Continental US - Interior Prints

"Balcony" 1938 WPA Print Mid 20th Century American Broadway Theatre Modernism. Silk screen on paper, 15” x 20". Numbered 15/20 lower left. Pencil si...

Signed and numbered, verso “Artist Studios New York” is an editorial project by Marco Anelli that explores the New York studios of the major protagonists in the contemporary art scene. Artists include: Alex Katz, Alfredo Jaar, Anne Collier, Anthony McCall, Banks Violette, Cecily Brown, Dan Colen, Dana Schutz, Elizabeth Peyton, Francesco Clemente, Glenn Ligon, Jack Pierson, Joan Jonas...

Signed, titled, and numbered from the edition of 15. Japanese still life with vase and flowers on a table. While the images have some resemblance t...

Hand signed, dated and numbered by the artist. From the Six Still Lifes Series. Lithograph and screenprint on rives BFK paper. Co-published by Multiples, Inc. and Castelli Graphics, ...

This is an original 19th century duotone lithograph entitled "The Coffee-Shop of Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, published in Lo...

"Winch" British Linocut Grosvenor School Machine Age 1930 Woman Artist Print "The Winch" 1930. 7 3/4 x 11 (sight) inches. Linocut in colors on tissue...

2000 Tony Awards Poster Signed by Celebrity Presenters Autographed Broadway Offered is the 2000 Tony Awards poster signed by the presenters, including: Matthew Broderick, Kristen Chenoweth, Kelsey Grammer, Jane Krakowski, Bernadette Peters, Ann Reinking...

Artist: Salvador Dali, Spanish (1904 - 1989) Title: Le Legacy from Historia de Don Quichotte de la Mancha Year: 1981 Medium: Etching on Arches, signed and numbered in pencil Edition:...

Contemporary artist Peter Milton created this etching and engraving entitled "Interiors VI: Soundings" in 1989. The printed image size is 29 7/8 x 23 13/16 and paper size is 36 x 29 inches. This impression is signed, dated, and titled in pencil and inscribed “93/175” – the 93 impression of 175. “I do love to draw. I feel that I am being granted membership in the Brotherhood of Merlin, conjuring forth some apparition. As a drawing develops, I sense a vague presence coming more and more into focus, something in a white fog emerging and becoming increasingly palpable.” – P. Milton, “The primacy of touch. The Drawings of Peter Milton” “Working in layers, Milton begins with drawings based on people and places, with nods to Western art history and culture. He is a master of the appropriated image, a term that may conjure Andy Warhol and his Pop Art comrades. But Milton steps further back in history, avoiding the Pop sense of cool advertising and popular culture references. Instead, a broader cultural past is tapped through historical photographs of key players, architecture, and locales, which he reinvents by hand. He adds content drawn from his life as an avid reader – always with multiple possible interpretations – thus incorporating deeper meaning in his cinematic worlds. Elements of Greek mythology, classical music, art history, and history coalesce in his images, which embrace the messiness, sorrow, and elation that is life. One is hard-pressed to imagine a more erudite, skilled, passionate, and cheeky soul." – T. L. Johnson and A. Shafer Peter Milton was born in Pennsylvania in 1930. He studied for two years at the Virginia Military Institute...

An image of the last major insurrection in Great Britain, known as Guy Fawkes's Cato Street Conspiracy. London: Thomas Mclean, 1835. Etching with hand colo...

Born in Newark, New Jersey, Robert Birmelin became a professor of fine arts at Queens College in New York, and is known for paintings that magnify through texture the realism of natu...

THE DANCE is a handmade limited edition lithograph created by the renowned Polish artist Andre de Krayewski printed using hand lithography printmaking techniques on archival Arches paper 100% acid free. THE DANCE is a richly colored modern Art Deco interior scene portraying a dancing couple printed in shades of neon blue, magenta, orange, red, green, lavender, peach, and dark steel blue gray. THE DANCE is a dramatic graphic composition featuring airbrushed blends of vibrant color defining the light purple pedestal-style vases filled with green spiked leaves; two dancing figures are positioned in the center - one of a woman wearing a backless, form fitting yellow-gray dress, the second figure is a well groomed male dressed in a dark blue gray sharkskin suit...

Edition Details: Year: 2014 Class: Art Print Status: Official Released: 10/16/14 Run: 376/400 Technique: Letterpress Paper: 100% Cotton Lettre Fine Art Paper Size: 10 X 13 Markings: Signed & Numbered by the artist in pencil, Shepard Fairey. Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater...

Hand signed and dated intaglio etching in color. 1982 Corner Reflections #2 Jane E. Goldman was born in Dallas, Texas in 1951 and received her Bachelor of Arts degree from Smith College and a Master of Fine Arts from the University of Wisconsin. She is known for her high color floral and nature design painting, printmaking and teaching. Goldman's media include watercolor, oil painting, silkscreen, intaglio print, lithograph, relief, screenprint,. aquatint etching and terrazzo. "Lyrical realism," based on a combination of free association and direct observation, best describes her style. Goldman’s luminous prints reveals the artist’s muse in a graphically novel way. Her work pays homage to 19th-century naturalist and artist John James Audubon. Goldman’s sun-dappled still life compositions, sprays of cut flowers in glass vases and lush flora growing in natural environments frame each setting and cast shadows across opened books that display images from Audubon’s Birds of America. Jane Goldman...

Artist: John Hultberg, American (1922 - 2005) Title: After the Party Year: 1977 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 30 Im...

"As I develop the work for my 30th anniversary, I'm revisiting some classic images from throughout my career and exploring alternate compositions. I felt that this reconfiguration of...

Artist: Hunt Slonem, American (1951 - ) Title: Chez Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Image Size: 22 x 29 inches Size: 26 in. x 30 in....

Original Porsche 928 German factory poster. Archival linen-backed and presents in Grade A condition. The white area was cleaned up during linen backing. This should be the lowes...

Rebecca Skinner’s “Disarray” was photographed at an abandoned china factory and is part of a series documenting the loss of industry in America. The 12 x 18 inch black and white phot...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Screenprint on Museum Board, signed and numbered in pencil Edition: 150 I...

Rebecca Skinner’s “Silk Mill” was photographed at an abandoned mill and is part of a series documenting the loss of industry in America. The 20 x 30 inch acid-free, archival, color p...

Artist: Giancarlo Impiglia, Italian/American (1940 - ) Title: Grand Tier Year: 1984 Medium: Screeenprint, signed and numbered in pencil Edition: 205/250 Image Size: 25 x 19.5 inches ...

David Hockney Paintings and Drawings for Parade - Metropolitan Museum (Hand Signed by David Hockney), 1981 Offset Lithograph. Hand signed by David Hockney...

Year: 2015 Class: Art Print Status: Official Run: 3/200 Technique: Letterpress Size: 10 X 13

Artist: Estelle Ginsburg, American Title: Women of Intellect #6 Year: 1978 Medium: Lithograph, signed and numbered in pencil Edition: 150 Size: ...

Screenprint on gesso board. Hand signed and numbered. Artwork is in excellent condition. Certificate of Authenticity included. Edition of 30. All reasonable offers will be conside...

STILL LIFE WITH GRAPES is an original hand drawn, limited edition lithograph by the American artist Lowell Nesbitt (b.1933-1993). Printed on archival Arches paper, 100% acid free using hand lithography techniques. STILL LIFE WITH GRAPES is a modern fruit still life depicting two bunches of plump green and red grapes, and green pear displayed on an Southwest style geometric Aztec patterned textile as a background. STILL LIFE WITH GRAPES is an eye-appealing composition using vivid colors including warm red, black, gray, yellow gold, light green, purple, burgundy and white. Print size - 21.5 x 28.25 inches, unframed, excellent condition, very fine impression, pencil signed by Lowell Nesbitt Edition size - 175, plus proofs Year published - 1978 Lowell Blair Nesbitt (October 4, 1933 - July 8, 1993) was an American painter, draughtsman, printmaker, and sculptor. He studied at Tyler School of Art at Temple University in Philadelphia and at the Royal Academy of Arts in London. Nesbitt worked in abstraction until Robert Indiana suggested in the early 1960s that he explore realism in his paintings. As subjects for his work he favored studio interiors, articles of clothing, piles of shoes, his Rottweiler, the Neo-Classical facades of 19th century cast iron buildings, and Manhattan's bridges. He was also famous for his enormous paintings and prints of roses, lilies, irises, and other flowers. He served as the official artist for the NASA Apollo 9, and Apollo 13 space missions; in 1976 the United States Navy commissioned him to paint a mural in the administration building on Treasure Island spanning 26 feet x 251 feet, then the largest mural in the United States; and in 1980 the United States Postal Service honored Lowell Nesbitt by issuing four postage stamps depicting his paintings. His first solo exhibition was mounted at the Baltimore Museum of Art in 1958 and during his lifetime he had more than 130 solo exhibitions of his work at various galleries, museums, and universities, including the Corcoran Gallery of Art, Kent State University, the McNay Art Museum, the Butler Institute of American Art, the Burpee Art Museum, and the Tyler Gallery...

Original Groceries and Fruits vintage chromolithograph poster. Antique Cromo lithograph of your early fruit and grocery store. What service! Printed in Germany. This printing st...

Original Illustration based on photograph by Karen Bystedt. Signed by Shepard Fairey and Karen Bystedt. Comes with C.O.A. from New Union Gallery. "I’ve been a fan of Andy Warhol’s ...

Klimt Estelle Ginsburg, American Date: circa 1979 Screenprint, signed and numbered in pencil Edition of 500, AP 50 Size: 21.5 in. x 29 in. (54.61 cm x 73.66 cm)

Shepard Fairey limited edition silkscreen box set created in collaboration with Amplifier! This set includes ten 12"x12" signed and numbered screen prints featuring the Revolutionary Love series made from many of Shepard’s most famous symbols, in a foil embossed box and a certificate of authentication. Numbered 84/250 on the outside of the box. Each of the ten prints are also all matching numbered 84/250. Signed and Numbered by the artist in pencil, Shepard Fairey. Medium: Print Condition: Prints are in great condition and have been stored flat since purchase. Signature: Hand-signed by artist, Hand signed and numbered by the artist, Shepard Fairey in pencil. Dated 2021 Certificate of authenticity: Included (issued by authorized authenticating body) Frame: Not included Series: Revolution Publisher: Obey Giant Studio's Los Angeles California. Each print is individually signed and numbered by the Artist, Shepard Fairey in pencil. Each print also features the same number 84 as it's a complete set. Please and thank...

Artist - David Azuz, Israeli/French (1942 - 2014) Medium - Lithograph Print size - 28.5 x 21.5 in. Image size - 25.25 x 19 in. Edition size - 200, plus proofs Year published - 1979 P...

A scene from a series of ghost stories and spooky rural legends. Tokyo: Matsuki Heikichi, 1896. Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry pa...

Woman with Apples (Sepia) Branko Bahunek, Croatian (1935) Lithograph, Signed in Pencil Edition of 50 Size: 28.5 in. x 21 in. (72.39 cm x 53.34 cm)

On deckle edged watermarked Arches French paper. hand signed in pencil, dated and numbered. the edition size is 175. there are three states of the same image image each with increasing detail and color. This is just for the one in the photo. Josef Alan Levi (1938) is an American artist whose works range over a number of different styles, but which are unified by certain themes consistently present among them. Josef Levi began his artistic career in the 1960s and early '70s, producing highly abstract and very modernist pieces: these employing exotic materials such as light fixtures and metallic parts. By 1975, Levy had transitioned to painting and drawing still lifes. At first these were, traditionally, of mundane subjects. Later, he would depict images from art history, including figures originally created by the Old Masters. Around 1980, he made another important shift, this time toward creating highly precise, though subtly altered reproductions of pairs of female faces which were originally produced by other artists. It is perhaps this work for which he is most well known. Since around 2000, Josef Levi has changed the style of his work yet again: now he works entirely with computers, using digital techniques to abstract greatly from art history, and also from other sources. Levi's works of art in the collections of the Museum of Modern Art, NYC, the National Gallery of Art, and the Albright-Knox Museum, among many others. Levi's art has been featured on the cover of Harper's Magazine twice, once in June 1987, and once in May 1997. Josef Levi received a Bachelor of Arts degree in 1959 from the University of Connecticut, where he majored in fine arts and minored in literature. From 1959 to 1960, he served to a first lieutenant in the U.S. Army, and from 1960 through 1967 he was in the U.S. Army Reserves. In 1966, he received the Purchase Award from the University of Illinois in 1966, and he was featured in New Talent U.S.A. by Art in America. He was an artist in residence at Appalachian State University in 1969, taught at Farleigh Dickenson University in 1971 and was a visiting professor of art at Pennsylvania State University in 1977. From 1975 to 2007, Levi resided in New York City. He now lives in an apartment in Rome, where he is able to paint with natural light as he was unable in New York. From 1959 to 1960, Josef took some courses of Howard McParlin Davis and Meyer Schapiro at Columbia University which initiated him into the techniques of reproducing the works of the Old Masters. His first works, created in the 1960s, were wood and stone sculptures of women. His first mature works were abstract pieces, constructed of electric lights and steel. In 1970, Levi's materials included fluorescent light bulbs, Rust-Oleum and perforated metal in addition to paint and canvas. By 1980, Josef Levi's art had transformed into a very specific form: a combination of reproductions of female faces which were originally depicted by other artists. The faces which he reproduces may be derived from either portraits or from small portions of much larger works; they are taken from paintings of the Old Masters, Japanese ukiyo-e, and 20th-century art. Artists from whom he has borrowed include: Vermeer, Rembrandt, Piero della Francesca, Botero, Matisse, Utamaro, Correggio, Da Vinci, Picasso, Chuck Close, Max Beckmann, Pisanello, Lichtenstein. The creation of these works is informed by Levi's knowledge and study of art history. Josef Levi's paintings from this period are drawn, then painted on fine linen canvas on wooden stretchers. The canvas is coated with twenty-five layers of gesso in order to produce a smooth surface on which to work. The drawing phase takes at least one month. Levi seals the drawing with acrylic varnish, and then he may apply layers of transparent acrylic in order to approximate the look of old paintings. After the last paint is applied, another layer of acrylic varnish is sprayed on to protect the work. Most of the figures in his contemporary pieces are not paired with any others. SELECTED COLLECTIONS MUSEUM OF MODERN ART, NEW YORK, NY ALBRIGHT- KNOX GALLERY, BUFFALO, NY ALDRICH MUSEUM OF CONTEMPORARY ART, RIDGEFIELD, CT NATIONAL GALLERY OF ART, WASHINGTON, DC BROOKLYN MUSEUM OF ART, BROOKLYN, NY SMITHSONIAN NATIONAL MUSEUM OF AMERICAN HISTORY, WASHINGTON, DC CORCORAN GALLERY, WASHINGTON, DC UNIVERSITY OF NOTRE DAME ART...

Stamped on the Verso of the print and in Mint Condition. From the David Kordansky Gallery show in 2017. Very rare poster that has been stored flat since purchase. One of his most ...

This art print by Laurent Durieux is a rare find for any Halloween enthusiast. Signed by the artist and numbered out of 500, this print is an original piece produced using screen pr...

Asger Jorn (Denmark, 1914-1973) Jorn. Galleri Flindt, 1978 lithograph on paper 27.6 x 19.3 in. (70 x 49 cm.) Excellent condition, unframed Ref: JOR100-201 A humanist in the broadest...

Aquating Engraving Image Size: approx. 20 1/4 x 13 3/8 Framed Size: 28 x 20.5 inches Pencil Signed Lower Right Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950. He lived in New York City in the 1920s, where he became known for his Art-Deco color etchings of glamourous women. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart entered the l'Ecole Superieure de Commerce de Toulouse in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts, though the urge to paint was not as yet as strong for him as the urge to act. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas...

Hans Hartung (Germany, 1904-1989) Galerie Im Erker, 1963 lithograph on paper 36.5 x 22.7 in. (92.5 x 57.5 cm.) Excellent condition, unframed Ref: HAR100-204 Hans Hartung was born in...

A Method of Riding as Practised by the Rustics of Japan. One plate from A new and complete collection of voyages and travels containing all that have been remarkable from the earlies...

"Second Course Fish" The Perfect Meal - Menu - Intaglio - Style of Chagall The artwork "Second Course Fish" by Michael Parker, created one of a group show at San Francisco State Uni...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Collotype on vélin d’Arches paper. Paper size: 10.375 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...