Paint Figurative Prints

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

London: Scatcherd & Whitaker, 1784. Etching with hand coloring in watercolor on cream wove paper, 7 1/2 x 10 (190 x 255); sheet 16 1/4 x 22 (414 x 560 mm), full margins. In good cond...

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

Each a lithograph with hand coloring on watermarked Arches wove paper with a deckle edge. Each 16 1/4 x 12 1/4 (412 x 312 mm); sheet 26 x 19 3/4 inches (661 x 502 mm), each with full...

PRICE IS FOR EACH FRAMED PRINT. Hand-coloured mezzotint engravings of decorative urns with aloes and cacti from: ""Phytanthoza Iconographia"", c1739, presented in hand- made, parce...

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

Inside the House is a modern artwork realized by Mario Fattori in 1970s. Mixed colored oil painting Includes frame: 54 x 54 cm Hand signed on the lowe...

Price is for one framed print. Prints sold individually. Hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand-made parcel-gilt, ebonised ...

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

PRICE IS FOR EACH FRAMED ITEM. MORE EXAMPLES AVAILABLE Hand-coloured mezzotint engravings of decorative urns with aloes and cacti from: ""Phytanthoza Iconographia"", c1739, present...

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

Etching with extensive hand coloring in watercolor on white wove paper, 13 3/4 x 10 3/4 inches (347 x 271 mm); sheet 24 x 17 inches (608 x 430 mm), full margins. In good condition wi...

The lithograph, "Blava taula Mexicana" pays homage to the beautiful country of Mexico which Alvar lived for a time in his life. The subject is a poetic mixture of elements drawn from...

Pair of reproductive prints after Jean le Pautre’s engravings after Claude Ballin, 1670s, heightened with gouache and gold, on Fabriano wove paper, a deckle edge at bottom. 22 x 14 3...

Walk So Fast By Thierry Noir Thierry Noir is a French artist best known as one of the first to paint the Berlin Wall, turning it into a vibrant symbol of freedom and expression. H...

I Remain Calm By Thierry Noir Thierry Noir is a French artist best known as one of the first to paint the Berlin Wall, turning it into a vibrant symbol of freedom and expression. ...

Alkyd on cut out steel. Hand signed, titled, dated and numbered on verso by the artist. Edition 11/25 ( there were also 6 artist's proofs). Co-published by the artist and Sidney J...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood 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...

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...

An image that originally appeared in an astrological calendar for the year 1766. Tokyo: Shuei-Sha, 1766. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 in...

hand watercolored drypoint etching on extremely fine Japanese paper, edited in 1969 limited edition of 145 copies water-colored , numbered in lower left corner ea ( artist proof ) si...

Vienna: Chez Artaria. Engraving with hand coloring in watercolor on cream laid Van Gelder Zonen paper with a large heraldic watermark with a fleur-de-lys and a crown, 10 3/4 x 16 1/...

London: 1799. Copperplate stipple engraving with hand coloring in watercolor, 17 1/2 x 10 1/4 inches (445 x 260 mm) (sheet), full margins. In very good condition with some minor, lig...

By François Bellay after Jacques François Joseph Swebach-Desfontaines Voyage en poste; Galerie du Palais Royal Paris: J P Quénot, c1830. Stipple point engraving with extensive hand ...

From, The Progress of a Midshipman, Exemplified in the Career of Master Blockhead 1860 (plate 2) Etching with handcoloring in watercolor on cream wove paper, 1835. 210 x 290 mm; 8 3/...

Mr. Brainwash World Class, 2009 Thirteen color silkscreen on hand stained archival art paper. Individually finished with spray paint and stencil balloon; unique variant Hand signed t...

Knox Martin Alice in Wonderland, ca. 1972 Etching with hand-coloring in watercolor on wove paper Hand signed and annotated "AP" on lower front (a unique variant) Frame included (held...

This is a very rare litograph made by Salvador Aulestia. Only 15 were printed and signed by the artist. Particularly unique is a second partial signature on the upper side of the pap...

Marc Chagall "Samuel Called by God" from the series The Bible, which consists of 105 original etchings. Original hand colored etching 1958 Hand initialed "M.Ch" in pencil Numbered ...

Mussard, Léopold Costume design for a 13th century Arbalétrier. Paris: 1836. Etching with hand coloring in watercolor on cream wove paper, 5 1/2 x 8 9/16 inches (138 x 216 mm), full...

Casein monotype by Santa Barbara artist Olga Higgins depicting 2 young boys playing together. Hangs in its original walnut frame.

Amida, a Deity of Japan; One plate from A new and complete collection of voyages and travels containing all that have been remarkable from the earliest period to the present time Vol...

Les cygnes by Georges Manzana Pissarro (1871-1961) Watercolour monotype 49 x 63 cm (19 ¹/₄ x 24 ³/₄ inches) Signed lower left, manzana Executed circa 1920 Provenance: Private collec...

A Method of Riding as Practised by the Rustics of Japan. One plate from A new and complete collection of voyages and travels containing all that have been remarkable from the earlies...

FAILE - DIAMOND FAILEDOODLE (RED/TAN) Date of creation: 2022 Medium: Acrylic, spray paint, silkscreen ink and glitter on Archival Lenox 100 Edition number: 11/25 Size: 63.50 x 48.25 ...

Two (2) historiated engraved maps, each 11 1/4 x 16 7/16 inches (285 x 418 mm) with handcoloring, on wove paper, the latter engraved by C. Smith after Couché fils, published by Combe...

"Second Course Fish" The Perfect Meal - Menu - Intaglio - Style of Chagall The artwork "Second Course Fish" by Michael Parker, created one of a group show at San Francisco State Uni...

London: Thomas McLean, 1835. Third Edition. Etching with hand coloring in watercolor on cream wove paper, 9 1/2 x 13 3/4 inches (240 x 348 mm), full margins. With light, fresh color....

18th century image of a priest presiding over a traditional Japanese nuptual ceremony. One plate from A new and complete collection of voyages and travels containing all that have b...

Bowles, Thomas III (after John Donowell) John Bowles & Richard Wilkinson, 1751. Steel engraving with extensive hand coloring in watercolor on cream wove paper, 10 1/4 x 16 inches (...

Paul KLEE (after) The Man With Pear Tree Lithograph and stencil (Jacomet process), on canson paper Signed in the board 50 x 38.2 cm (19.6 x 14.9 in) INFORMATION : This lithograph w...

Joseph de Montalegre (after) Aranzo Gigante Verrucoso & Limon di Fior Doppio, 4 prints 1702-1725. Four (4) reproductive prints with handcoloring on thick C.M. Fabriano cotton wove ...

PURE EVIL - RICHARD BURTON'S NIGHTMARE Date of creation: 2020 Medium: Hand finished screen print on paper Edition: 1 Size: 26 x 26 cm Condition: In mint conditions, brand new and nev...

This piece titled "Jake Yeager Untitled 5" is an original artwork by Jake Yeager and is made from spray paint and screenprint. This piece measures 24”h x 18”w. About Space 1026...

A scene from a series of ghost stories and spooky rural legends. Tokyo: Matsuki Heikichi, 1896. Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry pa...

From, The Progress of a Midshipman, Exemplified in the Career of Master Blockhead 1860 (plate 3) London: Thomas McLean, 1835. Etching with handcoloring in watercolor on cream wove pa...

Pierre Auguste RENOIR (after) Shepherdess and lamb Lithograph and stencil (Jacomet process) Printed signature in the plate On paper mounted on vellum 45 x 34 cm (c. 18 x 13 inch) E...

ERTÉ (Romain de Tirtoff) 1892-1990 St. Petersburg 1892-1990 (Russian/French) Title: A Star of Hollywood II Une Etoile de Hollywood II, ca.1920s Technique: Original Hand Signed Gou...

Plastic Jesus is a Los Angeles based street artist that specializes in bold stencil and installation work, inspired by world news events, society, the urban environment, culture and ...

A richly hand-colored image with a counterstrike on the verso. London: Hannah Humphrey, 1804. Etching with hand coloring in watercolor on buff wove paper, 10 1/4 x 15 inches (260 x...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

London: Thomas McLean, 1818. Third Edition. Etching with hand coloring in watercolor on cream wove paper, (published August 1st, 1835), 9 1/2 x 13 3/4 in...

Four 18th Century Optical views "Vue des Rives de la Seine prise du Pont Neuf à Paris" "Vue de la Place de l'Hôtel de Ville et du Phare à Calais" "Vue de Paris prise du Port de la Co...

"Eat Out More Often" - Menu - Intaglio Hand painted Print by Bernadette Emrick The artwork "Eat Out More Often - The Perfect Meal - Menu - by Bernadette Emrick (American, 20th C), ...

Les Tuileries, Paris - Hand Colored Lithograph Delicate hand-colored lithograph of Tuileries Palace in Paris, France printed by Rose-Joseph Lemercier (French, 1803 - 1887). Published, Paris 1843 to 1867 by Hautecoeur Freres (Eugène and Alfred Hautecoeur (French). After Charles Riviere...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

Etching on cream wove paper, 8 1/8 x 9 3/4 inches (205 x 246 mm), full margins. Signed in pencil, lower right margin. One minor printing defect appearing as a slightly folded bottom ...

Paris: c1675. Five engravings: "Une Autre Partie du Palais Villa Mene a Gene" Engraving with hand-coloring, circa 1760-1790, on laid paper, with a Letters watermark (WA....), publis...

In image of the Tokugawa family paying homage to Tosho-gu Shrine in Nikko. Tokyo: Matsuki Heikichi, 1896 Woodcut in ink with embossing and hand-coloring in watercolor on handmade m...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...