Medium Prints and Multiples

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: VI-2 from La Magnanerie de la Ferrage Year: 1971 Medium: Linocut on Japon, signed in pencil Edition: Pour Leon Amiel Image Size...

From the celebrated Alphabet Suite, this stunning Art Deco lithograph/serigraph was designed by the Russian-born French artist and designer known by the pseudonym Erté, and produced ...

Artist: Charles Hinman, American (1932 - ) Title: Untitled from the On the Bowery portfolio Year: 1969 Medium: Screenprint, signed and numbered in pencil Edition: AP V/XX Size: 25.75...

Karma, street photography from Richard Heeps series, A Short History of Milan. 'A Short History of Milan' began in November 2018 for a special project featured at the Affordable Art...

Lithograph, 1957 Edition : 125, of which 100 are numbered Publisher : Galerie Matarasso Catalog : [Maeght 247, page 103] 62.00 cm. x 48.00 cm. 24.41 in. x 18.9 in. (paper) 55.00 cm. x 44.00 cm. 21.65 in. x 17.32 in. (image) Handsigned by the artist in pencil Annotated "HC" Lithograph in colors, before letters This lithograph was used to create the poster for one of the artist's exhibitions in Nice in 1957. It is characterized by a rectangular composition bordered by black dots, and an almost primitive, spontaneous combination of primary colors. The work is characteristic of the late 1950s and early 1960s. The flat tints of color, the small dots, the stars and the graphic intensity of the image are striking. By taking up the portrait format, Miró plays with so-called classical iconography while breaking aesthetic codes. Instead of a face, we might see an Aboriginal mask...

Crow on the Branch is an artwork realized in 1972 by the Italian Contemporary artist Leo Guida (1992 - 2017). Etching on cardboard. Hand Signed and dated on the lower right marg...

Victor Vasarely born in 1906 was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op Art movement. Op Art is a form of abstract art that gives the illusion of movement by the precise use of pattern and color, or in which conflicting patterns emerge and overlap. Victor Vasarely and Brigit Riley are its most famous exponents. In its visual balancing act of color and movement from a flat plane to developed continuous flow “Untitled” is a complex arrangement of squares and colors that visually expand and contract. It is one of Vasarely’s most successful Op Art abstract works. The piece is signed on the lower right and number 20/150 on the lower left. The print is behind glass and matted. Vasarely was born in Pecs and grew up in Slovakia and Budapest, where in 1925, he took up medical studies. Abandoning medicine he turned to traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sandor Bortnyik’s private art school widely recognized as Budapest's centre of Bauhaus studies. His studies concentrated on applied graphic art and typographical design. In 1929, he painted his Blue Study and Green Study. In 1930, he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. Vasarely became a graphic designer and a poster artist during the 1930s combining patterns and organic images with each other. Vasarely utilized geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard...

Flowers is a vintage offset and lithograph artwork on paper realized after Josip Generalic in 1971. Good conditions. Signed on the plate and dated o...

"Julio Girona (Cuba, 1914-2002) 'Habitación interior', silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 115 ID: GIR1066-001-115" "Julio Giro...

Rare print handsigned and numered by surrealist artist Leonor Fini, now rediscovered and inscreasingly esteemed with the movement of rediscovering art by women. It depicts a mytholog...

Paper Size: 26.5 x 30.25 inches ( 67.31 x 76.835 cm ) Image Size: 18 x 27.5 inches ( 45.72 x 69.85 cm ) Framed: No Condition: A: Mint Additional Details: First edition exhibiti...

Etching on Montval paper, realized between 1927 and 1930. Table 67 from "Les Fables de La Fontaine", published in 1952 in and edition of 200. Signed in the plate. Very good condit...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Salvador Dali (1904-1989) - Clavilegnio Lithograph from 1972. The edition of 187/250. Dimensions of work:...

Antoni Tapies Llambrec-1 Catalogue raisonné: Galfetti 539 Lithograph Year: 1975 Signed by hand and inscribed Edition: H.C. Size: 7.4 × 9.8 on 29.6 × 21.5 inches Over the course of h...

Picasso Exhibition Poster in Paris - 1964 is a rare and precious print of Pablo Picasso's exhibition held at Galerie Louise Leiris, Paris, 1964. Offset and photolithographed poster ...

Image dimensions: 46 x 34 cm. Lithograph representing a abstract composition. Dated, numbered and hand-signed with pencil on lower margin by the Italian artist, Vasco Bendini. Editi...

Magda Bolumar (Spain, 1936) 'La llena (Collection "La luna presente")', 1997 etching, aquatint on paper Rives BFK 300 g. 27.6 x 19.7 in. (70 x 50 cm.) Ed...

The original poster titled A Means to an End, hand-signed in black pen by Lawrence Weiner, was created for his exhibition at Le Musée de Sérignan from September 2006 to January 2007....

Bob Cato, American (1923 - 1999) - Still Life from the Nantucket Series (Blue), Year: circa 1970, Medium: Screenprint on Somerset, signed and numbered in pencil, Edition: 56/75, Im...

Jack Hofflander, American (1920 - 2003) - Haitian Village, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 250, 30 AP, Size: 21.5 in. x 27.5 in. (54.61 c...

ARTIST: Salvador Dali TITLE: Hommage a Albrecht Durer Triomphe de Venus MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Vision Nouvelle EDITION NUMBER: EA MEASUREMENTS: 23" x ...

This original Cigare Havane poster, created circa 1950 by artist Dujardin, captures the elegance and sophistication associated with Havana cigars. The co...

Arthur Szyk, Polish/American (1894 - 1951) - The United States of America, Year: 1950, Medium: Offset Lithograph, Image Size: 19 x 15.75 inches, Size: 25.5 x 19.25 in. (64.77 x 4...

Lone Boat At Dusk - Serigraph Print Original serigraph depicting a landscape scene with contrasts of black, blue and green. Hues of blue make up the ...

Limited edition of 30 museum quality giclee prints on PAPER, signed and numbered by the artist. Print lead time 1 week. A "Certificate of Authenticity" issued by the artist is incl...

Chris Forrest, American (1946 - ) - Redtail Landing, Year: circa 1979, Medium: Lithograph, Signed and numbered in pencil, Edition: 300, AP 40, Size: ...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

This lithographic poster was designed in 1966 after the late artist Raoul Dufy, for an exhibition of works by Chagall, Dufy, Braque, Matisse and other French artists at the French Institute of Scotland in Edinburg. This beautiful image features a lithographic rendition of Dufy's 1952 oil painting, "Homage to Claude Debussy...

Fine Art Print, Hahnemuehle fine art paper, limited edition of 25. Signed by the author.

Corneille Woman with Rose and Bird, 1985 Original lithograph Handsigned Justified EA On vellum 56 x 76 cm (c. 22 x 30 inch) Excellent condition

Colour-intensive offset lithograph, hand signed, numbered (edition of 100) and dated (2005). Lithograph after watercolour painting: A sensitive choice of colours and an expressive br...

"Original Lithograph X" is an original color lithograph by Joan Miro, published in "Miro Lithographs II, Maeght Publisher" in 1975. It depicts Miro's signature biomorphic abstract st...

70x70cm, print on canvas Edition 20 pcs.

Artist: Roy Ahlgren, American (1927 - 2011) Title: Fiesta Year: circa 1970 Medium: Screenprint, signed and numbered in pencil Edition: 130 Image Size: 18 x 26 inches Size: 22 x 30 in...

SELVAGGIA is an original hand drawn limited edition lithograph by the Argentine woman artist Norma Bessouet printed using hand lithography techniques on Arches paper, 10% acid free. SELVAGGIA is unframed, in mint condition, full bleed image, hand torn edges, signed in pencil by Ms. Bessouet. Print size - 28.5 x 20.5 inches, unframed, excellent condition, pencil signed by Norma Bessouet Edition size - 150, plus proofs Year printed - 1986 Printer - J K Fine Art Editions Co. NYC Bessouet, born in Argentina, schooled in Argentina, London and in Italy, where she was able to look to the works of the Old Masters for inspiration. She refers to the artists of the Italian quattrocento along with Velazquez and El Greco as her muses, and traces of these historic artists shine through in her paintings. Her work is in numerous private and public collections throughout the world. Bessouet's art focused primarily around portraits, domesticity and the female nude. In the original print, SELVAGGIA, Norma Bessouet merges certain Latin American strands of literary magic realism with Surrealism and presents a portrait of an androgynous seated figure, with bald head, serene facial expression, wearing a full length ombre shaded robe, cradling a large, long-beak bird. Ms. Bessouet's sensitive, masterly drawing expresses a fantasy doll...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Maravillas con Variaciones Acrosticas en el jardin de Miro (Number 16) Year: 1975 Medium: Lithograph, signed in the plate Edition: 150...

Christian Furr HM Queen Elizabeth II, 2022 Inkjet on 310gsm Hahnemuhle paper Paper size 70.5 x 54.2 cms Image Size 54.5 x 40.2cms Edition of 70 + 5 AP hand-signed and numbered by the...

Game Over - Insert Coins - Credit Suisse Contemporary Street Art, 2023 Described as an ”ENRAGED ARTIST”, the work of Goin is simply like no other. In GAME OVER, INSERT COINS.” We ar...

This artwork "Under the Rain" 1992 is an original etching by French/Canadian artist Pierre Roland Renoir b.1958 (Grand son of the famous impressionist artist Pierre Auguste Renoir) I...

Morocco , 70x70cm, print on canvas Edition 20 pcs. A different print size can be made upon request.

Screenprint Edition 119 of 125 Signed on the accompanying COA and numbered on the back Excellent. Minor soft creasing in bottom left and right and top middle of print. Please note ...

Salvador Dali (1904-1989) - Quevedos Visioner, Planche VI Etching from 1975. The edition of 295/300. Dimensions of work: 66 x 50 cm. Hand signed. Publisher: Galerie Börjeson, Ma...

Jean Jansem (1920-2013) Stéphanie au collant à damier, 1989 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 50 x 65 cm / 54 x 76 cm Bibliographi...

Free Arrangements of Equal Parts by Herbert Bayer, Austrian (1900–1985) Date: circa 1968 Screenprint, signed and numbered in pencil Edition of 12/75 Size: 29.75 x 29.5 in. (75.57 x 7...

Letter S - from the suite Letters of the Alphabet is a contemporary artwork realized by Erté (Romain de Tirtoff). Lithograph and Screen Print. The artwork i...

Rare print handsigned by surrealist artist Leonor Fini, inscreasingly esteemed with the movement of rediscovering art by women. This silkscreen is in perfect condition and from a ver...

David Collins was raised in Dallas, received a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions i...

Takashi Murakami

My Sincerity to You, 2023

Offset Lithograph

28 in diameter 71 cm diameter

Edition of 300

A mid-century poster of the Oxford Radcliffe Camera by the noted designer Richard Guyatt. Part of the Guinness Posters collection. Signed in plate. On p...

Julian Stanczak Blue Op Art Screen Print screenprint Pencil signed (lower right) edition numbered 20/165, measures 28" x 28". Black frame under Plexiglas. Julian Stanczak American/Polish, 1928-2017. Julian Stanczak explores the visual, psychological, and emotional resonance of color in his Op art paintings, through which he aims to induce a “color meltdown,” as he describes: “I want to fuse many colorants and their gradations into a single color experience.” Influenced by Josef Albers and Russian Suprematism...

Hand signed. Dated on plate. Artist's proof.

This 1954 original exhibition poster, printed by the renowned Mourlot Studios, was created for the exhibition Peintres Lithographes: De Manet et Toulouse-Lautrec à Matisse et Picasso...

Salvador Dali Don Juan: The Banquet (Le Banquet), Published 1970 Medium: Hand-Colored Drypoint Etching on Arches Paper Edition: 38/250 Artwork Size: 25 x 20 in Framed Size: 33 ...

Screenprint on off-white wove paper Signed and numbered in pencil: 44 from 300 plus an unknown number of AP (inscribed A/P).

Thomas Nozkowski (b. 1944, Teaneck, New Jersey; d. 2019, New York) was recognized for his richly colored and intimately scaled abstract paintings, drawings, and prints that push the...

Bibliophile II Signed and numbered multiprocess edition, 2025 (released September 9) 22 of 656 Description: In Bibliophile II, James Jean conjures a compelling visual metaphor: the...

This Limited Edition giclee print by Roger Mudre features nearly transparent light blue circles, arranged in an overlapping pattern to create a larger circle shape. The outer layer o...

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" 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...

Thrills, the iconic Coney Island Wonder Wheel photograph by Richard Heeps. The bold typography of the architectural structure fills the Fuji Film frame combining Richard's signature ...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Farmhouse 3. Year: circa 1985, Medium: Silkscreen, signed and numbered in pencil, Edition: 175, Image Size: 13 x 19 inches, Size: 19.5...