signed on the plate on the lower left. Titled on the lower center. The state of preservation is good, only a yellowed paper along the edge. William Henry Bartlett...

Coral 27 is an original hand drawn lithograph by the NY woman artist, Joan Melnick. Inspired by the fragile beauty of reefs with their exotic forms and vibrant colors, Coral 27 is an...

Fine piece of Florida abstract Landscape art. With a French Art Deco feel to it.

Artist: Henri Matisse (after) Title: La Tristesse du Roi (The Sadness of the King) Portfolio: The Last Works of Henri Matisse Medium: Lithograph Year: 1958 Edition: 2000 Frame Size: ...

The Village is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 29/99, on the left margin. On the ba...

Lithograph in colors on paper. Hand signed and numbered by the artist. From the edition of 200. Artwork is in excellent condition. Certificate of authenticity included. All reason...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

Image dimensions: 9.3 x 16 cm. Plan de la Nouvelle Orléans is an interesting black and white lithograph on paper, realized in 1880 by an anonymous artist. Original Title: Plan de l...

This is an original John James Audubon hand-colored lithograph entitled "Trumpeter Swan, Adult", No. 77, Plate 382 from Audubon's "Birds of America, lit...

Trout Fishing on the Gunnison (Colorado) Lithograph, 1941 Signed and dated '42 in pencil lower right Annotated lower left: "40 Prints-The Gunnison River, Colorado-For Anne & Jack" Ed...

The Village is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 4/99, on the left margin. On the back...