Baby Prints and Multiples

Gary John has been a street artist since 1985, originally from Seattle Washington, then moving to Venice Beach selling his art on the boardwalk for 10 years before exploding onto the world art market. Gary has now shown at art Basel, Miami, New York art fair, Los Angeles art fair and in Europe. American pop culture and comic books inspire Gary’s work equally. "Bob Big...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

Martin Barooshian, American (1929 - 2022) - Mother Goose (Red), Year: circa 1979, Medium: Etching and Aquatint on Arches, signed, titled and numbered in pencil, Edition: HC, Ima...

Different worlds are melted together in the remarkable etches of Dutch artist Gea Karhof. Ancient cultures go hand in hand with 20th century icons. It is po...

Medium: lithograph (after the drawing). Printed in France in 1943 for the rare art revue "Hommage" and published in a limited edition of 1000 on Montgolfier Annonay laid paper. Size:...

Image Size: 26" x 21" Unframed Limited Edition Lithograph of 300 Hand Signed by Beryl Cook

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Yoshitomo Nara Midnight Truth Offset print on paper Sheet size 51.5 × 36.4 cm

"Play" is an original etching by Kenneth Hayes Miller. The artist signed the piece in pencil and in the plate. This piece features a nude figure with two smaller doll-like figures. ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré à Valerio Adami, Derrière le miroir,...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Keith Haring Bearbrick 400% Figures: Set of 4 works (c.2019-2021): Unique, timeless Keith Haring collectibles, each trademarked & licensed by the artist's estate. The partnered figur...

Mariana Magdaleno (Mexico, 1982) 'Baila conmigo', 2018 silkscreen on paper Feltmark 300 g 29.4 x 21.3 in. (74.5 x 54 cm.) Edition of 50 ID: MAM-101 Unframed

Lithograph on papier bouffant des Papeteries de Casteljoux paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Eaux-fortes originale pour des textes de ...

Lithograph on vélin du Marais paper. Paper Size: 11 x 8.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the volume, Poèmes 1923-1958. Dix dessins d...

Medium: lithograph (after Matisse). Printed in sanguine ink on cream laid paper from the Papeteries Casteljoux and published in Geneva by Edito-Service in 1970. This reproduces one o...

(after) Alphonse Mucha The Flowers, Set of 4 Reproduction Colour Lithograph of Original, From Mucha Foundation 90 x 39.5 cm Embossed Mucha Foundation lower middle Edition 118/300, 89...

Atlanta and the Dog (original Title: Atlanta et le Chien) is an original lithograph realized after Aubrey Beardsley (1970). The drawing is part of a 1970 "Eyes Open" edition, publis...

Héliogravure on japanese paper realized by Fraz von Bayros in 1913 for Ex Libris Verlag K. Th. Senger, Munich. Mounted on passepartout. Edition of 260, hand signed in pencil by the ...

David Everett was born in Beaumont, Texas, and received both his B.F.A. and M.F.A. from The University of Texas at Austin. Valley House began showing his multi-articulated, painted w...

Artist Name: Philippe Noyer Title: Les Petites Filles aux Piano: Little Girls at the Piano Medium Type: Lithograph Size-Width Size-Height: 41" x 27" Signed Edition Size: signed in...

Marie LAURENCIN Two Girls with Horses and Dog (1928) Stone Lithograph Printed in Atelier Mourlot Printed signature in the plate On China paper 31 x 42 c...

Etching and engraving with hand coloring in watercolor on cream laid paper. 6 3/4 X 9 5/8 inches (170 x 244 mm), margins trimmed, image intact. Rubbing in the lower left image area obscuring the publishing information (which reads Published by Mm. Darchery, St. James Street March 11, 1783), scattered light foxing, corner loss, top left corner, well outside of image area. "SMP" collector's stamp in red ink on the verso (not in Lugt), and the name "Renier" and the initials "AR" in black ink on the verso. Colors are extremely fresh. Impressions of this work may be found in the permanent collection of the British Museum, and the Yale Center for British Art. Ex-Collection of Anne & Ferdinand Gabriel (F.G.) Renier, reknowned for their inspriational collection of children's books and works on paper, now housed in the Victoria & Albert Museum. _____ The devil officiates at the wedding of Tory Lord North, and Charles James Fox, the Whig statesman whose career spanned almost four decades in Parliament. The satirical scene is the signing of the Fox-North coalition, which was a short-lived partnership the two formed while combining forces in the House of Commons to oust then Prime Minister William Petty, Earl of Shelburne. Fox had fallen out of favor with the Irish born Shelburne, also a Whig, whose ministry remained in power just long enough to see the American War of Independence...

Lithograph on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Taureaux, Lithographies de Jean Cocteau, 1965. ...

Artist: Leonor Fini Title: Erotica Medium: Etching Signed: Hand Signed Edition Number: 65/150 Measurements: 14" x 18" Framed: 20.75" x 26" Condition: Excellent. This piece has...

Lithograph on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Taureaux, Lithographies de Jean Cocteau, 1965. ...

The only mention I can find of Evelyn G. Schultz is that she was a charter member of the San Diego Watercolor Society. But the medium of the linocut (here on tan paper) was frequentl...

From the "ADS" portfolio. Screen print on lenox museum board Hand signed and numbered by the artist. Edition PP 5/5 (There is a main edition of Edition of 190, 30 AP, 5 PP, 5 EP, 1...

Yoshitomo Nara Marching on a butterbur leaf, 2019 Offset lithograph 24.02 x 17.99 in 61 x 45.7 cm Yoshitomo Nara’s prints are a captivating extension of h...

Auguste Rodin, French (1840 - 1917) - La Ronde, Year: 1883, Medium: Drypoint, signed in pencil, Image Size: 4 x 5.75 inches, Size: 13.25 x 9.5 in. (33.66 x 24.13 cm), Reference: Del...

Hebru Brantley Art Toy collection: 2018/2022. Set of 4: Hebru Brantley art toys, each new in original packaging: Composed of three 2017 Hebru Brantley Flyboy's & one Hebru Brantley F...

This original poster, Goddess Depot by Robert Rauschenberg, was created for his 2005 exhibition at the University of Louisiana at Lafayette. It reflects Rauschenberg’s talent for ble...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Silkscreen on Screen print on Stonehenge Steel Grey 250gms 20 × 16 in 50.8 × 40.6 cm Edition 197 of 250 KAWS is a multi-faceted artist straddling the worlds of art and design in his...

Medium: lithograph (after Matisse). Printed in sanguine ink on cream laid paper from the Papeteries Casteljoux and published in Geneva by Edito-Service in 1970. This reproduces one o...

Medium: lithograph (after Matisse). Printed in sanguine ink on cream laid paper from the Papeteries Casteljoux and published in Geneva by Edito-Service in 1970. This reproduces one o...

Image of a young woman, smelling a flower. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate more closely...

Reclining Male and Female Nude, Entwined is a beautiful, original, and colored lithograph from the portfolio "Erotica" by Egon Schiele. It is a reproduction of the homonym original ...

Lithograph on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Cirque, Lithographies Originales. Published by Les Édition...

This limited edition color lithograph, titled Le Petit Prince et le Renard (The Little Prince and the Fox), beautifully recreates the iconic watercolors from the beloved book Le Peti...

Offset print with silver and high gloss varnishing Edition of 300 Signed and numbered on the front Mint Sold in the original KaiKai & Kiki box

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

La Toilette Drypoint, 1908 Signed and numbered in pencil by the artist (see photos) Edition: 65 this state (35/65) Published by Gustave Pellet (1859-1919),...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Romain De Tirtoff (Erté) (Russian/French 1892-1990. Pencil Signed lower right, numbered 226/300 lower left. Deckle lower edge. American Atelier, New York with raised stamps lower l...

Louis Legrand, 'The Serenade', soft-ground etching, drypoint, and aquatint, c. 1895, edition 20. Signed and numbered '9/20' in pencil. Annotated '20 proofs taken' in pencil, bottom l...

Edition 5 Pink Painting of Pooh the bear JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a distinct and fin...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Les Signes du zodiaque, 1959. Published by Édit...

The 1964 "España Libre" poster is a powerful and evocative piece that embodies both the artistic genius of Pablo Picasso and the political turmoil of Spain during the mid-20th century. This original poster was created for the "España Libre" exhibition, a significant showcase of contemporary Spanish art that highlighted the resistance to the oppressive Franco regime. The exhibition traveled to various Italian cities, including Rimini, Ferrara, Reggio Emilia, and Venice, bringing attention to the plight of Spanish artists in exile and those under Franco’s censorship. At the heart of the poster is a series of etchings by Pablo Picasso titled "Sueño y mentira de Franco...

Lithograph and stencil on vélin d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Mon ami Léger par André Maurois de l'Académie ...

Paper Size: 24.5 x 46.75 inches ( 62.23 x 118.745 cm ) Image Size: 24.5 x 46.75 inches ( 62.23 x 118.745 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or ...

Lithograph on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Taureaux, Lithographies de Jean Cocteau, 1965. ...

JOSE CLEMENTE OROZCO (1893 – 1949) WOMEN, 1934 ( Orozco 25) Lithograph, One of 127 signed & unnumbered impressions, (total printed 255) Printer Jesus Arteaga. Image 12 1/2 x 17 inches, sheet 17 x 23 inches. Large sheet. top sheet edge with deckle edge and with some remnants of old old tape. Some slight mat burn verso., just a hint on the recto. This impression is also dedicated to Rosita Boyce by Clemente Orozco - (the Artist's Son) in 1961 From "Jose Clemente Orozco - Graphic Work" by Clemente Orozco, University of Texas Press, 2004. "The image is a detail of the Mural "Contemporary World" in the Palace of Fine Arts, Mexico City. The mural depicts "the real prostitution of power is implied by prostitutes fighting for survival. in a game of exuberance and decadence. The theme of women, especially prostitutes, has a special significance in Orozco's work, from his early watercolors to this fresco.." This print is related to Orozco's MACHINES also on 1stdibs offered by this dealer. Mexican Prints...

Artist: Saul Steinberg, Romanian/American (1914 - 1999) Title: Chrysler Building (Day) from Derrier le Mirroir Year: circa 1965 Medium: Lithograph Size: 14 x 10.5 in. (35.56 x 26.67 ...

Winnie the Pooh And Tiger Too - Original 1974 Lobby Card Vintage 1974 Lobby Card: Rabbit is tired of Tigger always bouncing him, so he gets Pooh and Piglet together to come up wit...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

Lithograph on vélin d'Arches Arjomari paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Lettre à mon peintre Raoul Dufy, 1965. Published by Librairie ...

This Blue Dog work consists of one blue dog sporting a red scarf around its neck in a reverse direction from the original "A Faster Breed" sitting on a purple and gold motorcycle wit...

After Edvard Munch (1863-1944) Angst, originally executed in 1896; this reproduction likely 21st century Publisher unknown Digital print (?) Sight: 22 1/2 x 20 1/8 in. Framed: 31 1/2...