Child Prints and Multiples

Agent X has created a bright and brilliant mash-up of iconic Pop Art aesthetics and digital collage techniques. Agent X intercuts Pop art imagery with panels of poppy pattern, colour...

Flog New Horizon Blood Red Variant 23 color screen print on 330 gsm Somerset paper with gold leaf Signed by the artist Edition of 25 86 x 60.5 cm (33.8 x 23.8 inches)

To see our other original vintage propaganda and public information 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. Louis Masquelier (1898-1945) The Telephone L. Masquelier/ Lorraine Sqdrn. (2nd TAF Security Poster No.4) Lithographic Original Poster 55×34.5cm Issued by the 2nd Tactical Airforce (‘TAF’). This was a combination of both fighter and bomber units formed for the purposes of supporting the army in the 1944 invasion of Europe. The artist was a Sergent-chef (sergeant) in No 342 (Lorraine) Squadron RAF, a Free French Squadron transferred back to the Armée de l’Air in December 1945. An air gunner – and...

Etching realized by Félix Milius d'après Van Dyck in 1872. Very good condition.

Original Lobby Card, The Pom Pom Girls, USA 1976, Director: Joseph Ruben, Cast: Jennifer Ashley, Lisa Reeves, Susan Player, Cheryl Smith, Diane Lee Hart, Crown International Pictures...

Xisco Mensua (Spain, 1960) Untitled from Portfolio "Junio - Julio", 1995 engraving on paper 12.6 x 9.5 in. (32 x 24 cm.) Edition of 6 Frame 16x20 in. ID: MEN1253-005 Hand-signed by a...

lithograph on paper published by Print Them All and printed by Idem Press, Paris, France 33 1/2 x 25 inches ; 85.1 x 63.5 cm

Edition 5 Portrait of Sponge Bob JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using ...

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 and subsequent Expressionist artists such as Egon Schiele. He was born into an impoverished family in Bern, Switzerland in 1853. His entire family succumbed to tuberculosis, and he was orphaned by the age of 13, the only surviving child among his 13 siblings. In the absence of family, the influence and guidance which his art instructors provided Hodler was foundational and profound. Hodler began formal studies in 1872 at the Geneva School of Design. Under Barthelemy Menn, Hodler was drawn to the ordered beauty of Euclidian geometry and Durer’s fundamentals of human proportion that proved to be guiding principles informing his art throughout his life. By the 1880s, Hodler began to enjoy some recognition for his work which put him on a new path towards stability. Remaining in Geneva, he became assistant to the well-known muralist, Edouard Castres. Following his first solo show in 1885, Hodler’s work took on a Symbolist quality. He frequently associated with a group of Swiss Symbolist...

This artwork titled " Paris, Notre Dame" c.1980, is an original colors lithograph on Arches paper by French artist Urbain Huchet, 1930-2014. It is hand signed and numbered 150/250 in...

To see our other original Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller". Percy Drake Brookshaw (1907-1993) Marching Ban...

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 the poster you want. Percy Drake Brookshaw (1907-1993) Cricket Original coach poster...

Girls Just Wanna Have Fun ! by BATIK Archival pigment pop art print of infamous criminal arrest mugshots of Anna Nicole Smith, Heather Locklear, Zs...

Artist: Alexander Calder Title: Plate 5 (Derriere le Miroir #156) Portfolio: Derriere le Miroir #156 Medium: Lithograph Year: 1966 Edition: Unnumbered Framed Size: 22" x 29 1/4" Imag...

1/1 Hand Finished Print 1 colour screen print with hand-finished paint detail on 310gsm South Bank paper 50 x 70 cm

King 2022 by Blank Barbie A gentleman is interviewed with his lady friend nearby on a TV show in the 1980s. Blank Barbie is a contemporary artist currently working and living in ...

Artist: Chaz Guest, American (1961 - ) Title: Billie's Trio Year: Circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 350, AP 35, PP 8 Size: 29 in. x 42.5 in. (73.66...

Litografía offset de Banksy Firma estampillada Numerada a mano Sello estampado del editor Certificado emitido por el editor Serie de 199 ejemplares Ejemplar 30/199 42 x 29,7 cm

'Convento di agagna nell' Isola Guam. Occupazioni domestiche in Guam.' Italian lithograph, c1841. Originally from 'Galleria universale di tutti i popoli del mondo' by Giuseppe Anton...

"Jose Luis Cuevas (Mexico, 1934-2017) 'Suite Sobre la vida VI (pag suelta)', 2005 woodcut on paper Rives BFK 300 g. 22.1 x 30 in. (56 x 76 cm.) Edition of 50 ID: CUE-129"

See-saw, Margery Daw, 1994 Paula Rego Etching with aquatint and hand-colouring, on velin Arches Signed and numbered from the edition of 50 From Nursery Rhymes Printed by Culford P...

32" x 22" Unframed Artist's Proof Serigraph Hand Signed by Melanie Taylor Kent 1990

Poster. Measures 22.75 x 28.5 inches and is Unframed. Good Condition.

Mileto and Giulia in a Green Carriage is an etching realized by Giacomo Manzù in the 1970s. Hand Signed. Edition of 125 prints. Published in the artwork series: "Giacomo Manzù: Fif...

Pool Boy Aqua By Gavin Dobson [2021] Brand new edition in the popular Pool boy series. Celebrating summer, positivity and the male form. Pool boy aqua is a CMYK screen print with a bold spot layer for the aqua pool. Additional Information: Limited Edition Cymk screen print Edition number 40 Signed and numbered Image Size: H:50 cm x W:35 cm Complete Size of Unframed Work: H:50 cm x W:35 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Gavin Dobson's artworks are available to buy online with Wychwood art and in our art gallery. ARTIST PROFILE: Originally from the North East of England, Gavin graduated in Fine art in 2000, and has been building his portfolio as an artist specialising in painting and screen printing - often combining the two, which helps communicate his chosen narrative. Gavin uses both vivid colours and expressive strokes to create engaging and lively pieces - his recent painting series ‘Landscapes of the Mind’ used the fluidity and movement of the paint to convey how an environment can effect ones state of thinking. Alongside his painting, Gavin is an established screen-printer exhibiting at many galleries across the U.K. and with new clients in New York his international profile is starting to expand. A regular at the Affordable Arts Fair, Gavin was one of 20 artists chosen to work alongside Film Four for an exhibition at Somerset House. His screen-prints often depict colourful, nostalgic images. Iconic designs which are humorous ornamentation and invite an opening for conversation. Gavin takes an original painting and creates many separate layers of half tones to screen-print by hand the final piece. Using this method he captures many textures and depths of colour within a piece of work. He recently designed and created a piece of work for the charity Help Refugee's 'Choose Love' campaign in conjunction with Printclub and the celebrated designer Katharine Hamnett, highlighting the current plight of refugees. Gavin's ongoing dedication has led to various interviews surrounding his work and being featured in The Times by the art critic, Nancy Durrant, as part of her great art gift guide...

This artwork titled " Paris, Place De La Bastille" c.1980, is an original colors lithograph on Arches paper by French artist Urbain Huchet, 1930-2014. It is hand signed and numbered ...

This original 1893 poster for Chocolat Menier is among the most iconic and beloved images in the history of advertising. Created by French illustrator Firmin Bouisset (1859–1925), it...

A fun and charmingly naive acid etching showing a man, enchanted by a nude woman performing as Circe in a darkened interior. The artist has added hand colouring and signed, inscribed...

Original movie poster: BREAK THROUGH. U. S. 1-sheet vintage, linen-backed vintage 1950 release. Very good condition; ready to frame. Breakthrough is a 1950 American war film di...

Vibrant etching of woman on blue background by American artist Kismine Varner, circa 1990. Signed lower right. Original artwork on paper displayed on a white mat with a gold bord...

Offset lithograph by Banksy Stamped signature Hand numbered Publisher's stamped seal Certificate issued by the publisher Series of 199 copies Copy 88/199 42 x 29.7 cm

Offset lithograph by Banksy Stamped signature Hand numbered Publisher's stamped seal Certificate issued by the publisher Series of 199 copies Copy 77/199 42 x 29.7 cm

Offset lithograph by Banksy Stamped signature Hand numbered Publisher's stamped seal Certificate issued by the publisher Series of 199 copies Copy 91/199 42 x 29.7 cm

Jose Luis Cuevas (Mexico, 1934-2017) 'Suite Sobre la vida VI', 2005 woodcut on paper Rives BFK 300 g. 22.1 x 30 in. (56 x 76 cm.) Edition of 50 Unframed

Jose Luis Cuevas (Mexico, 1934-2017) 'Suite Sobre la vida III', 2005 woodcut on paper Rives BFK 300 g. 22.1 x 30 in. (56 x 76 cm.) Edition of 50 Unframed

Tim Southall A Feast Etching Print on Paper Image Size: H 7.5cm x W 10cm Paper Size: H 17.5cm x W 20cm Edition of 75 Signed Sold Unframed but Mounted (Ple...

Pierre AMBROGIANI (1907-1985) House Surrounded by Lavender, 1974 Original Lithograph (Gourdon Workshop) Signed with the artist's stamp On vellum 38 x 28 cm (c. 14.9 x 11 in) Excell...

Artist: Sandro Chia Title: Untitled 2 Medium: Carborundum etching with hand coloring on handmade paper, each piece is unique Size: 38.3.5 x 50 Inches Signed: Hand Signed Edition: 3...

Artist: Quinn, Marc Title: Portraits of Landscapes VIII Series: Portraits of Landscapes Date: 2008 Medium: pigment prints Unframed Dimensions: 39 3/8" x 29.5" Framed Dimension...

Eliza Southwood Silk screen print, Kwaremont of 50 x 70 cm on Colourplan 320 gsm . Cycling print for sale. Size: H:70 cm x W:51 cm. Artist...

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

"The Rag Gatherers" is an original etching on zinc plate by J. A. M. Whistler. The artist signed and dated the piece in the plate. It features a scene...

38.5" x 25" Unframed Limited Edition Hand Printed Lithograph of 100 Hand Signed by Douglas Hofmann

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

Artist: Pater Sato Title: Five Women Year: Circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 500 Paper Size: 25 x 19 inches

America Mark Kostabi, American (1960) Date: 2002 Screenprint, signed, numbered, and dated in pencil Edition: 100 (Roman Numerals) Size: 27.5 x 35.5 inches

Morning city 2005, paper, etching, 14x16 cm, 40/100 JEKATERINA GRYAZEVA Born in Latvia, Riga 1968 Education 1979 - 1986 J.Rozentals Secondary Art School (Riga). 1987...

Artist: Arman, French (1929 - 2005) Title: Violin Keys Year: 1978 Medium: Silkscreen on Arches, Signed and Numbered in Pencil Edition: 150, AP 30 Size:...

EDMUND BLAMPIED (1886-1966) Below Stairs Signed in pencil and numbered 57/100, signed and dated in the plate: Jan 1931 Drypoint Unframed Plate size 26 by 19.5 cm.; 10 ¼ by 7 ¾ in....

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

Original collotype lithograph of a figure drawing from Gustav Kilmt’s handzeichnungen (sketch) in 1922 by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This artwork is pr...

Print Published By New York Graphic Society Measures 15.75 x 13 in. Printed In USA In Good Condition

Artist: Peter Milton, American (1930 - ) Title: Under Greylock Year: 1993 Medium: Intaglio Etching, signed and numbered in pencil Edition: 175 Image Size: 18.25 x 15 inches Size: 25 ...

Map of the Chelsea Physic Garden by Mychael Barratt [2021] limited_edition Silkscreen print Edition number 75 Image size: H:41.5 cm x W:31.5 cm Complete S...

Ydaco is from the Betammaribe culture in Benin. He lives in a small village in the Atakora mountains. His cheek bones provide the perfect surface for the beautifully intricate scarif...

Ydaco is from the Betammaribe culture in Benin. He lives in a small village in the Atakora mountains. His cheek bones provide the perfect surface for the beautifully intricate scarif...

Artist: Roberto Matta, Chilean (1911 - 2002) Title: 2 AM from L'Arc Obscur des Heures Year: 1975 Medium: Aquatint Etching, Signed and numbered in pencil Edition: XXXI/XXXIII Image Si...

Multicolored Ladies Robert Anderson, American (1945–2010) Date: 1980 Lithograph, signed and numbered in pencil Edition of 250, AP Image Size: 22 x 18 inches Size: 29 in. x 23 in. (73...