Bride Prints and Multiples

Original collotype created from a detail of Gustav Klimt’s Beethoven Frieze. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an e...

French costumes at the time of Henry IV is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original title "Costumi f...

Art Nouveau Cinderella theater poster by Dudley Hardy, published in 1897 by Imprimerie Chaix, Paris, the printing house known for publishing the works of Belle Epoque master Jules Ch...

Jim Jonson, American (1928 - 1999) - Tennis Serve, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300; AP, Size: 28 in. x 21 in. (71.12 cm x 53.34 ...

Medium: etching. Etched by Adrien Didier after the figure by Michelangelo in the Sistine Chapel known as The Libyan Sibyl. This impression on japon paper was printed in 1875 at the A...

Resist ground etching and engraving on Rives heavyweight buff paper, 20 x 36 inches (508 x 914 mm), full margins. Signed, titled, dated and numbered 103/160 in pencil, lower margin. Minor mat tone. A rich and finely printed impression of this complex and iconic work by Milton. Framed handsomely under Plexiglas with archival materials in a solid wood frame with silver finish. [Milton 98]. Milton states that in the evolution of his body of graphic work he found himself at point that necessitated the exertion of nerve in his subject matter. He found it imperative for growth to explore whether his compositions had previously been too polite, and through this process he experienced a great burst of artistic and psychic liberation. Milton refers to this awakening as a sort of adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. Les Belles et La Bête...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

Giclee on canvas. Hand signed and numbered on front by the artist. Canvas image size 40 x 30 in. Artwork is in excellent condition. Certificate of authenticity included. Edition of ...

Lithograph on vélin paper. Paper Size: 9.06 x 15.75 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Marc,...

The Wandering Musicians is a lithograph by Marc Chagall which was bound in Volume II of the Mourlot catalog raisonné of lithographs, printed in 1963. The image is catalogued in Volum...

After Gustav Klimt, Max Eisler Plate #2, Dame mit Blumenhut (aka The Violet Hat); sepia monochrome collotype after the 1909 painting in oil on canvas. ...

Costumes of the Court of England in the 15th century is a lithograph made by Auguste Wahlen in 1844. Hand colored. Good condition. At the center of the artwork is the original tit...

June is an expertly crafted, embossed serigraph on paper with foil stamping and an image size of 27 x 22 inches. From the edition of 650, the art is numbered 203/300 and estate-stamp...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

A blazing visual sermon from the golden age of psychedelia, this original 1967 poster by Rick Griffin, Mine Eyes Have Seen the Glory, is an electrifying fusion of counterculture iconography, spiritual overtones, and Griffin’s unmistakable lettering. Originally created as part of a limited series of psychedelic art prints, this piece reflects Griffin’s deepening interest in both biblical symbolism and the American underground movement. The title—Mine Eyes Have Seen the Glory—resonates like a psychedelic hymn, borrowing its solemn weight from the famous Civil War-era song, but recasting it in the language of 1960s revolution, mysticism, and transcendence. Griffin, a titan of West Coast psychedelic design, co-founder of Zap Comix, and Fillmore West poster...

In this project, Vladimir Clavijo-Telepnev draws a line between sensuality and explicit sexuality in depicting a woman's body. Modern photography offers two main approaches to the su...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

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 Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...

This artwork titled "Scene Galante au XVIII eme Siecle" c.1930 in an aquatint on paper by French artist Antoine Calbet, 1860-1944. It is hand signed in pencil at the lower right corner. The plate mark (image) size is 9.60 x 12.25 inches, framed size is 16.5 x 19.5 inches. Framed in a wooden gold and black frame, with fabric matting. The artwork is in very good condition, frame and matting are in good condition, frame have some minor dents, matting have a small point of discoloration at upper left. About the artist. Antoine Calbet is the son of Marie Singlande and Jean-Baptiste Calbet, landowner at a place called Gaubert. Trained at the School of Fine Arts in Montpellier by Édouard - Antoine Marsal (1845-1929) where he learned drawing, this illustrator and illustrator, a painter of nudes and gallant scenes, was very popular during his lifetime. Antoine Calbet is then admitted to the School of Fine Arts in Paris in the studio of Alexandre Cabanel (1823-1889). He was a member of the admission jury of the Beaux-Arts from 1913 to 1930. He began to exhibit in 1880 and became a member of the Society of French Artists . He was the friend of his compatriot of Lot-et-Garonne, the President of the Republic Armand Fallières , for which he drew the menus of his meals, which made him known in Parisian salons.He illustrated works by Jean Lorrain , Henri de Regnier , Pierre Loues 3 and for periodicals like L'Illustration . Selected museums and collections Dallas , Dallas Museum of Art : Back woman...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Les Pelerins d'Emmaus (B87), Year: 1878 (of original 1633), Medium: Heliogravure on laid paper, Size: 8.5 x 6.5 in....

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

This is Salvador Dali’s Fantasy of the seasons . It is signed Dali. It is numbered EA . Signed on the right plate Salvador Dali (1904-1989) was a famed Catalonian painter. He is a ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

"Diane Chasseresse" is an original color lithograph signed by the artist Gaston de Latenay. It is edition 36/100, which is written in the lower right...

Color offset lithograph Hand signed and numbered Edition: 100 In great condition

Salvador Dali - Nude, Horse and Death - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

Lithograph in colors on Arches paper. Hand signed and numbered by Marc Chagall. Mourlot 478. Edition 5/50 (there were also 25 artist’s proofs numbered in Roman numerals). Image size 17.75 x 16.5 inches. Sheet size 26.25 x 21 inches. Frame size approx 33 x 28 inches. Artwork is in excellent condition. All reasonable offers will be considered. About the Artist: Marc Chagall (French/Russian, 1887–1985) was an artist whose work anticipated the dream-like imagery of Surrealism. Over the course of his career, Chagall developed the poetic, amorphous, and deeply personal visual language evident in paintings like I and the Village...

This rare and exquisite 1896 calendar by Swiss-born French illustrator Eugène Grasset, created for the Parisian department store La Belle Jardinière, is a masterpiece of Art Nouveau ...

Covarrubias, Miguel. LINDY HOP. Lithograph, 1936. AAG edition (usually about 200), with their label preserved and attached to the back of the mat. Unsigned a...

This limited edition print by Marc Chagall, titled La Chevauchée (The Horse Ride), was published by Pace Columbus for an exhibition held at the gallery in 1979. The print is signed i...

Drawings by French Masters of the XV-XVIII Centuries. From a selection of 40 reproductions of the originals preserved in the Albertina Collection in Vienna. With an introduction and...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

The 1985 original poster for Dangeureusement Vôtre, the French title of A View to a Kill, remains an iconic piece of cinematic memorabilia from the James Bond franchise. The film, di...

Les Prisonniers is a vintage Lithograph realized by Hermann Paul from the series " La Grande Guerre Par Les Artistes" Good condition on a yellowed cardboard. Monogrammed and titled...

La Nourriture Des Soldats is a vintage Lithograph realized by Hermann Paul from the series " La Grande Guerre Par Les Artistes" Good condition on a yellowed cardboard. Monogrammed ...

Alphonse Mucha (Czech, 1860-1939) Lorenzaccio Printed: 1896 Printed By: F. Champenois, Paris Hand signed in lower left. Signed in plate; Mucha, F. Champenois, Paris Lithograph paper ...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

Transhumante Fernando de Szyszlo, Peruvian (1925–2017) Aquatint Etching, signed and numbered in pencil Edition of 44/80 Size: 42.5 x 28 in. (107.95 x 71.12 cm)

Paul Gauguin Titre pour "Le Sourire" 1899 Woodcut Paper size 13.8 x 21.9 cms (5 1/2 x 8 5/8 ins) Image size 10.5 x 20.8 cms (4 1/8 x 8 1/8 ins) Kornfeld 61 Signed in lower left corn...

Don Quixote is an etching and drypoint print on ivory-colored China paper, realized by Wladyslaw Jahl in 1951. The artwork belongs to a limited edition of 125 specimens. Good condi...

Don Quixote is an etching and drypoint print on ivory-colored Japanese paper, realized by Wladyslaw Jahl in 1951. It belongs to a limited edition of 125 specimens. Good conditions....

Don Quixote on his Deathbed is an etching and drypoint print on ivory-colored China paper, realized by Wladyslaw Jahl in 1951. They belong to a limited edition of 125 specimens. Go...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Axiom is an original etching on paper realized by Francesco Mazzoni in the 18th century. Signed on the plate. Included a Passepartout: 45 x 30.5 cm Francesco Mazzoni ( 1738-1989). ...

Here They Come Derby Day is a print artwork realized in 1878 by French artist Adolphe Lalauze created in 1878 after a work by C. Green. Etching on paper Signed and title on the pla...

Caricature is a lithograph realized by Nadar in Late 19th Century. Good condition. The artwork is depiced through soft strokes in a well-balanced composition.

This etching is a reverse copy after Dürer's original (ca. 1495-1496), executed in 18th century. Dürer's monogram at the bottom centre. Provenance: Aglietti Gallery, 1969 Passepar...

Bonnemaison is a Lithograph realized by Antoinette Haudebourt-Lescot. Signed on plate and titled on the lower margin. Passpartout included cm 35x51 Good condition on a yellowed pap...

The accompanying is an original lithograph artwork on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866...

The Accompanying is an original lithograph artwork on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866...

The rest is an original lithograph on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 1804-1866) in Paris, 1881...

Etching with extensive hand coloring in watercolor on white wove paper, 13 3/4 x 10 3/4 inches (347 x 271 mm); sheet 24 x 17 inches (608 x 430 mm), full margins. In good condition wi...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett crea...

Artist: Romare Bearden (1911-1988) Title: Introduction for a Blues Queen (Gelburd/Rosenberg 70-77) Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 47/175, plus proofs ...

A very good, richly-inked impression of this lithograph. Signed and numbered 57/100 in pencil by Matisse. Printed at the studio of Duchatel, Paris 1929.

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Carlo Ortij in the 18th Century. Signed on the plate. Good conditions. ...

Raoul Dufy, French (1877 - 1953) - Les Baigneuses, Year: circa 1920, Medium: Lithograph on Japon, signed in the plate, Size: 10.75 x 14.25 in. (27.31 ...

Screen Print on Magnani-Pescia paper 310 gr/m2, paper size 68cm x 48cm, work size 51cmx40 cm . Good condition, no defects. Gian Paolo Berto was born and raised in the limited but fe...