Thomas French Fine Art Prints and Multiples

La Grande Cascade de Saint Cloud Color aquatint on watermarked Arches J Perrigot paper, 1905 Signed by the artist in pencil lower right. (see photo) Edition: 100. Numbered "39" in ...

La Terrazza Lithograph, 1987 Signed, titled and numbered in pencil (see photos) Published by Kandfall Press, Chicago (their stamp verso) Landfall drystamp recto lower left Edition 12...

Pyramus and Thisbe Etching, c.1906 Signed along bottom edge in pencil "Augustus E John" Edition: 25 Reference: Dodgson 91 ii/II Condition: Excellent Plate: 5 1/8 x 4" (13.02 x 10.16 ...

Self Portrait-L.B. AET 56 Color woodcut printed in black and green, 1978 Signed in pencil lower right (see photo) Edition: 150 (97/150) Condition: Excellent Image: 32 x 22” Sheet: 35...

After Edward Henry Potthast The Century Magazine Chromolithograph, July 7, 1896 Printed by W.B. Orcutt Co., NY Note: This image won an honorable mention in a poster contest sponsored...

La République Nous Appelle (The Republic Calls Us) Transfer lithograph with an etching Remarque in the lower left corner, 1915 Signed in pencil lower right (see photo) Edition: 100 (...

Chrysanthemums Color woodcut, c. 1950's Signed lower right (see photo) Publisher: Uchida (see photo of red seal) Note: Chrysanthemums, a symbol of the sun, the Japanese consider the ...

Tiger Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: Excellent Image/sheet size: 15 3/8 x 10 7/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

Hollyhocks Color woodcut, 1953 Signed with the artist's stamp lower left Printer: Niimi Carver: Nagashima An early printing Condition: Excellent Image size: 15 1/2 x 10 3/8 inches "...

Dahlias Color woodcut, 1939 Unsigned (as usual) Format: oban Publisher: Takemura Hideo Stamp verso: "Made in Japan" Provenance: Robert O. Muller Biography Hodo Nishimura...

Canna Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1939) Format: oban Condition: Excellent Image/Sheet size: 15 5/8 x 11 inches Provenance: Robert O. Muller There is little biographical data available about the Japanese printmaker Hodo Nishimura...

Cosmos Color woodcut with gauffage (embossing), January 1940 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: excellent Image size: 14 3/8 x 9 5/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

Keshin (Incarnation (Moku) Color woodcut, 1958 Signed and dated lower left in pencil (see photo) An impression is in the collectionof the Asian Art Museum, No. 2012.93, which is not a richly inked s this impression. Another impression is in the National Museum of Art, Smithsonian, accession no. S2019.3.1297 A third impression is in the collectionof the Art Gallery of Greater Victoria This appears to be the best and most colorful impression of the museum holdings. The image is thought to depict a flying crame Condition: Wrinkles to large sheet of handmade paper. Not objectionable. Image size: 29 15/16 x 21 1/4 inches Sheet size: 37 3/8 x 27 1/4 inches Reference: Tadashi Nakiyama Life & Work, Plate F Tadashi Nakayama - Sosaku hanga artist Tadashi Nakayama initially studied oil painting at Tama Art College, but began creating woodblock prints in 1951. In the 1960s, he traveled to Turkey, Greece, England, and Italy, absorbing influences from Persian and Byzantine art and the renaissance master Paolo Ucello. Throughout his long career, his subjects have included flowers, butterflies, women, and perhaps most famously, horses...

Hyacinth Color woodcut, 1917-1918 Unsigned From: Seiyo Kusabana Zufu (Illustrations of Western Plants and Flowers) 1st edition Publisher: Unsodo, Kyoto Condition: Centerfold...

Fireworks Color lithograph, 1974 Signed on the image in pencil lower right Publisher's stamp: The Print Club of Cleveland stamp, verso (see photo) The Print Club of Cleveland Publica...

Buds Color lithograph, 1980 Signed, titled, and editioned in pencil by the artist Publisher: Art Matters Printer: Bud Shark, Shark's Ink, Lyons, CO Condition: Excellent Image: 31-1/8 x 41-1/4" (79 x 104.7 cm.) "An Abstract Expressionist when he left the Art Institute of Chicago in 1956, Beal has since become a dedicated realist who sees art as a potentially powerful moral force. He has great regard for Platonic ideals of truth, beauty, and goodness, and admires both the realism of seventeenth-century Dutch painting and the compositional authority of Renaissance art. Since moving to New York in the late 1950s with his wife, painter Sondra Freckelton, Beal has painted still lifes, portraits, and landscapes, although in recent years his most ambitious undertakings have been large-scale allegories and myths. In describing his approach, Beal calls himself a "life painter" and says he is committed to human over aesthetic concerns. Yet his intricate complexes of figures and surface patterns, along with his adroit handling of space, reveal his sophisticated, accomplished sense of composition. Virginia M. Mecklenburg Biography Jack Beal (1931-2013) was born and raised in Richmond, Virginia. He briefly attended the College of William and Mary, studying biology, but dropped out after two years. A decision to take evening art classes lead to his attending the Art Institute of Chicago, where he studied from the old masters in the Institute’s collection and with Isobel Steele MacKinnon, a student of Hans Hoffman. His classmates there included Red Grooms, Richard Estes, Claes Oldenberg and Robert Barnes, and while abstract expressionism remained “the only valid way to paint,” it was a style that all would eventually reject. In 1956 Beal left the Art Institute and moved to New York with the aim of finding success as a painter, eventually becoming one of the first artists to settle in the SoHo neighborhood. A turning point came in 1962 when, spending the summer in upstate New York, Beal decided to begin painting outdoors. Dissatisfied with abstract painting, he “wanted to give Art one more try” and in working from nature “fell in love with painting all over again.” Over the next few years Beal worked toward a balance between expressionistic paint handling and realistic, narrative pictures. Clement Greenberg’s pronouncement around this time, that the figure was no longer a valid subject was taken as a challenge by many artists, Beal included. His subsequent adoption of the female nude - modeled by his wife, the artist Sondra Freckelton - was a break-through. Though the paintings retained the sensuousness of his earlier canvases, the rigorous formality of their composition and the masterful treatment of light and shadow offered a new approach to realist painting. Indeed, Beal was not alone in this transformation; friends and colleagues in New York were coming to similar conclusions and the group, who included painters such as Philip Pearlstein, Alfred Leslie, Yvonne Jacquette, Alex Katz, Jack Tworkov, Nell Blaine and Fairfield Porter, would eventually be considered the ‘New Realists.’ With the resurgence of figurative painting, Beal distinguished himself for his skillful handling of color and modeling as well as what was later described as his “pushing of representational forms to their interface with abstraction”. Through the later half of the 1960s, while his subject matter remained unchanged, his paintings were increasingly given over to wide areas of flat color. In 1969, he exhibited a series of Table Paintings which, with their hard-edge style and near complete abstraction of the form, were a radical departure for Beal. So radical in fact, he was accosted by fellow realist painters Alfred Leslie and Sidney Tillim, who berated him “for betraying realism and betraying [himself], for moving away from ‘the true path’.” The incident had its intended effect and Beal did return to a more naturalistic and humanistic style, eventually abandoning the nude in favor of increasingly allegorical portraits. In 1974, the United States General Services Administration commissioned Beal to produce a series of murals for the U.S. Department of Labor headquarters in Washington D.C. The result was The History of Labor, four, 12 x 13 foot paintings in the vein of George Caleb Bingham, each illustrating a century of American development. Following the completion of the murals in 1977, Beal continued to make use of narrative in his paintings, with portraiture and self-portraiture as a means of exploring moral and didactic themes. He and Sondra had purchased an old mill in upstate New York in 1974 and after extensive renovations, it became their permanent residence. Unsurprisingly, many of his later paintings are pastoral scenes based on his rural surroundings or still lives including flowers which they grew on the property. In 1986, Beal was commissioned by the Art in Transit Initiative to create a large-scale mural as part of the redevelopment of the Times Square Subway Station. The proposed mosaic mural, The Return of Spring, took over fifteen years to complete, with the two, 7 x 20 foot sections finally installed in 2001 and 2005. Together they update the Greek myth of Persephone with a New York setting, showing her abduction by Hades, initiating the arrival of winter, and her release, bringing the bountiful return of spring. Beal was a founder of the Artist’s Choice Museum, New York and the New York Academy of Art as well as the recipient of numerous grants and awards, including honorary degrees from the Art Institute of Boston and the Hollins College...

Qui ne se grime pas? (Who does not wear a mask?) Aquatint, roulette, drypoint, acid bite, and scorper, 1923 Signed in the plate loweer left (see photo) Dated in pencil Series: Miser...

Ne sommes-nous pas forçats? (Are we not Slaves?) Aquatint and heliogravure on Arches laid paper watermarked "Ambroise Vollard" Signed and dated in the plate lower left (see photo) P...

En Espagne Pochoir (silk screen) printed in colors Signed by the artist in pencil lower right The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Excellent Image...

Au Japon Pochoir (Stencil Print), 1925 Signed by the artist in pencil lower right (see photo) Signed in the image lower left (see photo) Stamped verso: Made in France Note: The artis...

New England Coast (Greenport, New York) Lithograph, 1969 Signed in pencil lower right (see photo) Edition: 350 Published in the book, Stow Wengenroth's New York, 1969 Limited slipcas...

East River View of N.Y. Etching, 1934 Signed, dated and titled in pencil by the artist From a very small edition. Brilliant impression Condition: Excellent Image/Plate size: 5-1/8 x...

Debris Etching, engraving and color aquatint, 1947 Signed, dated, titled and number Edition: 25 (1/25), never fully realized Created in the artist's first year studying at the Univer...

Festival No. 6 Color woodblock, 2002 Signed, titled and numbered in pencil (see photos) Edition: 50 (10/50), see photo Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Reference: Hamanishi Small 98 Condition: Excellent Sheet: 12 1/4 x 9 1/8"; Image 10 1/2 x 7 1/2" Katsunori Hamanishi Born: 1949, Hokkaido Medium: Mezzotint, with relief printing and metallic foil. Also a few woodblocks Hamanishi studied painting and graduated from Tokai University with a degree in Art, in 1973. Since then, he has been living in the Tokyo area, where his primary focus is printmaking. Mezzotint is a variation of intaglio printing--an exacting and laborious process whereby ink is transferred from below the surface of the plate by use of a press. First, the entire copper plate is indented with a toothed steel rocker...

Tommy's Pond Etching, aquatint and intaglio, 1966 Signed, dated and numbered in pencil Image/Plate size: 13 7/8 x 10 7/8 inches Sheet size: : 20 1/16 x 14 7/16 inches From: The Portf...

Flower Vase, Red Camellia, white plum, white daffodils and orchids Color woodcut, c. 1950 Signed "B. Ohno" (see photo) Seal: Bakufu (see photo) Series: Flowers of the Four Seasons Ca...

Flower in Vase (Summer) Color woodblock, c. 1950 Signed "B. Ohno" lower right (see photo) Sealed lower right (see photo) Series: Flowers of the Four Se...

Snow Geese (Wyoming) Drypoint, c. 1947 Signed in pencil lower right (see photo) Title in pencil lower left (see photo) Note: This image is reprodcued in a Photogravure for Ducks Unlimited in 1947. This is the first original drypoint version. Condition: Excellent Image/Plate size: 8 3/8 x 6 7/8 inches Reference: Archives West #101 Kleiber 134 Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

Mallard Drakes (Louisiana Honkers) Drypoint, c. 1940 Signed in pencil lower right (see photo) Titled in pencil lower left (see photo) Note: A famous image by Kleiber. It is was made in a hand colored version which commands a large premium. Condition: Excellent Image/Plate size: 9 7/8 x 7 7/8 inches Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

In th Bighorns (Wyoming) Drypoint, c. 1930's Signed in pencil lower right (see photo) Titled in the plate lower left Condition: Excellent Image/Plate size: 6 3/8 x 4 3/8 inches Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

Things Kept Color lithograph, 1970 Signed & titled in pencil (see photos) Annotated: "Artists Proof" Printed on RIVES wove paper Condition: Excellent Sheet has aging consistent with ...

Bare Arms (The Practice #1) Drypoint on Aluminum, 2019 Signed with the artist's initials (see photo) The first plate from a proposed suite of 9 drypoints, all printed in an edition o...

In Search of New Beginnings 3 Puff pigment screen print with hand coloring, 2021 Signed with the artist's initials in the lower right corner (see photo) Titled in the lower left corn...

Darius at 10 Drypoint, 2022 Signed, titled and numbered in pencil Printed by Rebekah Wilhelm Her drystamp lower right Published by the artist Edition 14, plus proofs Condition: Excel...

America's Son II (Sonny) Lithograph, 2016 Signed and numbered in pencil From: America's Family II Printer: James Reed at Milestone Graphics Printed on Arches paper Edition: 40, of wh...

America's Mom II (Small Leticia) Lithograph, 2016 Signed and numbered in pencil by the artist Series: America's Family II (Four images) Edition: 40, of which 20 were retained by the ...

The Ponte and Castel S. Angelo Veduta del Ponte e Castello Sant' Angelo Etching, 1754 Signed in the plate lower right above the caption From: Vedute di Roma A proper Roman printing w...

View of the Ancient Structure built by Tarquinius Superbus called the Bel Lido, and like others built by Marcus Agrippa in the time of Augustus when he cleaned all the sewers leading...

Bougival Woodcut, 1914 Signed and numbered in pencil Edition 30, this numberd 22 Printed on laid Van Gelder Zonen paper Published by Henri Kanweiler, Paris Printed by Paul Birault, P...

Mayan Trio Lithograph, 1950 Signed in pencil lower right (see photo) Edition 250 for Associated American Artists Publsihed 1950 Reference: AAA Cat.: 1950‑05; 1958‑01 AAA Index 1087 Condition: Excellent Image size: 13 x 9 1/2 inches Francisco Dosamantes (b. October 4, 1911 - d. July 18.1986) was a Mexican artist and educator who is best known for is educational illustrations and graphic work against fascism. He was a founding member of the Taller de Gráfica Popular and the Salón de la Plástica Mexicana. Life Francisco Dosamantes was born in Mexico City on October 4, 1911. His father was Daniel Dosamantes who was a builder, interior decorator and painter. He was not registered into the civil registry until he was about twenty years old on March 6, 1939. His mother’s name is not listed on the certificate. As a child, he demonstrated a strong interest in drawing and color, influenced by his father and his uncle Juan. The Mexican Revolution occurred while he was a young child and he stated that he remembered events such as soldiers on horses charging as well as the execution of rural farm workers. He attended primary and high school in Mexico City but stated that his education was irregular and deficient. He then entered the Escuela Nacional de Artes Plásticas, where he studied for five years. Initially, however, he was disappointed with the inexperience of the young professors and he left for a short time to study on his own. During this time, some of the dissatisfied professors organized the 30 30 group against the academic system of the school and which whom he sympathized. The effort gained the attention of established artists such as Diego Rivera who intervened. He died on Mexico City on July 18, 1986 Career After he graduated, he worked with the cultural missions of the Secretaría de Educación Pública in Oaxaca, Michoacán, Guerrero, Colima, Coahuila and Chihuahua (state) from 1932 to 1937 then again from 1941 to 1945. He stated that this experience was vital to his conscience as he worked with rural farm workers and others he stated were worthy of dignity and respect, but victims of deceit and exploitation. When he returned to Mexico City, he gave classes in high schools from 1937 to 1941. In 1945 he founded and directed the Taller Escuela de Dibujo y Pintura “Joaquín Claussell” in Campeche, Campeche. Dosamantes was a politically and culturally active artist with most of his work and affiliations related to such. He was a member of the Liga de Escritores y Artistas Revolucionarios from 1934 to 1938. He was a founding member of the Taller de Gráfica Popular, serving as administrator in 1940 and remaining a member until his death except for one short hiatus. He created posters for conferences about fascism and Nazism such as Alemania bajo bayonetas (Germany under bayonets) in 1938. In 1940 he became the secretary general of the Sindicato de Maestros de Artes Plásticas. He was also a member of the Sociedad para el Impulso de las Artes Plásticas en 1948, a founding member of the Salón de la Plástica Mexicana in 1949 and a member of the Frente Nacional de Artes Plásticas from 1952. He painted a number of murals in rural areas of Mexico generally when he was there on cultural missions. His main mural is at the former home of José María Morelos in Carácuaro, Michoacán, but there are a number at various rural schools. These were all painted between 1941 and 1946. As a book illustrator he mostly worked for the Secretaría de Educación Pública working on books for literacy campaigns. He exhibited his works, which included engravings, oils, tempuras and lithographs in Mexico and abroad. His first individual exhibition was in 1930 at the Galeria de Arte Moderno in Mexico City. His major exhibitions include the Excelsior Gallery in Mexico City in 1932, various exhibitions in New York, Washington, Philadelphia and Los Angeles in 1937; the Nelson Gallery of Art in Kansas City, Missouri in late 1947, and the Gallery of Mexican Art in...

Saint-Tropez-Le Port Color lithograph, 1897-1898 Signed in pencil lower right (see photo) Numbered in pencil lower right: No. 68 (see photo) From: Album des Peintres-Gravures, 1898 ...

Shunga: Twelve Signs of the Zodiac - Goat Color woodcut with gauffrage (embossing) Unsigned (as usual) Format: Shikishiban Publisher: Privately produced Unusually well preserved with the fugitive blue still intact Image size: 5-1/8 x 5-3/4" Sheet size: 5 3/8 x 6 1/4" From Wikipedia, the free encyclopedia In this Japanese name, the surname is Isoda. Isoda Koryūsai (礒田 湖龍斎, 1735–1790) was a Japanese ukiyo-e print designer and painter active from 1769 to 1790. Life and career Koryūsai was born in 1735 and worked as a samurai in the service of the Tsuchiya clan. He became a masterless rōnin after the death of the head of the clan and moved to Edo (modern Tokyo) where he settled near Ryōgoku Bridge in the Yagenbori area. He became a print designer there under the art name Haruhiro in 1769, at first making samurai-themed designs. The ukiyo-e print master Harunobu died in 1770, and about that time Koryūsai began making prints in a similar style of life in the pleasure districts. Koryūsai was a prolific designer of individual prints and print series,[1] most of which appeared between 1769 and 1881. In 1782, Koryūsai applied for and received the Buddhist honour hokkyō ("Bridge of the Law") from the imperial court and thereafter used the title as part of his signature. His output slowed from this time, though he continued to design prints until his death in 1790. Works Koryūsai created a total of 2,500 known designs, or an average of four a week. According to art historian Allen Hockley, "Koryūsai may ... have been the most productive artist of the eighteenth century". The series Models for Fashion: New Designs as Fresh Young Leaves (Hinagata wakana no hatsumoyō, 1776–1781) ran for 140 prints, the longest known ukiyo-e print series of beauties. He designed at least 350 hashira-e pillar prints, numerous kachō-e bird-and-flower prints, a great number of shunga erotic prints, and others. Ninety of his nikuhitsu-ga paintings are known, making him one of the most productive painters of the period. Legacy Despite Koryūsai's productivity and popularity—both in his time and amongst later collectors—his work has attracted little scholarship. The first ukiyo-e histories written in the West in the 19th century elevated certain artists as exemplars; Koryūsai's work came to be seen as too indebted to Harunobu, who died in 1770, and inferior to that of Kiyonaga, whose peak period came in the 1880s. An example is Woldemar von Seidlitz's Geschichte des japanischen Farbenholzschnittes ("History of Japanese colour prints", 1897), the most popular of the early ukiyo-e histories, which paints Koryūsai as a successor to Harunobu and a rival of Kiyonaga in the 1770s who slipped into mediocrity and imitation of his rival by the end of the decade.[5] Interest lay mainly in the details of Koryūsai's life—a samurai who received court honours was unusual in the proletarian world of ukiyo-e. In 2021, contemporary woodblock printmaker David Bull...

Taos Pueblo Screen print in colors, c. 1945 Signed and titled in pencil by the artist Printed in Taos Taos is the oldest continually inhabited city/village in North America. How old ...

Mariko Station, a Mad Caricature (Mariko shukuba no kyoga) Color woodcut, 1872 Signed in cartouche lower left corner (see photo) From the series: "53 Stations by Calligraphy and Pain...

Man with Mask Lithograph, 1969 Signed in pencil by the artist 95/100 Printed by Lucien Detruit, Paris Published by AAA, New York Reference: AAA Index No. 60 Condition: Mint Image siz...

Au Bois De Boulogne (illustrating the congregation of French nobility outside the Chalets du Cycle Chromolithograph, 1897 Signed in the plate lower right corner From the Special Supp...

Elephant Engraing, 1957, printed 1988 Signed, dated, and titled in pencil by the artist Dedicated: "For Jon From Ray" Edition: 100 in two printings This is an artist's proof from th...

Baby, Baby Etching & aquatint printed in colors, 1991 Signed, dated, titled & numbered in pencil (see photos) Edition: 35 (4/35) plus 10 AP Condition: Excellent, colors fresh Image/...

Minneapolis at Dusk Etching & aquatint printed in colors, 1993 Signed, titled and numbered in pencil Edition: 65 (19/65) Condition: Excellent This image depicts the Wells Fargo Cente...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Still Life No. 5 Lithograph, 1978 Signed, dated and numbered in pencil (see photos) Edition: 50 (24/50) Published by Solo Press, New York, 1978 Printer: Judith Solodkin, first femal ...

Les Pelerins d'Emmaus (The Pilgrims of Emmaus) After a 1894 painting by Denis in the Van Gogh Museum (see photo) Color lithograph, 1895 Signed in pencil ...

Madame Carmencita, Plate 9 From: Cirque de l'etoile filante (Circus of the Shooting Star), 1934-1936 (published 1938) Signed with the artist's initials and dated, lower right of plat...

Amberley Boy, No. 2 Etching with stipple, 1928 Signed in pencil lower right (see photo) Signed in the plate in reverse (see photo) Provenance inscription in pencil verso A proof outs...

Etching, 1920 Signed in pencil Edition: 110 examples Very fine condition Provenance: Colnaghi, London (stock numbers on reverse) The artist'w widow, Dorette, 19...

The Whistle Silkscreen printed in colors, c. 1950's Signed and numbered in pencil by the artist Condition: very good Image: 23-1/2 x 18-1/2" Courtesy British Museum: Biography Born ...

The Fan Silkscreen printed in colors, 1950's Signed and numbered in pencil by the artist (see photos) Edition: 40 (24/40) Condition: very good Image size: 25 1/8 x 19 5/8 inches Cou...

Man, Wife and Child Etching, 1905 Signed and titled in pencil by the artist below image (see photo) Annotated in pencil by the artist "100 proofs" Signed and dated in the plate lower...

Three Lilies Monotype on Arches wove paper, 1980 Signed, titled and dated in pencil by the artist Dimensions: 13 x 18-5/8" (33 x 47.2 cm.): Sheet dimensions are sight size; Plate: 11...

Le monocycle (Performer on a Unicycle) Color lithograph, 1968 Signed and numbered in pencil lower left corner From the portfolio "Mon Cirque" (My Circus) Edition: 120 (12/120) Refere...