Realist Prints and Multiples

Two Pointers Hunting a Pheasant is an original color etching by the well known sporting artist Leon Danchin. Two Pointers, one black and white and...

Leonard Tsuguharu FOUJITA Self Portrait With Children, 1960 Original woodcut On vellum 37 x 28 cm (c. 15 x 11 in) REFERENCES : Catalogue Raisonne Sylvie Buisson #60.109 Excellent ...

Vintage framed plate signed poster. Zalman Kleiman, Born in Leningrad, Russia in 1933 into a Lubavitcher Hasidic family, was a self taught Chassidic artist living in Crown Heights, ...

Mickalene Thomas Portrait de Priscilla Le Petit Chien, 2012 Pigment print on 100% cotton rag paper Edition 148/150 Frame included with official COA affixed to the back Hand numbered from the edition of only 150 with plate signed official Certificate of Authenticity on the verso of the frame. This exquisite print, published in 2012, is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. Highly acclaimed contemporary art star Mickalene Thomas created this collage specifically for children- though adults will appreciate it as well - as will pet lovers! Portrait de Priscilla Petit Chien features Priscilla, Thomas' own dog who frequently attends the artist's photoshoots. This limited edition archival pigment print is printed on cotton rag paper and accompanied by a plate (facsimile) signed and uniquely hand numbered certificate of authenticity. It is matted and comes in a 1"-deep wooden frame with Plexiglas®. Wired for hanging. Edition of 150. This professionally framed limited edition pigment print on 100% cotton rag paper is based on an original collage made by the artist of her long-haired miniature dachshund (a gift from fellow artist Kehinde Wiley), Priscilla. The print is matted and comes in a white wooden frame (16" x 19" x 1") with Plexiglas, wired for hanging. Dimensions: 11" x 14" sheet, 9-1/4" x 12" image. Mickalene Thomas Biography: Mickalene Thomas (b. 1971, Camden, NJ; lives and works in Brooklyn, NY) makes paintings, collages, photography, video, and installations that draw on art history and popular culture to create a contemporary vision of female sexuality, beauty, and power. Blurring the distinction between object and subject, concrete and abstract, real and imaginary, Thomas constructs complex portraits, landscapes, and interiors in order to examine how identity, gender, and sense of self are informed by the ways women are represented in art and popular culture. Rhinestones—the artist’s signature material and a symbol of femininity—serve as an added layer of meaning and a metaphor of artifice. Thomas uses rhinestones to shade and accentuate specific elements of each painting, while subtly confronting our assumptions about what is feminine and what defines women. Thomas has drawn inspiration from multiple artistic periods and cultural influences throughout Western art history, particularly the early modernists such as Jean-Auguste-Dominique Ingres, Pablo Picasso, Henri Matisse, Edouard Manet, and Romare Bearden. She models her figures on the classic poses and abstract settings popularized by these modern masters as a way to reclaim agency for women who have been presented as objects to be desired or subjugated. Though Thomas draws from a number of time periods and genres, her use of pattern and domestic spaces often references various periods throughout the 1960s to the 1980s. This was a time of immense social and political conflict, change, and transformation—the civil rights movement, the black is beautiful movement, and the second wave of feminism—during which many women, particularly African-Americans, rejected and redefined traditional standards of beauty. Thomas received a BFA from the Pratt Institute, Brooklyn, NY, in 2000 and an MFA from Yale University School of Art, New Haven, CT, in 2002. Solo exhibitions of her work have been organized at The Dayton Art Institute, OH (forthcoming, 2018); Henry Art Gallery, Seattle, WA (forthcoming, 2018); Pomona College Museum of Art, Claremont, CA (forthcoming, 2018); Georgia Museum of Art, Athens, GA (forthcoming, 2017); Newcomb Art Museum, Tulane University, New Orleans, LA (2017); Spelman College Museum of Fine Art, Atlanta, GA (2017); Museum of Contemporary Art, Los Angeles (2016); Aspen Art Museum, CO (2016); Aperture Foundation, New York (2016); George Eastman Museum, Rochester, NY (2014); Brooklyn Museum, New York (2012-13); Santa Monica Museum of Art (2012); Institute of Contemporary Art, Boston (2012); Hara Museum of Contemporary Art, Tokyo (2011); and La Conservera Centro de Arte Contemporaneo, Ceuti, Spain (2009). Select group exhibitions featuring her work include Third Space / Shifting Conversations About Contemporary Art, Birmingham Museum of Art, AL (2017); Constructing Identity: Petrucci Family Foundation Collection of African-American Art, Portland Art Museum, ME (2017); The Color Line: African American Artists and the Civil Rights in the United States, Musée du quai Branly, Paris (2016); SHE: International Women Artists, Long Museum, Shanghai (2016); No Man’s Land: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami, traveled to the National Museum of Women in the Arts, Washington, DC (2015); 30 Americans, Corcoran Gallery of Art, Washington, DC (2011), which has traveled extensively around the United States (2011-2017, ongoing); and Americans Now, National Portrait Gallery, Washington, DC (2010). Thomas’ work is in numerous international public and private collections, including The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Fine Arts, Boston; Art Institute of Chicago; MoMA PS1, New York; Brooklyn Museum, New York; Studio Museum in Harlem, New York; Yale University Art Collection, New Haven, CT; and Hara Museum of Contemporary Art, Tokyo. Thomas has been awarded multiple prizes and grants, including the USA Francie Bishop Good & David Horvitz...

This is a set of five framed original 19th century duo-tone lithographs by David Roberts, from his Egypt, The Holy Land and Nubia volumes of the quarto edition, published in London b...

This artwork titled "Brave Moor Gazul" from the suite "La Tauromaquia" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

Comical illustration by Gaston Hoffmann (French, 1883-1977). A doctor is giving a shot to a female patient, while a nurse tries to prevent a man from barging in. Pencil signed "G Ho...

Paris: Gazette des Beaux Arts, 1892. Etching and dry point on cream laid paper. 7 9/16 x 5 7/8 inches (191 x 148 mm), full margins. Signed in pencil, lower right margin. A dark, ink...

This detailed etching depicts Notre Dame in France. The foreground shows an alleyway, with cracking and peeling buildings, plants climbing the walls, and a shifting stone road. Each ...

Artist: Norman Rockwell, American (1894 - 1978) Title: Ye Pipe and Bowl Year: 1976 Medium: Hand Drawn Lithograph on Arches paper, 100% acid free, signed in pencil by Norman Rockwell Edition: 200 Lithograph was hand proofed and printed by Atelier Ettinger, NYC. YE PIPE AND BOWL was featured on the Saturday Evening Post Cover - Feb. 6, 1926 (First Post cover to be printed in full color). This cover depicts a colonial artist...

Wonderfully preserved hand-colored 1830's lithograph "Ground Squirrel" by Thomas Doughty (American, 1793 - 1856), circa 1830. From "The Cabinet of Natural History and American Rural Sports." Phila: J.&T. Doughty, 1830-32. Sold previously by Bland Gallery, Early 20th century East Side gallery specializing in miniatures. Presented in frame with new acid-free mat under plexiglass. Image size: 7.25"H x 8.75"W. Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume lacked Thomas’ touch. Printed by Childs & Inman, the partnership between Philadelphia engraver and lithographer Cephas G. Childs and New York portrait...

This is an original 19th century hand-colored lithograph entitled "Approach of the Simoon, Desert of Gizeh" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in London by F. G. Moon in 1849. The lithographs were prepared by Louis Haghe (1806-1885) from drawings and paintings by Roberts. The resultant large folio editions of 'The Holy Land' and 'Egypt & Nubia' are considered the greatest lithographically illustrated works issued in the 19th century. This is the most famous and collectible of David Roberts' works, entitled "Approach of the Simoon, Desert of Gizeh". The scene captures the dramatic moment when a fierce sandstorm, known as a simoon, approaches a caravan traveling through the desert of Gizeh in Egypt. The scene is filled with swirling clouds of sand, which obscure the figures of the travelers and their camels. The sky is dark and ominous, with lightning bolts striking the ground in the distance. The figures in the foreground appear to be huddling together for protection, while one man in the center struggles to keep his turban from being blown away. Roberts' lithograph is particularly striking for its attention to detail and its use of light and shadow to create a sense of depth and atmosphere. The figures and camels in the foreground are rendered with great precision, while the distant landscape and stormy sky are suggested with broad, sweeping strokes. Overall, "Approach of the Simoon, Desert of Gizeh" is a powerful and evocative image of the harsh realities of life in the desert, and a testament to David Roberts' skill as an artist. This is the most well known and sought-after of all Roberts prints, as well as the most difficult to find and hence most expensive. This hand-colored lithograph is printed on wove paper with wide margins. The print is in excellent condition. It is presented in a gold-colored wood frame with a tan mat. It is glazed with UV conservation glass. All framing materials used are archival museum quality. The frame measures 23.75" high and 29" wide. There are two additional iconic David Roberts hand-colored lithographs for sale on 1stdibs that are matted and framed in identical styles, although slightly different sizes. They are scenes of Petra and the Citadel of Cairo. They can be viewed by typing their reference #'s, LU1173211969422 and LU1173211970142, into the 1stdibs search field or typing Timeless Intaglio in the search field and tapping on the drop down name to be taken to our storefront. Two or all three of these pieces would make for a striking display grouping. A discount is available for the purchase of multiple pieces. David Roberts (1796-1864) was a Scottish painter who specialized in landscapes, architectural subjects, and scenes from the Middle East and Europe. Born in Edinburgh, Roberts began his career at age ten as an apprentice to a house painter and eventually became a scene painter for theater companies in Edinburgh and London. In the 1820s, J. M. W. Turner recognized his artistic talent and encouraged him to become a full-time artist. He began to focus on painting landscapes and architecture. In 1838 he traveled to Egypt and soon after to the Holy Land, concluding in Jerusalem. Roberts' travels in the Middle East had a profound impact on his art, and he produced a series of highly detailed and realistic paintings and sketches of the region's famous ruins and other landmarks, including the Pyramids of Giza, the Sphinx, the Temple of Abu Simbel...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

This artwork titled "San Francisco Wharf" c.1980 is a color etching by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed in pencil by the artist. The plate mark (image) size is 12.5 x 9.75 inches, sheet size is 18 x 14.5 inches. It is in excellent condition, has never been framed. About the artist. Josef Eidenberger was born in 1899 in the little town of Goisern, Austria,he began his artistic career as a landscape painter. In 1923 he enrolled in the famed Graphic Academy of Art in Vienna and studied under Professor Alfred Cossman. His recognized talent brought him many commissions from city officials and members of the business communities throughout Europe, especially in Austria and Germany. In 1973 after visiting the United States for the first time he created a series of California etchings...

This artwork titled "El Esforzado Rendon Picando un Toro, De Cuya Suerte Murio en la Plaza de Madrid" from the suite "La Tauromaquia" engraved between 1815 and 1816, is a photogravur...

Work on paper Ed: 63/75

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

Etching and aquatint on cream laid, watermarked Rives paper. 6 5/8 x 5 inches (167 x 126 mm). Sixth and final state, a posthumous impression. A fine, inky impression with full margin...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

Artist: Marcel Gromaire Medium: Lithograph Title: Flammes Intérieures Portfolio: Verve Vol VII No. 27-28 Year: 1952 Edition: 6000 Signed: Signed in the plate Framed Size: 22" x 18 1/...

Original exhibition poster produced on the occasion of David Hockney’s 1981 exhibit for the series The Artist’s Eye at the National Gallery. As Hockney’s ...

From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...

Work on paper

This artwork tiled "Church of Mandraikina, Corfu" 1928 is an original color linocut on Laid fibrous paper by noted British artist Isabel De Bohun Lockyer, 1895-1980. It is hand signed, titled, dated and numbered 7/50 in pencil by the artist. The image (linocut mark) size is 7.15 x 9.85 inches, framed size is 18.75 x 21,5 inches. It is in excellent condition, especially considering the age. About the artist: Isabel de Bohun Lockyer (1895–1980) was a British painter known for her linocut color prints. She worked as an independent artist and mostly depicted landscapes. Lockyer was one of the few linocut artists at the time who was not associated with the Grosvenor School, a collection of artists and students who were primarily responsible for a resurgence of interest in printmaking and particularly linocut after World War I. Her earlier work followed closely in the tradition of woodcut due to her use of water-based inks, but later her technique showed influence from the work of Claude Flight, one of the heads of the Grosvenor School, who invited her to exhibit her prints at some of his annual British linocut...

Work on paper Dimensions of the "passe-partout" frame 19.9 x 14.8 cm

This artwork from the suite "La Tauromaquia, Plate #23" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

Lithograph on paper. Hand signed, titled and numbered by the artist. Edition of 350. Artwork is in excellent condition. Certificate of Authenticity is included. All reasonable o...

"Walking Lion" Antoine Louis-Barye (France, 1775-1895) Antique Engraving by Firmin Gillot Circa. 1870 11 1/3 x 7 3/4 (21 3/8 x 17 1/2 frame) inches This is "Walking Lion," along with "Walking Tiger...

From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...

This artwork, "Woman With Tulip Bowl" 1981 (State I) is an original lithograph on heavy paper by renowned Navajo artist Rudolph Carl (R.C.) Gorman, 1932-20...

This is an original 19th century hand-colored lithograph entitled "Tsur Ancient Tyre, From the Isthmus, April 27, 1839" by David Roberts from his Egypt and Nubia volumes of the large...

This artwork titled "Ceramics II" 1981 is an original colors screen print by Canadian artist Richard Thomas Davis, b.1947. It is hand signed, titled, date...

This is an original 19th century hand-colored lithograph entitled "Dendera, Dec 7th, 1838" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in...

This is an original 19th century hand-colored lithograph entitled "Approach to Mount Sinai Wady Barah Feby 17th 1839" by David Roberts, Plate 122 in Volume III of his Egypt and Nubia...

This artwork from the suite "La Tauromaquia, Plate #10" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

Robert Kushner Honor Thy Father and Thy Mother (The Fifth Commandment), 1987 6 Color Lithograph on Dieu Donne handmade paper 24 × 18 inches Pencil signed and numbered 6/84 in graphite on the front Unframed with deckled edges This five color lithograph on Dieu Donne hand made paper with deckled edges is pencil signed, dated and numbered from the limited edition of 84. This 1980s Robert Kushner print was created as part of the 1987 portfolio "The Ten Commandments", in which ten top Jewish American artists were each invited to choose an Old Testament commandment to interpret in contemporary lithographic form. The "Chosen" artists were, in order of Commandment: Kenny Scharf, Joseph Nechvatal...

This is an original 19th century hand-colored lithograph entitled "View from Under the Portico of the Temple of Dendera" by David Roberts, from his Egypt and Nubia volumes of the lar...

West Malling Abbey,Kent Antique print Matt size 30cm x 33cm Image Size 14 cm x 18 cm

Nancy Spero Thou Shalt Not Kill (The Sixth Commandment), 1987 9 Color lithograph and letterpress on Dieu Donne handmade paper 24 × 18 inches Edition AP 2/15 Signed and numbered AP 2/15, aside from the regular edition of 84 Printed by Peter Kruty, Dan Stack and Judy Solodkin Unframed with deckled edges This nine color lithograph and letterpress on Dieu Donne handmade paper is a signed, dated and numbered Artist's Proof, numbered AP 2/15, aside from the regular edition of 84. It was created as part of the 1987 portfolio "The Ten Commandments", in which ten top Jewish American artists were each invited to choose an Old Testament commandment to interpret in contemporary lithographic form. The "Chosen" artists were, in order of Commandment: Kenny Scharf, Joseph Nechvatal...

Stride for Days and Stride for Days Upside Down Diptych by Amy Gardner [2021] limited_edition Screenprint Edition number 25 Image size: H:59.4 cm x W:42 c...

This is an original 19th century hand-colored lithograph entitled "Absaloms Pillar, Valley of Schoshaphat" by David Roberts, from his Egypt and Nubia volumes of the large folio editi...

Edgar James Maybery The Harbour Lynmouth Antique Print 1920s Matt size 28cm x 33cm Image Size 14cm x 21 cm

This is an original 19th century hand-colored lithograph entitled "Convent of St. Catherine Mount Sinai Looking Towards the Plain of the Encampment" by David Roberts, from his Egypt ...

View Cowling Castlecastle Kent. Printed in 1784 Matt size 29cm x 33cm Image Size 11 cm x 15 cm

View Cowling Castle Kent. Printed in 1784 Matt size 29cm x 33cm Image Size 11 cm x 15 cm

An elegant and delicate seascape of Brightlingsea Hard, Essex circa 1925 18/75. Drypoint etching on cream laid paper, 5 1/2 x 7 7/8 inches (138 x 198 mm), full margins. Signed and ...

This artwork titled "Banderillas de Fuego" from the suite "La Tauromaquia" engraved between 1815 and 1816, is a photogravure on creme wove paper after renown Spanish artist Francisco Jose De Goya...

HOLD THE LINE is an original limited edition lithograph by the American artist, Merv Corning printed from hand drawn lithographic stones using traditional...

This artwork, "Lila" 1981 (State I) is an original lithograph on heavy paper by renowned Navajo artist Rudolph Carl (R.C.) Gorman, 1932-2005. It is signed, dated and numbered 90/150 in pencil by the artist. With the blind stamp of the artist and printer. The sheet size is 17.75 x 22.5 inches. It is in excellent condition, has never been framed, the colors are fresh and bright. About the artist: Born in Canyon de Chelly, Arizona and raised in a hogan on the Navajo Reservation, R.C. Gorman became one of the Southwest's best known late 20th-century artists. His signature works were Navajo women in a variety of poses. Many persons have been fascinated by the fact that he, an Indian artist, became famous in the white man's world with some calling him the "Picasso of Indian artists". Of this kind of attention, he said: "I wish people would quit pushing my being Indian. The only time I was interviewed as If I were a normal person was by the Jewish Press in Tucson. It was the first time I felt international and almost white". (Samuels 222) His parents were Carl Nelson...

This is an original 19th century hand-colored lithograph entitled "Portico of the Temple of Kalabshi" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, p...

This is an original 19th century hand-colored lithograph entitled "Tombs of the Memlooks, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publis...

OLD PRO is an original limited edition lithograph by the American artist, Merv Corning printed from hand drawn lithographic stones using traditional hand ...

A delicate composition of an industrial Hudson River town, seen from lower Manhattan; a view of what is now Liberty State Park. New York: 1884. Etching with aquatint on cream laid p...

Realized in the manner of Thomas Eakins, this sophisticated figurative print presents a nude male model with his back to the viewer. Showcasing both the technical faculty of the arti...

Boston: American Art Review, 1880. Etching on cream laid paper, 5 3/4 x 8 3/4 inches (146 x 230mm), full margins. Light uniform age tone, scattered handling creases and minor toning ...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil. Signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). Archivally matted to museum standards, unframed. ABOUT THE ARTIST Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the western landscape, admirers referring to him as ‘The Sagebrush Rembrandt’. The son of impoverished Southern aristocrats, Leigh took his first art training at age 14 from Hugh Newell at the Maryland Institute where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator in New York City for Scribner's and Collier's Weekly Magazine, and he also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, his primary interest being the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926 he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in a number of popular magazines including Life, the Saturday Evening Post, and Colliers. For many years, his work was handled exclusively in New York by Grand Central Art Galleries at the Biltmore Hotel. In 1953 Leigh was elected into the National Academy of Design as an Associate member, becoming a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody in the early part of the century. These years, between 1910 and 1921, when he often painted in the Carter Mountain vicinity, were considered pivotal to his artistic development and his devotion to the western landscape. Leigh's work is held in many museum collections of American western art...

Sunshine Fields by Ann Burnham [2022] limited_edition Linocut Edition number 1-10 Image size: H:20cm cm x W:20cm cm Complete Size of Unframed Work: H:30cm cm x W:30cm cm x D:3mmc...