Portrait Prints

Artist: Dan May (American, 1955-) Title: "Devil" *Signed and numbered by May in pencil lower left Year: 1999 Medium: Original Linocut on white Hosho handmade paper Limited edition: 1...

Original vintage poster: YOU Buy a Liberty Bond. Linen Backed World War 1 bonds poster. Archival linen backed in good condition; ready to frame. Artist: C . R. Macauley created...

Salvador Dali Mythology: Leda and Swan (Leda et le Cygne), Published 1963 -1965 Medium: Copper and Drypoint Etching with Hand-Coloring on Japon Edition: VII/XX Artwork Size: 30 ...

Artist/Designer; Manufacturer: Robert Longo (American, b. 1955) Marking(s); notes: signed, blind stamp; ed. HC 1/10 aside from the edition of 50; 1999 Materials: lithograph on Arches...

Olaolu Akeredolu-Ale better known as Olaolu Slawn is a British Nigerian artist and designer. He began his career working at Wafflesncream, Nigeria’s first skate shop, catching the at...

Grand Tête, Portrait of Jacqueline with sleek hair Color linocut printed in beige, yellow, red, blue, and black on cream wove paper with Arches watermark Numbered 14/50 from the edit...

Dos Villancicos Sor Juana Inés de la Cruz (text) Artemio Rodríguez (linocut) Printed at Taller Martín Pescador, Mexico Published by El Tercer Milenio / Artes de México Signed and nu...

Grabbing the faces of one another, the two women in this Pablo Picasso print tenderly kiss one another. Seen in profile view from the position of the viewer, the scene is loving albe...

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame included: Framed in white wood frame with UV plexiglass; with die-cut window in the back to show official Warhol Foundation authentication stamp and text Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (Artwork) Authenticated and stamped by the Estate of Andy Warhol/Warhol Foundation for the Visual Arts An impressive piece of Pop Art history! A must-have for fans and collectors of both Andy Warhol and Roy Lichtenstein: This is a unique, authenticated color Polaroid taken by one Pop Art legend, Andy Warhol, of his most formidable contemporary and, in many respects, rival, Roy Lichtenstein. One of only a few portraits Andy Warhol took of Roy Lichtenstein, during one tense photo shoot. Both iconic artists, colleagues and, perhaps lesser known to the public, rivals, would be represented at the time by the renowned Leo Castelli Gallery. The truth is - they were really more rivals than friends. (the rivalry intensified when Warhol, who was working with Walt Disney, discovered that Lichtenstein painted Mickey Mouse before he did!!) Leo Castelli was committed to Roy Lichtenstein, and, it's easy to forget today, wasn't that interested in Warhol as he considered Lichtenstein the greater talent and he could relate better with Roy on a personal level. However, Ivan Karp, who worked at Castelli, was very interested in Warhol, as were some powerful European dealers, as well as many wealthy and influential American and European collectors. That was the start of Warhol's bypassing the traditional gallery model - so that dealers like Castelli could re-discover him after everybody else had. Warhol is known to have taken hundreds of self-portrait polaroid photographs - shoe boxes full - and he took many dozens of images of celebrities like Blondie and Farrah Fawcett. But only a small number of photographic portraits of fellow Pop Art legend Roy Lichtenstein -- each unique,- are known to have appeared on the market over the past half a century - all from the same photo session. This is one of them. There is another Polaroid - from this same (and only) sitting, in the permanent collection of the Getty Museum in California. There really weren't any other collaborations between these two titans, making the resulting portrait from this photo session extraordinary. It is fascinating to study Roy Lichtenstein's face and demeanor in this photograph, in the context of the great sense of competition, but perhaps even greater, albeit uneasy respect, these two larger than life Pop art titans had for each other: Like Leo Castelli, Roy Lichtenstein was Jewish of European descent; whereas Warhol was Catholic and quintessentially American, though also of European (Polish) descent. They were never going to be good friends, but this portrait, perhaps even arranged by Leo Castelli, represents an uneasy acknowledgement there would be room at the top for both of them. Floated, framed with die cut back revealing authentication details, and ready to hang. Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (sheet) Authenticated by the Estate of Andy Warhol/The Andy Warhol Foundation for the Visual Arts. Estate Stamped: Stamped with the Andy Warhol Estate, Warhol Foundation for the Visual Arts stamp, numbered "B 512536P", with the Estate of Andy Warhol stamp and inscribed UP on the reverse. Bears the Warhol Foundation unique inventory number. Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Three colour screenprint on white Rising Stonehenge deckle edge paper Signed in pencil lower right, numbered lower left 56 x 76 cm - Sheet size Edition of 250 published by Petro III...

Yoshitomo Nara Midnight Truth Offset lithograph on paper Sheet size: 51.5 x 36.4 cm Stamped with title, artist's name, copyright and year published by N's Yard, Japan

Suzanne Benton has been a working artist in a wide range of media for more than 60 years, with more than 150 solo exhibitions, 110 group shows, and two retrospectives of her multi-fa...

TEAR OF TIME (Melting Clock) is a limited edition color lithograph by the Modern master Salvador Dali, after an original Salvador Dali gouache pa...

PLAY by the American painter and printmaker Will Barnet (born May 25, 1911 - died Nov. 13, 2012) is an original hand drawn lithograph printed using hand lithography techniques on arc...

Medium: original lithograph. Printed in 1947 at the Mourlot atelier in an edition of 950 on Rives wove paper for "Pierre a feu / Les miroirs profonds" and published in Paris by Maegh...

A Man of Mangea is from the 1784 First Edition Atlas Accompanying Capt. James Cook and King; Third and Final Voyage of Captain James Cook. John Webber (1752-1793) was the official a...

A striking example of Fernando Botero's iconic style, "Woman with a Stole" captures the Colombian master’s signature exploration of volume, form, and sensuality. Executed in 1972, th...

Louis BOUQUET (1885-1952) Mythology : Leda and the Swann, 1929 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of ...

MONT SAINT-MICHEL is a hand drawn, limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archiv...

Neo Classical by BATIK Pop artwork featuring Neo from the Matrix films stopping an onslaught of assorted colourful pills. signed & limited edition. BATIK is an increasingly collec...

Medium: original etching and drypoint. Catalogue reference: Sanchez and Seydoux 1913-10. Printed in 1913 and published in Paris by Gazette des Beaux-Arts. Sheet size: 8 1/2 x 6 inche...

Medium: lithograph (after the painting). Printed in Paris on smooth wove paper at the atelier Mourlot and published in 1954. Size: 9 x 7 inches (228 x 178 mm). Not signed. Conditio...

Rendered in profile, Marie-Therese Walter is shown wearing a purple beret and a brown coat with fluffy trim. One of Pablo Picasso's famed muses, this representation of her is reminis...

Original “Cigares Maestro” Vintage European Cigar Poster, Linen Backed, Grade A-, Ready to Frame. Printer: Lithocart, Anvers, Belgium. Also known as Maëst...

Two Mid 18th century hand coloured copper plate engravings of equestrian subjects by Johann Elias Ridinger. Initial signed 'in the plate' bottom right. Presented in fine gilt wood fr...

Pablo Picasso Maternité, (1924) Etching on Arches paper Hand signed and numbered 15/50 from the edition of 50 Published by Galerie Louise Leiris, Paris, 1955 Paper: 22 5/8 x 28 inche...

Original 1926 Mistinguett Moulin Rouge Poster - Linen Backed, Professionally Restored with fold marks, ready to frame. It seems that most of this specific poster was folded when rele...

“Grace Kelly” is a color screenprint by American Pop artist, Andy Warhol from 1984. The work is edition AP 22/30 and is signed in pencil, lower right, "AP 22/30 Andy Warhol" Andy Wa...

Title : Astaphos Materials : 310 gsm Premium Paper Date : 2020 Dimensions: 40 x 30 inch Edition of 50 Agent X is an emerging artist who creates experimental multimedia collages ...

Art Edition “Patti Smith” (No. 1–275). Hardcover volume in a slipcase, accompanied by the portrait Patti Smith, New Orleans, 1978. For over 50 years, Annie Leibovitz has been creati...

Wolff’s woodcut of the mythological figure of Prometheus is carved and printed in only two strong colors—black and a fiery red-orange—yet the impact is monumental. The central figure...

LADY IN GREEN is an original hand drawn lithograph by the American artist and Pop Art icon, Peter Max printed using traditional hand lithography techniques on archival Somerset paper, 100% acid free. LADY IN GREEN is a vibrant multicolor portrait of an elegant seated woman wearing a green print dress; her elaborate blue and pink hat appears to be releasing free form blue dots and floating yellow black lines. LADY IN GREEN's white serene face contrasts against the black and white stripe chair...

Original Paul Mohr Dubonnet Vintage Poster – Rare Art Deco Advertising, Linen-Backed, Excellent Condition, Authentic French 1930s Print – Wall Decor & Col...

Artist: Salvador Dali Title: James the Greater (Lancelot of the Lake) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 33/350 F...

Artist: Erté Title: Boudoir Medium: Embossed serigraph Year: 1991 Edition: 290/300 Sheet Size: 41 3/4" x 29 1/4" Image Size: 35 1/4" x 23 1/4" Signature: Stamped signature

Linocut on vélin pur fil Johannot a la forme paper. Inscription: signed in pencil and unnumbered, as issued, from the edition of 50. Good condition. Notes: From the folio, Le Poème p...

Original WWI James Montgomery Flagg Poster — “Tell That to the Marines!” (1918) — Rare Vintage Patriotic Artwork—archival linen backing and ready to frame. The poster edge was trimmed to 38.5 x 27.5 inches. Without the trim, the poster would grade as excellent (grade A), but with the trim, it is listed as B+. This is a rare and original World War I propaganda poster created by renowned American artist James Montgomery Flagg, famous for the iconic “I Want YOU for U.S. Army” Uncle Sam poster...

Artist: Leonard Baskin Title: Chief American Horse - Oglalla Sioux Year: 1973 Medium: Lithograph, Signed and Numbered in pencil Edition: 100 Size: 41 x 30 inches

Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...

ALL THE PEOPLE is an original hand drawn limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor best known...

INTRODUCTION FOR A BLUES QUEEN(Uptown At Savoy) is a limited edition color lithograph by the renowned African American artist Romare Bearden, printed on archival printmaking paper, 100% acid free, in an edition size of 175. INTRODUCTION FOR A BLUES QUEEN 1979 from Romare Bearden's colorful JAZZ series of musical imagery, is an abstract live music scene that captures the energy inside a jazz club where a female blues singer...

This piece is an original linoleum cut in color by Pablo Picasso, 1962. It is hand signed and numbered 40/50 from the edition of 50; there were also 35 ar...

MAX THE SAX by the woman artist Robin Morris, is an original limited edition lithograph printed using hand lithography techniques on archival Arches paper, 100% acid free. MAX THE SA...

GLOWING HANDS is a hand drawn original lithograph printed using hand lithography techniques on archival Arches printmaking paper 100% acid free. GLOWING HANDS is a highly detailed sp...

BESSIE MAE is a hand drawn, limited edition lithograph/linocut by the African American artist JONATHAN GREEN printed in 10 colors using hand lithography techniques and linoleum cut o...

Pablo Picasso "Three Colour Profile" 1956 Image Size: 16.5 x 20 inches Three colour litho on transfer From the edition of 50 numbered and signed proofs Picasso Lithographs- Fernand M...

Frankenstein Frankenstein is a 1931 American science fiction horror film directed by James Whale, produced by Carl Laemmle Jr., and adapted from a 1927 play by Peggy Webling, which in turn was based on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. Frankenstein stars Colin Clive as Henry Frankenstein, an obsessed scientist who digs up corpses with his assistant in order to assemble a living being from body parts. The resulting creature, often known as Frankenstein's monster, is portrayed by Boris Karloff. The make-up for the monster was provided by Jack Pierce. Alongside Clive and Karloff, the film's cast also includes Mae Clarke, John Boles, Dwight Frye, and Edward Van Sloan. Artist: Mann, Paul Edition Details Year: 2020 Class: Cinema Status: Official Released: 07/14/20 Run: 165 Technique: Offset Lithograph Paper: 300gsm archival paper Size: 24 X 36 Markings: Numbered About Artist: For more than 40 years, Paul Mann...

Rare vintage limited edition Stone Lithograph printed at Mourlot in Paris. this is from a signed and numbered portfolio but the individual shee...

Le chapeau épinglé (La fille de Berthe Morisot et sa cousine) 3e planche. Etching realized by Renoir in 1894. Image dimension 11.5x8 cm. / sheet dimension 33.2x15.1 cm. The final s...

Raquel Forner (1902-1988) Argentine woman painter and printmaker born in Buenos Aires in 1902 and died in the same city in 1988, regarded as one of the best Argentine female painters...

30th Anniversary reprint edition of the exhibition poster for Warhol/Basquiat Paintings. Printed in 2015. Signed and numbered "153/300" in ink by Tony Shafrazi. Published by Tony Sha...

Kenny Scharf Bluester, 2023 15-colour screen print on Mohawk Superfine UltraWhite, 160 lb cover paper. Signed by the artist, numbered and stamped by the publishers, JRP Editions. 61...

Jean Jansem (1920-2013) La balance romaine, 1986 Lithographie sur papier Japon Signée en bas à droite et justifiée Hors Commerce 50 x 65 cm / 54 x 76 cm Très rare exemplaire D'un...

An erotic dalliance between a nude blonde woman lying down, and nude man, on a bed with white sheets. Subtle shades of peach, tan, yellow, and grey and black shadow behind the couple...

Medium: original lithograph. Catalogue reference M 133. This beautiful color lithograph was printed by Mourlot and published in Paris by Teriade for Verve in 1956 for a special editi...

James Lesesne Wells, 'Sisters', linocut, edition not stated but small, 1928. Signed, titled, and annotated 'imp' in pencil. A fine impression on off-white wove Japan paper, with wide margins (1 7/8 to 3 3/4 inches), in excellent condition. Printed by the artist. Very scarce. Matted to museum standards, unframed. Image size 8 3/16 x 6 3/4 inches (208 x 171 mm); sheet size 13 1/2 x 10 3/4 inches (343 x 273 mm). Exhibition and Literature: 'Narratives of African American Art and Identity: The David C. Driskell Collection,' The Art Gallery at the University of Maryland, extensive touring exhibition, 1998-2000. Collections: Pennsylvania Academy of the Fine Arts, Smithsonian Institution (Anacostia Community Museum). ABOUT THE ARTIST “Wells is more than an artist with a deep concern for his fellow man. He carries many of his themes a step further into an apocalyptic world, a world of revelation and shifting lights. … He works on large blocks in a bold free style. … His work has a vigor, therefore, that is not often used in the medium today.” —Jacob Kainen (painter, critic, and collector) from Richard J. Powell’s 1986 essay Phoenix Ascending: The Art of James Lesesne Wells. James Lesesne Wells was an American painter, printmaker, educator, and pioneering figure of the Harlem Renaissance, whose work established a vital connection between African heritage, modernist form, and African American cultural identity. Known for his innovative use of linoleum and woodblock printing, Wells played a key role in shaping 20th-century African American art and inspired countless students throughout his lengthy career as a teacher at Howard University. Born in Atlanta, Georgia, Wells' early exposure to the arts came through church and community, where African American cultural traditions were central. He pursued formal artistic training at Lincoln University in Pennsylvania (earning a B.A. in 1924), followed by studies at the Pennsylvania Academy of the Fine Arts and the Barnes Foundation, where he encountered European modernists as well as traditional African sculpture, which profoundly influenced his style. Wells moved to New York in the late 1920s, swiftly immersing himself in the lively artistic and intellectual scene of Harlem. There, he became associated with artists, writers, and thinkers of the Harlem Renaissance, contributing to the growth of Black cultural identity. Considered a mentor to many famed artists of the Harlem Renaissance, Wells served as director of a summer art workshop in Harlem where his assistants included Charles Alston, Jacob Lawrence, and Palmer Hayden...

Portrait of Amy Winehouse Original pop art by contemporary artist Zane Fix addressing modern subjects that are executed in the traditional Japanese woodblock (Ukiyo-e) style. About ...

Offset lithograph in colors on smooth wove paper. Hand signed lower right by Takashi Murakami. Hand numbered 817/1000 lower right. Hand signed by Fujiko F Fujio (creator of Doraem...

Lithograph in black and red, on BFK Rives paper. Hand signed and dated lower right by Keith Haring. Hand numbered 59/80 lower right (there were also twenty artist's proofs). Sheet...

Original vintage poster: Paglieri dai fiori le Cipri i Profumi. Italian artist: Gino Boccasile (1901 - 1952). Size: 13.25" x 19". Archival linen backed authentic Italian post...