20th Century Figurative Prints

Artist: Alexandra Nechita Title: Soft Velvet Cat Year: 1998 Lithograph on Arches Archival Paper    Size; 35½'' x 23½'' inches Edition: Signed in pencil, dated and marked 65/199 Embo...

Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove pape...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Kiki Kogelnik wurde 1935 in Graz geboren und wuchs in Bleiburg, Kärnten auf. Nach ihrem Studium an der Akademie der bildenden Künste in Wien wurde sie Teil der Avantgarde rund um Ott...

One of David Hockney’s Six Fairy Tales from the Brothers Grimm illustrations, taken from the story of ‘The Little Sea Hare’. This tower was likely inspired by Hockney’s travels throu...

René MAGRITTE Les bijoux indiscrets (Indiscrete jewels), 1975 Original lithograph (Printed in Mourlot Workshop) Printed signature in the plate Unnumbered as usual (limited edition o...

Héliogravure on brown-toned paper, so signature. Héliogravure  on bot sheets, recto and verso. Edition of 6500 unsigned copies. Printed by Mourlot and published by Tériade, Paris. ...

ELLA FITZGERALD is a limited edition lithograph by the renowned artist/caricaturist Al Hirschfeld (1903-2003) printed using traditional lithography techniques on archival printmaking paper, 100% acid free. ELLA FITZGERALD is an impressive black and white celebrity caricature portrait of "Lady Ella" wearing eyeglasses singing, holding a microphone in her left hand. Hirschfeld masterfully expresses her songful character using fluid black line drawing and cross hatching to create shadows and contours. Print size - 18.5 x 20.5 inches, image size - 13 x 15 in., unframed, excellent condition, unsigned printer's proof aside from the edition of 100 printed in the early 1990's. About the artist - Albert Hirschfeld (June 21, 1903 – January 20, 2003) was an American caricaturist best known for his black and white portraits of celebrities and Broadway stars...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and F...

Enrico Baj - American Ballet - Polymaterial Screen, 1973 Additional Information: Material: Mixed media polymaterial color screen printing on paper with applications and glitter, col...

Artist Unknown "Fashionable Dress, 145" 1914 Etching

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and F...

Color Mixografía. One of 10 numbered artist's proofs, aside from the edition of 100. Signed, inscribed "P. de A." and numbered X/X in white pencil, lower margin. Printed and publish...

The Society of Iconophiles (New York, 1894–1936), 1898. Each a lithograph printed on grayish-green, or white wove paper each sheet 10 3/4 x 7 1/2 inches (274 x 190 mm), each with ful...

Lithograph on vélin pur fil des Papeteries du Marais, realized by Cocteau in 1929. Belongs to the suite "25 Dessins d'Un Dormeur", published by H. L. Mermod, Lausanne. Edition of 2...

A vibrant art deco, hand coloured pochoir (stencil print) by the esteemed French fashion illustrator, Pierre Bissaud. The hand colouring is wonderfully vibrant gouache. The colorful ...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 12.64 x 5 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio...

Icarus is an original colored print realized in the 1970s after Henri Matisse. Original colored serigraph. Very good conditions. The artwork is from an original artwork realized b...

Salvador Dali (1904-1989) Heaven 4 - Béatrice, 1960/63 Woodcut in color Printed signature in the plate On BFK Rives vellum 32,8 x 26,4 cm (c. 13 x 10") REFERENCES : - Catalog rais...

Linocut on Arches wove paper. Hand signed and numbered by the artist in pencil. Image size 25 x 20.75 inches. Sheet size 29.6 x 24.5 inches. Frame size approx 34.5 x 29.5 inches. Pri...

Derriere le Miroir-Double Page (Behind the Looking Glass Double Page) Original color llithogragp created by the artist for this ublication, 1964 Unsigned as issued From: Derriere le ...

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 ...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 7.48 inches Inscription...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Engraving with lithographic color on paper. Hand signed and numbered in pencil. From the series La Conquete du Cosmos (Conquest of Cosmos). Frame approx size 45 x 35 inches. Sheet ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, . Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Déco...

Lithograph on vélin d’Arches paper. Signed in pencil and unnumbered, as issued. Good condition. Notes: From the folio, Jacques Villon, Huit Lithographies Originales, 1962. Published ...

Romare Bearden: 1911-1998. Very important and well listed African American artist with auction records over $770,000. He has an auction high over $31,000 for a single print. This imp...

Here Kitaj depicts a sculpture of a nude woman, shaded delicately in black, printed on wonderfully textured handmade muted orange paper. The woman’s hand reaches to the inside of her...

An original early 20th century etching of Plymouth Hoe by Rowland Langmaid (1897-1956). Signed and titled in pencil to the lower margin. Presented in a narrow black frame with a cris...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Artist: Red Grooms, American (1937 - ) Title: Blewy II Year: 1972 Medium: Screenprint, unsigned Edition: 3000 Paper Size: 14 x 18 inches (35 x 45 cm) Frame Size: 19 x 25 inches Pri...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Marc Chagall "Paris de ma fenêtre" 1969-1970 Lithograph in colors on Arches paper 32.5 x 23.75 inches (image size) 39.5 x 27.5 inches (sheet size) ​​​​​​​Edition of 50 + 25 AP Signe...

Original 17th Grand Prix of San Marino vintage Italian poster. Gran Premio di San Marino. Artist: Giovanni Cremonini. Larger format race poster. Linen backed and ready to frame. This original poster advertises the 17th Grand Prix in San Marino. This is a great poster for Ferrari enthusiasts. Archival is mounted on acid-free paper bonded to linen canvas. The San Marino Grand Prix (Italian: Gran Premio di San Marino) was a Formula One championship race that was run at the Autodromo Internazionale Enzo e Dino Ferrari...

Jacob Lawrence (1917 - 2000) The Capture of Marmelade (from The Life of Toussaint L'Ouverture series), 1987 Color screenprint on Bainbridge Two Ply Rag paper Sheet 32 1/8 x 22 1/16 inches Sight 29 3/4 x 19 1/4 inches A/P 1/30, aside from the edition of 120 Signed, titled, dated, inscribed "A/P" and numbered 1/30 in pencil, lower margin. Literature: Nesbett L87-2. A social realist, Lawrence documented the African American experience in several series devoted to Toussaint L’Ouverture, Frederick Douglass, Harriet Tubman, life in Harlem, and the civil rights movement of the 1960s. He was one of the first nationally recognized African American artists. “If at times my productions do not express the conventionally beautiful, there is always an effort to express the universal beauty of man’s continuous struggle to lift his social position and to add dimension to his spiritual being.” — Jacob Lawrence quoted in Ellen Harkins Wheat, Jacob Lawrence: The Frederick Douglass and Harriet Tubman Series of 1938 – 40. The most widely acclaimed African American artist of this century, and one of only several whose works are included in standard survey books on American art, Jacob Lawrence has enjoyed a successful career for more than fifty years. Lawrence’s paintings portray the lives and struggles of African Americans, and have found wide audiences due to their abstract, colorful style and universality of subject matter. By the time he was thirty years old, Lawrence had been labeled as the ​“foremost Negro artist,” and since that time his career has been a series of extraordinary accomplishments. Moreover, Lawrence is one of the few painters of his generation who grew up in a black community, was taught primarily by black artists, and was influenced by black people. Lawrence was born on September 7, 1917,* in Atlantic City, New Jersey. He was the eldest child of Jacob and Rosa Lee Lawrence. The senior Lawrence worked as a railroad cook and in 1919 moved his family to Easton, Pennsylvania, where he sought work as a coal miner. Lawrence’s parents separated when he was seven, and in 1924 his mother moved her children first to Philadelphia and then to Harlem when Jacob was twelve years old. He enrolled in Public School 89 located at 135th Street and Lenox Avenue, and at the Utopia Children’s Center, a settlement house that provided an after school program in arts and crafts for Harlem children. The center was operated at that time by painter Charles Alston who immediately recognized young Lawrence’s talents. Shortly after he began attending classes at Utopia Children’s Center, Lawrence developed an interest in drawing simple geometric patterns and making diorama type paintings from corrugated cardboard boxes. Following his graduation from P.S. 89, Lawrence enrolled in Commerce High School on West 65th Street and painted intermittently on his own. As the Depression became more acute, Lawrence’s mother lost her job and the family had to go on welfare. Lawrence dropped out of high school before his junior year to find odd jobs to help support his family. He enrolled in the Civilian Conservation Corps, a New Deal jobs program, and was sent to upstate New York. There he planted trees, drained swamps, and built dams. When Lawrence returned to Harlem he became associated with the Harlem Community Art Center directed by sculptor Augusta Savage, and began painting his earliest Harlem scenes. Lawrence enjoyed playing pool at the Harlem Y.M.C.A., where he met ​“Professor” Seifert, a black, self styled lecturer and historian who had collected a large library of African and African American literature. Seifert encouraged Lawrence to visit the Schomburg Library in Harlem to read everything he could about African and African American culture. He also invited Lawrence to use his personal library, and to visit the Museum of Modern Art’s exhibition of African art in 1935. As the Depression continued, circumstances remained financially difficult for Lawrence and his family. Through the persistence of Augusta Savage, Lawrence was assigned to an easel project with the W.P.A., and still under the influence of Seifert, Lawrence became interested in the life of Toussaint L’Ouverture, the black revolutionary and founder of the Republic of Haiti. Lawrence felt that a single painting would not depict L’Ouverture’s numerous achievements, and decided to produce a series of paintings on the general’s life. Lawrence is known primarily for his series of panels on the lives of important African Americans in history and scenes of African American life. His series of paintings include: The Life of Toussaint L’Ouverture, 1937, (forty one panels), The Life of Frederick Douglass, 1938, (forty panels), The Life of Harriet Tubman, 1939, (thirty one panels), The Migration of the Negro,1940 – 41, (sixty panels), The Life of John Brown, 1941, (twenty two panels), Harlem, 1942, (thirty panels), War, 1946 47, (fourteen panels), The South, 1947, (ten panels), Hospital, 1949 – 50, (eleven panels), Struggle: History of the American People, 1953 – 55, (thirty panels completed, sixty projected). Lawrence’s best known series is The Migration of the Negro, executed in 1940 and 1941. The panels portray the migration of over a million African Americans from the South to industrial cities in the North between 1910 and 1940. These panels, as well as others by Lawrence, are linked together by descriptive phrases, color, and design. In November 1941 Lawrence’s Migration series was exhibited at the prestigious Downtown Gallery in New York. This show received wide acclaim, and at the age of twenty four Lawrence became the first African American artist to be represented by a downtown ​“mainstream” gallery. During the same month Fortune magazine published a lengthy article about Lawrence, and illustrated twenty six of the series’ sixty panels. In 1943 the Downtown Gallery exhibited Lawrence’s Harlem series, which was lauded by some critics as being even more successful than the Migration panels. In 1937 Lawrence obtained a scholarship to the American Artists School in New York. At about the same time, he was also the recipient of a Rosenwald Grant for three consecutive years. In 1943 Lawrence joined the U.S. Coast Guard and was assigned to troop ships that sailed to Italy and India. After his discharge in 1945, Lawrence returned to painting the history of African American people. In the summer of 1947 Lawrence taught at the innovative Black Mountain College in North Carolina at the invitation of painter Josef Albers. During the late 1940s Lawrence was the most celebrated African American painter in America. Young, gifted, and personable, Lawrence presented the image of the black artist who had truly ​“arrived”. Lawrence was, however, somewhat overwhelmed by his own success, and deeply concerned that some of his equally talented black artist friends had not achieved a similar success. As a consequence, Lawrence became deeply depressed, and in July 1949 voluntarily entered Hillside Hospital in Queens, New York, to receive treatment. He completed the Hospital series while at Hillside. Following his discharge from the hospital in 1950, Lawrence resumed painting with renewed enthusiasm. In 1960 he was honored with a retrospective exhibition and monograph prepared by The American Federation of Arts. He also traveled to Africa twice during the 1960s and lived primarily in Nigeria. Lawrence taught for a number of years at the Art Students League in New York, and over the years has also served on the faculties of Brandeis University, the New School for Social Research, California State College at Hayward, the Pratt Institute, and the University of Washington, Seattle, where he is currently Professor Emeritus of Art. In 1974 the Whitney Museum of American Art in New York held a major retrospective of Lawrence’s work that toured nationally, and in December 1983 Lawrence was elected to the American Academy of Arts and Letters. The most recent retrospective of Lawrence’s paintings was organized by the Metropolitan Museum of Art in 2020, and was accompanied by a major catalogue. Lawrence met his wife Gwendolyn Knight...

Larry Rivers The Last Civil War Veteran, 1970 Silkscreen and mixed media collage on paper 29 × 19 3/4 inches Hand signed and numbered 55/100 in graphite pencil lower front Provenance...

Hokuto Tamamura (1893-1951), 'The Spirit of the Wine' (Shuten Dōji) - from Dai Chikamatsu Zenshu (The Complete Works of Chikamatsu)', color woodblock, 1923-26. Signed 'Hokuto'. A fin...

Artist: After Pablo Picasso (1881-1973) Title: Minotaure Caressant Une Femme (after Bloch 191) Year: 1992 Medium: Reproduced from the ori...

René Magritte - LE BEAU MONDE, 1962 (THE BEAUTIFUL WORLD) Date of creation: 2010 Medium: Lithograph on BFK Rives Paper Edition number: 154/275 Size: 60 x 45 cm Condition: In very goo...

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...

Jean CARZOU Woman with a Rose Stone lithograph in colors (printed in Atelier Mourlot) Printed signature in the plate On Arches vellum 38 x 28 cm (c. 15 x 11 in) INFORMATION : Edit...

David Hockney Hockney's Alphabet, 1991 26 color lithographs in Fine Art Cartridge paper bound in quarter vellum with handmade Fabriano Roma paper sides, housed in matching box; signed by David Hockney and most contributors in ink and numbered 178 in black ink on the justification page Numbered 178/250 Hand signed by 24 of the contributors, including David Hockney and Steven Spender 12 5/8 x 9 5/8 inches Bound in book and held in slipcase This portfolio features 26 color lithographs in Fine Art Cartridge paper with full margins, bound as issued, in quarter vellum with handmade Fabriano Roma paper sides, in original grey slipcase. It is signed by David Hockney (the artist) and most contributors in ink and numbered 178 in black ink on the justification page, from the edition of 250, with full text and title page, published by Faber & Faber, London, text edits by Stephen Spender, who also signed. It is illustrated by David Hockney, hand signed by David Hockney and Stephen Spender and also signed by the following contributors: Douglas Adams, Martin Amis, Julian Barnes, William Boyd, Margaret Drabble, Patrick Leigh Fermor, William Golding, Seamus Heaney...

L'Angellus Etching, engraving and acquatint on Arches paper, 1902 Signed lower right by the artist (see photo) This is a first state impression printed in a brown/black ink, one of ...

Artist: Alexander Calder Title: Devil Medium: Etching and aquatint in colors Date: 1974 Edition: 20/80 Sheet Size: 25 7/8" x 20" Image Size: 19 1/8" x 13 1/2" Signature: Hand signed ...

Pablo Picasso (1881-1973) - Escultor y escultura Etching from 1965. Edition of 255. Dimensions of work: 48 x 38 cm. Imprimée à Mougins. Référence : Bloch 1187; Baer 1156. The w...

Silkscreen on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the album, Numbers, 1968. Published by the Edition Domberger, Stuttgart, and G...

Alexander CALDER Flying Colors : Plane under Red Sun, 1976 Original lithograph Printed signature in the plate On light vellum 58 x 83 cm (c. 23 x 33 in) INFORMATION : Calder create...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

This artwork titled "Grinzing, Snow Scene, Austria" 1940 is a color etching (printed with the original copper plate engraver by the artist) on watermarked Kasimir Vienna paper by Au...

Benton Spruance, 'Havoc in Heaven', lithograph, 1948, edition 30-35, Fine and Looney 270. Signed, titled, and numbered 'Ed 35' in pencil. Initialed in the stone, lower right. A fine,...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Artist: Jamie Wyeth, American (1946 - ) Title: La Boheme (Metropolitan Opera) Year: 1978 Medium: Poster on Heavy Stock Size: 36 in. x 24 in. (91.44 cm x 60.96 cm)

Erotic scene is an artwork realized by Toyen in 1923. Mixed colored watercolored lithograph. The artwork is an illustration from the book Pybrac written by Pierre Louÿs  (1870-1925...

Artist: Pablo Picasso (1881-1973) Title: Femme Accoudee au Fauteuil Year: 1982 Medium: Lithograph on Arches paper Size: 28.5 x 21.5 inches Edition: 1000, plus proofs Condition: Good ...

Medium: Collotype, héliogravure, recto and verso, on grand vélin Renage filigrané paper, as issued Year: 1954 Paper Size: 12 x 9.25 inches; image size: 9.05 x 6.3 inches Inscription:...

"Cabaret" Liza Minnelli Joel Grey Broadway Film Academy Tony Award Musical Signed and numbered 12/150 in pencil, lower margin. Etching with aquatint, 15” x 10 1/2”. Framed 22” x 1...