1988 Chuck Jones Signed Animation Cel Courtroom Scene Loony Tunes Warner Bros

Mid to early 20th century hand colored etching depicting a view of the Hangmans Bridge over the canal through Nuremburg, Germany. Pencil signed along lower edge. Beveled silver gilt ...

Lot of 10 late 19th century chromolithograph prints, colored plates taken from a folio book published by Firmin Didot et Cie, Paris France. Plates each come with the facing page of d...

Vintage Mildred Hado etching titled Swans, circa 1970s. It features a nautical abstract seascape theme with three swans under the sun and a below water view of subterranean ocean de...

Antique architectural Grecian / Roman aquatint engraving "Plate 11 - Ponte Lucano" engraved by Matthew Dubourg, extracted from the book "Views of the Remains of Ancient Buildings in ...

Print Print made with archival pigments on fine art rag paper with matte finish Measures: 17.00 x 12.00 in 43.2 x 30.5 cm Edition of 150 This work is signed and numbered by the artist on recto. Like most of Marcel Dzama's drawings, this print of old-fashioned circus performers is reminiscent of antique illustrations...

Walt Disney, "Mickey's Trailer, 1938". Celluloid (xenographic line, ink-enhanced hand painted). Stamped The Walt Disney Company. Numbered 52/500. 29.5 x 49 cm. Movie "Mickey's Trailer," was the second short film, out of 100, that was produced 1938. An icon film. Published by Disney Art Editions in 1994. A certificate of authenticity executed by The Walt Disney Company accompanies the lot. Provenance: Animation Art Gallery/Amsterdam, acquired in 1995. An original production-used animation cel...

Max Papart signed deco silkscreen 47/150 (1911-1994)

A set of three prints by influential American artist Elaine Sturtevant, studying circular motion and riffing/ripping (depending on your views on copyright) off the works of Robert Rauschenberg, Marcel Duchamp and Alexander Calder. Labelled and Each signed 'Sturtevant' and from an edition of 60. Sturtevant was born in Lakewood, Ohio (USA) and spent the first years of her artistic life working in New York - where in 1956, she began to manually reproduce paintings and objects created by her contemporaries with results that cannot immediately be identified from an original. Sturtevant intentionally turns the concept of originality on its head... All of her works are copies of the works of other artists; none is an original. She initially focused on works by such American artists as Roy Lichtenstein, Claes Oldenburg, Jasper Johns, and Andy Warhol. In the late 1960s, she concentrated on replicating works by Joseph Beuys and Duchamp. Since the early 1980s, she has focused on the next generation of artists, including Robert Gober, Anselm Kiefer, Paul McCarthy, and Felix Gonzalez-Torres. She masters painting, sculpture, photography and film in order to produce a full range of copies of her chosen artist's work. In most cases, her decision to start copying an artist happened before those artists achieved broader recognition. Nearly all of the artists she chose to copy are today considered iconic for their time or style. This has given rise to discussions amongst art critics on how it has been possible for Sturtevant to identify these now famous artists at such an early stage. A notable incident in her career emphasizes just *how* technically talented she is at assimilation and reproduction of an artistic style: In 1965 a Jasper Johns flag...