Face Prints and Multiples

About this work: Executed in 1952, Portrait de Balzac is a wonderful example of Picasso's extraordinary ability to distill personality into the fewest possible lines. With a continuo...

Medium: lithograph (after the original lithograph poster executed for the Annual Ball of the School of Decorative Arts, of Paris). During the late 1940's and throughout the 1950's, H...

About this work: Created in 1942-43, this work belongs to one of the most fertile periods of Matisse’s career as a printmaker and draftsman. By this time, Matisse had long since mast...

Medium: lithograph (after the drawing). Printed in 1966 at the Mourlot Freres atelier for the "Ceiling of The Paris Opera" book, exploring Chagall's designs for The Paris Opera. Size...

Medium: lithograph (after the drawing). Printed in 1973 for the art revue Derriere le Miroir (issue number 205) and published in Paris by the atelier Maeght. Sheet size: 15 x 22 inch...

George Bellows (1882-1925) Arrangement, Emma in a Room Lithograph, 1921 Signed in pencil by the artist and by his printer, Bolton Brown (see photos) Titled in pencil by the artist (s...

Shepard Fairey The Live Anthology – From The Vaults Vol. 1 Screen print on thick cream Speckletone paper Year: 2025 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 1000 Numbered by ...

This elegant composition by Will Barnet, titled Seventh Season, reflects the artist’s mature and highly recognizable style—quietly introspective, balanced, and refined. Barnet, a lea...

A vibrant and whimsical first edition lithograph from Marc Chagall’s celebrated Lithographs Volume II, showcasing the artist’s signature dreamlike composition. Floating figures, play...

Medium: original lithograph. Printed in 1982 for the art revue Derriere le Miroir (issue number 250, dedicated in homage to Aime and Marguerite Maeght) and published in Paris by the ...

"Jewish Grandmother," print on canvas, limited series. Origin: from the collection of the artist's family. Each copy is accompanied by certificate of authenticity In the work of Dmi...

Shepard Fairey Ozzy Farewell Tour (Silver), 2019 Screen print on thick cream Speckletone paper Year: 2025 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 450 Signed, dated and numbe...

Remembrance (for Teddy and Arnie) is one of ten silkscreen prints included in Homombre, a portfolio that examines the experiences, identities, and cultural realities of gay Latino me...

Offset Lithograph from a portfolio of five Andy Warhol prints published by te Neues, but now out of print. Professionally framed in white wood and ready to hang, this postcard offers...

Artist: Theo Tobiasse, French/Israeli (1927 - 2012) Title: J'ai retrouvé mon père sur les rives du Jourdain. Cat. Nahan Year: 1983 Medium: Aquatint Etching with Carborundum, signed i...

Offset lithograph postcard Hand signed in ink by Roy Lichtenstein Published by the Museum of Modern Art The original 1963 painting was acquired by MoMA in 1971. This postcard was acq...

Vintage postcard published by the Guggenheim Museum. Presented in a black wood frame with a 1-inch front profile and a 3/4-inch side profile, the artwork is mounted behind a 4-inch m...

Photogravure realized in 2013 by Phaidon Press after a 1971 photograph by Andy Warhol. Paper: Medium weight, clay coat - satin/matte finish. Certificate of authenticity by White Kn...

Elsie, Emma and Marjorie, Second Stone (Marjorie, Emma and Elsie) Titled in pencil on the print: "Three Girls" Lithograph, 1921 Signed in pencil by the artist and by his printer, Bol...

Edition Details: Year: 2008 Class: Art Print Status: Official Technique: Offset Lithograph Paper: Thick manila Size: 24 X 36 Given away at Obama campaign events to show support for ...

Medium: original lithograph. This lithograph is from the rare 1953 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1953 Spr...

By George Condo 2024 22 colour silkscreen with spot colours on 600gsm Somerset Tub Sized Radiant White paper 80 x 81 cm Edition of 150

Shepard Fairey Johnny Ramone Smokin’ Strings Screen print on thick cream Speckletone paper Year: 2024 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 600 Signed by Shepard Fairey, d...

From the Nudes portfolio, single sheet titled "Nude with Blue Hair; State 1" by Roy Lichtenstein published by Tyler Graphics. Not numbered and unsigned. Paper Size: 11 x 8.5 inches...

Offset lithograph promotional card Hand signed in black marker on the front Provenance: Estate of artist Joseph O'Sickey This elegantly scaled promotional card, which is, exceptional...

'Set Pieces: Vanity of Trust', color lithograph, 1949, edition 40, Fine and Looney 279. Signed, titled, dated and numbered '23/40' in pencil. A fine, impression with fresh colors, on...

A woman of Santiago de Cuba. The Spirit of the Revolution series documents the generation of Cubans that saw the dramatic changes of 1959 as young adults. They have a strength of ch...

Original First Day Cover (FDC) issued by the US Post Office, and postmarked with a dateline of Washington, D.C. on December 2, 1964. Hand signed in black ink by Jasper Johns The FDC ...

Andy Warhol retrospective exhibition at the Ludwig Museum in Cologne / Koln 21 November 1989-11 February 1990 Andy Warhol Retrospektive Museum L...

Original exhibition poster featuring the work of Henri de Toulouse-Lautrec, created for the Louisiana Museum in Humlebæk, Denmark. Printed in Paris by Mourlot, the poster captures on...

Color lithograph after the watercolor illustrations by Antoine de Saint-Exupéry from his beloved masterpiece "The Little Prince". This lithograph was printed and published in 2009 ...

Lithograph in colors on wove paper. Artist proof signed and numbered in pencil out of 10 by Robert Longo, published by Brooke Alexander from the Men in the Cities. Frank and Glen st...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the collections of the Los Angeles County Museum of Art, and Scripps College. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

Francis Bacon 
Portrait of Isabel Rawsthorne, 1966
 Lithograph on paper
 47.4 x 42.1 cm (framed) unsigned publsihed in Derriere Le Miroir, No. 162,...

Paper Size: 13.75 x 17 inches ( 34.925 x 43.18 cm ) Image Size: 13.75 x 17 inches ( 34.925 x 43.18 cm ) Framed: Yes Frame Size: H: 14.75 x W: 18 x D: .75 in. Condition: A: Mint ...

'Buste de Femme d’après Cranach le Jeune'. An extremely rare color lithograph based on the original 1958 linocut, edited in 1966. One of the few pieces made avant la lettre. Hand-si...

This official exhibition poster, featuring a reproduction of Girl and Spray Can (detail) from Lichtenstein’s iconic 1¢ Life portfolio (1964), was created for a 2013 retrospective at ...

Medium: original lithograph. Catalogue reference: M 366. Executed by Chagall for the Jerusalem Windows portfolio and printed in Paris in 1962 at the atelier Mourlot. Size: 12 3/4 x 9...

Cancer, 2018, collage, print, figurative, gold, tarot, horoscope, metallic gold edge, on glossy heavy card stock with pink design on reverse.

1964 Offset lithograph in colors, on wove paper Sheet: 23 x 23 in. (58.4 x 58.4 cm) Edition of 300 Signed and dated in black ink, lower right

Original Beat Back the Hun with Liberty Bonds vintage military poster.. Artist F. Strothmann. Original World War 1 antique vintage poster; archival linen backed and ready to fram...

Ohh Baby ! - Oversize Signed limited edition - Pop Art - Kate Moss by the London based contemporary pop art image creator and artist, BATIK. Measures 60 x 40" inches / 152 x 101 ...

Salvador DALI (1904-1969) Casanova : Birdy on the Tongue, 1967 Original etching Printed signature in the plate On Rives vellum 38 x 28 cm (c. 14.9 x 11 inch) REFERENCES : - Catalog...

KATHE KOLLWITZ (1867-1945) HAMBURGER KNIEPPE, 1901) (K.58 IIIb) Soft Ground Etching, Plate 9 ¾ x 8 ¼ sheet 10 ½ x 13 ¾. With the von de Becke blind stamp in the lower right. Prin...

Original Vintage 1933 French Automobile Poster – Roby Ranty Marot Art Deco Calendar Art Print Classic Car Advertisement. Archival linen backed in...

This is a framed reproduction of "Woman's Portrait", published in 1999 by LEM with the approval of the Succession Matisse. The piece, part of the permanent collection at the Hermitag...

This is an above the edition impression of an original lithograph by Marc Chagall, created in 1961 and printed in 1963 by Mourlot for Chagall Lithographe II, published by André Saure...

Original Paul Mohr Dubonnet Vintage Poster – Rare Art Deco Advertising, Linen-Backed, Excellent Condition, Authentic French 1930s Print – Wall Decor & Col...

The 1900 original poster "La Topaze" by Alphonse Mucha, part of the renowned "Les Pierres Précieuses" series, is a quintessential example of the Art Nouveau movement. This work, prin...

Original L'Andalouise au Temps des Maures vintage art nouveau poster. L'Andalousie au Temps des Maures. Exposition de 1900. Imprimerie C...

Itzchak Tarkay “tea at the club” Color Serigraph SIGNED. In good condition measures 49x38x2

Created after an original oil on canvas from 1907, the progression of these five women, abstracted through Picasso’s delicate hand, have heralded in most of modern art as we know it....

The original 1898 lithography entitled "Le Concert" by Henri de Toulouse-Lautrec is a work of great artistic finesse, capturing both the artist's distinctive style and the elegant scene of society at the time. This lithograph features a well-dressed, wealthy couple in a red theater box. The gentleman is Gabriel Tapié de Céleyran and the lady is Émilienne d'Alençon. The woman is dressed in fur and wears an elaborate black hat, exuding undeniable elegance and sophistication. Lautrec meticulously captures the details of their clothing and expressions, creating a striking depiction of 19th-century high society. This lithograph was commissioned from Toulouse-Lautrec by Ault and Wiborg, American manufacturers of lithographic ink. It was part of a limited edition printed in Paris, with the original zinc plates subsequently shipped to America for printing in the main edition. The four original zinc plates are now housed at the Art Institute of Chicago. This work is all the more remarkable as it is believed to be the only lithograph Lautrec...

Portrait  is a Screen Print Artwork realized by Salvatore Fiume in 1970s. Very good condition on a cream colored cardboard. Hand-signed and numbered with pencil by the artist on th...

James Lesesne Wells, 'Sisters', linocut, edition not stated but small, 1928. Signed, titled, and annotated 'imp' in pencil. A fine impression on off-white wove Japan paper, with wide margins (1 7/8 to 3 3/4 inches), in excellent condition. Printed by the artist. Very scarce. Matted to museum standards, unframed. Image size 8 3/16 x 6 3/4 inches (208 x 171 mm); sheet size 13 1/2 x 10 3/4 inches (343 x 273 mm). Exhibition and Literature: 'Narratives of African American Art and Identity: The David C. Driskell Collection,' The Art Gallery at the University of Maryland, extensive touring exhibition, 1998-2000. Collections: Pennsylvania Academy of the Fine Arts, Smithsonian Institution (Anacostia Community Museum). ABOUT THE ARTIST “Wells is more than an artist with a deep concern for his fellow man. He carries many of his themes a step further into an apocalyptic world, a world of revelation and shifting lights. … He works on large blocks in a bold free style. … His work has a vigor, therefore, that is not often used in the medium today.” —Jacob Kainen (painter, critic, and collector) from Richard J. Powell’s 1986 essay Phoenix Ascending: The Art of James Lesesne Wells. James Lesesne Wells was an American painter, printmaker, educator, and pioneering figure of the Harlem Renaissance, whose work established a vital connection between African heritage, modernist form, and African American cultural identity. Known for his innovative use of linoleum and woodblock printing, Wells played a key role in shaping 20th-century African American art and inspired countless students throughout his lengthy career as a teacher at Howard University. Born in Atlanta, Georgia, Wells' early exposure to the arts came through church and community, where African American cultural traditions were central. He pursued formal artistic training at Lincoln University in Pennsylvania (earning a B.A. in 1924), followed by studies at the Pennsylvania Academy of the Fine Arts and the Barnes Foundation, where he encountered European modernists as well as traditional African sculpture, which profoundly influenced his style. Wells moved to New York in the late 1920s, swiftly immersing himself in the lively artistic and intellectual scene of Harlem. There, he became associated with artists, writers, and thinkers of the Harlem Renaissance, contributing to the growth of Black cultural identity. Considered a mentor to many famed artists of the Harlem Renaissance, Wells served as director of a summer art workshop in Harlem where his assistants included Charles Alston, Jacob Lawrence, and Palmer Hayden...

The 1957 original exhibition poster titled Pâtes Blanches: Empreintes Originales éditées par Madoura et Gravures Rares by Pablo Picasso is a significant piece that reflects the artist's deep involvement with ceramic art and printmaking during that period. The poster was created to promote an exhibition at Galerie 65 in Cannes, France, showcasing Picasso’s ceramics and rare engravings, with a particular focus on his work with pâtes blanches, or white clay. By the late 1940s, Picasso had become increasingly involved with ceramics, producing a vast number of pieces at the Madoura pottery studio in Vallauris, France. The studio, owned by Georges and Suzanne Ramié, became a creative haven for Picasso, where he could explore new forms of expression beyond painting and sculpture. His work with ceramics brought forth a unique blend of classical forms and modernist abstraction, often infusing traditional pottery with his distinctive artistic style. The term pâtes blanches refers to the white earthenware clay that Picasso used for creating his ceramic pieces. This material allowed him to experiment with various textures and finishes, which he combined with his characteristic line work and engraving techniques. The poster advertises this innovative work, highlighting the original prints and rare engravings that were part of the exhibition. The exhibition at Galerie 65 in Cannes ran throughout the summer of 1957 and offered art lovers and collectors the opportunity to view and acquire some of Picasso's rarest ceramic works and prints. It was a testament to Picasso's versatility as an artist, showcasing his ability to transcend different mediums while maintaining the boldness and originality that defined his career. The poster itself, with Picasso's handwritten details and a depiction of one of his engravings, serves as both a promotional tool and a work of art in its own right. It reflects Picasso's personal touch and his deep connection to the work he produced during this period. Today, this exhibition poster remains a coveted item for collectors of Picasso’s works and 20th-century art, representing a unique moment in Picasso's extensive and varied artistic journey. Exhibition - Galerie 65 Cannes...

Amleto Dalla Costa, Italian (1929 - ) - Maria, Year: 1978, Medium: Poster, signed and numbered in pencil, Edition: 100/325, Size: 18 x 13.25 in. (45.72 x 33.66 cm)

VENDEDORA, a limited edition lithograph by the renowned American-born Mexican sculptor and printmaker Elizabeth Catlett(b.1915–2012) depicts a sensitive black and white portrait of a...

YOUNG DOUGLASS is a hand pulled, original limited edition relief print created using linoleum cut printmaking techniques on white archival Somerset White paper, 100% acid free. Hand signed in pencil by Elizabeth Catlett on the lower margin, embossed with printer's chop mark on lower left, print documentation provided. YOUNG DOUGLASS is an impactful graphic statement by the renowned African-American and Mexican woman sculptor and printmaker, Elizabeth Catlett, created as a tribute to Frederick Douglass, the most distinguished black American human rights leader of the 19th century. Strong impression printed in rich black ink on white wove paper, a powerful portrait of Douglass as a young man, with his distinct facial features, thick black hair, well-dressed in a formal high collar shirt...

Pierre-Yves Tremois Thésis and Pelée Original etching, 1970 Handsigned by the artist Numbered / XXIV copies (total edition of 90 + XXIV) Size 57 x 45 cm (c. 22,4 x 17,7 in) Very goo...