Bride Prints and Multiples

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.72 x 10.28 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 12.76 x 13.43 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.53 x 11.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 13.78 x 13.31 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.61 x 10.24 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.69 x 10 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the foli...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.65 x 9.49 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.02 x 13.7 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.65 x 12.48 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.69 x 12.87 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.72 x 4.29 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

Ernesto Garcia Peña (Cuban, 1949) '¡Y ya! ' (And that's it!), 2007 etching, engraving on paper 28.5 x 21.2in. Edition of P.A (Prueba de Artista) Ref: GAE-103

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

Etching with aquatint on watermarked F J Head & Co. cream laid paper, 9 3/4 x 11 1/2 inches (245 x 290 mm), full margins. Signed in pencil, lower margin. Scattered age tone and mat t...

Lithograph on grand vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Parallèlement, Illustré ...

Chromolithograph, 1878. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior designers with st...

Original Prix de La Maison Fleurie vintage French poster. Beautify France and participate in the Prix de La Maison Fleurie. Archival linen backed in fine condition and ready to fr...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

Trait of Humanity of Capitaine Peyronny is a Lithograph realized by Auguste Raffet in 1837. Signed in the plate. Good condition with foxing.

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

View of the Church is an original drawing in pencil on paper realized by Manfredo Borsi. With the Stamp of atelier on the rear" Manfredo Borsi". The state of preservation is very g...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Chagall Lithographe 1957-1962, 1963; published by André Sauret, éditeur, Monte Carlo; printed by Mourlot Frères, Paris. Excerpted from the volume (translated from French), It was pulled, 150 examples on Grand Vélin d'Arches, numbered on the colophon from 1 to 150, signed by the artist and the publisher. Also included are two original lithographs specially made for this separate draw. MARC CHAGALL (1897-1985) Russian-Jewish painter...

Classic Leroy Neiman poster of 'Royal Ascot' published June 4- June 26, 1976 by M. Knoedler & Co. Ltd. 143 New Bond Street, London Poster Sz: ...

This is an Felix Mas lithograph signed and numbered “Orchild”. In good condition

Motifs decorative is a black and white etching on paper, realized in 1729 by Bernard Picart.   Signed and dated on plate on the lower margin. The artwork is attached on black passep...

Lynd Ward, 'Pope' from the series 'Moriae Encomium (In Praise of Folly),' mezzotint, 1943, no edition, proofs only. Signed in pencil. Annotated 'POPE - CARDINAL - BISHOP' - 1943 in ink, lower left. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 3/8 to 1 7/8 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...

Reproduction from a collection of drawings by Flemish and Dutch masters of the XV-XVII Centuries preserved in the Albertina Collection in Vienna, Austria. Published by Campbell Dodgs...

This is an engraving by Reginald Marsh offered by CLAMP, New York. Star Burlesk 1933/1969 Engraving (Edition of 100) 15 x 13.5 inches

Byzantine Decorative Style is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the plate on ...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

Rembrandt van Rijn, After by Bredius, Dutch (1606 - 1669) - The Guildmasters, Year: of Original: 1661 (printed 1906), Medium: Photogravure, Size: 10 x 14 in. (25.4 x 35.56 cm), P...

Actor Iwai Hanshiro as a Samurai is an artwork realized by Utagawa Toyokuni (1769-1825), in the early 19th Century Color woodcut, signed or inscribed in the top right and bottom lef...

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...

Karl Michel, 'Ex Libris Dr. Witropp - Homunculus und Galatee', etching, 1923, edition not stated. Signed, dated, and numbered 'Op. 140' (the artist's inventory number) in pencil. Si...

Erotic scene is an artwork realized by Toyen in 1927. Mixed colored watercolored lithograph. The artwork is an illustration from the book Pybrac written by Pierre Louÿs  (1870-1925...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Salvador Dali - Woman on Horse - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12"....

Artist: Aegidius Sadeler II Petronia, First Wife of Vitellius, from set of Roman Emperors and Empresses, c. 16th-17th century Engraving Publisher: Marcus Christoph Sadeler Sight: 15 1/4 x 10 3/4 in. Framed: 19 3/4 x 15 1/4 x 1 in. This image was conceived in the 16th century by Aegidius Sadeler II and published by Marcus Christoph Sadeler. It is unclear when the present version was executed. Aegidius Sadeler or Aegidius Sadeler II[1] (1570–1629) was a Flemish engraver who was principally active at the Prague court of Rudolf II, Holy Roman Emperor and his successors. Sadeler was born in Antwerp in the Sadeler family of print dealers and engravers. He was the son of Emmanuel de Sayeleer and the nephew of Aegidius I, Jan I en Raphael Sadeler.[2] He was trained by his uncle Jan I and became a member of the Antwerp Guild of St. Luke in 1589. He was active in Munich the next year in 1590, in Rome in 1593, in Naples and then again in Munich in 1594–1597. From 1597 he settled in Prague where he became court engraver for Rudolf II and made engraved portraits of notables and engravings after artworks there, most notably paintings by Bartholomeus Spranger, Roelant Savery, Hans von Aachen, Giuseppe Arcimboldo, and sculptures by Giambologna and Adriaen de Vries. His early engravings were mostly faithful copies of works by Albrecht Dürer in the Imperial collection and copies of paintings by notable Italian painters such as Raphael, Tintoretto, Parmigianino, Barocci and Titian or by Northern painters who worked there, such as Paul Bril and Denys Calvaert. In Prague he also engraved portraits of the notables of Rudolf's court, and collaborated with Spranger, Joseph Heintz the Elder, Jacobus Typotius and his friend Anselmus Boece de Boodt (1550-1632), Rudolf II's gemologist and physician.[3] After Rudolf II died he enjoyed the favour and protection of the two succeeding Emperors, Matthias and Ferdinand II.[4][5] According to Michael Bryan...

72" x 58" 8/20 Limited Edition Silkscreen of 20 with Diamond Dust on Coventry Paper with Hand-Deckled edges Hand Signed by Russell Young

Moses Soyer (New York/Russia, 1899-1974) Untitled (dancers), mid-20th century Lithograph Sight: 16 1/2 x 14 3/4 in. Framed: 26 x 23 1/2 x 1 in. Edition 76 of 100 Numbered lower left...

At the turn of the 20th century, Parisian nightlife thrived with a vibrant mix of cabarets, dance halls, and grand patriotic celebrations. Among the most famous venues of the era was...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

La Répétition is an artwork realized by Edouard Moyse in the 1870s. Etching. Image size:19x29 Good conditions. Realized for the "Société des Aquafortistes. Born on the initiati...

. Here for your consideration is an original signed lithograph by Adolf Arthur Dehn done in 1922 titled 5 O’Clock. The condition of the lithograph is excellent. Signed in the p...

Medium: Limited Edition Print. Paper: Velin Arches 300 g.

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...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Belongs to the series "The Bible". Edition of 275+30 out of commerce copies. N...

Etching with drypoint printed in sepia ink on cream laid paper bearing an indiscernible watermark with linked spheres. 10 1/4 x 13 1/8 inches (260 x 332 mm), unevenly trimmed yet ful...

Christ and the Samaritan woman at the well is anold master artwork realized in 17th Century. Black and white etching. This artwork was realized after a painting by Annibale Carracci . Printed by Jacob Jordaens...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Edition of 275+30 out of commerce copies. Not signed nor numbered, as issued. ...

38" x 57" Unframed Limited Edition Screenprint with Gold Leaf on Canvas of 118 Hand Signed by Ronnie Wood

Paper Size: 24.5 x 20 inches ( 62.23 x 50.8 cm ) Image Size: 24.5 x 20 inches ( 62.23 x 50.8 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional D...

Kiyoshi HASEGAWA Japanese Woman with Fan, 1930 Original stone lithograph Printed signature in the plate On Arches vellum 28 x 22 cm (c. 11 x 9 inch) REFERENCES : Catalog raisonne (...

The three dancers is a woodcut print realized by Raphaël Maurice (1884 - 1972) in 1920s Hand-signed and numbered, edition of 160 prints. Good conditions.

Black and white with pale orange figurative linocut print by Polish artist Franciszek Bunsch. Print comes from limited edition, it is numbered and signed by the artist. FRANCISZEK ...