Ker Xavier Roussel Prints and Multiples

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...

Working in the tradition of the Etching Revival, Ernest David Roth made this amazingly conceived and detailed study of the entrance to the Spanish ci...

XXe Siecle Color lithograph, 1974 Signed in the stone on right (see photo) From: XXe Siecle, Volume 42, 1974 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, P...

A fine proof impression on antique paper Etching on antique laid paper with a large heraldic watermark. 4 1/4 x 2 3/8 inches (109 x 61mm), full margins. Signed, dated, and inscribed...

Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Marina Abramović The Cleaner, 2017 Offset Lithograph poster from this European exhibition 39 2/5 × 27 3/5 inches Unframed and unsigned About The Cleaner project - courtesy of the Louisiana Museum Marina Abramović has inscribed herself in the history of art as one of the pioneers of body and performance art, and since the 1970s – with her own body and energy as her primary material – she has developed one of contemporary art’s most radical and uncompromising practices. Abramović is best known for physically and mentally demanding performance works that are often transgressive and revolve around the body, gender, energy, time, pain, presence, and identity. Her performances range from powerful, violent, and risky actions to quieter exchanges of energy and meetings with the audience. And especially in recent years, we the audience have increasingly become key players in her works. The exhibition at Louisiana comprised more than 100 works and spans more than five decades – from early concept sketches, paintings and sound works to presentations of the artist’s performances – including her collaboration with former partner Ulay. Reperformances of an early work formed part of the exhibition as well. Marina Abramović – The Cleaner was developed in dialogue with the artist and organized by Moderna Museet, Stockholm, in collaboration with Louisiana Museum of Modern Art, Henie Onstad Kunstsenter and Bundeskunsthalle, Bonn. The performance part...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. The Enchantress with the baby Rapunzel references a Heironymus...

Nude from Back is a print realized by an Anonymus artist the early-20th century. Lithgraph on paper. Good conditions. Beautiful nude with soft strokes.

Paul DELVAUX Dreaming Nude, 1950 Original lithograph (Mourlot workshop) Printed signature in the plate On Lana vellum 19 x 13,6 cm (c. 8 x 5.5 in) Excellent condition

September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...

Nude is a lithograph a on paper realized in 1980 by Sergio Barletta. Hand-signed on the lower right in pencil. from the edition of 100 prints. Numbered in pencil on the lower left. I...