Contemporary Prints and Multiples

Artist: Christo (1935 - 2020) Title: Project for the Gates VIII Size: 39.25" 27.5" inches Type: Lithograph Poster Hand Signed Christo was born in 1935 in Gabrova, Bulgaria. (He woul...

This contemporary colorful print of a bird is by Charles Pachter. Beloved for his playful pop art imagery, the Canadian artist produced a number of giclee prints in the 1960’s like ...

'Brutalist Symphony', photograph by Richard Heeps from the London's Barbican Estate. There is a subtle beauty in the light and colour of this conceptual architectural photograph of t...

Rippling, limited edition lithograph, Japanese, black, white, red, signed,number

Medium: Mezzotint Year: 2024 Edition: 25 Image Size: 11.75 x 17.5 inches Scene of jugglers in dining room juggling plates in this comical print from Werger's Circus series of prints...

Into the Space is an original screen print and embossing on paper and metal realized by Carlo Scarpa. The artwork is in good condition, on a grey cardboard. Limited edition of 90 s...

Alexander Calder Lithographic cover c. 1968 from Derrière le miroir: Lithograph in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of unknown with crisp bright colors. Published by: Galerie Maeght, Paris, c. 1968. Unsigned from an edition of unknown. Looks fantastic framed. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. Related Categories: Mid century modern. Alexander Calder prints. Calder orange. Calder red...

*temporary listing price reduction due to currency exchange rate large format photograph by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Pan di Zucchero...

GIARDINO SEGRETTO is a hand drawn limited edition lithograph created in 1988 by the Iowa born artist, Jim Buckels who is known for his dream-like ima...

Cool print by Stik based on the gigantic 7 stories mural called the Migrant that he painted in NYC in 2017. Inspired by the name of the street of the mural location, Avenue of The Im...

This piece titled "Because the Night VE 1/5" is a variable edition piece by Kate VanVliet and is made from two-plate etching with aquatint, soft ground and relief chine colle on Rive...

Peter Beard The End of the Game (Hand Signed by Peter Beard), 1977 Offset Lithograph Poster (hand signed by Peter Beard and inscribed with a heart) Han...

Mychael Barratt Gormley’s Dog II Limited Edititon Print Edition of 100 Sheet Size: H 40cm x W 38cm Signed and Titled Sold Unframed Please note that in situ images are purely an indi...

WALKING BLINDLY is an original hand drawn limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor best known for her depictions of the African-American experience. WALKING BLINDLY portrays a young Black woman dressed in a magenta pink cardigan, white blouse, and blue green tweed texture skirt dancing by herself, centered amid a gray watercolor wash background surrounded by simple line drawn figures of an older woman shouting/singing praise, a forlorn young boy seated with his head down, and an older man standing, looking downward, holding a flask in his hand. This moving composition by Elizabeth Catlett is from the FOR MY PEOPLE suite of prints, a set of 6 lithographs...

Medium: Etching Edition of 120 Year: 1976 ImageSize: 4.5 x 5.5 inches Signed, titled and numbered etching from the edition of 90. An view Saint Jerome writing in his cave, with his ...

Mr. Brainwash Einstein Love is the Answer 2023, is a vibrant and stimulating work featuring Albert Einstein, a pillar of history and modern...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

Kissing Ass is a lithograph on paper, 6.75 x 9 inches image size. From the edition of 395, numbered 243/275 (there were also 100 Roman and 20 AP), framed in a contemporary, silver-to...

Produced on the occasion of Jonas Wood's 2022 exhibition, Plants and Animals, at David Kordansky Gallery, Los Angeles, CA. 24 x 28 inches. Jonas Wood (b. 1977, Boston) makes paintin...

Offset lithograph in colors on smooth wove paper. Hand signed lower right by Takashi Murakami. Hand numbered 176/300 lower right. Artwork size 26.75 x 26.75 inches. Frame size 34 x 3...

A spectacular wave breaking under a stormy sky . Werger's mezzotint prints are masterful at capturing a mood, and suggesting a story for the viewer to complete. Signed and numbered f...

MAGENTA HORSE, THREE GEISHAS is an original lithograph printed using hand drawn lithography techniques on archival Somerset printmaking paper, 100% acid free, by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, Chinese, 1929-2010). Ting's use of bold colors and expressive calligraphic brush drawn forms convey vivid life energy. He is well known for his colorful images of women, flowers, fish, parrots and horses and was associated with artists Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group called COBRA. Throughout his artistic life, Ting imbued his passion and spirit into his paintings, poetry and sculpture. MAGENTA HORSE, THREE GEISHAS is a freely expressed Chinese Ink Brush drawing depicting a colorful magenta horse with dark purple black mane and tail standing with three lovely Asian women...

Silver Dollar is a silver gelatin print on paper by Robert Mapplethorpe, titled, numbered, and dated verso. The print is signed and dated again on the back within his signature stamp...

12 colour screenprint on Somerset Tub Sized 410gsm paper Edition of 125 Signed and numbered on the back Mint. Minor imperfections may appear due to the production process Since this...

Published by the Royal Academy

Summer Sky, limited edition lithograph, landscape, desert, turquoise, orange

Four color process print on vélin paper. Paper size: 10.75 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, George Condo, Drawing Paintings, 201...

The Long Memory is an 18-color screenprint on paper by the artist Betye Saar The Long Memory 1998 Signed and numbered, recto 18-color screenprint on paper (Edition of 100) 14.5 x...

Segno Zodiacale Bilancia is an original screen printh on grey paper realized by Sergio Barletta. Signed on the lower left margin. In good conditions ...

Elizabeth Taylor Exhibition Vintage Art Poster Andy Warhol, a leading figure in the Pop Art movement, revolutionized the art world with his iconic works that celebrated consumer cu...

Intaglio and acrylic on Saunders Waterford, St Cuthberts Mill paper. Paper size: 37 x 25 inches. Inscription: Hand signed and numbered, 63/175, as issued. Notes: Published and printe...

Artist: Robert Rauschenberg Title: Architecture Year: 1994 Medium: Lithograph with vegetable dye water transfer on Arches Infinity paper Edition: 50; signed, dated and numbered in pe...

Extremely rare Banksy One Cut Grand Theft Audio Sticker. Sticker was made for the release of the album by the band One Cut. Features Banksy artwork of masked man. Stickers are a very...

Robert Longo White Snow Trees of the Back Forest 2020 Archival pigment print 71.1 × 55.8 cm (28 × 22 in) Signed and numbered Edition of 30 In excellent condition PLEASE NOTE: Editio...

Santa Maria delle Grazie, religious icon church architecture interior photograph from Richard Heeps series A Short History of Milan. A Short History of Milan' began in November 20...

Stars and Stripes Sam, photograph from Richard Heeps' On-Sea series. The historic Uncle Sam is brought to life in this surreal street photography with the Kodak film border. This ar...

Javier Calleja Once In My Life, 2023 2 individulal prints Hybrid UV flatbed pigment print with red silkscreen details and varnishes on Somerset Tub Sized Radiant White 410gsm fine ar...

Screenprint on Somerset Tub Sized 400gsm paper Edition of 125 Signed and numbered on the back Mint. Minor imperfections may appear due to the production process Since this item will...

Anger Management By The Connor Brothers The Connor Brothers are a contemporary British art duo known for blending fiction with reality, often creating works that mix vintage imager...

Washeteria - Looking In, vintage interior photograph from Richard Heeps series, A Short History of London. "I discovered this launderette while London was in lockdown during the pand...

Artist: Ellsworth Kelly Title: Composition (Axsom No. I-E,F) Year: 1964 Dimensions: 15in. by 22in. Mount Board Size Inches: 20 x 27 inches Mount Board Color: White/Black Print Bord...

Letter P, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Artist: Christo Title: Ponte Neuf Empaquette-Small Medium: Photograph Size: 26 x 27 inches Year: 1985 Publisher: Nouvelles Image Reference #: Schellmann 86 Hand signed by the artist ...

Wahini #2 - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yourself in ...

And Then Red is a screenprint on paper from the edition of 50, 15.75 x 15.75" image size, signed and dated 'Takashi '99' and numbered 45/50 in pencil verso. Framed in a custom, gold-...

James McQueen, I had fun once it was awful, 2022 (Framed) Mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper 101.5 × 67.5 cm (40 × 26 3/5 in) Edition of 9...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. 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. Art: 8 x 11 in Frame: 17 x 19 in 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 non-western 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...

4 colour screenprint on Somerset Tub Sized 410gsm paper Edition of 125 Signed, numbered and dated on the back Mint. Minor imperfections may appear due to the production process Sinc...

Guy Allen Grazing Horse Study Gold An etching, aquatint and hand finished gold leaf on 300gsm Somerset paper. Edition Size: 75 Year Completed: 2017 Image Size: H 19.5cm x W 13.5cm Paper Size: 56 x 39 cm Sold Unframed (Please note that in situ images are purely an indication of how a piece may look)Please note the price is for the unframed original etching . Grazing Horse Study Gold is an original etching, engraved onto a copper plate, from which Guy Allen creates an impression of ink onto paper. To create his pieces, Guy Allen marries the traditional technique of etching with timeless subject matter and print making processes, for a more contemporary twist. This etching is a study piece for the large Grazing Horse artwork...

Dark Composition is an original artwork realized by Henry Goetz in the 1970s. Colore etching on paper. The print is hand-signed in pencil on the lower ri...

large scale art photograph of mesmerizing aquatic surface in ocean tones of cyan, blue and azure SEASCAPE VIII by Frank Schott 72.5 x 58 inches / 184cm x 147cm signed edition of 7 60 x 48 inches / 152cm x 122cm signed edition of 7 archival quality fine art pigment print limited art edition published by Edition EKTAlux...

Antonio Diaz Cortes (Mexico, 1935) 'Encuentro' (meeting), 2006 woodcut on paper Velin Arches 300 g. 27.6 x 19.7 in. (70 x 50 cm.) P/A (Artist Proof), unique piece Unframed ID: DIA-10...

In this geometric abstract monotype on paper, colored shapes complement a background that transitions from pale yellow to sky blue. A pointed star shape in dark navy contrasts circul...

Sarah Morris November 2021, 2021 Lithograph on wove paper Accompanied by a certificate of authenticity - hand signed by Sarah Morris (the artist) as well as the head of ICA Editions...

Cindy Sherman Limited Edition Offset Lithograph on 200g Profisilk paper 33 × 23 1/4 inches Edition of 200 Limited Edition Offset Lithograph on 200g Profisilk paper Hand signed in re...

"Untitled" blue abstract screenprint by artist Heinz Mack from the "Kinderstern" portfolio, published in 1989 by Edition Domberger to raise money to house families of children hospit...

Artist: Julian Opie Title: Ruth Smoking 5 Portfolio: 26 Portraits Medium: Screenprint Date: 2006 Edition: 250 Frame Size: 21 1/4" x 16 1/2" Sheet Size: 15" x 9 3/4" Signature: Unsigned

This exhibition poster/mailer was created for a 1976 exhibition of Fred Sandback's work held at Brook Alexander, Inc. and The John Weber Gallery. The piece serves as both an advertis...

December The Happy Year Harry Bunce Limited Edition Print Published 2017 as an edition of 365 worldwide (one for each day of the year) + 31 unique hand-embellished pieces. 31.5 x 28...

Richard Serra Double Level I, 2009 Etching 67 1/2 x 65 inches (171.5 x 165.1 cm) Edition of 12/22 Signed