Decor Prints and Multiples

30 plates of floral designs from the Jugendstil period

Color silkscreen with enamel inks, flocking, and over printed flocking on Somerset 500 gsm Satin Radiant White with deckle edges. Edition of 60

This Blue Dog work consists of a single pale blue dog on a purple background. There are soulful yellow eyes on the dog and scattered on the background in various sizes. This pop ar...

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...

Multicolored 2013 Technique: Silkscreen on paper Artwork numbered and limited to 100 copies / artist's proof Dimensions: 45 x 32 cm Signed and numbered in pencil by the artist. With ...

Medium: original lithograph. Printed in 1970 by Triton Press and published by Art In America for a special series of original lithographs. Sheet size: 11 x 14 1/2 inches (280 x 370 m...

This is a contemporary photograph of an African Lion shot by Shane Russeck Thsi is the uncropped version of Panthera Lea. 64x48 Edtiton of 10 Signed and numered by the artist Print...

Paul Klee (after) Country House In The North (Landhaus im Norden) Year: 1925 Serigraph Size: 14x16.9 on 19x21.5 inches Edition: 440 Signed in the stone, numbered by hand Publisher: K...

Andre Derain, French (1880 - 1954) - Zodiac, Medium: Woodblock on Arches, stamp signed, Image Size: 8.75 x 7.5 inches, Size: 17.5 x 13 in. (44.45 x 33.02 cm), Description: From the...

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...

Jean Cocteau (1889-1963) Signé Jean Cocteau.sample « Exemplaire d’auteur. « . Conçu en 1958. Partially glazed white earthenware plate. From an edition of 20. Littérature : Annie Guéd...

With 15 (8 signed) coloured original etchings and aquatints by C. E. Uphoff. Original vellum with gilt cover vignette in private linen case with gilt title on spine (stained due to m...

Young Sicilian (Italy) painter, Simone Geraci was born in 1985 in Palermo, where he lives and works. In 2012, he graduated from Accademia di Belle Arti of Palermo with a major in art...

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...

"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...

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

From an edition of 150 (matching numbered pair). Each hand signed by Damien Hirst and stamped with the artist's seal on the backing board. Silkscreen print with glitter.

in good condition some minor scratching on the plexiglass

Monotype and lithograph in colours, on Somerset Satin paper, with full margins Edition of 30 61.3 x 48.7 cm (24 x 19.2 in) Framed 68 x 55.5 x 4 cm, 26.8 x 21.9 x 1.6 in Signed, numbe...

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 ...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

"En Salada" Salad Fixings Etching on Paper by Joseph C. MaCarthy This Intaglio print, titled "En Salada," by San Francisco Bay area artist Joseph C. McCarthy (American, 20th C), cre...

"Texas Turtle Cup" 12,000.00 Ken Price 16 color screenprint Edition of 75 signed and numbered in pencil 1971 41 x 32.5'' Ken Price (1935 - 2012) received a BFA from the University...

Artist: Ben Shahn, American (1898 - 1969) Title: The Sea Itself from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 17.75 ...

Justin Pollmann "Lighted Cushion" 2022 Inkjet Transfer Collage, Monotype 25"x34" inches The inkjet transfer images are made by collaging transfers of inkjet prints to the paper’s...

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...

Justin Pollmann "Vessel Confetti" 2022 Inkjet Transfer Collage, Monotype 26"x20" inches The inkjet transfer images are made by collaging transfers of inkjet prints to the paper’s...

Clare Halifax I is for Iguana Limited Edition 3colour screen print Edition of 100 Sheet Size: H 38cm x W 37cm x 0.1cm Sold Unframed Hand printed by the artist onto somerset satin pap...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

Black and white figurative nude linocut by contemporary artist Karin Broker. The work features a central headless female nude figure surrounded by stereotypically "girl" icons such a...

"EROTIC DREAM" (1976) by Norbert Matzdorf Woodcut print on paper Limited Edition, numbered (10.3), dated and hand-signed by the artist 27,9 x 38,3 cm Norbert Matzdorf (1951 – 2013) ...

Artists: Raffaello Sanzio d’Urbino.(1483 – 1520) Gateano Savorelli, artist. (unk.- 1791) Ludovico Teseo, draughtsman. (1731-1782) Pietro Camporesi, architect (1726 - 1781) Giovanni Ottoviani (1735-1808) & Giovanni Volpato (1735 – 1803), engravers Title: Delle Logge di Rafaele nel Vaticano, Plate X (10) Year: 1772-1777 Medium: Hand-colored copperplate engraving Sight size: 42 x 16 inches. Framed size: 55.5 x 28.5 inches Condition: Very good Frame: Frame in very good condition A tall and incredibly detailed printed panel, “Delle Logge di Rafaele nel Vaticano” (“Raphael Loggia...

This Blue Dog work consists of a single dog sitting in a pink box with a blue bow and a lit candle next to the box. The background is gold with black stars a...

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, ...

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...

TECHNICAL INFORMATION Keith Haring Pop Shop IV (C) 1989 Screenprint 13 1/2 x 16 1/2 in. Edition of 200 Pencil signed, dated, and numbered Condition: ...

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, ...

44" x 30" Unframed 3 Ink Woodcut Print on Paper Hand Signed by Iván Bautista

Artist: Sultan, Donald Title: Mimosa with Blue, April 24, 2024 Series: Mimosas Date: 2024 Medium: Color silkscreen with enamel inks and sand on 4-ply museum board Unframed Dimen...

Artist: Sultan, Donald Title: Mimosa with Red, April 24, 2024 Series: Mimosas Date: 2024 Medium: Color silkscreen with enamel inks and sand on 4-ply museum board Unframed Dimens...

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...

"Die Segen" (Sins/Blessing) - 1986 Collograph On Paper Original 1986 Collograph on paper titled "Place Setting" ("Sins/Blessing") by Patricia Pearce (Am...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

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

Yvon TAILLANDIER A World at Altitude Original screen print Handsigned in pencil Numbered / 12 copies On paper 38 x 28 cm (c. 14.9 x 11 in) Excellent condition

This artwork titled "Liliana" c.1990 in an original color serigraph by Bolivian artist Marion Ferrer (Mario) Cespedes, b.1942It is hand signed, titled and numbered 157/290 in pencil ...

This piece titled "Watch for the Next Bloom" is an original print by Jun Lee and is made by reduction woodcut. This piece measures 35"h x 26"w framed...

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...

Elizabeth Peyton (American, b. 1965) E (Self-Portrait), 2019 Medium: Linocut on colored paper Dimensions: 30 x 22 cm Edition of 30: Hand-signed and numbered Condition: Excellent

The circa 1950 original advertising poster by Hurel, titled "Vin rouge vin blanc cowboy indien," is a captivating piece of mid-20th-century graphic art that skillfully combines playf...

signed and numbered in pencil VAS630 serigraph from edition of 300 (image) 30 x 26 inches (framed) 44 x 40 inches

The circa 1980 original poster for Dior's Eau Sauvage by René Gruau exemplifies the seamless integration of art and luxury advertising. Gruau, renowned for his contributions to fashi...

Medium: original woodcut. (Catalogue reference Roethel 124). Printed in 1975 on Arches paper for the "Homage to Kandinsky" special edition of the art revue XXe Siecle. Image size: 7 ...

Decorative Motifs - Byzantine Styles is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the plate on the lower. Vintage Chromolithogra...

HERBERT GURSCHNER (Austrian / English (1901-1975) VILLAGE SCENE / TOWN FESTIVAL ca.1924 Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...

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...

Silkscreen on vélin d’Arches paper. Paper Size: 14 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks in the Pages of Life, 1998. Published by The Limited Editions Club, New York; printed by Drexel Press, Inc. Long Island City, 1998. Excerpted from the folio, CCC examples, designed, hand-set in Monotype Perpetua, printed, and hand-bound by Michael and Winifred Bixler, Skaneateles, New York. Paper made in France at Arches. Silkscreens printed by the Drexel Press, Inc. Long Island City, New York. PHOEBE BEASLEY...

Untitled (1994) Screenprint on wove paper Date: March 1994 Ed. 19/20 25.2 x 16.4 cm (Image) 39.4 x 28 cm (Sheet) This 1994 screenprint by Gutai artist Chiyu Uemae presents a dense, ...

Lithograph on vélin paper. Paper Size: 12 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, View, Surrealism in Belgium, vol. V, n°1, March 1945. Pu...

Around 1900, Swiss artist Mary Golay created a stunning lithograph titled Le Paon (The Peacock), a vivid example of Art Nouveau's fascination with nature, beauty, and flowing organic...