Recognized Dealers Prints and Multiples

Mary Van Blarcom, 'China Spring', color serigraph, c. 1945, edition not stated but small. Signed in pencil in the image, lower right. Titled in pencil, bottom left sheet edge. A rich, painterly impression, with fresh colors, on cream laid paper; with full margins (9/16 to 1 5/16 inches), in excellent condition. Matted to museum standards, unframed. Image size 10 3/4 x 10 3/4 inches; sheet size 11 15/16 x 12 5/8 inches. ABOUT THE ARTIST Painter, printmaker, and craftsperson, Mary Van Blarcom was born in Newark, New Jersey, and studied at Wellesley College. She was a member of the National Serigraph Society where she served on the board of trustees from 1945 through 1952 and was 1st vice-president from 1949-51. She was also a member of the National Association of Women Artists, the Artists Equity Association, the American Color Print Society, the New Jersey Artists Association (Director), and Artists of Today. Van Blarcom exhibited actively throughout the 1940s at many prominent art organizations including: Montclair Art Museum, 1941-45 and 1947-51 (prize, 1948); Society of Independent Artists, 1942-44; Artists of Today, 1942-46; Elisabeth Ney Museum, 1943; Northwest Printmakers, 1944, 1946-49; Laguna Beach Art Association, 1945-47, 1949; National Association of Women Artists, 1945-50, (prize, 1946); Library of Congress, 1946-47; Museum of Modern Art Traveling Exhibition, 1945-47; Carnegie Institute, 1947; Serigraph Gallery, 1946, 1951 (solo); American Color Print Society, 1947-52; Newark Museum, 1947-48, 1951; California State Library, 1947, 1949; National Serigraph Society, 1949 (prize), 1950 (prize); University of Chile, 1950; New Jersey State Museum, 1950; Philadelphia Art Alliance, 1951; and the Main Gallery, NY, 1952. Van Blarcom’s work is in the collections of the Newark Public Library, U.S. Library of Congress; the American Association of University Women; New York Public Library; Tel-Aviv Museum, Alabama Polytechnic Institute, Princeton Print Club...

Dine, Jim. THE NEW FRENCH TOOLS 5 - BOULEVARD VICTOR DOUBLE SKY. D;Oench and Feinberg 175. Etching and aquatint and electric tools on two plates, with hand ...

John DePol, 'Magic Hour, Autumn', chiaroscuro wood engraving, 1981, edition 160 in 1983. Signed, dated and titled in pencil. Signed in the block, lower right. A superb impression, on...

In the center of a royal blue field of color, Ricard has scrawled “Jasper Johns over 34,000,000 sold”.  Ricard’s work brims with cultural references: with this statement he positions...

Roofs, Summer Night. 1906. Etching. Morse catalog 137 state ii. 5 1/4 x 7 (sheet 9 1/2 x 12 1/8). Series: New York City Life. A fine impression on cream ...

An original print of a church signed in pencil by artist Mr. H. Dewitt Welsh, Artist of Philadelphia, acting secretary of the Division of Pictorial Publicity Committee on Public Inf...

Constellation Silkscreen in colors, 1969 Signed, dated, titled and numbered in pencil Edition: 100 (56/100) Condition: Excellent Image Size: 17 x 17 inches Sheet size: 20 x 20 inch...

Edition of 7 "Benchwork" is part of Wegman's artistic exploration of photography and staged scenes. The artwork is representative of Wegman's distinctive approach to photography, wh...

L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes) Etching, 1881 Unsigned (as usual for this state) From: L'enfant prodigue, (The Prodigal Son, five plates) Ed...

This 3‑plate color piece beautifully captures the delicate interplay of raindrops rippling across water surfaces, giving rise to abstract reflections that evoke both movement and tra...

La Tasse et la Pomme (The Cup and the Apple) Wash drawing and gouache transferred to lithograph stone, 1947 One of four unsigned proofs Edition: a proof outside the edition of 50 pri...

"The Devil at the Keyboard" 1976 color lithograph artist proof. Abstract portrait of Thelonious Monk by Willem de Kooning. Hand signed de Kooning and numbered A/P in front lower righ...

JOHANNES JANSSON (1588 - 1664) PERU, engraving with early coloring. Platemark 15 1/8 x 19 3/8 inches, sheet 17 x 20 1/2 A nice example of one of the earliest maps of Peru. From the ...

Medium: Carborundum, intaglio Year: 2007 Signed and numbered from the edition of 25 Image Size: 12 x 12 inches Paper size: 23.25 x 19.25 inches Signed and numbered from the ...

HAROLD L. DOOLITTLE (1883 – 1974) CALIFORNIA VISTA, 1923 Aquatint signed and titled in pencil. 8 7/8 x 6 7/8 inches. Sheet 11 x 14 inches. Good condi...

"Hepburn and Bogart" original etching by Al Hirschfeld. Caricature portraits of Katherine Hepburn and Humphrey Bogart in "The African Queen." Artist ...

Gary Hume Grey Leaves 2004 Screen print in 4 colours with one glaze, printed on 400gsm Somerset Tub Sheet: 28 x 23 inches; 71 x 59 cm Frame: 30 3/8 x 25 1/...

HELLEU, PAUL CÉSAR (1859 -1927) "MADAME GEORGES MENIER" Montesquiou XXI Drypoint in colors, c. 1900 Signed in pencil, lower right Printed on wove paper Full...

J. F. BUFFORD PUBLISHER and PRINTER LAST MOMENTS OF PRESIDENT LINCOLN, April 15, 1865 Lithograph, very good impression. The 2 lower publishing lines ...

Color lithograph, Ed. 30 In "Scattered Seed I" and "Scattered Seed II" her new lithographs, Liu has juxtaposed portraits of late 19th/early 20th century Chinese prostitutes - derived from photographs of the time - with images of dandelions rendered from close-up photographs she took at national parks and historic sites around the Western US, including Mount Rushmore...

Artist: Francoise Houssin Medium: Original Lithograph, Edition of 150, 1988 Dimensions: 21.25 x 29.75 in, 54 x 75.6 cm Arches Paper - Perfect Condition A

Ostend Horse. 1926-27. Drypoint. Appleby 125. 7 x 815/16 (sheet 9 1/8x 12 1/5). Proof B, apart from the edition 100. A rich impression with tonal wiping and drypoint burr, printed on...

Kerr Eby 'Hungerford Bridge, London', etching and sandpaper ground, 1929, edition 90, Giardina 144. Signed, titled, and annotated 'Ed 90' in pencil. Signed again in the bottom right sheet corner. A fine, atmospheric impression, with delicate plate tone, on cream wove paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Hungerford Foot Bridge spans the River Thames in London, between Westminster Bridge and Waterloo Bridge. Eby visited Great Britain and France during 1924 and 1925. Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Arizona State University, Boston Public Library, Davison Art Center (Wesleyan University), Herbert F, Johnson Museum of Art, Huntington Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, Montgomery Museum of Fine Arts, National Museum of American Art, New York Public Library, Smithsonian Museum of American Art. ABOUT THE ARTIST Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper. After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques. In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions. With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...

Serigraph of male nude on top of power line, by gay Chicano artist Miguel Angel Reyes. Signed and numbered, edition of 61. Image refers to the tensions of being gay and from a trad...

Engraving after Luca Penni

Leafed Oak, 1982, rif. 444 Etching inches 25.1 x 13.5 (mm 635 x 345). Contemporary Art Italian landscape, Lanca Gelata, rif. 405 Original etching, signed and numbered. Limited edit...

This lithographic poster was designed after a gouache by Raoul Dufy, "Le Grand Concert" 1948, for the second Festival of Painting and Sculpture in 1957 in the town of Vichy, France, which was sponsored by the Lions Club...

Otto Kuhler, 'George Washington Bridge' (under construction) also titled 'The Cables That Hold it All', etching, 1928, edition unknown. An uns...

This abstract composition features a cropped view of the words SIGHT SEEING, in bold all-capital lettering. Roses fill the top line of text, and the bottom line of text in white is s...

Signed and numbered by the artist. Medium: Etching and aquatint Image Size: 14 x 11.25 inches Edition size: 13 The horizontal and vertical directional lines and the use of black and...

Isca Greenfield-Sanders Golden Parachute Color aquatint and gold leaf. Edition of 50

In celebration of Lincoln Center's ultimate New York festival, Summer for the City, the Brooklyn based artist Rico Gatson created a dynamic image of bold colors radiating positive energy. Gatson's concentric circle motif and projecting lines draw inspiration from the giant disco ball shining above Lincoln Center's iconic Revson Fountain, a welcoming beacon at the heart of Josie Robertson Plaza. This colorful, archival pigment print is printed on Hahnemühle paper and is signed, dated and numbered in pencil by the artist. It is in excellent condition and comes directly from Lincoln Center Editions...

Unique India Ink drawing, signed on reverse. RENAUD ALLIRAND was born in 1970, and currently lives and works in Paris. He has exhibited regularly since 1995 and has won numerous pri...

Listing includes framing, free shipping to continental US and a 14-day return policy. Kate Moss by Annie Kevans 20 x 16 inch paper 16 x 20 inch image Archival pigment print Edition 15 of 50 Signed and edition on the front of the print Frame is in fair condition and is included for free due the condition issues. The print itself is in excellent condition. If you would like the print sent unframed the cost is the same. Please let us know if you would prefer to have us ship the print unframed. Artist Biography - Kevans’ paintings reflect her interests in power, manipulation and the role of the individual in inherited belief systems. She looks at alternative histories and how they relate to current issues and creates what she describes as ‘anti-portraits’ that may or may not be based on real documentation. She believes that, as her work is concept driven, sometimes the actual similarity to the person depicted in the work is irrelevant. This can be seen in her 'Boys' series which is not about portraying dictators as they really looked as children but rather about the notion of the ‘innocent child’ which has influenced images of children in art...

Galleria grande di Statue Etching, 1743 Signed lower left corner of the plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 2 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

In this unique Michael Hurson monotype, stylized Greco-Roman pillars flank a plane of crosshatched and dotted texture in black, brown, and purple ink. The...

The Holy Family, 1634 Etching after Parmigianino (Parma 1503 - 1540 Casal Maggiore) 305 x 230 mm.; 12 x 9 inches References: Nagler Monogrammisten II...

"Night's Rest" from the series "The Times of the Day" Original lithograph Signed "Mucha" and dated "99" for 1899, at the lower part of the plate. There is no hand-written signature ...

Signed, titled and numbered in pencil, 32/40. an hommage to Giuseppe Arcimboldo, a 16th century artist best known for creating imaginative portrait heads made entirely of such objec...

29.88 x 22.36 ins (75.9 x 56.8 cms) Edition of 96 Signature:Signed "R. Motherwell" in pencil lower right Inscriptions:Numbered in pencil lower right; artist's chop mark lower right ...

"De Haan Kiss" from "A Portfolio of Landscapes and Figures" offset lithograph. Image of swimmers in pool under dome. Massimo Vitali Steidl Verlag, Götting...

The Wait. Three native Mexican women wait by the sea. This impression is #31/100. An impression of this lithograph is in the permanent collectio...

Abstracted landscape and sky done with India ink and gouache. Unique India Ink drawing, signed on reverse. RENAUD ALLIRAND was born in 1970, and currently lives and works in Paris. ...

This is a unique working proof for one of six images that comprise the group of prints called The Gathering. Signed and titled in pencil, Working Proof III, aside from the edition. ...

Au Bois De Boulogne (illustrating the congregation of French nobility outside the Chalets du Cycle Chromolithograph, 1897 Signed in the plate lower right corner From the Special Supp...

Signed, titled and numbered in pencil by the artist. Edition of 10. Rosalyn Richards has been a member of the Bucknell University art faculty since 1982. Images from particle physic...

Male nude etching, from a series of 6 male and 6 female images. Signed, titled and numbered , by the artist. Edition of 50. In January 2018, the Mexican Museum in San Francisco mounted an exhibition An Artist’s Evolution, a retrospective which has elevated Fernando’s exposure in the SF Bay Area...

Les Amateurs d'Estampes Woodcut, 1892 Initialed in the plate lower left Titled below image: "Gravure originale sur bois par F. Vallotton" Reference: Valloton and Goerg 107c, with the...

The drama of black and white in elegant minimal form. Aron Hill has created a striking editioned series of compositions in jet-black archival ink on pure white paper. Each distinctiv...

PABLO PICASSO Le Viol Etching on Montval laid paper, 1939 From Suite Vollard Image size: 8 3/4 x 12 1/4 inches, full margins. Edition of 260. Signed in pencil, lower right. Picas...

Signed and numbered in pencil in lower right hand margin. Proposed edition of 1000 (edition never completed). This print is an interesting piece of history, as the United States Oly...

Gary Hume Bird with Pink Beak 2009 Five-color screenprint on Somerset Satin White paper 17 3/8 x 14 7/8 inches; 44 x 38 cm Edition of 45 Signed, titled, dated, and numbered in graphi...

Two Trees with Perspective III (TP) Etching and aquatint with hand-coloring, Trial Proof (TP) Signed and titled in pencil Framed This luminous etching and aquatint by David Smith-Ha...

Screenprint in colours, 2025, on Saunders 425 gsm paper, signed by the artist and numbered from the edition of 50, published by Lococo Fine Art, St. Louis, 150 x 102 cm. (59 x 40 in.)

At the Buttes-Chaumont (Plate 169) is an 1899 lithograph of Jules Chéret's poster, printed at Imprimerie Chaix by Jules Chéret and included in the famed collection of Belle Époque po...

Color spitbite aquatint and aquatint with drypoint. Edition of 35

EIGHTEENTH CENTURY BRITISH CARICATURE THE HAPPY CONSULTATION, or MODERN MATCH, 1769 (DG 4335) ...

This is a screen print of a pink rose on wove paper, 1990, signed in pencil and numbered from the edition of 72 (total edition includes nine artist's proofs). Published by Lincoln Ce...

Ray Smith elucidates the "Dream of a Boy Scout" in this surreal green, red, and yellow wood cut print. A woman with two faces sits nude within a diamond-shaped gold field of color, reaching up with her hand and out with her leg to touch the corners of the diamond, which each nestle a light fixture. Sueño de un Boy Scout, 1988-9 Woodcut in black, red and green, on oiled Japon, signed and dated in black ink, numbered 1/30 (there were also 3 artist's proofs) 25 x 39 in. Per the Broad: "Ray Smith’s paintings incorporate surrealistic and animistic tendencies informed by his Latin heritage as well as deep study of the history of modern art. Smith was born near the Texas/Mexico border...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...