Boy Prints and Multiples

Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 15 3/4 x 10 1/8). Edition 100, #31. A very rich, tonal impression on cream-colored laid paper. Unobtrusive soiling in the top left- and lower-left hand margins, just below the platemark; and light mat line just outside the platemark. . Signed and numbered in ink. Housed in a 20 x 16-inch archival mat, suitable for framing. A charming discussion between the chef and a scullery maid in a "Downtown Abbey...

Figure is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981) in the 1970s. The state of preservation of the artwork is excellen...

Jason and the Argonauts: The legendary Greek hero leads a team of intrepid adventurers in a perilous quest for the legendary Golden Fleece. Ar...

Artist: Susannah MacDonald (1954) Title: Times Square Year: Circa 1990 Medium: Silkscreen on wove paper Size: 33 x 25 inches Edition: 96/375, plus proofs Condition: Excellent Inscription: Signed and numbered by the artist in pencil SUSANNAH MACDONALD (1954- ) A contemporary American artist. She began her career as a clothing designer and illustrator, and by the early 1990s she began experimenting with a truly unique method of printmaking. Using a combination of silk-screen and lithography on both paper and transparent sheets of mylar, her brightly colored three-dimensional scenes portray contemporary life in an unforgettable manner. McDonald's images are real and imaginary, and can be described as delightful visions. No matter the passage of fashion or the seasons, there are places of transcendent timelessness in her work. Her creation of places gives us a sense of home that is responsible for her public audience. ABOUT SELLER DO YOU HAVE ARTWORK TO SELL? WE ARE ACTIVELY SEEKING CONSIGNMENTS AND EXCEPTIONAL OBJECTS TO PURCHASE OUTRIGHT! Art Commerce...

Peter Blake Liberty Beauty Rose, 2014 Etching on Somerset White 300gsm Paper size: 43 × 33 cm
 Framed: 47 x 37 cm Edition 7 of 30

Artist: Ralph Fasanella, American (1914 - 1997) Title: Family Supper Year: 1974 Medium: Screenprint on Arches Paper, signed in pencil Edition: 250, AP 25 Size: 41 in. x 31 in. (104.1...

The circa 1840 engraving titled "Rue de Rohan - Trois Glorieuses", engraved by Jean-Pierre-Marie Jazet after a painting by H. Lecomte, captures a pivotal moment during the July Revol...

Hebru Brantley Beyond the Beyond, 2018. Set of 2 Hebru Brantley Flyboy’s, each new in original packaging. Medium: Painted cast vinyl. Dimensions (applies to each individual figure): 9 x 8 x 4 inches (22.9 x 20.3 x 10.2 cm). Each new in its original packaging. From a sold out edition of unknown; published by Hebru Brantley, Billionaire Boys Club & BAIT. Safely packed and shipped from New York, NY. Artist Statement: "Flyboy came out of characters of colour within popular culture. I hate saying “popular culture,” but it’s really popular culture. I mean you look at cartoons. You’ve got animated sponges and ducks and birds and whatever, and it’s very rare to see a popular character within any medium that is African-American, Latino, even Asian. What I wanted to do was create that, but in a space of high art and be able to have some historical context to that character. So I looked at the Tuskegee Airmen...

'Maniere de faire du feu des Naturels de Rawack et de Wacgiou' Natives of Rawack and Wacgiou making fire. West Papua, Indonesia. Lithograph, by Pierre Lan...

The circa 1930 original poster by Jacques Majorelle, titled “Marrakech”, is a stunning representation of both the artist’s fascination with Morocco an...

Caricature etching by American artist Charles Bragg. A man poses with a large stuffed bear, his “Trophy”. The Trophy Charles Bragg, American (1931–2017) Date: circa 1970 Etching, si...

French stipple engraving portraying a stately emperor figure, circa 1830. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame. Ar...

Interrogation is an original offset and lithograph realized by George Grosz. The artwork is from the book "Kobes" by Heinrich Man, that Grosz illustrated with 10 drawings reproduce...

Viewers are always curious about this image. I count 20 people seated -- all men. Why? Three of the men are looking over their shoulders toward the back. Are they impatient to see late arrivers? The seating seems to be pew like. Pasternak, like most artists, wants the viewer to bring their own interpretation to the image and is most circumspect to give an explanation. A church, a union hall, a political meeting -- which is it? The mood seems to be one of anxiety rather than celebration. The artist did answer why all men. He says that "he likes to create the tension of the image on the page. Putting women and men together...

Vintage French lithograph of a rustic stone building and stairway with a figure in the shade of an alcove by artist Andre Trost, circa 1960....

This 1938 original travel poster, designed by Roland Hugon, was commissioned by the Société Nationale des Chemins de Fer Français (SNCF) to promote winter sports tourism in France. W...

At the same time is an artwork realized by Leo Guida, in the 1970s.  Etching on paper. Titled on the lower. Good conditions.

THE ROUND POND is a limited edition lithograph printed using traditional lithography techniques on archival printmaking paper, 100% acid free, by the Britis...

Female conversations is a contemporary artwork realized by Massimo Campigli in 1952. Mixed colored lithograph. Hand signed, dated and numbered on the lower margin. Edition of 74/125.

A very beautiful poster realized by Jean Even ( 1910-1986 ), a French painter, lithographer and poster artist. In parallel to his career of painter and teacher, Jean Even begins a ca...

Fresco Cupid With Animals from "Antiquities of Herculaneum" is an etching on paper realized by Francesco Martano in the 18th Century. Signed on the plate. Good conditions with some...

To see our other original vintage posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poster you want. For the Future of our Nation - Save Now Original vintage poster 73 x 49 cm Issued by the National Savings Committee, London, the Scottish Savings Committee, Edinburgh, and the Ulster Savings Committee, Belfast. An original vintage WW2 poster...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Fernand Léger: Dessins de Guerre, 1956. Plates rendered by l'atelier Daniel Jacom...

This is a screen print, signed and numbered in pencil by the artist. The paper is bright white and the colors are vibrant. Total edition size is 108 plus 18 APs. Published by Lincoln...

This artwork, "Children in a boat" 1976 in a color off set lithograph by renown Chinese/American artist Wai Ming A.K.A Lo Hing Kwok, b.1938. It is hand signed and inscribed A.P (Artist Proof) in pencil by the artist. The image size is 21.5 x 28.75 inches, sheet size is 32.5 x 39.5 inches. Custom framed in wood dark brown rustic frame and beige matting. It is in excellent condition About the artist: Wai Ming, was born in Canton, South China on November 11, 1938, the son of a school master with nine children. Extremely poor as a child, he was raised in Hong Kong enduring many hardships amidst a chaotic environment of war and refugee settlements. Wai Ming's love for art flourished and he developed his drawing techniques without any art education, just painting what he saw. In the 1960s, Ming found representation in Hong Kong and also took the unusual step of opening his own gallery to display his work in. His primary interest being to capture images of life in fishing villages, or 'fish-folk', who have retained traditional Chinese culture, his work was at home with the sensibilities of many art buyers in Hong Kong. Crossing the ocean in his mid-30s, Wai Ming arrived in San Francisco from Hong Kong in 1974. There, he experienced initial resistance from galleries and the official art world for a variety of reasons, but was ultimately embraced by dealer Jack Swanson...

Artist: Mark Kostabi, American (1960 - ) Title: Cash Dance Year: 1990 Medium: Serigraph, signed and numbered in pencil Edition: 11/56 Size: 31.75 in. x 31.75 in. (80.65 cm x 80.65 cm)

(after) Pablo PICASSO Untitled from Suite de 180 Dessins Lithograph, 1954 With the blind stamp of the editor (Ed. Verve) Size 28 x 37 cm (c. 11 x 14.6 inch) A lithograph on wove pap...

Joseph (Joe) Leboit made this extremely intense image of a supposedly happy recipient of a 'Derby Winner.' (Probably refers to the Irish Derby.) In fact the couple and seventeen chil...

Hope is an archival color print with sculptured and hot gloss stamp printed in an edition of 50. This is impression #25 of 50. ARTIST STATEMENT: Language is liquid and as HOPE was ...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Picasso and the Human Comedy, Verve: Rev...

Bengt Lindström (1925-2008) Expressionist Blue Face Original Lithograph Printed signature in the plate Numbered / 400 ex On vellum 31 x 22.5 cm (c. 12 x 9 in) Excellent condition

Two dancers entwined with a gancho… in a milonga tango club in Buenos Aires James Sparshatt’s photographs of music and dance capture the emotion and intensity of people lost in the...

Music in Havana is an almost ever present backdrop to life… wandering the streets it is almost as though there is a soundtrack playing to the movie of your life. These school kids we...

The original is paper on cartoon, probably from the early 60'ies ( he hated to learn to play viola ) therefore maybe the subject of the picture. The original is in a museum. Limited ...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Fernand Léger: Dessins de Guerre, 1956. Plates rendered by l'atelier Daniel Jacom...

This artwork Titled "Happy Sisters" 1977 in a color off set lithograph by renown Chinese/American artist Wai Ming A.K.A Lo Hing Kwok, b.1938. It is hand signed and inscribed A.P (Artist Proof) in pencil by the artist. The image size is 29 x 19 inches, sheet size is 36 x 25 inches, framed size is 42.25 x 31 inches. Custom framed in a wooden gold leaf rubbed, scratched style frame, with off white matting. It is in excellent condition, the colors are fresh and bright. About the artist: Wai Ming, was born in Canton, South China on November 11, 1938, the son of a school master with nine children. Extremely poor as a child, he was raised in Hong Kong enduring many hardships amidst a chaotic environment of war and refugee settlements. Wai Ming's love for art flourished and he developed his drawing techniques without any art education, just painting what he saw. In the 1960s, Ming found representation in Hong Kong and also took the unusual step of opening his own gallery to display his work in. His primary interest being to capture images of life in fishing villages, or 'fish-folk', who have retained traditional Chinese culture, his work was at home with the sensibilities of many art buyers in Hong Kong. Crossing the ocean in his mid-30s, Wai Ming arrived in San Francisco from Hong Kong in 1974. There, he experienced initial resistance from galleries and the official art world for a variety of reasons, but was ultimately embraced by dealer Jack Swanson...

Vir et Mulier in paradiso voluptatis ("Man and Woman in the Garden of Pleasure") is an artwork realized in 1964. It is part of Biblia Sacra vulgatæ...

This fantastical print by Malcolm Morley is named for Tankerton Bay, a seaside village in southeast England. Based on a 2006–2007 collaged painting, the work reveals Morley's express...

Offset lithograph in colors on wove paper. Hand signed and dated lower front by Mr. Hand numbered 25/300 lower front. Artwork size 26.75 x 26.75 inches. Frame size approx. 32.5 x...

El Principe - the little prince.  The Raphael Trejo gym is an institution of Old Havana. An open air gym that has produced world beating champions from bare-footed initiates.  In 2004 this boy was a star in the making... he went on to win medals in the boxing ring at London, Rio and Tokyo Olympic...

Paper Size: 14 x 10.5 inches ( 35.56 x 26.67 cm ) Image Size: 14 x 10.5 inches ( 35.56 x 26.67 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional...

Screen print in colors on wove paper. Hand signed and dated lower right by Pez. Hand numbered 129/195 lower left. Artwork size 34.6 x 24.3 inches. Frame size approx. 37.5 x 27 inches. Your choice of black or white frame. Please message us which color frame you would like. Artwork is in excellent condition. Graffiti Prints certificate of authenticity included. About the Artist: Pierre Yves...

The  Lady and Mirror is from Illustrations for Cressidra, a print on paper realized by André Suares in 1926.  Etching and drypoint Edition of 200 print, Including a Passepartout G...

El Principe - the little prince.  The Raphael Trejo gym is an institution of Old Havana. An open air gym that has produced world beating champions from bare-footed initiates.  In 2004 this boy was a star in the making... he went on to win medals in the boxing ring at London, Rio and Tokyo Olympic...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th century. Signed on the plate, on the lower righ...

Andre DERAIN Birth of Venus Original drypoint etching Stamp signature of the artist On vellum 45 x 34 cm (c. 18 x 14 in) Excellent condition

Obsequio á el Maestro is a black and White aquatint, drypoint and etching printed in blue-black ink on laid paper from Caprichos realized after Francisco Goya in 1881-1886. 6th Edit...

This exhibition poster, titled Portrait of Celia Wearing Checkered Sleeves, was created for David Hockney’s show Drawings and Graphics of Celia: Flowers & Pools at the Natalie Knight...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Fernand Léger: Dessins de Guerre, 1956. Plates rendered by l'atelier Daniel Jacom...

Woman With Flower is a lithograph realized by Ibrahim Kodra in 1973. Hand-signed and numbered. Edition of 75. Good conditions. Ibrahim Likmetaj Kodra (22 April 1918 – 7 February ...

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...

The Lustful -  "The Divine Comedy" - Song 25 -  Purgatory is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. P...

Larry Clark Untitled Larry Clark Kids Skateboard Skate deck, 2013 Screenprint on 7-ply Canadian maplewood skatedeck Signed on the deck 31 × 8 inches Long sold out 2013 skateboard dec...

Simplicius' Writing Lesson (Simplici Schreibstunde) (plate VII) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etchi...

In 1991 Harry Sternberg published a book with Brighton Press, San Diego. It was My Life in Woodcuts. At the time it was the only known woodcut autobiography. The deluxe editions of...

To see our other original vintage travel posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find th...

Paper Size: 27.75 x 22 inches ( 70.485 x 55.88 cm ) Image Size: 15.5 x 20 inches ( 39.37 x 50.8 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additiona...

Cecil Charles Windsor Aldin, was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rura...