People Prints and Multiples

Hélène of Septeuil (enfant au perroquet) (child with a parakeet). c. 1889-1890. Drypoint. Breeskin, 134.v. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate...

Artist: Romare Bearden Title: The Open Door Year: 1979 Print: Lithograph on Somerset Paper Paper size : 22'' x 30'' Edition: Signed in pencil and marked 4/175 Romare Bearden is r...

This stunning Artist's Proof is an one-off, oil hand-painted and gilded by the artist , signed at front and on the back label too; each proof is 80% hand painted and gold gilded by S...

Artist: John Kacere (1930-1999) Title: Illeana II Year: 1991 Edition: A.P.; 100, plus proofs. Medium: Lithograph on wove paper Size: 23.5 x 31.5 inches Inscription: Signed by the art...

Three hand-coloured lithographs from: Fanny Parks (1794-1875) Wanderings of a Pilgrim, in search of The Picturesque, During four and twenty years in the East with, Revelations of L...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Reuben, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

Etching and drypoint on watermarked Hudelist laid paper, 9 5/8 x 5 inches (245 x 129mm) full margins. Second state (of five) after lettering. A superb condition with a pencil inscrip...

Henri Matisse's Planche 51 from the 1920 portfolio Cinquante Dessins features a tender scene of two female figures: an older woman standing to the left and a young girl with long hai...

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...

Salvador Dali (1904-1989) - The Paradise, Canto 32 - Preparation for Final Prayer Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

Werner Bronkhorst, Get Served, 2025 Giclée print on Hahnemühle Photorag paper with ready-to-hang heavyweight solid oak frame from FSC-certified sources, made in Germany. From the ar...

Pablo PICASSO Carmen, Woman in Profile, 1949 Original aquatint engraving (Atelier Lacourière, Paris) Unsigned Dated in the plate On Arches vellum 49 x 35 cm (c. 19.2 x 13.7 in) REF...

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...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: Self Portrait, Drawing at the Window Year: 1648 Medium: Etching Paper: Verge paper Image (plate mark) size: 6.35 x 5.25 inch...

Artist Name: Barbara Kwasniewska Year: 1969 Medium Type: etching Size-Width Size-Height: 22.5'' x 30" inches Signed Edition Size: Signed, Titled, and Numbered 2/75 Barbabra Kwas...

In celebration of Lincoln Center’s Summer for the City 2025 festival, Lilian Martinez has created the image, Calla Lily Dancer. Known for her colorful, bold style, Martinez combines...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: Christ and the Woman of Samaria Year: 1634 Medium: Etching Paper: Verge paper Image (plate mark) size: 4.75 x 4.25 inches Fr...

This is a reproduction of Eduardo Paolozzi's "Experience", from his 1965 series "As Is When," which pays homage to the philosopher Ludwig Wittgenstein. This series is recognized for ...

Théophile Alexandre STEINLEN Dancing in Paris (Tribute to Toulouse Lautrec), 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. ...

by Jacopo Caraglio (after Rosso Fiorentino) Rome: Carlo Losi, 1526. Engraving on cream laid paper, 8 1/2 x 4 3/8 inches, 215 x 110 mm), thread margins. In very good condition with a...

Artist: Jean-Michel Basquiat (after) Title: Untitled (Rinso) Portfolio: 1983/2001 Portfolio I Medium: 9 Color screenprint on paper Year: 2001 Edition: 43/85 Sheet Size: 40" x 40" Sig...

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

Title: 4 Liberty Heads Year: 2005 Medium: Offset lithograph in colors on gloss archival paper Size: 15 x 19 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as iss...

Medium: lithograph (after the poster). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Image size: 8 x 6 1/2 inches (207 x 164 mm). Sheet size: 12 1...

This artwork titled, "l'Arcangelo (The Archangel)" from the suite, "lLes Vitaux" 1973 is an original colors lithograph on watermarked Arches paper by artist Salvador Dali 1904-1989....

Pure Evil Elizabeth Taylor - Put on some lipstick, 2021 Screenprint in colours 50 x 35 cm 60 x 45 cm - Framed Edition of 100 + 1 AP signed and numbered by the artist

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

This exquisite lithograph by Marc Chagall (1887–1985), titled Cheval bleu au couple (Blue Horse with Couple), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hom...

Artist: John Kacere (1930-1999) Title: Diane Year: 1979 Edition: A.P.; 200, plus proofs. Medium: Lithograph on Waterford paper Size: 19 x 28 inches Inscription: Signed by the artist ...

Werner Bronkhorst, Volley Road, 2025 Giclée print on Hahnemühle Photorag paper with ready-to-hang heavyweight solid oak frame from FSC-certified sources, made in Germany. From the a...

Original screen print in colors by the well known American artist, Alex Katz. Condition is very good. 1965. Edition 63/150 in pencil lower left. Published by Paris Review, New York....

This whimsical and surreal etching by Mexican artist Maximino Javier, dated 1984, embodies his unique visual language that blends fantasy, folklore, and satire. Medium: Lithograph ...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: Bust of a Man Wearing a High Cap, The Artist's Father Year: 1630 Medium: Etching Paper: Verge paper Image (plate mark) size: ...

Galerie Louise Leiris, Paris, 1957. Original exhibition poster Picasso – Peintures 1955–56, designed entirely by Pablo Picasso for his show at Galerie Louise Leiris. Executed as a co...

Armand Point Golden Age (Légende dorée), 1897 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph...

ARTIST: Salvador Dali TITLE: Visions Surrealiste Coronation of Gala MEDIUM: Lithograph SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: EA MEASUREMENTS: 21.37" x 29.75" YEA...

Medium: original etching. Printed in 1946 at the atelier Quesneville on BFK Rives paper and published in a limited edition of 300 for the "Alternance" portfolio (a collective art and...

Woodcut Image Size H 50 x 66cm Framed Size H 73 x 88cm Edition of 100 Woodcut print on Paper Edition of 100 50 H x 66 W cm (19.69 x 25.98 in) Sold unframed Image size: Height: 50cm...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Moore, Henry, et al. Henry Moore...

Artist: Roy Lichtenstein Title: Nude With Blue Hair Medium: Relief print on Rives BFK mold-made paper Date: 1994 Edition: 28/40 Sheet Size: 57 7/8" x 37 5/8" Image Size: 51 5/16" x 3...

Set of 12 woodblock prints in colors on handmade, laid mulberry paper, 6 3/4 x 10 1/4 inches (170 x 258 mm), printed in Ka-ei 4 (1851). Each print with minor handling wear, otherwise in excellent condition with bright and fresh color, and with details printed in silver ink. The images themselves contain several illusive characters indicating the publisher which are obfuscated by figures, as intended. Presented loose, as issued. A fine set. The astrological commentary print has a large and meandering blind stamp with a bird and palm frond motif. This print lists various phrases concerning the Twelve Zodiac Animals as historically counted in Japan, and appears to include erotic commentary on the traits of people born under each of the twelve signs. These Shunga images were issued in books that paralleled (in an erotic fashion...

This is an original offset lithograph poster created for the 1985 Francis Bacon exhibition at Marlborough Gallery, featuring the haunting and visceral work Figure in Movement. Kno...

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. 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...

Yoshitomo Nara, Girl in the Moon Plate, 2023 Glazed porcelain plate Dimensions: Diameter 26.7 cm (10.5 in) Edition of 250 Created in 2023 to coincide with Yoshitomo Nara’s celebra...

Salvador Dali Individual Etchings: Notre Dame de Paris, Published 1969 Medium: E.A. Copper Etching on Japon Artwork Size: 20 x 25 in Framed Size: 33.75 x 28.75 in This work is...

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...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Chandelier (The Candelabrum), from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition pu...

This exquisite lithograph by Marc Chagall (1887–1985), titled Vision de Paris (Vision of Paris), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edition...

Artist: Norman Rockwell Title: Law Student Year created: 1976 Signed by the artist Medium: 10-Color Lithograph on papier d'Arches Edition: 9/200 Height (inches): 32½ Width (inches): 23¾ This piece is unframed Born in New York City in 1894, Norman Rockwell always wanted to be an artist. At age 14, Rockwell enrolled in art classes at The New York School...

This exquisite lithograph after Pablo Picasso (1881–1973), titled Le Chat (The Cat), originates from the rare 1970 folio Pablo Picasso, Histoire naturelle (Natural History). Publishe...

Artist: Romare Bearden (1911-1988) Title: Girl in the Garden (Gelburd/Rosenberg 62) Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 33/150, plus proofs Size: 28.75 x 2...

The Archangel Raphael Leaving Tobias' Family is an etching by Rembrandt executed in 1641. This etching is a proof of the 3rd state (of 4) before of the diagonals on the ground at the...

Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...

Original Loterie Nationale vintage French poster. Mercredi prochain forte chute de millions. Loterie Nationale. (Next Wednesday, a big drop ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Paradis II (Paradise II), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et ...

Deluxe signed limited edition print on aluminium Edition of 25 Nick's artistic process is a captivating blend of modern techniques and nostalgic inspiration. He combines digital ma...

Naoko Matsubara, 'Drop of Life' for the portfolio 'Solitude', color woodcut, 1971. A fine impression with fresh, vivid colors, on cream laid Japan paper, the full sheet with margins,...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le lion de Juda et les Tables de la Loi (The Lion of Judah and the Tablets of the Law), from the album Marc Chagall, The...

Artist: PABLO PICASSO (AFTER ) Title: 'La Ronde de la Jeunesse (The Youth Circle)' Year: 1961 Published by: Combat Pour La Paix, Paris Medium: Lithograph on wove paper Printed by Mourlot Edition: 200 plus EA Size: 26 x 20 inches Signed and numbered in pencil by the master CERTIFICATE OF AUTHENTICITY INCLUDED ARTWORK IS IN EXCELLENT CONDITION Through the use of crisp vibrant colors and the fluid use of line, Picasso creates a sense of optimistic energy that is focused around the dove of peace in Pablo Picasso La Ronde de la Jeunesse...