Boy Figurative Prints

This exquisite lithograph after Roger de La Fresnaye (1885–1925), titled La Roumaine (The Romanian Woman), from the album Roger de la Fresnaye, III, Collection Pierre Levy, 1968, ori...

Uses and Customs - Altenbourg is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the gover...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.375 x 9.5 inches; image size: 11.81 x 9.05 inches Inscription: Unsigned and unnumbered, as issued Notes: From...

Slavko Kopac was born in Croation in 1913. He was one of the founding members and curators of Art Brut (Compagnie de L'Art Brut). 1948, Compagnie de L'Art Brut is founded by Slavko K...

Richard Lindner, German/American (1901 - 1978) - Galerie Maeght, Year: 1977, Medium: Lithograph Poster, Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Maselinos circeria odissea is a contemporary artwork realized in 20th century. Mixed colored lithograph. Includes frame. Hand signed and numbered on the lower margin. Edition of ...

Lithograph on paper realized by Alessandro Kokocinski. Edition of 125 inarab numbers plus 50 in roman numbers. Hand signed and numbered in pencil. Excellent condition.

Girl and Child is an original Modern artwork realized by James Tissot, in full James-Joseph-Jacques Tissot, (born Oct. 15, 1836, Nantes, France—died Aug. 8, 1902, Buillon Abbey, near...

Original Lithograph by Jean Cocteau Title: Jean Monnet's Vision Signed in the stone/printed signature Dimensions: 33 x 46 cm Edition: 200 Luxury print edit...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.625 x 6.375 inches Inscription: Unsigned and unnumbered, as issued Notes: From t...

Figure is an original print in lithograph on paper realized by an anonymous artist of the mid-20th Century. In very good conditions. The artwork created through confident strokes, ...

Bauhaus by Mychael Barratt [2022] limited_edition and hand signed by the artist Silkscreen print on paper Edition number 20 Image size: H:22 cm x W:22 cm Complete Size of Unframed Work: H:40 cm x W:38 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Bauhaus is a limited edition hand made print by artist Mychael Barratt. As part of his series of artist's pets this print features a sausage dog running up the stairs inside the Bauhaus with its brutalist architecture. Inspired by a Oskar Schlemmers 1931 stairs painting...

Ira Moskowitz, Polish/American (1912 - 2001) - Dancing Group, Year: circa 1960, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 3/150, Image Size: 11.75 x 13...

Decorative Motifs - Etruscan Styles is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the plate on the lower. Vintage Chromolithogra...

Shepherd is an original artwork realized by Italian artist Pietro Morando (Alessandria 1889- 1980). Hand-colored lithograph. Hand-signed on the lower left in pencil. Good conditio...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.5 x 6.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

"Bal de l'AAAA Festival of Light" is an original lithograph poster by Paul Emile Pissarro. It depicts a silhouetted couple dancing in white, pink, and yellow ...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th century. Signed on the plate, on the lower righ...

Picador, Femme et Cheval is a beautiful contemporary artwork realized after Pablo Picasso (1881-1973). Color linocut realized in smaller size after a linocut by Pablo Picasso of 195...

Image dimensions: 20 x 15.2 cm. After Leonard Tsuguharu Foujita Lithographic reproduction in colors, from the set of sixteen illustrations from Propos d’un intoxiqué, by Jules Boiss...

Eliza Southwood Allez Digital Print Sheet Size: H 50cm x W 70cm x D 0.5 Signed Sold Unframed Please note that any insitu images are purely an indication as to how a piece may look. ...

Artist: Bernard Greenwald, American (1941 - ) Title: Mickey Mouse #2 Year: circa 1990 Medium: Etching, Signed and titled in pencil Image Size: 17.5 x 12 inches Frame: 32 x 24 inches

Color woodcut. Signed by the artist in pencil, lower right. Titled "Harvest 2" in pencil, lower center. Numbered "2nd 5/12 Special Edition" in pencil, lower left. Framed dimensi...

Plate n. 16 from the suites of caricatures on political themes topic “ Croquis d’Été ”.  Realized by  Honoré Daumier  (France, 1808-1879), printed by Destouches, and published by th...

Isca Greenfield-Sanders Bright Beach Direct to plate photogravure and aquatint. Edition of 50

This exquisite etching by Marc Chagall (1887–1985), titled Apparition des policiers (Appearance of the Policemen), originates from the celebrated folio Nicolas Gogol, Les Ames mortes...

This exquisite etching by Marc Chagall (1887–1985), titled Les peintres (The Painters), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de...

Agent X Nijū Limited Edition of 125 Mixed Media on Paper Sold Unframed Paper Size: 76 cm x 76 cm x 1cm Please note that in situ images are purely an indication of how a piece may loo...

16 color hand pulled screen print on paper. Hand signed on front by Hebru Brantley. Framed size approx 25.25 x 31.25 inches. PP edition of 3 outside the main edition of 35. Pl...

This brand new 2025 print is limited to only 15 impressions. It features a stylized image of a WW2 FM-2 Wildcat plane in front of 9 versions of Ceravolo's original Aviatrix image. Printed on 100% rag paper with archival inks. Framed print measures approximately 21"x29". Unframed 16"x24" With private collectors like, Elton John, Rod Stewart, Pete Davidson...

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...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. A signed Certificate of Authority will be included with all photographs. A nude boy...

International Folklore is a screen print and offset print on ivory-colored paper realized in the 1970s by Simone Vaulpré. Signed on the lower right. Good conditions with slight fol...

SIROPS CAZANOVE Original Vintage French Poster by Eric — Excellent condition, Grade A. Linen-backed. Printer: Akarcher, Paris. Circa 1945–1955. Mid-century modern. Discover a rare o...

Rare#163/264 edition direct from Zedsy. 21 x 26 Inches (53 x 66 cm) Screen print on 100% cotton 330gsm archival fine art paper. Print edition of Zedsy's 'Needle in a Haystack' Mon...

Screen print and spray paint on hand torn archival art paper. Hand signed and numbered on front, Inscribed 'Life is Beautiful' with signature, edition, date and thumb print on verso...

Marcel Dzama (Canadian, b. 1974) Midnights Moon Light, 2023 Medium: Lithograph on Velin d’ Arches paper Dimensions: 100 × 68 cm (39 2/5 × 26 4/5 in) Edition of 70 + 7 AP: Hand-signed...

Mr. Brainwash Love Catcher - Blue, 2023 Screenprint on Archival paper 22 × 22 in 55.9 × 55.9 cm Frame included Edition 30 of 75 Mr. Brainwash, the pseudonym of Thierry Guetta, is a...

This exquisite lithograph by Marc Chagall (1887–1985), titled Pleurs de Jeremie (The Tears of Jeremiah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Rev...

Image Size: 23" x 16.5" Unframed Limited Edition Fine Art Print of 295 Hand Signed by Annora Spence

Marc Chagall (1887-1985) - Sarah and the Angels Lithograph from 1960. Dimensions of work: 35 x 26 cm Publisher: Tériade, Paris. The work is in Excellent condition. Fast and sec...

Lithograph on cream wove paper, signed and dated in the stone by August Raffet (“Raffet / Paris, 12 Oct. 1857”). This work is a preparatory study showing French soldiers in detailed...

Henri de Toulouse-Lautrec La Passagère du 54 - Promenade en Yacht (The Passenger of 54 – Yacht Ride), 1896 is captivating work featuring a woman lounging unaffectedly in a striped ch...

Woodcut print on paper. Hand signed and dated by Lyonel Feininger. Unknow edition. Image size approx 3.9 x 3.9 inches. Sheet size 7 x 6.5 inches. Artwork is in excellent conditio...

Original South Pacific (Tahiti) on Matson cruise ships archival linen-backed vintage travel poster. The title of the artwork reads: Tahiti. The Matson line ships going there are...

Original vintage poster: Patriotic League . Original Howard Chandler Christy's 1918 "Patriotic League" authentic World War 1 lithographic poster. Linen-backed and in excellent condition. This Christy girl...

Lithograph on paper realized by Ulysses Butin (1837-1883). Not signed. as issued. Good condition with the left corners missing.

Colorful figurative drypoint print by Polish artist Czeslaw Tumielewicz. The print is signed, it comes from edition limited to 10. CZESLAW TUMIELEWICZ (b. 1942) In 1968, he studied ...

Yvon TAILLANDIER The Catitipede's Journey Original screen print Handsigned in pencil Numbered / 30 copies On Canson paper 49.5 x 66 cm (c. 19.4 x 25.9 in) Very good condition, smal...

ARTIST: Salvador Dali TITLE: Aaliyah The Wailing Wall MEDIUM: Lithograph SIGNED: Hand Signed EDITION NUMBER: 232/250 MEASUREMENTS: 25" x 19.6" YEAR: 1968 FRAMED: No CONDITI...

Grassot Punch (Plate 5) is an 1896 lithograph of Jules Chéret's poster, printed at Imprimerie Chaix by Jules Chéret and included in the famed collection of Belle Époque posters 'Les ...

Hand signed & numbered by the artist. From the edition of 180. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offers will be considered.

Etching on cream laid paper. 1/4 inch to 1/2 inch margins. In good condition with a band of minor discoloration along top and bottom sheet edge verso. One circular 1.5 inch- sized ar...

Yoshitomo Nara Little Bunny in the Box, 2023 Screenprint on paper 20 3/10 × 14 3/10 in 51.5 × 36.4 cm

Original Gladiator Cycles. Artist: Gaston Noury. Stone lithograph that has professional archival linen backing. Size: 36" 49". C. 1889. Stone lithograph. Very good condition; ready to frame. The Gladiator Cycle Company, Clément-Gladiator (from 1896), was a French manufacturer of bicycles. The inside of all of the bicycle rims are done in gold or gold foil. Gold is also used in the flowers around the big ring that reads Gladiator. It doesn’t appear that this early bicycle had any brakes, so she may need that angel resting on her shoulder! Fold marks restored during linen backing, ready to frame. There is some waves at the bottom right, but no paper loss or damage. Antique bicycle posters have been and will be very collectible. This original Gaston Noury original stone lithograph is now challenging to find in any condition. Original linen-backed turn-of-the-century antique vintage bicycle...

Edgar Degas, After, French (1834 - 1917) - Au Louvre: La Peinture (Mary Cassatt), Portfolio: Twenty Four Masterpieces of Graphic Art, Year: Year Printed 1974, Medium: Collotype, I...

Title: Umbrella Man at Sea Year: 2000 Medium: Offset lithograph in colors on gloss archival paper Size: 24 x 36 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as...

Jim Jonson, American (1928 - 1999) - Tennis Match, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Size: 28 in. x 21 in. (71.12 cm x 53.34 ...

Vir et Mulier in paradiso voluptatis ("Man and Woman in the Garden of Pleasure") is an artwork realized in 1964. It is part of Biblia Sacra vulgatæ...

This exquisite lithograph by Georges Rouault (1871–1958), titled Petit Page Rouge et Or (Little Page in Red and Gold), from the album Georges Rouault, Divertissement, originates from...