Men Prints and Multiples

Pablo Picasso Maternité, 1924 Original etching on Arches paper Hand signed and numbered 15/50 from the edition of 50 Bloch 70 Paper: 22 5/8 x 28 inches Framed Dimensions: 34 x 33 inc...

Hand printed silkscreen print, numbered and signed by Sir Peter Blake. The original photograph for the cover was taken at Michale Cooper's Flood Street Studio in Chelsea on March 30th 1967. The copyright of the photo remains with Apple, the Beatles management company. In 2007, after 40 years of trying, Peter Blake managed to get the Beatles to agree to publish a limited edition of 500 silkscreen prints on 410gsm Somerset cotton linter archive fine art paper medium, with the sheet size being 27 inches high by 26.25 inches wide. The image size being 19.5 inches square. Archival pigment inks were used with specialist glazing and an additional spot varnishing. 29 screens were hand applied to print the edition, being 27 colours plus 2 glazes. Every print bears the Apple logo embossed in the bottom centre. Published by Pete Smith of Pierre Optique, who negotiated the rights, Peter Blake was paid £10 for each signature and allowed to keep the 50 Artists Proofs. No 499 and No 500/500 were purchased by the Saint Giles Street Gallery and No 499 was embellished on the mount with original ticket stubs, bubblegum cards, official SPLHCB stamps issued by the Royal Mail along with other sundry paper ephemera and sent to Dublin to the Leinster Gallery to form part of their Unseen Beatles Show of Frank Herrmann...

Giancarlo Impiglia, Italian/American (1940 - ) - The Big Band, Year: 1987, Medium: Screenprint, signed and numbered in pencil, Edition: 57/300, Size: 31 x 28.5 in. (78.74 x 72.39...

Mr. Brainwash Secret Admirer (Red), 2013 4-color screenprint on hand-torn archival art paper 22 1/2 × 22 1/2 in 57.2 × 57.2 cm Edition of 70 Hand-signed by the artist on the fromt,...

Homme dévoilant une Femme. (Man uncovering a woman). 1931. Drypoint. Bloch 138; Baer 203 B.d. Vollard Suite, plate 5. Printed by: Lacourie...

Lithograph on vélin d’Arches paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Picasso au baiser d'Avignon, douze dessins, lavis, aquarelle...

This rare exhibition poster features an early drawing by Christo titled "The Gates XXIII," depicting the view from Central Park West with the Dakota in the background. The drawing wa...

The 1896 original poster by Henri de Toulouse-Lautrec for La Chaîne Simpson L.B. Spoke is a celebrated piece of 19th-century advertising art. Commissioned to promote the Simpson bicy...

Lithograph on vélin d’Arches paper. Inscription: hand signed and numbered, 110/175, as issued. Good condition. Notes: From the Jazz Series, 1979. Published by London Arts Group, Detr...

Lithograph on vélin bouffant des Papeteries de Hauteville paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Fernand Léger mes voyages avec un poème d'...

Self Portrait, 2007 9 color screen print on Somerset Satin paper 38 x 30 inches Edition of 118 Printed at Watanabe Press Publisher: Lincoln Center for the Performing Arts Chuck Close was best known for the monumental heads...

*New Year Inventory Renewal Sale - 90 Days Until April 30th* *This Price Won't Be Repeated Again This Year* RESTORED, numbered and RARE Vintage Textured Print After The Famo...

This is a rare lithograph only 45 made. There is some foxing and toning, but it should be able to fix that. Still a great picture. Measurements imag...

His series "Room" or "My carnival" evokes the fantasy of the mistress, fetishist eroticism, 5 to 7, free fantasy. Eric produces erotic art without ever biting into porn-chic always being more obsessed with aesthetics than with simulacrum. If he worships more than one of these predecessors who poured into more outrage, it is freely that he suggests to the imagination to imagine without capturing the fantasy of the viewer. The choice had been made of very high quality prints: cotton fiber base baryta paper without chlorine and high grammage (310 gr / m²), pigment inks. They carry on the back an authentication label signed by Eric Ceccarini The enhancement of this limited edition of 100 copies is ensured by the use of a unique high-quality box to keep the 12 fine art prints This is edition #1/100 Eric is a Belgian artist born in 1965. He gained a Degree in Photography from INFAC, Brussels in 1987. Since then he has been a fashion photographer working with many of the top houses. Elle, Marie-Claire, L'Oréal, Levi's, Coca Cola, Virgin, Saab, Delvaux, Lowe Lintas and Ogilvy are some of his clients. Among other distinctions, his photography for the Saab cabrio 9-3 campaign was awarded the Silver Lion at the Cannes International Advertising Festival. Eric is set apart from many of his colleagues by his way of shunning technical artifice and working in natural light. This results in soft, velvety, almost painterly images. Nowadays in his artistic works, he captures women's essence and soul, transcending mere physical representation. Eric's "AMNIOS" series of soul portraits- the model appear in suspended animation, as if they were about to born, and full of hidden secrets. This represents a new conceptual departure for Eric, who began as a fashion photographer, moving on to classic artistic nudes...

Artist: Keith Haring Title: Untitled Year: 1990 Dimensions: 8.75in. by 10.25in. Framed: 18.75in. x 20.25in. Edition: From the rare limited edition of 500 Publisher: Bebert Publishing...

Zincograph on Vélin Bouffant paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Non Vouloir, 1942. Published by Éditions Jeanne Bucher, Paris; printed...

Monkey is an original artwork realized by Alberto Mastroianni in 1970 ca. Lithograph. Hand Signed. Edition of 150 pieces.

Martin Barooshian, American (1929 - 2022) - La Danse (Yellow), Year: circa 1979, Medium: Etching and Aquatint on Arches, initialed in the plate and signed in pencil, Image Size: ...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Marc Chagall, 1965. Published ...

ABOUT THIS ARTIST: Jessica Brilli (Sayville, NY 1977) has been drawing and painting since her childhood. Working in a style that encompasses American realism and 20th century graphic...

Barbara Urslerin, The Hairy Faced Woman, born in Germany in 1629 and exhibited as circus attraction. Suffered from Hypertrichosis (Ambras Syndrome). Barbara Urslerin presents one o...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

Artist: MARC CHAGALL Title: Moses Sees the Suffering of His People (FROM STORY OF THE EXODUS) Medium: Lithograph on arches paper Image Size: 18.50x13.50 inches paper size: 20 x 15 in...

Original “Stocks Americans” vintage poster. Linen backed in very good condition, ready to frame. No paper loss, no fold marks, clean and bright. Distress on one letter “S” in A...

Lithograph on vélin a la forme des papeteries d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Apollinaire, Henri Matisse, 1952. Published b...

Artist: Raphael Soyer Title: Self Portrait Year: 1980 Print : Lithograph on Arches Archival Paper 22'' x 16'' inches Edition: Signed in pencil and marked 52/250 Image size : 11...

Lithograph and Silkscreen with grease crayon, lithographic tusche, lead pencil, and charcoal on vélin d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition;...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...

Astrid Kirchherr ( 20 May 1938 – 12 May 2020) was a German photographer and artist known for her association with the Beatles (along with her friends Klaus Voormann...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

This reproduction silkscreen poster features Romare Bearden's vibrant work Early Carolina Morning, published by American Vision Gallery Inc. The piece has ...

Andy Warhol Interview Magazine (hand signed by John Travolta), 1985 Offset lithograph (hand signed by John Travolta) Signed in brown marker by John Travolta, the subject Frame includ...

Contemporary colorful figurative surrealistic print on paper by Polish artist Rafal Olbinski. This print shows woman with dress shaped like an umbrella from under which it rains. The...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

James Allen, 'Pipe and Brawn,' 1937, lithograph, edition 40. Signed and annotated 'Ed/40' in pencil. A superb, richly inked impression on cream wove paper, the full sheet with margin...

Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Matted to museum standards, unframed. Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm). Created for the California Works Progress Administration, Federal Art Project (WPA). Scarce. Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and Weisman Art Museum (University of Minnesota). ABOUT THE ARTIST Born in Massachusetts, Nicholas Panesis (1913-1967) studied art at Syracuse University, NY, and went on to teach ceramics at Alfred University, NY. Panesis moved to San Francisco in the early 1930s shortly before settling in Los Angeles, where he worked for different animation studios...

Automne (Autumn). 1938. Aquatint print in colors. Chapon/Rouault 288C. 19 1/2 x 25 1/2 ( sheet 22 5/8 x 30 3/4). Edition 175, #58. Published by Vollard. A rich impression with brigh...

Joan Miró’s Etoiles En Des Sexes D’Escargot, a 90.5 x 70 cm art print on heavy paper after the 1925 original. In good condition, this abstract piece captures Miró’s unique style, per...

THE DOOR OF JUSTICE is an original, hand drawn, limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor bes...

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...

HONKY TONK is an original hand drawn, limited edition lithograph by the African American artist James Denmark printed using traditional hand lithography techniques on archival Somerset paper, 100% acid free. HONKY TONK is a colorful collage portrait depicting a seated black musician - a male guitar player wearing blue jeans and a brown slouchy cap playing his blues guitar. HONKY TONK is a warm interior scene printed in vivid shades of red orange, red, dark blue, light yellows, cream, tan, browns, and black creating an inviting honky-tonk music setting. Print size - 38 x 23 inches, unframed, mint condition, hand signed and numbered by James Denmark, Certificate of Authenticity included Edition size - 250, plus proofs Year published - 1996 Publisher - Mojo Portfolio...

Nobuyoshi Araki Geisha Skateboard Triptych, ca. 2014 Set of (3) Skateboards of Silkscreen on 7 ply Canadian Maplewood Deck Signed in plate, Each signed on the deck and hand numbered ...

The circa 1920 poster by Aleksandr Deineka exemplifies his distinctive approach to Soviet visual art during the early years of the Soviet Union. Known for his versatility and ability...

This Winslow Homer woodcut engraving entitled "Making Hay", was published in Harper's Weekly in the July 6, 1872 edition. It depicts a two men hand cutting high grass on a hill. The man in the foreground is looking at a young boy and a girl (presumably his children), who are sitting on the ground with a picnic basket. This beautiful Homer woodcut engraving is presented in a brown wood frame and a light beige fabric mat with a black inner mat. The print is in excellent condition. There are two other Homer woodcut engravings in identical frames and mats that are listed on 1stdibs. See LU117326148332 and LU117326148272. These would make a wonderful display grouping. A discount is available for the purchase of two or all three of these prints. This Winslow Homer engraving...

Hand Signed and numbered. Edition of 22/150 pieces. Full margins. Edition Circle d'Art, Paris; Printed by Crommelynck, Paris. Ref. Bloch 1139. Excellent condition.

Medium: original etching. Printed in 1861 by Auguste Delatre on chine-colle paper and published in Paris by Gazette des Beaux-Arts. Image size: 4 1/2 x 4 5/8 inches (112 x 118 mm). S...

Hand Signed and signed on plate. Edition of 95 copies (1/95).  Provenance: Galleria Prandi 10/04/1968 Realized in 1910 and Published in 1932. Very good condition.

Chuck Close Untitled Daguerreotypes, 2001 Two (2) pigmented digital output iris prints from daguerroeotype printed in a single sheet of wove paper 22 × 29 1/4 inches Signed in pencil, dated and numbered on the front from the edition of 100 Unframed The present work is a pencil signed and numbered daguerreotype that is part of the 2001 “Doctors of the World” series. Close has said “I’m not interested in daguerreotypes because it’s an antiquarian process, I like them because from my point of view, photography never got any better than it was in 1840… Photographs are often so big now that twenty or thirty people can view one at the same time, but a daguerreotype is the most intimate image made with a camera, because it is small and only one person can look at it.” Printer: Universal Limited Art Editions, East Islip, New York / ULAE & Brand X Editions Publisher: Doctors of the World / Art of this Century, NY Literature: "The Art of Healing" which catalogues the works from the portfolio. Chuck Close Prints...

Kees VAN DONGEN (1877-1968) Paris : Parisian Club, 1927 Original etching Unsigned Limited to 225 copies On BFK Rives vellum 33 x 25 cm (c. 12.9 x 9.8 in) REFERENCE : Catalogue ra...

Jean Cocteau and Raymond Moretti Birth of Venus Original lithograph Printed signature in the plate, handsigned by Raymond Moretti Numbered 1/29 - Very look for proof bearing n°1 On ...

This original poster by David Spiller, created for Galerie Moderne in Silkeborg, Denmark, was published in 2018. The poster features Spiller’s unique interpretation of the iconic character Mickey Mouse, rendered in his distinctive patchwork painting...

First edition exhibition poster designed by Andy Warhol for Art Expo Denmark in 1986. Andy Warhol's fascination with reigning queens, particularly Queen Elizabeth II, is evident in ...

NUREMBERG CHRONICLE, 1493 THE GOLDEN CALF (THE CALF OF GOD) 1493 Woodcut. from "Liber Chronicarum." Printed by Anton Koberger text by Hartmann Sc...

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. Original Poster Exhibition - Galerie 65 Cannes...

This signed and numbered self-portrait by acclaimed artist Chuck Close is a striking piece created to benefit the Lincoln Center for the Performing Arts in New York. Known for his me...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Realized by Picasso in 1956. Lithograph on Arches Paper. Hand Signed and numbered. Edition of 19/50.  Ref. Bloch n.790. 

B/w etching on Hollande Van Gelder Paper, with margins. Belongs to the series "Le Chef-d'Oeuvre Inconnu". Hand Signed and numered in bistre ink. Edition of 10/99, aside from the port...