Decor Prints and Multiples

Mushroomers, 2003 by Takashi Murakami signed, dated, and numbered 'TAKASHI 03..53/100' in pencil lithograph in colors, on BFK Rives paper Image: 81⁄4 x 3 in. (21 x 7.6 cm.) Sheet: 12...

Josef Levi, American (1938 - ) - Still Life with Pisanello, Year: 1979, Medium: Screenprint on Arches, signed, titled, dated and numbered in pencil, Edition: Trial Proof, Image Siz...

Bob Cato, American (1923 - 1999) - Still Life from the Nantucket Series (Blue), Year: circa 1970, Medium: Screenprint on Somerset, signed and numbered in pencil, Edition: 56/75, Im...

Niño con pájaros from Rufino Tamayo 16 aguafuertes 1976. Color etching on Guarro paper. Hand signed and numbered in crayon by the artist. HC edition. Published by Ediciones Poligra...

Brad Davis has exhibited at The Museum of Modern Art in New York, the New Museum of Contemporary Art in new York, the Hudson River Museum, the Univ...

Artist Name: Barbara Kwasniewska Title: Belles de nuit - ladies of the Night Year: 1969 Medium Type: etching Size-Width Size-Height: 22.5'' x 30" inches Signed Edition Size: Signe...

Artist: Ernest Joseph Laurent (French, 1859-1929) Title: "Sicile (Sicily)" Portfolio: Gazette Des Beaux-Arts *Issued unsigned, though monogram signed by Laurent in the plate (printed...

ED RUSCHA (1937-Present) Organic screenprint, signed, dated and numbered to lower left ‘28/125 E. Ruscha 1970’. This work is number 28 from the edition of 1...

PABLO PICASSO (1881-1973) Centaure et visage (A. R. 188) Terre de faïence pitcher, 1953, numbered 50/125, with the workshop numbering, incised 'Edition Picasso' and 'Madoura', par...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

André Masson, French (1896 -1987) - Place de Concorde, Year: 1962, Medium: Lithograph, unsigned, Image Size: 15 x 11.5 inches, Size: 15.25 x 11.75 in. (38.74 x 29.85 cm), Descrip...

André Masson, French (1896 -1987) - Place de la Concorde, Year: 1962, Medium: Lithograph on Japon, signed and numbered in pencil, Edition: VI/X, Image Size: 15.25 x 11.75 inches,...

Erotic print is a beautiful black and white linocut on paper, realized in 1945 by the Italian artist, Mino Maccari. Hand-signed with the pseudonym "Jean Barbe" and numbered in penci...

Fiorino is a 1922 liquor advertisement by Jean D'Ylen for Asti Spumante. The artwork features a Frenchman dressed in stereotypical colonial-era clothing. He tickles the face of the S...

Color softground etching.

Ting Shao Kuang (b. 1939) Harp 1999 color screen print, signed on the lower right side and numbered AP40/50A on the left in pencil, ...

Color lithography on Hahnemühle paper, edited in 1974. Limited edition of 99 copies + XXV EA, numbered as XXIII/XXV in lower left corner.
 Hand-signed in pencil by artist in lower ri...

Published by edition GKM. Unframed. Edition: 200 ex Paper: 300gr. Goya. Signed by the artist. Free shipment worldwide. Corneille, one of the founders of the COBRA group, has passe...

A fantastic hand drawn retro style original screenprint, from an edition of 90 on 300mg paper. 5 colour print. Print has a white border. Print size 50cm x 70cm All prints numbered...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

"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...

Edition 1/3 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Medium: Lithograph on vélin d'Arches paper Year: 1968 Paper Size: 26 x 20 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Roger de la Fresnaye, III, Col...

Joan Miro FEMME V/VI, from the Femmes Portfolio, 1965 Edition: 50; 10 HC Image size: 33.5 x 19 cm Paper Size: 56 x 45 cm Signed in the plate Publisher: Arte Adrien Maeght, Paris Re...

This work is about life in a garden or between plants. I see the body as a changing status - same like plants do it all their life. The transformation and correlation between an outside garden...

Max Ernst - Birds - Original Lithograph Birds, 1962 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

PABLO PICASSO (1881-1973) Joueur de diaule et faune (A. R. 342) Terre de faïence plate, 1956, with the workshop numbering, aside from the edition of 100, with the Empreinte Origin...

Bag of Tricks is a lithograph on paper, 9 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 61/275 (there were also 100 Roman and 20 AP). Frame...

Poster. Design: Michael Weymouth/Consultants Cross Associates. Printed in U.S.A. Measures 19 x 28 inches and is Unframed. Good Condition.

Jean Cocteau ( 1889-1963 ) " Femme à l'écharpe rouge " Exemplaire d'Auteur . hand signed Jean Cocteau . Partially glazed white earthenware plate with engobe conceived in 1958 In an ...

edition 1/5 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Mary, Mary Quite Contrary I, 1989 Paula Rego Etching with aquatint, on wove Signed and numbered from the edition of 50 From Nursery Rhymes Printed by Culford Press, London Co-publis...

Joan Miro FEMME ET OISEAU I/X, from the Femmes Portfolio, 1965 Edition: 50; 10 HC Image size: 45.5 x 30 cm Paper Size: 56 x 45 cm Signed in the plate Publisher: Arte Adrien Maeght, ...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...

A fantastic original pop art screenprint, from an edition of 100 on 300mg paper. 11 colour print (plus silver leaf and gloss varnish over image). Print has a white border. Print si...

Medium: Lithograph on vélin paper Year: 1983 Paper Size: 15 x 22.5 inches, with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Henri Mat...

This original 1967 poster by Victor Moscoso was created for a performance by The Chambers Brothers at The Matrix, a seminal music venue in San Francisco. Known for their energetic fu...

This Blue Dog work consists of 2 dogs; one with a brown vest sitting on a blue rug with a tan border and decorated with blue butterflies. One butterfly has released itself from the ...

Medium: collotype (after the woodcut). Printed in 1925 and published in Paris by Albert Morance for "L'Art d'Aujourd'hui", and now very scarce. Image size: 7 7/8 x 5 1/4 inches (200 ...

Medium: Lithograph on vélin paper Year: 1983 Paper Size: 15 x 22.5 inches, with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Henri Mat...

Medium: Lithograph on vélin paper Year: 1983 Paper Size: 15 x 11.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Henri Matisse, Jazz, Special Edition...

Medium: Lithograph on vélin paper Year: 1983 Paper Size: 15 x 11.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Henri Matisse, Jazz, Special Edition...

Medium: Lithograph on vélin paper Year: 1983 Paper Size: 15 x 11.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Henri Matisse, Jazz, Special Edition...

Pre-Morocco form the Eight by Eight portfolio is a lithograph on paper with an image size of 42 x 29 inches, signed 'RAUSCHENBERG 83' and annotated 92/250 lower right. From the editi...

A Mokulito (wood lithograph) creation, hand printed by international artist Jeffrey Sippel. The paper size is 25” X 19” and the image size is11 ¼...

An original woodcut print depicting the social unrest of the 1960s by Herman Roderick Volz. Pencil signed by the artist lower right. Image measures 14" x 24," sheet measures 18 1/2"...

Héliogravure, collotype vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 10.75 x 12.6 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

An image that originally appeared in an astrological calendar for the year 1766. Tokyo: Shuei-Sha, 1766. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 in...

Poster. Measures 31.75 x 39.75 inches Unframed. Copyright 1965 New York Graphic Society Ltd. Printed in Holland. Image is in Good/Fair Condition-indentation in the upper part of imag...

Mr Doodle, Alien Town, 2020 Sized Satin paper 50 x 70 cm (27 3/5 × 19 7/10 in) Hand-signed and numbered by the artist Limited edition of 300 Mr Doodle Sam Cox, better known unde...

PABLO PICASSO (1881-1973) Joueur de flute et cavaliers (A. R. 340) Terre de faïence plate, 1956, 'A 101', with the Empreinte Originale de Picasso...

Tate Modern By Grayson Perry Grayson Perry is a British artist and potter celebrated for his bold ceramics and tapestries that explore themes of ident...

Lucio Fontana Nudo rosa, 1967 Engraving and aquatint, printed in pink Size 63 × 47 cm Hand signed lower right Numbered 72/170 Published by 2RC Edizioni d'Arte, Rome

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Booze Hound II is a lithograph on paper, 9.25 x 9 inches image size. From the edition of 395, numbered 169/275 (there were also 100 Roman and 20 AP), framed in a contemporary, silver...

Archival Pigment Print All available sizes & editions for each size of this photograph: 40" x 30” - Edition of 5 + 2 Artist Proofs 50" X 40"- Edition of 5 + 2 Artist Proofs 60" X 50"...

" le Bouquetin aux Aguets " . signed Jean Cocteau ; marked and numbered Edition originale de Jean Cocteau . Atelier Madeline & Jolly N° 3/10 (underneath ). partially glazed terracotta oval plate with colored engobe . conceived in 1958 and executed in an edition of 10 . literature : Annie Guedras , Jean Cocteau céramiques...