New York - Prints and Multiples

Paper Size: 11.5 x 8.25 inches ( 29.21 x 20.955 cm ) Image Size: 8.25 x 5 inches ( 20.955 x 12.7 cm ) Framed: No Condition: A: Mint Additional Details: First printing Lithogra...

Very large advertisement poster created by Mobil for the promotion of the Masterpiece Theatre series "Miss Morison's Ghosts". It was a 1981 British supernatural television drama that...

KAWS 2020 Companion: Complete Set of 3 Works: KAWS COMPANION 2020 was created by KAWS to commemorate the 20th anniversary of his signature figure, Companion — and as cultural commen...

Richard Bosman (b. 1944) is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New ...

A Surrealist etching by Mexican artist Rufino Tamayo of a simple yellow figure against a pink background, staring at the viewer with piercing white eyes. This piece is 21 of 99 numb...

Paper Size: 10 x 7.5 inches ( 25.4 x 19.05 cm ) Image Size: 10 x 7.5 inches ( 25.4 x 19.05 cm ) Framed: No Condition: A: Mint Additional Details: Lithograph by Maurice Briancho...

The Fountain of Venice Raoul Dufy French (1877–1953) Date: c 1951 Etching, signed and numbered in pencil Edition of CXIX/CCXXV Image Size: 9 x 7 inches Frame Size: 17 x 14.25 inches

Paper Size: 31.75 x 22 inches ( 80.645 x 55.88 cm ) Image Size: 18 x 16.5 inches ( 45.72 x 41.91 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age ...

Edition 52/325 of Glenn Ligon's My Fear is Your Fear. Showing at The Queer Show Part II.

Artist: Michael Knigin, American (1942 - 2011) Title: Eye of the Storm Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: 136/200 ...

color monotpy of soldier on a horse with raised sword

The ‘Blame Game' series by KAWS is an exceptionally rare collection of prints, with a total of ten in the portfolio series created in 2014. The KAWS motif has become instantly recogn...

Michael Knigin, American (1942 - 2011) - Acting Proud, Portfolio: Vintage Nudes, Year: 2001, Medium: Giclee signed, numbered, dated, and titled in pencil, Edition: AP, Image Size...

Pablo Picasso, After, Spanish (1881 - 1973) - Maternite, Portfolio: Marina Picasso Estate Lithograph Collection, Year: of Original: 1921 Year Printed: 1979-1982, Medium: Lithogra...

Robert Motherwell’s vibrant red lithograph features a collage-like composition with an intense contrast of black and red on top of sheet music. Lincoln Center Mostly Mozart...

Lucille Fink creates densely drawn compositions, often a little off-beat. Signed and titled. Dated on the reverse.

The 50th Anniversary of the League of Women Voters Screenprint Poster from 1970, designed by Richard Anuszkiewicz (1930 - 2020) printed in 1969,...

Noel Daggett, American (1925 - 2005) - A Long Rifle Awaits, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 17 x 26 inches, ...

Noel Daggett, American (1925 - 2005) - Bring Back the Buffalo, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 20, Image Size: 19 x 23 inche...

Josh Smith Untitled 2018 Xerox print (Edition of 50 + 10 APs) 11 x 8.5 inches

Paper Size: 23.5 x 19.5 inches ( 59.69 x 49.53 cm ) Image Size: 19.25 x 17.25 inches ( 48.895 x 43.815 cm ) Framed: No Condition: A: Mint Additional Details: Not signed and not...

Owen Weiri (also Wiiri, 1916-1974) was a Finnish-American who served in the Spanish Civil War and then, during World War ll, in the American armed forces as a marine. Industrial sub...

Artist: Will Barnet, American (1911 - 2012) Title: The Cat Year: 1997 Medium: Screenprint on Arches, signed in pencil Edition: AP Image Size: 16 x 7 inches Siz...

Jane Hammond Untitled 1996 Signed and numbered Lithograph (Edition of 50) 12 x 9 inches

Raymond Pettibon Supreme Skateboard Deck 2014: Published in 2014 on the occasion of a collaboration between Raymond Pettibon and the iconic fashion lifestyle brand, Supreme. Makes fo...

Robert Cottingham Don't Walk, 1985 Three color Linoleum Cut on Paper Pencil signed, inscribed to Bryan and annotated TP Published by Chip Elwell Fine Prints Trial Proof (unique) This is a Trial Proof that Robert Cottingham inscribed, annotated and gifted to Bryan Konefsky, his longtime studio assistant in both Newtown, CT and Santa Fe New Mexico. Only one other example - a variant - of this early print, exists and is in the collection of the Smithsonian. Due to the untimely death of printer Chip Elwell in October of 1986, only two proofs in the woodcut medium were pulled: the present work, which Cottingham gifted to his longtime studio assistant, and the one at the Smithsonian. Furthermore and in another interesting turn of events, Elwell's studio was burglarized shortly after his death and among the items stolen were the original wood blocks for DON'T WALK. This is an historic work; and the only one available on the market. Measurements: Framed: 15 inches x 13.5 inches x .3 inches Artwork 12 inches x 10.5 inches Robert Cottingham Biography Robert Cottingham (b.1935, Brooklyn, NY) is recognised for his Photorealist paintings of American urban landscapes, particularly his depictions of painted and neon shop signs...

Paper Size: 11.5 x 8.25 inches ( 29.21 x 20.955 cm ) Image Size: 7.75 x 6 inches ( 19.685 x 15.24 cm ) Framed: No Condition: A: Mint Additional Details: First printing Lithogr...

Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Alfred Bendiner (1899-1964) was trained as an architect but worked as an artist throughout his career. He was a noted lithographer, as well an author, muralist, and caricaturist. The...

ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Johan Van Oeckel. In search for new compositions he always starts from small sketches based on fra...

Girl with Unicorn Gina ’Jennie’ Tomao Stephanopoulos, American (1934–2011) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 300 Image...

TRACEY EMIN The Kiss Was Beautiful, 2016 Digital print on 250 GSM Silk Finish Paper 27 1/2 × 19 3/5 inches Edition of 500 Boldly signed in white grease marker by Tracey Emin on the f...

Artist: Ralph Fasanella, American (1914 - 1997) Title: Ball Park Year: 1974 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: 250 Image: 25 x 37 inches Size...

Evelyn B. Johnson was an American Optical artist. Her work specialized in striking geometric abstract forms in bright colors whose shading mimics the effects of neon lighting. These ...

This limited edition print titled Composition, September 1951 by Pierre Soulages is produced on thick, high-quality paper and is hand-numbered 31 out of 150 in pencil. It features a ...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

ABOUT THIS PIECE: Hong Kong has the most basketball courts of any city in the world. This bold claim is difficult to verify, but in his Hong Kong Basketball Court series, Austin Bell...

This lithograph was created by Chilean artist Roberto Matta. Matta creates new dimensions in a blend of organic and cosmic lifeforms in a biomorphic style. He was one of the first ar...

Paper Size: 34.75 x 26.75 inches ( 88.265 x 67.945 cm ) Image Size: 34.75 x 26.75 inches ( 88.265 x 67.945 cm ) Framed: No Condition: A: Mint Additional Details: Dreaming with...

This first edition lithograph from Derrière le Miroir number 212 is a prime example of Alexander Calder's innovative approach to art. The three-legged figure in high heels reflect hi...

Anish Kapoor Poster for Svayambh at the Royal Academy, London (hand signed by Anish Kapoor), 2009 Offset lithograph poster Boldly signed by Anish Kapoor on the lower right front 21 ×...

Artist: Jose Guinovart, Spanish (1927 - 2007) Title: New York Year: 1984 Medium: Lithograph, signed and numbered in pencil Edition: 99, EA Paper Size: 27 x 22 in. (68.58 x 55.88 cm)

Six color screen-print and photo-screenprint. Signed and numbered AP in pencil by Kitaj in the top right corner. Printed at Kelpra Studio, London and published by Marlborough Graphi...

This original 1972 poster by Alex Katz was created for an exhibition at Zabriskie Gallery, supporting the Passage of the Equal Rights Amendment (ERA). A striking example of Katz’s si...

Color lithograph fundraising poster for Learning Through Art/ The Guggenheim Museum Children's Program. Numbered out of 350 and dated in pencil. Blindstamped in bottom right corner. ...

Ken Price Hermit Crab Cup 1972 Silkscreen on paper Print: 28 x 22 inches; 71 x 56 cm Frame: 30 5/8 x 24 3/4 inches; 78 x 63 cm Edition of 60 Signed, title...

Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Birds of Paradise (Yellow) Lowell Blair Nesbitt, American ...

Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Artist: Hunt Slonem, American (1951 - ) Title: Horns Of Plenty Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Image Size: 24 x 23.5 inches Size: 28...

Artist: Salvador Dali Portfolio: Our Historical Heritage Title: King Saul Year: 1975 Medium: Intaglio Etching and Color Pochoir on Arches Paper, signed and numbered in pencil Edition...

If Series: Space Place Peter Max, German/American (1937) Date: 1981 Screenprint, signed and numbered in pencil Edition: A/P Size: 10 in. x 14 in. (25.4 cm x 35.56 cm) Frame Size: 16....

Hans Bellmer, German (1902 - 1975) - Le Vermoulu et le Plisse, Year: 1940, Medium: Etching on Arches, signed in pencil, Image Size: 7 x 9 inches, Size: 11 x 15 in. (27.94 x 38.1 cm)...

Lithograph on paper (Edition of 25) Signed in pencil, l.r. Numbered in pencil, l.l. This print is offered by ClampArt, located in New York City. Joan Brossa (1919-1998) was a Cata...

ABOUT THIS ARTIST: Maria Piessis is a multimedia artist based in NYC and Paris. She is always playing somewhere in the endless universe where photography, art and design meet. She ha...

Jean-Michel Basquiat Skateboard Deck: Limited edition skate deck licensed by the Estate of Jean Michel Basquiat in conjunction with Artestar in 2018, featuring the much iconic early ...

Roosters Amos Yaskil Israeli (1935) Date: circa 1970 Lithograph, signed and numbered in pencil Edition of 375 Image Size: 18.5 x 14 inches Size: 26.5 x 20 in. (67.31 x 50.8 cm)

Artist: Rene Gruau, Italian (1909 - 2004) Title: Bal du Moulin Rouge, Paris (Frou Frou) Medium: Lithograph Poster Size: 23 in. x 15 in. (58.42 cm x 38.1 cm)

MISFITS Marilyn Monroe Clark Gabel Arthur Miller Caricature Movie Star Legends Al Hirschfeld (American, 1903 - 2003) 21" x 27" sheet "Misfits", 1999 Litho...

Philip Pearlstein Untitled Nudes in bathtub, ca. 1971 Lithograph on paper with Deckled Edges Numbered from the limited edition of only 19. Unframed Hand signed in graphite pencil and...