Horizontal Figurative Prints

SAJIPPE KRAKA JOUJESH Year: 1998 Medium: Silkscreen Size: 39 x 46 inches (99 x 117 cm) Edition: 150 Price: $4,000 Kenny Scharf was born in 1958, in Hollywood, California. The artis...

Federico Castellon, 'Body and Soul', 1938, lithograph, edition 30, Freundlich 3. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked, atmospheric impression on cr...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Marc Chagall (1887-1985) Tall Nude with a Fan, 1924 Original etching On vellum 34 x 51,5 cm (c. 14 x 20 in) REFERENCE: Catalog raisonne Kornfeld #39 INFORMATION : Beautiful proof...

Country Town is an original colored screen print realized by Ivan Rabuzin in the 1990s. Hand-signed on the lower margin. Numbered on the lower left.143/150. This very fine print re...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie L, var. 6 (Series L, Variation 6), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

Margo Humphrey, 'The Garden (Adam and Eve)', reductive color woodcut, 1989. Signed, dated, and annotated 'A/P' in pencil. Signed and dated in the image, lower right. A fine, richly-inked, artist's proof impression, with fresh, vivid colors, on BFK Rives, heavy, off-white wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Scarce. Image size 27 1/4 x 39 1/8 inches (692 x 994 mm); sheet size 29 1/2 x 42 inches (749 x 1,067 mm). ABOUT THIS WORK "Humphrey continued to reinterpret stories from the Bible with African American figures. In 1989 she published the woodcut print 'The Garden' at Magnolia Editions in Oakland, CA. For this rare foray into relief printmaking, she employed the reductive method, which uses only one block that is successively carved for each color segment, reducing the block with each cutting. Technically challenging, this lush and elaborate print is a testament to Humphrey’s skills as a printmaker. A youthful Adam and Eve are depicted in a luxuriant tropical landscape. Here, Humphrey chooses not to include the traditional symbols of humanity’s downfall but instead portrays them as being protected by angels in an atmosphere of idyllic bounty. ...Although Humphrey challenges traditional representation of Christian themes, her images are not iconoclastic but present a broader, more inclusive engagement with religious spirituality." — Adrienne L. Childs, 'Margo Humphrey, The David C. Driskell Series of African American Art: Volume VII,' Pomegranate Communications, Inc., 2009, page 71. ABOUT THE ARTIST American printmaker, illustrator, and art teacher Margo Humphrey was born in Oakland, California, in 1942. She earned a BFA in Painting and Printmaking from the California College of Arts and Crafts and a Master of Fine Arts degree in Printmaking from Stanford University. Humphrey began teaching in 1973 at the University of California Santa Cruz and has since taught at the University of Texas at San Antonio, the San Francisco Art Institute, and the School of the Art Institute of Chicago. She has also taught at the University of the South Pacific in Suva, Fiji; Yaba Technological Institute of Fine Art, Ekoi Island, Nigeria; the University of Benin in Benin City, Nigeria; the Margaret Trowell School of Fine Art in Kampala, Uganda, and the Fine Art School of the National Gallery of Art, Harare, Zimbabwe. In 1989, she was appointed Department Head of Printmaking at the University of Maryland in College Park. Humphrey has worked in lithography, monoprint, and woodcut with significant printmaking ateliers, including the Rutgers Center for Innovative Print and Paper, the Bob Blackburn Printmaking Workshop, and the Tamarind Institute in New Mexico. She was one of the earliest African-American woman artists to distinguish herself as a lithographer in a highly technical, male-dominated profession and was the first to have her prints published by Tamarind in 1974. Humphrey’s imagery combines historical perspective, autobiography, and fantasy to illuminate her experience as an African American woman. Bold, saturated color, animated figures, and syncopated rhythmic arrangements are hallmarks of Humphrey's oeuvre. Though Humphrey labels her distinctive style "sophisticated naive," the narrative complexity and technical skill of her works attest to her artistic virtuosity. Joyful, expressive, and at times humorous, her works offer engaging commentary on the presumptions of American culture and myth while embracing her personal vision of authenticity and spirituality. She developed her 1987 work The Last Bar-B-Que, a vividly colored transformation of the Last Supper, following a three-year period during which she examined portrayals of the iconic subject by artists from Pietro Lorenzetti to Emil Nolde. Her narrative work The Garden, a monumentally scaled reductive woodcut, is a further example of an archetypal subject—Adam and Eve in the Garden of Eden—debunked and rendered with fresh, life-affirming vibrancy. Since her first solo exhibition in 1965, Humphrey’s works have been exhibited internationally. They are held in major institutions, including the Museum of Modern Art, The Smithsonian American Art Museum, the Philadelphia Museum of Art, the Hampton University Museum, the Victoria and Albert Museum (London), the Museum of Modern Art, Rio de Janeiro, and the National Gallery of Modern Art, Lagos. In 1996, she was invited to be part of the World Printmaking Survey at the Museum of Modern Art, New York. In 2011, Hampton University Museum mounted a 45-year retrospective of Humphrey’s work Her Story: Margo Humphrey Lithographs and Works on Paper, jointly curated by Robert E. Steele, executive director of the David Driskell...

Uses and Customs - Horse Mounting Method is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples o...

HERBERT GURSCHNER (Austrian / English (1901-1975) VILLAGE SCENE / TOWN FESTIVAL ca.1924 Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...

Richard Mock, American (1944 - 2006) - Childhood in America, Year: 1999, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 80, Image Size: 17 x...

Julian Trevelyan 1910-1988 Harbour (from School Prints), 1946 lithograph 49.7 x 86 cm 19 5/8 x 33 7/8 in signed in pencil Julian Trevelyan was an important British artist in the twe...

This exquisite piece, titled Three Cherubs, is a lithographic reproduction from La Calcographie du Louvre, printed on fine Lana paper. The artwork captures the whimsical charm of che...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Faune et femme nue (Faun and Nude Woman), from the folio Picasso, La flute double, 16 Dessins, Aquarelle...

Nudity is an offset print realized after the Sicilian artist Renato Guttuso, 1980s. Very good conditions. Renato Guttuso (Bagheria, Palermo 1912 - Rome,1987) was a famous Italian ...

Still in her silken evening gown and dancing slippers, the glamorous ingénue is savoring her memories, her ribbon-tied love letters and long draws on her cigarette holder. Was he eve...

The Parable of the Prodigal Son, Mo. III, The Return Etching, 1881 Signed and dated in the plate (see photo) From: The Prodigal Son (four plates and title plate) This being an impre...

Laver 139, Hurst 246. 8 7/8 x 13 7/8 (sheet 11 1/2 x 16 1/4). Trial proof. No published edition. An extremely rich impression with plate tone printed on 'antique laid paper countermarked 'DS&Pine 17940 with a Strasbourg lily watermark. Signed and annotated 'trial' in pencil. An exceptional proof of the greatest rarity. Housed in a 16 x 20-inch archival mat, suitable for framing. In 1899 Briwcoe acquired a studio in Malden, Essex, and bought a 3-ton cutter which, with his young family, he would spend eight or nine months a year, sailing to Calais, along the Belgian coast, and through the Dutch waterways, constantly sketching and painting in both oil and watercolor. In 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity...

A limited edition silkscreen poster Keith Haring designed for Playboy. This limited edition run of 1000 was published in 1990 by Special Editions Ltd. The signature and date 'KH 86' ...

"Family of Six" is an original black and white lithograph by John Biggers. The artist signed and dated the piece in the lower right and titled and editioned it (AP III) in the lower ...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

"Eduardo Chillida (Spain, 1924-2002) 'Museum of Art Carneige Institute Pittsburg', 1980 Original poster from 1980 lithograph on paper 12.6 x 25.6 in. (32 x 65 cm.) Unsigned Unframed ...

AFTERNOON STROLL is a hand drawn original lithograph by the artist Ari Gradus printed in 13 colors using traditional hand printmaking techniques on archival Arches paper 100% acid fr...

Etching and drypoint on heavy cream wove paper, 11 5/8 x 18 1/4 inches (295 x 460mm); sheet 16 3/4 x 22 1/2 inches (425 x 570 mm), full margins. A superb proof printed in bistre brow...

Pancratius is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws,...

OUT WEST is a hand drawn original lithograph by the artist Ari Gradus printed in 13 colors using traditional hand printmaking techniques on archival Arches paper 100% acid free. OUT ...

Le Village de Chanaz is a black and White etching realized by A. Appian in the 1860s.  Titled in the lower. Image size: 16x23. Very good impression with wide margins and a very fr...

William Hogarth was an English painter and engraver, the outstanding British artist of his period. During his childhood, his father, a schoolteacher, was imprisoned for debt, and this early experience of the seamy side of life left a deep mark on Hogarth (much of his output is concerned with the contrast between success and failure, and he depicted prisons in several works). He trained as an engraver of silver plate and by 1720 had set up his own business in London, doing various kinds of commercial work. In his spare time he studied painting, first at the St Martin's Lane Academy and later under Sir James Thornhill, whose daughter he married in 1729. By the early 1730s he had achieved some success as a painter of conversation pieces and at about the same time he invented the idea of using a sequence of anecdotal pictures ‘similar to representations on the stage’ to point a moral and satirize social abuses. A set of 12 original engravings illustrating Industry and Idleness, after the drawings by William Hogarth, printed in 1833. The engravers are F Jordan, E Smith, C Armstrong, S Davenport, H Adlard, W H Worthington, H Fernell, A Duncan and F F Walker. The engravings, which are in excellent condition, would be mounted (matted) and ready to frame Edward Smith (fl. 1823-49) The landscape, figure, and portrait engraver Edward Smith may have been a native of Edinburgh but appears to have worked mostly in London. His earliest recorded plates...

Howard Cook, 'Soaring New York', aquatint, soft-ground etching, roulette, 1931-32, edition 25, Duffy 165. Signed, dated, and annotated 'imp' in pencil. A superb, richly-inked, atmosp...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

GIULIO BONASONE (Italian 1500/10-1574) HERCULES FiGHTS ADRAGON center, ACHELOUS CARRYING OFF DEIANEIRA left 1531–76 (Bartsch XV.157.178; Massari 1983, no.230) Engraving. Lettered in roundel held by putto at right: 'Iulio / Bonasone' Sheet 10 5/8 x 16 7/8 inches. Thread margins outside border line. A fair impression. Early annotations lower left verso, as well aa a collectors stamp: Lugt 2773 - A. Freiherr von...

New York Sunshine Figurative Cityscape Limited Edition Print of 'New York Woman' - Cityscape Painting by Leading British Urban Landscape Artist. 'New...

This exquisite lithograph by Rene Magritte (1898–1967), titled Les Bijoux indiscrets (The Indiscreet Jewels), from the album XXe Siecle, Nouvelle serie, XXVe Annee N°22, Noel 1963, o...

Lake Tarryall, a 1941 lithograph by Adolf Dehn (1895-1968) was made while he was teaching in Colorado. A native of Waterville, Minnesota, Dehn attended the Minneapolis School of Art ...

Title: Zion Subject: Various biblical images depicting Creation and prayer 1922 Medium: woodcut Frame: 14" x 18" Image: 12.5" x 16.75" Provenance: owned and signed verso by Peter Keil. Central panel shows the Jewish star over a crown, with inscription in Hebrew: "When God comforts Zion, He will comfort all its ruins and make its deserts look like Eden," and "You have sanctified the seventh day, the goal of creation of Heaven and Earth." This is flanked by a Palestinian farmer pioneer on the left and a Jew praying on the right. The lower tier shows six vignettes of the days of creation from Genesis. Hermann Fechenbach was born in 1897 in Württemberg, Germany. He grew up in Bad Mergentheim where his parents had an inn, which served as a meeting place for the local Jewish community. He left school early and through family connections with clothing retailers received training in window dressing. His skill with brush writing was quickly recognised by a big firm in Dortmund where he was responsible for the displays in 10 large windows. He received his conscription papers in 1916 and recalls “being as patriotic as any other fool”. In August 1917 he was involved in a grenade attack in which he was the sole survivor. With serious injuries to both legs he struggled to safety and was eventually transported to a front line “slaughterhouse” where the first of a series of amputations was performed which led to the loss of his left leg. As a result of his injuries his father dropped his opposition to him becoming an artist. His formal art education started in 1918 with training at a Stuttgart handcraft school for invalids. He attended the Academies in Stuttgart and Munich to learn painting and restoration for 3 years. He was influenced at this time by Max Liebermann. He has been compared to Kathe Kollwitz and was a contemporary of Jakob Steinhardt and hermann Struck. In 1923 he went to Florence for a year. While in Florence he started to produce a series of miniature wood engravings to illustrate the stories of Genesis. This was followed by periods in Pisa, Venice, Vienna and Amsterdam. In 1924 he returned to Stuttgart to paint in the contemporary style “Die Neue Sachlichkeit”. (The New Objectivity was a movement in German art that arose during the 1920s Weimar republic as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. These artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen) Every spring and autumn he exhibited at the “Kunstgebit” which served as the showcase for all serious artists of the period. His professional status “Kunstmaler und Grafiker” was recognised by Berlin in 1926. Practically all his work from this period was sold following exhibition. In 1926 he collaborated with an architect friend to build a bungalow in Hohenheim, a non-Jewish area and a suburb of Stuttgart. Hermann alternately lived in his country bungalow and his town studio, producing portraits for sale or barter and wood engravings for his own pleasure. In 1930 he married a non-Jewish professional photographer – Greta Batze. They had a studio in Stuttgart, which was used to teach art to a group of 12 students. In 1933 the Nazi influence removed his name from the official state register together with the right to exhibit. By spending most of his time in his bungalow out of the Jewish quarter the Fechenbachs escaped being registered by the Nazis for some years. They were ostracised and abused by their non-Jewish neighbours. Hermann made weekly visits to friends in town to teach them the practical skills they would need assuming they were to escape from Germany. His energies were directed towards protection and survival. Ultimately the Nazi persecution forced the Fechenbachs to flee their homeland. They moved to Palestine for 3 months in 1938, but found the political and physical environment unsustainable. Greta arrived in England penniless in January 1939 to work as a domestic servant and to find a guarantor for her husband. Hermann arrived in May 1939. They moved to Blackheath a few months later. Hermann resumed his painting and engraving as a means of earning a living. He raised enough money to get his parents out of Germany to join his brothers in Argentina but was unable to save his twin sister Rosa who died in a Nazi concentration camp. In 1940 Hermann was interned in Bury as a suspect alien. He protested about his treatment by starting a hunger strike. Because of his persistence he was moved to a prison in Liverpool. From Liverpool he was moved to the Hutchinson Camp in the Isle of Man with fellow artist Kurt Schwitters. Arrangements were made for Greta to be accommodated near by. While interned he commenced work on “Refugee Impressions”, a series of linocut prints (no wood was available). In 1941 when released from internment the Fechenbachs came under the sponsorship of Dr. Bela Horovitz, the Austrian art publisher who in turn made an introduction to Professor Tancred Borenius. They were offered lodgings with a family in Oxford. Hermann had his first public exhibition for many years in a small gallery in Oxford in 1942. A second exhibition of oils, pencil drawings, coloured linocut and woodblock prints held later in the year was opened by the mayor of Oxford and critically acclaimed. In 1944 the first London exhibition took place at the Anglo-Palestinian club in Piccadilly. There were two exhibitions at the Ben Uri Art gallery during this period. In 1948 a second exhibition at the Anglo Palestinian club was inaugurated by a member of the Rothschild family and several members of Parliament. This was a great success. In 1944 the Fechenbachs moved to a top floor studio flat in Colet Gardens. Open exhibitions were held each Spring at the Embankment from 1946 to 1951. Movietone News produced a short feature on the artist, which was shown in cinemas in England and Germany. In 1969 he published the Genesis story in a hard back volume containing 137 prints. He started to research the fate of the entire Jewish community of Bad Mergentheim during the period of the second world war, liaising with historian Dr. Paul Sauer and Professor Max Miller, historian and theologian. In 1972 Kohlhammer published his partly autobiographical book “The last Jews of Mergentheim”. He exhibited at the Anglo-Palestinian Club & the Ben Uri Gallery in the 1940s. His works only came to prominence during the last year of his life when he exhibited at Blond Fine Art. Peter Keil part of the Junge Wilde. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl, Hubert Schmalix...

Henri Gabriel IBELS Pantomime : Harlequin and Pierrot, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATI...

Fun Loving Criminals II by BATIK signed limited edition POP ART print Paper Size Oversize 40 x 30" inches / 101 x 76 cm Signed & numbered by artist on front Archival Pigment print ...

Bowling on the Green (from the Bicentennial Pageant of George Washington) 'Bowling on the Green', by printmaker Frederick Childe Hassam, depicts George Washington and friends lawn b...

Bonaparte in Jaffa is an etching that belongs to to the suite AtlasBatt realized within Jacques Norvins' Histoire de Napoleon, published in 1837. Author Jacques Norvins published one of the most comprehensive and influential histories on the life and military career of Napoleon, trought the works of the most important engravers of the time. 14x22 cm. Good conditions except for some yellow halos on the margins. The capture of Jaffa on March 7, 1799, and its violent sack by the French army, rapidly worsened due to the outbreak of an epidemic of bubonic plague which decimated the army commanded by Napoleon Bonaparte. On March 11...

Synthia Saint James (American, b. 1949), WITH HONORS is a hand drawn limited edition color lithograph(not a photo reproduction or digital print) printed using hand lithography techni...

Chalcographie du Musee du Louvre, 1855. Etching on cream wove paper, 17 5/16 x 19 3/16 inches (439 x 488 mm); sheet 17 3/4 x 20 1/8 inches (451 x 519 mm), full margins. Scattered ma...

The New Cable British Modern Mid 20th Century Vorticist European Vorticism Woman Sybil Andrews CPE (British/Canadian, 1898-1992) "The New Cable," 1931 12 x 16 1/2 inches Color linocut Signed, titled, inscribed 'Second State', and numbered 13/60 in pencil Framed: 19 x 24 inches Literature: Coppel Sa17 Illustrated on page 10 of the catalog The proposed edition of the first state of the Giant Cable was 50, but only 30 impressions were pulled. Andrews removed the blue background for the second state, which was published under the title The New Cable in an edition of 60. BIO Sybil Andrews was a printmaker, painter, graphic artist and educator who was born in Bury St. Edmonds, Suffolk, England. She moved to London (England) in 1922. In 1947, she emigrated to Campbell River (Vancouver Island) British Columbia, Canada, where she worked, taught and lived for the rest of her life. She died at a hospital in Victoria (B.C.) Her mediums were the colour linocut (1) (most famous), etching, posters, pastels, ink, watercolour, monoprint and oil. Her subjects were human activity (at work, sports, travel, etc.), figures, animals, genre, allegory, architecture and landscape. Her style was Art Deco (see AskART styles), Futurism, Cubism and Vorticism (2). Her work is identified by a simple format, clean lines, distortion, vivid colours, drama and rhythm. Quote: "The colour linocut was just the medium for me, being interested in dynamics and ideas and patterns... It is impossible to be fussy with lines, you have to simplify, you are forced to simplify your idea to its fundamentals." Andrews produced 76 linocuts in her life, of which 43 were made from 1929 to 1939, which is considered to be her best period. John Hassall's art correspondence course (1918) was the beginning of her formal art education. She went from there to Heatherley's School of Fine Art (London/1922) where she studied under Henry Massey (see AskART) and met artistic partner Cyril Power (see AskART). At the same time, she studied independently with sculptor Henri Glicenstein (see AskART) who taught her drypoint etching and to draw from life. She also attended the Grosvenor School of Modern Art (1925). Iain McNab (1890-1967) was Principal and Claude Flight (3) (see AskART) an instructor who had a great influence on her choice of linocut as a primary medium. Some of his other students and her associates were Edith Lawrence (1890-1973), Lill Tschudi (1911-2001), Eileen Mayo (see AskART) and William Greengrass (1896-1970). After emigrating to Canada she taught art continuously until a month before her death. She was elected a member of the Canadian Painters - Etchers Society (after 1976 the Print and Drawing Council of Canada) in 1951. She began exhibiting her work in 1921.In 1929 she was included in "The First Exhibition of British Linocuts...

Artist: Janet Fish, American (1938 - ) Title: Still Life with Fruits Year: 1992 Medium: Screenprint, signed, numbered, and dated in pencil Edition: 75 Image Size: 36 x 42 inches Siz...

Crispin van de Passe The Younger (c. 1594-1670) Untitled (Royal Stallion), c. 1620-1660 Engraving Sight: 11 3/4 x 15 3/4 in. Framed: 18 3/4 x 22 5/8 in. Inscribed in plate: Le Bonit...

Salvador Dali - Argus - from "Mythologie" Original Etching Dimensions: 76 x 56 cm 1962 Editor: Pierre Argillet Edition: /150 Handsigned and numbered On Arches Paper References : Fiel...

Artist: George Clair Tooker, Jr., American (1920 - 2011) Title: Woman with a Sprig of Laurel Year: 1978 Medium: Color Lithograph, signed and numbered in pencil Edition: AP Image: 17....

Tan Tan Bo, 2003 by Takashi Murakami Offset lithograph in colors on Wove paper 25 7/10 × 39 3/10 in 65.8x99.8cm Edition 98/300 Tan Tan Bo is a "reincarnati...

Artist: Jean Jansem (French/Armenian, 1920-2013) Title: Street Vendor with Little Girl Year: c. 1960 Medium: Color lithograph Edition: Numbered 144/200 in pencil Paper: Arches p...

Paris Café with Eiffel Tower France Limited Edition Print of Figurative Cityscape Painting by Leading British Urban Landscape Artist, Angela Wakefield. Print measures 16 x 9.5 inch...

Louis Icart, French (1888 - 1950) - Hydrangeas, Year: 1929, Medium: Color Etching, Signed in Pencil, Image Size: 16 x 20 inches, Frame Size: 24.5 x 28.5 inches, Reference: Figur...

Owl is an etching on paper, realized by the French artist and print-maker master Mario Avati (1921-2009). Hand-signed on the lower right and numbered on the lower left in pencil. Ed...

Saul Steinberg Lithograph c.1970 from Derrière le Miroir: Lithograph in colors. 11 x 14 inches. Very good overall vintage condition. Unsig...

Femme endormie [Dormeuse] By Pablo Picasso Pablo Picasso, a pioneering Spanish artist, co-founded the Cubist movement and played a pivotal role in the development of modern art dur...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Les Codomas (The Codomas), from Henri Matisse, Jazz, originates from the 1983 second edition published by George B...

"History of Detroit" is in the style of a mural by the master muralist from the city of Detroit, Hubert Massey. It renders in dramatic composition the ov...

Signed lower right, 'Liz Maxwell' (American, born 1936) and dated 1987. An energetic and dynamic figural work showing a parade of figures from the Commedia dell'arte marching in ste...

Interspaceograph - multidimensional silkscreen print on two clear plexiglass panes. There is space between the two silkscreen print plexiglass panes in the custom frame giving the a...

Pablo Picasso (1881-1973) - Le Thé: Deux Femmes Nues et une Chat (The Tea: Two Naked Women and a Cat) Linocut from 1965. an Artist’s Proof aside from the numbered edition of 50, on Arches paper. Dimensions of work: 62.2 x 75 cm. Hand signed. Publisher: Galerie Louise Leiris, Paris. Reference: Bloch 1851; Baer 1358. The work is in Excellent condition. -- This linocut from 1965 belongs to the mature period of Pablo Picasso’s printmaking, a time when he had fully mastered the expressive potential of the linoleum block. Printed on Arches wove paper, this impression is an Artist’s Proof aside from the numbered edition of fifty, hand-signed by the artist in pencil. It was published by Galerie Louise Leiris, Paris, and printed by Arnéra, Vallauris — Picasso...

Hockney, David. RECLINING FIGURE. Etching and sugarlift aquatint in black, 1974. Edition of 75 published by Petersburg Press, London and printed on Inveresk paper. Signed, dated and ...

Michael Knigin, American (1942 - 2011) - At Your Peril, Year: 1999, Medium: Archival Pigment Print, signed, numbered, dated, and titled, Edition: AP, 90, Image Size: 17 x 25 inch...

Roy Lichtenstein (after) Cloud and Sea, 1989 Serigraph Unsigned On paper, 70 x 120 cm INFORMATION: Serigraph created for the artist's exhibition at the Ludwig Museum, Cologne (Germ...