Australia - Art

'Arabian - Arabe - Arabisch' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' Ornement Pol...

Salvador Dali James the Lesser (Vicar of Britain) from The Twelve Apostles, 1977 Lithographs in colors with embossment on Arches paper Hand signed lower right Edition EA lower left S...

David Shrigley -- Do not eat him, 2021 70 x 50 cm Printed on 200g Munken Lynx paper Printed by Narayana Press in Denmark Unnumbered from the Edition of 250 Unsigned FREE SHIPPING

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Salvador Dali Hommage à Mercure, 1973 Hand signed lower right Numbered 10 / 150 lower left. Printed by Ateliers Rigal, Paris. Published by Joseph Foret, Paris. Reference Michler...

Salvador Dali A Caucus Race and a Long Tale from Dali's Alice's Adventures in Wonderland, 1969 Lithograph and front pages come with gold embossed velvet Dali/Alice cover Unsigned Sh...

Nick Thomm 'After Dark' (Blue) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #106 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW...

Kawase Hasui Morning in Hirano, Lake Yamanaka (山中湖平野の朝), 1936 Color woodblock print Oban Sheet: 31 × 42 cm Image: 28.7 × 40 cm First edition seal: 'D' seal Published by Watanabe Shoz...

Joan Miro FEMME IV/VI, from the Femmes Portfolio, 1965 Edition: 50; 10 HC Image size: 27 x 22 cm Paper Size: 56 x 45 cm Signed in the plate Publisher: Arte Adrien Maeght, Paris Ref...

'Gaza', tinted lithograph by Louis Haghe (1806-1885) after David Roberts RA. David Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the late 1830s producing waterc...

Leonor Fini Les Mutantes, 1971 Hand signed lower right Numbered 88/275 Image size: 40 x 60.4 cm Sheet size: 50.5 x 75.5 cm

Mr Brainwash Live Today Worry Tomorrow, 2010 Screenprint Hand signed in pencil, dated with a fingerprint on the reverse Numbered 40/100 Image size: 50 × 71 cm Sheet size: 56.7 × 76 cm

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...

Salvador Dalí Deux nus (Gémeaux), 1970 Lithograph Sheet size: 77 x 57 cm. Hand signed lower right Numbered XI/XXV lower left Printed by Desjobert Published by Musee de L' Athenee, G...

Salvador Dali Miserable Flat from Marquis de Sade Suite, 1969 Lithograph Edition XXVI / XC Hand-signed lower right Image size: 52.5 X 42.5 cm Frame size: 76.5 x 62.5 x 2.5 cm Publi...

Michel Delacroix Arrivee du Tour de France sur le Champs Elysees, 1990 Original lithograph Hand signed in pencil lower right Numbered XIX/CC lower left Sheet size: 78.5 x 91.5 cm P...

Salvador Dali Rembrandt - Portrait du peintre par lui-même Original Lithograph, 1974 Image Size: 52 x 43 cm Sheet size: 84 x 63 cm Hand signed lower right Numbered lower left 294 / 3...

Brice Marden Tiles, 1979 Etching with aquatint, on Somerset satin paper Edition 5 / 50 lower left Hang signed and dated lower right Image size 20 x 20 cm Sheet size 75 x 57 cm Refer...

Bleed # 202481 (Abstract Photography) Chromogenic Print Face-mounted 3mm Matte Plexiglas — Unframed. Work can be hung with either the WallCleat system (support bar supplied) or the ...

Georges Braque Si je mourais là-bas (If I Died There) (Vallier 181), 1962 Wood engraving printed in blue, on Japon paper Hand signed lower right Edition IV / X lower left Printed by...

Adolph Gottlieb (1903-1974) Germination, 1969 Lithograph in colors on Arches paper Hand signed and dated lower left Numbered 25/60 Sheet size 56.5 x 76 cm

Salvador Dali Cobea (Pisum Sensuale) from Flora Dalinae, 1968 Etching and drypoint on Japon paper Hand signed lower right Edition 163/175 Image 58 x 38.5 cm Sheet 76.7 x 56 cm Printe...

Salvador Dali The Prison from Marquis de Sade Suite, 1969 Lithograph Edition XXVI / XC Hand-signed lower right Image size: 52.5 X 42.5 cm Frame size: 75.5 x 62.5 cm Published by S...

This edition is available in multiple sizes. Contact us to order your preferred size from the following additional options: 36 x 48 in. $ 1,600 30 x 40 in. $ 1,350 The beauty of ...

Donald Sultan Wallflower 31, 2008 Edition: 35/190 Sheet Size: 54.7 x 61.5 cm Image Size: 34.3 x 40.5 cm Signed right margin and numbered low left Printed and Published: Har-El, Print...

Trichoglossus goldiei  - John Gould lithograph with hand-colored size 54 cm X 37 cm This remarkable ornithology lithograph with hand-finished col...

French men's fashion design from 'La Revue de l'Homme' a Parisien fashion periodical. 370mm by 270mm (sheet)

'The Century Atlas. Michigan, Northern Part' Original antique map, 1903. Central fold as issued. Map name and number printed on the reverse corners. Sheet 29.5cm by 40cm.

David Shrigley -- You Make Them Happy, 2020 70 x 50 cm Printed on 200g Munken Lynx paper Printed by Narayana Press in Denmark Unnumbered from the Edition of 350 Unsigned FREE SHIPPING

Joan Miro FEMME ASSISE II/II, from the Femmes Portfolio, 1965 Edition: 50; 10 HC Image size: 36 x 29 cm Paper Size: 56 x 45 cm Signed in the plate Publisher: Arte Adrien Maeght, Par...

Salvador Dali La Cogida y la Muerte, 1973 Etching on Arches FRANCE (watermark). Hand-signed lower right Edition 98/400 Image Size: 39,5 x 32cm. Sheet Size: 66 x 50,5cm. Notation: Ins...

Salvador Dali Damis' Dilemma from The Marquis de Sade, 1969 Hand-signed lower right Numbered XVVI/XC Image Size: 53 x 42 cm Sheet Size: 65 x 50 cm Publisher: Shorewood Publishers, In...

Gloria Petyarre, sometimes referred to as Gloria Pitjara, was one of Australia's most successful and significant female artists. Her depiction of the K...

Marc Chagall Bateau Mouche au bouquet, 1961 Original Lithograph Unnumbered of the edition of 180 Sheet Size: 39 * 30 cm Unsigned Reference Mourlot 352

Andy Harwood (b. 1983) is a prominent Australian abstract artist whose work explores the intersection of mathematical precision and the sensory mechanics of perception. A significant...

Henri Matisse (after) Portraits, 1954 Reproduction of 93 portraits by the artist, including 60 black plates of drawings, lithographs and paintings and 33 plates of paintings in colou...

Salvador Dali Title: L'automobile (Automobile) , 1975 Portfolio: Hommage à Leonardo da Vinci (Great Inventions) Original Engraving and Etching with Pochoir on Arches paper Edition: ...

David Shrigley -- I Mean No Disrespect, 2021 70 x 50 cm Printed on 200g Munken Lynx paper Printed by Narayana Press in Denmark Unnumbered from the Edition of 250 Unsigned FREE SHIP...

Bell Butterfly (Abstract painting) Acrylic on Aluminum honeycomb - Unframed Brent Hallard is an Australian - born artist and co organiser of The Shape of Things. His work is deeply...

Intersect # 202101 (Abstract photography) Chromogenic Print Face-mounted 4.5mm Plexiglas - Unframed. Available on request 5-6 week turnaround. Backed with Dibond and C-channel hangi...

BLEED # 202042 (Abstract Photography) Chromogenic Print Face-mounted 3mm Matte Plexiglas - Unframed. Available on request - 4 week turnaround. Backed with extruded polystyrene, co...

Marc Chagall Title: SACRIFICES MADE TO THE NYMPHS from Daphnis and Chloe Original Lithograph on Arches wove paper Printed by Mourlot, published by Tériade, Paris Edition ...

Bleed # 202042 (Abstract Photography) Chromogenic Print Face-mounted 3mm Matte Plexiglas - Unframed. Available on request - 4 week turnaround. Backed with extruded polystyrene, co...

'Convento di agagna nell' Isola Guam. Occupazioni domestiche in Guam.' Italian lithograph, c1841. Originally from 'Galleria universale di tutti i popoli del mondo' by Giuseppe Anton...

'The Rostrated Ray' (Eastern Shovelnose Ray) Copper-line engraving with original hand-colouring. 1794, by Frederick Polydore Nodder (fl.1770 – 1800). 110mm by 195mm (platemark) 125...

'Durham Cathedral' Wood-engraving after Samuel Read. From 'The Illustrated London News'. Samuel Read was an English illustrator who provided many illust...

Etruscan Vase-painting Copper-line engraving with later hand-colouring. 1808. From Millin's 'Peintures de Vases Antiques' published in Paris in 1808. Depicts scene from an ancient ...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...

Antoni Clavé Papier froissé, 1975 Lithograph Hand signed lower right Edition 59/170 Frame size: 50.5 x 66 cm One of the most internationally renowned contemporary Catalan artists, w...

David Shrigley -- I am happy, 2022 70 x 50 cm It is created from the unique work: Untitled (I am happy) (2021) Printed on 200g Munken Lynx paper Printed by ...

Joan Miro Femme dans la nuit (Woman in the Night), Plate IX From: Constellations, 1959 Lithograph in colours with pochoir From the edition of 350 Sheet size 43.1 x 35.5 cm Printed b...

Warlimpirrnga Tjapaltjarri was the son of Papalya Nangala and Waku Tjungurrayi, an old man who had three wives (Papalya and two of her siste...

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...

'Ashdod', tinted lithograph after David Roberts RA. Signed in stone lower right. Printed title below the image. Roberts travelled throughout Egypt an...

Joan Miro FEMME ASSISE IV/V, from the Femmes Portfolio, 1965 Edition: 50; 10 HC Image size: 45.5 x 33 cm Paper Size: 56 x 45 cm Signed in the plate Publisher: Arte Adrien Maeght, Pa...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

'Blattpflanzen I' (Leaf Plants) German chromolithograph, circa 1910. Key in German to the varieties at the bottom of the image. Central vertical fold as issued. 245mm by 305mm (s...

Joan Miro FEMME V/VI, from the Femmes Portfolio, 1965 Edition: 50; 10 HC Image size: 33.5 x 19 cm Paper Size: 56 x 45 cm Signed in the plate Publisher: Arte Adrien Maeght, Paris Re...

'Side Board' From George Hepplewhite's 'Cabinet-Maker and Upholsterer's Guide', published by I. and J. Taylor in 1788. These engravings are the only evidence of Hepplewhite's style ...