Decor Prints and Multiples

Limited edition of 100 prints, numbered and hand signed.

Decorative motifs of Japan is an original print by an anonymous artist. Chromolithograph. Excellent conditions. The artwork represents Decorative motifs of Japan with details. Pla...

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

Utagawa Kuniyoshi Kinpyoshi Yorin, hero of the Suikoden, between 1826 and 1830 from the set The one hundred and eight heroes of the popular Suikoden, one by one (Tsuzoku Suikoden go...

Figure with Flowers is original lithography realized by Sami Burhan in 1969. Hand-signed, dated and numbered, edition of 72/100 prints, on the lower left in pencil. This print represents a figure with flowers inside an orangish window frame, with vivid colors, joyfully creating a dream-like atmosphere through yellowish fantasy. Sami Burhan (Aleppo, 1929) was a Sirian artist, painter and engraver specialized in Arab calligraphy...

Artist: Sultan, Donald Title: Yellow Poppies, Aug. 17,2022 Date: 2022 Medium: color silkscreen with enamel inks and flocking on 2-ply museum board Unframed Dimensions: 30" x 30"...

Poster. Measures 16 x 11 inches and is Unframed. Good/Fair Condition-signs of wear consistent with age and handling.

Seibutsu (Still Life) A Vase and Apples Color woodcut, 1925 Signed on the mount (support sheet) From: Dojin zasshi, Hanga Magazine, Volume 8, No. 8 Condition: Excellent Image/Sheet ...

Femme au Collier is a linocut reproduction realized in smaller size after a linocut by Pablo Picasso of 1959. Good conditions, except for very minor foxing on edges. Not signed. A ...

Rebecca Skinner’s “Crowded” was photographed at an abandoned china factory and is part of a series documenting the loss of industry in America. The 30 x 20 inch color photo with sati...

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...

Maria Sibylla Merian was born in Germany in 1647 and received early artistic training from her stepfather, an established still life painter. She was fascinated by insects and collec...

Weight Lifter is an original colored lithograph artwork realized by Léon Gischia during the XX century. Hand-signed in pencil on the lower right. Numbere...

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 ...

Ancient Roman Decorations from the series "Antiquities of Herculaneum", is a etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditio...

Sailor is an original xilograph on ivory-colored, realized by the Italian Artist Lorenzo Viani in 1930ca. Monogram of the artist on the lower left" LV"....

M.C. ESCHER (1898-1972) Intertwined Lizards, 2008 Facsimile after the original woodcut from 1938 Unsigned Numbered / 450 copies (the number you can see can be different) On vellum 4...

Lebadang (aka Hoi), Vietnamese (1922 - 2015) - Stone Horses. Year: circa 1980, Medium: Etching, signed and numbered on pencil, Edition: E.A., Image Size: 16.5 x 22.5 inches, Size: 1...

Still-Life 02 is an offset print realized after the Sicilian artist Renato Guttuso, 1980s. Very good conditions. Renato Guttuso (Bagheria, Palermo 1912 - Rome,1987) was a famous I...

Andre Masson, French (1896 - 1987) - L'oiseau amoureux, Year: 1957, Medium: Etching and aquatint on BFK Rives, signed and numbered in pencil, Edition: 27/30, Image Size: 8 x 6.75 in...

Nice original serigraph numbered 24/25 and hand signed by Yvon Taillandier representing the Eiffel Tower. Yvon Taillandier's work is related to fre...

Decorative motifs is an original print by an anonymous artist. Chromolithograph. Good conditions. The artwork represents Decorative motifs in a well-balanced composition.

Limited edition of 90 prints, numbered and hand signed.

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...

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

Composition is an original print in etching and drypoint on paper realized by an anonymous artist of the mid-20th Century. In very good conditions. The artwork created through conf...

Decorative motifs is an original print by an anonymous artist. Chromolithograph. Good conditions. The artwork represents Decorative motifs in a well-balanced composition.

'E' From 'Hockney's Alphabet' By David Hockney David Hockney is a renowned British artist known for his vibrant paintings and innovative use of technology in art. His work often e...

Christopher Pratt (1935–2022) is one of Canada’s most beloved and recognizable Maritime artists. Born in St. John’s, he dedicated the majority of his artistic practice to depicting s...

Keith Haring Into 84/Keith Haring Painted Man 1983: Announcement card for Keith Haring’s well-documented exhibition, 'Into 84' at Tony Shafrazi Gallery, New Y...

Medium: pochoir (after the lithograph). Printed in 1960 at the Jacomet atelier and published by Berggruen in an edition of 1500. Size: 8 1/2 x 9 inches (218 x 227 mm). There is anoth...

Walt Kuhn Kuhn Family Holiday Card Lithograph on paper 6 1/4 x 3 3/4 inches Walter Kuhn was born on October 27, 1877 in Brooklyn, NY. His father, Francis Kuhn, was the owner of a s...

Unframed World-renowned guru of Jap Pop Art - Zane Fix, is an American artist, born in Brooklyn, New York. The art of Zane Fix blends both the intensity and simplicity of Japanese ...

Victor Vasarely (1906-1997) - Zeta Silkscreen / Serigraph from 1969. Edition III/VIII. Dimensions of work: 46 x 40 cm. Hand signed. Reference: Catalogue Raisonné Vol I par Pedro...

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...

Jean Cocteau ( 1889 - 1963 ) " Hermes " rare and famous terracotta plate partially glazed .embossed background . signed Jean Cocteau 1958 . original serie conceived in 1958 an...

Bird #2 is a striking vintage black-and-white monotype print by celebrated Colorado modernist Edgar Britton (1901–1982), created in 1949. This original mid-century work presents a bo...

Jean COCTEAU ( 1889 - 1963 ) " Bouc aux cornes Blanches " signed and dated Jean Cocteau . 1960 . marked edition originale de Jean Cocteau / Atelier Madeline -Jolly ( underneath )...

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...

Framed: 39 3/8 x 30 1/8 x 1 1/2 inches, 3/4 inch face, Wood frame Wayne Thiebaud was born Mesa, Arizona in 1920, and his family soon moved to Los Angeles in 1921. In high school he ...

Endless summer is a Limited edition hand coloured collograph print by Vicky Oldfield. Each print is individually painted, making every one unique. Vicky Oldfield is available online ...

Hat, Edition 100/100. Lithograph [5 plates, 5 colors, 5 runs], Collage. Image: 15.5 x 22.5 cm. Sheet: 27 x 33.5 cm. Framed 37 x 45 cm. Published in 1982 on on Velin d' Arches paper b...

Rebecca Skinner’s “Spill” was photographed at an abandoned china factory and is part of a series documenting the loss of industry in America. The 20 x 30 inch photo with satin finish...

limited_edition etching and aquatint Edition number 28 Image size: H:21 cm x W:20 cm Complete Size of Unframed Work: H:43 cm x W:37 cm x D:1cm Sold Unframed Please note that insitu i...

Painter John Salt is known for his photorealistic depictions of the deteriorating American landscape. His favored subjects include junkyard jalopies and broken-down mobile homes. Bor...

"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...

Artist: Le Parc, Julio Title: Larga marcha, 4 bifurcaciones 2 Date: 2021 Medium: Lithograph Unframed Dimensions: 26.75" x 26.75" Framed Dimensions: 32.25" x 32.25" Signature: ...

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 ...

Georges ROHNER Surrealist Still life with Lemon, 1972 Original lithograph (Mourlot workshop) Handsigned in pencil Justified HC (hors commerce) On Japan paper 76 x 54 cm (c. 29,9 x 2...

Many places, many times intermingle in the work of Roberto Juarez. His life is so much a part of his work, that each new body of work introduces subjects, styles and motifs that seem...

I know Not. I know (2010) by Takashi Murakami Offset lithograph with diamond dust Numbered and signed by the artist Sheet 76 X 59 cm Framed Edition 196/300 Takashi Murakami is best...

Francisco Toledo Caimanes I (Caymans I), not dated Lithograph Unframed dimensions: 17 x 20.5 inches Framed dimensions: 26.5 x 33 inches Edition: Estado III, VII/XIV

Stamped on the Verso of the print and in Mint Condition. From the David Kordansky Gallery show in 2017. Very rare poster that has been stored flat since purchase. One of his most ...

Three Beauties under a maple tree from the series "A Contest of Fashionable Beauties of the Gay Quarters". The woodblock print is printed on rice paper....

Cruche aux oiseaux (A.R. 456), 1962 Ed. 142/200 pcs H. 22 cm I H. 8 5/8 in White earthenware clay, decoration in engobes under partial brushed glaze black, white and red patina Numbe...

Medium: lithograph (after the original lithograph poster for the Exposition Vallauris). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the a...

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...

Hand Signed. Edition of 60. Excellent condition.

(There’s A Place) Pensao Amor, Lisbon [2021] limited edition Digital on 315gsm etching paper Edition of 200 Image size: H:50 cm x W:50 cm Complete Size of Unframed Work: H:60 cm x W:60 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look I think the name suggests that this cosy little bar served a slightly more risqué purpose once upon a time. Johnny Bull...

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)