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Carel Weight was born in Paddington, West London in 1908. His mother, who was of German and Swedish descent, was a chiropodist, and his father was a cashier at a bank. As they both w...

Contemporary op art abstract linocut and woodcut print by Polish artist Ryszard Gieryszewski. Print is mostly green and blue with addition of pink. Title of this artwork is 'A frame'...

'Carte du Bresil' Engraving with original outline colouring, circa 1860, by Alexandre Vuillemin, published in Paris. 31cm by 41cm (sheet) 21.5cm by 31.5cm (image)

JAMES ABBOTT MCNEILL WHISTLER (1834 – 1903) THE WHITESMITHS, IMPRESSE DES CARMELITES 1894 (03) Way 53, LEVY 84 Transfer lithograph signed with butterfly in stone 8 ½ x 6 1//8". ...

Salvador Dali (1904-1989) - The Paradise, Canto 27 - The Gloria Patri Woodcut print from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. The work is ...

Clare Halifax Switch Views, London Limited Edition Silkscreen Print Edition of 50 Size: H 38cm x W 37cm x D 0.1cm Sold Unframed Please note that insitu images are purely an indicatio...

Act III, Scene I - From “Romeo and Juliet”  is an artwork realized in 1975. Mixed colored lithograph. Signed and dated in plate on the lower right  margin. Perfect conditions. P...

This Art Print on recycled paper features a soccer image for the one's who love the game. The contemporary and timeless aesthetic makes it perfect for a child's room or sports room. ...

Jean is a lithograph on Arches paper realized by Dorothea Tanning in 1972. Belongs to the suite "Judith". Limited edition of 500. Unsigned and unnumbered, as issued. Good conditio...

Le demon Ailé is a wonderful black and white drypoint realized in 1969. The artwork is from the portfolio "Vénus aux fourrures", edited by Pierre Argillet, Parigi, 1969. Hand signed in pencil by the artist on the lower margin. Dry stamp on the lower right margin Numbered on the lower left margin. Ed.21/75. Good conditions except for some light yellowing of paper along the margin. Ref: Michler Lopsinger, "Salvador Dali Catalogue Raisonne of Etchings and Mixed-Media Prints 1924-1980", Prestel 1994, n. 371. Salvador Dalí (Figueres, 1904 – Figueres, 1989) is considered one of the most versatile and prolific artists of the XX century and the founding father of Surrealism. In the course of his long career, he successfully experimented with sculpture, fashion, writing, and filmmaking. Dalí epitomizes the idea that life is the greatest form of art; André Breton said about him: “It is with Dalí that, for the very first time, the windows of the mind are wide open”. He always pushed boundaries, and he did the same with conventional lithography. He experimented a lot, also with techniques that would not be allowed today. He was a prolific printmaker, using techniques as drypoint, etching, woodcut and lithography. His output is esteemed at 1700 prints...

18th century natural history engraving depicting shells by Robert Benard after Henry Joseph Redoute. Henry Redoute was the brother of the great botanical artist Pierre Joseph Redout...

'Onto the rocks' is an original seascape painting by Gordon Hunt. Two children enjoying their holiday are climbing onto the rocks. They are having a great time playing in the clear s...

This multi-coloured Gemstone is hand-printed in florescent Yellow, Blue and metallic Silver ink. Then finished off by hand drawing over the print with multi-coloured paint. The Silve...

'Le Bolet Bisannuel' & 'Le Bolet Coriace' A French copper-line engraving with original printed colouring of mushrooms by Jean Baptiste Francois Buillard (1742-1793). From Bulliard's 'Histoire des Champignons de la France', a series of engravings describing the mushrooms of France, published in Paris in 1791. This series of engravings are 'probably the first botanical work completely colour-printed without retouching by hand' (Great Flower Books...

Zao Wou-ki - Original Lithograph 1962 From La tentation de l’Occident Dimensions: 39 x 28.5 cm Publisher: Les Bibliophiles Comtois Edition of 170 Reference: Jørgen Ågerup 137 - 146...

A simple side view of a Flower head in full bloom. A combination of solid, sweeping brushstrokes with subtle botanical elements in six layers including Silver and Metallic Gold. The ...

"The Fleet of Otaheite, Assembled at Oparee" is an original 18th century engraving from a drawing by William Hodges (1744-1797), who was the artist who accompanies Captain Cook on hi...

Act I, Scene I - From “Romeo and Juliet”  is an artwork realized  in 1975. Mixed colored lithograph. Signed and dated in plate on the higher left margin. Perfect conditions. The ...

Pablo Picasso (1881-1973) - Composition Lithograph from 1957. The edition 211/275. With Arches watermark. Dimensions of work: 44.5 x 33.5 cm Publisher: Fernand Mourlot Éditeur, ...

Pablo Picasso (1881-1973) - Urbi Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimensions of sheet: 40 x...

Médecine Expérimentale (Experimental medicine), is an original etching, soft ground, on Japanese paper realized by Félicien Rops in 1854, signed in the ...

Henri Matisse (1869-1954) - Femme Bleue Lithograph from 1958. Dimensions of work: 35.5 x 26.4 cm Publisher: Tériade, Paris. First, original edition. The work is in Excellent con...

Original Lithograph by Jean Cocteau Title: The Arena 1961 Dimensions: 38 x 28 cm printed signature Lithograph made for the portfolio "Gitans et Corridas" published by Socié...

Woodcut Engraving of "The Love of all Beauteous Things", poem by Robert S Bridges (1844-1930, British poet and poet laureate 1913-1930. by Henry Clarence Whaite (British 1895-1978) o...

"The Reception of Capt. Cook in Hapaee" is an original 18th century engraving from a drawing by John Webber (1751-1793), who was the artist who accompanied Captain Cook on his third ...

Erté Six Serigraph with gold foil on paper 1980 Ed: 205/350 18 x 13.5 inches, 28 x 23.5 (framed) Hand-signed in pencil lower right recto and numbered in pencil lower left recto

A very good impression of this color lithograph. Artist's proof, aside from the edition of 180. Signed and inscribed "EA" in pencil. Printed by Mourlot, Paris. Published by Leon Amie...

Decorative Motifs of the Persian Renaissance is a vintage chromolithograph realized by an anonymous artist in the early 20th Century. Good conditions. The artwork represents Decora...

Joan Miró Extremely rare 2-sided lithographic announcement to Galerie Maeght vernissage, 1953 2 sided Lithographic invitation (header image shows both front and back on one panel) Un...

Artist: Marc Chagall Title: Adam and Eve are Banished from Paradise Portfolio: Drawings for the Bible Medium: Lithograph Year: 1960 Edition: Unnumbered Sheet Size: 14 3/8" x 10 1/4" ...

'1. 2. Delias eucharis 3. Delias philyra' Late 19th century colour lithograph of butterflies.

"The Inside View of a House in the Island of Ulietea, with an Elegant Representation of a Dance to the Music of that Country" is an engraving created by Charles Turner Warren (1762-1...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

Robert Indiana (American, 1928 - 2018) Der Traum Heisst Verlangen (A Streetcar Named Desire), 1971 Screenprint in colors Edition 29/135 Signed a...

Pablo Picasso - Painter and His Model - Original Lithograph 1964 Dimensions: 30 x 20 cm Edition of 200 (one of the 200 on Vélin de Rives) Mourlot Press, 1964 Cramer, 128 Unsigned an...

"View of A Morai or Burial Place of Atooi, One of the Sandwich Islands (Kauai, Hawaii)" is an original 18th century engraving from a drawing by John Webber (1751-1793), who was the a...

Colours Of The Night #3 and #4: This pair of figurative art prints on paper capture the essence of timeless style. A neutral, atmospheric background evokes an evening-like ambiance. ...

Edition Details: Year: 2014 Class: Art Print Status: Official Released: 10/16/14 Run: 376/400 Technique: Letterpress Paper: 100% Cotton Lettre Fine Art Paper Size: 10 X 13 Markings: Signed & Numbered by the artist in pencil, Shepard Fairey. Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater...

Le Calvaire is an original etching, soft ground and colour héliogravure on Japanese paper, realized by Félicien Rops in 1882, signed on plate, plate from Les Sataniques In very ...

'Pyrethrums' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

'1. Franciscea Grandiflora 2. Euphorbia Jacqueniaelfora (Fulgens) 3. Gardenia Intermedia' Antique English flower botanical chromolithograph.

Marc Chagall Original Lithograph 1963 Dimensions: 32 x 24 cm Reference: Chagall Lithographe 1957-1962. VOLUME II. Condition : Excellent Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater...

This an original 19th century hand colored McKenney and Hall engraving of a Native American entitled "Young Mahaskah, An Ioway Chief, No. 80", published by Rice, Rutter & Co. in 1865...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Le Soldat-Du-Chene, An Osage Chief", lithographed by J. T. Bowen after a pai...

Title: Zion Subject: Various biblical images depicting Creation and prayer 1922 Medium: woodcut Frame: 14" x 18" Image: 12.5" x 16.75" Provenance: owned and signed verso by Peter Keil. Central panel shows the Jewish star over a crown, with inscription in Hebrew: "When God comforts Zion, He will comfort all its ruins and make its deserts look like Eden," and "You have sanctified the seventh day, the goal of creation of Heaven and Earth." This is flanked by a Palestinian farmer pioneer on the left and a Jew praying on the right. The lower tier shows six vignettes of the days of creation from Genesis. Hermann Fechenbach was born in 1897 in Württemberg, Germany. He grew up in Bad Mergentheim where his parents had an inn, which served as a meeting place for the local Jewish community. He left school early and through family connections with clothing retailers received training in window dressing. His skill with brush writing was quickly recognised by a big firm in Dortmund where he was responsible for the displays in 10 large windows. He received his conscription papers in 1916 and recalls “being as patriotic as any other fool”. In August 1917 he was involved in a grenade attack in which he was the sole survivor. With serious injuries to both legs he struggled to safety and was eventually transported to a front line “slaughterhouse” where the first of a series of amputations was performed which led to the loss of his left leg. As a result of his injuries his father dropped his opposition to him becoming an artist. His formal art education started in 1918 with training at a Stuttgart handcraft school for invalids. He attended the Academies in Stuttgart and Munich to learn painting and restoration for 3 years. He was influenced at this time by Max Liebermann. He has been compared to Kathe Kollwitz and was a contemporary of Jakob Steinhardt and hermann Struck. In 1923 he went to Florence for a year. While in Florence he started to produce a series of miniature wood engravings to illustrate the stories of Genesis. This was followed by periods in Pisa, Venice, Vienna and Amsterdam. In 1924 he returned to Stuttgart to paint in the contemporary style “Die Neue Sachlichkeit”. (The New Objectivity was a movement in German art that arose during the 1920s Weimar republic as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. These artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen) Every spring and autumn he exhibited at the “Kunstgebit” which served as the showcase for all serious artists of the period. His professional status “Kunstmaler und Grafiker” was recognised by Berlin in 1926. Practically all his work from this period was sold following exhibition. In 1926 he collaborated with an architect friend to build a bungalow in Hohenheim, a non-Jewish area and a suburb of Stuttgart. Hermann alternately lived in his country bungalow and his town studio, producing portraits for sale or barter and wood engravings for his own pleasure. In 1930 he married a non-Jewish professional photographer – Greta Batze. They had a studio in Stuttgart, which was used to teach art to a group of 12 students. In 1933 the Nazi influence removed his name from the official state register together with the right to exhibit. By spending most of his time in his bungalow out of the Jewish quarter the Fechenbachs escaped being registered by the Nazis for some years. They were ostracised and abused by their non-Jewish neighbours. Hermann made weekly visits to friends in town to teach them the practical skills they would need assuming they were to escape from Germany. His energies were directed towards protection and survival. Ultimately the Nazi persecution forced the Fechenbachs to flee their homeland. They moved to Palestine for 3 months in 1938, but found the political and physical environment unsustainable. Greta arrived in England penniless in January 1939 to work as a domestic servant and to find a guarantor for her husband. Hermann arrived in May 1939. They moved to Blackheath a few months later. Hermann resumed his painting and engraving as a means of earning a living. He raised enough money to get his parents out of Germany to join his brothers in Argentina but was unable to save his twin sister Rosa who died in a Nazi concentration camp. In 1940 Hermann was interned in Bury as a suspect alien. He protested about his treatment by starting a hunger strike. Because of his persistence he was moved to a prison in Liverpool. From Liverpool he was moved to the Hutchinson Camp in the Isle of Man with fellow artist Kurt Schwitters. Arrangements were made for Greta to be accommodated near by. While interned he commenced work on “Refugee Impressions”, a series of linocut prints (no wood was available). In 1941 when released from internment the Fechenbachs came under the sponsorship of Dr. Bela Horovitz, the Austrian art publisher who in turn made an introduction to Professor Tancred Borenius. They were offered lodgings with a family in Oxford. Hermann had his first public exhibition for many years in a small gallery in Oxford in 1942. A second exhibition of oils, pencil drawings, coloured linocut and woodblock prints held later in the year was opened by the mayor of Oxford and critically acclaimed. In 1944 the first London exhibition took place at the Anglo-Palestinian club in Piccadilly. There were two exhibitions at the Ben Uri Art gallery during this period. In 1948 a second exhibition at the Anglo Palestinian club was inaugurated by a member of the Rothschild family and several members of Parliament. This was a great success. In 1944 the Fechenbachs moved to a top floor studio flat in Colet Gardens. Open exhibitions were held each Spring at the Embankment from 1946 to 1951. Movietone News produced a short feature on the artist, which was shown in cinemas in England and Germany. In 1969 he published the Genesis story in a hard back volume containing 137 prints. He started to research the fate of the entire Jewish community of Bad Mergentheim during the period of the second world war, liaising with historian Dr. Paul Sauer and Professor Max Miller, historian and theologian. In 1972 Kohlhammer published his partly autobiographical book “The last Jews of Mergentheim”. He exhibited at the Anglo-Palestinian Club & the Ben Uri Gallery in the 1940s. His works only came to prominence during the last year of his life when he exhibited at Blond Fine Art. Peter Keil part of the Junge Wilde. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl, Hubert Schmalix...

DAVIES, Peter (b.1953) ‘Solstice Sun’ 2019 Linocut on paper 15.0 x 10.0 cm (6 x 4 in.) Artists Statement Since starting to paint in 1981 my mainly plein aire landscapes have used a mechanical, rather than lyrical or painterly, approach. This probably puts my observational paint – by – numbers pictures at a creative and expressive disadvantage. But it doers prove conducive to a structural or compositional kind of drawing over which are applied layers of oil paint to deliver idiosyncratic textural and atmospheric effects. Furthermore, a Ben Nicholson – inspired dichotomy between foreground rooftops or architecture and a naturalistic marine or landscape background makes a chosen plastic and temperamental approach apt. So when in 2004 I was inspired by the much loved master relief printmaker John Liddell 1925-2005) to try my hand at linocut I found a process ideally suited to my mechanical bent it has been a love affair ever since. The workshop he founded in 1991 Poole Printmakers is a safe haven, an intimate co-operative near Poole Quay, and some of the most scenic terrain in Britain. It is also an area where my art career started in 1978 and inspired my early book Art in Poole and Dorset, published by Poole Historical Trust, 1987. Many blissful and absorbing hours over the last 13 years have yielded a large body of linocut prints in which I exercise those mechanical and reproductive qualities proper to the medium. Peter Davies...

BOOK CIRCLE is a hand drawn, limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arc...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Stepping Out" first released on "Milk & Honey," the final album released after his death in 1980. ...

Henri Matisse (1869-1954) - Bateau Lithograph from 1958. Dimensions of work: 35.5 x 26.4 cm Publisher: Tériade, Paris. First, original edition. The work is in Good condition. -...

"War Canoe of New Zealand, with a View of the Gable End Foreland" is an engraving created by Thomas Prattent, from a drawing by Sydney Parkinson, who was the artist on Captain James ...

Red Door (In Blue). Typical Laurie style, well collected artist. Signed limited edition etching. Numbered 18 of 25. Each one of the edition is ...

Hommage à San Lazzaro is a lithograph realized by Marc Chagall for the Art Revew "XXème Siècle". This original print (not signed and not numbered) comes from the portfolio Hommage à...

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 Jean Cocteau W...

Delicate embossed composition by Patricia A. Pearce (American, b. 1948). This piece has been painted in a bronze tone that shimmers and morphs depending on the light source and angle...

Clare Halifax C Is for Canary Limited Edition 3 Colour Silkscreen Print Edition of 75 Image size H 22 x W 22cm Sheet Size: H 27 x W 25cm x D 0.1cm Sold Unframed Please note that in s...

Ex Libris Cseh Lajos Konive is an original Modern Artwork realized in the 20t Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. Total ...

'Eggs' Antique English natural history chromolithograph. Key to eggs below the image. Tiny numbers in the margins to identify the eggs. Sheet 19cm by 12.5cm, image 13cm by 9.5cm.

Artist: Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Jesus Christ Mis Au Tombeau (B86), Year: 1878 (of original 1654), Medium: Heliogravure on Laid Paper, Size: ...