Hat Prints and Multiples

Lithograph realized by Daumier in 1845, belonging to the Series "Les Gens de Justice" Table no. 13 of the Series. Hand monogrammed in the plate. Very good condition. Ref. Delteil...

Hyland Ellis The Gay Parisienne, 1897 Stone ithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate 123 of "Les Maîtres de l'Affic...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 11.42 x 7.87 inches Inscription: Signed in the plate and unnumber...

Femme Nue Vero la Gauche from The Reincarnations du Pere Ubu Georges Rouault, French (1871–1958) Date: 1928 Etching with Aquatint, signed in the plate Image Size: 12 x 8 inches Size:...

Gaspar Camps, an influential Spanish poster artist, was known for his ability to blend art and advertising into compelling, visually striking works. Active during the early 20th cent...

Artist: Hunt Slonem, American (1951 - ) Title: Still Life Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: AP 25 Image Size: 26 x 19 inches Size: 30 in. ...

Medium: original lithograph. Printed in Paris in 1957 at the Mourlot Freres atelier. Size: 8 3/4 x 6 inches (225 x 150 mm). Jean Cocteau executed this original lithograph to depict a...

This lithograph is hand signed in pencil by the artist "Marc Chagall" in the lower right margin It is also hand numbered in pencil from the edition of 150, at the lower left margin. ...

Medium: lithograph (after the watercolor). Printed in 1962 at the Mourlot atelier for "Jerusalem Windows". This piece was executed by Chagall in preparation for his famous stained-gl...

Original collotype created from Gustav Klimt’s Portrait of Lady in Red and Black. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Collotype on chine colle paper laid down on heavy deckled-edge cream-wove paper. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts...

DAVID ROBERTS RA 1796 - 1864 Bazaar of The Coppersmiths, Cairo First Edition lithograph Full plate: 230 Presented in a acid free mount We pride ourselves in the hand colouring of our antique David Roberts lithographs...

Firmado por la artista en la parte inferior Se presenta enmarcado El estado del aguafuerte es bueno Medidas aguafuerte: 62 cm. de altura x 46 cm. de ancho. Medidas marco: 66 cm. ...

Marcus Brutus paints his Black diasporic subjects in disparate settings: His figures exercise, read, relax, and work across beaches, barbershops, lawns, and living rooms. Brutus capt...

Promenade is an original offset and lithograph print realized by George Grosz. The artwork is the plate n.28 from the portfolio Ecce Homo published between 1922/1923, edition of De...

“Testa quasi colossale di Lucio Vero” (Almost colossal head of Lucio Vero) is a wonderful black and white etching on paper, realized by the Italian artist Pietro Fontana (Bassano Romano,1762 – Rome, 1837), after Teodoro Matteini (Pistoia, 1754 - Venice, 1831), as the inscriptions on plates on lower margins report “Teodoro Matteini del./ Pietro Fontana inc. Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. XXVI" and is a plate from the series "Illustrazioni de'Monumenti scelti Borghesiani già esistenti nella Villa sul Pincio (..)date ora per la prima volta in luce dal cav. Gio. Gherardo De Rossi e da Stefano Piale sotto la guida di Vincenzo Feoli", by Ennio Quirino Visconti, published by Stamperia de Romanis in Rome, 1821. This old master’s original prints representing a precious piece of the Borghese's collection, the marble bust of the Roman Empero Lucio Vero, is in excellent conditions with a usual yellowing of the paper at the edges, some light signs of the time( some light thinning of paper along the margin do not affect the image) but with fresh impression. Illustrazioni de' Monumenti scelti Borghesiani This collection in two volumes is a beautifully detailed catalog of classical sculptures collected by Prince Borghese (1730-1800) in his Villa on the Pincio. Ennio Quirino Visconti (1751 - 1818) wrote the texts that accompany the large branches depicting. To these writings, which were available by the son of the illustrious archaeologist, the publishers added only a few illustrations relating to some minor monument of which copper had already been engraved. The engraved title-plate are signed by draughtsmen like Agostino Tofanelli, Stefano Tofanelli, Bernardino Nocchi, Domenico de Angelis or Teodoro Matteini, and by engravers Pietro Fontana Veneto, P. Vitali, Pietro Bettelini, Giovanni Folo Veneto, Giovanni Brunetti da Ravenna, Giovanni Ottaviani, Francesco Cecchini, Gio. Batta. Leonetti, Girolamo Carattoni, Domenico Cunego, Luigi Cunego, Alessandro Mochetti, Luigi Pizzi, Angelo Campanella or Giacomo Bossi. The Volume I shows ancient full-length statues, of the Borghese warrior by Agasias (two plates), Greek gods and heroes and Roman famous historical figures; the last two plates represents antique Egyptian deities. There are plates representing ancient bas-reliefs, sarcophagi, of mythological subjects, the Borghese Vase, portrait busts, a vase on an altar, two statues of Amor; and two modern statues, by Bernini (the Apollo and Daphne, and the David). «Très bel ouvrage» writes Brunet, «Grand ouvrage, le seul qui mérite, parmi ceux sur la villa Borgese, de figurer dans le chapitre aux Galeries et Collections» Vinet said, looking at this plate. Pietro Fontana (Bassano Romano,1762 – Rome, 1837) The Italian artist and engraver, Pietro Fontana was active in Rome and specialized in subjects dealing with the Vatican and the Papacy. He started his career as a student of Raffaello Morghen...

Color lithograph from Vanity Fair of Mr. Abington. London, circa 1890.

Sailor Man in 1579 is a woodcut print on creamy color paper print on paper realized by Charles Sterns in the early 20th century Good conditions. The artwo...

The delightful chit-chatis an original lithograph artwork on ivory-colored paper, realized by the French draftsman Paul Gavarni (after) (alias Guillaume Sulpice Chevalier Gavarni, 18...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Contrex is a circa 1970 French advertisement for Contrex Mineral Water by Bernard Villemot (1909-1989). The advertisement continues Villemot’s signature use of nude beauties in his a...

Jean B. Picard's original poster is a poignant and visually striking representation of aid for soldiers who served in Indochina. This beautiful French poster no...

Signed, titled and numbered in pencil Edition: 250 (5/250) Signed, titled and numbered in pencil Published by Circle Gallery Ltd. Printer: Atelier Dumas, New York Condition: Very good Atelier Dumas opened in New York printing own work as well as those of Peter Max, Agam, Romare Bearden, Dali, Erté, Peter Hurd, Ting, Karl Appel...

A limited edition (out of 25) black and white photographic print. Framed with a black or white box frame and floated to the backboard. The dimensions of 33.5 x 47.2 cm is that of the...

Albrecht Durer, After by Amand Durand, German (1471 - 1528) - Albert de Mayence, Year: 1873, Medium: Heliogravure, Size: 7.5 x 5.5 in. (19.05 x 13.97 cm), Printer: Amand Durand, ...

Rembrandt van Rijn, After by Bredius, Dutch (1606 - 1669) - The Guildmasters, Year: of Original: 1661 (printed 1906), Medium: Photogravure, Size: 10 x 14 in. (25.4 x 35.56 cm), P...

Malcolm Morley, British (1931 - 2018) - Asteroid, Year: 1974, Medium: Screenprint and mixed media on Arches, signed, numbered and dated in pencil, Edition: 32/100, Image Size: 30 x 2...

LEONOR FINI Cat with Hat 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Lithograph realized in 1980s. Hand signed and numbered in pencil. One of 15 Artist's Proofs. Very good condition.

Art Card: David Hockney in 1853 gallery (Hand Signed by David Hockney), 1993 Art Card: David Hockney in 1853 gallery (Hand Signed by David Hockney) Offset lithograph postcard Boldly ...

During World War Two, the United States Government was very concerned about supporting the economy to service the war effort as well as keep things productive domestically. With so m...

A portrait of an eccentric personage Wybrand Lolles known as the Dutch Dwarf who, despite his awkward appearance was remarkably agile and possessed uncommon strength. Lithograph af...

Archival pigment print on 300 GSM cotton rag fine art matte paper. Dimensions of 27x22 in. Released in 2021 from an edition of 673.

Screen print cutout on Saunders Waterford 425gm HP Hi-White paper. Hand signed, dated and numbered by the artist. Artwork size 10.5 x 8 inches. Custom framed as pictured. Frame si...

Le banc de jardin (The Garden Bench) Mezzotint and engraving on cream chine collé laid down on ivory wove paper, 1883 Signed in the plate (see photo) Condition: Brilliant impression...

Vintage poster by Henri Privat-Livemont created for the Exposition Universelle (the 1900 Paris Exposition) before the lettering was added on the upper portion of the image. Palais d...

"Thanks, Going" by Jean Sariano, Algerian/American (1943) Date: 1979 Intaglio Etching with Aquatint, signed and numbered in pencil Edition of 300 Size: 21.5 in. x 27 in. (54.61 cm x ...

First edition exhibition poster by Milton Glaser commemorating Claude Monet at Giverny.

Framed lithograph, signed ("Rónai") and numbered ("no. 50") by the artist. Also includes a silver József Rippl-Rónai coin, made in 1977 for the 50th anniversary of his death. The li...

Ramon DILLEY (1932-2013) DEAUVILLE : Twenties Elegant, 1982 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 76 x 56 cm (c...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.75 x 5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the vo...

36 x 27 inches - Edition 2 of 3 with 2 APs framing is an additional $525. Photography and acting are kindred spirits in the new series by e2 (Elizabeth Kleinveld and Epaul Julien)....

Screen print realized in 1981 Hand signed and numbered in pencil. Edition of 150. Very good condition.

Presented here as a group are four original etchings of women in European national dress from the master printmaker Wenceslaus Hollar's series "Aula V...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

woman in straw hat with eyes closed

Steve Jobs had just returned to the struggling company, Apple Computer in 1997. Jobs and Lee Clow had collaborated back in 1984 to launch the MacIntosh. Now was the time to recover t...

SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & **INSURANCE** Red Rodeo Rider 1981 Bill Schenck Serigraph, edition of 75 Image size 35 x 25 inches UNFRAMED Billy Schenck has been...

Poster of Stowackiego theater is an original offset print realized in 1975 for "Ulani". Signed on the lower right " M. Gorowski 75". Good conditions except for light and small cutt...

SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & **INSURANCE** Champion 1979 Billy Schenck Serigraph Image size: 16 x 27 inches Billy Schenck has been known internationally for 44 ye...

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Lithograph realized in 1980s. Hand signed and numbered in pencil. Edition of 99. Excellent condition.

Andy Warhol (1928-1987) Joseph Beuys (1980) Screenprint and diamond dust on museum board 40 x 32 in (101.6 x 81.3 cm) Unsigned Authenticated by the Authentication Board of Andy War...

Original French poster: ARIE'S AMERICAN STYLE BLUE JEANS. Original French fashion vintage poster for Arie's American Style Blue Jeans. Archival linen backed and ready to frame. ...

PKZ Reprint - 1981 - Official 1981 reprint for Kunstgewerbemuseum, Zurich Printer: JE Wolfensberger Niklaus Stoecklin – PKZ – 1935 PKZ Burger-Kehl & Co. AG, Zurich, C Switerland Lit...

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Medium: original lithograph. Printed in Paris in 1957 at the Mourlot Freres atelier. Size: 9 x 6 inches (225 x 150 mm). Jean Cocteau executed this original lithograph to depict a sce...

"Man Pull" is an original color lithograph poster by Ducelier. It features a figure dressed in a striped shirt with a hat pulled down over their eyes. The artist's name is inscribed ...

Taos Artist Howard Cook original woodcut print, 1927. Title: “Hopi House.” Duffy #47. Signed in pencil lower right. Image size: 8"h x 8"w. Paper size: 10 x 8 3/4. Mat size: 20 x 16....

Philippe AUGE (1935-) The Women in Pink Dress Original lithograph Handsigned in pencil Limited /275 copies On vellum 63 x 80 cm (c. 24.8 x 31.4 in) Very good condition, little defe...

Orthodox John Hardy, American (1923–2014) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 275 Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)