Continental US - Prints and Multiples

This archival pigment print on Canson paper comes directly from the publisher, Lincoln Center Editions. It is signed and numbered en verso by the artist. It is in excellent condition and has never been framed. Note: The image of the framed print is for reference purposes only. Carrie Mae Weems (b. 1953) is an American artist whose extensive body of work investigates cultural identity, sexism, class, political systems, and the consequences of power. Weems is widely recognized for her revolutionary approach to the expression of narratives about women, people of color and working-class communities, “conjuring lush art...

Print Published By New York Graphic Society, 1961 Printed In Holland Measures 23.5 x 27.5 in. In Good Condition

Medium: original lithograph. Printed on Arjomari paper in 1969 at the Mourlot Freres atelier and published by Editions Richelieu in a limited edition of 2400 for the L'Odyssee portfo...

Artist: Georges Schreiber, Belgian/American (1904 - 1977) Title: Going Home Year: circa 1945 Medium: Lithograph, signed and titled in pencil Image Size: 9.25 x 13.25 inches Size: 12 ...

Carlos Quintana (Cuban, 1966) 'Sin título I', 2001 silkscreen on canvas 39.4 x 28.8 in. (100 x 73 cm.) Edition of 75 ID: QUI1316-001-075 Unframed

This is a 17th century engraved mezzotint portrait of the Duchess of St. Albans by John Smith, after a painting by Sir Godfrey Kneller. It was published in London by John Boydell in 1694. The Duchess of St. Albans (1642-1712) was a woman named Diana de Vere. She was born in 1642, the daughter of Aubrey de Vere, the 20th Earl of Oxford. In 1662, she married Charles Beauclerk, the illegitimate son of King Charles II and his mistress, Nell Gwyn. As a result of her marriage, Diana became the Duchess of St. Albans, and she and Charles had several children together. Diana was known for her beauty and charm, and she was a prominent figure in the court of King Charles II. Despite her husband's illegitimate birth, Diana was highly respected in the royal court and was known for her intelligence and wit. She was a patron of the arts and supported many artists and writers of the time. Diana lived through a tumultuous period of English history, including the Great Fire of London and the Glorious Revolution, which saw King James II replaced by William of Orange. She died in 1712 at the age of 70 and was buried in Westminster Abbey. Descendants of Diana and her husband, who was an illegitimate son of King Charles II, include Diana, Princess of Wales and her son William, Duke of Cambridge. An author wrote of her: "The line of Vere, so long renown’d in arms, Concludes with luster in St. Albans’s charms; Her conquering eyes have made their race complete, It rose in valor, and in beauty set." This striking mezzotint engraving depicts Diana, Duchess of St Albans in a three-quarter length pose, standing, wearing loose flowing dress and a wrap. She has a very serene, calm appearance as she is looking straight at the viewer. There is a landscape of trees in the background. The print is adhered in the corners to an archival backing, which is itself adhered in the upper corners to a larger backing. The print is trimmed to just beyond the plate mark. There are areas of discoloration in the margins and in the inscription area, but the print is otherwise in very good condition. The sheet measures 14.5" high and 10" wide. This mezzotint is held by multiple museums and institutions, including The British Museum, The National Portrait Gallery London, The Fine Arts Museum of Boston, The Lewis Walpole Library at Yale, The Yale Center for British Art, The Fitzwilliam Museum at Cambridge and The National Galleries of Scotland. The original Kneller painting is part of the British Royal Collection Trust and hangs in the King's Private Dining Room at Hampton Court Palace. Sir Godfrey Kneller (1646-1723) was a leading portrait painter of his time, particularly renowned for his depictions of the British aristocracy and royalty. He was born in Lübeck, Germany, and trained in Amsterdam under the painter Ferdinand Bol...

Lithograph on Guarro vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: Published by Galerie Börjeson, Malmö; printed by La Polígrafa, Barcelona, 19...

This exquisite lithograph by Serge Poliakoff (1900–1969), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, No. 7 (double), Juin 1956, originates from the 1956...

An erotic dalliance between a nude blonde woman lying down, and nude man, on a bed with white sheets. Subtle shades of peach, tan, yellow, and grey and black shadow behind the couple...

Title page numbered: 263/450

Ian Tyson Diversions XI - 1970 Screen Print 16'' x 15'' inches Edition: signed in pencil and marked 65/150 Ian Tyson, British painter, printmaker and book artist, was born in Wallas...

Title: Chanel suite (four artworks) Year: 1997 Medium: Offset lithograph on archival paper mounted on canvas Size: 29 x 22 inches, each Condition: Excellent Inscription: Signed in th...

JAMES ABBOTT McNEILL WHISTLER (1834-1903) THE RAG GATHERERS 1858 (Glasgow 29 v/v, - K.23) Etching on laid paper, signed and dated in the plate, image 5 7/8” x 3 ½”, full sheet 8 x...

Artist: Alexander Calder Title: Derriere Le Miroir No. 201, Untitled Single Lithograph from the Derriere le Miroir No. 201 publication. Unsigned and unnumbered from an edition of p...

Eduardo Naranjo (Spain, 1944) 'La creación III', 1984 etching, aquatint on paper Guarro Super Alpha 250g. 20.9 x 15 in. (53 x 38 cm.) Edition of 225 I...

Next Sign (2010) by Frank Schott from a series of works capturing conceptual roadside signs in iconic American landscapes captured with a large format camera to allow epic scale p...

Medium: original lithograph. This lithograph was printed in 1956 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Sean Scully Roland Garros French Open tennis tournament, Paris, France (Hand signed by Sean Scully), 2001 Offset lithograph poster (hand signed by Sean Scully) 29 3/4 inches (vertica...

Original pencil signed Grant Wood lithograph, "February," created 1940. A fine impression and one of the most important of the 19 lithographs created by the painter of "American Goth...

This exquisite linocut by Joan Miro (1893–1983), titled Personnage, Oiseau, Etoile (Figure, Bird, Star), from the album XXe Siecle, Nouvelle serie, XXIe Annee, No. 13, originates fro...

“Rancho de Taos” by well-known woodblock artist Gustave Baumann (1881-1971). The medium is color woodblock. It's a beautiful print in excellent condition. Baumann's personal Hand and...

Medium: original color woodcut. Reference: Dupin 1293. Published for the Jacques Dupin catalogue raisonne "Miro Graveur III" in 1992. Sheet size: 12 1/2 x 9 3/4 inches (320 x 248 mm)...

Dr Seuss THEODOR GEISEL "THE CAT'S DEBUT - DIPTYCH" Limited Edition - Serigraph on Coventry Paper Authorized Estate Edition Edition Size: 850 Arabic Numbers 99 Patrons’ Collection 15...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Les Trois Musiciens (The Three Musicians), from the album, Pablo Picasso, 1930, originates from the 1930 edition published by Editions des Chroniques du Jour, Paris, and printed by L'Atelier Desjobert, Paris, 1930. Les Trois Musiciens (The Three Musicians) captures Picasso’s Cubist mastery at its height, translating one of his most celebrated compositions into the refined medium of lithograph and pochoir. The scene depicts three abstracted figures—a harlequin, a monk, and a pierrot—arranged in a complex geometric harmony that embodies both the structure and rhythm of modernity. Through vivid color and precise pochoir layering, Picasso’s interplay of form, shadow, and light transforms the musicians into a symphony of shape and sound, reflecting the artist’s enduring fascination with the relationship between visual art and music. Executed as a lithograph and pochoir on velin paper, this work measures 9.09 x 11.38 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Editions des Chroniques du Jour and the technical excellence of L'Atelier Desjobert, one of the premier Parisian workshops specializing in pochoir and fine art lithography. Artwork Details: Artist: After Pablo Picasso (1881–1973) Title: Les Trois Musiciens (The Three Musicians), from the album, Pablo Picasso, 1930 Medium: Lithograph and pochoir on velin paper Dimensions: 9.09 x 11.38 inches (23.1 x 28.9 cm) Inscription: Unsigned and unnumbered as issued Date: 1930 Publisher: Editions des Chroniques du Jour, Paris Printer: L'Atelier Desjobert, Paris Catalogue raisonne references: Cramer, Patrick. Pablo Picasso, The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1983, illustration 18; Bloch, Georges. Pablo Picasso: Catalogue of the Printed Graphic Work 1904–1967. Kornfeld & Klipstein, 1968, illustration 98; Reusse, Gerhard. Pablo Picasso: The Illustrated Books, Catalogue Raisonne. Verlag Gerd Hatje, 1983, illustration 31 Condition: Well preserved, consistent with age and medium Provenance: From the album, Pablo Picasso, published by Editions des Chroniques du Jour, Paris, and printed by L'Atelier Desjobert, Paris, 1930 Notes: Excerpted from the album, This volume has been printed in MCC numbered examples, of which DL (LI to DC) constitute the edition in French and DCL (DCI to MCCL). The edition in English has been printed on behalf of E. Weyhe, 794 Lexington Avenue, New York (DCI to MC) and of A. Zwemmer, 78 Charing Cross Road, London, W. C.2. (MCI to MCCL). There have also been printed L examples on Arches paper with a lithograph by Picasso (I to L) distributed between the two editions, and some press examples. About the Publication: The album Pablo Picasso, published in 1930 by Editions des Chroniques du Jour, Paris, under the direction of Christian Zervos, stands among the earliest major printed tributes to the artist’s emerging international acclaim. Conceived as part of the publisher’s broader initiative to document and celebrate the modernist vanguard, the volume presented a series of lithographs and pochoirs interpreting Picasso’s drawings, watercolors, and gouaches from the preceding decade. Executed at the esteemed Atelier Desjobert, the edition combined the lithographic precision of line with the pochoir method’s hand-applied color, producing images of exceptional tonal depth and fidelity. Issued in both French and English, with distribution in Paris, New York, and London through E. Weyhe and A. Zwemmer, the album was limited to MCC copies, including a special suite of L examples on Arches paper containing an original lithograph by Picasso. The publication represented a vital collaboration between artist, publisher, and printer—uniting the intellectual rigor of Zervos’s art criticism with the material beauty of fine French printmaking. Today, Pablo Picasso, 1930 is recognized as a landmark in 20th-century art publishing, reflecting both the refinement of interwar Parisian craftsmanship and the international reach of Picasso’s genius. About the Artist: Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, and ceramicist whose extraordinary vision revolutionized modern art and defined the visual language of the 20th century. A child prodigy from Malaga, Spain, Picasso's career spanned more than seven decades and encompassed an astonishing range of styles and innovations—from the melancholic Blue and romantic Rose periods to his pioneering invention of Cubism with Georges Braque, which shattered conventional notions of perspective and form. Influenced by the bold expressiveness of El Greco, the structure of Cezanne, and the vitality of African and Iberian sculpture, Picasso became a central figure of the Paris avant-garde, working in creative dialogue with contemporaries such as Henri Matisse, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. His insatiable experimentation extended across painting, drawing, printmaking, ceramics, and sculpture, forever expanding the boundaries of artistic expression. A master of reinvention, Picasso profoundly shaped generations of artists who followed—from Andy Warhol, Roy Lichtenstein, David Hockney, and Jean-Michel Basquiat to Jeff Koons and Banksy—cementing his status as a timeless cultural icon whose works remain among the most sought after worldwide. His landmark painting Les Femmes d'Alger (Version O) achieved a record-breaking sale of 179,365,000 USD at Christie's, New York, on May 11, 2015, affirming Picasso's enduring legacy as one of the most influential and valuable artists in history. Pablo Picasso Les Trois Musiciens (The Three Musicians), Picasso 1930, Picasso Desjobert, Picasso pochoir...

Medium: original lithograph. Printed in 1980 for the art revue XXe Siecle and published in Paris by San Lazzaro. Size: 12 1/4 x 9 1/8 inches (310 x 232 mm). Not signed.

Unknown Artist, in the style of Felix Vallotton - The Other Side, Year: 1974, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 16/80, Image Size: 15 x 21 inch...

Fish, Janet (American, born 1938). A. M. Color Screenprint, 1994. Edition of 60, printed and published by Stewart & Stewart. Signed in pencil and numbered 16/60. 24 x 36 inches (ima...

“Mao #99” is a color screenprint by American Pop artist, Andy Warhol from 1972. The work is edition 244/250 and is signed verso, "Andy Warhol" and stamped verso, "Copyright Andy Warh...

Medium: lithograph (after the painting). Printed in 1970 for the art revue Derrière le Miroir (issue number 183) and published in Paris by Maeght. Sheet size: 15 x 11 inches (378 x 2...

Medium: lithograph (after the painting). Printed in 1970 for the art revue Derrière le Miroir (issue number 183) and published in Paris by Maeght. Sheet size: 15 x 11 inches (378 x 2...

Medium: original lithograph. Printed in 1970 for the art revue Derrière le Miroir (issue number 183) and published in Paris by Maeght. Sheet size: 14 3/4 x 22 inches (377 x 557 mm). ...

Artist: Keith Haring Title: Silence = Death Size: 39 x 39 in. (99.1 x 99.1 cm) Medium: Color Screenprint on Wove Paper Edition: HC 15 of 25 Year: 1989 Notes: Image Size: 33 x 33 in...

Artist: Hirst, Damien Title: Big Love Date: 2010 Medium: Silkscreen Unframed Dimensions: 60" x 60" Framed Dimensions: 64.25" x 63" Signature: Signed Edition: 7/50 Publisher: ...

This exquisite heliogravure after Pierre Soulages (1919–2022), titled Planche No. 8 (Plate No. 8), from the folio Pierre Soulages, Peintres d'aujourd'hui (Pierre Soulages, Painters o...

From the Nudes promotional portfolio published by Tyler Graphics in 1994, this rare offset lithograph was issued as part of an informational set including a printed title sheet listi...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

Artist: Peter Max (1937) Title: Heart on Blends Year: 2005 Edition: 500/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 12.75 x 10 inches Condition: Excellent Inscri...

Artist: Marcel Mouly – French (1918 - 2008) Title: Petit Luberon II (Little Luberon II) Year: 2003 Medium: Lithograph Image Size: 27.5 x 19.25 inches Sheet Size: 30.5 x 22.25 inches ...

This simple yet bold expressionist Picasso lithograph demands attention in any room. Framed and sized at 25 x 19 inches, this framed piece is in good condition and easy to mount on a...

This exquisite lithograph after Francois Auguste Rene Rodin (1840–1917), titled Sans titre (Untitled), from the folio Douze aquarelles de Auguste Rodin (Twelve Watercolors by Auguste...

This is an 18th century etching of the Patriarchal Church or Basilica of S. Pietro di Castello in Venice entitled "Chiesa Patriarcale di S. Pietro di Castello" by Domenico Lovisa, fi...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

Reuven Rubin, Israeli (1893 - 1974) - King David, Year: 1971, Medium: Poster, signed in pencil, Image Size: 22.5 x 17.5 inches, Frame Size: 32 x 26 inches

David Hockney My Mother (Bridlington), 1988 Four Color Lithograph on T.H. Saunders Waterford 250 gram paper. Hand signed. Also accompanied by a separate signed Certificate of Authent...

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...

"Que pico de Oro" (What a Golden Beak) - Etching and Aquatint on Paper 5th or 8th edition print of "Que pico de Oro" from the Los Caprichos with burnished aquatints, drypoints etchi...

Artist: Salvador Dali Title: James the Greater (Lancelot of the Lake) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 33/350 F...

This exquisite lithograph by Alexander Calder (1898–1976), titled Soleil orange (Orange Sun), from the folio Derriere le miroir, No. 69–70, originates from the 1954 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1954. This work captures Calder’s mastery of motion, balance, and vibrant color through the spontaneous energy of his abstract forms, embodying the rhythmic harmony and visual poetry that defined his art. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Alexander Calder (1898–1976) Title: Soleil orange (Orange Sun), from the folio Derriere le miroir, No. 69–70 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Unsigned and unnumbered as issued Date: 1954 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 69–70, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1954 About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alexander Calder (1898–1976) was an American sculptor, painter, and printmaker whose pioneering innovations in kinetic art revolutionized 20th-century sculpture and transformed modern visual language. Born in Lawnton, Pennsylvania, into a family of artists, Calder initially trained as a mechanical engineer at the Stevens Institute of Technology before turning to art at the Art Students League in New York—a combination of technical precision and creative imagination that defined his career. Moving to Paris in 1926, he immersed himself in the avant-garde and formed friendships with Pablo Picasso, Alberto Giacometti, Joan Miro, Wassily Kandinsky, Salvador Dali, Marcel Duchamp, and Man Ray, whose ideas profoundly shaped his artistic philosophy. From Picasso, he absorbed structural invention; from Miro, lyrical abstraction; from Kandinsky, spiritual geometry; and from Duchamp and Man Ray, the courage to merge intellect and play. In Paris, Calder created his famous Cirque Calder, a miniature mechanical circus that introduced motion and performance as central components of sculpture, and by the early 1930s, he invented the mobile—a term coined by Duchamp—to describe his delicately balanced, moving sculptures that responded to air currents. Later, Jean Arp would name his stationary counterparts stabiles. These two inventions—sculptures that could either float and spin gracefully or stand monumentally still—transformed art into a dynamic dialogue between movement, balance, and space. Calder’s signature forms, painted in vivid reds, blacks, blues, and yellows, embodied both joy and precision, creating an art that was at once abstract, organic, and deeply human. Like Kandinsky and Miro, he viewed art as a form of rhythm and emotion; like Duchamp, he embraced innovation and humor; and like Giacometti and Dali, he was fascinated by perception, structure, and the unseen forces of motion. His monumental public sculptures—such as La Grande Vitesse (1969) in Grand Rapids and Flamingo (1973) in Chicago—redefined public art as a symbol of civic optimism and modern progress. A key bridge between European modernism and American abstraction, Calder’s influence extended to artists including Jean Tinguely, George Rickey, Donald Judd, Ellsworth Kelly, Richard Serra, and Olafur Eliasson, whose works in kinetic and spatial art continue to echo his vision. His gouaches, prints, and jewelry carried the same balance and movement as his sculptures, revealing a unified language of rhythm across media. Represented in every major modern museum—including MoMA, the Guggenheim, the Tate, and the Centre Pompidou—Calder remains celebrated for merging engineering, color, and poetry into an art of pure equilibrium. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he remains one of the cornerstones of modern art—a visionary whose works breathe with motion, grace, and joy. His highest auction record was achieved by Poisson Volant (Flying Fish) (1957), which sold for $25.9 million at Christie’s, New York, on May 15, 2014, reaffirming Alexander Calder’s enduring legacy as one of the most inventive, dynamic, and collectible artists in the history of modern art. Alexander Calder Soleil...

This is a monochromatic photogravure, aquatint and drypoint on Hahnemuhle Copperplate warm white paper. Created in 2010, it is signed in pencil lower right and numbered from the edit...

Al Hirschfeld, American (1903 - 2003) - Fred Astaire, Year: 1989, Medium: Lithograph, signed and numbered in pencil, Edition: 80/125, Size: 28 x 25 in. (71.12 x 63.5 cm), Frame S...

This is an original 19th century hand-colored folio-sized lithographic portrait of a Native American entitled "Tah-Chee, A Cherokee Chief", from McKenney and Hall's 'History of the Indian Tribes of North America'. It was lithographed by J. T. Bowen after a painting by Charles Bird King and published by E. C. Biddle in Philadelphia in 1838. Tahchee's name translates to Dutch in Cherokee, and he became known as William Dutch. He was born in 1790 in the Cherokee Nation, which is now in a portion of Alabama. Tahchee became known as a skilled warrior and leader among his people, and he was eventually appointed as a chief of the Cherokee Nation "Old Settlers". During his time as chief, Tahchee was a rival of the Osage people and he worked to protect the Cherokee people and their land from encroachment by white settlers. He was a strong advocate for maintaining Cherokee sovereignty and cultural traditions, even as pressure mounted from the United States government to remove the Cherokee from their ancestral lands. In 1838, Tahchee and many other Cherokee people were forcibly removed from their homes in what is known as the Trail of Tears...

After Gustav Klimt, Max Eisler #22, Bildnis Baronin Bachofen-Echt; multi-color collotype after 1914-1916 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Meditation and Minou Color lithograph and serigraph, 1980 Signed and numbered in pencil (see photo) Printer Styria Studio, Inc. New York Publisher: Harry Abrams...

The Poker Game by Israel Rubinstein, Israeli (1944) Date: 1980 Screenprint, signed and numbered in pencil Edition of 250 Image Size: 27 x 38 inches S...

Medium: original etching. Executed in 1873, this is a portrait of the impressionist artist Armand Guillaumin. This is a fine impression with plate tone printed on cream laid paper fr...

Artist: Peter Max (1937) Title: Flower Jumper Over Sunrise II Year: 2001 Edition: 497/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9 x 11 inches Condition: Excell...

Officially Licensed THE CURE, 2022 Paris tour poster. 18 X 24 Inches.

An original etching created by Pablo Picasso in 1966 . It is stamp signed and numbered from the edition of 50. This piece measures 8.8 x 12.8 inches and the framed dimensions are 1...

Artist: Keith Haring Title: Untitled (Plate 1) Size: 24 x 36 in. (61 x 91.4 cm) Medium: Lithograph of Arches Paper Edition: 23 of 40 Year: 1982 Notes: From a suite of six prints. S...