Decor Prints and Multiples

Lino-cut, edition 50, could be delivered also in different colors. Each Lino-cut is unique due to the method used. Three chestnut horses is inspired by ...

The House of Women is a print realized by Massimo Campigli in the 1970/1971s. Etching and aquatint on paper. This artwork it is part of a series of works created in the last perio...

'Telephone II' from Richard Heeps 'Dream in Colour' Series, this cool interiors picture combines bold colours of yellow, black and white, and has a dreamy nostalgic aesthetic. This...

Medium: Etching Year: 2010 Image Size: 16.5 x 11.5 inches Edition of 20, signed and titled by the artist McCleary was born in Santa Monica, California. He graduated from Loyola High...

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

This listing includes two works by Shinsuke Notomi: a book and print. The book was produced in a limited edition as part of Shinsuke Notomi’s 1982 exhibit “Light”. In 1979 Notomi traveled to Nepal and Himalayas, did drawings for the "Light" series of lithographs which were published in Paris in 1982 and exhibited at the Cartia Granoff Gallery, Paris, and then in 1984 at the Laforet Museum Akasaka, Tokyo. Reminiscent of Jasper Johns' Target with Plaster Casts, the Shinsuke Notomi lithograph depicts concentric circles and checked rectangles with small points of white throughout. Watercolor-like shading gives this work a fluid spontaneity. Shinsuke Notomi was born in Shanghai in 1942. He came to the United States in 1962, studied at the Art Student League in New York, and then earned a BA and a Master of Fine Arts (MFA) at the California College of Arts & Crafts in San Francisco. He taught art at Indiana State University from 1972 to 1974, and then traveled to Peru and Bolivia to study Inca art...

This is one of a series of 6 signed and numbered prints created by the great French poster artist, Gerard Courbouleix, known as Razzia. This print measures 10.5" x 14.5" and is from...

Jean-Jacques Waltz (1873 - 1951), également connu sous le nom d'Oncle Hansi, ou simplement "Hansi" ("petit Jean") était un artiste français d'origine alsacienne. Il était un fervent...

Decorative Motifs - Greek-Italic 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 Chromolith...

A Buffalo, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is known for his Arts and Crafts period woodcuts and his later industrial sce...

Maurice De LAMBERT Art Deco : The Harvest, 1927 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagier de la Gravure sur Bois...

Paper Size: 24 x 30.75 inches ( 60.96 x 78.105 cm ) Image Size: 22 x 29.75 inches ( 55.88 x 75.565 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additi...

Paper Size: 25 x 32 inches ( 63.5 x 81.28 cm ) Image Size: 22.5 x 32.5 inches ( 57.15 x 82.55 cm ) Framed: No Condition: A: Mint Additional Details: Translated as "The Frog and...

Linda Plotkin, American (1938 - ) - Blue Hill II, Year: circa 1965, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 6/30, Image Size: 6.5 x 9 inches, Size: 9...

Linda Plotkin, American (1938 - ) - Landscape II, Year: circa 1965, Medium: Etching, signed, titled and numbered in pencil, Edition: 18/75, Image Size: 6 x 4.25 inches, Size: 15...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Colour linocut, limited edition, Artists Proof, titled, signed and dated in pencil. 2019. Aileen Brown is a Melbournian printmaker. Since 1983 she has w...

Artist: Georges Rouault, French (1871 - 1958) Title: Frontispiece from the portfolio Les Reincarnations du Pere Ubu Year: 1929 Medium: Etching and aquatint on cream wove paper, signe...

"Checkered Woman Purple & Yellow" Artist unknown Silkscreen on paper c. 1970s 19"x24" unframed unsigned

Daisy's Kitchen, photograph from Richard Heeps 'Ordinary Places' Series. Capturing Britain on the brink of change. It was Richard's first colour series and it achieved much success w...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Buds Color lithograph, 1980 Signed, titled, and editioned in pencil by the artist Publisher: Art Matters Printer: Bud Shark, Shark's Ink, Lyons, CO Condition: Excellent Image: 31-1/8 x 41-1/4" (79 x 104.7 cm.) "An Abstract Expressionist when he left the Art Institute of Chicago in 1956, Beal has since become a dedicated realist who sees art as a potentially powerful moral force. He has great regard for Platonic ideals of truth, beauty, and goodness, and admires both the realism of seventeenth-century Dutch painting and the compositional authority of Renaissance art. Since moving to New York in the late 1950s with his wife, painter Sondra Freckelton, Beal has painted still lifes, portraits, and landscapes, although in recent years his most ambitious undertakings have been large-scale allegories and myths. In describing his approach, Beal calls himself a "life painter" and says he is committed to human over aesthetic concerns. Yet his intricate complexes of figures and surface patterns, along with his adroit handling of space, reveal his sophisticated, accomplished sense of composition. Virginia M. Mecklenburg Biography Jack Beal (1931-2013) was born and raised in Richmond, Virginia. He briefly attended the College of William and Mary, studying biology, but dropped out after two years. A decision to take evening art classes lead to his attending the Art Institute of Chicago, where he studied from the old masters in the Institute’s collection and with Isobel Steele MacKinnon, a student of Hans Hoffman. His classmates there included Red Grooms, Richard Estes, Claes Oldenberg and Robert Barnes, and while abstract expressionism remained “the only valid way to paint,” it was a style that all would eventually reject. In 1956 Beal left the Art Institute and moved to New York with the aim of finding success as a painter, eventually becoming one of the first artists to settle in the SoHo neighborhood. A turning point came in 1962 when, spending the summer in upstate New York, Beal decided to begin painting outdoors. Dissatisfied with abstract painting, he “wanted to give Art one more try” and in working from nature “fell in love with painting all over again.” Over the next few years Beal worked toward a balance between expressionistic paint handling and realistic, narrative pictures. Clement Greenberg’s pronouncement around this time, that the figure was no longer a valid subject was taken as a challenge by many artists, Beal included. His subsequent adoption of the female nude - modeled by his wife, the artist Sondra Freckelton - was a break-through. Though the paintings retained the sensuousness of his earlier canvases, the rigorous formality of their composition and the masterful treatment of light and shadow offered a new approach to realist painting. Indeed, Beal was not alone in this transformation; friends and colleagues in New York were coming to similar conclusions and the group, who included painters such as Philip Pearlstein, Alfred Leslie, Yvonne Jacquette, Alex Katz, Jack Tworkov, Nell Blaine and Fairfield Porter, would eventually be considered the ‘New Realists.’ With the resurgence of figurative painting, Beal distinguished himself for his skillful handling of color and modeling as well as what was later described as his “pushing of representational forms to their interface with abstraction”. Through the later half of the 1960s, while his subject matter remained unchanged, his paintings were increasingly given over to wide areas of flat color. In 1969, he exhibited a series of Table Paintings which, with their hard-edge style and near complete abstraction of the form, were a radical departure for Beal. So radical in fact, he was accosted by fellow realist painters Alfred Leslie and Sidney Tillim, who berated him “for betraying realism and betraying [himself], for moving away from ‘the true path’.” The incident had its intended effect and Beal did return to a more naturalistic and humanistic style, eventually abandoning the nude in favor of increasingly allegorical portraits. In 1974, the United States General Services Administration commissioned Beal to produce a series of murals for the U.S. Department of Labor headquarters in Washington D.C. The result was The History of Labor, four, 12 x 13 foot paintings in the vein of George Caleb Bingham, each illustrating a century of American development. Following the completion of the murals in 1977, Beal continued to make use of narrative in his paintings, with portraiture and self-portraiture as a means of exploring moral and didactic themes. He and Sondra had purchased an old mill in upstate New York in 1974 and after extensive renovations, it became their permanent residence. Unsurprisingly, many of his later paintings are pastoral scenes based on his rural surroundings or still lives including flowers which they grew on the property. In 1986, Beal was commissioned by the Art in Transit Initiative to create a large-scale mural as part of the redevelopment of the Times Square Subway Station. The proposed mosaic mural, The Return of Spring, took over fifteen years to complete, with the two, 7 x 20 foot sections finally installed in 2001 and 2005. Together they update the Greek myth of Persephone with a New York setting, showing her abduction by Hades, initiating the arrival of winter, and her release, bringing the bountiful return of spring. Beal was a founder of the Artist’s Choice Museum, New York and the New York Academy of Art as well as the recipient of numerous grants and awards, including honorary degrees from the Art Institute of Boston and the Hollins College...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Linocut on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Pablo Picasso: Grabados al linóleo. Published by Gustavo Gili, S.A., Barcelona, and...

Saiorse is the Irish Gaelic word for freedom. It suggests the yearning of emigrants to set off on a journey to a new world… where everything is brighter and more magical. The sea is...

Contemporary figurative nude monotype print by Belarussian artist, Siergiej Timochow. Print depicts a woman with flowers. The composition is monochromatic in blue. Monotype on textur...

From the Crowd portfolio by Wayne Gonzales, this copper plate etching is a fine example of Gonzales' exploration of collective human behavior and the visual impact of crowds. Printed...

The formality, ornamental qualities and boldness of botanical art strongly influence Bardon's art. It is easy to see her inspiration in the patterns, line and simplicity of form foun...

Uses and Customs - Etruscan Painting is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of th...

Though this may look like a woodcut or screen print, it is a kind of photography. Cyanotypes are a 19th century alternative (cameraless) photographic process. This monotype was print...

Alexis Kcho Leiva (Cuba, 1970) 'Untitled III', 2019 woodcut, silkscreen on paper Intaglio 300 g. 44.5 x 31.2 in. (113 x 79 cm.) Edition of 30 ID: KCH-119 Unframed

The Source is an etching and aquatint realized by Franco Gentilini (Italian Painter, 1909-1981) in the 1970s. From the serie "The Tarots" Dry stamp by Il Cigno Stamperia d’Arte. ...

Forest is an original Brown-colored woodcut print on paper realized by Pierre-Eugène Vibert (1875-1937), Hand-signed on the palate on lower left. The state of preservation of the ar...

This 1986 original advertising poster, designed by J. Mignon, perfectly captures the elegance, masculinity, and adventurous spirit of French Line, a distinguished fragrance by Révill...

After Gustav Klimt, Max Eisler #26, Bauerngarten mit Hühnern; multi-color collotype after 1916 painting in oil on canvas. The original was destroyed by fire in May 1945 at Immendorf Castle, Lower Austria. Landscapes, for Klimt, are vehicles to convey universal themes such as procreation and the mysteries of life. Using a highly personal language of symbols, Klimt creates a voluptuous scene of fertility, fecundity and domesticity. Klimt uses a similarly lustrous palette of pearly iridescence for the path as he had for many of his female nudes. This feminine quality is intensified by the tunnel-effect produced by the walls of colorful floral blooms whose leafy stalks are redolent with wild abundance at the height of summer.The passage leads to a green covered arbor, womb-like, which contains a simple wooden table and a bench. Human presence is unmistakeable.The two chickens shown in the path provide the link to engage with this scene cerebrally and emotionally. Protective and maternal, the mother hens do somewhat bar one’s path, but by no means in a menacing way. The experiential aspect of walking forward and ignoring those chickens, certain that they will dodge out of the way, heightens the rational with the intuitive senses creating the illusion and feeling that the flanking floral walls are parting to provide clear passage to within. Seen in this context, the age old conundrum to divine what came first, the chicken or the egg, begs the question of the greatest mystery of all. One’s relationship to procreation itself, Klimt shows us, is interwoven all around us. Far from banal, this universal quality of the natural world is fraught with thrilling wonder. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

This vintage educational poster titled "Le Café" is a classic example of early 20th-century French didactic art. Published by Musée Scolaire...

This artwork titled "Conversation" is an original color lithograph on Arches paper by Iranian/Israeli artist Elie (Eliahu) Abrahami, born 1941. It is signed and numbered 42/100 in pe...

Set of six plates Edition of 500 This set contains these editions numbers: 148,249,250,252,302,303 plates are manufactured at Bryan Pottery, Pennsylvania or New Jersey

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Arab Decorative Style is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the plate on the lower. Vintage Chromolithograph. Very good...

A Soviet-era fridge and an American Singer sewing machine as found in Jorge’s kitchen. – The Spaces in Between series developed out of visits to Naples in Italy and Havana in Cuba, t...

Brittany Noriega Free Magnolia Laser Transfer on Handmade Paper Year: 2021 Size: 6 x 4 inches Edition: 10 Signed by hand COA provided Ref.: 924802-10...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

In order to subvert common associations, Baldessari calls one’s attention to minute details, absurd juxtapositions, and obscured or fragmented portions of imagery.

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

The circa 1950 original poster by Francis Bernard for the "Arts Ménagers" exhibition at the Grand Palais, organized in collaboration with the Centre National de la Recherche Scientif...

Judith Bledsoe, American (1938 - 2013) - Petite Portrait - Red Hair Girl. Year: circa 1974, Medium: Lithograph, signed and dedicated to Laurent Marcel S...

Gerald Coles - Original 1958 Woodcut. Signed and dated in pencil lower left corner. On Japan paper. Numbered 1/30. In fine condition. Gerald Anthony Co...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Dent Prompte, Dix poèmes inédits illustrés par Max Ernst, ...

The Soldier's Ballad is a contemporary artwork realized by Max Ernst in 1972. Mixed colored lithograph on Arches Paper Edited by Manus Presse, Stuttgart 1972. Not signed and not n...

Danseurs et Musicien is an original color linocut realized after Pablo Picasso (1881-1973). Realized in smaller size after a linocut by Pablo Picasso of 1959. Passepartout include...