Landscape Prints

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

This print presents a fictitious encounter between contemporary colonial forces and Native Americans who are defenders of immigrant refugees and displaced populations. The artist de...

Artist: Treadway Russell Nash (English, 1724-1811) Title: "A View of Stourbridge", "A View of Upton upon Severn, from Ryal Hill", "Bewdley", and "Tenbury" Portfolio: Collections for the History of Worcestershire Year: 1781-1782 (First edition) Medium: Set of Four Original Engravings on watermarked laid paper Limited edition: Unknown Printer: John Nichols, London, UK Publisher: T. Payne and Son, J. Robson, B. White, Leigh and Sotheby, London, UK; Fletcher, Oxford, UK; and Lewis, Worcester, UK Reference: Upcott III, page 1330 Sheet size (each): approx. 10" x 16.5" Image size (each): approx. 6.88" x 11.75" Condition: A few light handling creases. Have been professionally stored away for decades. They are all strong impressions in excellent condition Notes: Provenance: private collection - Aspen, CO. All four works were engraved by English artist Thomas Sanders (Active: Mid-Late 18th Century) after drawings by himself. Comes from Nash's two volume "Collections for the History of Worcestershire", (1781-1782) (First edition), which consists of 75 engravings. Each work is printed from one copper plate in one color: black. There was a (Second edition) "with Additions" bound in with Volume II of this portfolio published by John White in 1799. And, both the First and Second editions of "Collections for the History of Worcestershire" are based off Thomas Sanders' 1779-1781 "Perspective Views of the Market Towns within the County of Worcester". Both "A View of Stourbridge" and "A View of Upton upon Severn, from Ryal Hill" have unidentified fleur-de-lis watermarks in the center of their sheets. "Bewdley" has an unidentified watermark in the center of its sheet resembling "XV" and "Tenbury" has no watermark. Biography: Treadway Russell Nash (24 June 1724 – 26 January 1811) was an English clergyman, now known as an early historian of Worcestershire and the author of Collections for the History of Worcestershire, an important source document for Worcestershire county histories. He was a fellow of the Society of Antiquaries of London. Treadway Russell Nash was born on 24 June 1724 born at Clerkenleap, in Kempsey, Worcestershire. His family were from Ombersley. They had lands there and at Claines, and had later bought lands in the Reformation around St Peter's, Droitwich. He was related to James Nash and John Nash, both MPs for Worcester. His father Richard, a grandson of Sir Rowland Berkeley, died in 1740, and Richard's eldest son in 1757. As a result, Treadway Russell Nash inherited the Russells' Strensham estates from his brother, as well as the Nash estates, and took both names. He was educated from the age of twelve at King's School, Worcester, and became a scholar at Worcester College, Oxford aged fifteen. In March 1749, he accompanied his brother on a trip to the continent, to aid Richard's health. They visited Paris for about six weeks, before spending the summer "on the banks of the Loire". They then visited "Bourdeaux, Thoulouse, Montpelier, Marseilles, Leghorn, Florence, Rome, Naples, Bologna, Venice, Padua, Verona, Milan, Lyons, and again Paris"; such expeditions are often known as the Grand Tour. On his return in late summer 1751, Nash took up a post as Vicar of Eynsham through his friend and future brother-in-law, John Martin. He also had an income as a tutor at Oxford. He took his Doctor of Divinity degree and left Oxford, having "gone out grand compounder", following the death of his brother. He also left his benefice at Eynsham in 1757. While at Oxford he had proposed a road from there to Witney (now the A40 and B4022), and also stood for Parliament. Nash married Margaret Martin...

This is a Limited Austrian Edition, signed on plate, with its dry stemp seal from Official Klimt Villa, published by Austria-Klimt Villa Gallery in 2012 ( seal in the picture); Gicle...

More images and description to be added tomorrow

This is an exclusive handprinted limited edition cyanotype. Outstanding "Barcelona Beach Night Horizon" shows a nocturnal seascape, taken on the Barcelona beach. Details: + Title: B...

Original museum grade exhibition prints on acid-free archival luster paper. These are the highest quality NASA prints ever produced. Edition of 250. *This print can be hung vertic...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Forme Jaune (Yellow Shape), originates from the historic 1958 folio Derriere le Miroir, No. 110. Published by Maeght ...

This is an authentic woodblock print by Shiro Kasamatsu 笠松紫浪 in 1953. It is part of his "Eight Views of Tokyo" series東京八景の内. This is one of Shiro Kasamatsu (1898-1991)'s most iconi...

Hajime Namiki, 'Tree Scene 159', color woodcut, edition 200, 2022. Signed in pencil and with the artist’s red seal. Titled, numbered '37/200' and dated, in pencil. A very fine impres...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Bleu II (Blue II), from the album Miro 1959–1960 (Miro 1959–1960), originates from the 1961 edition publishe...

From the series One Hundred Views of Famous Places of Edo (Meisho Edo hyakkei 名所江戸百景), the seals of the artist, publisher, and the carver are shown clear and with the highest quality...

Etching with drypoint on cream wove paper, 7 x 8 3/4 inches (177 x 223 mm); sheet 10 1/2 x 11 3/4 inches (267 x 300 mm), full margins. Signed V. E. Chapel and numbered 62/250 in penc...

This 90 color hand pulled serigraph exhibits all of the subtle brushwork, light, and color that the artist is known for. "Afternoon Glow" is signed by the artist in an edition of 240...

Engraving on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'Âge de Soleil, 1950. Published by Robert J. Godet, Paris; rendered by ...

This exquisite lithograph by Pablo Picasso (1881–1973), titled La Petite Corrida (The Little Bullfight), from the album Special issue of the XX Siecle Review, Hommage a Picasso, originates from the 1971 edition published by Tudor Publishing Co., New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris. La Petite Corrida reflects Picasso’s lifelong fascination with the bullfight—a subject that symbolized vitality, struggle, and creation throughout his career. Executed with the spontaneity and graphic brilliance characteristic of his late lithographs, the composition captures both movement and ritual, merging ancient spectacle with modern energy. Executed as a lithograph on velin paper, this work measures 12.5 × 9.75 inches (31.75 × 24.77 cm). Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris, the atelier that produced many of Picasso’s greatest lithographic works. Artwork Details: Artist: Pablo Picasso (1881–1973) Title: La Petite Corrida (The Little Bullfight), from the album Hommage a Picasso, 1971 Medium: Lithograph on velin paper Dimensions: 12.5 × 9.75 inches (31.75 × 24.77 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1971 Publisher: Tudor Publishing Co., New York, in collaboration with Societe Internationale d'Art XXe siecle, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Catalogue de L’oeuvre Grave et Lithographie, Pablo Picasso: Catalogue of the Printed Graphic Work. Editions Kornfeld, 1967, illustration 839. Goeppert, Sebastian, et al. Pablo Picasso, the Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1983, illustration 92. Picasso, Pablo, and Fernand Mourlot. Picasso Lithographs, Translated by Jean Didry, Boston Book and Art Publisher, 1970, illustration 302. Condition: Well preserved, consistent with age and medium Provenance: From the album Hommage a Picasso, published 1971 by Tudor Publishing Co. and Societe Internationale d'Art XXe siecle, Paris About the Publication: Gualtieri di San Lazzaro’s XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro—a visionary editor, critic, and champion of modernism—believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris, including Mourlot, Arte, and Bellini, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design—an enduring testament to Gualtieri di San Lazzaro’s belief that the visual arts are the soul of the modern age. About the Artist: Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, and ceramicist whose extraordinary vision revolutionized modern art and defined the visual language of the 20th century. A child prodigy from Malaga, Spain, Picasso’s career spanned more than seven decades and encompassed an astonishing range of styles and innovations—from the melancholic Blue and romantic Rose periods to his pioneering invention of Cubism with Georges Braque, which shattered conventional notions of perspective and form. Influenced by the bold expressiveness of El Greco, the structure of Cezanne, and the vitality of African and Iberian sculpture, Picasso became a central figure of the Paris avant-garde, working in creative dialogue with contemporaries such as Henri Matisse, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. His insatiable experimentation extended across painting, drawing, printmaking, ceramics, and sculpture, forever expanding the boundaries of artistic expression. A master of reinvention, Picasso profoundly shaped generations of artists who followed—from Andy Warhol, Roy Lichtenstein, David Hockney, and Jean-Michel Basquiat to Jeff Koons and Banksy—cementing his status as a timeless cultural icon whose works remain among the most sought after worldwide. His landmark painting Les Femmes d’Alger (Version “O”) achieved a record-breaking sale of $179,365,000 at Christie’s, New York, on May 11, 2015, affirming Picasso’s enduring legacy as one of the most influential and valuable artists in history. Pablo Picasso La Petite Corrida, Picasso Mourlot Freres, Picasso XXe siecle, Picasso Hommage a Picasso, Picasso 1971 lithograph, Picasso velin paper, Picasso bullfight lithograph...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Danseuse (Dancer), from the album Le Ballet (The Ballet), originates from the 1954 edition published by Librairie Hache...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

Etching on paper. hand signed and numbered. Edition of 99. Very good condition.

Screen print realized by Piero Gauli in 1970s. Edition of XX in roman numbered, aside of the edition in roman numbered of 80. Hand signed and numbered in pencil. Very good condition.

Alex Katz - No Kids – Come Into My House album cover (Hand Signed by Alex Katz), 2008, 2013 Offset lithograph album cover (Hand signed in marker by Alex Katz) Album cover designed by...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), originates from the 1972 album Calder autobiographie. Published by Maeght Editeur, Paris, and...

David Lingwood’s "I Love New York" offers a serene, nostalgic glimpse into the iconic New York City skyline as seen from the artist’s own terrace apartment in the 1970s. Rendered wit...

In 1983, artist David Lingwood created this stunning diptych poster, capturing the serene beauty of Le Trayas, a picturesque locale in the south of France. This two-panel composition...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Formulaire rouge (Red Form), originates from the 2012 publication Revue Cahiers d'Art, 2012, no. 1, Ellsworth Kelly. ...

This is an original 19th century duotone lithograph entitled "Tomb of the Caliphs, Cairo - The Citadel in the Distance" by David Roberts, from his Egypt and Nubia volumes of the larg...

This rare Original 1920s authentic print is a Taisho Period Woodblock print published from the Japan 1920's The Nippon Mokuhan Gasui, Masterpieces Series.; it is authentically hand ...

Lithograph realized by Lucio Rofrano in 1990s. Edition of 150, numbered and hand signed. Excellent condition.

This exquisite lithograph by Henri Matisse (1869–1954), titled La tristesse du roi (The Sorrow of the King), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originat...

Limited edition giclée print, created with archival inks on canvas, with hand-applied brush textures that enhance the handcrafted quality of the artwork. - 70x90 cm + 5 cm from eac...

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...

This exquisite lithograph by Keith Haring (1958–1990), titled Untitled, from the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989), originates from the 1990 edition published by Publishing House Bebert, Rotterdam, in collaboration with Mera Rubell, New York, and Donald Rubell, New York, and printed by Nieuwe Grafische, Rotterdam, Spring, 1990. Untitled embodies Haring’s signature visual vocabulary—dynamic lines, rhythmic energy, and universal symbolism—infused with the social urgency and optimism that defined his generation. Executed as a lithograph on velin acid-free Rivoli paper, this work measures 8.5 x 10.3 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Nieuwe Grafische, Rotterdam, and the bold spirit of Bebert’s late twentieth-century artist collaborations. Artwork Details: Artist: Keith Haring (1958–1990) Title: Untitled, from the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989) Medium: Lithograph on velin acid-free Rivoli paper Dimensions: 8.5 x 10.3 inches (21.59 x 26.16 cm) Inscription: Unsigned and unnumbered as issued Date: 1990 Publisher: Publishing House Bebert, Rotterdam, in collaboration with Mera Rubell, New York, and Donald Rubell, New York Printer: Nieuwe Grafische, Rotterdam Condition: Well preserved, consistent with age and medium Provenance: From the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989), Bebert, Rotterdam, 1990 Notes: Excerpted from the album, 20 drawings - Oct. 3, 1989 was published with the collaboration of Mera and Donald Rubell by Bebert Publishing House in Spring 1990. The edition consists of MMD hard cover examples, of which D are numbered (I/D - D/D) and signed by the artist. The edition was printed on acid-free Rivoli paper by Nieuwe Grafische in Rotterdam. and bound by Stokkink B.V. in Amsterdam. ©Keith Haring, M.Y.6. 1990. Mera + Don Rubell, NYC 1990. Bebert Publishing House. Westersingel 22-3014 GP, Rotterdam, Holland - 1990. About the Publication: Against All Odds is both an artist’s album and memorial publication comprising twenty lithographs created by Keith Haring on October 3, 1989, just months before his death in February 1990. Conceived in collaboration with Mera and Donald Rubell and published by Bebert Publishing House, Rotterdam, the album encapsulates Haring’s final creative statement. Haring’s accompanying handwritten foreword and brief text meditate on the fragility of human life, ecological collapse, and the artist’s struggle to preserve hope “against all odds.” The drawings—executed in Haring’s immediately recognizable graphic line—depict writhing figures, embryos, skeletons, animals, and cosmic symbols that echo his lifelong concern with birth, death, sexuality, and transcendence. Together, the images and text form a narrative of resistance and endurance amid personal illness and global crisis. The album’s title encapsulates Haring’s sense of perseverance: humanity’s and the planet’s fight for survival despite overwhelming forces of destruction. Published posthumously in spring 1990, Against All Odds stands as a poignant summation of his ethos—celebrating vitality and compassion in the face of mortality and despair. About the Artist: Keith Haring (1958–1990) was an American artist, activist, and cultural innovator whose bold visual language and socially engaged practice redefined contemporary art and the role of the artist in society. Born in Reading, Pennsylvania, and raised in Kutztown, Haring was inspired from an early age by comic art, calligraphy, and graphic design, influences that would later shape his instantly recognizable style of radiant lines, rhythmic movement, and universal symbols. After moving to New York City in 1978 to study at the School of Visual Arts, he immersed himself in the downtown art scene, drawing influence from modernist pioneers such as Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose innovations in form, abstraction, and conceptual art informed his radical approach to public expression. Haring began creating chalk drawings in the New York subway system, transforming urban walls into democratic spaces for creativity and communication. His imagery—radiant babies, barking dogs, flying saucers, and dancing figures—spoke a universal visual language that combined accessibility with profound emotional and political resonance. He became a leading figure in 1980s New York, working alongside Jean-Michel Basquiat, Andy Warhol, and Kenny Scharf to bridge the worlds of street art, pop culture, and fine art. Influenced by Picasso’s expressive energy, Calder’s movement, Miro’s playfulness, and Duchamp’s conceptual wit, Haring developed an art of optimism, immediacy, and activism that addressed issues of love, unity, social justice, and human rights. His work carried urgent commentary on apartheid, AIDS awareness, drug abuse, and inequality, while radiating the joy and vitality of life. In 1986, he opened the Pop Shop, a groundbreaking experiment in making art accessible to all, selling affordable objects featuring his designs without compromising his artistic vision. His monumental public murals, including Crack Is Wack in Harlem and Tuttomondo in Pisa, Italy, continue to stand as symbols of art’s power to educate and inspire collective action. Haring’s dynamic compositions merged the energy of graffiti with the structural clarity of modernism, synthesizing the spiritual abstraction of Kandinsky, the surreal imagination of Dali, and the sensual immediacy of Man Ray. His work influenced generations of artists, including Banksy, Shepard Fairey, KAWS, Takashi Murakami, and RETNA, who continue to echo his fusion of activism and aesthetics. Despite his untimely death from AIDS at age 31, Haring’s impact on art and culture endures globally through the Keith Haring Foundation, which supports children’s programs and HIV/AIDS research. His works are housed in major museums such as the Museum of Modern Art, the Whitney Museum of American Art, the Centre Pompidou, and the Tate Modern, affirming his legacy as a cornerstone of twentieth-century art. The highest auction record for Keith Haring was achieved with Untitled (1982), which sold for $6.5 million USD at Sotheby’s, New York, on May 16, 2017, solidifying his status as one of the most influential, beloved, and enduring artists of the modern era. Keith Haring Untitled Against All Odds 20 drawings Oct 3 1989 Bebert Publishing House Rotterdam 1990 lithograph...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled Early October, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth....

Clare Leighton, 'Landing' from the series 'Lumber Camp', wood engraving, edition 100, 1931. Signed, titled, and numbered 75/100 in pencil. A fine, richly-inked impression, on off-whi...

This exquisite lithograph after Edgar Degas (1834–1917), titled Danseur au bar (Dancer at the Barre), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Studio Publications, Inc., New York, rendered and printed by Albert Carman, City Island, 1945, this work reflects Degas’s sensitive mastery of line, movement, and the intimate psychological nuances of the ballet studio. Executed as a lithograph and pochoir on velin paper, this work measures 13 x 17 inches (33.02 x 43.18 cm). Signed in the plate and unnumbered as issued. Rendered and printed by Albert Carman, City Island. Artwork Details: Artist: After Edgar Degas (1834–1917) Title: Danseur au bar (Dancer at the Barre), from Degas, Ten Ballet Sketches, 1945 Medium: Lithograph and pochoir on velin paper Dimensions: 13 x 17 inches (33.02 x 43.18 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1945 Publisher: The Studio Publications, Inc., New York Printer: Albert Carman, City Island Condition: Well preserved, consistent with age and medium Provenance: From the 1945 folio Degas, Ten Ballet Sketches, published by The Studio Publications, Inc., New York Notes: Excerpted from the album, Born in Paris in 1834, Edgar Degas lived, and surely loved the life of that city during most of his years. These continued somewhat sadly beyond those of most of his friends— into the debacle of the first World War, during which he died in 1917. Judging by the frequency with which he used them as models, he must have had an especial admiration for the ballet girls who followed a profession that at the time brought none of the glory and prosperity which attend it today. New aspects of the human body, revealed in movement, fascinated him. But his occupation with the simply anatomical side of his subjects never resulted in a cold interpretation. On the contrary there is a warmth and sympathy that pervades all of his work. The drawings here represent the painter in one important phase of his multi-sensitive view of life; and permit an insight which a more ambitious work might not do-into the operation of the creative process, the artist's transformation of reality as it passes through the mesh of his sensibilities. The Edition of this Portfolio is limited to MMMD examples. Rendered by Albert Carman. About the Publication: Degas, Ten Ballet Sketches (1945) is one of the earliest and most significant American postwar fine art portfolios devoted to Edgar Degas’s intimate works on paper. Published by The Studio Publications, Inc., New York, and rendered and printed by Albert Carman at City Island, the album sought to faithfully reproduce a group of Degas’s ballet-related drawings through a combination of lithography and hand-applied pochoir coloring. This hybrid technique allowed the edition to preserve the immediacy, tonal subtlety, and gestural delicacy central to Degas’s draftsmanship. Conceived as a fine art publication rather than a commercial book, the portfolio provided American audiences unprecedented access to Degas’s private, spontaneous studies—images that reveal the artist’s fascination with movement, anatomy, and the psychological atmosphere of the rehearsal studio. The album exemplifies the mid-20th-century revival of pochoir as a means of recreating the texture and coloristic nuance of original works on paper, and it remains an important document of how Degas’s legacy was translated into high-quality printed form for collectors, museums, and connoisseurs. About the Artist: Edgar Degas (1834–1917) was a French painter, draughtsman, printmaker, and sculptor whose groundbreaking fusion of classical draftsmanship, modern experimentation, and psychological depth helped define the trajectory of Western art, positioning him as one of the most influential figures of the nineteenth and early twentieth centuries; renowned for his depictions of ballet dancers, racehorses, theater scenes, cafe life, domestic interiors, milliners, laundresses, and women at their toilette, Degas reimagined observational realism through radical compositional innovation—employing extreme cropping, asymmetrical framing, oblique viewpoints, and dramatic lighting that anticipated photographic and cinematic language long before these technologies shaped visual culture, and although associated with Impressionism, he rejected plein-air spontaneity in favor of studio-based discipline rooted in the linear precision of Jean-Auguste-Dominique Ingres, the expressive chromaticism of Eugene Delacroix, and the modernity of Edouard Manet while also drawing inspiration from Japanese ukiyo-e prints, classical sculpture, and early photography; his independent artistic philosophy resonated with and helped shape the innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose explorations of movement, form, dream logic, abstraction, and conceptualism all find antecedents in Degas’s investigations into seriality, temporality, and the fragmented figure, and his pioneering use of pastel, monotype, and wax sculpture fundamentally transformed each medium, influencing artists from Henri Matisse, Francis Bacon, Lucian Freud, and Giacomo Manzu to Paula Rego, contemporary realists, experimental photographers, and choreographers; his works are held in nearly every major museum collection worldwide—including the Musee dOrsay, the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Courtauld Institute, and the National Gallery, London—affirming his central place in the history of art, and the highest auction record for Degas was achieved at Sothebys London on February 3, 2015, when Danseuses en Bleu sold for 37,033,000 GBP, cementing his status as one of the most sought-after and enduringly significant artists of the Western canon. Degas pochoir, Degas lithograph...

One print from Jos Sances cycle concerning Moby Dick. A vast sperm whale drifts below the surface, scarred by harpoons, while above floats a lone survivor on a coffin raft—a haunting...

Rufino Tamayo, Mexican (1899 - 1991) - Paisaje con Luna, Year: 1977, Medium: Mixografia on Arches Paper, signed and numbered in crayon, Edition: 16/100, Size: 19.75 x 27.25 in. (...

ABOUT THIS PIECE: Julio Larraz is an expert draftsman, adroitly sketching his subjects and enlivening them with vibrant color. Larraz is recognized for his precise and detailed techn...

North Yorkshire By David Hockney 1997 Medium: Offset Lithograph Paper Size: 19.75 x 24.25 inches ( 50 x 62 cm ) Image Size: 19.75 x 24.25 inches ( 50 x 62 cm ) Edition Size: Un...

This rare X-large Limited Edition is 80% hand painted and highlighted with original paint and brushstrokes painted by artist Shizico Yi. Only 10 Limited Edition has been made, last ...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celles (...

This is an original 19th century duotone lithograph entitled "The Holy Tree of Metereah" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in L...

This exquisite lithograph after Marc Chagall (1887–1985), titled Das Fest (The Celebration), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by Daco-Verlag Gunter Blase, Stuttgart, and printed by Lichtdruck AG, Zurich, Dielsdorf, September 1989. This authorized edition, issued under the direction of Vava Chagall, presents one of Chagall’s most joyful and expressive interpretations of Homer’s epic. In Das Fest, Chagall transforms the revelry of ancient feasts into a luminous vision of human connection, music, and harmony, rendered with his signature lyricism and dreamlike color palette. Executed on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper, this lithograph measures 14.88 x 11.69 inches. Unsigned and unnumbered, as issued. The edition exemplifies the exceptional quality and precision of Lichtdruck AG’s craftsmanship, reproducing the depth and richness of Chagall’s original lithographs with remarkable fidelity. Artwork Details: Artist: After Marc Chagall (1887–1985) Title: Das Fest (The Celebration), from Homer, Die Odyssee (The Odyssey), 1989 Medium: Lithograph on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper Dimensions: 14.88 x 11.69 inches Inscription: Unsigned and unnumbered, as issued Date: 1989 Publisher: Daco-Verlag Gunter Blase, Stuttgart Printer: Lichtdruck AG, Zurich, Dielsdorf Condition: Well preserved, consistent with age and medium Provenance: From the folio Homer, Die Odyssee (The Odyssey), Daco-Verlag Gunter Blase, Stuttgart, 1989 Notes: Excerpted from the folio (translated from German), Imprint—The French edition, L'Odyssée, with the original lithographs by Marc Chagall was published in 1974/75 in a CCL-example edition by Fernand Mourlot, Paris. In 1989, with the authorization of Mrs. Vava Chagall, the German-language edition of the Odyssey in two volumes was published by Daco-Verlag Gunter Blase, Stuttgart. Volume I contains the songs I - XII with XX color plates, including IV on double pages and XIX gray printed reproductions in the text. Volume II contains the songs XIII - XXIV with XXIII color plates, including II on double pages and XX gray printed reproductions in the text. For the German text, the prose translation by Wolfgang Schadewaldt was chosen with the permission of Rowohlt Taschenbuch Verlag, Reinbek near Hamburg. Set design in the Berthold Garamond Antiqua by F+M Bauer...

Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-83 Using 6.5 million square feet of floating pink fabric, Christo and Jeanne-Claude encircled eleven islands in Miami...

M.C. ESCHER (1898-1972) Between Sky and Water, 2008 Facsimile after the original woodcut from 1938 Signed in the plate Numbered / 450 copies (the number you can see can be different...

Sunset Song – The Night stands as one of the most iconic works featured in Modern Ancient – Summer Exhibition at GSY Studio Gallery, UK, 2025.—this Limited Edition ( only 5 available...

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

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...

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

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Le divan (The Divan), from the folio Les Bleus de Barcelone, 12 aquarelles et pastels (The Blues of Barc...

This set of two are hand painted limited edition on Giclee. Each edition is 80% hand-painted with Shizico’s own oil, gesso, and acrylic—every colour hand-mixed, every surface individ...

Artist: Roy Lichtenstein Title: Haystack #4 Portfolio: Haystack Medium: Lithograph and screenprint on Rives BFK paper Year: 1969 Edition: AP VII Frame Size: 24 3/4" x 34 3/4" Sheet S...

Damien Hirst "Justice" H9-1, from "The Virtues" series. A laminated Giclée print on aluminium panel. Produced in 2021. Edition 515 of 1005. Hand signed and numbered on verso label by...

This exquisite lithograph after Pablo Picasso (1881–1973), titled 25.4.64., from the folio Le Gout du Bonheur, trois carnets d`atelier (The Taste of Happiness, Three Studio Sketchboo...

Lyonel Feininger, 'Die Architektur' (Architecture), also 'Stadtbild' (Cityscape), woodcut, edition proofs only in 1920; 50 in 1921. Prasse W 232. Signed in pencil. A fine, black impression, on off-white Japan, with full margins (1 1/4 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 6 x 8 7/8 inches (152 x 229 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). No. 11 of the portfolio 'Zwolf Holzschnitte von Lyonel Feininger', 1921. Provenance: Peter Deitsch collection; exhibited Weimar Museum, 1968. Impressions of this work are in the permanent collection of: Busch-Reisinger Museum (Cambridge, Mass.), Bauhaus-Archiv (Germany), Hamburger Kunsthalie (Germany), Pfaizische Landesgewerbeanstalt (Germany), Kaiser Wilhelm Museum (Germany), Staatliche Graphische Sammlung (Germany), Philadelphia Museum of Art. ABOUT THE ARTIST Lyonel Feininger was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral...

'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and cloudscapes Seascape ...

This is an exclusive handprinted limited edition cyanotype. "Day Time Seascape in Blue" is a handmade cyanotype print portraying the vibrant reflections of the Sun as seen from the c...

This exquisite lithograph by Marc Chagall (1887–1985), titled Soleil sur la ville (Sun Over the City), from the album Chagall Monumental Works, Special Issue of the XXe Siecle Review...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...