Baby Prints and Multiples

Marc Chagall (1887-1985) The Bible, The Angel Original lithography (Mourlot Workshop) On paper 37 x 26.5 cm (c. 14.5 x 10.2 in) REFERENCE: Catalogue raisonné Chagall Lithographe...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

Original poster In 1972, the Musée National d'Art Moderne devoted a major retrospective to Man Ray. Like all the exhibitions held in collaboration with the artist at that time, it s...

Pablo Picasso (1881-1973) - Portrait of Francoise Gilot Lithograph from 1954. Dimensions of work: 35.5 x 26.5 cm Publisher: Tériade, Paris. The work is in Excellent condition. F...

This elegant 1894 lithographic poster by Armand Rassenfosse was created to advertise the Grande Brasserie Van Velsen Frères, a Belgian brewery based in Bornhem. With its minimalist c...

Roofs, Summer Night. 1906. Etching. Morse catalog 137 state ii. 5 1/4 x 7 (sheet 9 1/2 x 12 1/8). Series: New York City Life. A fine impression on cream ...

This limited edition color lithograph, titled The Little Prince and the Wild Birds, is a beautiful reproduction from the beloved book Le Petit Prince by Antoine de Saint-Exupéry. Thi...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.5 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Medium: Etching Edition of 90 Year: 1974 ImageSize: 16 x 12.5 inches Signed, titled and numbered etching from the edition of 90. An humorous look at Adam surrounded by the animals h...

Takashi Murakami Flowers Drawing 2018: A unique Takashi Murakami hand-drawing featuring the artist’s 2 most iconic motifs: Flowers & DOB. This work was executed in 2018 on the interior front page of the 2018 exhibition catalogue: Takashi Murakami: The Octopus Eats Its Own Leg. Hand signed and dated. Medium: Felt tip marker drawing on a removed interior exhibition catalog page (Takashi Murakami: The Octopus Eats Its Own Leg). Approximate Dimensions. 11.25 x 9.5 inches. Signed and dated in ink on the lower edge. Unique. Very good overall condition. Provenance: Private collection, Washington, D.C. Swann Auction galleries New York. Takashi Murakami (American/Japanese, b.1962) is a painter and sculptor famous for his integration of Fine Art, commercialism, Japanese aesthetics, and cultural criticism into his work. Murakami received his BFA, MFA, and PhD from the Tokyo National University of Fine Arts and Music, where he studied Nihonga (traditional Japanese painting). He first gained recognition as a sculptor during the early 1990s, exploring otaku (the Japanese term for an obsession with anime and cartoons) and the contradictions between contemporary Japanese society and American culture in his work. In 1996, he created the Hiropon Factory in Japan, which later developed into Kaikai Kiki Co., Ltd., a large art-making and artist management corporation. Murakami is also a curator and a critical observer of Japanese art. In 2000, he founded the "superflat" movement, a post-modern style drawing inspiration from Japanese manga (comics created in Japan), graphic design...

This is a signed and numbered serigraph by Leroy neiman. Condition is good. Measures 38x33

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Sommaire du N°1, 1er Mars 1938...

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

Marc Chagall, Russian (1887 - 1985) - Gravure XXII from Poemes, Year: 1968, Medium: Woodcut, Size: 14.5 x 11.25 in. (36.83 x 28.58 cm), Printer: Atelier Lacouriere et Frelaut, Paris...

Etching and aquatint realized by Thomas Rowlandson in 1817. Plate from "The Dance of Life" by William Combe. Very good condition. Thomas Rowlandson (1757-1827) was an english artis...

Lithograph printed on Japon paper, not signed and not numbered. The lithograph is cataloged number 721 in "Chagall-The Lithographs" by D.A.P. The overall outside dimensions are 26 x...

This limited edition color lithograph, titled The Little Prince and His Asteroid, is a beautiful reproduction from the beloved book cover of Le Petit Prince by Antoine de Saint-Exupé...

Medium: original woodcut. (Catalogue reference Roethel 124). Printed in 1975 on Arches paper for the "Homage to Kandinsky" special edition of the art revue XXe Siecle. Image size: 7 ...

Male nude linocut, from the series "The Sensual Line" comprised of 4 male and 4 female images. Reyes attended The School of the Art Institute of Chicago, where he received a Bachel...

Original linen-backed 1974 Spoleto poster. Roman Polanski directed Alban Berg's opera LuLu at the Spoleto Festival, which was conducted by Christopher K...

ROBERTO MATTA (Chilean 1911- 2002) NEW SCHOOL PORTFOLIO (1943-5) (Sabatier 1-7, 4 prints not recorded by Sabatier) Portfolio with complete set of 10 etch...

Screen print & hand-finished watercolor on paper. Hand signed and numbered by the artist. Pest Control included. Banksy’s Dumbo is an extremely rare Ban...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Original World War II "Freedom from Fear" Ours ... To fight for by Rockwell. One of the 4 freedom posters created in 1943 by Norman Rockwell. Fre...

KATHE KOLLWITZ (1867-1945) GEFALLEN (Killed in Action) 1920 (Klipstein 153 (1st state, a of c of 2 states) Lithograph on laid paper. Image 16 ¼ x 15 ¼ inches, Large Full Sheet, 25 ½...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Salvador Dali (1904-1989) - The Inferno, Canto 15 - The Hard Margins Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris. Reference:...

Lithograph and stencil on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Cahiers d'Art N°24, 1949. Published and printed by Éditions des Cahi...

This lithograph is from Pablo Picasso's esteemed "Suite Vollard," a series originally crafted between 1930 and 1937. This particular edition, produced between 1990 and 1992, was auth...

Oriental Cup by Vicky Oldfield [2022] limited_edition and hand signed by the artist Collagraph Edition number 30 Image size: H:10 cm x W:10 cm Complete Size of Unframed Work: H:16 c...

Asagiri is a woodcut print realized by Utagawa Hiroshige in 1832. It is part of the suite "The Fifty-three Stations of Tokaido". Very good condition.

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the atelier of Mourlot Freres. The...

Marc Chagall (after) Romeo and Juliet (Paris Opera), 1965 Stone lithograph (Mourlot workshop) Engraved by Charles Sorlier under the supervision of Chagall On heavy paper 64 x 99 cm ...

"Armed and Dangerous" Photography 16" x 24" inch Edition of 15 by Brendan North Available sizes: Edition of 15: 16" x 24" inch Edition of 7: 24" x 36" inch Edition of 3: 40" x 60" i...

Unique Trial Proof, from the Endangered Species Portfolio. Authenticated by Andy Warhol Foundation with supporting paperwork, blindstamp lower left. This is an unsigned and unnumbere...

Medium: lithograph (after the poster). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 9 x 12 1/4 inches (230 x 310 mm). Signed in the p...

Pierre-Mathieu Ogier (active between 1676 and 1709) Annunciation Scene Engraved copper plate, dated 1691 17.5 x 11.2 cm Provenance: Private collection, France This engraved copper...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-Lautrec, 1950. Published by Librairie Au Pont des Arts, Paris; rendered by Daniel Jacomet; and, printed by Ateliers Daniel Jacomet et Cie, Paris, Monday, October 30, 1950. Excerpted from the folio (translated from French), This album, including all the prints dedicated by Toulouse-Lautrec to Yvette Guilbert, was printed for the Librairie Au Pont des Arts, by D. Jacomet. The color state of the Colombine plate in Pierrot and the twenty-seven plates of the French and English series were executed according to the original lithographs (before the letter for the French suite) from the Toulouse-Lautrec workshop and kept in the Cabinet des Stampes of the National Library. The collection includes three plates in color and twenty-eight plates in black. All copies also include a lithograph: Colombine à Pierrot, taken, after special authorization from the Musée d'Albi, on the original stone of Toulouse-Lautrec, by Lucien Détruit. It was taken from this album: A non-trade and nominative example; L examples on a large vélin of Rives including: III proofs of the lithography Colombine à Pierrot printed...

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 ...

Original United States Food Administration vintage poster. This is what GOD gives us United States Food Administration. Artist A. Hendee. This is what GOD gives us What are you giving so that others may live? Eat less --wheat --meat --fats --sugar Send more to Europe or they will Stave. A bounty of freshly harvested food is shown in the image. One of the more beautiful posters produced by the United States Food Administration for the war effort. World War 1 posters...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the atelier of Mourlot Freres. The...

SEBASTIAN MUNSTER (1488-1652) ASIAE TABVLA Vlll 1540 (45) Woodcut from Munster's edition of Geographia Universalis, Basel, Henri Petri. 1545 edit...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

KAWS: HOLIDAY Shanghai: complete set of 3 works: KAWS' signature character COMPANION presented holding the moon, and gazing at the sky. New in original packaging - published to comm...

Lithograph realized in 19th Century. In very good condition, it is matted in a black mat.

Construction d’un temple – Plate n. 8  is a b/w original etching realized in 1972 (as written on plate on the lower right margin) by Paul Delvaux. From the collection “ Construction...

Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Inscription: Signed in the plate and unnumbered, as issued. Paper Size: 12.5 x 9.5 inches; image size: 11.0...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 12.2 x 7.87 inches Inscription: Signed in the plate and unnumbere...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.75 x 5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the vo...

Exposition Vallauris, printed by Mourlot for Art in Posters by Sauret (1959), is a reproduction after the original poster #75. The print shows some natural aging, with browning along...

Enrico Baj - American Ballet - Polymaterial Screen, 1973 Additional Information: Material: Mixed media polymaterial color screen printing on paper with applications and glitter, col...

Original poster: HEAD OUT TO OZ, artist: James McMullan. Size 24" x 37". Rolled, Not folded; very good to excellent lithograph condition. Year: ...

Size of sheet is ca. 21 x 29 cm (A4) Contemporary figurative giclee print by Polish artist Rafal Olbinski. RAFAŁ OLBIŃSKI (born in 1943) He graduated from the Faculty of Architect...

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...

KAWS Together: Set of 2 works (Black and Grey). New and unopened in their original packaging. In TOGETHER, KAWS’s iconic “Companions” are interlocked, consoling each other in an eve...

This original lithograph by Pal, published in 1896 as Plate 35 in Les Maîtres de l’Affiche, advertises the grand ballet Brighton at Olympia, featuring music by Léopold Wenzel. The co...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.25 x 8.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the...

Artist: Anthony Hamilton (British-French, 1645-1719) Title: "Susan, Lady Belasyse" (Plate 45) Portfolio: Memoirs of Grammont Year: 1808 (First edition) Medium: Original Stipple Engra...

Erhu is a signed and numbered time-limited edition of giclée prints. The erhu, or spike fiddle, typically has two strings, but the instrument being played here is missing a tuning sp...

Lithograph on vélin d’Arches paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Picasso au baiser d'Avignon, douze dessins, lavis, aquarelle...