Figurative Prints

'Die Nixen' (Mermaids) German wood-engraving, 1903. 230mm by 320mm (image) 280mm by 410mm (sheet)

BARBIER, George. Nijinsky in Cleopatre. London, C. W. Beaumont, 1913. ‘The designs, although somewhat fantastic in treatment, do convey the impression produced by Nijinsky in hi...

Raymond Pettibon: Rare early Black Flag punk flyer: Black Flag Santa Monica Civic Auditorium, Jun 11, 1983. Santa Monica, CA. Flyer / handbill for gig by Black Flag, Misfits, Vandals featuring artwork by Pettibon. Post-marked 1983 on verso; rare as such given the SST stamp on verso (Black Flag's record label). Offset Print; 8.5 x 11 inches. Features Pettibon printed signure on the lower right. Condition: Minor signs of handling and fading or yellowing; fold-lines and staple marks to upper & lower center (these were originally stapled together and mailed); in otherwise very good overall condition given age & medium. Post-marked 1983 and hand addressed on verso. Rare. Flea, the Red Hot Chili Peppers bassist once said of Pettibon's Black Flag illustrations and iconic logo: "Before I knew what Black Flag was I remember walking around Hollywood and seeing Raymond's flyers and being like, 'What the fuck is that?'… Those flyers made me feel like something is going on and it's romantic and it's mysterious and it's heavy and I don't know what it is but I wanna know." About Raymond Pettibon (Americanb. 1957) Raymond Pettibon is a contemporary American artist known for his stylized ink drawings combining images and text. His inventive narratives blend historical content with consumer culture to yield incisive critiques of contemporary society. “I was making my work as transparent as possible, without equivocations, without calling attention to itself, without apology,” he explained. “There's a lot of conventions in the art world that are not to be transgressed, but my economy of means doesn't abide by those strictures.” Born Raymond Ginn on June 16, 1957 in Tucson, AZ, the artist is self-taught, but cites drawings by William Blake, Edward Hopper, Francisco Goya, and John Sloan as instructive to his practice. Deriving inspiration from comics, cartoons, and other pop culture iconography, Pettibon began designing album covers and ephemera for his brother’s band Black Flag in the mid-1970s. He went on to produce cover art for Sonic Youth, the Minutemen...

Actor in onnagata role accompanied by a kamuro is an original artwork realized in the 1850s by Utagawa Kuniyoshi (January 1, 1798– April 14, 1861). Woodcut Print. Sign.: Ichiyusai ...

Jean Jansem (1920-2013) Lydia de dos dans l'atelier, 1995 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 64,5 x 50 cm / 76 x 56 cm D'une édition à 120 exemplaires Les 25 premiers numéros font partie de l'Album Modèles qui comprend six lithographies. Imprimeur: Arts-Litho, Paris Editeur: Jansem, Paris Bibliographie: Jansem Lithographe, 1993-1999, Flora J. Editeur, Paris, 2000, n. 95, reproduit p. 26, référencé p. 92. "Ma première lithographie date de 1954. Elle représente un enfant en haillons portant deux seaux d'eau, d'après un croquis rapporté de Cordoue lors de mon voyage en Espagne en 1952. Je l'exécutai sur pierre, au pinceau et à l'encre lithographique. Je fus déçu du résultat et n'en tirai qu'un essai et une épreuve. Quatre ans plus tard, je réalisai une dizaine de nouvelles lithographies, toujours sur pierre, la plupart en noir. Au lieu d'employer l'encre et le crayon...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°23, 1963. Published and printed under the direction ...

Modern figurative silkscreen and lithograph by renowned artist Alex Katz. The work features a portrait of Ada, Katz's wife and muse, turned to face the left. The work is part of a se...

Mulholland Drive 2001 Original Movie Poster featuring Naomi Watts Original Vintage Theatrical Unfolded Single-Sided One-Sheet Movie Poster One sheet measures 27″ x 40″ inches / 69 ...

Artist: Alexandra Nechita Title: My Journey - Blue Portfolio Artworks: Healing Efforts, Big Hearts Are Never Too Big Year: 1998 Lithographs on Arches Archival Paper    Size; 35½'' x...

Lithograph on vélin d'Arches Arjomari paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Lettre à mon peintre Raoul Dufy, 1965. Published by Librairie ...

Fifth Avenue Critics. 1909. Etching. Morse 128.x/xi. 6 x 8 (sheet 9 3/4 x 12 1/4). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for t...

Cinderella - Original 1950 Lobby Card Vintage 1950 Lobby Card: When Cinderella's cruel stepmother prevents her from attending the Royal Ball, she gets some unexpected help from the lovable mice Gus and Jaq and from her Fairy Godmother. Directors: Clyde Geronimi Wilfred Jackson Hamilton Luske Writers: Charles Perrault Bill Peet...

Lithograph on vélin paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the album, Les Cavaliers d'Ombre; Sous le Manteau de Feu, 1956. Pub...

Andy Warhol Flowers, 1980 Enamel on porcelain Edition of 49 51 x 51 x 2 cm (20 x 20 x 0.7 in) In wooden box. Screenprint on porcelain in wooden frame signed in the glazing, numbered on label verso In mind condition. The piece is offered unframed. Throughout art history, the flower and its symbolism have been a subject matter for many renowned artists. Andy Warhol explored the qualities of the flower image through his Pop Art prism in the Flower series of 1964, thus creating cartoon-like symbols that would be instantly recognised. The 1964 Flower series became one of his most iconic and successful works.
 Based on a discovered photograph of hibiscus blossoms, Warhol drenched the flowers’ floppy shapes with a variation of vibrant colours, transforming them into psychedelic indoor décor. Playing with traditional art historical themes, Andy Warhol gave a particular twist to this historically accepted symbol of life. The electric colours of his flowers, drawn from a darker and rich undergrowth background might be the indicator of an extreme vision of life, a life lived on the edge. Andy Warhol (1928-1987) was an American artist, a leading figure of the Pop Art movement. ​Using a variety of media materials from photographs up to computer-generated art, Warhol's works explore the relationship between artistic expression, celebrity, culture and advertisement that flourished by the 1960s. Emerging from the poverty and obscurity of an Eastern European immigrant family in Pittsburgh, Warhol became a charismatic magnet for bohemian New York. In 1960, he began to produce his first canvases depicting Popeye and Dick Tracy. After Marilyn Monroe’s death in August 1962, he started working from snapshots of the star’s already legendary face, which had been widely distributed by the world’s press. His choice of subjects clearly relates to an obsession with demise – his Marilyns, his Ten Lizies (created when the actress Elizabeth Taylor was seriously ill), and also his Elvis. Part of the “Death and Disaster” series, Andy Warhol´s...

Pablo O'Higgins (1904-1983). The Bricklayer and His Son, 1946. Lithographic ink on paper, Sheet measuring 15 x 17 5/8 inches. Signed in pencil by artist lower right. Water stai...

Artist: Itzchak Tarkay (1935-2012) Title: Morning Tea Year: Circa 2000 Medium: Silkscreen on wove paper Size: 25.5 x 31.5 inches Edition: 126/199, plus pro...

French Vintage Exhibition Poster for Yves Brayer (1964). Newly framed, the poster announces an exhibition of the works of Yves Brayer at the Galerie Isy Brachot in Brussels, Belgium....

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

The Wrath of Elihu. 'I Am Young, And Ye Are Very Old, Wherefore I Was Afraid'. 1823-25. Engraving. .Binyon catalog 117 state ii, Bindman catalog 632. Image 7 7/8 x 5 15/16; plate 8 ...

This artwork titled "The Beginning of the end" c.1990 is a color lithograph by noted American artist Charles Bragg, 1931-2017. It is hand signed and numbered 49/300 in pencil by the ...

Salvador Dali - The Laurels of Happiness - Original Signed Engraving Handsigned in pencil and Numbered Edition: F195/195 - Printer: Atelier Rigal. - Paper: Rives vellum ; each etchi...

Artist: Nicola Simbari – Italian (1927-2012) Title: Marco Year: 1978 Medium: Screen Print Image size: 28.5 x 31.75 inches. Sheet size: 35 x 37.5 inches. Signature: Signed lower ri...

They were created as an investigation into the beginnings of the current human social conditions with a focus on materiality and evolutionary information gathered from Paul Shepards ...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

Salvador Dali Le Ciel de Mercure (1960) Heliogravure reworked with drypoint Signed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - F...

Original XXII Gran Premio de Espana vintage poster; artist Michael Turner, size: 26.5" x 38". Year 1975. Archival linen backed original Spanish racing poster. 17th Gran Prix...

Army Of Caine by B A T I K Pop art work featuring multiples of Michael Caine in Get Carter mode - possibly his most iconic movie role. Archival pigment pop art print signed & limi...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

"Grave of Santa Anna's Leg" Original Woodblock Print, Signed Artist's Proof Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a segment of a grave, with a headstone that has a skull and cross. There are two bright green plants flanking the headstone. Below the headstone and plants, there is a large arched blue shape, with a crescent moon and stars. A red leg, bent at the knee, cuts across the blue arch. Signed "Carol Summers" along the right edge of the blue shape. Numbered and titled "A/P Grave of Sant Anna's Leg" along the left edge of the blue shape. Presented in a silver colored aluminum frame. Frame size: 32.245"H x 27.25"W Paper size: 29.75"H x 24.5"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...

French women's fashion design from 'La Revue Paris Mode' a Parisien fashion periodical, illustrated by Bryn Smith. 370mm by 270mm (sheet)

Please be aware that all prints are produced to order. Lead times expected between 15-20 days. Prices may change due to currency fluctuations. Giclée print on Archival Matte Paper ...

Medium: original etching. This classic Villon etching was published in Paris in 1955 by Manuel Bruker in an edition of 200. Plate size 11 x 8 1/2 inches (275 x 218 mm). A nice impres...

Dance hall is a woodcut print realized by Gaspard Maillol (1880-1946). Hand signed by the artist on the lower margin. Edition 19/160. Gaspard Maillol , born on July 10 , 1880 in Ba...

Etching on cream laid paper, 6 7/8 x 10 7/8 inches (175 x 275 mm), thin margins. Some minor surface soiling and paper tape residue in four areas along the top sheet edge, verso, othe...

Les Amants  is a color lithograph on ivory  paper, realized by the Italian artist Umberto Brunelleschi (Montemurlo 1879- Paris 1949).                                                ...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Silkscreen in eleven colors on vélin paper. Paper Size: 12.81 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Hiroshima, 1983. Published by Th...

'Euripide Poeta Tragico' (Euripides, Tragic Poet) Copper-line engraving by Nicola Billy after Giovanni Domenico Campiglia. Plate number top right corner of image. Giovanni Domenico...

Francisco Corzas (Mexico, 1936-1983) 'Nezahualcoyotl - The First Constructor 1', 1975 lithograph on paper Velin Arches 300 g. 25.8 x 19.3 in. (65.5 x 49 cm.) Edition of 200 ID: COZ-2...

Marc Chagall Original Lithograph 1963 Dimensions: 32 x 24 cm Unsigned, as published in "Chagall Lithographe 1957-1962. VOLUME II" Edition of several thousand Condition : Excellent M...

Braunschweig is a beautiful color lithograph on paper, printed by von Led Kempner and published by von Schaffstein and C. Koln, Rhein. This modern artwork represents a urban and historical view of the German city of Braunschweig,in Lower Saxony, Germany, was a powerful and influential center of commerce in medieval Germany...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA VACHE ENRAGÉE" Wittrock P27B, Adhemar 197 Original color lithograph Wittrock’s State III of III with letters Printed on buff wove paper, c. 1896 Bears artist stamp “TL” upper right, dated 96 Image size: 22 1/2” x 23 5/8” Several examples are known where Lautrec drew on work by other artists whom he admired. In this poster there are clear references to Adolphe Willette's humorous themes and rococo style of illustration. Willette was the founder and illustrator of the short-lived monthly “La Vache Enragee”(the angry cow) edited by the cartoonist Adolphe Roedel. This colored poster of the same title was commissioned for the appearance of the magazine March 1896. As a reference to the wretched financial state of most artists, the term “manger de la vache enrage” (meaning roughly, “meaning not having enough to eat”) was adopted as the motto for the “Vachalcade”which was held on Montmarte annually from 1896. This was an artists' procession, with fanfares and allegories on fame and the muses; it also included a furious cow and a troupe of pretty girls as a satire on Europa with the bull. The event was organized by Roedel"(Adriani p.217) Toulouse-Lautrec took up lithography at a high point in its history, when technical advances in color printing and new possibilities for large scale led to a proliferation of posters as well as prints for the new bourgeois collector. In his short career, he created more than three hundred fifty prints and thirty posters, as well as lithographed theater programs...

After Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 147. Published by Aimé Maeght, Éditeur...

"Candy Seller" (飴売りうずまつ 市村羽左衛門) Japanese Woodblock on Rice Paper This piece depicts Ichimura Uzaemon as the Candy Peddler Uzumatsu. He is playing a stringed instrument (the shamisen...

Abstracted figurative print 12 x 22 inch image on 22 x 30 inch Rives BFK paper, unframed Rives BFK paper is made of cotton, has deckled edges and is acid-free Signed lower right T...

Richard Haas Hong Kong, 1990 Etching and Aquatint on wove paper Hand Signed, numbered 26/35 and dated on the front Frame included; held in the original vintage hand made wood frame ...

Chuck Close Uniquely Signed, dedicated and inscribed vintage card, 1988 Thick card Boldly signed, dated, dedicated and inscribed in black ink on the front...

Figurative surreal dypoint print with ink and crayons by Polish artist Leszek Rozga. Artwork depicts several portraits in different styles. There is also a landscape on the bottom pa...

Original poster: Hey Fellows! Your Money Brings this Book We Need When We Want It. Original World War 1 antique military poster created by...

Bruno Bruni Alla ricerca del tempo perduto Year: 1967 Color Lithograph Size: 22.6 x 19.5 in Edition: 15 Signed, numbered and dated in pencil by the artist Bruno Bruni senior is an I...

Artist: Hans Figura (Austrian, 1898-1978) Title: Rothenburg, Germany Year: Circa 1950 Medium: Color etching with aquatint Edition: Unknown Paper: Printed on silk Plate mark ...

This is a hand-colored copper plate engraving entitled "Amaranthus Tricolor", depicting a flowering Amaranthus Tricolor plant from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. Amaranthus tricolor, known as edible amaranth, is a species of flowering plant in the genus Amaranthus. The plant is often cultivated for ornamental and culinary purposes. Cultivars have a striking yellow, red, and green foliage. It is known as Joseph's coat in some areas, after the biblical figure Joseph, who is said to have worn a coat of many colors. Amaranthus tricolor is one of several species of amaranth cultivated in warm regions across the world. This beautiful colorful engraving is printed on thin laid chain-linked paper with very wide margins. There is a short crease in the upper right corner, mild irregularity of the left, right and lower edges and some bleed-through of text from the verso. The print is otherwise in excellent condition with striking hand-coloring. The sheet measures 22.13" high and 17.13" wide. Basilius Besler (1561–1629) was an apothecary and botanist. He was curator of the Willibaldsburg Castle garden of Johann Konrad von Gemmingen, prince bishop...

Cruche aux oiseaux (A.R. 456), 1962 Ed. 142/200 pcs H. 22 cm I H. 8 5/8 in White earthenware clay, decoration in engobes under partial brushed glaze black, white and red patina Numbe...

Salvador Dali - The Winged Demon - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12"....

Color lithograph on Chine volant, 1899. Edition of aproximately 112. Printed by H. Stern, Paris. Published by Pierrefort, Paris. Reference: Wittrock; 308-2nd edition, vol. 2, pg. 6...

Salvador Dali - Don Quixote Overwhelmed - Original Lithograph Joseph FORET, Paris, 1957 PRINTER : Manequin SIGNATURE : plate signed by Dali. LIMITED : Total edition of 233 SIZE : 41...

1925-26. Drypoint. Appleby 114. 8 9/16 x 12 (sheet 12 x 17). Edition 100, #10. An excellent impression with burr, printed with plate tone on the full sheet of 'VGI' laid paper with ...

Sexual Encounter is a beautiful drypoint made by the French painter, illustrator, and writer Amandine Doré in the second half of the 20th century. The st...