Ink Prints and Multiples

Titled in lower left corner ("Coast July No. 2") Numbered lower center ("9/23") Signed and dated twice in lower right, once inside the artwork, once below ("Bothwell '63" and "Dorr Bothwell '63") Presented in a cream colored mat with foamcore backing. Mat size: 24"H x 28"W Paper size: 20"H x 26"W Dorris Hodgson Bothwell (American, 1902–2000), known as Dorr, was born in San Francisco, California, on May 3, 1902. The Bothwell family moved to San Diego in 1911, where they became friends and neighbors with the artists Anna and Albert Valentien. Dorr began her art studies with Anna in 1916 at the age of 14. In the early 1920s, Dorr returned to San Francisco to study at the California School of Fine Arts, then studied at the University of Oregon, in Eugene, and the Rudolph Schaeffer School of Design, which was founded in San Francisco, 1926. After receiving a modest inheritance, Dorr traveled to American Samoa in 1928, where she remained for two years and produced many works of art in a wide variety of mediums. Some of these were successfully shown at the Fine Arts Gallery of San Diego and the Beaux Gallery in San Francisco, allowing her to spend time in England, France, and Germany. Returning to San Diego in 1931, Dorr became involved, once more, with the San Diego art community and exhibited with the San Diego Moderns...

Gerry Mulligan, Baritone Sax - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Gerry Mulligan sits on a stool holding his ba...

“Protect Your Heart” Photography 36" x 28" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From the "Aequinoctium" series Brian Ziff is...

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...

"Not from Hollywood" Photography 60" x 40" in Edition 1/3 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish C...

"Juggler on a Tightrope" Etching in Ink on Paper Playful etching of a performer by Dick Swift (American, 1918-2010). A juggler is show in a cubist style, w...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

Original ink drawing on arches paper. Hand signed D.S, titled and dated in pencil by Donald Sultan. Sheet size 15 x 15 inches. Frame size approx 18 x 18 inches. Provenance labels ...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-light. Details: + Title: Layered Torn Paper III...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

David Hockney Los Angeles Music Center Opera Poster (Hand signed by Hockney + 40 artists), 1987 Off-set Lithograph Poster The signatures on the poster include David Hockney + 40 othe...

large format photograph of sun reflections on pool water surface, mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic ...

Tracey Emin One Thousand Drawings By Tracey Emin (Hand signed and inscribed for Nadine), 2009 Hardback monograph with dust jacket (ink signed and inscribed by Tracey Emin) Hand signed, dated and inscribed to Nadine by Tracey Emin 7 × 10 × 2 1/2 inches This is the First Edition of the hardback monograph with dust jacket "One Thousand Drawings" by Tracey Emin - featuring reproductions of 1000 of her drawings. It was hand signed, dated and inscribed in ink to the current owner - our gallery director - at the 2011 Marc Jacobs pop up bookstore in Manhattan. (see attached article for details) Inscription reads: For Nadine Love Tracey Emin 2011 NY X Publisher's Blurb: Tracey Emin has stirred controversy as well as acclaim since she rose to fame as the most highly publicized of the infamous Young British Artists. Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention since the early 1990s for being consistently engaging, original, and startlingly direct. Her work has succeeded over the years in many media—from films to appliqués, embroideries, and installations—but it is in her works on paper that the honesty and frankness that have come to characterize her work are most fully realized. Edited by the artist herself from an archive of work stretching back before the beginnings of her career in the late 1980s, A Thousand Drawings is at once a collection of Emin’s works on paper, an exposé of her life as an artist, and a collectible artifact in itself. Many of these works on paper shed light on well-known multimedia pieces, previously studied in Works 1963–2006, published by Rizzoli in 2006. Stripped of the distractions of form and context, her bare and enigmatic drawings are presented on bible-thin paper in a uniquely beautiful slipcased volume, with an introduction by the artist. From considered self-portraits to pen-and-ink drawings and informal studies on lined notebook paper, this remarkable collection is as much a catalogue of Emin’s preoccupations as it is a monument to her raw and evocative talents as an artist. Review “Emin-an artist who is not afraid to wear her heart on her sleeve, or, indeed too embroider it on a blanket-personally chose the pictures for this book, and the delicate sketches are at once a glimpse of the profundity she’s capable of, and a reminder of vulnerability.” ~Nylon Magazine About the Author Tracey Emin was born in London in 1963. Nominated for the Turner Prize in 1999 and chosen to represent Britain at the 52nd Venice Biennale in 2007, Emin is also a member of the Royal Academy of Arts. The author of several books, including Strangeland, her memoir, she contributes regularly to The Independent newspaper and lives and works in London. Publisher ‏ : ‎ Rizzoli; First Edition (July 28, 2009) Language ‏ : ‎ English Hardcover ‏ : ‎ 2016 pages Provenance: Personally inscribed to the present owner (our gallery director) at Bookmarc, NY, a pop up art...

Antoni Tapies (Spain, 1923-2012) 'Las segovias', 1996 silkscreen on paper 14.2 x 10.2 in. (36 x 26 cm.) Edition of 150 Ref: TAP1205-005-150 Hand-signed by author ____________________...

This is a unique woodcut print of a waterfall in a forest in light mint blue against a dark cobalt background. The monotype brings to mind the tradition of Japanese printing...

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of light grass green, yellow, sky blue and dark violet...

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...

From the series Illusions of the Line Chinese ink on Fabriano paper 250 g. 1. Línea Bloques 2. Línea Cubos 3. Línea Aparejo and 4. Línea Estructura Overall size: Image size: 38 c...

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...

Sumiyoshi: Dengaku dance performed during an Onda ceremony - Woodblock Print Bright woodblock print by Utagawa Hiroshige (Japanese, 1797-1858). In this scene, two dancers with swords and fans are facing each other, in the center of a courtyard. There are spectators surrounding them, including nobles in black clothing on a balcony. Presented in a new off-white mat with foamcore backing. Mat size: 16"H x 20"W Paper size: 9.63"H x 14.5W" Utagawa Hiroshige (1797-1858, sometimes called Ando Hiroshige) was the second of the two great masters of the Japanese landscape woodblock print...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seascape ...

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...

He says, “Come with me, I gonna show you the future.” She replies, “I will be with you, wherever you go.” Love wins. "Parallel" is an Illustration work on relationship - "less is more" is the signature style of Kin Choi Lam...

Walasse Ting 丁雄泉 Green Cat, 1984 Color etching and aquatint on copper plate, printed on Fabriano Rosaspina paper Pencil signed, numbered 178/230, dated 1984 along with artist's perso...

large format photograph from a series of colorful floral explosions, flower power and liquid clouds captured in water FLORA lI by Christian Stoll 27 x 40 inches (68.5 x 102cm) sign...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Procession Of A Daimyo - Original Woodblock Print Original woodblock print depicting the procession of a Daimyo. Ten Japanese soldiers are seen as they aid in transporting the Daimy...

"La Femme et la Folie Dominent le Monde II" - 1886 Print on Paper ("The Woman and the Madness Overlooking The World II") 1886 French illustration from Felicien Rops (Belgian, 1833-...

Alexander Liberman, hand signed and inscribed by both Alexander Liberman and Barbara Rose, and accompanied by a separate hand signed note, 1981 Hardback monograph (hand signed and inscribed by Alexander Liberman as well as art historian Barbara Rose), plus accompanied by a separate handwritten card signed by Liberman in the original envelope Warmly signed and inscribed on the monograph and card by Alexander Liberman and hand signed by Barbara Rose on the first front end page 13 1/4 × 12 1/4 × 1 3/4 inches A unique and memorable gift for any collector or fan of the sculptor Alexander Liberman! This lavishly illustrated hardback monograph with dust jacket is warmly signed and inscribed on the first front end page by both Alexander Liberman and the author, art historian, Barbara Rose, and it is accompanied by a separate handwritten card, signed by Alexander Liberman and held in the original envelope. (see photos). The book and card was inscribed to Jack Haber, the Editor-in-Chief of the magazine Gentlemen's Quarterly (GQ) from 1969 to 1983. GQ was owned by Conde Nast, and Alexander Liberman, who worked for Conde Nast for 32 years, was the Editorial Director from 1962-1983. Sadly, Jack Haber would die in 1984 at the age of 45 - one of the first casualties of the AIDS crisis, which was devastating to the art and publishing industries. Inscription on the monograph reads: To Jack Haber with warm friendship Alexander Liberman Inscription on the card reads: Dear Jack [Merry Christmas and a Happy New Year] with warm friendship Alex Book information: Publisher: Abbeville Press, 1981. Hardcover. Bound in publisher's original white cloth with spine and front cover stamped in black. Full color illustrations throughout, including several color foldouts. 392 pages. About Alexander Liberman: Considered a revolutionary Minimalist artist, Alexander Liberman produced works that predated the movement by more than a decade. Liberman, not wanting to limit himself to any one form of expression, worked to produce radically minimalist paintings and sculpture in order to illuminate his beliefs about celestial motion, the movement of the eye, as well as human sexuality. The artist’s fascination with American industrialization and modernization ultimately resulted in his widely known red steel sculptures and geometric paintings, which seem to decompose the turbulence of the time period. Alexander Liberman was born in 1912 in Kiev, Russia. He studied first in London and then in Paris. He took courses in philosophy and mathematics at the Sorbonne and architecture at L’École des Beaux-Arts in Paris. Liberman has had numerous solo exhibitions at museums such as the Jewish Museum, New York (1966); Storm King Art Center, Mountainville, NY (1970); and the Corcoran Gallery of Art, Washington, DC (1970). His sculpture and paintings are included in the museum collections of the Art Institute, Chicago; the Museum of Fine Arts, Houston; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Hirshhorn Museum & Sculpture Garden, Washington, DC; the Tate Gallery, London and many others. Additionally his public sculpture can be seen in over 40 cities around the world including Honolulu, Los Angeles, Miami, New Haven, New York, Oklahoma City and Philadelphia. Alexander Liberman died in November of 1999 at the age of 87. - Courtesy of Mitchell-Innes & Nass About Barbara Rose: Barbara Ellen Rose (June 11, 1936 – December 25, 2020) was an American art historian, art critic, curator and college professor. Rose's criticism focused on 20th-century American art, particularly minimalism and abstract expressionism, as well as Spanish art. "ABC Art...

OPAC The Organization of Photorealist Artists and Collectors presents Seltzer, a signed and numbered giclee on canvas by famed photorealist Mark Schiff. This piece is 28" x 34". The ...

Raymond Pettibon, Kim Gordon Sonic Youth at Frankfurt Music Hall (Hand Signed by Raymond Pettibon and Kim Gordon), 1990 Offset Lithograph Poster Boldly signed, and dated 2016 in ink ...

Jose Luis Cuevas (Mexico, 1934-2017) Artist Proof 'Fantasmas del Centro Histórico V', 2004 woodcut on paper Guarro Biblos 250g. 20.9 x 16 in. (53 x 40.5 cm.) Edition of 60 Unframed I...

Delicate and layered collotype on both sides of heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of this piece is a collotype. Gold leaf, treated in a varie...

The WEBB imagery is of the most important imagery every taken. The finest museum quality WEBB images avialable. Printed on archival paper using archival inks. Framing options avail...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

large scale abstract b&w photograph of mesmerizing monochromatic water surface SEASCAPE V by Frank Schott 60 x 48 inches / 152cm x 122cm signed edition of...

"Rabbit" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Rabbit" by Jim Crabb (American, b. 1947). This piece resembles a surreal landscape, with b...

large scale photograph of iconic classic motorcycle Chopper (2003) 48 x 85 inches (122 x 216cm) signed edition of 7 22.5 x 40 inches (57 x 102cm) signed edition of 25 archiva...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a ferry sailing across Lake Hamana. Signed in Kanji lower right, "Hiroshige Ga" for Utagawa (Ando) Hiroshige (Japane...

"Nihon Noir arose from my fascination with Tokyo and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Japanese Original Woodblock Print Harunobu Suzuki (né Hozumi) (Japanese, 1724 - 1770) Presented in a black mat. Mat: 16"H x 12"W Paper: 12"H x 9"W I...

"Sister Water" - St Francis of Assisi Linocut Wood Black pring of St Francis by Italian artist (printer of Assisi) Gastone Vignati (Italian, 20C)...

large scale photograph from a series of conceptual motivational messages on classic Americana billboard signs in landscape of the American West BACK I...

Untitled (Crimson) 40 x 40 inches / 102cm 102cm signed edition of 25 58 x 58 inches / 147cm x 147cm signed edition of 7 archival quality fine art pigment print limited art edit...

"Departure #6" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Departure #6" by Jim Crabb (American, b. 1947). This piece resembles a surreal lands...

A large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Northern California's coastal redwood...

"Nane - Qagyuhl" Native American in Grizzly Costume - Photogravure Print Photogravure of a Native American man from a photo by Edward Sheriff Curtis (American, 1868-1952). The man i...

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

Ray Smith (United States, 1959) 'La Espera', 2020 Silkscreen on paper. Edition of 50 11.7 x 17.8 in. (29.5 x 45 cm.) Ref: SMI-101 Ray Smith (American, b.1959) Born in Brownsville, T...

Alphonse Mucha (Czech, 1860-1939) Original Lithograph 1913 - Very Large - "Zdenka Cerny" The Greatest Bohemian Violincellist Prague, Czechoslovak Color lithograph Signed and dated "...

Kabuki Actor in Water Lily Robe with Samurai Sword- Japanese Woodblock Print Finely detailed woodblock by Utagawa Toyokuni (Japanese, 1769-1825). A kabuki actor ("Master Haranyuki Sawamura") is standing on stage with mountainous backdrop, wearing a robe in a water lily pattern. He is wearing a samurai sword. Presented in a gold colored frame with a silk mat. Frame size: 20"H x 14.25"W Image size: 14"H x 9"W Utagawa Toyokuni (Japanese, 1769-1825) was born in Edo, the son of Kurahashi Gorobei, a carver of dolls and puppets...

Purple and red kimono by Patricia A. Pearce (American, b. 1948). This piece is unsigned, but was acquired with a collection of Pearce's work. No frame. Image, 27.5"H x 22.5"W Patrici...

From a series of large scale black & white photographs capturing the ancient flora and dramatic arboretum of California's vast Sierra Nevada mountain landscapes, an homage to photogr...

In the artist's Art on Design print series, Be the Dance, 2023 by a.muse is a colorful one-of-a-kind art on paper. The work is an invitation to freedom of self-expression and invites...

Available sizes: 37.5" x 30", Edition of 15 50" x 40", Edition of 10 60" x 48", Edition of 5 Over 40,000 years ago, we began to depict animals in cave drawings. Throughout history, ...

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

This print is a series of 60, and it has a silver leaf on the moons. This edition is special in its color since the artist doesn't usually work with a green palette but this piece wa...