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Style: Constructivist
Sans titre, Société internationale d'art XXe siècle
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIe Année, ...
Category

1950s Constructivist Figurative Prints

Materials

Lithograph

Sans titre, San Lazzaro et ses Amis, XXe siècle
Located in Southampton, NY
Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, San Lazzaro et ses Amis, Hommage ...
Category

1970s Constructivist Figurative Prints

Materials

Lithograph

Original King of Caprice vintage Russian silent movie lithographic poster
Located in Spokane, WA
Original silent movie poster: King of Caprice (translated from Russian.). Archivally linen-acked in very good condition. Images shown are of the exac...
Category

1920s Constructivist Figurative Prints

Materials

Lithograph

Original Congresso di Parigi vintage political poster
Located in Spokane, WA
Original Congresso di Parigi vintage poster, linen backed. Cogresso di Parigi Anti Sovient Propaganda original vintage poster. Very fine condition with only slight surface wear....
Category

1950s Constructivist Figurative Prints

Materials

Offset

Shafts, lithograph, pencil signed/n 11/50 by constructivist sculptor John Henry
Located in New York, NY
John Henry Shafts, 1974 Lithograph 23 × 16 inches Pencil signed, dated and numbered 11/50 on the front; with blind stamp Unframed 1970s lithograph by constructivist sculptor John Henry.
Category

1970s Constructivist Figurative Prints

Materials

Lithograph

Anonymous. Bud gotov kzachite (Be Prepared for Defense).
Located in New York, NY
Color lithograph. Ca 1930. Constructivist propaganda poster depicting the heroic Soviet industrial worker struggling against the Western capitalist and racist threats. The dynamic ...
Category

1930s Constructivist Figurative Prints

Materials

Lithograph

USSR Russische Ausstellung 1929 (Reprint 1980)
By El Lissitzky
Located in New York, NY
Lissitzky, El, Kunstgewerbemuseum KGM - - USSR Russische Ausstellung 1929 (Zurich Museum of Design - USSR Exhibition). Reprint 1980 Offset, Photomontage. This is a reproduction of a very rare vintage...
Category

1920s Constructivist Figurative Prints

Materials

Offset

'Londoners' 1940s Etching - by Peter László Péri
Located in London, GB
A 5-part original etching from Peter László Péri’s 'Londoners’ series, 1940s. Framed size: 41.5cm x 46.5cm Mounting: Raised-float mounted using aci...
Category

1940s Constructivist Figurative Prints

Materials

Etching

Razrukha I armiya truda! (Dislocation andthe Army of Labor).
By N.M. Kochergin
Located in New York, NY
N.M. Kochergin. Razrukha I armiya truda! (Dislocation and the Army of Labor). Red Russian propaganda poster designed by N. Kochergin, verses by Demyan Bednii, Color lithograph, 1920. 22 x 30". Ref: The Bolshevik Poster...
Category

1920s Constructivist Figurative Prints

Materials

Lithograph

Variations on the Theme ‘Swabbing and Sweeping’ - by Peter László Péri
Located in London, GB
A highly-evocative original 1940s Peter László Péri etching in a museum-grade frame. Framed size: 45 x 52.5cm Mounting: Raised-float mounted using ...
Category

1940s Constructivist Figurative Prints

Materials

Etching

Livre Russe et Francais, J. Povolozky& Cie
Located in New York, NY
Livre Russe et Francais, J.Povolozky/Editeur & Cie, Ca 1922. Color lithograph, signed in the stone. Rare Vintage Poster. As a painter, Natalia Gontcharova was, together with her ...
Category

1920s Constructivist Figurative Prints

Materials

Lithograph

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1980s Constructivist Figurative Prints

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19th century color lithograph watercolor landscape figurative animal print
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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...
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Mid-19th Century Constructivist Figurative Prints

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Rare 1980s Keith Haring Record Art (Keith Haring David Bowie)
Located in NEW YORK, NY
Keith Haring record art 1983 & 1988: A set of 2 rare 1980s Japanese vinyl records featuring original artwork by Keith Haring: David BOWIE "Without You" & Hiroshima All Stars. Truly vibrant colors that make for stand-out wall art and unique vintage Keith Haring collectibles. *1st Pressings 1983 & 1988 (not re-issues). Medium: Off-Set Lithograph on vinyl record covers. Dimensions: 7 x 7 inches. Printed signatures on lower right & left dated - 1983 & 1988 respectively. Light signs of handling; otherwise good to very overall vintage condition. Includes the original records (very good condition). Literature/References: Taschen: Art Record Covers. _ Keith Haring Album Art: a brief history:  Whether collaborating with Grace Jones, Andy Warhol, and Jean-Michel Basquiat, regularly frequenting clubs like Paradise Garage alongside close friend Larry Levan, or sketching DJ robots, New York artist and activist Keith Haring’s work was deeply entwined with the music world lending his vision to sounds by everyone from David Bowie to Run DMC. Looking for something cool to complement this work? Please feel free to browse additional items like this from Jean Michel Basquiat, Andy Warhol, Damien Hirst, Keith Haring & more on our 1stDibs gallery page.  Related Categories Keith Haring prints. Keith Haring figurative. East Village art...
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1980s Constructivist Figurative Prints

Materials

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Keith Haring 1985 announcement (Keith Haring at Tony Shafarzi Leo Castelli)
Located in NEW YORK, NY
Keith Haring at Tony Shafrazi/Leo Castelli Gallery, New York, 1985: Rare original 1980s announcement for two Keith Haring exhibitions: Keith Haring at Tony Shafrazi Gallery, October 26...
Category

1980s Constructivist Figurative Prints

Materials

Lithograph, Offset

19th century color lithograph figures cemetery willow tree memorial headstone
Located in Milwaukee, WI
The present hand-colored lithograph was produced as part of the funeral and mourning culture in the United States during the 19th century. Images like this were popular as ways of remembering loved ones, an alternative to portraiture of the deceased. This lithograph shows a man, woman and child in morning clothes next to an urn-topped stone monument. Behind are additional putto-topped headstones beneath weeping willows, with a steepled church beyond. The monument contains a space where a family could inscribe the name and death dates of a deceased loved one. In this case, it has been inscribed to a young Civil War soldier: William W. Peabody Died at Fairfax Seminary, VA December 18th, 1864 Aged 18 years The young Mr. Peabody probably died in service for the Union during the American Civil War. Farifax Seminary was a Union hospital and military headquarters in Alexandria, Virginia. The hospital served nearly two thousand soldiers during the war time. Five hundred were also buried on the Seminary's grounds. 13.75 x 9.5 inches, artwork 23 x 19 inches, frame Published before 1864 Inscribed bottom center "Lith. & Pub. by N. Currier. 2 Spruce St. N.Y." Framed to conservation standards using 100 percent rag matting and TruVue Conservation Clear glass, housed in a gold gilded 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...
Category

Mid-19th Century Constructivist Figurative Prints

Materials

Watercolor, Lithograph

Les Montgolfieres, Place de la Concorde, Paris
Located in San Francisco, CA
This artwork titled "Les Montgolfieres, Place de la Concorde, Paris" 1987 is a original colors lithograph on Arches paper by French artist (Fanch, Francois Ledan, born 1949) It is hand signed and numbered 67/250 in pencil by the artist. The image size is 25.25 x 19.5 inches, framed is 37.25 x 31.25 inches. Printed by Atelier d'Art Dejobert, Paris, with their blind stamp at the lower left corner. Custom framed in a wooden gold frame, with off white matting. It is in excellent condition. About the artist: Francois "Fanch" Ledan (b. 1949) is noted for colorful scenes of his native Brittany. In 1968 he abandoned his studies in commercial design for full-time studies in painting and fine art. His talent was quickly recognized and soon he was involved in major European shows. He became involved in printmaking in 1973 when he learned lithography in Paris. Since then he has had numerous one-person shows in Europe, North America and South America. His paintings and lithographs from the 1970's and 1980's display characteristics often associated with "naïve" art. His views of Paris, a city which has embraced naïve art, display the attention to detail, In the 80's he turned to more brightly colored paintings and again a connection to Impressionism. He began to work on paintings that he refers to as "interior...
Category

Late 20th Century Constructivist Figurative Prints

Materials

Lithograph

Keith Haring Kutztown Connection 1984 (Keith Haring prints posters)
Located in NEW YORK, NY
Keith Haring ‘Kutztown Connection’ 1984: This rare vintage 1980s Keith Haring poster was illustrated by Haring in conjunction with the Benefit Performances for the New Arts Program o...
Category

1980s Constructivist Figurative Prints

Materials

Lithograph, Offset

Unsettled (hand signed and inscribed by Jamie Wyeth), offset lithograph poster
Located in New York, NY
Jamie Wyeth Unsettled (hand signed and inscribed by Jamie Wyeth), 2024 Offset lithograph poster (signed and inscribed to Kevin in black marker) Boldly signed and inscribed "for Kevin" on the lower front. Accompanied by documentation of the event at Rizzoli's where Jamie Wyeth signed...
Category

2010s Constructivist Figurative Prints

Materials

Lithograph, Offset

'The Red Horseman', Hand Signed, Leo Castelli Gallery Exhibition Poster, Pop Art
Located in Santa Cruz, CA
Vintage, 1975, Leo Castelli New York Gallery exhibition poster; signed, lower right, in felt pen, 'R. Lichtenstein' for Roy Lichtenstein (American, 1923-1997). Roy Lichtenstein firs...
Category

1970s Constructivist Figurative Prints

Materials

Paper, Offset

La Cote d'Azur
Located in San Francisco, CA
This artwork titled "La Cote d'Azur" c.1980, is an original colors lithograph on watermarked Arches paper by noted French artist Jean Claude Picot, 1933-2020. It is hand signed and ...
Category

Late 20th Century Constructivist Figurative Prints

Materials

Lithograph

La Cote d'Azur
La Cote d'Azur
$500
H 21 in W 29.85 in D 0.01 in
Cul de Sac
By Alexandre Minguet
Located in San Francisco, CA
This artwork titled "Cul de Sac" is an original color lithograph by French artist Alexandre Minguet, 1937-1996. The image size is 7 x 11 inches, framed size is 17.35 x 21.5 inches. I...
Category

Late 20th Century Constructivist Figurative Prints

Materials

Lithograph

Cul de Sac
Cul de Sac
$300
H 17.35 in W 21.5 in D 1 in
America! America!
Located in San Francisco, CA
This artwork titled "America! America" is a color lithograph after noted American artist James Fetherolf, 1925-1994. It is hand signed at the lower rig...
Category

Late 20th Century Constructivist Figurative Prints

Materials

Lithograph

America! America!
America! America!
$400
H 22 in W 29.8 in D 0.01 in
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"Lengiz- Books in All Branches of Knowledge" Soviet Russia Constructivist Poster
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Category

Early 20th Century Constructivist Figurative Prints

Materials

Screen

"The Red Navy" Black and Red October Revolution Soviet Russia Avant-Garde Poster
Located in Houston, TX
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Early 20th Century Constructivist Figurative Prints

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Screen

Illiteracy is Blindness- Soviet Russia Constructivist Literacy Silkscreen Poster
Located in Houston, TX
Blue and red Russian educational literacy poster. Text beneath title reads: "Failures and misfortunes await him everywhere". On December 26, 1919 after the October Revolution, Lenin ...
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Early 20th Century Constructivist Figurative Prints

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Screen

Vintage Poster Offset Photograph with Printed Metallic Silver Drawing Overlay
Located in Surfside, FL
Robert Petersen (America, b. 1945), offset lithograph in black and silver, Gallery exhibition poster Provenance: Collection of Ileana Sonnabend Robert Petersen was born in 1945 in the small farm town of Le Mars, Iowa and was raised there until 1952 when he moved with his family to Whittier, California. His education as an artist began in 1963 at Fullerton Community College where his interest in architectural drafting led him to develop a passion for drawing, painting, and printmaking. In 1966, he pursued his love for printmaking further at California State University, Long Beach under the former Tamarind Lithography Workshop printer, Robert Evermon. In 1969, Petersen went on to work as an assistant printer at Gemini G.E.L. where he printed editions for Frank Stella, Roy Lichtenstein, and Robert Rauschenberg. Most notably, Petersen served as one of the head printers for Rauschenberg's Stoned Moon series, during which the two formed a close friendship. In late 1970, Rauschenberg invited Petersen to live and work with him on Captiva Island, Florida, which had recently become the artist's permanent residence and studio. In 1971, Rauschenberg and Petersen established the experimental print shop, Untitled Press, Inc., where they not only printed their own work but also for visiting artists including David Bradshaw...
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1980s Constructivist Figurative Prints

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Constructivist figurative prints for sale on 1stDibs.

Find a wide variety of authentic Constructivist figurative prints available for sale on 1stDibs. Works in this style were very popular during the 20th Century, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add figurative prints created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of red and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Vladimir and Georgii Stenberg, Natalia Goncharova, John Henry, and N.M. Kochergin. Frequently made by artists working with Lithograph, and Etching and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Constructivist figurative prints, so small editions measuring 12 inches across are also available. Prices for figurative prints made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $500 and tops out at $7,500, while the average work sells for $1,810.

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