Alphonse Mucha

"Title Page" and "Art Nouveau Motif, " Double-sided Lithograph by Alphonse Mucha

1897

Part of the artist's 'Self-Portrait Series,' David Barnett’s ‘Take My Hand, I’m a Stranger in Paradise’ deconstructs self-portrait photography by only displaying the artist's shadow ...

Part of the artist's 'Self-Portrait Series,' David Barnett’s ‘Take My Hand, I’m a Stranger in Paradise’ deconstructs self-portrait photography by only displaying the artist's shadow ...

"Belle D'Antan" is an Estampe Originale, originally published in "L'Estampe Moderne Volume I," created in 1897. It features a portrait of a woman in sepia. The artist signed the piec...

"Invocation" is an original lithograph with the blindstamp of L'Estampe Moderne in the bottom right corner. L'Estampe Moderne commissioned Marcel Lenoir ...

'Babylone d'Allemagne' or 'German Babylon' is an original lithograph poster by the lauded artist of the Art Nouveau style Henri de Toulouse-Lautrec. This is the second poster that La...

"Ilsee's Welcome" and "Pilgrim's Tale" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 83 & 84 of "Ilsee, P...

By Juan Carlos Breceda 21" x 15" Lithograph - 13/18 Framed Size: 35.5" x 30.5"

Julian Schnabel Lincoln Center 25 Years (Hand signed and inscribed), 1984 Offset lithograph. Signed and inscribed to Kevin by Julian Schnabel 60 × 40 inches Signed and inscribed on the front Unframed Julian Schnabel signed and inscribed this 1984 poster...

KAWS Kaws Tokyo First mini poster, 2001 Offset lithograph poster 11 3/4 × 8 1/4 inches Unframed; unsigned In 1996, Brian Donnelly, now known by his moniker...

David Hockney New Work With A Camera (Hand Signed), 1983 Offset Lithograph Poster Hand signed by the artist on lower right front 39 × 24 1/2 inches Unframed This offset lithograph p...

Danny Resnic Mick Jagger, The Rolling Stones 1978 World Tour, 1978 (hand signed by Danny Resnic) Offset Lithograph poster. Pencil signed and numbered 769/1000 by Danny Resnic on the front Edition 769/1000 39 × 25 inches Unframed This is a true collectors item. Rarely found on the market, this is one of the most desirable vintage Rolling Stones posters...

Brice Marden's Studio Offset lithograph poster (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...