Bride Art

Artist: Pablo Picasso Title: Sculpteur et Modele debout Year: 1933 Medium: Original etching Edition: hand signed in pencil from an edition of 250 on small margins Size: Frame: 27 x 2...

André Lauran 1966, Oysters and Onions, Sanz-ism movement of Lyon, French New Figuration Size: 46 × 65 cm. In 1966, André Lauran (Valence, 1922 - Lagny-sur-Marne, 2009) painted this ...

There is a sense of freedom that I experience when painting landscape. The quality of these kinds of images allows for expression and interpretation, yet they can still be viewed as...

Original "The Navy Put 'Em Across": Vintage WWI Recruitment Poster by Henry Reuterdahl, 1918. Linen-backed. An extraordinarily scarce and historically rich piece of American propag...

Shepard Fairey WK / Shepard Portrait Screen print on French Speckletone True White Year: 2023 Size: 24 x 36 inches (61.0 × 91.4 cm) Edition: 450 Signed by WK and Shepard Fairey, numb...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

"A Dance in Otaheite" (Tahiti) is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It is a plate in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Two women and two men wearing ceremonial costumes, performing a dance outdoors standing on a mat. Three men are playing the drums in the background, in front of a thatched roof building. An audience of men are sitting on both sides of the stage. By the time Webber arrived in Tahiti, 'south sea' imagery had become familiar. Webber gave concentrated attention to dance. He had the opportunity to distinguish the Tahitian dance from the more formalized dancing of Tonga. Whereas they seem to have called to mind the more formal dances of antiquity, the Tahitian dancing aroused memories of peasant and folk dancing. This engraving is professionally framed in Koa wood. Koa wood is legendary in Hawaii. Not only is this amazing wood native to Hawaii, but it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. The print is in excellent condition. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and double mats (LU117324682432, LU117324684052, LU117324684062). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

Simply Precious from the series Reflections Simply Precious is the emotional heart of the series — a clear and intimate hymn to feminine value. It speaks of a woman as precious not t...

Antique Victorian Doll Portrait Painting Spanish Figurative Oil on Canvas Artist: José Antonio Palanca Ruiz (1934–2020) Title: Antique Dolls Year: circa 1980 Medium: Oil on canvas S...

"Hypnos God of Sleep #1", oil on canvas, 27.5x19.68in / 70x50cm Hypnos is the personification of sleep, the god who touches humans with his wings , his mission is to help people slee...

La Belle-Fillle de Goya (after Francisco de Goya) Etching on cream laid paper, 1872 Signed in the plate lower right of image Inscribed: Goya, pinx, lower left Published in Gazette de...

Pablo Picasso (1881-1973) - La Grande Corrida Etching conceived in 1934, printed in 1939. The edition of 50 on Montval paper. Unsigned and unnumbered, as issued. Dimensions of w...

This vibrant impasto painting captures the bustling energy of Gurzuf, with colourful figures moving between whitewashed buildings under a bright blue sky. The artist's loose, express...

Charles Leaver (English, 19th century) Winter Landscape Oil on canvas Circa 1870 Signed lower left In the original frame This finely painted winter landscape is a characteristic wor...

This reproduction poster of La Serrure by Leonor Fini captures the enigmatic and symbolic nature of the original artwork. Leonor Fini was known for her surreal and fantastical imager...

Bretherton, James (After Rembrandt van Rijn). Christ and the Woman of Samaria Among Ruins. London: c 1775. Etching on light cream laid paper, 4 3/4...

Contemporary acrylic on canvas painting depicting a nude by Polish artist Michal Bajsarowicz. The artwork is an artistic take on human body with abstract elements. Composition is ske...

Colours Of The Night #3 - This figurative art print on paper captures the essence of timeless style. A neutral, atmospheric background creates an evening-like ambiance. Personalize your space with a sense of quiet sophistication. Hand signed on back. This is #3 from a series of 4 art...

The main theme of his works are portraits. He chooses contrasting and sensual colors, making confident and powerful strokes. The image of a woman in the artist's works remains both c...

Herbert Sidney’s In a Roman Room is a masterfully composed oil painting that captures a moment of introspection and social exchange in a classical setting. Four figures—three women a...

Escuela española; siglo XVIII. San Joaquín, Santa Ana y la Virgen Niña. Es un Óleo sobre cobre anónimo y buena calidad pictórica. Medidas de la obra: 69 x 87 cm. Medidas del marc...

Leonard Baskin, 'Iris ( 5 )', etching, 1988, artist proof before the edition of 10, outside the book edition. Signed and annotated 'proof' in pencil. A fine impression, with expertly...

A Palatial and Opulent Belle epoque giltwood & oil on canvas three-panel screen, circa 1890. "Allegory of Youth" Comprising of three exquisite hand-painted triptych oil on canvas panels of cherubs and putti amongst a peacock, all by Ferdinand Wagner II (German, 1847-1927). Each panel depicting different playful and joyous scenes of putti and cherubs. All three-in-one panels within individually carved giltwood and upholstered frames. One panel signed at the lower left: Ferd.Wagner. A truly magnificent and one of a kind piece, perfect for any room in the home. Overall: 101" high 85" wide x 5" deep Very good condition. Ready to place. Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld. Wagner II was influenced by the Munich School of master painters and by his art teacher, Karl von Piloty, who had been teaching at the Munich Art Academy since 1856. Piloty’s approach to historical paintings was influenced by the French art academic Paul Delaroche and by the fine artworks by Rubens and the Venetians. After his return to Germany he was commissioned to decorate the former the Tenormayer Wine Tavern in Munich, subsequently he received numerous other commissions as a decorator. Ferdinand Wagner II wall paintings and ceiling frescos...

The Old Town English School, early 1900's original watercolor painting on artists paper, unframed overall paper size: 11.25 x 7.75 inches From a large private collection of English ...

Artist Comments
Inspired by the fox’s clever charm, this portrait captures both its keen expression and lively spirit. Artist Karen Barton layered oil paint using a mix of pa...

Constantin Terechkovitch, Russian (1902 - 1978) - Girls with Dachshund, Medium: Lithograph, signed and numbered in pencil, Edition: 91/150, Image Size: 25.5 x 19.75 inches, Size: 28....

Alex Minewski, 'Dockside', gouache on paper, 1953. Signed in the image, lower left. Annotated 'April 1953, Minewski, ‘Dock Side’, verso. A fine, modernist re...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Cymn Wong’s style of mixed media paintings are developed alongside with pastel, crayon, acrylic and ink. Rooted from traditional Chinese ink-brush painting to contemporary New York Abstract Expressionism, Wong wields various free and fluent but forceful strokes and creative washing on canvas atop the heritage of her personal Zen calligraphy; in some cases, Cymn has collaged with traditional Chinese papier-mâché. Through the layering of multiple marks, colors and textures, or being used by perspective, she is able to balance her own spontaneity and control to accomplish the desired effect. When Wong applies to blend her canvas with splash-ink, free dyeing and deliberate sealing, her aim is to create a vivid and immersive sense of expanded spectrum that integrates the outsider viewers with the painting landscape. These stylistic elements combine to create an organic entity that is dynamic, engaging, and deeply contemplative. In exploring the blending entity of art and poetry as extrinsic “landscape” and intrinsic “soundscape”, the brushstrokes are hereby given fresh impetus by a single-unity involvement. Every brushstroke reflects an outer and inner state of creativity. Meanwhile, this embodied experience opens up a transformation and imagination of mindset. Wong declares, “By embracing plainness, simplicity and intimacy, my art emerges an insight for cultivating a cross-boundary ecological ethos. In most recent development of my paintings, I have been focusing on several key areas that are driving for a creative exploration. Firstly, I am placing a greater focus on the bean sprout as a central element of her work. The bean sprout is a crystalized symbol. Its unique shape evokes the numbers "0" and "1". The "0" of the bean sprout represents nothingness or emptiness, a void spectrum that is co-birthed with “1”. The "1", on the other hand, represents possibilities and growth. By incorporating the shape of the bean sprout into visual language, I link the binary concepts of "0" and "1" to convey a sense of stillness, calm, and openness in the other area of "0". Meanwhile a motion, another state of change comes birth in the open area of "1", building in a dynamic interplay between these two facets for growth and inherent continuously in every subsequent moment. Secondly, I attempt to create an alternative way of revealing the insightful wisdom of Zen philosophy, in a fusion of fluidity and freedom of abstract expressionism, siding along with the contemplative practice of Zen calligraphy. This integration of meditative peace and passionate energy presents a fresh landscape that is holistically dynamic and contemplative, evocative and reflective. The Zen strokes that feature prominently refer to the hope of splashing an endless creativity at any stage of life. Thirdly, in organizing a larger-scale of art forms, I gradually move to create a sense of unity and wholeness that highlights a stimulating dimension of cultural diversity in my painting canvas. Moreover, I strive to develop a stronger sense of spatiality by leaving white space blank within the compositions, which provides a stimulated sense of circulation and contingency, for an experimental interaction of fulfilling the gaps of different 3-D dimensions in life. Last but not the least I embrace my intuition of self-awareness under my personal practice of integrating multiple refreshing technical elements, that always plunging into the fundamental questions of man’s existence and the nature of living being. I appeal to the worldly communities for a spirit of connection and resonance that may well go beyond the surface of my painting art.” From 2022 to 2023, Cymn has extended a soul karma in her Washington saloon that spearheads to create a masterfully-suited-style of global ethos. The ethos showcases her accomplished selfhood of aesthetic views blending with both Eastern and Western cultures and languages. Wong attempts to vitalize the diversity of built-in imageries and present the visual art communities via a dynamic interaction of natural human passion with the uncontrollable social environment and the universe. In fact, Cynm’s lifelong commitments to bilingual poetry and expanded visual art have been widely applauded in multiple international platforms whereas her English...

Hawaiian landscape, Oahu North Shore, ocean, rocks, plein air Following is what Daria said about this landscape painting. "This painting was created from life on the North Shore of...

The Garden in Spring French School, late 20th century indistinctly signed oil on canvas, unframed canvas: 22 x 18 inches Provenance: private collection, France Condition: very good...

Marc Chagall (1887-1985) The Bible, The Gleaner, 1960 Original lithograph (Mourlot Workshop) On paper 36 x 26.5 cm (c. 14.2 x 10.2 in) Second illustration on the back, see last pi...

Marie at the Ball By Bradley Theodore 2018 Signed and dated on the reverse Oil on canvas 121.92 x 90.93 cm (48 x 35.8 in) Framed: 134.62 x 104.14 x 5.08 cm (53 x 41 x 2 in) P...

Book page 177 in Chagall Lithographe II (1957-1962) Reproduction of lithograph created in 1962. Book text in French by Fernand Mourlot. It was the second of five catalogues. This e...

Original Fashion Design Illustration by Roz Jennings, British watercolor and ink on card, unframed size: 12 x 8.25 inches condition: very good A beautifully colorful and characterfu...

PAUL GAUGUIN (French 1848 - 1903) DEAUX FEMMES MAORIES ACCROUPIES. 1894-5 (Kornfield 26: Guerin 87 ) Zincograph (Lithograph) on smooth, cream imitation Japan paper, edition 200. Pu...

3942 Antique gouache and watercolor hand colored engraving on paper set in a period 19th century frame Signed Very 1850 Image size 10x5.5"

Louis Icart, French (1888 - 1950) - Black Fan, Year: 1931, Medium: Aquatint Etching, signed in pencil lower right, Image Size: 16 x 20.75 inches, Frame Size: 25.75 x 30 inches, P...

Alphonse Mucha (1860-1939) Four lithographs on wove paper For serious collectors and museum collections. A full set of Mucha’s iconic period lithographs representing The Times Of Th...

"Admiring Her Looks" by Auguste Toulmouche is a quintessential example of 19th-century academic art, emphasizing beauty and technique. Toulmouche's work often explores themes of femi...

"Within Arms Length" (2022), Chris RWK street art, aerosol, drips, graffiti, illustration, street artist, vintage comics, Staten Island, NY, New York, NYC, character, robot, robots w...

A framed Art Nouveau lithograph collotype poster by Alphone Mucha from 1905 representing the artist’s sketches of nudes, women and beautiful ladies in blues and white pigments on vel...

The execution of Charles I (1600-1649) at Whitehall, January 30th 1649, in front of the Banqueting House. The executioner holding the head of Charles up to the crowd below. Engravin...

This original painting from collection «Unity with Nature» in which the theme of herbal spirits helping us to remain in harmony with nature speaks on a symbolic level about the re...

Artist: Vahe Yeremyan Title: Village Medium: Oil on Canvas Year: 2025 Style: Impressionism Dimensions: 11" x 16" x 0.8" inch (28 x 41 x 2cm) Presentation: Unframed, Gallery Wrapped o...

Screen print realized by Piero Gauli in 1970s. Edition of 80. Hand signed and numbered in pencil. Very good condition.

The artwork measures 22 x 30 inches and is on paper. Signed by the artist in the lower right. Emil Kazaz’s oil paintings are distinguished by their masterful balance between classica...

"Paris with Apples" The original legend says Paris, prince of Troy had one golden apple, and had to choose between 3 goddesses. Modern Paris has more than one apple, and he is depi...

Title: French Village House Steps Garden Path and Hillside Landscape Watercolor Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W): 8.75 x 6.5 inches Condition: Good overall, with light handling marks and minor natural toning consistent with age. Provenance: From the artist’s studio sale in France; all works by this artist in our collection originate from the artist’s estate. Description: This lyrical watercolor by Pierre Neveu captures a peaceful French village scene framed by a sunlit garden path, steps, and a cluster of traditional houses set against rolling hills. Neveu’s fluid brushwork and instinctive sense of colour bring instant warmth to the composition. Golden ochres, deep greens, and soft sky blues harmonise to create a vibrant yet intimate view of rural life in France. At the centre of the composition, a set of gently descending steps leads toward a small white house with a sharply peaked roof—one of the characteristic architectural forms found in many historic French villages. Surrounding it, Neveu uses expressive, loosely applied washes to depict dense foliage, casting natural shadows across the walkway. The vegetation, built from layered greens, ochres, and deep blue-greys, frames the scene beautifully and adds depth to the composition. Beyond the houses, the distant hillside glows with warm, earthy tones—suggesting late summer or early autumn light spreading across the fields. Neveu’s characteristic blend of linework and transparency gives the painting a sense of immediacy, as though capturing a moment during a quiet stroll through a village lane. His architectural training subtly informs the structure of the houses, even as the overall work maintains an impressionistic softness. Perfect for collectors of European village landscapes...

Jerry Garcia (Text Dark Star by the Grateful Dead) Handtyped on SCM Widecarriage typewriter 24 x 20 x 18 Typewriter included with the piece

Paper Size: 38 x 52 inches ( 96.52 x 132.08 cm ) Image Size: 38 x 52 inches ( 96.52 x 132.08 cm ) Framed: No Condition: A: Mint Additional Details: Celebrate the vibrant artistry of...

Judith Bledsoe, American (1938 - 2013) - Woman with Umbrella and Cat. Year: circa 1975, Medium: Lithograph, signed in pencil, Edition: EA, Size: 35 x 25 in. (88.9 x 63.5 cm), Descri...

This mural study is part of our exhibition America Coast to Coast: Artists of the 1930s San Pedro Post Office: History of Writing Mural South, Preliminary Mural Maquette right panel...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli in the 18th century. Signed on the plate, on the ...

Workshop of Pierre Mignard (1612–1695) Attributed to Henri Gascard (Paris 1635–Rome 1701) Unsigned Portrait of Françoise-Athénaïs, Marquise de Montespan (1640-1707), favourite o...

Manicomio, Montelupo, Fiorentino, 2019 C print 100 x 120 cm, edition of 5 120 x 150 cm, edition of 5 180 x 225 cm, edition of 5 The photographer is based in Florence, and is fascina...

Oil on canvas Giorgi Kukhalashvili is a Georgian artist born in 1982 who lives and works in Tbilisi, Georgia. He's founder of the organization “L...

New York: 1939. Etching on light weight wove paper, 13 3/4 x 10 3/4 inches ( 350 x 273 mm); 15 1/4 x 12 inches; sheet (383 x 300 mm); full margins. Signed in pencil in the lower mar...

This piece depicts iconic Logos with vintage news paper clippings from the mid century. We find Jacqueline Kennedy Onassis lower left, with other Americana imagery through out. Celeb...

Artist: Mr. Brainwash Title: Keep a Child Alive (Blue) Medium: Screenprint in colors on archival paper Date: 2012 Edition: 3/150 Image Size: 28" x 20" Sheet Size: 30" x 22 1/4" Frame...