Medium Figurative Prints

Still Life is an artwork realized in 1976 by the Italian Contemporary artist Leo Guida (1992 - 2017). Original screen print on cardboard Hand-signed on the lower right in pencil ...

Sibilla Sibilla (Sibyl) is an artwork realized by the italian Contemporary artist Leo Guida (1992 - 2017) in 1975s. Black and white etching on paper. Good condition Leo Guida (1...

Man on a tree is an etching realized by Leo Guida, in 1972. Hand-signed and dated on the left lower margin, Leo Guida 72' , Inv. C20 A. 64X48 cm. Good Conditions. Leo Guida w...

John Dixon Scott Stratford-upon-Avon 76 x 51 cm Lithograph Published by the Travel Association of Great Britain and N.Ireland this beautiful photographic image encouraged travel to ...

Crouching Male Nude (Self-Portrait) is a beautiful lithograph from the portfolio " Erotica " by Egon Schiele. It is a reproduction of the homonym black crayon drawing, a self-portrai...

This was from a very small, rare edition. according to the artist it was well under 30. There are no others to be found online. it is a photo of a childs toy or ornament and it combines an image with text. this is of a girl in a sheer nightgown. Gail Rubini (Professor of Art, Design Area) is an artist and designer working in the field of new media and teaching the practice of printing and publishing in interactive media. She has particular interest in collaborative projects in science visualization and public installation work that includes video, flash animations and sound. “Throughout her career Gail Rubini has worked in photography, offset lithographs, artist books, digital prints, and “digital art” including flash animations and web sites. Many of her artist book works and photographs have been collected in the most prestigious museums in the country including the Museum of Modern Art and the Metropolitan Museum in New York. Her work is done as digital prints, as media for web art and installation in the public arena of urban spaces. She has a B.A. in Math and Fine Art (Honors) from University of California at Los Angeles, an M.F.A. in photography and glass art from the Rhode Island School of Design, and an MBA specializing in finance from the University of Illinois at Chicago. At the Center for Media Arts in New York City, she chaired the computer graphics and media arts department. She is an active member of Rhizome Production, Not Reproduction examines the influence of offset printing on the genre of artist's books. The complex printing process of offset lithography was developed in the late 19th century, but only refined as a viable print production process after World War II. This exhibition charts the rise (mid-1950's) and fall (late 1990's) of offset printed artists' books. This show has been organized by Tony White, Head of the Fine Arts Library at Indiana University. Artists include Sally Alatalo, Laurel Beckman, Michael Becotte, Seana Biondilillo, Judith Blumberg, Bill Burke, Bruce Childs, Miles DeCoster, Tom Denlinger, Helen Douglas, Toni Dove, Eugene Feldman, Brad Freeman, Chris George, Conrad Gleber, Michael Goodman, Susan King, Suzanne Lacy, Joan Lyons, Joni Mabe, Cindy Marsh, Scott L. McCarney, Clifton Meador, Rebecca Michaels, Shinro Ohtake, Kevin Osborn, Jo Anne Paschall, Philip Perkis, Kevin Riordan, Dieter Roth, Gail Rubini, Ed Ruscha, Joseph Ruther, Carl Sesto, Patty Smith...

This artwork titled "Amos" 1960 is an original woodcut on paper by noted American artist Leonard Baskin, 1922-2000. It is hand signed, titled and numbered 35/50in pencil by the artis...

A. Tigna Protensa Super Media Epistylia, B. Praecisiones Tigorum Quaqua Versus Extrinsectus Apparentium, C. Opae Extremitates Tigorum Contintes, Fig. I, plate 88 from "Vasi, Candelab...

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

Artist: Omar Rayo, Colombian (1928 - ) Title: Untitled I Year: circa 1970 Medium: Intaglio Etching with Collage on handmade paper, signed in pencil Edition: 50, AP Paper Size: 30 x ...

Etching made on zinc plate on Magnani-Pescia paper 310 gr/m2, paper size 50cm x 70cm, round engraving diameter 31cm hand coloured. Excellent condition, no defects.

Eros and Thanatos is an Etching realized by Sergio Barletta in the Early 1970s. Hand-signed on the lower right in pencil Numbered. Edition of 180 prints. Good conditions.

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Red Spotted Lily from the Stamps Series Year: 1981 Medium: Serigraph, signed and numbered in pencil Edition: 250 Image Siz...

TECHNICAL INFORMATION: Shepard Fairey Chinese Soldiers 2006 Screenprint 24 x 18 in. Edition 235 of 300 Pencil signed and numbered Condition: This wo...

Lithograph on Magnani-Pescia paper. Paper size 60cmx80cm, work size 47cmx68cm. Excellent condition, no defects. Gino Guida - Born in Naples in 1932, died in Zagarolo 2017, He moved ...

Artist: Arman, French (1929 - 2005) Title: Royal Guns Year: 1979 Medium: Serigraph on Arches, signed and numbered in pencil Edition: 150, AP 30 Size: 30 x 22 in. (76.2 x 55.88 cm)

Reuven Rubin, Israeli (1893 - 1974) - VI from Visions of the Bible, Year: 1972, Medium: Lithograph, signed and numbered in pencil, Edition: 83/150, Image Size: 25 x 18 inches, Si...

Artist: Richard Lindner, German/American (1901 - 1978) Title: How it all Began from the "After Noon" Portfolio Year: 1969 Medium: Lithograph on Arches, signed and numbered in pencil ...

Lithograph on Magnani-Pescia paper. Paper size 60cmx80cm, work size 47cmx68cm. Excellent condition, no defects. Gino Guida - Born in Naples in 1932, died in Zagarolo 2017, He moved ...

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff & Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

Figures is a contemporary artwork realized by Emanuele Pandolfini in 1970s. Lithograph on paper. Hand signed and numbered on the lower margin. Edition of XXIII/XXV Includes frame

Vasilios Janopoulos, Greek (1953 - ) - Untitled - Beach Scene, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP 50, Size: 23 in. x 29 in. (58.42 c...

Ciro Quintana (Cuba, 1965) 'Abstraccion de Vereda Tropical', 2016 silkscreen on paper Canson 320 g. 30 x 22.1 in. (76 x 56 cm.) Edition of 50 ID: QUI-301...

Reuven Rubin, Israeli (1893 - 1974) - IV from Visions of the Bible, Year: 1972, Medium: Lithograph, signed and numbered in pencil, Edition: 83/150, Image Size: 25 x 18 inches, Si...

Maryan S Maryan (Pinchas Burstein) (Poland, 1927-1977) 'Autumn', 1975, Lithograph on paper, 25 x 21 in., Edition of 75 Ref: BUR1102-001 Maryan S. Maryan (Pinchas Burstein), a renown...

Original Annual Roll Call vintage poster. Archival linen backed. Original fold marks touched up during linen backing. With the red cross ship sailing on the horizon in this image; the two lost survivors floating on wooden planks out at sea can now be rescued. Saved by the Red Cross. Possibly a different outlook during wartime on the "Loose Lips Sink Ships" Very little information is documented about this artist, E. Seaver. Linen-backed, post-World War 1 Red Cross poster...

Lithograph on Magnani-Pescia paper. Paper size 70cmx50cm, work size 63cmx41cm. Excellent condition, no defects. Pino Lancia - Born in Belgium in 1952, he lives and works in Rome. He...

Leonor Fini - Untitled - Original Handsigned Etching Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Artist: Hans Bellmer, German (1902 - 1975) Title: Les Milles en Feu Year: 1970 Medium: Etching, signed in pencil Image Size: 12 x 15 inches Paper Size: 20 x 26 inches

Peasants is a Lithograph on paper realized by Mijo Kovacic in the 1980s . Hand-signed. Artist's proof. Good conditions. The artwork is depicted through harmonious colors in a wel...

This serigraph was created by contemporary American artist Hunt Slonem. Slonem is best known for his Neo-Expressionist paintings and bright tropical palette, and his subject matter o...

This artwork titled "Bali Princess" variant blue, 1996, is an original color serigraph on thin rice paper taped to a sheet of wove paper for stabilization by noted Chinese artist Ting Shao Kuang...

Artist: Philippe Noyer (1917-1985) Title: The Owl Year: circa 1969 Medium: Lithograph on Arches paper Edition: 102/220, plus proofs Size: 29.75 x 22 inches Condition: Good Inscriptio...

Artist: Pablo Picasso (1881-1973) Title: Le vert Galant Year: 1982 Medium: Lithograph on Arches paper Size: 21.5 x 26.5 inches Edition: 201/1000; 1000, plus proofs Condition: Good In...

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

Bruno Bruni Io Vengo Year: 1969 Serigraph Size: 29.5x24 inches Signed, numbered and dated by hand Edition: 99 Annotated verso Publisher: Il Torcoliere, Rome, Italy Printer: Böer, Ham...

Artist: George Clair Tooker, Jr., American (1920 - 2011) Title: Un Ballo en Maschera Year: 1983 Medium: Color Lithograph, signed and numbered in pencil Edition: 250 Paper Size: 22 x ...

Vintage poster realized by Galleria Rondanini in 1978. Offset print. Excellent condition.

This archival pigment print of Nick Pedersen's photo-illustration "Remnants of Time" is framed, and part of a small edition of 5. The print measures 15.5in x 22in and ships in the p...

Cage Study: Where People Are Crying. 4 colors screen print CMYK process ON Crane Letra's 100% cotton paper edition: 100 20" x 26" signed, numbered and stamped Provenance : COA Galler...

Hand signed, numbered and dated. Edition of 65 prints.  Excellent condition.

Camille HILAIRE Circus : Show of White Horses Original lithograph Handsigned in pencil On Vellum 74 x 53 cm (c. 30 x 21 in) Excellent condition

Landscape is an original etching print realized by an unknown artist and signed "M. Bonechi" in the 20th Century. Hand-signed on the lower right in pencil and numbered on the lower ...

Lowell Nesbitt Orchid, 1979 Silkscreen on wove paper Pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front Published by Charles Cardinale Fine Creations, Inc., with blind stamp on the front 25 × 25 inches Unframed This work is pencil signed, dated and numbered 144/175 by Lowell Nesbitt on the front. About Lowell Nesbitt. Lowell Nesbitt, who was born in Baltimore on Oct. 4, 1933, was a graduate of the Tyler School of Art at Temple University in Philadelphia and also attended the Royal College of Art in London, where he worked in stained glass & etching. In 1964, the Corcoran Gallery or Art in Washington gave him one of his first museum exhibitions, and by the mid 1970's he had decided to leave the museum a bequest of more than $1 million. But in 1989, he publicly revoked the bequest after the Corcoran canceled a disputed exhibition of photographs by Robert Mapplethorpe, who was an old friend. Mr. Nesbitt named the Phillips Collection as a beneficiary instead. He was frequently grouped with the Photo Realists, but his images were more interpretively distorted, somewhat loosely painted and boldly abbreviated. He had many subjects: studio interiors, articles of clothing, piles of shoes and groupings of fruits and vegetables. He also painted his dog, a Rottweiler named Echo, the Neoclassical facades of SoHo's 19th century cast-iron buildings and several of Manhattan's major bridges. Despite such variety, Lowell Nesbitt was best known for gargantuan images or irises, roses, lilies and other flowers, which he often depicted in close up so that their petals seemed to fill the canvas. Dramatic, implicitly sexual and a little ominous, they earned the artist a popularity with the general public that tended to overshadow his reputation within the art world. In 1980, the United States Postal Service issued four stamps based on Mr. Nesbitt's floral paintings. He also served as the official artist for the space flights of Apollo 9...

Edward M. Plunkett, American (1922 - 201?) - Arrival Scene, Year: circa 1979, Medium: Lithograph, signed and dedicated in pencil, Image Size: 14 x 21.5 inches, Size: 19.5 x 26 in...

Camille HILAIRE Circus : The Jugglers Original lithograph Handsigned in pencil On Vellum 74 x 53 cm (c. 30 x 21 in) Excellent condition

An offset lithograph, WWII-Era Pullman Company Poster "Moving Troops and You" in its original frame! Image size: 26 1/2" x 20 1/2". Framed size: 28 1/2" x 22 1/2". The Pullman C...

Malcolm Morley (British, b. 1931) Silkscreen screenprint Title: Marine Sergeant at Valley Forge Hand signed lower right. on BFK Rives paper. Provenance: Estate of Roger Prigent - Mal...

Gibbon Falls, Yellow-Stone National Park  is a chromolithograph from c.1880 showing two fisherman at the base of Gibbon Falls.  This chromolithograph is a dramatic view of the powerful Gibbon waterfall that cascades 84 feet into a small, clear pool. The setting is quintessential Yellowstone, with scrubby pine trees and rocky cliffs. The inscription on the bottom left corner below the image says Scenery From Nature on the Northern Pacific R.R.   Established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872  Yellowstone was the first national park in the U.S. and is widely held to be the first national park in the world. Native Americans have lived in the Yellowstone  region for at least 11,000 years. The Northern Pacific Railroad...

Artist: Arman (1929-2005) Title: Yves Kline Violins Year: 1978 Edition: 102/150, plus proofs Medium: Silkscreen on Arches paper Size: 30 x 22.25 inches Cond...

Red Grooms Nassau Red poster (hand signed in red marker by Red Grooms), 2005 Offset lithograph poster Hand signed by the artist with red marker on the front 32 × 22 inches Unframed T...

Artist: Mark Kostabi, American (1960 - ) Title: Cash Dance Year: 1990 Medium: Serigraph, signed and numbered in pencil Edition: 11/56 Size: 31.75 in. x 31.75 in. (80.65 cm x 80.65 cm)

Juan Alcalde Alonso (Spain, 1918-2020) 'El baile', 1998 silkscreen on paper 21.3 x 28.8 in. (54 x 73 cm.) Edition of 75 ID: ALC1002-006-075 Hand-signed by author Excellent condition ...

Skatedeck print In 1999 BustArt began his artistic career with classic Graffiti. Until 2005, he became familiar with the whole spectrum of Graffiti and reached a new level of identi...

Lithograph/Serigraph. Hand signed and numbered. Edition of 350 prints. From the suite "Alphabet". Excellent condition.

SIX GEISHA WITH FLOWERS is an original hand drawn lithograph on archival Somerset printmaking paper, 100% acid free by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, ...

Hand signed and numbered. Edition of 350 prints. Near perfect conditions. From the suite "Alphabet". Edition 191/350.

Viewers are always curious about this image. I count 20 people seated -- all men. Why? Three of the men are looking over their shoulders toward the back. Are they impatient to see late arrivers? The seating seems to be pew like. Pasternak, like most artists, wants the viewer to bring their own interpretation to the image and is most circumspect to give an explanation. A church, a union hall, a political meeting -- which is it? The mood seems to be one of anxiety rather than celebration. The artist did answer why all men. He says that "he likes to create the tension of the image on the page. Putting women and men together...

Agent X R&S Broke Through (Pop Art, Street Art, Urban Art) Digital Print on Archival Paper Year: 2021 Edition: 125 Size: 30 x 30 in - 78 x 78 cm Signed COA provided (gallery issued)...

Vintag poster realized in occasion of Gino Marotta's Exhibition at Galleria Rondanini in 1982. Limited edition of 1000. Very good condition.