Missouri - Prints and Multiples

Title : Lefkarina Materials : 310 gsm Premium Paper Date : 2020 Dimensions: 40 x 30 inch Edition of 50 Agent X is an emerging artist who creates experimental multimedia collage...

Title : Antalia Materials : 310 gsm Premium Paper Date : 2020 Dimensions: 40 x 30 inch Edition of 50 Agent X is an emerging artist who creates experimental multimedia collages an...

Fujio Akai August Year: 1990 Signed, numbered and dated by hand Edition: 100 Size: 12.5 × 9.6 on 23.2 × 16.4 inches Looking at the work of Fujio Akai over a period of many years, o...

LUCIANO DE VITA "Le cavalier inconnu" Year: 1968 Medium: Etching Edition: 100 Size: 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signed and num...

Grafica '69 (Partial) Portfolio containing 3 (three) lithographs and etchings Originally issued with 10 Lithographs and Etchings, of which 7 (seven) are missing Year: 1969 Edition: 100 Size: 17.6 x 23.6 in. or 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signatures: Sheets signed and numbered by hand Comes without folio box but with Presentation Sheet written by Guido Giuffre as well as individual artists' presentation sheets. --------------------------------- Artists works included: GIUSEPPE GUERRESCHI...

Wolfgang Petrick (Partial) Portfolio "Portrait #13 - Wolfgang Petrick " with Karin Szekessy 3 x Color Lithographs (Folio originally issued with 5 lithos and 3 Phototypes, which are ...

Reiner Schwarz "Die Melancholie" Year: 1973 Medium: Color Lithograph Edition: 100 Size: 25.98 x 19.68 in. Signed, numbered and titled After fleeing and expelling from Silesia, Reine...

Reiner Schwarz "Die Blaue Stunde" Year: 1973 Medium: Color Lithograph Edition: 80 Size: 25.98 x 19.68 in. Signed, numbered and titled After fleeing and expelling from Silesia, Reine...

Reiner Schwarz "Don Quichotte" Year: 1973 Medium: Color Lithograph Edition: 60 Size: 19.68 x 25.98 in. Signed, numbered and titled After fleeing and exp...

Reiner Schwarz "Die Schatten der Sonnenuhr" Year: 1972 Medium: Color Lithograph Edition: 80 Size: 25.98 x 19.68 in. Signed, numbered and titled After fleeing and expelling from Sile...

Reiner Schwarz "Reiner Schwarz" (III) From Portfolio "Portrait #11 - Reiner Schwarz" with Karin Szekessy Year: 1972 Medium: Phototype (Lichtdruck) Edition: 100 Size: 26.4 x 20.1 in. ...

Reiner Schwarz "Er ist tot" From Portfolio "Portrait #11 - Reiner Schwarz" with Karin Szekessy Year: 1972 Medium: Color Lithograph Edition: 100 Size: 23.9 x 16.6 in. Publisher: Diete...

Peter Paul "Peter Paul" (I) From Portfolio "Portrait #14 - Peter Paul" with Karin Szekessy Year: 1973 Medium: Phototype (Lichtdruck) Edition: 80 Size: 25.59 x 19.88 in. Publisher: Di...

Peter Paul "Architecture Parlante" From Portfolio "Portrait #14 - Peter Paul" with Karin Szekessy Year: 1973 Medium: Color Lithograph on Arches Edition: 80 Size: 25.59 x 19.88 in. Pu...

Hans-Jürgen Diehl Vorfuehrung Year: 1971 Medium: Color Etching Edition: 20 Size: 33.5 x 25.5 in. Publisher: Ketterer, Germany Signed, numbered and/or titled Hans-Jürgen Diehl was bo...

Bengt Bockman Main Street 104-106 Year: 1974 Color Lithograph Size: 25.5 x 33.5 in. Edition: 175 Signed and numbered in pencil by the artist One of Swe...

Wolfgang Oppermann “Handzeichnung”, 1975 Colored lithograph Edition: 61 / 222 Signed in Pencil Size: 19.5 x 15.5 inches Wolfgang Oppermann (born September 19, 1937 in Hamburg , † March 11, 2001 ibid) was a German painter , graphic artist and sculptor of pop art and conceptual art . He was married to the artist Anna Oppermann...

Klaus Staeck “Frembarbeiter-Situationen”, 1973 Silkscreen and collage, Edition: 6/50, 23 ½ x 19 ½ Signed in red ball point pen, From portfolio, Fremdarbeiger-Situationen COA provided...

Hans Juergen Diehl "The Golden Egg", 1972 Etching Edition: e.a.3 Size: 33 ½ x 25 ½, Signed in pencil, Ketterer Hans-Jürgen Diehl (born May 22, 1940 in Hana...

Materials : Print on water color stock Date : 2016 Dimensions : 19"x13" Signed and numbered by the artist Edition: 20 COA provided

“Construction Drawing I”, 1973 Dimensions : 19″ x 23.5″ Signed by the artist, Edition 16/75 Dennis Oppenheim (September 6, 1938 – January 21, 2011) was an American conceptual artist...

Jaycie Womack Say Yes to New Adventures Year: 2018 Pigment Print Visible Size: 16 x 13 inches Framed: 28.5 x 20.75 inches Signed, titled and dated by hand COA provided *Gold sprayed...

Eli Harris Title: Covers and Pages Year: 2018 Medium: Digital Print Size: 17 x 11 inches COA provided

“Construction Drawing II”, 1973 Dimensions : 18.75″ x 23.5″ Signed by the artist, Edition 16/75 Dennis Oppenheim (September 6, 1938 – January 21, 2011) was an American conceptual ar...

“Construction Drawing I”, 1973 Dimensions : 19″ x 23.5″ Signed by the artist, Edition 16/75 Dennis Oppenheim (September 6, 1938 – January 21, 2011) was an American conceptual artist...

A Mokulito (wood lithograph) creation hand printed by international artist Jeffrey Sippel. The paper size is 25” X 19” and the image size is11 ¼” X...

John Gould (British, 1804-1881) Nasiterna Bruijni c. 1849-1861 Hand Colored Lithograph Image Size: approx 19.5 x 13.5 inches Framed Size: 27 3/8 x 21 1/2 inches John Gould was an English ornithologist and bird artist. The Gould League in Australia was named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, On the Origin of Species. Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. He was for some time under the care of J T Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy, and in 1824 he set himself up in business in London as a taxidermist, and his skill led to him becoming the first Curator and Preserver at the museum of the Zoological Society of London in 1827. Gould's position brought him into contact with the country's leading naturalists, and also meant that he was often the first to see new collections of birds given to the Society. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830-1832). The text was by Nicholas Aylward Vigors, and the illustrations were lithographed by Gould's wife Elizabeth, daughter of Nicholas Coxen of Kent. This work was followed by four more in the next seven years including Birds of Europe in five volumes - completed in 1837, with the text written by Gould himself, edited by his clerk Edwin Prince. Some of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear however was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay and in realizing a fortune. In 1838 he and his wife moved to Australia to work on the Birds of Australia and shortly after his return to England, his wife died in 1841. When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Geological Society of London at their meeting on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands, which Darwin had thought were blackbirds, "gross-bills" and finches were in fact "a series of ground Finches which are so peculiar" as to form "an entirely new group, containing 12 species." This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos "wren" was another species of finch and the mockingbirds he had labeled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner...

This is a vintage museum exhibition poster from the Max Beckmann Retrospective at the Saint Louis Art Museum, 1984. Max Beckmann was...

John Gould (British, 1804-1881) Nasiterna Pygmae c. 1849-1861 Hand Colored Lithograph Image Size: approx 19.5 x 13.5 inches Framed Size: 27 3/8 x 21 1/2 inches John Gould was an English ornithologist and bird artist. The Gould League in Australia was named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, On the Origin of Species. Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. He was for some time under the care of J T Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy, and in 1824 he set himself up in business in London as a taxidermist, and his skill led to him becoming the first Curator and Preserver at the museum of the Zoological Society of London in 1827. Gould's position brought him into contact with the country's leading naturalists, and also meant that he was often the first to see new collections of birds given to the Society. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830-1832). The text was by Nicholas Aylward Vigors, and the illustrations were lithographed by Gould's wife Elizabeth, daughter of Nicholas Coxen of Kent. This work was followed by four more in the next seven years including Birds of Europe in five volumes - completed in 1837, with the text written by Gould himself, edited by his clerk Edwin Prince. Some of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear however was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay and in realizing a fortune. In 1838 he and his wife moved to Australia to work on the Birds of Australia and shortly after his return to England, his wife died in 1841. When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Geological Society of London at their meeting on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands, which Darwin had thought were blackbirds, "gross-bills" and finches were in fact "a series of ground Finches which are so peculiar" as to form "an entirely new group, containing 12 species." This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos "wren" was another species of finch and the mockingbirds he had labeled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Norman Carton Norman Carton (Russian American, 1908–1980), a vibrant force in Abstract Expressionism, was known for his dynamic use of color and expressive, gestural brushwork. Born...

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

A hand printed photo lithograph with hand coloring/painting by international artist Jeffrey Sippel. All printing using an etching press and watercolor ...

A hand printed photo lithograph with hand coloring/painting by international artist Jeffrey Sippel. All printing using an etching press and watercolor ...

Fahamu Pecou Bag of Tricks, 2015 Lithograph 28 x 22 inches (71.1 x 55.9 cm) Edition 113/150

A polyester plater lithograph creation hand printed, drawn, and colored by international artist Jeffrey Sippel. The paper size is 25” X 19” and the im...

Soleil Recercle Color woodcut, 1966, on wove, Signed and Numbered ed. 50 Cat. Rais. Arntz Sheet Size: approx. 22 x 17.5 inches Framed Size: approx. 24 x 20 inches Jean Arp was a p...

Lisa’s organic shapes and textures rotate and recombine deftly, jumping easily between prints. But the serendipitous quality of Lisa’s work belies the controlled, methodical nature o...

Tobi C is a white, non-binary artist who grew up in San Diego and calls Columbia, Missouri home. Tobi holds a BA in both Structural Violence and Gender Studies from the Metropolitan University of...

Tobi C is a white, non-binary artist who grew up in San Diego and calls Columbia, Missouri home. Tobi holds a BA in both Structural Violence and Gender Studies from the Metropolitan University of...

Kansas City, Missouri-born artist Emmett Merrill holds a BFA from the Kansas City Art Institute and an MFA from the University of Tennessee - Knoxville, and he is returning to the Ma...

Luca Cruzat, a Chilean born artist, received her MFA from Southern Illinois University, in Carbondale, Illinois (2006). She also holds a master’s degree in foreign Language...

Luca Cruzat, a Chilean born artist, received her MFA from Southern Illinois University, in Carbondale, Illinois (2006). She also holds a master’s degree in foreign Language...

Luca Cruzat, a Chilean born artist, received her MFA from Southern Illinois University, in Carbondale, Illinois (2006). She also holds a master’s degree in foreign Language...

Edward Donovan (1768–1837) was an Anglo Irish writer, natural history illustrator and amateur zoologist. Born in Cork, Ireland, Donovan was an avid collector of natural history speci...

Edward Donovan (1768–1837) was an Anglo Irish writer, natural history illustrator and amateur zoologist. Born in Cork, Ireland, Donovan was an avid collector of natural history speci...

Edward Donovan (1768–1837) was an Anglo Irish writer, natural history illustrator and amateur zoologist. Born in Cork, Ireland, Donovan was an avid collector of natural history speci...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Edward William Cooke was born in Pentonville. His father, George Cooke, and uncle William Bernard Cooke were also well-known line engravers. Growing up in an environment of artists,...

Wareham Bridge Medium Drypoint Year of Work 1877-1877 Image Size: approx. 6 in.; Width 8.9 in. / Height 15.2 cm.; Width 22.7 cm. Sir Francis Seymour Haden (16 September 1818 - 1 June 1910), was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and lover of music. He was educated at Derby School, Christ's Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. In 1843-1844, with his friends Duval, Le Cannes and Colonel Guibout, he travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but between 1845 and 1848 he studied portfolios of prints belonging to a second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. Arranging the prints in chronological order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he tried to give a true reflection of Rembrandt's work, giving a nobler idea of the master's mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons were founded upon the results of a study of the master's works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Haden's printmaking was invigorated by his much younger brother-in-law, James Whistler, at the Haden home in Sloane Street in 1855. A press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last. Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the secretarial ability of Sir WR Drake, resulted in the foundation of the Royal Society of Painter-Etchers and Engravers. As president he ruled the society with a strong hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Haden's own plates were very individual, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J.M.W. Turner's "Calais Pier," which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large "Breaking up of the Agamemnon." An early plate, rare and most beautiful, is "Thames Fisherman". "Mytton Hall" is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. "Sub Tegmine" was etched in Greenwich Park in 1859; and "Early Morning--Richmond", full of the poetry and freshness of the hour, was done, according to Haden, actually at sunrise. One of the rarest and most beautiful of his plates is "A By-Road in Tipperary"; "Combe Bottom" is another; and "Shere Mill Pond" (both the small study and the larger plate), "Sunset in Ireland," "Penton Hook," "Grim Spain" and "Evening Fishing, Longparish," are also notable examples of his genius. A catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years Haden began to practise the sister art...