Paint Figurative Prints

This is a very rare opportunity to get a masterwork at an affordable price. Original lithograph by Salvador Aulestia executed in 99 copies H.C. (out of commerce) numbered and signed...

ORIGINAL MIXED MEDIA ON ARTBOARD 40 x 40 inches - Original mixed media signed by the artist. Craig Alan is a Pop Surrealist, internationally recognized for his ingenious portraits o...

JIM DINE Singing and Printing XIII. Unique color woodblock relief print with hand coloring in oil, acrylic, and charcoal and mechanical abrasion on cream wove paper, 2001. 69 3/4 x ...

Lonely dreamers 1992. Paper, etching, watercolor, 22x14 cm. Roman Lapp (1961. 24. VII Moscow) – painter Artist learned drawing to M. Zuhovickis. He graduated Art Academy of Latvia,...

This work is a secondary continuation to my "Vanilla Extract" series (2002 - ongoing) which examines the practice of racial positioning in contemporary print media.

Mastry 2017 Exhibition Banner Actual Banner Prominently Displayed in Downtown LA Throughout a career spanning four decades, Kerry James Marshall has continuously interrogated and addressed the omission of black individuals from the Western art-historical canon. Across painting and a variety of different media, his complex and multilayered portrayals synthesize disparate genres, while seeking to counter stereotypical representations. As Lanka Tattersall notes, "Marshall's determination to mark the historical absence of black bodies in the Western canon of painting and his emphatic, programmatic insertion of blackness into the field of art are carried through the literal matter—the pigments—of his paintings."1 Marshall was born in 1955 in Birmingham, Alabama. He studied at the Otis Art Institute in Los Angeles, earning his B.F.A. in 1978 and an honorary doctorate in 1999. In 2014, Marshall joined David Zwirner...

Hand-painted original on paper with spray paint - on Mirri - STARDUST - SILVER (holographic paper) - 220gsm - (50 x 50 cm) - edition of 2 -Signed and comes with COA

Artist: Dan May (American, 1955-) Title: "Energizer Bunny's Birthday" *Signed by May in pencil lower left Year: 1996 Medium: Original Monoprint on unbranded heavy white wove paper Li...

Katy Kidd’s work is a bold and honest reflection of a world that doesn’t make sense. Through painting, prints, collage, and street art, she explores big questions about religion, pow...

Sonar Love 2023 Archival pigment print 30 x 24 inches edition of 20 Skasi’s work arises from the belief that we inhabit the final romantic era before humanity's inevitable expansion...

Gary John has been a street artist since 1985, originally from Seattle Washington, then moving to Venice Beach selling his art on the boardwalk for 10 years before exploding onto the...

The Dance is a drawing in ink and watercolor on paper realized in the mid-20th century by George Martin. The state of preservation is good. The artwork represents the dancing figur...

BELA KADAR 1877-1956 Budapest 1877-1956 (Hungarian) Title: The Family, circa 1930's Technique: Original Signed Tempera on paper Image size: 90 x 71.5 cm / 35.4 x 28.2 in Additional Information: The work is hand signed "Kadar Bela...

Handcolored by pochoir master Jean Saude and illustrated by Manuel Orazi and Leon Rudincki. Has 6 full page illustrations and 4 vignettes.

Hand pulled screen print, hand paint and torn painted paper on 2 inch cradled gesso board. Hand signed on verso by POSE. Edition of 9. Each is unique. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered. About the artist: Pose (Jordan Nickel...

The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime. 9.25 x 12.5 inches, artwork 18.38 x 22 inches, frame Entitled bottom center "Partridge Shooting...

Circus tent with a bemused elephant balancing precariously on ball with audience of birds. In her works, the animal presence is essential and provides an allegorical representation f...

"Reflecting Thoughts About Remembering" - Monoprint on Paper Sepia colored monoprint of a male figure "reflecting and remembering." A nude male figure sits with his head facing down...

This particular Madonna is a symbolic version of the subject that is recurring in various periods of the Salvador Aulestia's artistic path. Inspire at the Madonna dell'acquanera (Th...

TECHNIQUE PHOTO-PAINTING The technique used was defined as PHOTO-PAINTING by the art critic Silvia Pegoraro of Ravenna Italy and was my invention in 1994. In fact, since 1964 I had b...

Risk "1911'' Print 13x19 Inches - Gicleé on Coventry Rag Archival Paper - Hand Spray Painted Color Drip. Signed and Numbered. Printers Proof edition of 20. Three Color Versions. Ema...

ABOUT THE PAINTING 40" X 28" Monoprint In this enchanting morning scene, the essence of love and connection amidst the beauty of nature is captured skillfully. The backdrop reveals a...

The present unique collagraph is an excellent example of Joseph Rozman's pictographic style. The composition is organized like a tiled floor, each square containing an abstracted ima...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

JACEK SOWICKI (born in 1948) He studied at the Academy of Fine Arts in Cracow and graduated from the Academy Of Fine Arts in Warsaw in 1973. In 1984-89 he run the graphics atelier at...

Artist: Yan Macs (Latvian, 1933 - 1993) Size: 8 x 13 in. Framed: 17.5 x 22 in. Mixed media: found lithographs and blue paint. This triptych, titled "St. George Contemplating a Mous...

Ben-Zion. MAN PLAYING LYRE. Oil on canvas, not dated. Signed. 17 x 8 inches. In very good condition. A powerful, expressionistic image. Born Ben-Zion Weinman in Ukraine, 1897, ...

The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly. 16 x 11 inches, artwork 22.5 x 18.25 inches, frame Entitled bottom center Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y." Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249 Framed to conservation standards using 100 percent rag matting, housed in a lemon gold moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Albert Einstein portrait, "A E", a black and white collotype print by Lilya Vorobey (American, 21st C). Unsigned. From a collection of her works. On mat board. Image, 9.75"H x 7.75"W...

Albert Einstein silhouetted portrait, a collotype print, watercolor by Lilya Vorobey (American, 21st C). Unsigned. From a collection of her works. Image, 9.75"H x 5.88"W. Full Sheet...

Etruscan Tavern is an original artwork realized by the Italian artist Luigi Bartolini (1892-1963) in 1955 Etching and watercolor. Hand-signed, titled and numbered ( 2/50 ) in penci...

Sketch is an original artwork realized in 1972 by the italian Contemporary artist Leo Guida (1992 - 2017). Original pencil drawing on ivory-colored paper. Hand-signed and dated ...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

The Scream is an original artwork realized in the 1970s by the Italian Contemporary artist Leo Guida (1992 - 2017). Original watercolor drawing. Good conditions. Leo Guida (199...

Emperor of Austria is an original print realized in 1816 ca. Original mixed colored hand water-colored lithograph . Title printed on plate on the lower margin. Published by Richar...

Prince of Sweeden is an original print realized in 1816 ca. Original mixed colored hand watercolored lithograph . Title printed on plate on the lower margin. Published by Richard ...

Figure is an original watercolor drawing realized by Lippy Lipshitz in 1960s. The little picture is in very good conditions, with an inscription on the back of the ivory cardboard. LIPPY LIPSHITZ (Russia, 1903 – Israel, 1980) Along with, M. Kottler and Anton van Wouw...

Les Métamorphoses du Jour is an original Modern Artwork realized in the 1830s by the French artist Grandville. Original Lithograph hand watercolored...

Costume of a Finnish Girl in 1768 is an original hand-watercolored etching on ivory paper realized by Jean-Baptiste Le Prince in the late 18th Century. In excellent conditions: As ...

"Pompei" is an original hand-water-colored etching on ivory paper by Castelli. Signed on the lower right. in good conditons except for diffused stains and the trace of humidity th...

I Moccoletti is a pleasant etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The artwork is unsigned, but it is part of the 20 plates engraved in...

Piazza del Popolo is a beautiful etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work, which presents a remarkable quality of strokes and b...

Piazza del Popolo is a beautiful etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work, which presents a remarkable quality of strokes and b...

Horse Race (original title: "La Corsa dei Cavalli") is a beautiful etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work, which presents a r...

"Porcelain Lamps" is an original watercolor drawing on ivory-colorated paper by realized in 1880ca. Anonymous Artist of XIX Century. In very good conditions, with some diffused foxi...

Life of the Virgin is an original reproduction water-colored of an original woodcut print realized by Albrecht Dürer (Nuremberg, May 21, 1471 - Nuremberg, April 6, 1528) Berlin Muse...

Nude Woman is an original mixed media on cardboard artwork by Leo Guida in the XX century. The state of preservation is good except for some foxings. Sheet dimension: 35 x 50 ONn...

This is a limited edition (21" x 29”) archival pigment print, of an original watercolor and graphite piece, with hand embellished details on print by LA based artist. Hand painted wa...

Shepherds is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, the state of artwork is excellent. Image dimension: 12.5x17 cm. Includi...

The Kidnapping is an original ink and watercolor drawing realized in the XIX century by an anonymous artist. Good conditions. This drawing represents a kidnapping scene: a dressed ...

Limited edition of 99 prints, only a few of which hand watercolored like this one. Hand signed and numbered by the Artist. Very Good conditions. Alberti Rafael (El Puerto de Santa...

Il Corso is a beautiful etching and hand-colored gouache, finely engraved on copper and printed on laid paper. The work, which presents a remarkable quality of strokes and brilliant ...

Roman Fountains is a lot of two hand-watercolored lithographs realized by an Italian artist of the XIX century later watercolored, and representing the beautiful Trevi Fountain and t...

Roman Columns is a lot of two hand-watercolored lithographs realized by an Italian artist of the XIX century later watercolored, and representing the beautiful historiated columns wi...

La vision de l'ange is an original pencil pastel and watercolor on paper by Emile Deschler. Dated on the lower right. Very good conditions. Emile Deschler (France, 1910 - 1991) was ...

"Coda" by artist Raphael Mazzucco. Archival print of nude woman floating in water with oil paint and mixed media encased in beautifully aged resin in...

"Royalty Greeting Townspeople" is a Persian tempera diptych from the Late 19th century. It includes multiple figures in red and blue interacting in a f...

ALLIER, Paul. Les Quatre Saisons. Estampes par Paul Alier. Folio. 11 x 14" Four lovely pochoir designs of the Four Seasons [Automme, L'Hiver, L...

In this lithograph we can find several fundamental stylistic points of the work of the maestro Salvador Aulestia. The subject of the Christ is presented in figure, but accompanied by...

Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised and decalcomania frames. Johann Weinmann (1683-1741), a G...