Decor Prints and Multiples

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Vintage Pressed Flowers Nº2 + Year: 2023 + Edition Size: 20 + Stamped and Certificate of Authenticity p...

Original lithograph on Arches paper Handsigned lower right with pencil and dedicated in french " Pour Andrée amicalement " Annotated lower left E.A for " Epreuve d'Artiste"

Pablo Picasso, Spanish (1881 - 1973) - La Chevre-Feuille Suite, Year: 1943, Medium: Suite of 18 Color Etchings, with cover sheet, Image Size: 10.5 x 8.25 inches, Size: 11 x 9 in. (2...

Hirst explains that, “mathematically, with the spot works, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where color can ex...

Subject : Ancient Greek vase-painting depicting a warrior, seated young man, and young woman. Technique : Copper-line engraving with original hand-colouring Background informatio...

Miguel Rasero (Spain, 1955) 'Vinas', N/A carborundum, chine colle on Heavy weight handmade paper 52.6 x 40.6 in. (133.5 x 103 cm.) Edition of 18 ID: RAS-301 Hand-signed by author

Le Repos is an original lithograph realized by Georges Braque (After) (Argenteuil, 1882 - Paris, 1963) in 1967. Original Lithograph on paper. Published by Maeght Editeur, Paris. Credits printed on rear. Mint Conditions. Georges Braque (1882-1963) was a French Fauve painter who began to rethink his own painting style after admiring Picasso’s Les Demoiselles...

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...

Japanese woodblock print of a woman kneeling by the river. She is holding a stick making it appear like she is fishing with it. The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Utagawa Kuniyasu...

Capri-Faraglioni is a splendid print in etching technique engraved by Felice Casorati (1883-1963). The state of preservation of the artwork is excelle...

Paper Size: 9.5 x 6.5 inches ( 24.13 x 16.51 cm ) Image Size: 9.5 x 6.5 inches ( 24.13 x 16.51 cm ) Framed: No Condition: A: Mint Additional Details: Limited edition hand-color...

Exhibition poster from the Albright Knox Art Gallery. From John's number series, a collection of collage and oil depiction of arabic numerals. Circa 1976.

Woodcut Engraving on cream wove Montval paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Hélène Chez Archimède, 1955. Publis...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama 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. Frame: 37 x 37 in This is an artist's proof from the edition of 100 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...

Jean Cocteau (1889-1963) " Pêcheur provençal " Signed , dated and inscribed Jean Cocteau . certified ( with original certificate 1962.) partially glazed white earthenware plate co...

Ira Moskowitz, Polish/American (1912 - 2001) - Flowers 6, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 75, Size: 29.5 in. x 21 in. (74.93 cm x 53.34...

Landscape print of small Japanese city, Nara (A). Signature and seal lower right. Mat board covers the margins which may have date, title and edition. Non-glare glass makes inspection and photography difficult. Visible Area: H 15 in. x W 20.5 in. Artist Biography: Kiyoshi Saito was born in Fukushima prefecture in 1907. At the age of five he moved to Otaru in Hokkaido, where he would come to serve as an apprentice to a sign painter. Saito became infatuated with art after studying drawing with Gyokusen Narita and moved to Tokyo in 1932 to study Western-style painting at the Hongo Painting Institute. He began experimenting with woodblock prints and exhibiting his works with Nihon Hanga Kyokai in 1936. Saito mainly worked in oil painting until his invitation from Tadashige Ono...

Artist's proof, printed on antique laid paper, large margins, representing an “antique marble vase in the gallery of the palazzo Barberini” as he r...

From: Les Douze Mois de 1889 As published in Vol. 9, No. 425 of Les Hommes d'Aujourd'hui. Published by Sagot, Paris Proof before letters without the calendarium as published Very ra...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, The Intimate Sketchbooks of G. Braque, Verve: Revue Arti...

Jean Cocteau ( 1889 - 1963 ) " le joueur de pipeau " signed Jean Cocteau . original partially glazed terracotta plate . Marked and numbered Edition originale de jean Cocteau Atelier...

Georges Braque, French (1882 - 1963) - Phaeton, Year: circa 1963, Medium: Offset Lithograph, Image Size: 5 x 7 inches, Size: 13.5 x 10 in. (34.29 x 25.4 cm)

Woodcut Engraving on cream wove Montval paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Hélène Chez Archimède, 1955. Publis...

PABLO PICASSO (1881-1973) Visage de femme (A. R. 220) Terre de faïence dish, 1953, from the edition of 400, inscribed 'Edition Picasso' and 'Madoura', glazed and painted, with the ...

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...

Graphic, nature, pattern, geometric

Artist: Estelle Ginsburg, American Title: Women of Intellect #6 Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: 150 Size: ...

Paper Size: 28 x 25.25 inches ( 71.12 x 64.135 cm ) Image Size: 18.25 x 24.25 inches ( 46.355 x 61.595 cm ) Framed: No Condition: A: Mint Additional Details: From an edition pr...

- lithograph in four colours on transparent transfer paper, composition reprinted on stone - 1000 copies for the cover of the brochure published on the occasion of the Picasso exhibi...

Raoul Dufy, French (1877 - 1953) - The Serpent, Year: c. 1911, Medium: Woodcut on laid paper, Image Size: 8 x 7.5 inches, Size: 11.25 x 8.75 in. (28.58 x 22.23 cm), Description: Fr...

This beautiful poster by Marcello Nizzoli features a black background, with a bright red Campari bottle and glass in the center of the poster. The desig...

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...

Paper Size: 12.25 x 9.5 inches ( 31.115 x 24.13 cm ) Image Size: 12.25 x 9.5 inches ( 31.115 x 24.13 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addi...

Signed, titled, and numbered from the edition of 15. Japanese still life with vase and flowers on a table. While the images have some resemblance t...

A horse! A horse! My kingdom for a horse! by Mychael Barratt [2021] limited_edition Silkscreen print on paper Edition number 100 Image size: H:70 ...

Shepard Fairey's "Mayday" - A Narrative of Distress and Hope Edition 439/1000 Signed and dated to lower right Step into the vibrant world of contemporary art with Shepard Fairey's ...

Portrait of Jesus is an original artwork realized by Max Théron in the first years of the 20th Century. Woodcut print on paper. Hand-signed in penc...

Maurice Pasternak has created a surreal landscape that includes traditional images of a sun-filled sky, dark shadows cast on water and through leafy trees all under the guise of thre...

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, ...

ROBERT INDIANA Classic Love, 2006 Colorful wool rug on a frame 31 x 31 in Ed 5103 of 10,000

The Ornament is a woodcut print realized by Charles-Antoine Jombert in 1755. Good conditions. The print was realized for the anatomy study “JOMBERT, Charles-Antoine (1712-1784) - M...

Woodcut print on 71gsm paper Edition of 50 Signed, numbered, dated and titled Mint. Multiple creases and waving across the sheet, this is apparent across the edition and does not con...

Paper Size: 34.25 x 25 inches ( 86.995 x 63.5 cm ) Image Size: 28 x 23.5 inches ( 71.12 x 59.69 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shippin...

Hand numbered, signed and dated on the recto in the lower right margin. Reference Littman, K, & Haring K. Keith Haring, Editions on Paper 1982-1990: The Complete Printed Works, Cantz...

Josh Smith Untitled 2018 Xerox print (Edition of 50 + 10 APs) 11 x 8.5 inches

Though it is stated as an edition of 20, each print in the edition is unique, with handpainting along with stencil painting. Completed on a trip to Paris, it is on a hand-made paper from Bhutan. Throughout his 40 year career as an artist, Frank Romero has been a dedicated member of the Los Angeles arts community. As a member of the 1970s Chicano art collective, Los Four...

Japanese Accessories is a Woodcut print realized in the first half of the 19th century by Utagawa Kunisada. Good condition. This wonderful modern artwork represents Japanese acce...

From the Paintings series. Woodcut, Lithograph, screen print and collage on Arches 88 paper. Hand signed, dated and numbered by Roy Lichtenst...

Ed Ruscha A Few Palm Trees 1971 (1st edition): Hand-signed 1st edition of Ed Ruscha's A Few Palm Trees. The highly collectible Ed Ruscha artsit book featuring photographs of thirteen...

Jean Cocteau ( 1889 -1963 ) " Orphée à la lyre " signed and dated jean Cocteau 1958 . marked and numbered (10/50) Edition originale de Jean Cocteau Atelier Madeline-Jolly 10/50 (u...

This Manolo Valdes etching with unique color collage is the 34th edition of 50.

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. IX, N° 35-36...

Game board designed by Lucien Boucher Les Forbans is a game without any randomness, which is rare for that time. On a world map drawn by Lucien Boucher (famous illustrator known for his maps and posters in the 30's/50's), two teams of pirates settle their accounts. Intended to be played initially with two players, Les Forbans offers special rules that allow up to 6 players to participate. The Mappemonde proposes land and sea routes where the painted lead figurines...

Niagara Ellen Lanyon, American (1926–2013) Date: 1989 Lithograph, signed and numbered in pencil Edition 38/50 Size: 31.5 x 47 in. (80.01 x 119.38 cm)

Original lithograph and Pochoir (stencil). One of the beautiful illustrations realized by Paul Iribe for "Les Robes de Paul Poiret" in 1908. Very good condition except for some minor...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. II, N° 8, 19...

Artist: Peter Max (1937) Title: Star Catcher Year: 2003 Edition: 453/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscription:...

This artwork "Persian Rug" 1983 is an original colors lithograph by noted American artist Dee Shapiro, born 1936. It is hand signed, dated and numbered 57/100 in pencil by the artist. The image size is 25.25 x 16 inches, sheet size is 30 x 20.25 inches. It is in excellent condition. About the artist: Dee Shapiro is a Contemporary American artist and writer associated with the Pattern and Decoration movement. Dee Shapiro was inspired to be an Artist in her early years of education. Dee's career started in the 1970s as a pattern painter. She researched and explored the Fibonacci Progression in color on graph paper and also explored geometric complexity of architectural designs, leading her to create the small horizontal oil paintings of cities...