Contemporary Prints and Multiples

This original exhibition poster for Romare Bearden's work titled The Woodshed refers to a piece he created in 1967. The Woodshed depicts a scene filled with rich, layered imagery tha...

After Pablo Picasso (Spanish, 1881-1973) La Grande Maternité 1963 pencil signed and annotated 'E.A.' (aside from the edition of 200), with margins Editions Combat de la Paix, Paris P...

This image features a colorful arrangement of pink, red and purple flowers by American artist, Gary Bukovnik. Bukovnik is an internationally acclaimed painter and printmaker who prim...

Parapliers the Willow Dipped by Van Vliet, better known as Captain Beefheart from The Mothers of Invention, is part of the Collection of American Masters at the Nordfallen Museum in ...

Werner Bronkhorst Swing, 2025 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over FSC-certifi...

'Monte Amiata I' and 'Utopian Foyer IV', Milan, 2020. Italian Brutalist architecture photography by Richard Heeps. Two framed artworks each measuring 20" x 16". Each artwork is a li...

Hand signed and numbered. Edition of 150 prints. Excellent condition.

David Shrigley, Wine, 2021 Hand-signed and dated on the reverse Edition 29 of 125 75 x 56 cm Screenprint in colours Private Collection UK

Silverstoned, 2024 Gicleé print on Hahnemuhle Daguerre Canvas framed in Tasmanian Oak edition of 42 100 x 100 cm comes with hand-signed and numbered COA from the artist. Werner Bron...

Tracey Emin Every Bodies Been There (signed twice), 1998 Lithograph on paper Underneath that existing plate signature, Tracey Emin has, exceptionally hand signed and dated the work f...

David Shrigley, Be Yourself Just Be Yourself, 2025 22 colour screenprint with varnish overlay on Somerset Tub Sized 410 gsm paper 56 x 76 cm (22.04 x 29.92 in) Edition 27 of 125 ...

This is a reproduction of the original gouache "Blue Horse" by Walasse Ting, presented as a rare, out-of-print limited edition poster. Published by Yves Rivière in Paris, France, thi...

'The Last Kiss', from Richard Heeps series, 'A Short History of Milan', featuring a traditional Italian street book kiosk. A Short History of Milan began in November 2018 for a spe...

Faith Ringgold, one of America’s most celebrated artists, has built a profound body of work documenting the African-American experience. This signed, titled, dated, and numbered seri...

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...

David Shrigley, I Will Not Allow The Dark Skies To Affect Me, 2025 22 colour screenprint with varnish overlay on Somerset Tub Sized 410 gsm paper 56 x 76 cm (22.04 x 29.92 in) Edi...

The reproduction of Come Sunday by Romare Bearden is based on a piece he originally created in 1967. Come Sunday is a powerful work that reflects the significance of spirituality and...

A set of nine black and white photographs by Richard Heeps. They can be hung in a grid, or spaced out throughout your interior. Richard Heeps, primarily known as a colour photographe...

Banksy, Banksquiat (Grey), 2019 Screenprint on grey card, hand-signed in white crayon 70 x 75 cm (27.6 x 29.5 in) Edition 52 of 300 Mint condition, accompanied with a COA from Pes...

In 2014, Juan Uslé was commissioned to create the official Roland Garros poster, infusing the French Open with his distinctive abstract style. His design features flowing lines and v...

Through The Ages by Toko Shinoda, black and white signed lithograph calligraphy 11/35 obituary published by CNN March 2021 Celebra...

The 1999 Roland Garros poster by Antonio Seguí is a vibrant and whimsical work that captures the lively spirit of the French Open through a playful and satirical lens. Seguí’s use of...

In October of 1991 Christo and his collaborator Jean-Claude constructed an installation in two valleys, in Japan, north of Tokyo and one in California, north of Los Angeles. 960 yell...

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, a ship, Venus sculpture, greek urns, and snakes, printed in black o...

ROMARE BEARDEN 1970-1980 The Brooklyn Museum, September 26-November 29, 1981 Vintage 1981 Exhibition Poster "Jamming At The Savoy" (image from original 14" x 18" collage on board by ...

10th Anniversary New Orleans Jazz and Heritage Festival Poster, 1979 by John Martinez Fifth in the series by John Martinez. The grand marshal returns for the Jazz Festival's 10th anniversary; as does the "cut paper" technique first seen in the 1977 poster...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

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...

This reproduction of Romare Bearden's School Bell Time has been officially approved and numbered by the Bearden Foundation, with the foundation's seal printed in the lower right-hand...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Nowhere Man," first released on "Revolver" by the Beatles in 1965. This limited edition was releas...

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...

signed and numbered lower right edition of 60 Catalogue raisonné 00717 Published by Simmelink Sukimoto Editions Internationally recognized painter and printmaker Alex Katz was born...

Werner Bronkhorst On The Right Track, 2025 Giclée Hahnemühle Photorag paper with black solid wood frame, bordered by a white mount 42.5cm x 42.5cm Unknown edition size self-released...

This reproduction of Abstrakte Bilder (No Text) by Gerhard Richter, a key work from the artist's acclaimed "Abstract Paintings" series, captures the essence of Richter's approach to ...

Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

'You're Right And You Know It (And So Should Everyone Else)' by Barbara Kruger features colors of green, pink, black, and white. Rising to prominence in the 1980s, Barbara Kruger b...

The etching Woman by Kerry James Marshall, published by Paulson Fontaine Press in Berkeley, California, is a limited edition work, signed and numbered 30/50 by the artist. Presented ...

Mickalene Thomas "Untitled" (Black is Beautiful) USA, 2017 Inkjet print Signed and numbered by the artist From an edition of 100 14"H 11"W (work) Framed Approx: 22"H x 17"W Excellent...

AILA Blue, from the Heidler & Heeps Tape Collection - The B Sides. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal pas...

This rare exhibition poster, titled "Blue Umbrellas," commemorates the remarkable installation created by Christo and Jeanne-Claude in October 1991. The project featured 960 yellow u...

Letter P, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

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 ...

In "Emerald Woman" by Chinese artist Jiang Tie-Feng, a sensuous, jade-green female figure is depicted astride a vividly rendered horse, fusing human form with the spiritual energy of...

Libra, by Deming King Harriman; collage, print, figurative, gold, tarot, horoscope, metallic gold edge, on glossy heavy card stock with pink design on reverse.

Herb Ritts' iconic photograph "Waterfall IV" is a mesmerizing exploration of the human form, water, and light. This stunning shot captures a solitary male figure beneath a cascading ...

from a series of photographic observances capturing the antics of urban gardening and striking art of topiaries' green minimalism Topiary I by Frank Schott ...

Stardust by Frank Schott 40 x 40 inches / 102cm x 102cm signed edition of 25 48 x 48 inches / 122cm x 122cm signed edition of 7 archival quality fine art pigment print limited a...

MARC CHAGALL (1887-1985) "Fiançailles au Cirque" lithograph in colours, 1983, on wove paper. Signed in pencil, Numbered 18/50 in pencil Image 455 x 350 mm. Sheet 650 x 478 mm. LITERA...

Artist: Alberto Giacometti Title: 'Personnage dans l'atelier' Year: 1961 Medium: Original Lithograph on vélin paper Dimensions: 15in. by 22in. Edition: From the rare limited edition ...

The colour offset lithograph on Parsons Diploma Parchment wove paper. Published in 1982 for the LA Olympic Games in 1984, David Hockney was one of the fifteen artists invited to create a poster for the Games. Hand signed by the artist in pencil lower right, un-numbered from the limited edition of 750, although there are said to be less than 200 prints in existence. Not to be confused with the unsigned LA Olympics poster...

"Mizuhiki" is an exclusive publication by Stone + Press in an edition of 100. Katsunori Hamanishi was born in 1949 on Hokkaido island - Japan's second largest island. In 1973 he fi...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the bo...

Framed in an ornate wood frame with a front profile of 1 1/2 inches and a side profile of 1 inch, this piece is elegantly seated behind a 4-inch mat. This is Edition #669/900, publis...

American artist Donald Baechler, created this image for the 50th Anniversary commemoration of Lincoln Center for the Performing Arts. Titled, 'Lincoln Center Globe', 2011, the print ...

GOLDEN by Frank Schott from a series of photographic observances - environmental still life capturing found objects in urban cityscapes 40 x 32 inches (102 x 81cm) signed edition ...

Patrick Hughes "Canaluscious" Multiple. A hand painted three dimensional, Reverspective print, inspired by Venice. Produced in 2025. This print comes housed in a bespoke perspex disp...

First edition lithograph published on the back cover of Derriere le Miroir (DLM) No. 157. Back Cover page only, with no additional pages.

An original print from the Kent Bicentennial poster portfolio published by Lorillard. This side-profile of the president is from the Kent Bicentennial Portfolio. Alex Katz is a leadi...

Louise Bourgeois I Have Been to Hell and Back Handkerchief, 2007 Embroidery on 100% Cotton Handkerchief With the artist's silkscreened initiala Han...