Vertical Prints and Multiples

Paper Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Image Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Detai...

This is an original 19th century duotone lithograph entitled "Minaret of the Mosque El Rhamree" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publish...

Medium: original lithograph. Printed in 1965 for the art revue Derriere le Miroir (issue number 151-152) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). There ...

Alexander CALDER Les Travestis du Reel, 1979 Original vintage lithograph poster Printed in Atelier Arts-Litho Printed signature in the plate 82 x 57 cm (c. 32.2 x 22.4 in) Excelle...

Pablo Picasso (1881-1973) - Four original lithographs - A Los Toros series Lithograph from 1961. Dimensions of each work: 31 x 25 cm. Reference: Bloch 1014-1017; Cramer 113. Print...

Original San Fermin Pamplona running of the bulls, vintage poster. Archival linen backed in very fine condition ready to frame. Artist: Alonso Astarloa....

Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Very scarce. Matted to museum standards, unframed. Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm). Created for the California Works Progress Administration, Federal Art Project (WPA). Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and Weisman Art Museum (University of Minnesota). ABOUT THE ARTIST Born in Massachusetts, Nicholas Panesis (1913-1967) studied art at Syracuse University, NY, and went on to teach ceramics at Alfred University, NY. Panesis moved to San Francisco in the early 1930s shortly before settling in Los Angeles, where he worked for different animation studios...

ARTIST: Salvador Dali TITLE: Imaginations & Objects of The Future Liquid Tornado Bath Tub MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Merril Chase, Chicago/Al...

SADAO WATANABE (Japanese 1913-1996) GIRLS WITH LOTS OF QUAILS, 1965 鶉と少女 Hand colored stencil print on momigami textured paper. Signed and numbered in white. Edition 50, Image 17 x 2...

Andrew Scott, Splash, 2024 Giclee print on 315 gsm etching cotton rag paper 33 x 45 cm ( 13 x 17.7 in) Edition 142 of 250 Frame included Hand-signed...

This exquisite heliogravure after Pierre Soulages (1919–2022), titled Planche No. 5 (Plate No. 5), from the folio Pierre Soulages, Peintres d'aujourd'hui (Pierre Soulages, Painters o...

Artist: Salvador Dali Title: Off to Battle, from Historia de Don Quichotte de la Mancha Medium: Etching and aquatint in colors on Japon paper Date: 1980 Edition: 142/150 Frame Size: ...

Salvador Dali (1904-1989) Hell 24 - The Thieves Original woodcut Printed signature in the plate 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFERENCE...

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame included: Framed in white wood frame with UV plexiglass; with die-cut window in the back to show official Warhol Foundation authentication stamp and text Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (Artwork) Authenticated and stamped by the Estate of Andy Warhol/Warhol Foundation for the Visual Arts An impressive piece of Pop Art history! A must-have for fans and collectors of both Andy Warhol and Roy Lichtenstein: This is a unique, authenticated color Polaroid taken by one Pop Art legend, Andy Warhol, of his most formidable contemporary and, in many respects, rival, Roy Lichtenstein. One of only a few portraits Andy Warhol took of Roy Lichtenstein, during one tense photo shoot. Both iconic artists, colleagues and, perhaps lesser known to the public, rivals, would be represented at the time by the renowned Leo Castelli Gallery. The truth is - they were really more rivals than friends. (the rivalry intensified when Warhol, who was working with Walt Disney, discovered that Lichtenstein painted Mickey Mouse before he did!!) Leo Castelli was committed to Roy Lichtenstein, and, it's easy to forget today, wasn't that interested in Warhol as he considered Lichtenstein the greater talent and he could relate better with Roy on a personal level. However, Ivan Karp, who worked at Castelli, was very interested in Warhol, as were some powerful European dealers, as well as many wealthy and influential American and European collectors. That was the start of Warhol's bypassing the traditional gallery model - so that dealers like Castelli could re-discover him after everybody else had. Warhol is known to have taken hundreds of self-portrait polaroid photographs - shoe boxes full - and he took many dozens of images of celebrities like Blondie and Farrah Fawcett. But only a small number of photographic portraits of fellow Pop Art legend Roy Lichtenstein -- each unique,- are known to have appeared on the market over the past half a century - all from the same photo session. This is one of them. There is another Polaroid - from this same (and only) sitting, in the permanent collection of the Getty Museum in California. There really weren't any other collaborations between these two titans, making the resulting portrait from this photo session extraordinary. It is fascinating to study Roy Lichtenstein's face and demeanor in this photograph, in the context of the great sense of competition, but perhaps even greater, albeit uneasy respect, these two larger than life Pop art titans had for each other: Like Leo Castelli, Roy Lichtenstein was Jewish of European descent; whereas Warhol was Catholic and quintessentially American, though also of European (Polish) descent. They were never going to be good friends, but this portrait, perhaps even arranged by Leo Castelli, represents an uneasy acknowledgement there would be room at the top for both of them. Floated, framed with die cut back revealing authentication details, and ready to hang. Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (sheet) Authenticated by the Estate of Andy Warhol/The Andy Warhol Foundation for the Visual Arts. Estate Stamped: Stamped with the Andy Warhol Estate, Warhol Foundation for the Visual Arts stamp, numbered "B 512536P", with the Estate of Andy Warhol stamp and inscribed UP on the reverse. Bears the Warhol Foundation unique inventory number. 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...

This exquisite lithograph and pochoir by Joan Miro (1893–1983), titled La Femme et l’Oiseau (The Woman and the Bird), from the album XXe Siecle, Nouvelle serie No. 6, originates from...

Salvador DALI Les chevaliers du roi Arthur ("The cavaliers of King Arthut"), 1970 Original etching Handsigned in pencil with his monogram Limited to 125 copies On Lana vellum 45 x ...

This limited edition print, created in 1955, is produced on thick, high-quality paper and is hand-numbered 32 out of 150 in pencil. It features a facsimile signature of the artist. T...

ABOUT THE ARTIST: Marc Dennis is an American artist renowned for his paintings of subtly staged and slightly voyeuristic images of contemporary American culture. Interested in the tr...

Tracey Emin My Heart is with you Always, 2015 Offset lithograph on silk-finished paper Signed by the artist, on recto 70 x 50 cm Edition of 500

"Personnage couché" is a second edition lithograph poster by renowned artist Francis Bacon, originally published by Galerie Maeght in Paris in 1966. This striking artwork represents ...

Medium: lithograph (after the watercolor). Printed in 1962 at the Mourlot atelier for "Jerusalem Windows". This piece was executed by Chagall in preparation for his famous stained-gl...

Boris Lovet-Lorski, Untitled (Portrait of an African Woman), lithograph, edition 250, 1929. Signed and numbered 13 in pencil. Number 13 of Volume 2, a series of 10 lithographs publis...

This limited edition print, titled Composition, May 1953, is a striking work on thick paper, showcasing the artist's distinctive style. The print is hand-numbered 30 out of a limited...

1983 Screenprint in colors, on Pêche Soleil paper Sheet: 27 1/5 x 21 3/4 in. (69 x 55.2 cm) Edition of 75 Signed, titled, dated, and numbered in pencil, lower margin Framed, excellen...

Louis Welden HAWKINS Women Enjoying a Book, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithogr...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

Medium: original lithograph. Printed in 1947 at the Mourlot atelier in an edition of 950 on Rives wove paper for "Pierre a feu / Les miroirs profonds" and published in Paris by Maegh...

"Puppet Man, 1960. By Alexander Calder. "E.A" Written in pencil by the artist The "E.A." designation on the print likely indicates it's an artist's proof, o...

Damien Hirst, New Beginnings III [yellow], 2011 Polymer gravure block print in colour on Zerkall paper 66 × 48 cm - sheet size 70.6 x 53.3 cm - Framed Edition 14/55 hand-signed on th...

Alekos FASSIANOS Greece : Man with Bicycle Original lithograph Printed signature in the plate On heavy paper 92 x 58 cm (c. 37 x 23 inch) Printed in Atelier Bellini : three-color li...

Joan Miró Lithographie Originale II Color Lithograph Year: 1981 Size: 12.5 × 9.6 inches Catalogue Raisonné: Cramer 177, Der Lithograph IV, 1969-1972 Publisher: Maeght Editeur, Paris,...

Paper Size: 20 x 16 inches ( 50.8 x 40.64 cm ) Image Size: 13.25 x 9.75 inches ( 33.655 x 24.765 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addition...

Henri Matisse (1869-1954) - Femme Bleue Lithograph from 1958. Dimensions of work: 35.5 x 26 cm. Publisher: Tériade, Paris. First, original edition. The work is in Excellent cond...

NEW DREAMS is an original limited edition lithograph by the Harlem Renaissance, social realist African-American artist ERNEST CRICHLOW (1914-2005). NEW DREAMS was printed from hand d...

'1. 2. Pseudolycaena marsyas 3. 4. Evenus regalis' Late 19th century colour lithograph of butterflies.

Pure Evil Elizabeth Taylor - Put on some lipstick, 2021 Screenprint in colours 50 x 35 cm 60 x 45 cm - Framed Edition of 100 + 1 AP signed and numbered by the artist

Artist: Christo (1935 - 2020) Title: Wrapped Trees Vertical Size: 31" x 23" inches Type: Lithograph Poster Hand Signed Christo was born in 1935 in Gabrova, Bulgaria. (He would drop ...

This exquisite lithograph by David Hockney (born 1937), titled Letter L, from the folio Hockney's Alphabet, Drawings by David Hockney, originates from the 1991 edition published by A...

THE LANTERN is an original, handmade limited edition lithograph printed in 13 colors from hand drawn lithography plates using traditional hand lithography methods on archival Somerse...

This exquisite lithograph by Pablo Picasso (1881–1973), titled La Petite Corrida (The Little Bullfight), from the album XXe Siecle, Nouvelle serie, XXe Annee, N° 10 (double) Mars 195...

David Shrigley, The Elephant, 2023 Screenprint in colours on wove paper 56 x 76 cm (22 x 29 9/10 in) Edition 108 of 125 Hand-signed and numbered on the reverse David Shrigley B...

This exquisite lithograph by Alexander Calder (1898–1976), titled Anneaux sur noir (Rings on Black), originates from the historic 1973 folio Derriere le Miroir, No. 201. Published by...

Halo Freedom - Rick Griffin original 1966 poster. Benefit for Haight Ashbury Legal Organization, an On-scene summer long guarantee of your Freedom. Indian Agent Excellent / mint condition. The image is to resemble a distressed old photograph, but this poster is meint as stated. No damage, no pinholes, no bent corners… just very fine indeed! PERFORMERS: Grateful Dead, Jefferson Airplane, Big Brother and the Holding Company, Quicksilver Messenger Service, Charlatans Haight Ashbury Legal Organization. Winterland Concert HALO (Haight Ashbury Legal Organization) Original First Printing, not a reproduction. Concert featuring: The Jefferson Airplane, Janis Joplin with Big Brother & The Holding Company, Quicksilver Messenger Service, The Charlatans...

Paper Size: 35.25 x 27.5 inches ( 89.535 x 69.85 cm ) Image Size: 21.25 x 21.25 inches ( 53.975 x 53.975 cm ) Framed: No Condition: A: Mint Additional Details: A reproduction w...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Sans titre (Untitled), originates from the 1966 folio Derriere le Miroir, No. 158–159, published by Maeg...

Urbain HUCHET Notre Dame de Paris Original lithograph, 1960 Handsigned in pencil by the artist Numbered / 295 copies On velllum 19 x 28 cm (c. 8 x 11 inch) Excellent condition

Lithograph on paper realized by Alessandro Kokocinski. Edition of 125 inarab numbers plus 50 in roman numbers. Hand signed and numbered in pencil. Excellent condition.

Original poster: THE SAURDAY EVENING POST. Artist: Noman Rockwell. Size: 21.75" x 28". Archival linen backed in very fine condition. The painting for this original poster ...

This vibrant 1952 original travel poster by the French artist Jal captures the optimism and dynamism of postwar France through the lens of national pride and modern infrastructure. C...

This exquisite lithograph and pochoir by Joan Miro (1893–1983), titled Femme et oiseau dans la nuit (Woman and Bird in the Night), from the album XXe Siecle, Nouvelle serie No. 8, or...

Herbert Bayer Sale and Marketing Kiosk for P Cigarettes (Verkauf- und Werbekiosk, Zigarettenmarke P ), 1924 Offset Lithograph Year: 1994 Size: 33.2 × 23.2 inches Publisher: Bauhaus A...

Medium: original lithograph. Printed in 1956 for the very rare Documenti d'Arte d'Oggi, published in Milan by Groupe Espace. Size: 12 1/2 x 8 1/2 inches (318 x 218 mm). Signed in the...

Medium: original etching. Catalogue reference: Delteil 23. This is a lifetime impression published in 1910 for the rare first edition of "Manet & the French Impressionists" by Theodo...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for more information. ABOUT THIS PIECE: This series explores the color and composition of our most recognizable form...

Robert Natkin, American (1930 - 2010) - Intimate Lighting: Blue, Year: 1974, Medium: Screenprint on Arches, signed, numbered and dated in pencil lower left, Edition: 59/100, Image...

CORITA KENT (Sister Mary Corita) 1918–1986 WORKING ON IT INCESSANTLY, ca. 1970 Color serigraph. Signed and numbered in ink 200/. In generally good condition. Image 22 3/8 x 11 1/2, sheet 23 x 12 1/4 inches. Provenance: Marjorie Kauffman Graphics on original period label. Sister Corita is highly important in the development of modern use of serigraphy with highly charged social and political content expressed in strong colors and dynamic composition. She often made biblical and well as literary references as a major part of the composition. She taught printmaking at Immaculate Heart...

Medium: offset lithograph (after the watercolor sketch). Printed in 1955 by Draeger Freres, this composition is from George Braque's Intimate Sketchbooks (Carnets Intimes). Braque ha...

This exquisite heliogravure by Joan Miro (1893–1983), titled Femme et Oiseau IX/X (Woman and Bird IX/X), from the folio Joan Miro, Femmes (Women), originates from the 1965 edition pu...

This poster reproduction of Alexei Jawlensky’s Crown of Thorns captures the artist’s bold Expressionist style and spiritual depth. The subject’s mask-like face, rendered in thick bru...

Günther Förg (Germany, 1952-2013) 'Erker-Gallery', 1995 Original poster from exhibition of 1995 lithograph on paper 36.5 x 22.6 in. (92.7 x 57.4 cm.) Unframed Ref: FOR100-201 Günthe...