1990s Prints and Multiples

This Blue Dog work consists of 2 blue dogs sitting on either side of an orange/rust cow skull with horns on a white, brown, and pink background with a white and pink moon in the uppe...

Deluxe hand embellished enhanced canvas. Hand signed and numbered on front by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 325. Str...

Etching realized by Fausto Maria Franchi in 1996. Edition of 68/100. Hand signed and numbered in pencil. Excellent condition.

Serigraph in colors on paper. Hand signed and numbered by Peter Max. Edition of 300. From Images of an Era Suite. Published by Hanson Art Galleries., San Francisco, CA and printe...

Hand Signed and Numbered by the artist.. Custom framed as pictured. Image size approx 23 x 23 inches. Sheet size 28 x 28 inches. Certificate of Authenticity Included. Artwork in E...

Medium: Etching, aquatint & roulette Year: 1991 Image Size: 24.63 X 39.63 inches Edition Size: 90 Signed and numbered in pencil by the artist Image of a Paris apartment, showing the...

Etching realized by Fausto Maria Franchi in 1995. Edition of 60/100. Hand signed and numbered in pencil. Excellent condition.

his beautifully composed limited edition serigraph by artist Gretchen Simpson, titled Jamestown, Rhode Island, was published in an edition of 175 copies. Widely recognized for her ic...

This Blue Dog work consists of a single dog at the left bottom of a solid black background. There are 6 cars alternating green and 2 toned red/orange surrounding the dog from top to...

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

A print by Roy Lichtenstein. “Interior with Chair, from the Leo Castelli 90th Birthday Portfolio” is a screenprint in a palette of bright colors by American pop artist, Roy Lichtens...

Aaron Bohrod: Figure Sketches, published in 1990 by Gall & Shaul in Dodge City, Kansas, is a hardcover edition complete with a dust jacket. Authored by Elli...

Portrait is an original artwork realized by Michelangelo Pistoletto in 1995. Edition of 100 prints. Signed and dated on the lower right corner: Pistoletto 95. Numbered on the lower...

This is a reproduction of an original print by Ben Schonzeit titled Wedgewood. The screen print showcases a vibrant bouquet of roses, carnations, and tulips arranged in a dark, sculp...

Set of four screenprints by Mel Bochner, Barry LeVa, Sol LeWitt, and Robert Mangold. Sol Lewitt's tight crosshatching over teal, Mel Bochner's tessellated blue houses, Barry Le Va's...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Neil Welliver at O'Farrel Gallery poster, 1998 Offset lithograph 24 × 18 inches Unframed This offset lithograph poster was published on the occasion of Neil Welliver's exhibition at O'Farrell Gallery from July 17 to September 5, 1998. The depicted painting on the poster is Neil Welliver, Marsh Shadow, 1986. Publisher O'Farrell Gallery, Brunswick, Maine Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery About Neil Welliver: Neil Welliver (American, 1929-2005) is best known for his large-scale, vivid paintings and woodcuts of the remote Maine wilderness. Born in the small town of Millville, Pennsylvania, he first studied at the Philadelphia College of Art (1953), followed by Yale (1955), where Josef Albers and Burgoyne Diller were among his teachers. Their influence, as well as the rising popularity of Abstract Expressionism, is evident from Welliver’s early experimentations in abstraction, which include elements of color field painting, as well as the color theory of Albers, and the flattened, “allover” space of Pollock and de Kooning. Welliver would go on to teach at Yale from the mid-1950s to the mid-1960s, by which time he had moved formally towards the representational, beginning to paint the landscape of Maine. In the late 1960s and early 70s he also produced scenes of nude bathers in streams, their bodies abstracted by the moving water. While continuing to work as the chair of the University of Pennsylvania graduate school (1966-1989), he moved permanently to Lincolnville, Maine, in 1970. Welliver lost his studio, home, and much of his work to a fire in 1975. The following year, his second wife and infant daughter died. Further tragedy came with the death of his college aged son in 1991. His artistic practice remained the mode through which he survived these hardships. By the 1980s he was painting landscapes almost exclusively. The resulting body of work nods to many of Welliver’s early influences, as he utilizes natural repetitions and distortions to represent the innate abstraction of the natural world. These mature works are based on long plein-air studies, where Welliver would carry a 70-pound pack of painting supplies into remote landscapes, and sit for three hours at a time. He continued to paint the landscape surrounding his large property in Maine until his death in 2005. Welliver was a member of the National Academy of Design, and received notable awards from the Guggenheim Foundation and the Skowhegan School of Painting and Sculpture. His work is in the collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Museum of Fine Arts, Boston, among others. - Courtesy of Alexandre Gallery

From Blossoms Suite. Serigraph on paper. Hand signed and numbered by the artist. Image size approx 24.75 x 32.25 inches. Edition of 200. Artwork is in excellent condition. Certif...

This reproduction of Ansel Adams’ iconic photograph, “Oak Tree, Snowstorm, Yosemite National Park, California, 1948,” captures the majestic beauty of a snow-covered landscape within ...

This museum exhibition poster was published for Arikha Avigdor’s 1998–1999 retrospective at the Israel Museum in Jerusalem. The image features three carefully folded shirts—one blue,...

MEDIUM: Limited Edition Hand-Painted Cel EDITION SIZE: 100 SIZE: 12” x 20” SIGNED BY: Bruce Timm SKU: CC1183 ABOUT THE ART: "Batman and Beyond" charts the Dark Knight's progression from the award-winning Warner Bros. Animated series, running from 1992 through 2000. Designed by Juan Ortiz, this pan cel when viewed from left to right, portrays the three Bruce Timm art-directed versions of batman. The first Batman from the first season, in the dark and vengeful character who exists in the equally vengeful Gotham City. The second Batman (Wearing his Jet-Wing) reverts to a more classic Bob Kane style, with notably grayer tones in Batman's suit as well as his utility belt...

Artist: Keith Haring (1958-1990) (after) Title: Future Primeval Year: 1990 Medium: Offset lithograph on wove paper Size: 37 x 21 inches Condition: Excellent Notes: Published by the Q...

Red Abstract Composition is a contemporary artwork realized by Salvatore Provino in 1991. Mixed media on paper. Hand signed and numbered on the lower margin. Edition of 77/100. G...

This Blue Dog work consists of a single pale blue dog on a purple background. There are soulful yellow eyes on the dog and scattered on the background in various sizes. This pop ar...

This Blue Dog work consists of 4 frames each with a dog and different colored backgrounds. One is a red background with a yellow center, one is purple background with a yellow center...

SALE ONE WEEK ONLY Soft pastel colors in floating smudges lay between and around lyrical abstract geometric and organic forms giving a diaphanous color and shape harmony to the work...

Official poster designed and created for the tennis tournament held at Roland Garros French Open every year. The poster is a limited edition of 2000. First edition, unsigned and not ...

Joseph Beuys Blatt auf Karteikarte (from Columbus: In Search of a New Tomorrow), 1992 Color silkscreen on vellum parchment paper, held in original portfolio sleeve Signed by Eva Beuy...

"Church in Murnau" is a high-quality reproduction of an original painting by Wassily Kandinsky, one of the pioneers of abstract art. This reproduction is part of a limited edition of...

Corneille Dreaming Nude and Blue Bird, 1998 Original lithograph Handsigned in pencil Numbered EA / 20 On vellum 52 x 66 cm (c. 21 x 26 inch) Excellent condition

Screenprint in colours, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77cm.

William Wegman "Cinderella Sleeping" 1994 Photo etching with aquatint on Fabiano Tiepolo paper 27 1/2 x 23 1/2 inches Numbered from the edition of 150 Signed by the artist in lower ...

VARIOUS ARTISTS AUFBRUCH AUS MOSKAU MOCKBA - PORTFOLIO OF TWENTY (20) ORIGINAL LIMITED EDITION SIGNED GRAPHICS, 1990 20 Limited edition, hand signe...

A Single Frame - From the “Mnemonic Pictures Folio” is an original photo-lithograph realized by Robert Longo in 1995. Signed with initials and dated in pencil lower right, inscribed ...

This Blue Dog work consists of a dog on a silver background. The dog is embellished with dark blue around the nose and has soulful yellow eyes. This pop art animal original print on paper is guaranteed authentic and is hand signed by the artist. Artist: George Rodrigue Title: Blue Dog “Top Dog...

A very good impresson of this color screenprint with embossing on Arches Cover paper. Artist's proof, aside from the numbered edition of 250. Printed by Studio Heinrici, Ltd., New Yo...

Lithograph on vélin d’Arches 300gm paper. Paper Size: 21.8125 x 18.3125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, For My People, 1992. Published...

This Blue Dog work consists of a black and blue background. There is a yellow and pink box with a red outlined blue dog on the outside of the box. The dog has soulful yellow eyes. This pop art animal original silkscreen print on paper is guaranteed authentic and is hand signed by the artist. Artist: George Rodrigue Title: Blue Dog “Blue Label...

George Dannatt (1915-2009) Line Drawing No.1 1996 Etching Editions available: 10/16, 14/16, 16/16 signed by George Dannatt Image measures: 12.5 x 16.5 cm Unframed George Dannatt’s...

Artist/Designer; Manufacturer: Claes Oldenburg (1929-2022) Marking(s); notes: signed, blind stamp; ed. 95/97; 1997 Materials: lithograph on St. Armand Special Etching paper Dimensio...

This Blue Dog work consists of a pink background with 1 dog sitting front and center. The dog has soulful yellow eyes. This pop art animal original silkscreen print on paper is gua...

Etching in colors on vélin de Lana Royal paper. Paper Size: 11.93 x 9.81 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Heart of Darkness, 1992. Publ...

Robert Indiana Art from The American Dream Portfolio, 1997, (48/395) Screenprint in color 22 x 17 in

This Blue Dog work consists of a background of white and red with a lot of soulful yellow eyes of various sizes and 1 blue dog off-centered on the right. the dog also has soulful yel...

MEDIUM: Hand-Painted Limited Edition Cel EDITION: 500 SIZE: 10.5” x 12.5” SKU: WB1151 Former criminal psychiatrist Dr. Harleen Quinzel, “Harley” herself became certifiable after falling in love with The Joker. Their relationship has never been without its ups and downs: as the duo of The Joker and Harley amassed many crime exploits, the Prince of Knaves tired of his Girl Jester and jettisoned her off on a rocket. Famed Warner Bros. Batman Producer, Paul Dini, created Harley Quinn.

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. 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. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 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 nonwestern 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...

Jean Miotte - Original Etching 1998 Dimensions: 41 x 33 cm Edition: /40 From La Déchirure

Marilyn Manson is an icon, a figure synonymous with controversy within heavy metal music, embroiled in numerous contentious moments throughout his storied career. This signed poster, numbered 158/500, is likely part of the series promoting his 1994 concerts at the Houston International Ballroom. It embodies the vibrant creativity of its era, a time when independent artists infused their unique flair into promotional materials for punk rock and heavy metal gigs. With its captivating blend of colors, specific typography, and arrangement reminiscent of Russian Constructivism and horror movie posters...

Anne Sager (American, 1930-2024), "Exit", Digitized Iris Print on Paper, 1999, apparently unsigned, with artist's estate stamp to verso, unframed. Image: 10.25" H x 17" W; sheet: 19....

Robert Mangold 'Untitled,' 1995 Color aquatint 27 x 28 inches Edition 21 of 60 Signed recto

This Blue Dog work consists of a blue cow in a profile view on a red background. The cow's body is an assortment of Blue Dog faces of varying sizes throughout. All the dogs eyes ar...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

LANDLINES is an original limited edition lithograph from the Sacred Garden Series of works by the British artist David Leverett, printed using hand lithography techniques on archival...

Warner Brothers Orchestra Bugs Bunny Daffy Duck Porky Pig Cartoon Movie Legends Al Hirschfeld (1903-2003) Warner Brothers Orchestra Etching and Aquatint Sight 15 1/4 x 23 1/2 inches...

Woodcut, collagraph and photo-engraving in colors, on Rives Lightweight Cream paper, with full margins. Hand signed, dated and numbered lower front by Jim Dine. From the edition of...

An original drypoint monotype by American female artist Kathleen Sherin.

Paper Size: 35.5 x 27.5 inches ( 90.17 x 69.85 cm ) Image Size: 21.25 x 21.25 inches ( 53.975 x 53.975 cm ) Framed: No Condition: A: Mint Shipping and Handling: We ship Worldwide. ...

From Isles of Greece Suite. Serigraph on paper. Hand signed and numbered by the artist. Image size 25 x 32 inches Edition of 300. Artwork is in excellent condition. Certificate of...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Arno Waldschmidt Der erotische Waldschmidt Woodcut on handmade paper 1996 Size: 27.55 x 19.68 inches (70 x 50 cm) Edition: 25 Signed, numbered and dated in pencil COA provided *Cond...