Dancing Prints and Multiples

Artist: Josephine Cardin Medium: Photography Limited edition of 30 “From this new and intimate perspective, she learned a simple, obvious thing she had always known, and everyone k...

Nudity 2 is an offset print realized after the Sicilian artist Renato Guttuso, 1980s. Good conditions. Renato Guttuso (Bagheria, Palermo 1912 - Rome,1987) was a famous Italian pai...

Silkscreen in 25-colors on Saunders Waterford HP High White 425 gsm paper edition of 60

Medium: original lithograph. This lithograph is from the rare 1953 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1953 Spr...

"Not True, Good Accounts Make Good Friends" Satirical French Illustration Comical illustration by Gaston Hoffmann (French, 1883-1977) titled "Ce n'est pas vrai, les bons comptes fon...

Le 4 is a contemporary artwork realized in 1970s by Erté (Romain de Tirtoff). Mixed colored lithograph on paper. The artwork is from the Series "Les Chiffres". Hand signed on the ...

Das Geneckte Hündchen is a black and white etching on paper, realized by the German artist, Karl Koepping. From the portfolio “Deutscher Kunstverein zu Berlin “ published by Vereinsgabe, Berlin, in 1904-1905 and composed by a frontispiece, a index, and eleven etchings by Hans Herrmann,Fritz Klimsch, Graf Leopold Von Kalckreuth, Franz Skarbina, Ludwig Hofmann, Reinhold Lepsius...

Alexander Calder Cover (Derriere le Miroir # 212) Artist: Alexander Calder Medium: Original lithograph in colors Title: Plate 1 Portfolio: Derriere le Miroir #212 Year: 1975 Edition:...

1970s Alexander Calder Lithograph from Derriere le Miroir: Medium: Lithograph in colors. 1975. Dimensions: 15 x 22 inches. Center fold-line as issued; v...

Beautiful Original poster for the XVIII Olympic Winter Games in Nagano in 1998. Sport - Olympic Games - Japan Figure Skating

Erte (Romain de Tirtoff) (Russian, 1892 – 1990) Manhattan Mary III, 1979 Lithograph Signed ‘Erte’ in pencil (lower right) 27.1/2 x 22.1/4 in. (70 x 56....

Alex Katz Dancer 1 2019 Silkscreen in colors on Saunders Waterford HP High White 425 gsm paper 60 x 36 inches (153 x 92 cm) Edition of 60

Painter, draughtsman and poster artist, Louis Abel-Truchet (1857-1918) is, along with Henri de Toulouse-Lautrec, one of the most famous representatives of Parisian life at the end of...

Very beautiful tourism poster of the 50s for Yugoslavia and its 1000 islands. Tourism - Balkans - Dive - Croatia

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

An energetic and dynamic figural work showing a parade of figures from the Commedia dell'arte marching in step. Signed lower right, 'Liz Maxwell' (American, born 1936) and dated 1987. This notable California artist lived in New York before settling in Napa, California. Influenced by the Bay Area Figurative Painters, Maxwell has exhibited widely and with success and is the recipient of numerous prizes, medals and juried awards, including first place in the 'Watermedia National' from Long Beach Arts in California in 1998. She has also exhibited at SFMOMA and at the Oakland Museum. EDUCATION 1976 BA, Statistics, University of California, Berkeley, California, BA SELECTED SOLO EXHIBITIONS 2016 “Horizons”, Hang Art, San Francisco, CA 2013 “Pro Arts at Lathan Square”, Liz Maxwell, Oakland, CA 2011 “Liz Maxwell: Recent Paintings,” Montclair Gallery, Oakland CA 2006 “Interaction: New Paintings by Liz Maxwell,” Joyce Gordon Gallery, Oakland, CA 2003 “Liz Maxwell: Paintings and Monotypes,” Joyce Gordon Gallery, Oakland CA 2003 “Liz Maxwell: Recent Monotypes,” The Corridor Project 410, San Francisco, CA 2002 “Unencumbered Views: Recent Paintings by Liz Maxwell,” Studio 7, Pleasanton, CA 2002 “Liz Maxwell: Landscapes Left Alone,” Hang Art, San Francisco, CA 2000 “Recent Paintings by Liz Maxwell,” Hang Art, San Francisco, CA 1999 “Liz Maxwell: Linoleum Block Prints,” The Albatross, Berkeley, CA SELECTED GROUP EXHIBITIONS 2016 “GLASS SLIPPER TO GLASS CEILING”, City College of San Francisco, CA 2015 “Same, Same, But Different 4.0,” Hang Art, San Francisco, CA 2015 “EBB/FLOW”, Artist’ Annual Exhibition, Pro Arts, Oakland. CA 2014 “HERE”, Berkeley Art Center, Berkeley, CA 2014 “Collect”, Berkeley Art Center, Berkeley, CA 2014 “Same, Same, But Different 3.0,” Hang Art, San Francisco, CA 2013 “Same, Same, But Different 2.0,” Hang Art, San Francisco, CA 2012 “Shine,” Berkeley Art Center, Berkeley, CA 2011 “Oscillating Landscapes,” Hang Art, San Francisco, CA 2011 “Statewide Painting Competition,” Triton Museum, Santa Clara, CA 2011 “Arts on Fire XV,” Sanchez Art Center, Pacifica, CA 2011 “Scapes Exhibition,” Long Beach Arts, Long Beach, CA 2011 “Green,” Berkeley Art Center, Berkeley, CA 2011 “Untitled,” Caldecott Art Gallery, Oakland, CA 2010 “West Coast Prints...

A Womans Strength by Amy Gardner [2021] limited_edition Mono Print/Screen Print Edition number 23 Image size: H:42 cm x W:59.4 cm Complete Size of Unframed Work: H:42 cm x W:59.4 cm...

Designed in the 1930's by Niccolitch this poster shows the dance duo of Nijni and Stone. Like many other posters of the era, there is a strong influence of the Constructivist Movemen...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Tango on the street corners of Buenos Aires James Sparshatt’s photographs of music and dance capture the emotion and intensity of people lost in the rhythm of the moment. The work ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Belle Époque lithograph of Folies Bergère: Fleur de Lotus by Jules Chéret, published in 1896 by Imprimerie Chaix, Paris. While Fleur de Lotus ...

Villon, Jacques. CAKE WALK DES PETITES FILLES. GP.102, second state of four. Drypoint and aquatint in colors, 1904. Edition of only 10 (there was an edition of 30 in state 4, with th...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing is just for the one sheet, not for the cover sheet or the signed sheet. This was printed at Mourlot in Paris, France, on velin D'Arches paper. Apel les Fenosa i Florensa (1899 - 1989) lived in Spain. Apelles Fenosa is known for Expressionist Sculpture. Artist's alternative names: Apel·les Fenosa, Apelles Fenosa Spanish Sculptor Fenosa was born in Barcelona, Spain in 1899 and as a young man worked in the studio of sculptor Enrique Casanovas where he came into contact with the ideas and adherents of the Modernist Movement and its influence in Barcelona, Paris and other European cities. In 1917 he founded together with Joan Rebull, Josep Granyer and Josep Viladomat the group The Evolutionists. He arrived in Paris in 1921. There he quickly gravitated into the Parisian avant garde artist community and became friends with Pablo Picasso, who became an early patron of his work, buying a significant number of his sculptures, and with the sculptor Max Jacob. By 1924 Fenosa was exhibiting in Paris and in his native city of Barcelona. Max Jacob wrote the preface to the catalogs of Fenosa's first Paris exhibition, and his show at the Zborowski gallery in 1928. In 1931 Fenosa was in Catalonia when the Second Spanish Republic was declared. There he remained in order to work with the anarchist movement and participate in the Republican ranks during the Spanish Civil War. He participated in the Venice Biennale in 1936 and with the coming to power of the Franco Fascist regime left Spain once again to settle in Paris. In 1942, he met the painter and poet, Paul Eluard, who became a close friend. In 1944, the Comite de Liberation du Limousin (Organization for the Liberation of the Limousin) commissions a sculpture to commemorate the Nazi killings of Oradour-sur-Glane. He creates the "Monument aux Martyrs d'Oradour-sur-Glane" (Monument to the Martyrs of Oradour) presently in Limoges. From 1946 Fenosa exhibited individually or collectively in Paris, London, Barcelona, ​​Madrid, Prague, New York, Tokyo, Rabat, Osaka, Casablanca, Carrara. His personal exhibition catalogs are prefaced by the most famous writers and poets of his time, including Paul Eluard, Jean Cocteau, Jules Supervielle, Josep Carner, Alexandre Cirici-Pellicer, Francis Ponge, Pablo Neruda, Michel Cournot, Roger Caillois, Salvador Espriu. He was part of a generation of Spanish and Catalan artists that included Jose Amat Pages, Ramon Pichot, Alfredo Opisso Cardona, Ramon Aguilar More, Juan Cardona Llados, Josep Miquel Serrano, Ignacio Zuloaga Y Zabaleta, Andre Beaudin, Francisco Domingo Y Segura, Jose Armet Y Portanel, Jose Ventosa Domenech, Antonio Vila Arrufat, Montserrat Gudiol...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

"Blur" Black & White Photography 27.5" x 20" in Edition of 15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube...

Original poster: BALLY, a.k.a. Bally Kick and Bally Globe. Artist: Bernard Villemot. Ready to frame. Note that this is the small format version of the poster. Museum linen backed. A poster that is a combination of both art and advertisement. This is one of the last posters that Villemot created. Grade A Condition. The image shows a woman kicking up her heel, while her shadow is that of a man's leg and shoe. The globe in the background shows that Bally is a worldwide company. Add a touch of elegance and nostalgia to your space with this stunning original Bally vintage poster...

"Aerial 2" Black & White Photography 24" x 24" in Ed. of 15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

Hirsch, Joseph. RUNNING WOMEN. Lithograph 1973. Not in Cole. 16 x 29 1/2 in. An Artist's Proof aside from the edition of 95, signed in pencil, inscribed ...

Stone lithograph of Albert Morrow’s Illustrated Bits, printed by Imprimerie Chaix (Ateliers Chéret), Paris in 1897. This world-class example of lithography captures superior resoluti...

The Departure of the Argonaut (1918) is the travelogue and wartime diary of Alberto Savinio, one of the seminal figures in twentieth-century Italian arts and letters. Clemente's acco...

"No title (No 29)" Photography Edition 3/28 36x36 inch by Yevgeniy Repiashenko Photography Edition of 28 (36" x 36" inch) by Yevgeniy Repiashenko Year photo was taken: 2016 Unfram...

SIgned and inscribed X in pencil. Screenprint in colors on Japanese Archival paper.

"I Awate You" Black & White Photography 35" x 25" in Ed. 1/15 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finis...

No title (No 43) Photography 47" x 47" inch Ed. of 18 by Yevgeniy Repiashenko No title (No 43) by Yevgeniy Repiashenko Year photo was taken: 2018 Limited Edition of 18 Picture size...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.25 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

"No Title Nr. 15" Photography Edition of 28 36" x 36" in by Yevgeniy Repiashenko Photography Edition of 28 (36 x 36 inch) by Yevgeniy Repiashenko Year photo was taken: 2016 This ...

Original Lithograph by Jean-Gabriel Domergue Title: Naked Signed Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisienne"

No Title (No 62) Photography Edition of 8 60 x 60 inch by Yevgeniy Repiashenko Photography Year photo was taken: 2021 Unframed - ships in a tube This picture is a part of Spiri...

No title (No 36) Photography 47" x 47" inch Ed. of 18 by Yevgeniy Repiashenko No title (No 36) by Yevgeniy Repiashenko Year photo was taken: 2017 Limited Edition of 18 Picture size...

Rosie Emerson returns to her elongated trademark style for the release of a brand new Audrey Hepburn print. Emerson has developed her very own technique to make these to prints using charcoal powder instead of ink, these print have a soft look and light texture to them, the powder is fixed with layers of fixative and also a UV varnish so they are protected for the years to come. Elevating the iconic Audrey Hepburn these prints unite hand painted elements, collaged found wire, diamonds and star constellations all in her monochrome style. A small edition of just 20, each print will vary slightly due to her unique technique, they come signed and edition in pencil and embossed with an artists stamp. Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s work is widely collected and exhibited both in the UK as well as internationally, through galleries, art fairs and museums. She has also worked with brands and individuals including Harvey Nichols, The Ivy Club, Sony, Triumph Underwear, Redbull, P&O Cruises, and Annoushka jewelry...

No title (No 36) Photography Edition of 28 36x36 inch by Yevgeniy Repiashenko Photography Edition of 28 (36" x 36" inch) by Yevgeniy Repiashenko Year photo was taken: 2017 Unframe...

No title (No 16) Photography 47" x 47" inch Ed. of 18 by Yevgeniy Repiashenko No title (No 16) by Yevgeniy Repiashenko Year photo was taken: 2017 Limited Edition of 18 Picture size...

No title (No 15) Photography 47" x 47" inch Ed. of 18 by Yevgeniy Repiashenko No title (No 15) by Yevgeniy Repiashenko Year photo was taken: 2016 Limited Edition of 18 Picture size...

No title (No 5) Photography 47" x 47" inch Ed. of 18 by Yevgeniy Repiashenko No title (No 5) by Yevgeniy Repiashenko Year photo was taken: 2016 Limited Edition of 18 Picture size: ...

Original Lithograph by Jean-Gabriel Domergue Title: The Dancer Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisie...

Vibrant giclee limited edition print by worldwidely established Polish artist Rafal Olbinski. Figurative surrealistic print with ballet dancer holding a bird cage. There are trees in...

No title (No 81) Photography 36" x 25" inch Ed. of 28 by Yevgeniy Repiashenko No title (No 81) by Yevgeniy Repiashenko Year photo was taken: 2015 Limited Edition of 28 Picture size...

Full-page, colour pochoir of costume designs after Sonia Delaunay-Terk's original drawings. Edition 331/500 copies on Velin Aussedat Dimensions: 28.5 x 19.5 cm. From 27 Living Paint...