Watercolor Figurative Prints

London: Thomas McLean, 1820. Second Edition. Etching with handcoloring in watercolor on cream wove paper (published 1835), 8 3/8 x 11 1/2 inches (210 x 29 0mm), full margins. Second...

Engraving with hand coloring and heightening in watercolor on two leaves of expertly conjoined handmade laid paper, one leaf with a large watermark a feathered dragon, 7 1/4 x 11 1/4...

Illustrated Plate, from Rues et Visages de Paris is a hand-colored etching and drypoint by Chas Laborde. This original print is hand-colored with tempera and watercolor. In excellent...

Victorian-style drypoint etching by James Dobie (British, 1849-1911), after a painting by Walter Dendy Sadler. Printed in London by J. Brooker & Co. and ha...

A beautiful image of fellowship and esprit de corp with bright handcoloring in watercolor. London: Thomas Mclean, August 1st, 1835. Second Edition. Etching with handcoloring in water...

From, The Progress of a Midshipman, Exemplified in the Career of Master Blockhead 1860 (plate 4) London: Thomas Mclean, 1835. Etching with handcoloring in watercolor on cream wove p...

London: Thomas McLean, 1835. Etching with hand coloring in watercolor on cream wove paper. 6 1/4 x 8 3/8 inches (157 x 210 mm), full margins. Initialed in the plate by Cruikshank, and bearing Frederick Marryat's anchor monniker. A well inked impression of this humorous print...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered in pencil from limited edition of 100 Aquatint etching with the addition of hand watercolor painting ...

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: Thomas Mclean, 1835. Etching with hand coloring in watercolor on cream wove paper. 5 3/8 x 7 3/4 inches (135 x 195 mm), full margins. A lovely well inked impression with fres...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered in pencil from limited edition of 100 Aquatint etching with the addition of hand watercolor painting ...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered in pencil from limited edition of 100 Aquatint etching with the addition of hand watercolor painting ...

To see our other Modern British Art, including others by Hennes, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you...

Lady Rose is an original painting by Lawal Ibrahim. Ibrahim created Lady Rose with a Colored pen, watercolor, and fabrics on 24W by 36H inches of paper. "Lady Rose" is a captivating...

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

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

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...

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...

Sedans used by the Japanese Ladies of Quality; One plate from Drake's Voyages London: circa 1860. Engraving with hand coloring in watercolor on cream laid paper; 7 1/2 x 10 3/4 inch...

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...

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...

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...

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,...

Laura Jordan art works are available to buy online or in our contemporary art gallery in Oxfordshire. We offer Laura Jordan original artworks and limited ed...

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...

In Acts 2:3 of the Bible, flaming tongues lap at the disciples, conferring upon them the ability to speak languages not their own. These fiery tongues have signified the power of speech, persuasion, and the ability to preach to the masses. Ingrid Bachmann’s tongues in Pinocchio’s Dilemma are glossy as if sugarcoated and boiled into hard candies—a crystallization process. They are the only of her works that people have tried to lick. Alternately seductive and repulsive, they wag mechanically at eye-level, emitting a small wind-up machine language of their own. The tongue gives the impression an attempt to tell, a revealing of secrets. On the opposing side of the room, a rod extends slowly from a hole in the wall, inching out, then back in. Pinocchio’s nose is an instantly recognizable stand-in for lies, liars, fakes. Pinocchio originated as the protagonist of a 19th-century children’s book by the Italian writer Carlo Collodi, and was most famously adapted by The Walt Disney Company. The pre-Disney Pinocchio is unruly, violent and mischievous; his story was originally intended to be a tragedy in which the marionette is hung from an oak tree branch by his enemies. Angry Work contains a latent violence—that which is found in childhood games, stories, myths, novels, and in the tools of the everyday. Two 14-foot-long knitting needles—domestic weaponry—lean as dead as stones, cool and silent, against the wall. These weighted objects commune with three bronze tongues, pre-vocalizations, embalmed. Bronze is a silent material. Two drawings invoke Cassandra, who was promised the gift of prophecy by Apollo. When Apollo appeared to her, she refused his sexual advances. In some iterations of the story, Apollo appeared as a wolf surrounded by mice and spat on her tongue. She awoke with a taste on her tongue. Maybe metallic, maybe red. She had been granted the gift of prophecy, with one condition: no one would believe her. This burdened us with one of the earliest models of hysteria—speaking in tongues, speaking marred truths. Bachmann maintains that Angry Work is not limited to women’s anger, or to personal anger. It’s about generalized anger. “The red world And corresponding red breezes.” [1] A cloud of anger, hints of red. An amorphous unknown. “The Airborne Toxic Event” [2] that encapsulates truth, lies, histories repeated, struggle, strife, shock, grappling and anger, anger, anger. I am told that The Angry Machine weighs 400 pounds and emits a mechanized hum. It will be fenced in, for the protection of both viewers and itself. It will not perform on demand, but at scheduled intervals, only occasionally. It has a projectile that is red. Red is the memory of a children’s game, trying to avoid hitting yourself, to avoid the smack of something against your skin. Red is interiority: the tongue, cheeks, throat and kisses. One can “see red” in a fit of rage. Red is blood, and red is romance — “roses being burned alive.” [3] [1] Anne Carson...

Flowers is an original artwork realized by the Italian artist Luigi Bartolini (1892-1963) in the half of 20th Century Etching and watercolor. Hand-signed in pencil on the lower mar...

Image dimensions: 10 x 14.5 cm. Tesoreria d'Atrée is a hand-colored lithograph on paper, representing the Treasure of Atreus, sometimes called Tomb of Agamemnon, the impressive tholos tomb located in Mycenae, Greece (on the hill called Panagitsa) and built around 1250 BC., discovered by the archaeologist Heinrich Schliemann...

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...

Decorative lithographic print of marine life Title "Univalvi" depicting shells of 14 species of mollusks, reproduction of engraving of sea shells by Nicolas Martinet.

General Sir Eire Coote is an original print realized in 1816 ca. Original mixed colored hand watercolored lithograph . Title printed on plate on the lower margin. Published by Ric...

Bassorilievo del Sarcofago Romano nel Duomo di PIsa, 1880s is an original hand-watercolored etching on ivory-colorated paper by Anonymous Italian Artist of XIX Century. In excellent...

Yes You Can Can (Splats Edition) by Amy Gardner [2020] limited_edition Screen Print, Watercolour Edition number 40 Image size: H:50 cm x W:50 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Only AP works left in this edition. This print is about women supporting women. 'YES YOU CAN CAN' splats edition limited edition of 40 Archival Bread & Butter bright white paper 270gsm 50x 50cms 5 screen...

Merenda in campagna is an original artwork realized by the Italian artist Luigi Bartolini (1892-1963) in 1943. Etching and watercolor. Hand-signed, and dated in pencil on the lower...

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...

"Hyde Park on Sunday" - Hand Colored Etching from "Old and New London" Detailed etching of a typical Sunday in Hyde Park around 1800 after an etching by Ed...

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...

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...

Image dimensions: 26.2 x 34 cm. Il Gran Diavolo Distributore dell'Oro (The Great Devil Distributor of Gold) is a beautiful hand-watercolored etching, realized by an anonymous Italia...

A bemused elephant performs for an audience of birds and monkeys who seem unimpressed in this slightly surreeal image. The animal presence is in Seyedin's work provides an allegorical representation for mankind. Marjan has a contemporary and poetic reinterpretation of classical engraving techniques, mostly etching, aquatint and drypoint. Medium: Etching, aquatint and roulette with gouache Year: 2024 Edition: unique Image Size:  12 x 15.75 inches Marjan's work was awarded the 2007 Grav'x prize in Paris, as well as the 2010 Pierre Cardin prize of the Academy of Fine Arts. She has also taken part in several solo and group exhibitions in France, Iran and the United States. After a solo exhibition in 2017 at the Shirin Gallery, Tehran (Iran), Marjan Seyedin...

Albert Einstein portrait, "A L E", a color collotype print, watercolor by Lilya Vorobey (American, 20th C). Unsigned. From a collection of her works. On mat board. Image, 9.75"H x 7....

Untitled is a beautiful original watercolor on cardboard, realized by the Italian artist Giovanni Omiccioli (Rome, 1901-1975) in 1970. Signed and dated in pencil. A delicate lands...

Hand-coloured mezzotint engravings of decorative urns with aloes and cacti from: ""Phytanthoza Iconographia"", c1739, presented in hand- made, parcel-gilt, ebonised and decalcomania...

Les Métamorphoses du Jour is an original modern rare book written by Various Authors and illustrated by Jean Jacques Grandville (Nancy, 1803 – ...

LESZEK RÓZGA (1924-2015). He studied painting at Maria Skarbek-Kruszewska private atelier in 1945-46. In 1948, he began studies at the art school in Łódź (later: Academy of Fine Art...

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...

Adieu! is an original watercolored etching realized in the first quarter of the 19th century by the French artist Philibert-Louis Debucourt (1755 – 1832). The artwork is the pla...

Carriages is an original drawing in pencil and watercolor, realized by an anonymous artist of the XIX century. Monogrammed "FB". Sheet Dimension: 21.5 x 26 cm Passepartout includ...

18th-century celestial FLAMSTEED, John. Eridanus Orion Lepus London, C. Nourse, 1753. A fine star chart from the Atlas Coelestis, the largest and most accurate star atlas publish...

"Portrait of Giuseppe Garibaldi in front of the Sea" is an original mixed media (pencil, white lead) and gouache drawing on ivory-colorated cardboard by Anonymous Artist of XIX Century, perhaps Alessandro Sani...

Chéri tu es vraiment mon homme! is an amusing lithograph made by the French painter, illustrator and writer Amandine Doré in the second half of the 20th ...

'Jane' in pink and dark blue. Monotype EV with mixed media hand coloring including ink, gouache, pencils. Ed 1/4. Kim Frohsin, who is often associated with the Bay Area Figurative m...

Women is an original Etching Hand Watercoloured realized by Luigi Bartolini in mid-20th Century. Good condition included a white and yellow cardboard passpartout (30x24 cm). Dated and hand signed with pencil by the artist on the lower margin. Luigi Bartolini (8 February 1892 – 16 May 1963) was an Italian painter, writer, and poet. He is most well known for his novel, Bicycle Thieves...

Bold woodblock print by Byron Randall (American, 1918-1999). Titled "Schooner + Doryman", numbered "1st ed.", and signed and dated "Byron Randall '62" along the bottom edge. Small am...

Boulevard du Temple, Paris, France - Hand Colored Lithograph Detailed lithograph of a Paris street scene by Louis Valentin Emile de La Tramblais (French, 1821-1892). This piece is f...

"For Each That You Take" - Etching on Paper Abstract expressionist etching depicting a human-like tree as the focal point, with a figure sittin...

Nude is an original watercolor drawing on ivory-colored paper realized by Anonymous Artist of the early 20th Century. The state of preservation of the artwork is good. The artwork...

Tomb of Caecilia Metella is an original etching, hand-colored on paper realized by an Anonymous artist of the XIX century, the state of artwork is good with some foxing on the upper ...