Decor Prints and Multiples

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

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...

Original 1988 poster by Voisin, created for the legendary Willi’s Wine Bar in Paris—a beloved institution that has blended fine wine and contemporary art since its founding in 1980. ...

Visage noir moucheté 1948 Ed. 39/200 pcs White earthenware clay, decoration in engobes under glaze Stamped and inscribed on the back : Madoura Plein Feu, Edition Picasso, I105, 39/20...

"Spring" by Shunso Hishida. Published by New York Graphic Society, 1978. Lithograph Printed in Japan Measures 28 in x 16.5 in

In 1939, Lucien Boucher, a renowned French artist and illustrator, created a captivating map for Air France titled "Nova et Vetera", which translates to "New and Old" in Latin. This original lithographic poster is a remarkable fusion of vintage cartographic art and modern aviation, crafted as a promotional piece for the airline. It beautifully symbolizes the connection between the historic routes of exploration and the new ones made possible by air travel. Boucher was celebrated for his unique ability to combine the romanticism of classic maps with the sleek, modern spirit of 20th-century flight. Among his series of illustrated maps for Air France, "Nova et Vetera" stands out with its nostalgic allure and references to history. The map exudes the charm of the age of exploration, echoing the style of 16th- and 17th-century cartographers. Rendered in rich, earthy tones, it depicts brown continents framed by pale blue oceans, evoking the feel of antique navigational...

Paper Size: 22.5 x 28.5 inches ( 57.15 x 72.39 cm ) Image Size: 17.25 x 26 inches ( 43.815 x 66.04 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional ...

Bengt Bockman Main Street 96-98 Year: 1974 Color Lithograph Size: 25.5 x 33.5 in. Edition: 175 Signed and numbered in pencil by the artist *image comple...

M.C. ESCHER (1898-1972) The Medieval Army, 2008 Facsimile after the original woodcut from 1938 Unsigned Numbered / 450 copies (the number you can see can be different) On vellum 45 ...

Yozo Hamaguchi, Japanese (1909 - 2000) - XIV Olympic Winter Games, Year: 1983, Medium: Poster, Size: 33.5 x 24.25 in. (85.09 x 61.6 cm)

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Sunflower, no. 10 from the third installment of Das Werk Gustav Klimts Created during his residency in Litzlberg on Attersee, where Klimt and the Floge family summered from 1900-1907, Klimt explores nature’s transcendental qualities. His single sunflower is human-like, it’s golden halo is like a ring of sun-kissed hair surrounding a bald pate. It’s known that at the same time Klimt was creating this image, he was also at work on a photo essay about the Floge sisters’ clothing from their fashion salon. Their fashion house was best known for its “reform dresses” which featured loose-fitting long robes which billowed at the arms and torso. Viewed with this in mind, it is not a hard leap to imagine the lone sunflower as a self-portrait from reverse. Klimt’s balding head crowned in a golden corona forms the apex of a pyramidal flowing gown of foliage and flowers. By orienting the anthropomorphic flower at the garden’s central foreground and adorning it with repetitive motifs of round flowers of varying sizes, Klimt’s sunflower...

Andre Derain, French (1880 - 1954) - Man with Cow, Medium: Woodblock on laid paper, Image Size: 2.75 x 3.75 inches, Size: 3.75 x 5 in. (9.53 x 12.7 cm), Description: From the collect...

Kunisada, Utagawa. [Actor portrait.] Japan, ca. 1855. Original woodblock print.

Artist: Andre Minaux, French (1923 - 1986) Title: Helene from the Helene Portfolio Year: 1974 Medium: Lithograph, signed and numbered in pencil Edition: 150, XXX Size: 25.75 in. x 19...

Decorative Motifs - Japanese 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...

La Belle Hollandaise silkscreen, printed by Wild Hawthorne Press in 1967, is a captivating work by renowned artist Ian Hamilton Finlay. Finlay, known for his poetic and often nautica...

Through the Window is a lithograph on Arches paper realized by Max Ernst in 1972. Belongs to the suite "Judith". Limited edition of 500. Unsigned and unnumbered, as issued. Godd c...

The 1896 original poster Cabourg à 5 heures de Paris by Privat-Livemont, part of Les Maîtres de l’Affiche series (Plate 88), is a stunning representation of the Belle Époque era's el...

Offset print Edition 199 of 300 68 x 68 cm (26.8 x 26.8 in) Signed and numbered on the front Mint. Minor imperfections may appear due to the production process.

Hand signed and numbered. Limited edition of 350 prints. From the suite “Alphabet”. Near perfect condition. Lithograph/Screen print.

Work : Original Etching, Gravure, Edition of 9. Handmade artwork. Ready to Hang. Medium : Etching and Aquatint Artist : Deniz Bayav Subject : Sen Karanfile Eğilimlisin (Title) Sign...

Joe Durante - Odyssey. Year: 1982, Medium: Etching with Aquatint, signed, dated, titled and numbered in pencil, Edition: AP, Image Size: 9.75 x 17.5 inche...

Figure is an original lithograph on ivory-colored cardboard, realized by Alfonso Avanessian in 1989. Hand-signed and unnumbered, on the lower righ...

The 1977 "Milwaukee MECCA MECCA" poster by Robert Indiana is a bold tribute to the unique floor design of the Milwaukee Exposition Convention Center Arena (MECCA). Robert Indiana, a ...

Original 18th century etching realized by Giovan Battista Piranesi. Representation of the vase in the centre, description below "Ancient marble vase...

Screen print realized by Franco Gentilini in 1970s. Edition of 125. Hand signed and numbered. Belongs to the Series "Churches".

DONALD SULTAN RED POPPIES Artist: Donald Sultan Title: Red Poppies Portfolio: 2018 Four Poppies Medium: Color silkscreen with enamel inks, f...

Diasec-mounted Giclée print on aluminium composite panel Edition of 34/75 Signed and numbered on a label affixed to the back Mint. Sold in the original HENI packaging HENI Editions ...

Biagio Civale, Italian/American (1936 - ) - Houses in the Country, Medium: Linocut, Signed, numbered, and titled in pencil, Edition: 13/33, Image Size: 10 x 8 inches, Size: 20 x ...

XIV Winter Olympics games is a vintage poster realized by the artist Yozo Hamaguchi, in occasion of the XIV Winter Olympics games in Sarajevo, in 1984.

Eat Me by Kate Willows [2019] An original limited edition linoprint celebrating the spread you either love or hate! Once I have designed the image, I transfer it to lino, which I then hand-carve. This print is made using six carved lino blocks. Each one of these is inked and printed separately, using six different coloured oil-based inks. Each print has the title, edition number and my signature hand-written in pencil beneath the image. This edition is limited to 40 prints. Additional Information: limited_edition Ink on Paper Edition number 40 Image Size: H:17 cm x W:17 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Kate Willows, printmaker. Kate Willows began printmaking 15 years ago, initially working with etching and drypoint. Exploring printmaking methods that could be carried out safely in her home studio, Kate eventually settled on linoprinting as the best method for her style of printmaking. Kate creates original, colourful and playful linocut prints, which often reflect her quirky sense of humour. She is especially interested in the use of colour and how this can be used to create vibrant and bold prints. Influences include Antonio Frasconi, Eric Ravilious, Robert Tavener, Edward Bawden and Kathleen Hale.

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, ...

Offset lithograph in colors on shaped wove paper. Hand signed lower right by Takashi Murakami. Hand numbered 81/300 lower right. Artwork size: 24.6 x 22.2 inches. Frame size: 29....

Woodcut print realized by Escher in 1931. It belongs to the series "Emblemata". Monogrammed in the plate upper right. Excellent condition. Prov. Collection W.F. Veldhuysen, Baarn...

A rare and thought-provoking original 1975 exhibition poster, this striking piece was created for Belgian visionary Panamarenko’s show “Atom and Manpower” at the Kölnischer Kunstvere...

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

Victor Vasarely (1906-1997) - Autoportrait Silkscreen / Serigraph from 1989. Edition of 250. Dimensions of work: 47 x 37.5 cm The work is in Excellent condition. Fast and secure...

This exquisite lithograph after Henri Matisse (1869–1954), titled Poisson Chinois (Chinese Fish), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the ...

Very nice poster of Auriac for the Middle East Airlines in Damascus. Jacques Auriac, born in 1922 in Paris and died in 2003, was a French painter, post...

Raoul Dufy, French (1877 - 1953) - L'Amour La Danse, Year: 1915, Medium: Woodcut on laid paper, signed in pencil, Image Size: 10 x 8 inches, Size: 14.25 x 13.5 in. (36.2 x 34.29 cm...

Utagawa Kuniyoshi The Diving Woman Recovers the Stolen Jewel from the Dragon King's Palace Circa 1844-45 Woodblock print Oban Signed Chooro Kuniyoshi ga, censor's seal Tanaka Publi...

Tokyo: Kawaji, 1830. Three (3) woodblock prints (nishiki-e) in color on handmade mulberry paper, each 2 5/8 x 3 3/8 inches (67 x 82 mm), the full sheet, margins slightly trimmed. Ea...

Ryohei, Tanaka (Japanese, 1933-2019). GROVE #2. Etching in color, 1966. Edition of 50. Numbered 23/50, signed, and dated in pencil.11 5/8 x 14 1/2 inches (plate), plus full margins. ...

The first edition exhibition poster for David Hockney’s 1969 show at Andre Emmerich Gallery, reprinted by Petersburg Press in 1981, features the artwork Courbusier Chair and Rug, 196...

"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...

Lithograph on vélin vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Résurrection de l'oiseau, Georges Braque, 1958. Publ...

This poster features David Hockney’s beloved dog paintings from 1995, part of a deeply personal series inspired by his two dachshunds, Stanley and Boodge. Rendered with tender brushw...

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...

Thomas Lanigan-Schmidt Untitled, from from the Artsounds Collection, 1986 Lithograph on paper Signed and numbered from the edition of 200 in ink on the back; also bears artist's stamped name and provenance - Art Sounds portfolio. 12 × 12 inches Unframed Signed and numbered from the edition of 200 in ink on the back; also bears artist's stamped name and provenance - Art Sounds portfolio. This terrific offset lithograph print exemplifies the combination of religion and kitsch that Lanigan Schmidt is best known for. This print was created in the 1980s for the famous Artsounds portfolio, which featured prints by Marcel Duchamp, Jonathan Borofsky among others. Lanigan-Schmidt was a subject of a 2013 retrospective at PS1 MOMA and is on the faculty of the School of Visual Arts in New York. Provenance: Artsounds Portfolio About Thomas Lanigan-Schmidt: Thomas Lanigan-Schmidt is represented in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, MoMA, Brooklyn Museum, Ludwig Forum für Internationale Kunst, Ackland Art Museum, Columbus Museum of Art, and Wadsworth Atheneum Museum of Art, among others. He has exhibited extensively throughout the United States and Europe, including the 1980 and 1984 Venice Biennales, the 1991 Whitney Biennial, and the 1999 exhibition The American Century: Art and Culture, 1950-2000, Whitney Museum of American Art, New York, NY. Recent solo exhibitions include Tenemental: With Sighs Too Deep for Words, Howl! Happening, New York (2018); Thomas Lanigan-Schmidt: Mysterium Tremendum, Rockland Art Center, NY (2013); and Ecce Homo: Thomas Lanigan-Schmidt & The Art of Rebellion, Pavel Zoubok...

Edouard MAC AVOY Theater : Tragedy of Love, 1966 Original lithograph Handsigned in pencil On Rives vellum 37 x 28 cm (c. 15 x 11 inch) Excellent condition

Vintage poster realized by Galleria Rondanini in 1978. Offset print. Excellent condition.

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Regards sur Paris, 1963. Published by André Sauret, Paris;...

Diasec-mounted Giclée print on aluminium composite panel Edition of 75 Signed and numbered on label affixed to the back Mint. Sold in the original HENI packaging Published by HENI Ed...

Max Epstein, Canadian (1932 - 2002) - Roots, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 99 AP, Image Size: 19 x 28 inches, Size: 23 in. x 35 in. (5...

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

Medusa is an original lithograph on paper, realized by Russian scenographer Eugène Berman, Image Dimension: 45 x 63 cm Hand-signed on the lower right. In good conditions. The art...

These are two separate 40 x 26 inch cyanotypes (unique monotypes) made using the same tree branches flipped over facing the opposite direction, the result being a symmetrical mirror ...

Decorative motifs of the German Renaissance is a vintage chromolithograph realized by an anonymous artist in the early 20th Century. Good conditions. The artwork represents Decorat...

Archipelagus Septentrionalis is an ancient map realized in 1650 by Johannes Janssonius (1588-1664). Good conditions. From Atlantis majoris quinta pars, Orbem maritimum [Novus Atlas...