Continental US - Still-life Prints

"Did I know Her?" Print 28 × 20 in. Edition 1/10 by Kate Garner Signed and numbered by the artist. Not framed. Ships in a tube. Kate Garner is an English photographer, fine artist, and singer. Garner has photographed a wide range of musicians and celebrities, including Dr. Dre, Leigh Bowery, JT LeRoy, Angelina Jolie, Cate Blanchett, Anne Hathaway, David Bowie, Cameron Diaz, PJ Harvey, John Galliano, Björk, and Kate Moss. Her work has appeared in the American and British versions of Vogue and Harper’s Bazaar as well as W magazine, Interview, GQ, Vanity Fair, Elle, and The Sunday Times. Kate Garner was expelled from high school at the age of 16 and became a runaway who joined The Children Of God. To escape the grasp of the cult she hitchhiked from London through Eastern Europe to India in 1970, where she lived for a year as a traveler before being located by her parents. She attended art school at Blackpool in the North of England and later moved to London, where she began to both photograph and model for up-and-coming magazines such as The Face and i-D. Kate Garner first came widely into the public eye as one-third of the 1980s avant-garde, new wave pop project Haysi Fantayzee, along with other members Jeremy Healy and Paul Caplin. Emanating from street art scenes such as the Blitz Kids that were cropping up in London in the early 1980s, Haysi’s music combined reggae, country, and electro with political and sociological lyrics couched as nursery rhymes. Catapulted to stardom by their visual sensibilities, Haysi Fantayzee combined their extreme clothes sense – described as combining white Rasta, tribal chieftain, and Dickensian styles – with a quirky musical sound comparable to other new wave musical pop acts of the era, such as Bow Wow Wow, Adam and the Ants and Bananarama. They appeared several times on the BBC Television program Top of the Pops. Despite being touted by Bowie producer Tony Visconti as the next big thing, the group quickly disbanded after releasing three hit singles “John Wayne Is Big Leggy”, “Shiny Shiny”, and “Holy Joe”, and an album, Battle Hymns for Children Singing, that went gold. Garner then returned to painting, photography, and video, launching a successful media arts career, starting with her collaboration with Sinéad O’Connor...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

Medium: intaglio with monotype background Image size: 7.75 × 7.75 in (19.7 × 19.7 cm) Sheet size: 17.75 × 15.25 in (45.09 × 38.47 cm) Edition of 20 Year: 2022 Tachibana’s prints tak...

This Limited Edition Lithograph by Marcel Mouly is pencil-signed and numbered by the artist. The image size is 19.25 x 25 in. The full size (with border) is 23 x 30 in. The image is ...

Botanical print. Plate-signed. Measures 22.25 x 16.375 in. Unframed. Printed in Italy. Good Condition.

PAUL DE LONGPRÉ (French, 1855-1911) The White Prince Poster/Print 22 x 17 in. Unframed Plate signed Copyright New York Graphic Society. Lithographe...

Ryan, Anne. FRUIT ON A WHITE PLATE. Color woodcut, not dated. Edition of 30, signed, titled and numbered 7/30 in pencil. 16 3/8 x 17 1/2 inches, 415 x 445...

Linda Stein, Spoon to Shell 818 - Mixed Media Shell Wood Contemporary Assemblage Sculpture Spoon to Shell 818 is from Linda Stein's Holocaust Heroes: Fierce Females series, which hi...

Artist Commentary: The Key West Bound Series is about the insistent nature of Key West’s ability to adapt and thrive despite the continual barrage of hurricanes, weather patterns, a...

Ira Moskowitz, Polish/American (1912 - 2001) - Flowers 7, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Size: 30 x 21 in. (76.2 x 53.34 cm...

BOUQUET FLEURS A L'AQUARELLE. Vailler p.294, Maeght No. 1025. Lithograph in colors, 1957. Edition of 300 published by Maeght, printed by Mourlot. Numbered 241/300 and signed in penci...

Patrick Lichty Techspressionist Still Life 1 2021 Archival pigment print paper size 24 x 24 inches image size 20 x 20 inches Signed and numbered edition of 10 with certificate of au...

Limited Edition Giclee on Paper (104/150). Signed by the artist and comes with a Certificate of Authenticity. The print measures 34 x 26 inches (including white border) and is unfram...

Color monotype with collage.

"Drift 8" Landscape Photography 40" x 30" Edition of 10 by Rowan Daly Digital print on Ultra Smooth Fine Art Paper Unframed - ships rolled in a tube DRIFT Behind the scenes of ...

CARYL WOOD (American, 20th century) Still Life with Melon Poster/Print 23 x 25 in. Unframed Plate signed Copyright International Art Publishing...

Deconstructed and cropped images of a turntable, a cassette tape, and a mid century modern chair are represented on 12 x 12 inch Red River photo paper in v...

Deconstructed and cropped images of a turntable, a cassette tape, and a mid century modern chair are represented on 12 x 12 inch Red River photo paper in v...

Poster. Measures 27 x 32 in. Unframed. Copyright 1970 New York Graphic Society Ltd. Printed in USA. Image is in Fair Condition (i.e. indentation, discoloration). White border has a s...

Hand signed and numbered by the artist. From Les Diners De Gala. Photo lithograph with a separate original engraving titled Spoon on Crutches. Image size...

The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly. 16 x 11 inches, artwork 22.5 x 18.25 inches, frame Entitled bottom center Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y." Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249 Framed to conservation standards using 100 percent rag matting, housed in a lemon gold moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

A lithograph print by Lowell Nesbitt from 1975. A colorful still life that combines both organic and geometric elements. Still Life with Grapes Lowell Blair Nesbitt, American (1933–...

Limited Edition Print (34/80). Pencil-signed by the artist (signature is illegible). Measures 14.75 x 11 inches and is unframed. The print is in Excellent Condition.

Set against a gradiated background of green and yellow, the still life inclduing an hourglass, several funnels, and a spinning top resting gently on its side. A common theme througho...

Patrick Lichty Techspressionist Still Life 1 2021 Archival pigment print paper size 24 x 24 inches image size 20 x 20 inches Signed and numbered edition of 10 with certificate of au...

Medium: Lithograph, Signed: No Poster Size: 26 in x 47 in Frame Size: 28 in x 49 in Framing Options: Available in Black, White, and Natural Frame *framed to the edge of the paper. R...

Limited Edition Print (35/80). Pencil-signed by the artist (signature is illegible). Measures 14.75 x 11 inches and is unframed. The print is in Very Good Condition.

Poster. New York Graphic Society Ltd. Printed in U.S.A. Measures 35 x 24 inches and is Unframed. Good/Fair Condition.

This work of art is not a photo and not a painting, Joe Doyle, who passed away this year, was a digital master that created this image in which he uses digital mapping and his exten...

"La Branche Cerise" Limited Edition Serigraph (68/80) by Laurent Schkolnyk. Print is pencil-signed by the artist. It measures 12 x 15.75 inches without frame, 13 in x 16 in with fram...

Signed, titled and numbered from an edition of 20. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate more...

"Silent Reality Everywhere" Print 53" × 40" inch Ed. 1/10 by Kate Garner Signed and numbered by the artist. Not framed. Ships in a tube. Kate Garner is an English photographer, fine artist, and singer. Garner has photographed a wide range of musicians and celebrities, including Dr. Dre, Leigh Bowery, JT LeRoy, Angelina Jolie, Cate Blanchett, Anne Hathaway, David Bowie, Cameron Diaz, PJ Harvey, John Galliano, Björk, and Kate Moss. Her work has appeared in the American and British versions of Vogue and Harper’s Bazaar as well as W magazine, Interview, GQ, Vanity Fair, Elle, and The Sunday Times. Kate Garner was expelled from high school at the age of 16 and became a runaway who joined The Children Of God. To escape the grasp of the cult she hitchhiked from London through Eastern Europe to India in 1970, where she lived for a year as a traveler before being located by her parents. She attended art school at Blackpool in the North of England and later moved to London, where she began to both photograph and model for up-and-coming magazines such as The Face and i-D. Kate Garner first came widely into the public eye as one-third of the 1980s avant-garde, new wave pop project Haysi Fantayzee, along with other members Jeremy Healy and Paul Caplin. Emanating from street art scenes such as the Blitz Kids that were cropping up in London in the early 1980s, Haysi’s music combined reggae, country, and electro with political and sociological lyrics couched as nursery rhymes. Catapulted to stardom by their visual sensibilities, Haysi Fantayzee combined their extreme clothes sense – described as combining white Rasta, tribal chieftain, and Dickensian styles – with a quirky musical sound comparable to other new wave musical pop acts of the era, such as Bow Wow Wow...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 465. Artwork is in excellent condition. Certificate of Authenticity included. All reasonab...

This giclee print on canvas is hand embellished with acrylic gel brushstrokes after the 2001 original oil painting. Depicting brightly colored flowers in a vase, this beautiful artwo...

A large colorful still life by an Israeli artist whose work is a contemporary interpretation of a classical theme. This work is framed in either a gold wide or gold narrow frame.

Poster. Published by Posters International-Toronto, Canada. Measures 24 x 34 inches Unframed. Good Condition.

GLENDA TALL (American). Poster-Art Expo New York, 1982. Plate signed. Measures 29 x 20 in. Unframed. Good Condition-minor tear in lower-left side/discoloration.

"Limonade" is a Limited Edition Serigraph (16/80) by Laurent Schkolnyk. The print is pencil-signed by the artist. The piece measures 10.25 in x 8 in without frame, with frame measure...

"Red Pepper" is a work that displays Aaron Fink's experiments in still-life expressionism with its more than life-like depiction of a bell pepper in vibrant color. This print made with aquatint etching marries the expressionist style with the classic realistic depiction of food that we often take for granted.The print is 36.63 x 29.63 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 11 as there are multiple prints in the possession of Collected Detroit. This is a separate lithograph from "Yellow Pepper" which can be purchased separately but is including in the photographs for contrast as a set. Aaron Fink, the son of Boston Expressionist artist Barbara Swan...

Limited Edition Print (66/90). Pencil-signed by the artist (signature is illegible). Measures 15 x 11 inches and is unframed. The print is in Very Good Condition.

"Botanical Rhapsody II" by Judith Allen-Efstathiou is an exquisite photographic cyanotype print in deep blue and white of wildflowers abstracted. Highly intricate and lavishly depic...

"The Diver" Photography 23" x 32" inch Edition of 10 by Oleg Char Medium: Hahnemühle Baryta Paper Not framed. Ships in a tube. Other sizes available: Edition of 5: 28.8" x 40" i...

Christopher Stott's prints are all sold UNFRAMED. Stott’s work is almost object portraiture, applying traditional still life compositions and lighting but ventures beyond time honor...

"The Garden" is a Pencil-signed, Limited Edition Lithograph (301/500). It measures 11.25 x 11.25 inches and is unframed. The piece is in Very Good Condition.

"St. Sebastian in N.Y." is an original color aquating by dan Mitchell Allison. The artist signed the piece in the lower right. This piece depicts a heart/apple behind a window being assaulted by small arrows. Cactus-patterned curtains fly away from the windows and five words float in front of the entire image. This piece resembles Rene Magritte's early experiments with text-based surrealism. This piece is edition 38/40. 15 3/8" x 19 5/8" art 22 1/8" x 26 1/4" frame Born in Houston, Texas in 1953, the printmaker and painter continues to live and work there, still remaining an integral part of the lively Houston art scene while garnering attention throughout the United States, as well as overseas. Allison's prints are included in major museum and private collections throughout the world, including the U.S., Europe and Asia. He has gained renown for his innovative painting with the surface subtleties of printmaking and has established an international reputation for printmaking that places him in league with some of the most important late 20th century artists to have worked in the print medium. Achieving worldwide critical acclaim for his printmaking, Allison was the recipient of the prestigious 1987 Grand Prix award for the 17th Biennial of Graphic Art sponsored by the Ljubljana Museum of Modern Art in the former Republic of Yugoslavia. The artist's award winning, three panel collagraphic triptych, "Between Heaven and Earth," was selected from more than 1800 entries submitted from 57 countries. Past recipients of Ljubljana print award honors include Joan Miro, Karl Appel, Jasper Johns, Robert Rauschenberg, Frank Stella, James Rosenquist, David Hockney, Victor Vasarely, Antonio Berni...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical specimens were made ...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical specimens were made by artist Pipo Nguyen-duy in Claude Monet’s garden...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical specimens were made ...

Cyanotype (Unique) Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. These cyanotype prints of botanical specimens were made ...

Photogram on Polaroid Type 809 (Unique) Signed, titled, and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Brian Buckley’s work has alway...

'Blue Trash' is a vibrant pop print by contemporary master Gavin Turk. The blue, orange, red, and yellow hues give this work a playful energy. ‘Blue Trash’ is edition 7 of 30 and is ...

"Sunny Day" Color Nature Photography by Shooting Star Designs Archival pigment print on museum fine art paper Edition of 7 Includes certificate of authenticity. Signed and numbered ...

"Lobster" is an original color serigraph by Hunt Slonem. The artist signed and dated the piece lower right, wrote the title lower center, and the edition number (AP/2) in the lower left. This piece depicts a still life of patterned pillows, vegetables, and animals. 19"x 19"image 21 7/8"x 29 3/4"paper 31 1/2 x 31 1/2" frame Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker. He is best known for his Neo-Expressionist paintings of tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards. Hunt Slonem’s oil paintings...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 465. Artwork is in excellent condition. Certificate of Authenticity included. All reasonab...

"The Diver" Photography 30" x 40" inch Edition of 5 by Oleg Char Medium: Hahnemühle Baryta Paper Not framed. Ships in a tube. Other sizes available: Edi...