Early 2000s Landscape Prints

Winter landscape of an orchard with hints of a cityscape in the background, also architectural detail in the ground beneath. Signed, numbered and titled from the edition of 200. Smi...

Title: “THE NEXT WAVE” Artist: JOHN VAN HAMERSVELD Medium: 4 color SERIGRAPH Substrate: COVENTRY RAG 320 GSM Edge: DECKLED Paper Size: 44″ x 34.25” Image Size: 40” x 30” Signed and Numbered Edition: 134/150 Year: 2009 ALSO INCLUDED: Title: Pinnacle Indian Artist: John Van Hamersveld Medium: Archival digital print from original drawing Image Size: 35.5” x 35.5” Signed and Numbered Edition of 30 Year: 2007 John Van Hamersveld (born September 1, 1941) is an American graphic artist and illustrator who designed record jackets for pop and psychedelic bands from the 1960s onward. Among the 300 albums[3] are the covers of Magical Mystery Tour by the Beatles, Crown of Creation by Jefferson Airplane, Exile on Main Street by the Rolling Stones, and Hotter Than Hell by Kiss. His first major assignment, in 1963, was designing the poster for the surf film The Endless Summer, after which he served as Capitol Records' head of design from 1965 to 1968. During that time, he worked on the artwork for albums by Capitol artists such as the Beatles and the Beach Boys.[5] He also oversaw the design of the psychedelic posters for the Pinnacle Shrine exposition.[6] The Endless Summer The Endless Summer (John Van Hamersveld illustration) In 1963, Van Hamersveld was hired by director and filmmaker Bruce Brown to design the iconic Endless Summer movie poster using a photograph taken by Bob Bagley, general manager and camera man for Bruce Brown Films. In the staged photograph originally taken at Salt Creek, Brown is positioned in the foreground with his surfboard on his head and the movie's two stars, Robert August...

Thomas Pradzynski 1951–2007 Internationally renowned Modern Realist, Thomas Pradzynski painted street scenes of cities throughout the world, but was inspired and captured the mood, t...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Hajime Namiki, 'Garyu no sakura (The Lying Dragon Cherry Tree, Gifu)', color woodcut, 2003, edition 200. Signed in pencil and with the artist’s red seal....

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...

Artist: Salvador Dali (1904-1989) Title: Femme à tete de Roses (Pittura N. Y415.35) Year: 2004 Medium: Lithograph on wove paper Size: 30.25 x 22 inches Condition: Excellent Inscripti...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

In 2002, Jamie Wyeth created a richly detailed image titled, The Gourd Tree. Known for his realistic style, Wyeth’s work consists largely of landscapes-- like this unusual tree-- and portraiture. Although closely associated with the rural landscape of Chadds Ford Pennsylvania and the rugged coast of Maine, Jamie Wyeth spent part of his early career in New York City, where he was mentored by New York City Ballet founder Lincoln Kirstein...

Exhibition poster by Roy Lichtenstein for a show held in Madrid, Spain in 2007. Seated behind a 4 inch mat and framed in a black wood frame with a front profile of 1 1/2 inches and s...

Canaries on a Tree, 2003 Screenprint Edition size: 300 Image and paper size: 28.5 x 24cm hand-signed and numbered by the artist on verso published by Advanced Graphics accompanied by signed and numbered book (206/300) that matches the print's edition number. Craigie Aitchison...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Artist: Peter Max (1937) Title: Woodstock Profile Year: 2002 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excellent Insc...

Untitled - III Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Exhibition poster by Roy Lichtenstein for a show held in Madrid, Spain in 2007. Seated behind a 4 inch mat and framed in a black wood frame with a front profile of 1 1/2 inches and s...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. Anonymous pedestrians passing on a snowy walk through Central Park. Um...

GEECH is a hand drawn, limited edition lithograph(not a digital print or photo reproduction) by JONATHAN GREEN printed using hand lithography techniques...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. Anonymous pedestrians passing on a snowy walk through Central Park. Um...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Anne Dykmans, Belgian (1952 - ) - Wandelaars II, Year: 2002, Medium: Mezzotint, signed, titled, numbered and dated in pencil, Edition: 50, Image Size: 2.5 x 3.5 inches, Frame Siz...

This artwork "Utitled, Garden" c.2000 is an original color serigraph by Israeli artist Yuval Wolfson, born 1966. It is hand signed and numbered 214/300 i...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Title: “THE NEXT WAVE” Artist: JOHN VAN HAMERSVELD Medium: 4 color SERIGRAPH Substrate: COVENTRY RAG 320 GSM Edge: DECKLED Paper Size: 44″ x 34.25” Image Size: 40” x 30” Signed and Numbered Edition: 134/150 Year: 2009 ALSO INCLUDED: Title: Pinnacle Indian Artist: John Van Hamersveld Medium: Archival digital print from original drawing Image Size: 35.5” x 35.5” Signed and Numbered Edition of 30 Year: 2007 John Van Hamersveld (born September 1, 1941) is an American graphic artist and illustrator who designed record jackets for pop and psychedelic bands from the 1960s onward. Among the 300 albums[3] are the covers of Magical Mystery Tour by the Beatles, Crown of Creation by Jefferson Airplane, Exile on Main Street by the Rolling Stones, and Hotter Than Hell by Kiss. His first major assignment, in 1963, was designing the poster for the surf film The Endless Summer, after which he served as Capitol Records' head of design from 1965 to 1968. During that time, he worked on the artwork for albums by Capitol artists such as the Beatles and the Beach Boys.[5] He also oversaw the design of the psychedelic posters for the Pinnacle Shrine exposition.[6] The Endless Summer The Endless Summer (John Van Hamersveld illustration) In 1963, Van Hamersveld was hired by director and filmmaker Bruce Brown to design the iconic Endless Summer movie poster using a photograph taken by Bob Bagley, general manager and camera man for Bruce Brown Films. In the staged photograph originally taken at Salt Creek, Brown is positioned in the foreground with his surfboard on his head and the movie's two stars, Robert August...

Artist: Peter Max (1937) Title: United We Stand Year: 2002 Edition: 107/300, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 12.5 x 9 inches Condition: Excellent Inscript...

ABOUT THIS PIECE: Vintage gas pumps, Salado, Texas. Night, 1/4 moon, CTO-gelled flashlight. As a night photographer, I shoot almost exclusively by the...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Artist: Peter Max (1937) Title: Cosmic Flyer in Space Year: 2003 Edition: 497/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Ins...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. His seascapes and ocean prints are from the California coastline. Sign...

Lithograph on Magnani-Pescia paper. Paper size cm.17,5x cm.24,5 work size cm. 14,5 x cm. 22 Excellent condition, no defects.

Signed, titled and numbered by the artist. This print was an hommage to the architect Louis Sullivan, done after a trip to Chicago. With the same elaborate fantasy garden scenery, th...

Very large advertising poster created by the Metropolitan Transportation Authority to promote public transit. In 2002, Colon created the "Highfliers" poster for the Metropolitan Tran...

Thomas Pradzynski 1951–2007 Internationally renowned Modern Realist, Thomas Pradzynski painted street scenes of cities throughout the world, but was inspired and captured the mood, t...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Artist: Peter Max (1937) Title: Sage, Sailboat, and Vase II Year: 2000 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 7.375 x 8.25 inches Condition: Ex...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Artist: Peter Max (1937) Title: Two Hearts Year: 2001 Edition: 63/300, plus proofs Medium: Silkscreen on Fabriano Rosapina paper Size: 19 x 26.5 inches Condition: Good Inscription: S...

Artist: Peter Max (1937) Title: Heart on Blends Year: 2005 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 12.75 x 10 inches Condition: Excellent Inscri...

Michael Knigin, American (1942 - 2011) - Montauk Waves XXXVX, Year: 2004, Medium: Chromogenic Print on Canvas mounted to board, signed, titled, and dated on verso and signed and dat...

Artist: Peter Max (1937) Title: Flower Jumper Over Sunrise II Year: 2001 Edition: 497/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9 x 11 inches Condition: Excell...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

A sspectacular view from above of the buildings and traffic a large city. Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to comple...

Artist: Peter Max (1937) Title: Flowers In Blue Vase III Year: 2000 Edition: 419/500, plus proofs Medium: Lithograph on archival paper Size: 12 x ...

Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. His seascapes and ocean prints are from the California coastline. Sign...

The rolling hills of the wine country in Sonoma, CA when the mustard flowers are in full bloom. Three plate etching and aquatint. Signed titled and numbered in pencil from the edition of 250. Born in Berkeley, California, on December 21, 1949, he was raised in a home that had a sweeping view of the San Francisco Bay. This scene kindled his interest in landscape and was one of his earliest drawing subjects. Stephen McMillan's etchings and aquatint prints capture the landscapes of California...

Signed, titled artist proof. Edition of 135. Like much of his work, Royal Palm has atmosphere of the Mediterranean, but all of the elements are rooted in the artist's neighborhood. ...

Artist: Peter Max (1937) Title: Liberty Head X Year: 2004 Edition: 679/700, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 7 x 6.87 inches Condition: Excellent Inscripti...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 8 x 11 in Frame: 17 x 19 in Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Artist: Peter Max (1937) Title: Heart with Flag III Year: 2003 Edition: 440/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9.75 x 9.75 inches Condition: Excellent I...

Artist: Peter Max (1937) Title: Liberty Head IV Year: 2001 Edition: 454/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscripti...

Artist: Peter Max (1937) Title: Homage to Picasso, Volume I, #3 Year: 2001 Edition: 452/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 5 x 4 inches Condition: Excel...

Artist: Peter Max (1937) Title: Two Cosmic Sages Ver. II Year: 2001 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 9 x 11 inches Condition: Excellent Inscri...

Artist: Peter Max (1937) Title: Umbrella Man at Sunrise Year: 2001 Edition: 303/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9 x 11 inches Condition: Excellent In...

"Le Retour (Return)" is a color lithograph after the original 1940 painting by Rene Magritte. A bird which is really just the sky in the day and clouds. A nest bellow the bird has th...

Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...

Trojan Horse Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Cecily Brown Paintings at Modern Art Oxford (hand signed and inscribed), 2005 Offset lithograph poster (signed and inscribed to Nadine) Hand signed and inscribed to Nadine by Cecily ...

Artist: After Helen Frankenthaler (1928-2011) Title: Solar Imp (Lincoln Center Salute’s the New York City Ballet) Year: 2001 Medium: Silkscreen poster on extra thick Somerset paper E...

Scene of cliffs shaped by the waaves of the california coastline. Suggestions of human forms can be seen in some rock formations. Werger's mezzotint prints are masterful at capturin...

Waiting Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

A sspectacular view from above of the buildings and traffic a large city. Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to comple...

Artist: Peter Max (1937) Title: Cosmic Sailboat Year: 2003 Edition: 453/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscripti...

Artist: Peter Max (1937) Title: Two Hearts on Blends Year: 2005 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 13 x 17 inches Condition: Excellent Insc...

Winter landscape of an orchard with hints of a cityscape in the background, also architectural detail in the ground beneath. Signed, numbered and titled from the edition of 200. Smi...

Artist: Peter Max (1937) Title: Flag on Blends Year: 2005 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 8 x 10 inches Condition: Excellent Inscription...

Artist: Peter Max (1937) Title: Cosmic Umbrella Man Year: 2003 Edition: 496/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscr...

Artist: Peter Max (1937) Title: Angel with Sun II Year: 2002 Edition: 427/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excellent Insc...

Artist: Peter Max (1937) Title: Cosmic Jumper, Detail I Year: 2003 Edition: 495/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent I...

Artist: Al Hirschfeld (1903-2003) Title: Elvis Presley (Blue Suede Shoes) Year: 2001 Edition: 241/300, plus proofs. Medium: Lithograph on Arches paper Size: 19 x 28 inches Condition: Excellent Inscription: Signed and numbered by the artist. AL HIRSCHFELD (1903-2003) An American caricaturist best known for his black & white portraits of famous celebrities and Broadway stars...

Signed, titled artist proof. Edition of 135. Like much of his work, Royal Palm has atmosphere of the Mediterranean, but all of the elements are rooted in the artist's neighborhood. ...