Wisconsin - Prints and Multiples

The present unique collagraph is an excellent example of Joseph Rozman's pictographic style. The composition is organized like a tiled floor, each square containing an abstracted ima...

"Tokijiro, Midori, and Katsumi" is an original Japanese color woodcut by the artist Kuniyoshi. It was created in 1851 and depicts a scene from the play "Akegarasu Hana no Nureginu" (...

Art: 17" x 23 1/4" Frame: 27 5/8" x 33 7/8" Original color lithograph (VIII/L) Signed lower right. This original Weisbuch lithograph comes from th...

"Going to Meet the Princess" and "Ilsee's Followers" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 53 & 5...

This is an original color lithograph created by Claude Weisbuch. It was designed to promote his show at Vision Nouvelle, a gallery in France. This show in particular was about his Ho...

This color pochoir was done in 1925 on Arches paper No. 738/750 and depicts two nude lovers. Archivally framed with 12k white gold; white gold fillet, silk mat, and museum glass. ...

"Nude (Bonjour)" is an original color lithograph by Paul Guiramand. The artist signed the piece in the lower right. This piece is from an edition of 600. It depicts a nude female fig...

"Anthunium" is an original color serigraph by Hunt Slonem. The artist signed and dated the piece in the lower right and wrote the edition number, AP 3/30, in the lower left. This piece depicts a still life with patterned pillows and plants. 19 3/4"x 24 1/8"image 22"x 30"paper 29 1/8" x 33 1/2" frame Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker. He is best known for his Neo-Expressionist paintings of tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species. Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards. Hunt Slonem’s oil paintings...

"Les Erophages" is an etching and aquatint with gold ink on Japanese paper signed by Andre Masson. Coming from the corner on the lower left was a boarder of pink with lines and circl...

Lonely Moons is an original etching and aquatint signed by the artist Molly McKee. It is edition 1/10 and depicts an abstracted human figure holding a mysterious creature. 11.875" x 8.875" art 24.875" x 17.5" frame This surreal etching...

"Blue Bunny" is an original woodcut print signed by the artist Santiago Moix. It depicts a blue rabbit juggling yellow apples. 26 1/2" x 25 7/8" art 29 1/8" x 29 3/4" frame Santia...

"Casual Encounter" is an original color lithograph by Michael Knigin. The artist signed the piece lower right and titled it lower left. This artwork is edition number 147/300. It fea...

"Don't Wine" is a mixed media piece, predominately a serigraph, by Paula Schuette Kramer and Bill Weege. Both artists signed in pencil in the lower right, and the title is in the lower left. It is one of a an edition of 50. The print is an explosion of bright colors, but red, blue, and green dominated the composition as they fade through the background. A blue figure climbs up a ladder out of an apple, hefting a large wine bottle overhead, which they pour out into the sea of wine. A man, woman, and long-necked orange bird also look out from the apple, reading for the stem of a floating bunch of green grapes. A group surrounds the grapes with their heads and shoulders above the water, eating the fruit. Birds fly through the background, dodging wine glasses and a vase of flowers that seem to be tumbling from a flying carpet. The entire image feels very surreal. Art size: 12" x 10" Frame size: 19 1/4" x 17" Paula Schuette Kraemer is an independent artist living in Madison, Wisconsin...

"Worm-Wood Hare" is an original color lithograph by John James Audubon. It depicts three brown rabbits in a landscape. No. 18, Plate LXXXVIII, On Stone by W.E. Hitchcock. 6" x 8" ar...

"Boldest Native" is an original color lithograph by Michael Knigin. This piece features a pile of apples with abstract textures. The artist signed the piece lower right and titled it...

"Townsend's Rocky Mountain Hare" is an original color lithograph by John James Audubon. This artwork features two gray hares in a muted, cool-colored landscape. 5 1/2" x 8 1/4" art...

"Royal Applause" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and editioned/titled it lower left with graphite. This piece features two yellow-headed birds known as Gannet Seabirds. To the right of the birds is shown a rendition of an ornate wood...

"Trees" is an original wood engraving print by Betsy Ritz Friebert. It features a man walking down a large path underneath tall barren trees. Unsig...

"In The Clear" is an original color lithograph by Michael Knigin. The artist signed, titled, and dated the artwork in lower center. This piece is an artist's proof. It features a she...

"In Real Form" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and titled/editioned "A/P" in the lower left with graphite. This piec...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels. In this image, Stanley shows an encampment of the people known as the Red River of the North hunters. They were generations of European and mixed-race trappers who lived on the frontier and had Indian wives and mixed-race children. They had come to the area for bison hunting, as the herds were still vast on the prairies. In the image, the figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 20 inches, frame Artist 'Stanley Del.' lower left Entitled 'Camp Red River Hunters' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XII' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame. John Mix Stanley...

"View of the City of Milwaukee" from "Harper's Weekly" is an original hand-colored wood engraving by Theodore R. Davis. It depicts an aerial view of the Wisconsin lakeside city in 1882. 9" x 13 3/8" art 17 5/8" x 21 3/4" frame Theodore R. Davis (1840–1894) was a 19th-century American artist, who made numerous drawings of significant military and political events during the American Civil War and its aftermath. As a child, Theodore R. Davis was taken to Washington D.C. where he graduated from Rittenhouse Academy. When he was fifteen, he moved to New York where studied art under Henry W. Herrick and James Walker. The Training Theodore Davis received under James Walker was informal. Davis typified certain artists as "special artists" was hired by popular magazines and newspapers. He was hired by them to illustrate the Civil War. He was hired by Harpers Weekly in 1861.[ During the Civil War, he served as a captain in the 15th Connecticut Volunteer Infantry. After the war, he became a companion of the New York Commandery of the Military Order of the Loyal Legion of the United States. Some of these drawings include the Battle of Champion Hill, and the most significant sketch of General Joseph E. Johnston and General William T. Sherman meeting at the Bennett Farm near Durham Station to discuss the surrender terms of the remaining Confederate armies in the Southeast. After the war when the Cyclorama in Atlanta was being painted, Davis was asked for his ideas having traveled with Sherman's army. He was later added to the painting. Theodore Davis was a staff artist at Harper's Weekly. Many of his drawings were published as wood engravings in Harper's Weekly. Theodore R. Davis was chosen to create the Haye's China with a chance meeting. Mr. Davis suggested using flora and fauna of the American decor...

'Stabiles' is a lithograph poster after Alexander Calder and published by Galerie Maeght in 1971. Calder had produced the stones for this lithograph a year earlier in 1970 for a prin...

"Dalila" is an original color lithograph by Andre Masson. This piece, which features an abstract, surreal woman, is from Masson's "Je Reve (I Dream)" por...

"Cherry Kobler" is an original color lithograph poster by Pierre marrast. This artwork features a red-haired woman playing the piano. She is in...

"From: Ilsée, Princess of Tripoli Recto: "Writing Verse" Verso: "Love's Lyre" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee...

"Présure Guillien, Dijon Cow" is an original color lithograph poster. The artist's name is printed in the lower left, and the name of the printing company, Havas, is printed in the lower right. The poster advertises rennet, a product used to curdle milk and make cheese, featuring a milk maid with a red kerchief tied around her head in front of a white cow. She holds a golden bucket...

"The Row at the Picnic" is an original etching by John Sloan. This piece depicts a fight that broke out in a park. There is a mass of people huddled together. 4 7/8" x 3 1/2" art 17...

"Ram Eating Bark" is an original etching by Karel DuJardin. DuJardin completed many delicate etchings of rams. 3 3/4" x 7 3/4" art 16 3/8" x 19 1/8" f...

"Black Eyed Susan" is an original lithograph by Marion Greenwood, published by Associated American Artists. The artist signed the piece in the lower right. It features a young girl w...

"English Country Fisherman by the Cottage" is an original etching by John Thomas Smith. The miniature etching features a country cottage with a thatc...

"Rappel" is an original lithograph poster designed by Jules Cheret. This poster depicts a young man drumming. There is a small stain in the upper left corner. This poster was publish...

"La Chatelaine" is a color lithograph by Charles Doudelet. The artist's name is printed lower right. This piece, featuring a wealthy woman on a white horse surrounded by dogs, was published in the Art Nouveau publication L'Estampe Moderne. 15 3/4" x 12" art 19 1/4" x 23" frame Belgian painter, sculptor, illustrator and stage designer. He studied music at the Koninklijk Muziekconservatorium and sculpture at the Gewerbeschule, Ghent (after 1877). He visited Paris in 1887 and Italy in 1890, with a grant from the city of Ghent. He was deeply impressed by the masters of the Quattrocento, and was encouraged to take up painting after meeting Constantin Meunier...

'The Turquoise Suite' is a portfolio of three original color lithograph by the renown printmaker R.C. Gorman. From Arizona, the artist's later works fo...

"Mother's Rainbow, A.P." is an original etching and embossing by Joesph Rozman. The artist signed, titled, and dated the artwork below the image. This is an artist's proof. The artwo...

"Le Dejeuner" is a rare original color lithograph by Edouard Vuillard. It depicts a finely dressed woman with more less distinguishable figures in the background. This print was exec...

"Chicago in Early Days" is an original color lithograph by Kurz & Allison. This piece features multiple views of the city of Chicago. 16 3/4" x 23 1/4" art 28 1/8" x 33 7/8" frame ...

Art: 26-3/4"x19-3/4" Frame: 27"x20" Poster, signed & inscribed to Philip Barnett lower left (43/58) Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' Écol...

François Vivares was known to have produced several copies of images after older masters, such as, in this case, Rembrandt van Rijn. In this set, Vivares reproduces "The Quacksalver" (1635, Bartsch 129), "Beggar man and beggar woman conversing" (1630, Bartsch 164), and "Beggar Seated Warming...

"The Spinner" is an original etching by Jean Leon Gerome Ferris. It depicts a woman in an interior next to a spinning wheel. The artist signed the piece lo...

"Bullier" is a giclee print on paper after the 1888 original lithograph poster by Jules Cheret. A groups of happy people are centered around a harp being played by a woman in a red d...

"The Pipe Smoker" is an original etching by Cornelis-Pietersz Bega. It depicts a man sitting at a table with his pipe. Publisher: Pearce #38. 3 1/2" x 3 1/4" art 13 5/8" x 11 3/4" f...

"Four Women in National Costumes" is a set of four original etchings by Wenceslaus Von Prachna Hollar. 3 5/8" x 2 3/8" each print 19 1/8" x 18 1/2" frame Wenceslaus Von Prachna Ho...

'Lobsterman's Wharf, Maine' is an original lithograph signed by Malvin Marr "Zsissly" Albright. While Malvin Marr – along with his better-known identical twin Ivan Albright – was known for his meticulous and unsettling magic realist compositions, he and his brother were also prolific in capturing landscapes of the coast of Maine where the two spent several consecutive summers away from Chicago over their lives. Sometimes these Maine landscapes and views would be painterly and seemingly antithetical to the careful realism of his other work; but in this example, however, the wharf is treated with the same macabre decay as his human subjects. In the composition, the shack...

This color pochoir by Kees Van Dongen was done on arches paper No. 738/750. Two nude women outlined by purple cover their faces with a white sheet. Archivally framed with 12k white...

A color pochoir on arches paper by Kees Van Dongen titled "Couple Conversing" from the La Garconne Series "Un Couple Parle Ensemble." Two figures are surrounded by an aura-like pink ...

This drawing, three studies of figures, was done by the contemporary artist Claude Weisbuch in 1979, but it shows his interest in the old masters and his academic approach to drawing. The figures are based on sculptures at the Louvre Museum in Paris, especially the ancient Greek sculptures of the Venus de Milo int he center and the Winged Victory of Samothrace...

26 1/4" x 18" art 28.25" x 20" frame Poster for Untitled, 2017 Poster Series Curated by Christophe Boutin and Mélanie Scarciglia for Untitled, Miami Beach, 2017.

"Departing Beauty" and "Dreams" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 94 & 93 of "Ilsee, Princess...

"Untitled" is a 3-color lithograph on arches paper created by Charles Dwyer. It depicts an abstracted human figure in purple. The faceted portrait hearkens back to cubist aesthetics ...

"Defender Courageous #2" is a screen print by Robert Danner. It is the artist's proof (as written in the lower center). The artwork is titled lower left and the artist signed the pie...

"Figures at the Obelisk" is an original etching by Jan Frans van Bloemen. It depicts two people conversing in front of a monument. Behind them, an expansive landscape sprawls. 9 1/4" x 6 3/4" art 21 3/4" x 19 3/8" frame Jan Frans van Bloemen (baptized 12 May 1662 - buried 13 June 1749) was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition. Van Bloemen predominantly painted classical landscapes, taking his inspiration from the Roman Campagna. His landscapes, with their recession through a series of planes, soft, warm lightning and classical and religious subject matter, drew on the examples of artists such as Claude Lorrain and Gaspard Dughet. His paintings are exquisitely imbued with that "difficult-to-define pastoral ambience" which helped to make him such a great painter in the eyes of his contemporaries. The technique and subjects of the work of Jan Frans van Bloemen are also related to painters such as Jan Asselijn, Thomas Wyck...

"Le Clown" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (E.A.) in the lower left. This piece is a portrait of a ...

"Paris" is an original lithograph poster by Paul Colin. This was the first official poster from Paris after World War II and depicts three doves flying above the Arc de Triomphe, Not...

"Shooting on the Prairie" is an original hand-colored lithograph by Currier & Ives. It depicts a hunter shooting at fowl in an open field. 8 1/2" x 12 1/2" art 20 1/4" x 23 3/4" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

"Noel" is an original linocut in green ink on tan paper by Sylvia Spicuzza. The artist stamped her signature lower center. This artwork features the Virgin Mary holding the baby Jesu...

"Gnomes I, II, & III" are three original etchings by Jenny Tapping. Each etching is signed, titled, and numbered by the artist, and all three are in one frame. Each etching depicts a...

"La Conquéte Du Pôle (The COnquest of the Pole)" is an original lithograph poster by an unknown artist published by the Club of America. It depicts personifications of major world po...

Original color lithograph poster by Rene Prejelan. Ponctua (The best and least expensive precision watch), 1910. A fine watch at a fine price- and the...

"Weaver Birds" is an original color lithograph by Louis Prang. It depicts multiple weaver birds with leaves surrounding them. 8 1/4" x 5" image 12 1/2" x...