20th Century Prints and Multiples

Colorful limited edition lithograph plate signed by the artist Susan Pear Meisel. It is framed and measures 17 x 21.

A double hemisphere old world map print. The map is a reproduction of the original of the 1788 Mapa Mondo made in Rome Italy. The map is decorated with cherubs , angels and demons wi...

"Toy Horse Dance" Japanese Woodblock Triptych with Beauties and Mt Fuji Vibrant three-panel woodblock print by Utagawa Toyohiro (Japanese, 1773–1828). Court ladies look on as a grou...

Daybreak over Lake Yamanaka Color woodcut, 1931 Published by the Watanabe Color Print Co. Watanabe seal "D" (1931-1941) See photo Pre-war design and pre-war printing Lake Yamanaka i...

A Surrealist etching by Mexican artist Rufino Tamayo of a simple yellow figure against a gray background, staring at the viewer with piercing white eyes. This piece is one of 5 unnum...

Sku: GH1075 Artist: Roy Lichtenstein Title: Tintin Reading Year: 1995 Signed: No Medium: Offset Lithograph Paper Size: 39 x 27.5 inches ( 99.06 x 69.85 cm ) Image Size: 29 x 23.25 in...

Niki de Saint Phalle I Rather Like You A Lot You Fool, 1970 Silkscreen on wove paper Signed and numbered 74//75 in graphite pencil on the front Frame included Signed and numbered 74...

A lithograph and etching on Arches paper after Salvador Dali The Cycles of Life portfolio, made in 1977. This was printed by Forte and published by Duall Graphics for DALART. It is r...

Joan Miró (Spanish, 1893-1983) Signed: Miró (Lower Right " Maravillas Con Variaciones Acrósticas En El Jardín De Miró ", 1975 (M. 1055) (Wonders With Aristocratic Variations In Mir...

Pablo PICASSO Portrait of Roby, c. 1950 Original etching Printed signature in the plate On Japan paper 33 x 25 cm (c. 13 x 10 in) REFERENCE : Catalog raisonne Bloch #680 From the e...

Medium: original color woodcut. Reference: Dupin 1289. Published for the Jacques Dupin catalogue raisonne "Miro Graveur I" in 1984. Sheet size: 12 1/2 x 9 3/4 inches (320 x 248 mm). ...

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

Paper Size: 30 x 34 inches ( 76.2 x 86.36 cm ) Image Size: 25 x 31.25 inches ( 63.5 x 79.375 cm ) Framed: No Condition: A: Mint Additional Details: Original exhibition poster for a ...

Hand signed in ink. Edition of 125 prints. Very good condition. Catalogue Bloch n.132.

Medium: original color woodcut. Reference: Dupin 1291. Published for the Jacques Dupin catalogue raisonne "Miro Graveur II" in 1989. Size: 12 1/2 x 9 3/4 inches (320 x 247 mm). A ric...

Andy Warhol Exhibition Poster, Le Cento Imagini Di Andy Warhol. Edited by The Museo of The Villa Croce in 1989 Excellent condition Size is framed Andy Warhol (1928-1987) became a ...

"Cheyenne Woman in the Robes of a Secret Society" is an original lithograph by Leonard Baskin. It depicts a Native American woman in pale green robes. The title is written on the lef...

A woodcut on paper by Deco artist John Storrs. This image of this print was used to sell Christmas gift subscriptions for the "Liberator Magazine", December 1918. Third state. Arti...

Original color silkscreen, unknown year. Edition of 60 signed and numbered impressions on Arches paper. Safet Zec is a Bosnian painter and graphic designer, known as one of the major...

Lucien Boucher 🇫🇷 (1889 - 1971), a multifaceted artist known for his prowess as a painter, engraver, poster designer, and draftsman, left an indelible imprint on his era through his remarkable works. His journey into the world of art began with ceramics, studying at the renowned Sèvres School. However, the tumultuous events of World War I redirected his path. In 1914, Boucher was sent to the frontlines, where he experienced captivity as a prisoner of war. It was during this trying period that he discovered his innate talent for drawing. Initially recognized for his caricatures in the humorous weekly magazine he eventually ventured into designing posters and flyers, most notably for Air France. One of Boucher's most captivating creations is his 1948 poster...

"At the Circus with Dancing Odalisque" is an etching from Picasso's 347 Series, image size 6.5 x 8.75 inches, signed 'Picasso' lower right and annotated lower left and framed in a Sp...

Color engraving on wood from the Dali's portfolio " The Divin Comedy" Lithograph without numbering Framed. Total size with frame 30x38 cm In perfect condition

"Judy Garland" Legendary Film and Recording Star. Gay Icon. 20th Century Litho Judy - All Star Variety - Garland. Signed and numbered 19/150 in pencil, lower margin. Etching and aqu...

"Cabaret" Liza Minnelli Joel Grey Broadway Film Academy Tony Award Musical Signed and numbered 111/150 in pencil, lower margin. Etching with aquatint, 13.75” x 9.75”. Framed 22.25...

Eduardo Naranjo (Spain, 1944) 'Creación VI', 1984 engraving on paper 20.9 x 15 in. (53 x 38 cm.) Edition of 225 ID: NAR1115-003-225 Hand-signed by author

Paper Size: 20.5 x 23.5 inches ( 52.07 x 59.69 cm ) Image Size: 20.5 x 23.5 inches ( 52.07 x 59.69 cm Framed: No Condition: B: Very Good Condition, with signs of handling or age Sh...

This is a tarkay serigraph signed and numbered. In good condition. Measures 24x20

Darryl Hughto The Wind Cries Mary, 1979 Silkscreen on wove paper 42 1/2 × 30 inches Pencil signed and numbered 73/160 on the front Published by Larry B. Wright Art Productions, NYC U...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Stepping Out" first released on "Milk & Honey," the final album released after his death in 1980. ...

This artwork titled "Tristan and Isolde" 1978 is an original color lithograph on Arches wove paper by noted Italian/Argentinian artist Leonor Fini, 1907-1996. It is hand signed and n...

Hans ERNI is an artist born in Switzerland in 1909 and died in 2015. His works have been sold at public auction 3,987 times, mostly in the Print-Multiple category. The oldest auction...

Artist: (after) Helen Frankenthaler (American, 1928-2011) Title: "Rose Art Museum (Open Wall)" Year: 1981 Medium: Original Offset-Lithograph, Exhibition Poster on light wove paper Li...

Medium: original lithograph. Printed in 1965 on brown tinted paper for the art revue Derriere le Miroir (issue number 151-152) and published in Paris by Maeght. Size: 15 x 11 inches ...

Dalla Venezia, David (Italian, born 1965). COUPLE SHOUTING. Etching. 1998. Inscribed PdA (Artist's Proof), and signed and dated in pencil. 3 3/8 x 4 1/2 inches, framed to 12 1/3 x 10...

Robert Indiana Purim: The Four Facets of Esther (I) Sheehan, 36, 1966 Color silkscreen on off white wove paper Printed by Stephen Poleskie, Chiro...

Gemini is a screen print on grey paper realized by Sergio Barletta in 1973. 68 x 49 cm. Good conditions! Sergio Barletta (1934) is an Italian cartoonist and illustrator, who has...

Beautifully executed etching on archival paper by the well known American artist, Morris Henry Hobbs. Circa 1935. Condition is excellent. Signed in the lower right margin by the a...

Masami Iwata, 'Flowers and Ko-Imari', color woodblock print, c. 1960, edition 250. Signed, and with the artist’s seal, lower right. A fine, painterly impression, with fresh colors, o...

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Paper Size: 32 x 24 inches ( 81.28 x 60.96 cm )_x000B_Image Size: 19 x 19 inches ( 48.26 x 48.26 cm )_x000B_Framed: No_x000B_Condition: A-: Near Mint, very light signs of handling_x0...

Medium: original lithograph. Printed in Paris in 1964 by Mourlot Frères and issued in a limited edition of 2000 on Arches wove paper. Image size: 3 1/4 x 7 1/2 inches (80 x 185 mm). ...

Ceiling of the Paris Opera House The value is in the beautiful framing. Please note the shipping cost as the piece is very large (frame is 47" x 47"). In 1960, the Minister of ...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Georges BRAQUE Tribute to Cezanne : the Apples, c. 1955 Lithograph and stencil (Jacomet workshop) Printed signature in the plate On light vellum 39...

Artist: Joan Miró (Spanish, 1893-1983) Title: "Untitled (page 20, 21)" Portfolio: Derrière Le Miroir: Hommage à Aimé et Marguerite Maeght (No. 250) *Issued u...

Keith Haring Free South Africa 1985: Original 1985 Keith Haring Free South Africa poster- a key historical Keith Haring activist poster ...

ARTIST: Salvador Dali TITLE: Aaliyah Orah-Horah MEDIUM: Lithograph SIGNED: Hand Signed EDITION NUMBER: 232/250 MEASUREMENTS: 25" x 19.6" YEAR: 1968 FRAMED: No CONDITION: Ex...

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...

Artist: Helen Frankenthaler (American, 1928-2011) Title: "Sun Corner" Portfolio: The Metropolitan Scene *Signed, dated, and numbered by Frankenthaler (inscribed into the metal) lower right Year: 1968 Medium: Original Screenprint on core-filled, baked Aluminum Panel Limited edition: 17/50, (there were also 4 artist's proofs) Printer: Sheila Marbain of Maurel Studios, New York, NY Publisher: Tanglewood Press, New York, NY Reference: "Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison No. 12, page 90-91; Berggruen No. 13; Clark No. 13 Framing: Recently framed in a white maple moulding and conservation clear glass with frame-space. All archival Framed size: 37.38" x 37.38" Sheet size: 36.13" x 36.13" Image size: approx. 32" x 32" Condition: Faint crease upper right. Mild creasing lower right. Some light scuffmarks and scratches across sheet. In otherwise very good condition with strong colors Very rare Notes: Provenance: private collection - Upton, MA. Comes from the 1968 "The Metropolitan Scene" portfolio of five screenprints by various artists. Printed in four colors from four screens: blue, orange-red, green, and yellow. This is the third screenprint edition Frankenthaler ever made. "The Metropolitan Scene", a portfolio of prints by Richard Anuszkiewicz, Helen Frankenthaler, Adolph Gottlieb, Nicholas Krushenick, Roy Lichtenstein, and George Segal, was commissioned for a traveling exhibition organized by the Education Department of The Metropolitan Museum of Art, New York, NY. The museum received ten Roman-numbered copies for this purpose. Tanglewood Press then released all but Gottlieb's print in numbered editions of fifty. (Gottlieb's contract with Marlborough Gallery, New York, NY, did not permit commercial release of his print by the publisher). "Air Frame" (cat. no. 6) was Frankenthaler's first silkscreen - a medium that Universal Limited Art Editions, West Islip, NY did not use, although it became increasingly popular for artists' prints, both in Europe and the United States, during the sixties. Several other silkscreens followed in the next few years: "Untitled" (cat no. 11), in 1967, and "Sun Corner" (cat. no. 12) by Tanglewood Press, New York, in 1968. - "What Red Lines Can Do" (cat. nos. 22-26) is a suite of silkscreens published by Multiples, Inc., at that time directed by Rosa Esman, in 1970. - (Harrison - page 19). Biography: Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting...

This artwork titled "Stormy Sail" 1993 is an original color serigraph by German/American artist Peter Max, b.1937. It is hand signed and numbered A.P. 22 in white pencil by the artis...

Paper Size: 30 x 18.5 inches ( 76.2 x 46.99 cm ) Image Size: 20 x 15 inches ( 50.8 x 38.1 cm ) Framed: No Condition: A: Mint Additional Details: Referenced: Rodrigo, Vol I, #19...

Pablo Picasso (1881-1873) Jacqueline au regard d'Oiseaux Numbered on the reverse Phototype and Pochoir 16 x 11.5 inches 957/1000

San Francisco, Girl with Mission Dolores is an original lithograph by Margaret Keane c. 1980. A young girl in a head scarf is seen in front of the Mission Dolores in San Francisco, California on a blue sky day. An original color lithograph limited edition  72/100 and signed in pencil by the artist. In very good condition with artist's stamp in bottom left corner. Margaret Keane born Peggy Doris Hawkins on  September 15, 1927 in Nashville, Tennessee. When she was two her eardrum was permanently damaged during a mastoid operation. Unable to hear properly she learned to watch the eyes of the person talking to her to understand them. Keane started drawing as a child and at age 10 she took classes at the Watkins  Institute in Nashville. Keane painted her first oil painting of two little girls one crying and one laughing when she was 10 years old and gave the drawing to her grandmother. She was well known at the local church for her sketches of angels...

Bernard Buffet The Thoroughbred Horse, 1960 Lithograph Printed signature in the plate On Arches vellum 56 x 69 cm (c. 22 x 28 in) Excellent condition

Keith Haring ( 1958 - 1990 ) - Luna Luna Karussell: A Poetic Extravaganza! Pop up 3D, 1986 Additional information: Material: Color offset print on colored cardboard, shaped and carved, Pop up 3D Edited in 1986, Size unfolded: 30.3 x 60.8 x 24 cm Signature and date printed on the base. Limited Edition size: 2000 Edition: Luna Luna Freizeitlanlagen GMBH and Neue Revue, Hamburg, Germany About the work: “Luna Luna was a project organised by Andre Heller...

James Rosenquist F-111 announcement: Vintage original folding exhibition pamphlet published on the occasion of a 1960’s exhibition in Stockholm at the Museet Moderna: September 29th-October 18th 1965. Features a reproduction of Rosenquist’s famed “F-111”. Folding out to four portions, the reverse chronicles an extensive interview (in Swedish) between Rosenquist & the museum. Rare and highly collectible. Medium: Offset printed fold-out museum pamphlet. Condition: Quattro fold-lines as issued; good overall vintage condition. Dimensions: 5.5 x 11 inches (opening to 5.5 x 44 inches). Unsigned from an edition of unknown; rare. Rosenquist began the painting F-111 in 1964, in the middle of the Vietnam War. He positioned his main subject, the F-111 military plane, which was in development at the time, flying through fragmented images of consumer products and references to war. Through its expansive network of colliding visual motifs, F-111 addresses the connections between the Vietnam War, income taxes, consumerism, and advertising. James Rosenquist was an American Pop artist known for his monumental paintings and prints. Often appropriating commercial imagery, his montage-like works combined popular culture, surrealism, and historical painting methods. “Much of the aesthetic of my work comes from doing commercial art,” the artist once said. “I painted pieces of bread, Arrow shirts...

Cattedrale is an original lithograph realized by Franco Gentilini between 1940 and 1950. Hand signed in pencil on the lower right margin; "prova dell'artista", artist's proof. Perfec...

Dali’s Inferno by Salvador Dali, Spanish (1904–1989) Portfolio: Dali's Inferno Date: 1978 Lithograph on Arches, signed and numbered in pencil Edition of 242/250 Image Size: 23 x 17 i...