Prints and Multiples on Sale

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-310 Hand-signed by author

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-306 Hand-signed by author

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-304 Hand-signed by author

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled', 2017 mixed media on japanese paper 12.3 x 17 in. (31 x 43 cm.) ID: NAA-302 Hand-signed by author

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled (triángulos planos de color)', 2021 woodcut, silkscreen on paper Guarro Biblos 250g. 27.8 x 21.5 in. (70.5 x 54.5 cm.) Edition of 20 ID:...

L'enfance d'Ubu is one of three illustrated books inspired by the French playwright Alfred Jarry's (1873-1907) plays Ubu Roi, Ubu Cocu, and Ubu Enchaîné. ...

José Niebla (Spain, 1945) 'Ofrena', 1991 silkscreen on canvas 27.6 x 19.7 in. (70 x 50 cm.) Edition of 150 ID: NIE1205-003-150_4 Hand-signed by author

Artist: Peter Max (1937) Title: Vase with Tree Year: 2000 Edition: 140/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 2 x 2.75 inches...

The background of this photo is an homage to Ľudovít Winter the creator of the famous Spa Piešťany in Slovakia in the beginning of the 20th Century. A statue sitting on bank on a bri...

Vladimir Vlady Kibalchich (Russia, 1920-2005) 'Marlot', 2000 engraving on paper Velin Arches 300 g. 31.5 x 23.5 in. (80 x 59.5 cm.) ID: VLA-308 Hand-signed by author

WAITING FOR THE BOYS by the woman artist Robin Morris, is an original limited edition lithograph printed using hand lithography techniques on arch...

Artist: Peter Max (1937) Title: Abstract Figure With Umbrella Year: 2001 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 9 x 11 inches Condition: Excellent I...

Artist: Peter Max (1937) Title: Neo Man In Love Ver. II Year: 2001 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 11 x 9 inches Condition: Excellent Inscrip...

Artist: Peter Max (1937) Title: Space Angels Year: 1999 Edition: 199/300, plus proofs Medium: Lithograph on Coventry Smooth paper Size: 6.5 x 12 inches Condition: Excellent Inscripti...

Yayoi Kusama plush Pumpkins (set of 2 works): An iconic, vibrantly colored pop art set - these highly decorative plush Kusama pumpkins feature the u...

Pablo Picasso (1881-1873) Jacqueline a l'etamine Numbered on the reverse Phototype and Pochoir 16 x 11.5 inches 957/1000

Eduardo Naranjo (Spain, 1944) 'Dos odas (Federico en Nueva York)', 2005 silkscreen on paper Image size: 23.8 x 19.9 in. (60.50 x 50.50 cm.) Surface size: 30.8 x 24.9 in. (78 x 63 cm....

Eduardo Naranjo (Spain, 1944) 'Huida de Nueva York (Federico en Nueva York)', 2005 silkscreen on paper Image size: 23.8 x 19.9 in. (60.50 x 50.50 cm.) Surface size: 30.8 x 24.9 in. (...

Eduardo Naranjo (Spain, 1944) 'Introducción a la muerte (Federico en Nueva York)', 2005 silkscreen on paper Image size: 23.8 x 19.9 in. (60.50 x 50.50 cm.) Surface size: 30.8 x 24.9 ...

Eduardo Naranjo (Spain, 1944) 'En la cabaña del Farmer (Federico en Nueva York)', 2005 silkscreen on paper Image size: 23.8 x 19.9 in. (60.50 x 50.50 cm.) Surface size: 30.8 x 24.9 i...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), Undeutlicher deutlich, 1982. Color etching, e.a. (Epreuve d'artiste) 4/9, 22.5 x 28 cm (image), 40 x 45 cm (sheet), 43 x 48 cm ...

Artist: Peter Max (1937) Title: Cosmic Jumper, Detail III Year: 2002 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 4.87 x 4.5 inches Condition: Excell...

Paper Size: 59.75 x 30.5 inches ( 151.765 x 77.47 cm ) Image Size: 59.75 x 30.5 inches ( 151.765 x 77.47 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Antoni Tàpies Lithograph 1967 from Derriere Le Miroir: Lithograph in colors; 1967. 11 x 15 inches. Very good overall vintage condition. Unsigned from an...

Juan Genoves (Spain, 1930-2020) 'Untitled', 1996 engraving, silkscreen on paper 15.8 x 11.9 in. (40 x 30 cm.) Edition of 150 ID: GEN1205-005-150_1 Hand-signed by author _____________...

Raoul Dufy was an important multifaceted French artist who worked in a variety of media including painting, print making, mural design, theatre and costume design, upholstery, wall paper, ceramics, and fabric. In his paintings he often depicted the circus, equestrian scenes, Parisian cafe life, yachting scenes, colorful views of the French Riviera, and musical events in a distinctive style that combined the various artistic trends of the day, most notably Fauvism. Born in 1877 in Le Havre France, and after a year of military service in 1900, Dufy won a scholarship to the Ecole Nationale superieure des Beaux-Arts, in Paris, studying under Othon Friesz. He exhibited extensively throughout Paris and France at the various salons, including the Salon des Tuileries. For the 1937 Exposition Internationale in Paris, Dufy completed one of the largest paintings ever conceived, a 250...

This is an exclusive limited edition color Giclée print, printed on matte photographic paper. The print measures 36 x 24 inches total, with an image size of 32 x 20 in. and a 2 inch...

Miguel Angel Blanco (Spain, 1958) 'Flores pétreas II', 2003 digital print on paper 14.6 x 11.9 in. (37 x 30 cm.) Edition of 50 Unframed ID: BLA1420-002-050 Hand-signed by author

KAWS Blush Companion 2016. New and sealed in its original packaging. Published by Medicom Japan in conjunction with the exhibition, KAWS: Where The End Starts at the Modern Art Museum of Fort Worth (2016). Medium: Vinyl Paint, Cast Resin. Year: 2016. Dimensions: 11 × 5 inches. New in original packaging; excellent condition. Stamped on the underside of foot from a sold out edition of unknown. KAWS is an American graffiti artist and designer known for his toys, paintings, and prints. Born Brian Donnelly on November 4, 1974 in Jersey City, NJ, KAWS graduated with a BFA from the School of Visual Arts in New York and went on to work in animation. “When your whole art is based on the lettering you choose, you kinda figure out what ones work together. I just liked the shapes of the k, a, w, s,” he explained of his moniker. Having started as a graffiti artist in New York in the early 1990s, KAWS began reworking advertisements in his distinctive style. Pop Art and culture permeate his cartoonish Companion series of figurines, which bear a resemblance to the works of Takashi Murakami. KAWS worked together with Nike in 2017 to produce an Air Jordan 4 shoe and has done multiple collaborations with the clothing brand Uniqlo, continuing to blur the boundaries between fine and commercial art. The artist is also known for his large scale public installations, such as 2019’s KAWS: Holiday which was installed in the Hong Kong harbor during Basel Hong Kong. In 2019, THE KAWS ALBUM (2005) sold at auction for a record $14.8 million, breaking his previous record of $2.7 million which was set in 2018. This work is a take on the Beatles' famous 1967 album cover for Sgt. Pepper's Lonely Hearts Club Band, but instead replaced with characters from The Simpsons with the artist's signature Xs drawn across their eyes and skull. After years in the industry, KAWS gained approval from his peers in the street art world and more recently prestige from the museum and gallery worlds. Today, his work can be found in the collections at the High Museum of Art in Atlanta, the Modern Art Museum of Fort Worth, and the Rosenblum Collection in Paris. KAWS currently lives and works in Brooklyn, NY. Related Categories Shepard Fairey. Damien Hirst. KAWS red...

Nemesio Antunez (Chile, 1918-1993) 'City playground', 1978 engraving on paper 22.1 x 30 in. (56 x 76 cm.) ID: ANT1385-008-000 Hand-signed by author Unframed

Joan Miró Poster for the film 'Umbracle,' 1973 is a lively work that was originally created as a movie poster for the film Umbracle, an experi...

Serigraph in colors on paper. Hand signed and numbered by the artist. Edition of 300. Sheet size 24 x 31 inches. Artwork is in excellent condition. Certificate of Authenticity i...

Screenprint, numbered and signed, by the Italian artist Mino Trafeli (Volterra, Italy 1922-2018). Part of a portfolio of 13 5-color serigraphs made by Mino Trafeli and printed, with...

Eduardo Naranjo (Spain, 1944) 'El poeta llega… (Federico en Nueva York)', 2005 silkscreen on paper Image size: 23.8 x 19.9 in. (60.50 x 50.50 cm.) Surface size: 30.8 x 24.9 in. (78 x...

Eduardo Naranjo (Spain, 1944) 'Vuelta a la ciudad (Federico en Nueva York), 2005 silkscreen on paper Image size: 23.8 x 19.9 in. (60.50 x 50.50 cm.) Surface size: 30.8 x 24.9 in. (78...

Abstract Composition is a colored screen print realized by the contemporary artist Giulio Turcato in 1970s. Hand-signed in pencil on the lower right. Numbered on the lower left ma...

Medium: pochoir (after the watercolor and collage). Printed in 1957 at the atelier of Daniel Jacomet and published in Paris by the Galerie Berggruen for a rare catalogue. Image size:...

Jose "Pepe" Contino (Cuba, 1933) 'Untitled (from Porfolio Grabados Cubanos)', 1978 silkscreen on paper Canson 320 g. 17.6 x 23.6 in. (44.6 x 59.8 cm.) Edition of 200 ID: CON-303 Hand...

Jose "Pepe" Contino (Cuba, 1933) 'Untitled (from Porfolio Grabados Cubanos)', 1978 silkscreen on paper Canson 320 g. 17.6 x 23.6 in. (44.6 x 59.8 cm.) Edition of 200 ID: CON-302 Hand...

Joan Miró vinyl album art: set of two, 1966 & 1979: Raimon and Joan Miró were close friends that first collaborated on the 1966 album Cançons de la roda del temps. In 1979, Miró des...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Angel Ricardo Ricardo Ríos (Cuba, 1965) 'Untitled', 2011 pastel, charcoal on paper Fabriano 300 g. 39.4 x 27.6 in. (100 x 70 cm.) ID: RIC-354 Hand-signed by author

Artist: Alexander Calder (1898-1976) Title: Black Lines (from the Our Unfinished Revolution portfolio) Year: 1975-76 Medium: Lithograph in colors on Arches paper Edition: 175, plus p...

Bernhard Pankok (1872 Münster - 1943 Baierbrunn), General Wilhelm von Blume, 1915, aquatint etching, 34 x 29.5 cm (sheet size), 26 x 22 cm (plate size), signed in the plate at upper left, in pencil at lower right and dated in pencil at lower left. - At lower left old collection stamp, at the right broad margin with a small spot, otherwise very good condition. About the artwork The 1915 aquatint etching of General Wilhelm von Blume is based on a 1912 oil painting in the LWL-Museum für Kunst und Kultur in Münster. A second oil portrait of the general by Pankok is in the Staatsgalerie Stuttgart. When Pankok painted the first oil portrait in 1912, the general had already been retired for 16 years. It is therefore a retrospective portrait. Accordingly, the orientation of his head is such that he is looking back in both the oil painting and the etching. Without fixing on anything in particular, he looks thoughtfully inwards and reflects on his life. Uniformed and highly endowed, it is his military activities in particular that he is reviewing attentively and, as his gaze reveals, quite critically. Pankok has literally written the sum of his experiences on Wilhelm von Blume's face: The physiognomy is a veritable landscape of folds, furrows, ridges and gullies, all the more striking against the flat background. It is clear that each of the medals was also won through suffering. However, by breaking the boundaries of the picture, his bust appears as an unshakable massif, which gives the general a stoic quality. The fact that the design of the portrait was important to Pankok can be seen from the different versions, the present sheet being the third and probably final revision, which Pankok dates precisely to 18 February 1915. Compared with the previous state, the light background now has a dark area against which the sitter's face stands out, the dark background in turn combining with the uniform to create a new tension in the picture. Pankok's taking up of the portrait of the high-ranking military veteran and its graphic reproduction can also be seen in relation to the First World War, which had broken out in the meantime. In the face of modern weapons of mass destruction, Wilhelm von Blume's warfare and military writings were relics of a bygone, more value-oriented era. About the artist After studying at the Düsseldorf Art Academy from 1889 to 1891 under Heinrich Lauenstein, Adolf Schill, Hugo Crola, and Peter Janssen the Elder, Bernhard Pankok went to Munich in 1892, where he worked primarily as a graphic artist for the two major Jugendstil magazines "Pan" and "Jugend," which established his artistic success. Through this work he met Emil Orlik, with whom he had a lifelong friendship. In 1897, he exhibited his first furniture, and in 1898, together with Richard Riemerschmid, Bruno Paul and Hermann Obrist...

Miguel Angel Blanco (Spain, 1958) 'Flores pétreas IV', 2003 digital print on paper 14.6 x 11.9 in. (37 x 30 cm.) Edition of 50 Unframed ID: BLA1420-004-050 Hand-signed by author

Jimmy Ernst  Plate II - 1970 Print - Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 24/125 Jimmy Ernst’s artwork was influenced by a number of powerful talents and vital currents in the art of his time. Son of Max Ernst, Jimmy drew upon the biomorphic and surreal compositions of his father, as well as Arp, Klee, André Breton, and Lyonel Feininger. His mature oil paintings, which emerged in the 1950s and 1960s, reflect the Atomic Age aesthetic of the period. Often, they resemble crystals or webs; many look like vast labyrinths and are interpreted as symbols of the unconscious mind. Ernst was always interested in spirituality and drew inspiration from indigenous American art...

José Niebla (Spain, 1945) Untitled, 1996 silkscreen on paper 15.8 x 11.9 in. (40 x 30 cm.) Edition of 150 ID: NIE1205-005-150_5 Hand-signed by author

Shepard Fairey Alice Bag Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 550 Signed, dated and numbered by hand COA provided Ref.: 924802-15889...

Medium: pochoir (after the painting). Printed in Paris at the atelier of Daniel Jacomet and published in 1975 by the Berggruen Gallery. Image size: 5 1/2 x 6 5/8 inches (140 x 168 mm...

Miguel Angel Blanco (Spain, 1958) 'Flores pétreas VI', 2003 digital print on paper 14.6 x 11.9 in. (37 x 30 cm.) Edition of 50 Unframed ID: BLA1420-006-050 Hand-signed by author

Teatro Degollado Guadalajara III - Contemporary, 21st Century, C Print, Limited Edition, Photography, Red, Interiors, Art 38 x 47 cm (15 x 18.5 in.) Edition of 100 Signed and numbered and accompanied by Certificate of Authenticity In mint condition, in the original packaging as acquired from the publisher PLEASE NOTE: Edition numbers could vary from the one shown in the images. The pictures are only for illustrative reasons, the work is offered unframed. Candida Höfer is known for her images of empty interiors of libraries, museums, palaces and theatres, focusing on the cultural spaces free from human presence. Part of the artist’s latest exhibition at Sean Kelly Gallery, Candida Höfer in Mexico, Teatro Degollado Guadalajara III expands her signature attention to Mexican Baroque...

Jimmy Ernst  Plate IV - 1970 Print - Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 125/125 Jimmy Ernst’s artwork was influenced by a number of powerful talents and vital currents in the art of his time. Son of Max Ernst, Jimmy drew upon the biomorphic and surreal compositions of his father, as well as Arp, Klee, André Breton, and Lyonel Feininger. His mature oil paintings, which emerged in the 1950s and 1960s, reflect the Atomic Age aesthetic of the period. Often, they resemble crystals or webs; many look like vast labyrinths and are interpreted as symbols of the unconscious mind. Ernst was always interested in spirituality and drew inspiration from indigenous American art...

Medium: lithograph (after the the sketch). Executed as a sketchbook drawing during the middle 1950's and subsequently made available by Picasso for publication as a lithograph. This ...

Miguel Angel Blanco (Spain, 1958) 'Flores pétreas VII', 2003 digital print on paper 14.6 x 11.9 in. (37 x 30 cm.) Edition of 50 Unframed ID: BLA1420-007-050 Hand-signed by author

Beautiful exhibition poster by Puerto rican artist, Rafael Tufino (1922-2008). Augusto Marin, Exposicion de Pinturas, 1965. Screen print on paper, 20 x 3...

Neptune, from Eight Impressions. Serigraph in colors on wove paper. Hand signed and numbered by Victor Vasarely. Un-numbered (outside the hand numbered edition of 250). Image size 16 x 16 inches. Sheet size 24.37 x 19.25 inches. Frame size approx 26.5 x 25.5 inches. Additional images available upon request. Certificate of authenticity included. Artwork in excellent condition. All reasonable offers will be considered. About the Artist: Victor Vasarely ((French/Hungarian, 1906–1997) was credited as the grandfather and leader of the Op Art movement. Utilizing geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. Born Győző Vásárhelyi on April 9, 1906 in Pécs, Hungary, he briefly studied medicine, but after two years he dedicated himself to learn academic painting. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard paintings...

Artist: Peter Max (1937) Title: Profile Series I Year: 1998 Edition: 140/300, plus proofs Medium: Lithograph on Coventry Smooth paper Size: 9 x 7.5 inches Condition: Excellent Inscri...

Medium: original etching. Published in Paris in 1897 by Gazette des Beaux Arts. Catalogue reference: Sanchez & Seydoux 1897-13. A lovely impression in sanguine ink printed on cream w...