Pencil Prints and Multiples

Mark Rothko at Museo d'Arte Moderna Ca' Pesaro, Venezia, 1970 Offset lithograph and lithograph on high quality lithographic paper Numbered in pencil 250/500 in the lower left front ...

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...

Niki de Saint Phalle I Rather Like You A Lot You Fool, 1970 Silkscreen on wove paper Signed and numbered 74//75 in graphite pencil on the front Frame included: This work is elegantly...

Color screenprint, color pencil on heavy white wove paper, 1971. 840x595 mm; 33 1/4×23 1/2 inches (sheet), full margins. Signed and numbered 47/175 in pencil, lower margin. Publishe...

Miguel Rasero (Spain, 1955) 'Vinas', N/A carborundum, chine colle on Heavy weight handmade paper 52.6 x 40.6 in. (133.5 x 103 cm.) Edition of 18 ID: RAS-301 Hand-signed by author

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed In September, 2025, "Kerry James Marshall: The Histories" opened at the Royal Academy of Arts in London. This major exhibition was the largest presentation of Marshall's work in the United Kingdom and Europe, and featured more than 70 works by the the artist, including a large number of paintings and a selection of prints, drawings and sculptures. Highlights of the show include a new series of paintings that explore the transatlantic slave trade, along with Knowledge and Wonder, a mural commissioned in 1995 by the Chicago Public Library that is the largest painting Marshall has produced. The exhibition at the Royal Academy will then travel to the Kunsthaus Zurich and the Musee d'Art Modern in Paris. Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier, which is featured in the Royal Academy Exhibition. In 2013, an original painting, upon which this work is based, sold at Christie's auction. Below is the Christie's Lot Essay for that painting: ..." Set in a revolutionary apartment in the cosmos, Kerry James Marshall's Keeping the Culture optimistically anticipates a future that pays homage to the past. Ushering in a new stage of the artist's output, Keeping the Culture shifts focus from the failed utopia of urban renewal and the commemoration of civil rights era heroes in favor of a more technically refined meditation on the preservation of the traditional and spiritual values that shaped a culture. Placed in an ultramodern environment, two siblings marvel at a projection of the earth--in which Marshall has aptly positioned the African continent toward the viewer-while their affectionate parents dance in the foreground. Overlooking the milky way, Marshall's space-age flat is decorated with earthly relics-wooden tribal sculptures...

KEITH SONNIER Untitled, 1995 Letterpress on Sumerset Paper Edition 91/100 Signed and numbered in graphite from the edition of 100, recto Frame included Measurements: Sheet: 6 inches ...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by a...

Diane Burko Lily Pond at Giverny, 1990 Hand colored monoprint (lithograph with hand coloring) Hand signed and numbered 8/95 by the artist and bears publisher's stamp on the front 21 ...

Gray toned abstract landscape of a desert with mother and child walking by coves. Original print is at the Portland Art Museum collections. Signed and titled by the artist. Framed and matted in a black wooden frame. Dimensions Without Frame: H 12 x W 17.38 Artist Biography: William Givler was one of the most influential artists and teachers in Oregon. He devoted forty-two years to the Museum Art School, beginning in 1931 as an instructor, interrupted by service as a forester during World War II, and then as dean from 1944 until his retirement in 1973. He established the four-year degree program and secured accreditation for the school. In 1949 Givler inaugurated the first Print Annual at the Portland Art Museum. In 1953 Givler, Carl Hall, and two Washington artists exhibited in a four-person show at the Seattle Art Museum. He had many one-person shows throughout the United States during his long career: Seattle Art Museum, Portland Art Museum, Santa Barbara Museum of Art, University of Virginia, and others. In 1959 Givler painted an oil, Mt. Hood, for Timberline Lodge...

Accidents, Injuries and other Calamities poster Judy Chicago (Hand signed and inscribed), 1988 Offset lithograph on thin board (signed and inscribed by Judy Chicago) 26 × 20 1/4 inch...

David Hockney, Bridget Riley, Joe Tilson, Howard Hodgkin, Peter Blake + 99 artists Visual Aid for Band Aid - designed, and HAND SIGNED and annotated by 104 renowned artists, with off...

Andy Goldsworthy Presentation print for Royal Mail Christmas Stamp Series, 2003 Color photogravure on handmade rag paper with deckled edges 15 × 20 1/4 inches hand signed lower right...

Donald Sultan Playing Card Prints - Artist Proofs (APs) We are excited to offer a rare collection of Artist Proof (AP) prints from Donald Sultan's acclaimed playing card series. Lim...

Richard Haas Puck Corner, SOHO, New York, 1971 Etching and Aquatint (affixed to white matting) Hand signed and numbered 10/100 by the artist on the lower front Elegantly matted and f...

Note: This is from the hand signed and numbered limited edition of only 50 - extremely scarce collectors item; not to be confused with the larger poster edition signed (but not numbe...

Detailed hand colored landscape lithograph of a stone bridge in the countryside by French artist Albert Aristide Seguin. Signed illegibly in the lower right corner, matches other e...

Claes Oldenburg Fagends Carved in Rock, De-Accessioned from the Denver Art Museum (137, Axsom and Platzker), 1975 Offset Lithograph. Hand signed and ...

Stanley Boxer Finale, from Carnival of Animals (Tyler Graphics, 119:SB31), 1979 Etching, aquatint, engraving and drypoint on hand colored TGL handmade paper Edition 16/20 Pencil sign...

Sam Francis Untitled Abstract Expressionist print for the 1984 Olympics, 1982 Offset Lithograph on Parsons Diploma Parchment paper, hand signed with COA from publisher for Olympic Co...

Arnaldo Pomodoro Untitled, 1970 Color Lithograph on Wove Paper Hand signed and numbered 15/15 Hand-signed by artist, pencil signed and dated lower right margin, limited edition noted...

Andrea Belag Untitled, from the Lehman Brothers Art Collection, 2003 Watercolor monotype on paper Pencil signed and dated on the front Framed Gorgeous ...

Henry Pearson FACE, from Portfolio 9, 1964 Color lithograph with deckled edges Signed, titled, and numbered 84/100 in graphite pencil on the front; with publishers' blind stamp 17 1/2 × 22 1/10 inches Publisher Irwin Hollander, with blindstamp Hand Signed and Numbered 84/100 with Irwin Hollander (printer) Blindstamp Unframed Henry Pearson's iconic Pop Art lithograph "Face" from the mid-Sixties is in the permanent Collection of the Museum of Modern Art as well as other public institutions. This Classic Sixties psychedelic designed Op Art lithograph was created as part of the legendary 'Portfolio 9' in 1967 - one of the most influential eras in 20th century art. It was housed in a gray cloth-colored box with maroon paper inner panels and a large maroon "9" designed by Richard Lindner on the cover. Portfolio 9 featured nine of the most important artists of the era, representative of the three major trends: Pop Art, Minimalism and Abstract Expressionism: Roy Lichtenstein, Saul Steinberg, Richard Lindner, Robert Motherwell, Henry Pearson, Louise Nevelson, Sam Francis, Willem de Kooning- and Ellsworth Kelly. The Introduction to the portfolio was written by Una E. Johnson, Curator of Prints & Drawings, The Brooklyn Museum. Johnson wrote in 1967 for the colophon page: "The artists were selected to demonstrate the great diversity and character of lithography in the United States today... the dialogue of diverse forms and many faceted idioms that compose this graphic journal mirror the eloquence and delight the strengths and caprices of a period. Furthermore, they reflect in fine measure the creative achievements of artists attuned to their time." The lithograph offered here has superb provenance: it comes directly from 'Portfolio 9', numbered 84/100. This is the very first time since 1967 that this hand signed & numbered print will be separated from the original portfolio presentation box. According to the description of this print in the catalogue raisonne, "Organized as a celebration of Irwin Hollander's collaboration with American artists working in the medium of lithography, the Portfolio 9 is a compendium of images by nine of Hollander's artist collaborators. Henry Pearson Biography: Henry Pearson was born in Kinston, North Carolina in 1914. He studied art at the University of North Carolina where he received his B. A. and later at Yale University where he received an M. F. A. Pearson spent over eleven years in the army during and after WWII. On one tour of duty in Japan he was assigned to interpret topographical maps due to his past training in Theatrical Set Design. He returned to Japan on another tour after the war in order to immerse himself more fully in the culture. Pearson returned to the United States in 1953 and enrolled at the Art Students League in New York where he studied with Reginald Marsh. The Op-Art Movement was beginning to gain popularity and Pearson...

Antoni Tapies (Spain, 1923-2012) 'Oval i blanc', 1982 etching, aquatint, carborundum on paper Guarro Biblos 250g. 22.1 x 30 in. (56 x 76 cm.) Edition of 99 Unframed ID: TAP1162-018 H...

This large, horizontal diptych woodcut print on paper evokes the peacefulness of ocean waves depicted in shades of cobalt blue with purple undertones and the artist's addition of wat...

Michael Heizer III-8 (two pages), 1983 Monoprint on two individual sheets of white handmade TGL paper, hand colored with colored pencils, paint sticks, and liquid and spray acrylic p...

Original signed artist's proof etching by Lois Polansky (1939-2003) from her "A Deck of Chance" series. Framed. Measuring: 15 by 14 inches overall and 6 1/4 by 5 1/4 inches image alo...

Lowell Nesbitt Orchid, 1979 Silkscreen on wove paper Pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front Published by Charles Cardinale Fine Creations, Inc., with blind stamp on the front 25 × 25 inches Unframed This work is pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front. About Lowell Nesbitt. Lowell Nesbitt, who was born in Baltimore on Oct. 4, 1933, was a graduate of the Tyler School of Art at Temple University in Philadelphia and also attended the Royal College of Art in London, where he worked in stained glass & etching. In 1964, the Corcoran Gallery or Art in Washington gave him one of his first museum exhibitions, and by the mid 1970's he had decided to leave the museum a bequest of more than $1 million. But in 1989, he publicly revoked the bequest after the Corcoran canceled a disputed exhibition of photographs by Robert Mapplethorpe, who was an old friend. Mr. Nesbitt named the Phillips Collection as a beneficiary instead. He was frequently grouped with the Photo Realists, but his images were more interpretively distorted, somewhat loosely painted and boldly abbreviated. He had many subjects: studio interiors, articles of clothing, piles of shoes and groupings of fruits and vegetables. He also painted his dog, a Rottweiler named Echo, the Neoclassical facades of SoHo's 19th century cast-iron buildings and several of Manhattan's major bridges. Despite such variety, Lowell Nesbitt was best known for gargantuan images or irises, roses, lilies and other flowers, which he often depicted in close up so that their petals seemed to fill the canvas. Dramatic, implicitly sexual and a little ominous, they earned the artist a popularity with the general public that tended to overshadow his reputation within the art world. In 1980, the United States Postal Service issued four stamps based on Mr. Nesbitt's floral paintings. He also served as the official artist for the space flights of Apollo 9...

James Bettison Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges. Hand signed. Numbered 38/50. Dated. Printer's and Publisher's Blind Stamp. 20...

Richard Smith Bramble, 1970 Lithograph on wove paper Signed, numbered and dated 10/75 in pencil lower left Frame included: held in original vintage period frame Pencil signed, dated ...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

This is a truly historic limited edition hand signed museum print from the 1960s - of the first North American building the legendary artists Christo ever wrapped: Christo Wrap In Wr...

Larry Rivers The Last Civil War Veteran, 1970 Silkscreen and mixed media collage on paper 29 × 19 3/4 inches Hand signed and numbered 55/100 in graphite pencil lower front Provenance...

Medium: Print Condition Print in good condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand Signed and Numbered by the Artist in Pencil, CB HOYO. ...

Andrea Belag A Second Hand II, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Hand-signed by artist, Signed, titled and dated in pencil on the front; bears publishers name and copyright on the back, along with the unique inventory number Unframed Poignant 1990 monotype, in elegant pastel colors. The cotton rag paper has lightly deckled edges so it will look gorgeous when floated and framed. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

"Two Protea" (2024) by Kate Breakey is a limited-edition archival pigment print that is hand colored using pencil and pastel. About the artist: Kate Breakey is internationally know...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

Gael Stack Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges. Hand signed. Numbered. Printer's and Publisher's Blindstamp. Unframed. Hand signed and numbered on the lower recto (front) with printer's and publisher's blindstamp. Edition 38/50 20 × 15 inches Publisher Little Egypt Enterprises, Houston, TX Provenance Art Against AIDS Portfolio, numbered 38/50 This beautiful limited edition woodcut by Gael Stack was published in 1988 as part of the Art Against Aids portfolio, numbered 38/50. Superb provenance as it is was acquired from the original Art Against AIDS Portfolio published in Houston, Texas. This will be the first time the work will be removed from the portfolio. The late 1980s was the height of the AIDS epidemic, and this was one of many efforts by the creative community to raise funds to assist in fighting this deadly scourge that disproportionately affected the artistic community. Measurements: 20 x 15 inches (sheet) 8 1/4 x 12 inches(image) The complete Art Against AIDS Portfolio is comprised of 10 prints, in black and white and color, from 10 artists. About Gael Stack: Gael Stack is a Texas painter. She lives in Houston and has work in the permanent collections of several museums. Stack has worked as a professor at the University of Houston...

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and fra...

Robert Indiana Stable Gallery 16 October 1962 (Hand Signed & Inscribed) Silkscreen on art paper Signed and Dedicated in pencil on the recto. The dedication and signature reads ...

Paper Size: 14 x 11 inches ( 35.56 x 27.94 cm ) Image Size: 8.5 x 6.5 inches ( 21.59 x 16.51 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional D...

Delicate and layered collotype on heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of this piece is a collotype, whereas the lace, strings, and shadows are ...

Silver and orange monotype EV —edition variée ed 3/5 with heavy hand coloring. A final work from the artist's mportant Cautionary Tales series, that was her focus throughout 2015. T...

"Patricia's Tulips" (2000) by Kate Breakey is a limited-edition archival pigment print that is hand colored using pencil and pastel that depicts a vase of wilted flowers. About the ...

Alpine Landscape is an original Artwork, Drawing, realized in the second half of the 19th Century by Marie Hector Yvert. Original pencil and white chalk on brown paper. Stamp of At...

Richard Anuszkiewicz Soft Lime, 1976 8 Color silkscreen on Lenox 100% Cotton paper 38 × 46 inches Pencil signed and numbered 41/75 on the front; bears printers blind stamp from NYIT (New York Institute of Technology) Unframed We have not seen another example of this gorgeous mid century silkscreen...

Peter Blake To Her Majesty, The Queen Elizabeth II, 2016 Color giclee print on wove paper with full margins 11 73/100 × 6 3/5 inches Pencil signed, titled, dated and numbered 119/150...

"Orange Leaves" (2000) by Kate Breakey is a limited-edition archival pigment print that is hand colored using pencil and pastel that depicts a vase of wilted plants with orange leave...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

"Portrait of a Raven #10/20" (2024) by Kate Breakey is a limited-edition archival pigment print that depicts a raven. This piece was hand colored using pencil and pastel. About the...

Brice Marden's Studio Offset lithograph poster on wove paper (hand signed by Brice Marden in 2015) This print was published on the occasion of Brice Marden's 1996 exhibition at the Matthew Marks Gallery in Chelsea, New York City. The image is based on Nan Goldin's 1995 photograph of Marden working in his studio. The print was signed by Brice Marden for the present owner. A collectors item when hand signed! About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings (1973–74)—five permutations of the primary trio—which were united for the first time since their making at Gagosian, 980 Madison Avenue, New York, in 2013. In the 1980s Marden began to incorporate organic, intersecting lines, creating rhythmic patterns over fields of color. Exploring these winding lines, he experimented with blank space, erasure, and references to the natural world. He sought to create a mystical experience through the creation of elusive abstract spaces. As his many themes and techniques have overlapped, Marden brought them together in cohesive, often multipart works, which he has described as his “summation paintings.” Among them is The Propitious Garden of Plane Image, Third Version (2000–06), held in the collection of the Museum of Modern Art in New York, where he had his first comprehensive retrospective in 2006. In his later years Marden continued his exploration of the qualities of monochrome. This engagement with muted colors informed his calligraphic drawings and works on canvas, such as the Nevis Stele paintings (2007–15), inspired by Chinese stone carvings from the late eighth century. In 2017 he turned his gaze to the expansive possibilities of terre verte (green earth), an iron silicate clay pigment, which he first used in the Grove Group. These paintings incorporate many different brands of terre verte, each a variation on the indefinable hue. Marden thinned his slow-drying paint and applied it gradually to the canvas in many successive layers, leaving a visible residue of the painting process at the lower edge of each canvas. Courtesy of Gagosian Gallery About Nan Goldin: The camera is as much a part of my everyday life as talking or eating or sex. —Nan Goldin Emerging from the artist’s own life and relationships, and including herself as a subject, Nan Goldin’s work has transformed the role of photography in contemporary art. Her photographs and moving-image works address essential themes of identity, love, sexuality, addiction, and mortality. Uniting art and activism, Goldin has confronted the HIV/AIDS epidemic since the 1980s and today brings international attention to the overdose crisis. Born in Washington, DC, in 1953, Goldin grew up outside of Boston. She left home at age fourteen, and at sixteen enrolled in the Satya Community School in Lincoln, Massachusetts, where she acquired her first camera. Goldin’s early black-and-white photographs, which convey the beauty, vulnerability, and joy of her friends in Boston’s transgender community, were initially shown in her first solo exhibition in 1973 at Project, Inc., Cambridge, Massachusetts. Attending Boston’s School of the Museum of Fine Arts beginning in 1974, she would start working principally with Cibachrome prints and 35mm slides, taking photographs in saturated color. Relocating to New York in 1978, Goldin began documenting members of her chosen family in a milieu of New Wave clubs, No Wave cinema, and post-Stonewall gay culture. Capturing moments of revelry and friendship, intimacy and loss, she titled this body of work The Ballad of Sexual Dependency after a song from The Threepenny Opera (1928) by Kurt Weill and Bertolt Brecht. Constantly evolving, it grew into a multimedia presentation of almost seven hundred slides accompanied by an eclectic soundtrack. Initially projected in nightclubs, it was included in The Times Square Show in 1980, the Whitney Biennial in 1985, and countless other museum exhibitions around the world. It was published by Aperture in 1986 as the first of Goldin’s many books and was recently reprinted for the twenty-first time. Goldin unflinchingly documents the struggles and courage that defined her community’s response to the devastating AIDS epidemic. In 1989, she organized Witnesses: Against Our Vanishing at New York’s Artists Space, the first exhibition featuring the work of artists who were living with or had died from AIDS, or whose art responded to the disease, including David Armstrong, Peter Hujar, Greer Lankton...

A limited edition of prints is available: Paper size: 40 × 60 cm Image size: 30 × 50 cm Edition: 20 copies Paper: Epson Enhanced Matte Paper (190 g/m²) Details: Each print is hand-n...

A limited edition of prints is available: Paper size: 52 × 40 cm Image size: 42 × 30 cm Edition: 20 copies Paper: Epson Enhanced Matte Paper (190 g/m²) Details: Each print is hand-n...

Procede by Georges Manzana Pissarro (1871-1961) Coloured monotype with gold, silver and pencil 24 x 30 cm (9¹/₂ x 11³/₄ inches) Signed lower right, Manzana Artist biogaphy Like all ...

Monoprint with water based ink and graphite

"White Swan" (2022) by Kate Breakey is an archival pigment print that depicts a swan in a lake. This piece was hand colored using pencil and pastel. About the artist: Kate Breakey...

1910 Master Wood Engraving after Rembrandt with Cap, Signed Beautifully rendered print after Rembrandt by master engraver Timothy Cole (British/American b. 1852 d. 1931.) Rembrandt ...

Henry de Waroquier The cat, the dove and the death, 1936 Original drawing : pencil, ink and lavish Handsigned in the lower middle There is a collage of the artist : by opening it yo...

Artist: Jonas Wood Title: Untitled Medium: Collage with hand-colored pencil on book cover Size: 12" x 9 1/4" x 1" Edition: 1/20 Year: 2019 Inscription: Numbered and signed on inside ...

'Jane' in pink and dark blue. Monotype EV with mixed media hand coloring including ink, gouache, pencils. Ed 1/4. Kim Frohsin, who is often associated with the Bay Area Figurative m...