Small Figurative Prints

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...

Lithograph and stencil with gouache and pastel inks on vélin de Rives paper, archivally hinged on vélin de Rives backing sheet, as issued. Inscription: signed in the plate and unnumb...

The French Trench is an artwork realized by Auguste Raffet (1804-1860) in the 1860s. Belongs to the series "Souvenir d'Italie - Expédition de Rome". Lithograph, signed and dated by...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

This piece titled "Mariposa II (Hand-Embellished "Cristina" Print)" is a hand-embellished* print by Sean Lugo printed on archival paper. The print depicts a portrait of South Philly Barbacoa Owner Cristina Martinez...

Composition is an original etching realized by Leo Guida in 1970s. Good condition. Mounted on a white cardboard passpartout (50x35). Not signed and not dated. Leo Guida (1992 - ...

In medieval universities, the trivium comprised the three subjects that were taught first: grammar, logic, and rhetoric. The word is a Latin term meaning "the three ways" or "the thr...

Buddies - 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 th...

Gail Norfleet earned her BFA at The University of Texas at Austin, and her MFA at Southern Methodist University in Dallas. Among others, she has had solo exhibitions in Dallas at The...

Aaron Bohrod City Park, Winter, circa 1945 Signed in pencil lower right margin Lithograph on wove paper Image 9 1/2 x 13 1/2 inches From the edition of 250 Aaron Bohrod's work has ...

Untitled is an original modern artwork realized by Bernard Buffet in 1961. Mixed colored lithograph. Hand signed, numbered and dated. Very good condition.

ARMAN Fernandez Violin profile Drypoint etching 1979 Arches vellum 23 x 15" Field Arman catalog raisonne of prints - Otmezguine / Moreau #248h This etching was published in "Le Trait...

Manet is an Original Vintage Poster realized for an exhibition of works by Edouard Manet in 1932 at the Muséè de L'Orangerie from June to September. The poster is an Offset and Lithograph printed by Mourlot Paris. Good condition on a cream colored paper. Édouard Manet 23 January 1832 – 30 April 1883) was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism. Born into an upper-class household with strong political connections, Manet rejected the naval career originally envisioned for him; he became engrossed in the world of painting. His early masterworks, The Luncheon...

Contemporary figurative nude monotype print by Belarussian artist, Siergiej Timochow. Print depicts a woman laying with music notes in the background. The composition is monochromati...

Hand signed and numbered. Third state, edition of 10 plus some artist proofs, signed. Hand signed and numbered in pencil. Very good condition. Reference Catalogue Raisonné: "George...

Georges Rohner ( French, 1913-2000)was a Paris born painter and printmaker of international repute. Known stylistically as a realist, his creative endeavors often edged toward surre...

Judy Rifka "Thou Shalt Not Bear False Witness Against Thy Neighbor" (The Ninth Commandment), 1987 6 Color Lithograph on Dieu Donne Handmade Paper 24 × 18 inches Edition Artist's Proof 2/15, aside from the regular edition of 84 Signed and numbered in graphite on the front Unframed This work was created as part of the 1987 portfolio "The Ten Commandments", in which ten top Jewish American artists were each invited to choose an Old Testament commandment to interpret in contemporary lithographic form. The "Chosen" artists were, in order of Commandment: Kenny Scharf, Joseph Nechvatal, Gretchen Bender...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...

Lithograph realized after Fernand Léger in 1959, on Moulin Richard de Bas paper. Monogrammed in the plate. It belongs to the suite "Contrastes", printed by Daniel Jacomet and publi...

Ancient Roman Fresco from "Antiquities of Herculaneum" is an etching on paper realized by Nicola Vanni in the 18th Century. Signed on the plate. Good conditions and aged. The etch...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

Rural Landscape is a vintage offset print, reproducing the original watercolor by Giorgio Morandi. Signature and date by the artist is perfectly reproduced on plate. Image Dimension...

German Aircraft Original vintage poster Lithograph 57 x 45 cm This original vintage poster, published in 1941, depicts a series of German aircraft, including the fighter plane He...

Jimi Hendrix - From the suite of 3 silkscreens, blue, red + silver - hand pulled by the artist Paper size: 28 x 28" Image size: 24 x 24" Number of colors: 3 Paper: Coventry 320gm wt. Edition number + studio (Modern Multiples) chop: Lower left Artist's signature + chop: Lower right The Edition: (Blue, Silver + Red): 120 total; 40 each color Artist Proofs: 9 (3 each) Printer Proofs: 9 (3 each) Publisher proofs: 9 (3 of each) NOTE: full suite is available at discount John Van Hamersveld (born September 1, 1941) is an American graphic artist and illustrator who designed record jackets for pop and psychedelic bands from the 1960s onward. Among the 300 albums[3] are the covers of Magical Mystery Tour by the Beatles, Crown of Creation by Jefferson Airplane, Exile on Main Street by the Rolling Stones, and Hotter Than Hell by Kiss. His first major assignment, in 1963, was designing the poster for the surf film The Endless Summer, after which he served as Capitol Records' head of design from 1965 to 1968. During that time, he worked on the artwork for albums by Capitol artists such as the Beatles and the Beach Boys.[5] He also oversaw the design of the psychedelic posters for the Pinnacle Shrine exposition.[6] The Endless Summer The Endless Summer (John Van Hamersveld illustration) In 1963, Van Hamersveld was hired by director and filmmaker Bruce Brown to design the iconic Endless Summer movie poster using a photograph taken by Bob Bagley, general manager and camera man for Bruce Brown Films. In the staged photograph originally taken at Salt Creek, Brown is positioned in the foreground with his surfboard on his head and the movie's two stars, Robert August...

Rue St.Yves à Rennes is a black and white etching realized by Francisque Coué in 1870s. Titled in the lower. Image size 20cmx29cm. Very Good condition. Signed in the plate in the...

Le Repos is a black and White etching realized by F. Roybet in the 1860s.  Titled in the lower. Image size: 23x32. Very good impression with wide margins and a very fresh inking. ...

Figure is a phototype print reproducing drawing by Renzo Vespignani of the 1960s Signed on the plate lower right. The artwork is depicted through strong strokes and perfect hatchings.

The Hallelelujah Portfolio by Ben Shahn Illustrating the 150th Psalm from the Old Testament of the Holy Bible. Including an introduction by Bernarda Bryson Shahn and with a letter f...

A 1923 lithograph on paper by George Bellows, titled The Garden of Growth, from the “Men Like Gods” Series. Artwork size: 18" x 14 1/2". Archivally matted to 23 3/4" x 17 3/4". ...

Donald Shaw MacLaughlan Chicago : Animated Avenue, c. 1931 Original etching Printed signature in the plate On vellum 38 x 50 cm (c. 15 x 20 in) Very good condition, light defects a...

Lithograph on Sicar paper 310 gr/m2, paper size 35cm x 50cm, work size 24cm x 38cm. Excellent condition, no defects. Cynthia Segato was born in Rome in 1958. She graduated in Astron...

The graphic is already framed. About Andrzej Juchniewicz - 1967–1972 Secondary School of Fine Arts in Gdynia-Orłowo. 1978–1983 studies at the Acad...

Antonio Lopez Garcia (Spain, 1936) 'Rosas de invierno', 2021 etching, lithograph on paper Rives BFK 300 g. 23.1 x 17.8 in. (58.5 x 45 cm.) Edition of 75 U...

The three dancers is a woodcut print realized by Raphaël Maurice (1884 - 1972) in 1920s Hand-signed and numbered, edition of 160 prints. Good conditions.

Pablo Picasso (1881-1973) - Le Poete Decadent Pochoir from 1961. The edition: 442/500 written in pencil. Dimensions of work: 53.8 x 41.5 cm Publisher: Au Vent d'Arles, Paris. Im...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

Robert Riggs, 'Psychopathic Ward', 2-color lithograph, c. 1940, edition c. 50, Beall 60, Bassham 78. Signed, titled, and numbered '14' in pencil. Signed in the stone, lower right. A ...

Une Etoile est Nee or ‘A Star is Born’. This poster is Belgian. Original 1954 Belgian movie poster art is some of the best. Original Belgian Releas...

This etching with aquatint was created by French printmaker Manuel Robbe. Robbe’s innovative techniques, along with his sense of color harmony and his choice of subjects: stylish wom...

Lithograph and stencil on vélin papier a la cuve du moulin richard de bas specialement filigrané pour cette édition paper. Inscription: signed in the plate and unnumbered, as issued....

Shan Fannin's (US based) "1990 Ferrari Testarossa" is an limited edition giclée print that depicts a 1990 Ferrari Testarossa. Born 1969 in Californ...

Chinese augural prints art edition Menarini Florence 1982. Linked to Chinese folk customs and daily life, the prints are popular ornaments for Lunar New Year decorations and express ...

Artist: Pablo Picasso Title: Cinesias et Sa Famille Medium: Original etching Portfolio: Lysistrata Year: 1934 Edition: 1500 Signature: No (signed and numbered on the justification pa...

Medium : Hand Coloured Photopolymer Gravure with Chine Colle, on archival Fine Art paper. Artist : Suzanne Moxhay Subject / Title : Candle (Title). A photographic process of complex...

This color pochoir was done in 1925 on Arches paper No. 738/750. It depicts a mother and her child underneath a tree with doves flying around them. Archivally framed with 23k gold; ...

Braun G., Hogenberg F., Buda, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617. Very fine B/W aquatint showing a view of Buda, an actual part of Budap...

This artwork titled 'Winter Tracery (Milford Connecticut)" is an original drypoint etching by noted American artist Philip Kappel, 1901-1981. It is hand signed and titled in pencil by the artist. The plate mark (Image) size is 9 x 12 inches, framed size is 17.25 x 21.25 inches. Custom framed in a wooden light grey frame, with light grey matting and black color fillet. It is in excellent condition. About the artist: Philip Kappel — painter, illustrator, printer, writer, and lecturer — was born on February 10, 1901 in Hartford, CT and died in 1981. Kappel is best remembered for his landscapes, portraits, figures, marine, lithography, and etching. He held a teaching position with H. B. Snell, Boothbay, ME Studios, 1923 and 1924. His addresses in 1929 were 500 Fifth Avenue in New York City and, for the summer, care of Philip Little, 10 Chestnut Street, Salem, MA; and in 1935, Sarasota, FL. Kappel was a pupil of the Pratt Institute Art School in Brooklyn, NY and Philip Little (1857-1942) and held memberships with the North Shore Artists Association in Gloucester, MA; the Marblehead...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

Alain BONNEFOIT The Feast, 1975 Original lithograph Handsigned in pencil Numbered / 100 On vellum 38 x 55 cm (c. 15 x 22 inch) Excellent condition

This beautiful artwork is hand-signed. It comes from the Portfolio "Petit Traité de Morale", Paris, Editions Georges Visat, 1968. Copy on Velin d'Arches. Includes matting. Hans Bel...

Fuite Des Arabes De Constantine is a Lithograph realized by Auguste Raffet in 1837. Signed in the plate. Good condition with foxing.

This piece titled "Jake Yeager Untitled 11" is an original artwork by Jake Yeager and is made from spray paint and screenprint. This piece measures 24”h x 18”w. Founded in 1997 at 1...

Reve de Cirque (Circus Dream) Color lithograph, 1966 Unsigned (as issued) Pubished in XXe Siecle, Paris, Volume XXVI Publisher: Gualtieri di San Lazzaro (1904-1974). Printer: Mourlo...

L' étang neuf près de Creys is a black and white etching realized by Adolphe Appian (1818 –1898) in 1870s. Titled in the lower. Image size: 26.5cmx14cm. Very Good condition. Sign...

This piece titled "Justine Kelley Untitled 1" is an original artwork by Justine Kelley made from silkscreen printing on paper This piece measures 22.75”h x 12.5”w. Justine Kelley is...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas paper, spécialement filigrané pour cette édition. Unsigned and unnumbered, as issued. Good condition. Notes: From ...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Dent Prompte, Dix poèmes inédits illustrés par Max Ernst, ...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré à Valeri...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From volume, Derrière le miroir, N° 186, 1970. Publishe...