Stencil Figurative Prints

Lithograph and stencil on vélin papier a la cuve du Moulin Richard de Bas spécialement filigrané pour cette édition paper. Signed in the plate and unnumbered, as issued. Good conditi...

Amusing original colored lithograph with pouchoir details, representing a father talking to his daughter. Satiric illustration by the French draftsman Frédéric Bouchot (1798- 1865). Plate 12, from the series, Soins Tyranniques, Aubert and C.ie, Paris. Signed on plate, on lower-left margin. With the printed capture on lower margin: "Chère enfant, tu es en âge de te marier, l'agitation de ton ésprit, tes émotions inquiètes et vagues; tout m'annonce que ton coeur s'épanouit..... J'ai fait pour toi...

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 ...

Lithograph and Stencil on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Vins, Fleurs et Flammes, 1956. Published by ...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

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....

Lithograph and stencil on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Le Peseur d'âmes, précédé d'un frontispice et suivi de hui...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Lithograph and stencil on grand Velin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Édouard Pignon, Arbres et Voi...

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 ...

Lithograph and stencil on vélin pur fil paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Varende, Rodin, 1944. Published by Éditions ...

Pablo PICASSO (1881-1973) Diurnes, Forrest Floor, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 40 x 30 cm (c. 15.7 11.2 in) REFERE...

Lithograph and stencil on vélin pur fil paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Varende, Rodin, 1944. Published by Éditions ...

Lithograph on vélin Johannot paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Paris Capitale, 1955; published by Joseph Foret, Editeur d'Art, Paris...

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 and stencil on vélin pur chiffon d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: From the folio, Faunes et Flore d'Antibe...

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...

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...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

Artist: Joan Miro, Spanish (1893 - 1983) Title: L'Ete (Summer) from Verve (Vol. 1, No. 3) Year: 1938 Medium: Color Pochoir on Wove Paper, signed, titled and dated in the plate, verso...

Lithograph and Stencil on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Vins, Fleurs et Flammes, 1956. Published by ...

Paul GAUGUIN (after) Tahitian Ladies Lithograph and Watercolor stencil Printed signature of the Monogram in the plate On thin vellum 47 x 58 cm (c. 19 x 25 inch) Edited by Jacomet ...

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 ...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Lithograph and stencil on vélin papier a la cuve du Moulin Richard de Bas spécialement filigrané pour cette édition paper. Signed in the plate and unnumbered, as issued. Good conditi...

Pablo PICASSO (1881-1973) Diurnes, Human Shadow, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 40 x 30 cm (c. 15.7 x 11.2 in) REFER...

Lithograph and stencil on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Le Peseur d'âmes, précédé d'un frontispice et suivi de hui...

Lithograph and Stencil on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Vins, Fleurs et Flammes, 1956. Published by ...

Lithograph and stencil on vélin pur fil paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Varende, Rodin, 1944. Published by Éditions ...

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 ...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas spécialement filigrané pour cette édition paper. Inscription: signed in the plate and unnumbered, as issued. Good ...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Pochoir. This is one of the artworks in the portfolio 'Le Bonheur du Jour', by George Barbier. Passepartout included : 49 x 34 cm Image Dimensions : 31.5 x 20.5 cm This artwork is s...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas spécialement filigrané pour cette édition paper. Inscription: signed in the plate and unnumbered, as issued. Good ...

Pablo Picasso (1881-1973) - Portrait of Sebastia Junyer-Vidal Pochoir from 1961. The edition: 442/500 written in pencil. Dimensions of work: 53.8 x 41.5 cm Publisher: Au Vent d'A...

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....

This pochoir belongs to the portfolio 'Le Bonheur du Jour', by George Barbier. A very fine work of one of the most important and famous european illustrators of Art Deco, whose infl...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

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, with centerf...

Lithograph and stencil on vélin Chiffon de Mandeure paper. Unsigned, as issued. Good condition. Notes: From the folio, Visages, 1969. Published by Éditions L'étoile Pilante, Paris, a...

Lithograph and stencil on vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon Books, Inc., New York; rendered and printed by Albert Carman, City Island...

Lithograph and stencil on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Pablo Picasso, 1930. Published by Éditions des Chroniques du Jour, P...

Marc CHAGALL Lovers with a Rooster Lithograph and stencil (Jacomet workshop) Printed signature in the plate Numbered /500 On vellum 65 x 54 cm (c. 26 x 21...

Lithograph and stencil on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Le Peseur d'âmes, précédé d'un frontispice et suivi de hui...

Lithograph and stencil on vélin Chiffon de Mandeure paper. Unsigned, as issued. Good condition. Notes: From the folio, Visages, 1969. Published by Éditions L'étoile Pilante, Paris, a...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

Pochoir. This is one of the artworks in the portfolio 'Le Bonheur du Jour', by George Barbier. Passepartout included : 34 x 49 cm

Pablo Picasso (1881-1973) - Motherhood 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. Image siz...

Lithograph and stencil on grand Velin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Édouard Pignon, Arbres et Voi...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Lithograph and stencil on grand Velin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Édouard Pignon, Arbres et Voi...

Composition is an Original Pochoir from "Le Bonheur du Jour" realized by Georges Barbier in 1929. Good condition. The artwork represents the mastery of the artist and his use of ha...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas spécialement filigrané pour cette édition paper. Inscription: signed in the plate and unnumbered, as issued. Good ...

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...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

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 ...