Graphics Prints and Multiples

The 1947 original map Atlas de la France Vinicole - Les eaux-de-vie de France - Le Cognac Petite Champagne et Borderies, created by Louis Larmat and printed by Dorel in Paris, is a d...

Takashi Murakami "Flowers on the Island Closest to Heaven" 2018 Screenprint in colors with platinum leaf wove paper 20 1/2 x 17 3/8 inches Numbered from the edition of 100 Signed by ...

In 2011, Barthélémy Toguo, a renowned Cameroonian artist, designed the official Roland Garros poster. Known for his multidisciplinary approach and themes of migration, identity, and ...

"Many Seasons" by Hui Chi Mau New York Graphic Society, 1977, Printed in Italy Print measures 25 in x 34 in Print is in good condition

Alex Katz (b. 1927) Ada 3 — From the ADA Portfolio, 2022, (/100) Silkscreen in colors on Saunders Waterford High White HP 425 gsm paper 54 x 40.50 in

Obey Deco Flower (Blue, Black, Red). Screenprint on thick cream Speckle Tone Paper. 18 x 24 inches. Signed by Shepard Fairey. Numbered edition of 144/300. "The Obey Deco Flower is inspired by Constructivism...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 5 (double)...

Signed, title and numbered in pencil by the artist. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate mor...

Georges Braque - Birds - Original Lithograph Published in the deluxe art review, XXe Siecle 1958 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

ENDLESS POWER PETROL PALACE (RED) screen print by Shepard Fairey with dimensions 18 inches by 24 inches. Edition 299 of 350, signed and numbered by Shepard Fairey. Energy awareness and renewable energy activism inspired collage style with beautiful red, black and cream block style with clean lines. A lot of shrewd advertising has been created to suggest that things we want are also good for us and society. Perfect examples are the ads celebrating the health benefits of liquor and cigarettes. My inclusion of the badge stating “with lung tonic” is a humorous nod to the absurd health claims historically made for harmful products. The claim that petrol provides an unlimited future is a snapshot of the overly-optimistic wish that oil is unlimited. Though oil is finite, our reliance on it is so extreme that the power wielded by those who control oil is virtually unlimited, a situation that inspired the title ‘Endless Power”. Oil and gas companies and the car manufacturers who profit heavily from gas powered engines used their power and influence to overturn a zero emissions law in the state of California, effectively delaying electric cars arriving on the market accessibly for ten plus years. It is dangerous for an industry to have that much power. Scientists hired by fossil fuels corporations represent the minority of the scientific community who claim oil stocks...

Richmond Park, from London Parks by Julian Trevelyan, 1969-70 Additional information: Medium: etching, aquatint and soft-ground (unframed) 58.5 x 77 cm 23 1/8 x 30 1/4 in signed, ti...

Book page 117 in Chagall Lithographe II (1957-1962). Reproduction of image from 1961. ‘Chagall Lithographe II' Andre Sauret, Paris, 1963. Text in French by Fernand Mourlot. The seco...

This View of Lyon is an original etching realized by George Braun and Franz Hogenberg as part of the Series "Civitates Orbis Terrarum". The “Civitates...

Jose Bedia (Cuban, 1959) 'Animal and mother' (Diptych), 2019 Woodcut and serigraph on Feltmark cotton paper 300 g. over streched canvas and framed Overall size: 199 x 199 cm. (78.3 ...

'Love Me' by New York based artist, Curtis Kulig Using a most universal symbol, 'The Smiley', Curtis Kulig replaces the eyes with his world-renowned signature mark, 'Love Me'. At 28...

Charles Lapicque Original Handsigned Lithograph Dimensions: 56 x 38 cm Edition: Epreuve d'Artiste Hand Signed Charles Lapicque was one of the great painters of the “Ecole de Paris...

Edition of 40. Archival Fine Art Giclée Print available 75 cm x 60 cm : £800 Hugh Turvey is a British artist and photographer who uses x-ray technology t...

Medium: Lithograph on vélin paper Year: 1983 Paper Size: 15 x 22.5 inches, with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Henri Mat...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

Shara Hughes, Pop, 2021 Giclee print on paper 84.1 x 59.4 cm (33.11 x 23.39 in) The piece Pop came from a Louisiana poster with the work, Pop, (202...

Over 350 year old antique architectural engraving of the floor plan of the Asti Palace located in Italy by Italian Giacomo Rossi, 1650...

Wayne Ensrud, American (1934 - ) - Blue Table, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Size: 35.5 in. x 25 in. (90.17 cm x 63.5 cm)

Lithograph on vélin paper. Paper Size: 9.06 x 7.875 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Marc, and Julien Cain. Chagall Li...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Vallier, Dora, et al. Braque, the Complete ...

‘Florist’ originally called ‘dead flowers’, was created using the flowers from my girlfriends ‘Zoom’ backgrounds over the space of several months. Usually scanned the moment she considered them to be wilted. About the series: " 'Detritus' series was born from the twin frustrations of lockdown halting all planned projects, yet litter still somehow being dropped in abundance on my street. With no idea of the final output, or indeed the hygiene implications, I started to collect, scan, and record what I found. When I realised these colourful misshapen objects could be turned into something beautiful, the frustrations left me and I began looking for other sources of Detritus. Florist, 2020 Series: Detritus Archival Pigment Print, Mounted on Dibond in custom made Frame; with Black Stained Oak and antireflective UV protective museum standard Art Glass Print 60 x 60 cm / Framed: 62 x 62 cm/ 24.5 x 24.5 inches approx. Edition of 8 + 2AP About the Artist George McLeod...

Rhythmic serenity emanates from this delightful work. Miro creates a quirky yet sophisticated pattern of decorative and playful spots, irregular yet repetitive like a Dalmatian's coa...

Warhol - Silver (2012) by Takashi Murakami Offset print, cold foil stamp, glossy varnish Hand signed and numbered by the artist Published by Kaikai Kiki Co., Ltd., Tokyo 28 in diamet...

This is one of a series of 6 related bird prints, identical in size and each the same shade of bright blue and white, which are as commanding individually as they are in groupings. Lisa Houck is a very established New England area artist as recognized for her public installations, paintings, watercolors, textiles and mosaics as her work with linocuts and woodblock prints. At times reminiscent of Folk and Aborigine art, inspired as well by James Audubon and Hokusai, Houck is widely known for a gorgeous and elegant sensibility which is both playful and quite serious that is uniquely her own. Lisa Houck 'Chittering and Chattering II' Linoleum Block Print, Edition 10 11 1/2 x 11 1/2 Inches (Image Size) Sold individually or as sets of 2, 3, 4, 5 or 6. These prints are unframed. Also available is a separate series of 8 larger linoleum block prints (editions of 10 each, 35 1/4 x 23 1/4 inches image size) of very related bird themes each in a different shade of blue. These series are also sold individually or as sets of 2, 3, 4, 5, 6, 7 or 8. Among the many large public art commissions the artist has completed for interior and exterior sites in Boston and nationwide in mosaic and mural format are permanent installations for The Dana Farber Cancer Institute, Children's Hospitals in Boston and Waltham, The Frieda Garcia Park, Fort Point Channel, The Cambridge Senior Center, and 4 libraries in Broward County, Florida. LISA HOUCK Education and Professional Affiliations: Tufts University/School of the Museum of Fine Arts, Boston, MA: M.F.A. 1989. Rhode Island School of Design, Providence, RI: B.F.A. 1975. Boston Printmakers SELECTED SOLO EXHIBITIONS: Beth Urdang Gallery, Boston, MA 2017 Cambridge Arts Council, Gallery 344, “A Long Walk with No Destination”, Cambridge, MA 2016 Beth Urdang Gallery, Wellesley, MA 2015 Patricia Carega Gallery: “White Line Woodcuts,” Center Sandwich, NH 2014 Rivers School, Weston, MA 2008 Bentley College: “All About the Square,” Waltham, MA 2003. Barton-Ryan Gallery: “Improbable Botanicals and Landscapes,” Boston, MA 2000. Randall Beck Gallery: Boston, MA 1993, 1991. Barbara Singer Fine Art: Cambridge, MA 1991. Coyote Gallery: Cambridge, MA 1989. Tufts University: “MFA Thesis Exhibition,” Cohen Arts Center, Medford, MA 1988. Modestino Gallery: Cambridge, MA 1987, 1986. New England School of Art and Design: Boston, MA 1986. Mott House: “The Comet and Other Phenomena,” Washington, DC 1986. SELECTED GROUP EXHIBITIONS: Arsenal Center for the Arts, “Big Print”, Watertown, MA 2016 FPAC Gallery, Fort Point Channel, “Mosaic Muse”, Boston, MA 2016 Art of Mosaic: Piecing it Together, Fuller Craft Museum, Brockton, MA 2013 National Mosaic Exhibit on Cape Cod, 2011 Fancy Plants: Bentley University, 2010 Contemporary Mosaics: Attleboro Arts Museum, 2010 Boston Children’s Museum: “I See Trees,” 2009. Somerville Museum: “Art of Mosaic,” 2009. Milton Academy: “Design/Build,” 2009. Danforth Museum: Members Show, 2007 Boston Printmakers: North American Print Biennial, 2005. Peabody Essex Museum: “In Nature’s Company,” Salem, MA 2004. Cambridge Art Association: “Hot Colors,” (Best in Show Award), Cambridge, MA 2002. Tufts University: “Alumni Exhibition,” Aidekman Gallery, Medford, MA 2001. Acacia Gallery: Gloucester, MA 2000. Wiggin Gallery: “Women in Watercolor,” Boston Public Library, Boston, MA 2000. New Art Center: “Lasting Impressions: Looking at the Land,” Newton, MA 1997. Bernard Toale Gallery: “The Pet Show,” Boston, MA 1996. Albers Gallery: Memphis, TN 1994, 1992,1991. Pritam & Eames: East Hampton, NY 1992. Boston Center for the Arts: Boston, MA 1989. DeCordova Museum: “Explorations in Handmade Paper,” Lincoln, MA 1989. Fuller Museum of Art: “RISD Alumni in Boston,” Brockton, MA 1989. St. Botolph Club: Boston, MA 1988. Danforth Museum: “Symmetry and Pattern in Art and Nature,” Framingham, MA 1986. Brunnier Museum: “Images of the Universe,” Ames, IA 1986. New England School of Art and Design: “A Celebration of the Return of Halley’s Comet,” Boston, MA 1985. Rose Art Museum: “Boston Printmakers,” Waltham, MA 1985. Fuller Museum of Art: “Triennial Exhibition,” Brockton, MA 1983. Cambridge Arts Council: “Lofty Views and Heightened Perspectives,” Cambridge, MA 1983. The Boston Company The Boston Public Library Brigham and Women’s Hospital Brunnier Museum, Ames, IA Coopers & Lybrand Fidelity Investments Fogg Art Museum Goodwin Procter Harvard Business School Harvard Community Health Plan SELECTED PUBLIC COLLECTIONS, NUMEROUS PRIVATE COLLECTIONS: Museum of Fine Arts, Boston Fogg Art Museum Boston Athenaeum The Boston Company The Boston Public Library Brigham and Women’s Hospital Fidelity Investments Goodwin Procter Harvard Business School Harvard Community Health Plan Brunnier Museum, Ames, IA Coopers & Lybrand Herman Miller Lahey Clinic Massachusetts General Hospital Massachusetts Mutual Corporation Montgomery Watson Harza Neiman Marcus New England Medical Center State Street Bank and Trust Valley Hospital, NJ GRANTS/PROJECTS: Herman Miller Lahey Clinic Massachusetts General Hospital Massachusetts Mutual Corporation Montgomery Watson Harza Museum of Fine Arts, Boston Neiman Marcus New England Medical Center State Street Bank and Trust Valley Hospital, NJ “City Square with Reflecting Pool,” 6’ X 6’ mosaic for Iron Street Park in Boston. Located on the corner of A Street and Iron Street in Boston, commissioned for this new park in Boston by a private client in 2014. Children’s Hospital, Waltham, MA: eleven-panel, oil-on-wood painting for the lobby, 2005. Grant from Massachusetts Cultural Council, 2005. For a ceramics program in the public schools, sponsored by the Dedham Cultural Council. John Hancock Financial Services: Frieda Garcia Park. Commission to create two mosaic murals incorporating children’s art from the community, 2004. Murals are 8’ X 10’ and 8’ x 22’. Broward County Cultural Affairs Office/Public Art Department, Florida: Public Art Commission to create paintings and printed materials for four libraries in Broward County, 2003. Dana Farber Cancer Institute/Jimmy Fund Clinic, Boston, MA: eight panel mosaic for the reception area. Architect: Miller, Dyer, Spears, 2003. Massachusetts Port Authority, Logan International Airport, Terminal E, Boston, MA: Six digital reproductions of paintings. Project Coordinator: Urban Arts Institute, 2001. ”The Rare Tropical Cod,” part of the Cavalcade of Cod, a school of 5’5” fiberglass fish sculptures which were displayed throughout the city of Boston in the fall of 2000. Sponsored by Boston’s B2K Committee. Poster and button and display banners for First Night Boston, 1998. Grant from the City of Cambridge to create murals for the Cambridge Senior Center, 1995. Administered by the Cambridge Arts Council. Fellowship in the Visual Arts, Massachusetts Cultural Council, 1994. Administered by the New England Foundation for the Arts. Grant from Arts on the Line, Cambridge, MA for temporary art in the subway including a 36-foot painting for the Kendall Square subway station, Cambridge, MA 1988. Grant from the Cambridge Arts Council for a mural for the Cambridge River...

Lithograph on vélin paper. Paper Size: 8 x 6 inches, image; 15 x 11 inches, overall. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Marc Chagall, The Jerusal...

Pierre Bonnard - The Sun Original Lithograph Dimensions: 32 x 24 cm Verve . Revue Artistique et Litteraire. Vol. V, Nos 17 et 18. Signed in the plate Unumbered as issued

Lithograph on vélin paper. Paper Size: 12.216 x 9.875 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and Fernand Mourlot. Chaga...

Nick Smith, You're Going To Need A Bigger Boat, 2018 Pigment print with screen print varnished over colour blocks on Somerset Satin 300gsm paper 72 × 60 cm (28 3/10 × 23 3/5 in ) ...

Artist: Marc Chagall (Russian/French) (1887-1985) Title: Lovers with Bouquet, Front Cover of Chagall Lithographe vol 1 Date: 1960 Medium: Color Lithograph Sheet size: 12 7/8 x 10 ¾ i...

Salvador Dali Autumn from the suite “The Seasons.”, 1972 Color Lithograph. Hand signed lower right. Numbered XC / CC. Sheet size: 76 x 56 cm. Published by Mitsubishi Department Sto...

Color lithograph, hand signed and numbered. Dada Paris Printed Guilde de la Gravure stamp

Every Year The Salmon Come Back, 1983. Serigraph, 65/99 In reference to the work, Robert Davidson says: "A narrative painting originating from personal experience of the Yakun ...

Medium: pochoir (after the watercolor). This charming pochoir was printed by Daniel Jacomet in a limited edition of 900 and published in Paris in 1959 by Editions XXe Siecle for "Le ...

Jellyfish Eyes - White 1 by Takashi Murakami Offset print, numbered and signed by the artist 19 ¹¹/₁₆ × 19 ¹¹/₁₆ in 50 × 50 cm Edition 67/300 Takashi Murakami is best known for his...

Lithograph on vélin Arjomari paper. Paper Size: 11.75 x 9.375 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Lettre à mon peintre Raoul Du...

This Archival print from the rare edition of 75 is a wonderful addition to any street art collection, offering beautiful contrast and subtle colors to any wall space. Colorful, c...

David Shrigley, Into the Void, 2023 12 Colour Screenprint with Varnish Overlay on Somerset Tub Sized 410gsm Paper 55 x 55 cm (21.65 x 21.65 in) Edition of 125 Hand-signed and num...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Jean Cocteau ( 1889-1963 ) " Femme à l'écharpe rouge " Exemplaire d'Auteur . hand signed Jean Cocteau . Partially glazed white earthenware plate with engobe conceived in 1958 In an ...

This exceptional 1886 calendar, created by the celebrated Art Nouveau master Eugène Grasset for the renowned Parisian department store Au Bon Marché, is a sublime blend of commercial...

Jellyfish Eyes - Black 5 is an offset lithograph on paper, 19.75 x 19.75 inches, signed and numbered 144/300 lower right. Framed in a contemporary white frame.

This artwork "Un Vase de Fleurs III (Flowers in a Vase)" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Frederic Menguy, 1927-2007. It is...

Artist: Hunt Slonem, American (1951 - ) Title: Pocahontas Pillow II Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Size: 26 x 29 inches

Hand signed and numbered by the artist. 12 Color, Hand-Pulled Screen Print on Mohawk Superfine UltraWhite paper with deckled edges. Edition of 150. Artwork is in excellent condit...

Agent X Nkosazana 55 (Silhouette, Portrait, Flowers, Vibrant) Year: 2025 Archival Pigment Print with Archival Inks on 240 gsm Hahnemuehle Paper Size: 30 x 20 inches (76 x 50 cm) Edit...

Set of Nine Floral Colored Prints Each print is unframed and measures 14 x 11 inches. A range of floral bouquets and plants - ideal for many interior design projects. Condition:...

Battle of Forbach is a map realized by R. Walker. Lithograph, printed in 1872 by Milliam Mackenzie, London. Good condition.

Pablo PICASSO Métarmorphoses d'Ovide, Woman and Horse, 1936 Original etching (Atelier Lacourière, Paris) Unsigned On BFK Rives vellum 32.5 x 25 cm (12.7 x 9.8 in) REFERENCES : - C...

The 1974 Temple University Music Festival and Institute poster, designed by acclaimed graphic artist Milton Glaser, is a timeless piece that encapsulates the essence of both music an...

Wild Path by Ronald Julius Christensen, American (1923–1999) Date: circa 1980 Screenprint, signed and numbered in pencil Edition of 295 Size: 30 in. x 22.5 in. (76.2 cm x 57.15 cm)

This recent poster, titled For Louisiana, was produced for the Louisiana Museum of Modern Art in Humlebæk, Denmark. The poster features David Hockney's iPad painting from December 22...

This is a high-quality reproduction of Flowers in Vase by Henri Rousseau, presented as a Museum Reproduction Edition serigraph. Printed by Editions Limited in 1991 and published by G...

Medium: lithograph. Printed in 1966 for the art revue Derriere le Miroir (issue number 156) and published in Paris by the atelier Maeght. Size: 15 x 11 inches (378 x 277 mm). There i...

This artwork "Un Vase de Fleurs (Flowers in a Vase)" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Frederic Menguy, 1927-2007. It is han...

Jacques Camus The Vine Woman with her Arrows, 1933 Original lithograph and stencil Unsigned On paper 39 x 29 cm (c. 15.3 x 11.4 inch) INFORMATION : This lithograph is part of the "...