Tri-State Area - Figurative Prints

Medium: Lithograph on vélin papier Vergé fin blanc des papeteries de Bellerive paper Year: 1970 Paper Size: 11.024 x 8.66 inches Inscription: Inscription: Unsigned and unnumbered, as...

Mariage a la Campagne is an original, hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the French artist Michel Delacroix, printed using tradition...

Medium: Lithograph on vélin d'Arches paper Year: 1966 Paper Size: 26 x 20 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Soutine, I, Collection Pierre ...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Femme Assise a la Robe Grise". The original painting was completed in 1943. In the 1970's af...

Medium: Lithograph on grand vélin Filigrané a sa marque paper Year: 1950 Paper Size: 12.5 x 9.75 inches; image size: 10.63 x 7.87 inches Inscription: Signed in the plate and unnumber...

Billy Name Viva, Susan Bottomly and Ultra Violet at the Factory, (exhibited at "Andy Warhol: A Factory", The Guggenheim Museum, NY and Bilbao, with exhibition labels), 1968 Gelatin silver print (printed in 1996) Hand signed by Billy Name on the front; bears the original exhibition labels from the Guggenheim Museum and Guggenheim Bilbao on the back. Frame included This very work was included in the exhibition: "Andy Warhol: A Factory" at the Guggenheim Museum in New York. October 19, 1999–January 16, 2000 and the Guggenheim Museum in Bilbao, Spain, Organized by the Solomon R. Guggenheim Museum, New York, and the Kunstmuseum Wolfsburg, Germany. It bears labels on the back from The Guggenheim Museum and Guggenheim Bilbao Literature: Reproduced in the catalogue Andy Warhol: a factory, by Germano Celant, published on the occasion of the exhibition Andy Warhol: A Factory, organized by the Solomon R. Guggenheim Museum in New York in collaboration with the Kunstmuseum Wolfsburg, at the Palais des Beaux-Arts de Bruxelles, June 1 - September 10, 1999, reproduced on page 329 Measurements: Framed: 15 inches vertical by 19 inches by 1.5 inches Photograph: 9.25 inches by 13.5 inches Provenance Originally lent by the artist for the exhibition Below is more information about the photographer, Billy name, and the three Warhol superstars featured in this silver gelatin print: Unnumbered (unknown edition) BILLY NAME (Photographer) William George Linich (February 22, 1940 – July 18, 2016), known professionally as Billy Name, was an American photographer, filmmaker, and lighting designer. He was the archivist of The Factory from 1964 to 1970. His brief romance and subsequent friendship with Andy Warhol led to substantial collaboration on Warhol's work, including his films, paintings, and sculptures. Linich became Billy Name among the clique known as the Warhol superstars. He was responsible for "silverizing" Warhol's New York studio, the Factory, where he lived until 1970. His photographs of the scene at the Factory and of Warhol are important documents of the pop art era VIVA Janet Susan Mary Hoffmann (born August 23, 1938), known professionally as Viva, is an American actress, writer and former Warhol superstar. She was given the name Viva by Andy Warhol before the release of her first film but later used her married last name (Auder). She appeared in several of Warhol's films and was a frequent guest at the Factory. Viva was on the phone with Andy Warhol when he was shot by Valerie Solanas in 1968 Susan Bottomly (aks International Velvet...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Pigment print on Hahnemϋhle photo rag paper Available Sizes: 23" x 23" $2,000.00 31" x 31" $2,500.00 39" x 39" $3,000.00 60" x 60" $6,000.00 Born in 1978, Payidar Şeyma Alışır ...

Wayne Ensrud, American (1934 - ) - Rehearsal, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 45, Image Size: 19 x 36 inches, Size: 25 in. x 36.5...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Femme Dessinant, Femme Assoupi". The original painting was completed in 1935. In the 1970's ...

Jonas Wood 24 Tennis Court Drawings book (hand signed, inscribed to Kevin and dated by the artist) Hardback monograph (signed, inscribed and dated 2003) 13 1/2 × 9 1/4 × 2/5 inches M...

Guillermo Silva Santamaria, Colombian (1922 -2007) - Vencedor y Vencido, Year: 1963, Medium: Etching, Aquatint and Intaglio, signed, titled, numbered and dated in pencil, Edition: ...

MOTHER and CHILDREN PLAYING, is an original hand drawn lithograph by the American artist/sculptor Chaim Gross. Endearing watercolor figure study of a mother posed horizontally with h...

This Pablo Picasso print portrays a nude woman who has fallen asleep. The figure reclines backward toward the viewer, resting on her back. The artist's use of flowing line and the br...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

Medium: Lithograph on vélin du Marais paper Year: 1957 Paper Size: 14.5 x 11 inches Catalogue raisonné reference: Cramer, illustration 84 Inscription: Inscription: Unsigned and unnum...

S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...

Artist: Yvaral, Jean-Pierre Vasarely (1934-2002) Title: Double-Six Year: 1972 Medium: Silkscreen on museum board Edition: 10/200, plus proofs Size: 26 x 26 inches Condition: Good Ins...

Medium: Lithograph and stencil on vélin Polifilo paper Year: 1947 Paper Size: 13.78 x 10.24 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, I...

This 1963 lithograph, printed in color, is a fine example of Ben Shahn’s long preoccupation with the theme of the blind botanist and illustrates his con...

JAPANESE TEMPLE is an original, hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the Dutch artist Nico Vrielink printed using traditional hand lit...

Martin Creed Everything's Going to be Alright (Work No. 3531), 2022 Color giclee print; unframed and housed in a bespoke archival box from Hauser & Wirth 11 3/4 × 16 1/2 inches Pencil signed, titled and numbered 141/200 Makes a perfect gift! Accompanied by original receipt from the Fife Arms (Beaemar) and gallery issued Certificate of Guarantee A wonderful print with an affirmation worth seeing in any room in the house! Note: this work is pencil signed and numbered from the limited edition of 200, and it comes inside of a bespoke box, as it was first issued by Hauser & Wirth. The number shown in the image here may not be the number you receive. In 2020, as part of the post-lockdown re-opening celebrations for Scotland's Fife Arms, Hauser & Wirth's owners unveiled a specially commissioned temporary neon installation, ‘Work No. 3435: EVERYTHING IS GOING TO BE ALRIGHT’ by one of their favorite artists, Turner Prize-winner Martin Creed. This colorful installation was situated on the grounds of nearby Braemar Castle. The message resonates well beyond the pandemic. It makes a terrific gift. (Martin Creed, who grew up in Glasgow, is particularly known in Scotland for the much-loved Scotsman Steps in Edinburgh, a public staircase joining two streets made with more than a hundred different types of marble. A work in blue neon, ‘Work No. 975: EVERYTHING IS GOING TO BE ALRIGHT’, has been on view since 2012 on the facade of the National Gallery of Scotland in Edinburgh. The phrase ‘Everything is going to be alright’ has been used by the artist in a series of large-scale neon works since 1999 and draws on the comforting words Creed was offered by a friend. He explains, “If you are upset and someone speaks to you to try to help you, even if the words are empty because no one knows what is going to happen in the future, it can still feel like a comfort. No-one can really tell you everything is going to be alright, but despite that, many times in my life I have been very comforted by people saying something like that to me.”) And all this brings us back to the present work, a limited edition 2022 color giclee print, pencil signed and numbered by Martin Creed, which depicts Creed's pandemic-era temporary light installation with the neon words Everything is Going to Be Alright, against the backdrop of Braemar Castle at nightfall. This edition was originally sold by Hauser & Wirth via the Fife Arms to raise funds to restore Braemar Castle - and it quickly sold out. It's a poignant message that continues to resonate, perhaps now more than ever - and it would look beautiful in any home or office. But the question remains: Should we really believe Martin Creed's message? The answer is a resounding Yes. Coming from some of the most successful and lucky people on earth (Martin Creed and Manuela and Iwan Wirth) and carrying the magical energy and history of Braemar Castle, the odds are looking pretty good that everything is indeed going to be alright with all that positivity! By the way, just for fun (because why not?) keep scrolling (right arrow to the right of the main image) to view a 2019 photograph of King Charles and Queen Camilla (then officially known as the Duke and Duchess of Rothesay when in Scotland) attending the opening of The Fife Arms, with Manuela and Iwan Wirth standing next to them on the left - all in Highland dress. More about Martin Creed: British sculptor and installation artist. He was born in Wakefield, grew up in Scotland, and studied at the *Slade School of Art. His works are generally sparse in their material form and are identified only by numbers so as not to impose associations. (For this reason his numbering system avoids the portentous No. 1.) He is best known for the work for which he was awarded the *Turner Prize in 2002, Work no. 227 (2000, MoMA, New York). An entire room is alternately lit and darkened by electric light. It is a way of making a work of art which has no material existence: the light and the darkness are not themselves the art, only the change between them. This is a work which has entered the mythology of ‘modern art’ stories: the river boat guide tells the tourists (quite incorrectly) as they pass *Tate Modern: about the empty room...

British-born Sid Gotcliffe has made a powerfully poignant image in the lithograph Tompkins Square Park. At the center sit three men dressed in black. Their clothes suggest they bel...

Medium: Lithograph on vélin d’Arches paper Year: 1959 Paper Size: 10.25 X 16.5 inches Catalogue raisonné reference: Cramer, illustration 101 Inscription: Inscription: Unsigned and u...

Land of Swords Tarot Cards, 2019, digital collage, 28 card set with reference insert, metallic tin box, on glossy heavy card stock with repeating star design on reverse. ABOUT THE ARTIST Deming King...

A woman sits admiring a variety of objects above and below an open cabinet door in this print by Sunol Alvar. A trio appear to be singing in the top right and a duo playing music bel...

“Reflection” is a wonderful original Art Deco lithograph created by a famous Russian-born French artist Erté (Romain de Tirtoff). Image size (including signature): 23 x 17 in. Framed Size: 31 x 25 in. Edition 239/300. The artwork is framed. Signed by the artist on the bottom right corner. It is in excellent condition. Known as the “Father of Art Deco,” he created elegant decorative images that are timeless in their beauty and sophistication. Clean lines of his glamorous and evocative works resemble the geometry of Classical Greek pottery and Japanese art of woodblock prints. Erté’s artworks...

Roberto Matta, Chilean (1911 - 2002) - Totem, Year: 1955-56, Medium: Lithograph with Hand-Coloring, Image Size: 25.5 x 18 inches, Size: 26 x 18.75 in. (66.04 x 47.63 cm), Frame S...

Paul Cadmus, Arabesque 1947/1979 Signed, titled, and numbered in pencil, recto; Also blindstamped, l.l. Etching (Edition of 35) 18 x 14.5 inches, sheet

This original exhibition poster was created for the landmark Larry Rivers retrospective held in 1981 at the Kestner-Gesellschaft in Hanover, one of Germany’s leading institutions for...

A serigraph collage by Mimmo Rotella from 2004. A frottage vintage movie poster with torn surface, revealing layers beneath, encompassing the face of Marilyn Monroe. Signed in pencil...

Au Presser Le Raisin Fut Foule’ (In the Winepress the Grapes were Crushed ) from the Misere Series, Plate #48 Georges Rouault, French (1871–1958) Date: 1922 Intaglio, signed and date...

Screenprint Edition of 36 Signed and titled in graphite (lower recto) Frame available upon request Available from Matthew Marks Gallery, New York and Los Angeles

Joseph Kossonogi, Israeli (1908 - 1981) - The Wedding, Medium: Lithograph, signed and numbered in pencil, Edition: 72/150, Image Size: 12.5 x 18 inches, Frame Size: 21 x 27 inches

An Outline of History by Larry Rivers, American (1923–2002) Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 9.5 x 13 inches Size: 14 in. x 17 in. (35.56 cm x 43.18 cm) ...

Giancarlo Impiglia, Italian/American (1940 - ) - Pierrot, Year: 1982, Medium: Screenprint, signed, numbered, titled and dated in pencil, Edition: 149/300, Image Size: 29.25 x 19....

Artist: Red Grooms, American (1937 - ) Title: Stockholm Print, from the New York Collection for Stockholm Year: 1973 Medium: Silkscreen, signed and nu...

LIBERACIÓN III Collage 13 x 9 My work is mainly abstract, I would say abstract expressionism. I love painting with oils, they give me many possibilities I do not find in other mediu...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 11.24 x 8.46 inches Inscription: Unsigned and unnumbered, as issued Notes: From the fo...

Larry Rivers Downtown Lion (1st State), 1967 Etching on wove paper, signed, inscribed and dated with blind stamps Signed, dated and inscribed in graphite; Printers Proof aside from ...

Set against a blank white background, the light brown horse in this print by Pablo Picasso is outfitted to pull a carriage or wagon. A lithograph from the Marina Picasso Estate Colle...

This elegantly framed invitation from the 2018 exhibition at the Almine Rech Gallery in Belgium is a refined and collectible presentation piece. The invitation is beautifully set wit...

This extravagant subject is a clear exception in the oeuvre of Bernard Sanders. Signed in pencil; interestingly signed in the plate at the upper right ...

Artist: Peter Max (1937) Title: Tropical Flowers Year: 1978 Edition: A.P.;45, plus proofs Medium: Silkcreen on Arches paper Size: 22 x 27.25 inches Condition: Excellent Inscription: ...

Artist: Jacques Villon, after Title: En Colore from Douze Contemporains Year: 1959 Year of Original: 1952 Medium: Lithograph with Pochoir on Wove paper, signed in the plate Edition...

Artist: Jacques Villon, French (1875 - 1963) Title: Maternite Year: 1952 Medium: Etching, signed in pencil Edition: 75 (un-numbered) Image Size: 11 x 7.5 inches Size: 16 x 13 in. (40...

Medium: Lithograph on grand vélin Renage filigrané à la marque de l'éditeur paper. Year: 1951 Paper Size: 12.5 x 9.5 inches; image size: 11.02 x 8.27 inches Inscription: Signed in th...

Chuck Sperry Harmonia Panel Edition out of 30 6 color Screen print on oak panel 20 x 26.75 inches Signed and numbered by the artist

Artist: Itzchak Tarkay (1935-2012) Title: Sisters Year: Circa 2000 Medium: Silkscreen on wove paper Size: 11.25 x 11.75 inches Edition: 219/750, plus 100 Remarques Condition: Excelle...

Grisha Bruskin Note D, 1991 Color silkscreen on Somerset paper 34 × 27 inches Edition 74/75 Boldly signed and numbered on front in graphite pencil. Published by Marlborough Graphics ...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 11.24 x 8.46 inches Inscription: Unsigned and unnumbered, as issued Notes: From the fo...

Louis Icart, After, French (1888 - 1950) - Stepping Up from La Dame aux Camelias, Year: 1938, Medium: Hand-Colored Etching, Image Size: 5 x 3.5 inches, Frame Size: 20.5 x 17 inches

Tracey Emin Beautiful Girl II, 2011 Etching, with chine-collé on 300 GSM Somerset paper, with full margins Signed and numbered 52/100 on the front in graphite pencil; also titled by ...

Artist: Theo Tobiasse, French (1927 - 2012) Title: New York - Statue of Liberty Medium: Terragraph on Canvas, signed and numbered lower right Edition: 70/199 Size: 31.5 x 22 in. ...

Artist: Itzchak Tarkay (1935-2012) Title: Red Hat Year: Circa 2000 Medium: Silkscreen on wove paper Size: 13.5 x 11.5 inches Edition: 122/750, plus 100 Remarqu...

Harvest by Erté, Russian (1892–1990) Date: 1987 Embossed Screenprint with Foil, signed and numbered in pencil Edition of 300, HC 8/18 Size: 16 x 29 in. (40.64 x 73.66 cm) Frame Size:...

Artist: Peter Max Title: Degas and Woman from Images of an Era Suite Year: 1990 Medium: Lithograph, signed and numbered in pencil Edition: 245/300 Siz...

Artist: Kevin Red Star, American (1942 - ) Title: Crow Husband and Wife Year: Circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 150, AP Size: 31 in. x 22 in. (78.7...

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Lettre à mon pei...

Irving Marantz, American (1912 - 1972) - Street Scene, Madrid, Year: circa 1960, Medium: Lithograph, signed, titled, and numbered in pencil, Edition: AP, Image Size: 17.5 x 12 inch...