Interior Prints

BRASS SECTION(Jamming at Minton's) is a limited edition color lithograph by the renowned African American artist Romare Bearden, printed on archival printmaking paper, 100% acid free...

JONAS WOOD Interiors, 2019 Offset lithograph in colors on wove paper Signed TWICE: Signed and dated in black marker lower right with the artist's distinctive flourish; hand signed ag...

Ernie BARNES (1938-2009) Football - Determination, 1999 Original screen print Printed signature in the plate On thick glossy paper 76 x 59 cm Excellent condition

Louise Nevelson Bicentennial Dawn, 1976 Photolithograph, silkscreen and gold foil on white wove paper hand signed, dated and numbered 15/100 with incised signature on the front 35 × ...

William P. Hicks has drawn everything about the circus that will fit in the plate. The main figure is an aerial act with a woman balancing on rope held by a figure on the floor. Ther...

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left, 'Epr. d' Artist' (Epreuve d'Artist / Artist's Proof); also indistinctly inscri...

This is an original 19th century hand-colored lithograph entitled "Portico of the Temple of Kalabshi" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, p...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Screenprint on Museum Board, signed and numbered in pencil Edition: 150 I...

Interiors I: Family Reunion 1984 Resist ground etching and engraving on BFK Rives wove paper, 20 x 36 inches (501 x 913 mm), full margins. Signed, titled, dated and numbered 49/175 in pencil, lower margin. In excellent condition with minor mat tone. A luminous, rich, and well-inked impression of this haunting image, with astonishing detail and depth. Framed handsomely under museum grade glass with archival materials in a solid wood frame with silver finish. [Milton 107] Intended to be a stand alone image in its inception, Family Reunion ended up spawning seven additional images, and became a sort of Primo Pensiero in the sprawling, masterpiece suite now known as Interiors. The suite took eight years to complete, and consists of works of varying format, psychological intensity, and subject matter. The thematic darkness in the eight images waxes and wanes, and Milton intentionally included several interlude works to lighten the tension he felt while composing several of the darker images. The first two in the series, Family Reunion, and Hotel Paradise Café, were meant to be companion pieces. The equilibrium of each composition is anchored on a central brooding figure; a man (perhaps based on a Thomas Eakins portrait of the American anthropologist Frank Hamilton...

Daisy's Mantelpiece, domestic vintage interior photograph from Richard Heeps' series, Ordinary Places. Ordinary Places was Richard's first colour collection shot between 1986-1991 a...

Patrick Caulfield Sue Ware Jar, 1990 Screenprint on paper sheet: 107.2 x 81.1 cm image: 79.4 × 53.3 cm Edition of 45 + 10 AP Patrick Caulfield was a British painter and printmaker, ...

Artist: Peter Green Title :Astral Form Year:1969 Edition: Signed, Dated and marked 19/30 Paper Size = 26½" x 38½" inches Type: Woodcut Born in 1933, Peter Green studied at Brighto...

''Il Casanova - il teatro de Dresda'' (Casanova in the Theatre of Dresden) 'Il Casanova–il teatro di Dresda,' is a fine art limited edition color lithograp...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...

A lovely, dark impression with excellent provenance. Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 4). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 112] A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

Hans Hartung (Germany, 1904-1989) Galerie Im Erker, 1963 lithograph on paper 36.5 x 22.7 in. (92.5 x 57.5 cm.) Excellent condition, unframed Ref: HAR100-204 Hans Hartung was born in...

Robert Longo (American, born 1953) Small Earth, 2012 Medium: Pigment print on Epson paper Dimensions: 43.2 x 43.2 cm Edition of 30: Hand-signed and numbered Condition: Excellent

'Maniere de Prendre Les Mesures de la Menuiserie et de la Marquer sur le Plan' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid water...

London: Thomas McLean, 1835. Third Edition. Etching with hand coloring in watercolor on cream wove paper, 9 1/2 x 13 3/4 inches (240 x 348 mm), full margins. With light, fresh color....

Richard Serra, Equal, 2015 (Hand Signed) Offset lithograph poster (hand signed by Richard Serra) Boldly signed in black marker on the front Published by David Zwirner; Designed by McCall Associates 24 × 36 inches Unframed Acquired from David Zwirner Gallery Richard Serra Biography: Richard Serra was born in 1938 in San Francisco and lives and works in New York and the North Fork of Long Island. His first significant solo exhibition was held at the Leo Castelli Warehouse, New York, in 1969. His first solo museum exhibition took place at the Pasadena Art Museum in 1970. Serra has since participated in numerous international exhibitions, including documenta (1972, 1977, 1982, and 1987) in Kassel, Germany; the Venice Biennales of 1980, 1984, 2001, and 2013; and the Whitney Museum of American Art’s Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006. Solo exhibitions of Serra’s sculptural work have been held at numerous public institutions worldwide, including, among others, the Museum Boijmans Van Beuningen, Rotterdam, 1980; Musée National d’Art Moderne, Paris, 1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986; Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, 1987; Städtische Galerie im Lenbachhaus, Munich, 1987; Stedelijk Van Abbemuseum, Eindhoven, 1988; Kunsthaus Zürich, 1990; CAPC Musée d’Art Contemporain, Bordeaux, 1990; Museo Nacional Centro de Arte Reina Sofía, Madrid, 1992; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; Trajan’s Market, Rome, 2000; Pulitzer Foundation for the Arts, St. Louis, 2003; and Museo Archeologico Nazionale di Napoli, Naples, 2004. In 2005, The Matter of Time, a series of eight large-scale works by Serra from 1994 to 2005, was installed permanently at the Guggenheim Museum Bilbao, and in 2007, The Museum of Modern Art, New York, presented the retrospective Richard Serra Sculpture: Forty Years. Promenade, a major site-specific installation, was shown at the Grand Palais, Paris, for MONUMENTA 2008. In 2011, the artist’s large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. In 2014, the Qatar Museum Authority presented a two-venue retrospective survey of Serra’s work at the QMA Gallery and the Al Riwaq exhibition space, Doha, and East-West/West-East, 2014, was permanently installed in the Brouq Nature Reserve in the Zekreet Desert, Qatar. In June 2020, a new major sculpture by Serra was installed on the West Quad of Kenyon College, in Gambier, Ohio. In June 2022, the Glenstone Museum in Potomac, Maryland, will inaugurate a new building specially conceived to house a recent large-scale forged steel sculpture by Serra. Museum exhibitions that have focused on the artist’s drawings include Richard Serra: Tekeningen/Drawings 1971–1977, Stedelijk Museum, Amsterdam, The Netherlands, 1977; Richard Serra: Zeichnungen 1971–1977, Kunsthalle Tübingen, Germany, 1978; Richard Serra: Drawings, Louisiana Museum, Humlebaek, Denmark, 1986; Richard Serra: Tekeningen/Drawings, Bonnefantemuseum, Maastricht, The Netherlands, 1990; Richard Serra: Drawings, Serpentine Gallery, London, 1992; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka, Japan, 1994; Richard Serra: Rio Rounds, Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; and Richard Serra: Drawings: Work Comes Out of Work, Kunsthaus Bregenz, Austria, 2008. A major traveling retrospective dedicated to the artist’s drawings was presented at The Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and The Menil Collection, Houston (which was the organizing venue), in 2011–2012. The Courtauld Gallery, London, presented Richard Serra: Drawings for The Courtauld in 2013, and Richard Serra: desenhos na casa da Gávea was on view at Instituto Moreira Salles, Rio de Janeiro, in 2014. Richard Serra: Drawings 2015–2017, a significant overview of the artist’s recent works on paper, was on view at the Museum Boijmans Van Beuningen, Rotterdam, in 2017. Serra/Seurat. Drawings, an exhibition pairing a selection of Serra’s recent drawings alongside those by Georges Seurat, was presented at the Guggenheim Bilbao in 2022. Four Rounds: Equal Weight, Unequal Measure, Serra’s monumental sculpture which debuted at David Zwirner in 2017, is now on long-term view at Glenstone Museum, Potomac, Maryland, in a new building that was designed by Thomas Phifer in collaboration with the artist. Serra has been the recipient of many notable prizes and awards, including a J. Paul Getty Medal (2018) awarded in honor of extraordinary contributions to the practice, understanding, and support of the arts; the Chevalier de l’Ordre national de la Légion d’honneur, Republic of France (2015); Orden de las Artes y las Letras de España, Spain (2008); Orden pour le Mérite...

ABOUT THIS PIECE: Ludwig continues his exploration of his favorite city, Paris with a new series featuring stunning Parisian pools. These public and private spaces display the beauti...

Asger Jorn (Denmark, 1914-1973) Jorn. Galleri Flindt, 1978 lithograph on paper 27.6 x 19.3 in. (70 x 49 cm.) Excellent condition, unframed Ref: JOR100-201 A humanist in the broadest...

Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm). Literature and Exhibition: Back cover illustration of the catalog of the artist’s prints, 'Helen Hyde', Smithsonian Institution Press, 1990; 'The International Block Print Renaissance, Then And Now, Block Prints In Wichita, Kansas, A Centennial Celebration — 1922-2022', Barbara J. Thompson, Wichita Art Museum, 2022 (back cover). Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art. ABOUT THE ARTIST Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth. Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work. Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown. After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors. Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene. Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago. During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence. In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California. Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints...

Copper-line engraving. C1768. Delafosse was a French decorative designer, engraver and architect. Apprenticed for a time to a sculptor, by 1767 he styled himself an 'architect and professor of design'. He published the first volume of his most important work, 'Nouvelle Iconologie Historique' in 1768, containing 110 plates of his designs for furniture, decorative arts and architectural...

"Sew What" is a color mezzotint with burin engraving created in an edition of 35. This impression is #6. I love sumptuously designed textiles in both real life and art. Patterns metamorphosing over fabric folds appeal to my interest in modulating rhythmic forms, particularly the swells and swirls of calligraphic stripes. I’m also fascinated by articulated wooden hand models, which appear in many of my paintings. Combining these passions with sewing paraphernalia from my seamstress days provided inspiration for my color mezzotint engraving "Sew What". Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer...

This is an original 19th century duotone lithograph entitled "The Gate of the Metwalis, or Bab Zuweyleh, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio ...

FEOLI, Vincenzo. Vedute del Museo Pio-Clementino. Rome, 1790. A double-page engraved plate after Miccinelli and Costa. Sheet size: 70.5cm by 99cm. Mounted size: 81cm by 101cm. Magnificent series of extra-large plates illustrating the Vatican Museum...

'Russian - Russe - Russisch' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' Ornement Pol...

Fernand SIMEON (1869-1931) Concert: the Conductor, 1920 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the edi...

18th century image of a priest presiding over a traditional Japanese nuptual ceremony. One plate from A new and complete collection of voyages and travels containing all that have b...

Dalton Bank, vintage interior photograph from Richard Heeps' series, Ordinary Places. The square scene in the artwork is of a home in a state of renovation, the distinctive open blac...

Hot Sauce, Lone Pine, California, photograph from Richard Heeps series Dream in Color. This interior vignette captures the table of a classic American diner. The color combination of...

Chair, vintage industrial interior photograph from Richard Heeps' series, Ordinary Places. Ordinary Places was Richard's first colour collection shot between 1986-1991 and it insta...

Hans Hartung (Germany, 1904-1989) Erker-Galerie, 1974 Woodcut on paper 27.6 x 19.7 in. (70 x 50 cm.) Excellent condition, unframed Edition of 0 Ref: HAR100-203 Hans Hartung was born...

Rayburn, vintage interior photograph from Richard Heeps' series, Ordinary Places. This modest kitchen range has farmhouse charm with endless details of a life drawing your eyes aroun...

Captured when documenting the Preston Hall Museum, this atmospheric piece beautifully captures the nostalgic feeling of a record collection, the added detail of 'His Master's Voice' ...

MacDonald of the Isles and Slate (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a she...

Moka with Lemons by Kenny Harris archival giclee print of an original painting printed with archival pigment inks on cotton rag paper 11 x 14 inches signed & numbered edition of 50 ...

Moka with Stripes by Kenny Harris archival giclee print of an original painting printed with archival pigment inks on cotton rag paper 9 x 12 inches signed & numbered edition of 50 ...

Velasquez Les Menines is one of six graphics from the series Changes in Great Masterpieces published by Sidney Lucas, 1974. Master Dali has given us a...

A Method of Riding as Practised by the Rustics of Japan. One plate from A new and complete collection of voyages and travels containing all that have been remarkable from the earlies...

A hand-colored engraving of the interior The German Chapel, St. James Palace in London, England from 'The History of the Royal Residences of Windsor Castle, St. James Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore', commissioned by the British Royal Family. The work is one of the finest depictions of interiors ever published. The engraving was created by Daniel Havel (1786-1826) after a painting by Charles Wild (1781-1835) and published by William Henry Pyne (1770–1843) in 1819. The print is presented in a gold-colored wood museum style frame and an elaborate light grey French mat with highlighted gold and royal blue bands. A certificate of authenticity from Trowbridge Gallery...

Laure Prouvost (French, b. 1978) This Print Wishes to Be On the Other Side of This Wall, 2016 Medium: Etching on wove paper Dimensions: 60 x 45...

Hand signed, dated and inscribed "Study" by the artist. Hand embellished by the artist. A unique variation. Artwork is in excellent condition. Certificate of Authenticity included....

Around each corner of the print, a brilliant stripe of green outlines the image field, as if the viewer were looking through an eye, or peering through a frame. The back of a figure’...

Politics (Tonnere de Brest). 1926. Drypoint. Appleby 108. 7 x 9 (sheet 10 1/2 x 15 1/2). A rich impression printed on cream wove paper with full margins. Illustrated: Salaman, Modern...

Colour aquatint by JC Stadler after Thomas Rowlandson and Auguste Pugin. From the series 'Microcosm of London', published by Rudolf Ackermann, the great Regency publisher of fine c...

Louis Conrad Rosenberg, 'Mosque of the Sultan Bayazid, Constantinople', etching, 1927. Signed in pencil. Initialed and dated in the plate, lower left. A fine, richly-inked impression...

"Sculpture II" is a striking 1984 photograph by Conrad Johnson that embodies the refined, minimalist sensibilities of mid-1980s interior design. The image features two vases adorned ...

Drawings by French Masters of the XV-XVIII Centuries. From a selection of 40 reproductions of the originals preserved in the Albertina Collection in Vienna. With an introduction and...

This artwork titled "Bridesmaids" 1995, is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 41/950 in pencil by the artist. Published by Masters Publishing INC, New York. The image size is 18 x 22.5 inches, sheet size is 23.25 x 26 inches. It is in excellent condition. About the artist: Pati Bannister was born in Highgate, England, overlooking London in 1929. Growing up, both of her parents were artists. Her mother painted watercolor landscapes, while her father painted portraits. To help further her natural talents, she took art lessons as a young girl and ultimately went to work for J. Arthur Rank, the movie maker, as an animator.​ At 22 years old, she came to the United States as a governess for a family in Connecticut. Later she became a flight attendant in Florida where she met her future husband, Glynn. Little did she know, he would become the strongest influence in her life as he inspired her to pursue and share her artistic abilities with the public. ​In 1958, Pati and Glynn moved to New Orleans and she started painting portraits in Jackson Square. Eventually, she opened two art galleries located in the French Quarter. In the late 1960's, they moved to the Mississippi Gulf Coast...

Resist ground etching and engraving on Rives heavyweight buff paper, 20 x 36 inches (508 x 914 mm), full margins. Signed, titled, dated and numbered 103/160 in pencil, lower margin. Minor mat tone. A rich and finely printed impression of this complex and iconic work by Milton. Framed handsomely under Plexiglas with archival materials in a solid wood frame with silver finish. [Milton 98]. Milton states that in the evolution of his body of graphic work he found himself at point that necessitated the exertion of nerve in his subject matter. He found it imperative for growth to explore whether his compositions had previously been too polite, and through this process he experienced a great burst of artistic and psychic liberation. Milton refers to this awakening as a sort of adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. Les Belles et La Bête...

THE MAIN ATTRACTION is an original hand drawn limited edition lithograph by the British artist, Michael Hasted printed using hand lithography on archival Somerset paper, 100% acid fr...

Guy Hamilton´s movie "James Bond 007 - Live and let die", UK 1973. Actors: Roger Moore and Jane Saymour, Gloria Hendry Keywords: James Bond, 007, action, Thriller, Great Britain, a...

Alberto GIACOMETTI (1901-1966) Annette in the Studio Lithograph (Arte / Maeght workshop) Unsigned On Arches vellum, 50 x 65.5 cm (c. 20 x 26 in) INFORMATION: Rare proof on vellum ...

A lovely, dark impression with excellent provenance. Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Fourth state (of 5). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 113]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

Marcel GROMAIRE (1892-1971) At the Cafe : Sharing a Drink Original etching Printed signature in the plate On vellum, 28.5 x 38 cm (c. 11 x 15 in) INFORMATION: This etching is authe...

A series of prints was commissioned by the Met Museum in NY in a regular edition of 40 This impression is from an edition of 5 artist proofs. This impression is #4/5 Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

This artwork titled "Strawberies" 1990 is a color off set lithograph by British/American artist Pati Bannister, 1929-2013. It is hand signed, titled and numbered 45/485 in pencil by ...

'Maniere de Disposer La Menuiserie pour Recevoir La Sculpture' French copper-line engraving by Berthault after Andre Jacob Roubo (1739–1791). 18th century laid watermarked paper. F...