Small Figurative Prints

Original poster: BALLY, a.k.a. Bally Kick and Bally Globe. Artist: Bernard Villemot. Ready to frame. Note that this is the small format version of the poster. Museum linen backed. A poster that is a combination of both art and advertisement. This is one of the last posters that Villemot created. Grade A Condition. The image shows a woman kicking up her heel, while her shadow is that of a man's leg and shoe. The globe in the background shows that Bally is a worldwide company. Add a touch of elegance and nostalgia to your space with this stunning original Bally vintage poster...

La Naissance d’Annette (Birth of Annette) Color llithograph, 1899 Unsigned (as usual) Edition: 100 Publisher: Ambrose Vollard Printer: Auguste Clot, Paris Condition: Excellent with f...

MEDIUM: 18” x 24” Giclée on Moab Entrada Rag Paper, Metallic Gold Spray Paint Stencil and Ballistics Damage (.45 ACP / 5.56m). Hand signed lower front by Tristan Easton This is an e...

Ronnie Scott’s – Soho Rain [2022] limited_edition Etching on paper Edition number 10/150 Image size: H:38 cm x W:25 cm Complete Size of Unframed Work: H...

“Splash” by Fin DAC & Christina Angelina, 2014 Three Screen Print Triptychon – three individual pieces – on archival paper 60 x 60 cm / 23,6 x 23,6 inches each Limited Edition of 10,...

Untitled . Offset Lithograph by Izumi Kato Printed in 2020 for the Exhibition at Perrotin Gallery Paris Sheet size: 58.5 × 39 cm (Framed 63 x 43 cm)

Original Lithograph by Jean Cocteau Title: Jean Monnet's Vision Signed in the stone/printed signature Dimensions: 33 x 46 cm Edition: 200 Luxury print edit...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Good condit...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.69 x 12.8 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

Judith Bledsoe’s astrological series would not be complete without her colorful and inspiring depiction of Scorpio, featuring a knight holding a shield with the sign emblazoned on it...

Artist: Salvador Dali Title: Inferno: Canto 2 Portfolio: The Divine Comedy: Inferno Medium: Woodblock engraving Year: 1963 Edition: 4765 Framed Size: 19 1/4" x 16 3/4" Sheet Size: 13...

"Fashion 2" Black & White Photography 24" x 24" in Ed. 1/15 by Olha Stepanian Printed on Epson Professional Paper Signed and numbered by the artist Not framed. Ships in a tube. ...

Texas Swing Luis Alfonso Jimenez 1940-2006 Stone Lithograph Edition of 50 Artist Proof 24 x 18 inches Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimnez, pp. 1, 3, 6Biography: Luis Jimnez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimnez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Wahini - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yourself in the...

24-color screenprint on Mohawk Superfine UltraWhite 160 lb cover paper. Hand signed, dated and numbered by Kenny Scharf. Edition of 99. Sheet size is 24 inches in diameter. Frame ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Edition2/10 Signed to lower right Ananda Kesler was born in Haifa, Israel. In 2002 she received her BA in Fine Art from the University of Iowa. She has continued her art education ...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 11.65 x 11.81 inches. Inscription: Signed in the plate and unnumbered, as issued....

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

The Shell Game is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 223/275 (there were also 100 Roman and 20 AP). F...

Finely detailed late 19th century chromo-lithograph portrait of a violinist street musician by John George Brown (British, 1831-1913). Many of Brown’s paintings were reproduced in lithography (Chromo-lithograpy), as is the case with the one offered here. Presented in a rustic antique Oak wood frame with giltwood fillet. Image, 15.63"H x 10.63"W. John George Brown was a British citizen and an American painter born in Durham, England. His parents apprenticed him to the career of glass worker at the age of fourteen, in an attempt to dissuade him from pursuing painting. He studied nights at the School of Design in Newcastle-on-Tyne while working as a glass cutter there between 1849 and 1852, and evenings at the Trustees Academy in Edinburgh while working at the Holyrood Glass Works between 1852 ad 1853. After moving to New York City in 1853, he studied with Thomas Seir Cummings at the National Academy of Design where he was elected a National Academician in 1861. Brown was the Academy’s vice-president from 1899 to 1904. Around 1855, he worked for the owner of the Brooklyn Glass Company, and later he married the daughter of his employer. His father-in-law encouraged his artistic abilities, supporting him financially, letting Brown pursue painting full-time. In 1866, he became one of the charter members of the Water-Color Society, of which he was president from 1887 to 1904. Brown became famous for his depictions of street urchins found of the streets of New York (bootblacks, street musicians, posy sellers, newsboys, etc.). Brown’s art is best characterized as British genre painting...

Sundown by Ian Phillips [2022] limited_edition and hand signed by the artist Linocut Edition number 23/28 Image size: H:28.5 cm x W:41 cm Complete Size o...

Paul Wunderlich "Handschuh und Falke" 1981 Original lithograph Hand signed and numbered Edition of 1000 Sheet Size: 23 5/8 x 18.75 inches Image Size: 20 x 16.25 inches

This is an artist proof (one of a kind) aquatint and watercolor depicting a cactus-filled Mexican garden, a mirror tilted up and an image of the artist s...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.56 x 9.17 inches. Inscription: Signed in the plate and unnumbered, as issued. ...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.24 x 7.6 inches. Inscription: Signed in the plate and unnumbered, as issued. N...

Sleep Eat Ride and Biking Adventures Overall mounted size: H 81.5 x W 70.7 Sleep Eat Ride by Katie Edwards Original silkscreen print with hand painted layers on fabriano. This prin...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Twenty hand-signed, numbered, and titled images based on the selected work of Maupsassant. Portfolio containing 20 lithographs based on selected tales by de Maupassant, printed on h...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

For sale is a captivating giclee art print titled "CHARLOTTA, 2017" by the renowned artist Audrey Kawasaki. This limited edition print showcases Kawasaki's distinctive style and meti...

Moses Parts the Red Sea & Receives the Ten Commandments - Leaflet from the 1497 'Pirate' Nuremberg Chronicles The Nuremberg Chronicles were first published in 1493 by Anton Koberg...

Artist: Alexander Calder, American (1898 - 1976) Title: Derrier from Derriere Le Miroir Year: 1968 Medium: Lithograph Size: 15 x 11 in. (38.1 x 27.94 cm) Frame Size: 23 x 19 inches ...

Screen print in colors on Saunders Waterford hi-white paper. Hand signed, dated and numbered by the artist. Edition 51/100 (there was also 20 APs and 5 PPs). Published by KAWSONE, B...

Pink time, 2009 by Takashi Murakami Offset print, numbered and signed by the artist in gold and silver ink 19 11/16 × 19 11/16 in 50 × 50 cm Edition 139/300 Dokuro (literally starv...

"Une Application Utile Du Diamant Magnetiseur-Actualites" is an original lithograph, the second state of three, by Honore Daumier. It depicts a husband and wife pair. Artwork Size: 8 1/2" x 10 3/4" Frame Size: 17 3/4" x 20 1/4" Artist Bio: Daumier was a prolific draftsman who produced over 4000 lithographs, he was perhaps best known for his caricatures of political figures and satires on the behavior of his countrymen, although posthumously the value of his painting has also been recognized. His works offer a commentary on social and political life in France in the 19th century. French caricaturist and painter, born at Marseilles. He showed in his earliest youth an irresistible inclination towards the artistic profession, which his father vainly tried to check by placing him first with a huissier, and subsequently with a bookseller. Having mastered the technique of lithography, Daumier started his artistic career by producing plates for music publishers, and illustrations for advertisements; these were followed by anonymous work for publishers, in which he followed the style of Charlet and displayed considerable enthusiasm for the Napoleonic legend. When, in the reign of Louis-Philippe, Philipon launched the comic journal, La Caricature, Daumier joined its staff, which included such powerful artists as Devéria, Raffet and Grandville, and started upon his pictorial campaign of scathing satire upon the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. His caricature of the king as "Gargantua" led to Daumier's imprisonment for six months at Ste. Pélagie in 1832. The publication of La Caricature was discontinued soon after, but Philipon provided a new field for Daumier's activity when he founded the Charivari. For this journal Daumier produced his famous social caricatures, in which bourgeois society is held up to ridicule in the figure of Robert Macaire, the hero of a then popular melodrama. Another series, "L'Histoire Ancienne", was directed against the pseudoclassicism which held the art of the period in fetters. In 1848 Daumier embarked again on his political campaign, still in the service of Charivari, which he left in 1860 and rejoined in 1864. In spite of his prodigious activity in the field of caricature -- the list of Daumier's lithographed plates compiled in 1904 numbers no fewer than 3958 -- he found time for flight in the higher sphere of painting. Except for the searching truthfulness of his vision and the powerful directness of his brushwork, it would be difficult to recognize the creator of Robert Macaire, of Les Bas bleus, Les Bohémiens de Paris, and the Masques, in the paintings of "Christ and His Apostles" at the Ryks Museum in Amsterdam, or in his "Good Samaritan", "Don Quixote and Sancho Panza", "Christ Mocked...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Dokuro (silver), 2000 by Takashi Murakami Offset print, numbered and signed by the artist in silver ink 19 11/16 × 19 11/16 in 50 × 50 cm Edition 69/300 Dokuro (literally starving ...

La Baie, Double Page du No 132 de Derriere le Miroir Color lithograph, 1962 Unsigned as issued in DLM From: "Derriere le Miroir" (Behind the Miroir) No. 132 Printed by Mourlot, Par...

Artist: Salvador Dali Medium: Woodblock engraving Title: Paradise: Canto 3 Portfolio: The Divine Comedy: Paradise Year: 1963 Edition: 4765 Framed Siz...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Color monotype. Rafael Ferrer depicts the intense life of the Caribbean in his paintings and prints. With hot colors, deep shadows and mysterious relationships among his figures, Fe...

"From: Ilsée, Princess of Tripoli Recto: "Eldenias" Verso: "Hilderich" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee, Princ...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Surf Elements - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yourself...