Horizontal Portrait Prints

Untitled (Nr. 0894) Photography 18" x 24" Edition of 20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six-year photographic journey through Baja, Mexico. Ben Cope and Rowan Daly began their travels in 2014, working their way through the towns of la Salinas, Baja Mar, and Cantamar, down through Ensanada and la Bufadora. This series of photographs depicts the pair’s adventures and explorations. Off the Grid documents the textures, people, and places visited during this incredible journey. Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic sculpture and photography from Columbus State University. He maintains a successful career with a diverse portfolio including fashion, editorial, celebrity portraiture and advertising. He is widely known for his celebrity and fashion portraiture, which has been published internationally in publications such as Harper’s Bazaar, Elle, GQ, The Work Magazine, Fucking Young, and l’Officiel, and has shot international campaigns for such clients as Adidas, L’Oréal, Paul Mitchell, and Vidal Sassoon. He has photographed Selena Gomez, Jennifer Lopez, David Lynch, Alex Rodriguez...

Signed, titled and numbered in pencil from the edition of 25. This print was a labor of love. "This is a tribute to my father, Jack Viramontes, who was a carpenter by trade and loved...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

A striking early 0th Century etching showing a characterful group of Swedish men in traditional dress, holding council on the snowy hills of Sweden. The artist has signed in plate an...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, who is represented in the collections of the Metropolitan Museum, the Philips M...

Artist: Roger König (1968) OriginalTitle:"1398 antique girl" Year: 2024 Fine art print Motif dimensions: 9.84" x 9.84" (25 x 25 cm) Outer dimensions: 15...

Artist: Jean-Pierre Vasarely - "Yvaral" French (1934 - 2002) Title: John F. Kennedy / Abraham Lincoln Year: circa 1979 Medium: Screenprint, signed and numbered in pencil Edition: 14...

Lemon Blondie by BATIK Archival pigment pop art print of pop culture icon Debbie Harry of punk rock glam band Blondie – signed and numbered on front by the artist limited edition ...

Pierre Bonnard - Sunset on the Mediterranean Original Lithograph Dimensions: 36 x 54 cm Verve . Revue Artistique et Litteraire. Vol. II, No 8. Printed by Mourlot at the start of Worl...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

This woodcut print was created by American artist Leonard Baskin. Baskin is well known for his somewhat grotesque, intricate, surreal drawings and natural subject matter. This print ...

Archival Pigment Print On 300 gsm Somerset Paper With 2 layer screen print Edition of 50 Signed And Numbered By The Artist 59.5 X 49.5 Cm 2019 Comes with Certificate Of Authent...

Serigraph in colors on paper. Hand signed and numbered by the artist. Artwork size 30 x 31 inches. Image size 26.25 x 26.5 inches. Frame size 40 x 40 inches. AP edition of 50. A...

Artist: Dan Leighton, American XXth Title: Sheri Year: circa 1987 Medium: Lithograph, signed and numbered in pencil Edition: 267/270 Size: 30 x 40 in. (76.2 x 101.6 cm)

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Giclee on on deluxe paper. Hand signed and numbered on front by the artist. Image size 19.25 x 26 in. Frame size approx 27 x 34 in. Artwork is in excellent condition. Certificate o...

Smoking Blonde Allan D’Arcangelo, American (1930–1998) Date: 1990 Screenprint, signed, numbered and dated in pencil Edition of 57/65 Size: 37 x 46.5 in. (93.98 x 118.11 cm) Frame Siz...

Serigraph on paper. Hand signed and numbered by the artist. Image size approx 32.25 x 44.25 inches. From the main edition of 275. Artwork is in excellent condition. Certificate of...

Agent X GEORGE MICHAEL Limited Edition Giclee Print Edition of 50 Paper Size: 101 cm x 78 cm x 1cm Sold Unframed Free Shipping Please note that in situ images are purely an indication of how a piece may look. Pop Art for the twenty-first century, ‘George Michael’ depicts the late singer in all his 80s glory – thick, coiffed hair; single crucifix earring...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, circa 1930. He is represented in the collections of the Metropolitan Museum, th...

Serigraph in colors on paper. Hand signed lower right by Peter Max. Hand numbered HC IV lower left. Published by AMX Art Ltd., NY and printed by Joseph Kleineman, NY. Printworld D...

Artist: Yan Macs (Latvian, 1933 - 1993) Size: 8 x 13 in. Framed: 17.5 x 22 in. Mixed media: found lithographs and blue paint. This triptych, titled "St. George Contemplating a Mous...

“Gyals BW,” created by Washington DC-based emerging artist Samantha Viotty, is the digital illustration of a found image. This image goes in conjunction with the full-colored piece "...

Silkscreen in colors on Saunders Waterford High White HP 425 gsm fine art paper Edition of 50

Lisa Takahashi. Breeze Signed by the artist Linocut print Limited edition of 100 Image size is H: 61cm x W:89cm Paper size is H: 70cm x W:100cm x D:0.1c...

Artist: Saint Clair Cemin, Brazilian (1951 - ) Title: Portrait Year: 1980 Medium: Aquatint Etching, Signed, Dated, and Numbered in Pencil Edition: 75 Image Size: 9 x 11.5 inche...

"La Lecon Du Professor Tulp" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition (ETAT) in the lower left. This piece depicts ...

Manufacturer: Obey Giant Edition Details: Year: 2023 Class: Art Print Status: Official Run: 68/550 Technique: Screen Print Paper: Fine Art Thick Cream Speckletone Size: 36 X 24 Mark...

Cohen, Arthur Morris (American, 1928-2012). SELF - TIEMANN PLACE. Etching, not dated. Edition of 25, numbered 1/25, titled and signed, all in pencil. 3 1/2 x 5 1/2 inches (plate), 4 ...

Babies DJ. Funny and touching image composed by Spanish artist Pablo de Pinini as a reinterpretation of past masterpieces, in which contemporary or futuristic elements burst in in u...

Stephen Scott Young, "Yellow Shutters" Etching on German copperplate paper 5.5 x 7.5 in. [sight], 13.25 x 14.75 in. [framed] Pencil-signed lower right, titled lower center, and num...

Artist: Paul Chelko Title: Reflections Medium: Lithograph, signed and numbered in pencil Edition: PP 9/10 Paper Size: 24 x 34.5 inches

Shelly (Sheldon) Fink (American, 1925-2002), "Busy Woman" Artist Proof, Lithograph signed on Paper, 14 x 17, Late 20th Century, 1960s Depicts a woman sewing. Color: Black and White ...

Shelly (Sheldon) Fink (American, 1925-2002), "Beach Family" Edition of 125, Lithograph signed on Paper, 14 x 17, Late 20th Century, 1963 Depicts family in swimsuits and towels on a h...

The present hand-colored lithograph is an excellent example of patriotic mid-nineteenth century American imagery. The print shows the battle and several of the major figures involved in the Battle of Lake Erie: At the center is a view of several frigates on the lake, embroiled in conflict. Above the battle is the quotation: "We have met the enemy and they are ours." Surrounding are laurel-lined roundels with portraits of Oliver Hazard Perry (1785-1819), Stephen Dicateur (1779-1820), Johnston Blakeley (1871-1814), William Bainbridge (1774-1833), David Porter (1780-1843), and James Lawrence (1781-1813) - all of these framed by American flags, banners and cannons. This print shows that the Battle of Lake Erie, part of the War of 1812, still held resonance for American audiences several decades later and was part of the larger narrative of the founding of the country. 9.5 x 13.5 inches, artwork 20 x 23.38 inches, frame Entitled in the image Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "2 Spruce N.Y." and "No. 1" Copyrighted lower center "Entered according to Act of Congress in the year 1846 by N. Currier in the Clerk's office of the Southern District of N.Y." Framed to conservation standards using 100 percent rag matting and 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...

Original Lithograph by Depression-era Philadelphia artist Albert Gold (1916-2006). This work depicts the trolley on Sunday in downtown Philly. The image measures 10 ½ x 13 ½ inches, ...

Fritz Aigner (1930 - 2005) was an Austrian artist who has been a solitary figure in the Austrian art scene of the 20th century throughout his life, defying any categorisation of art ...

edition 1-11, 18-32 ARTIST STATEMENT “Debbie Do Dallas” read the handwritten label on a plain black VCR tape tucked in amongst my father’s collection of westerns and adventure movies...

Portrait of a woman praying at a table with food. In the corner a cat reaching up to see over the table. The etching is signed by the artist in the botto...

Artist: André Masson (French, 1896-1987) Title: "Satan" Portfolio: Je Rêve (I Dream) *Signed by Masson in pencil lower center Year: 1975 Medium: Original Lithograph on Arches paper L...

Original Lithograph by Jean Cocteau Title: The Elegant Toreador 1961 Dimensions: 28 x 38 cm Lithograph made for the portfolio "Gitans et Corridas" published by Société de D...

Giclee on canvas. Hand signed and numbered on front by the artist. Image size 32 x 40 in. Artwork is in excellent condition. Certificate of authenticity included. Edition of 295. Not...

Hand signed, titled, dated and numbered by the artist. Image size 22 x 28 inches. Sheet size 28 x 34 inches. Custom framed as pictured. From the main edition of 150. Artwork i...

After Pablo Picasso The Human Comedy - Lithograph after an original drawing, as published in the journal "Verve" Printed signature and date Dimensi...

Artist: Joseph Hirsch, American (1901 - 1981) Title: The Crucifixion Year: circa 1979 Medium: Lithograph, Signed and Numbered in Pencil Edition: 100 Si...

after Pablo Picasso - The Human Comedy - Lithograph Signed and dated in the plate Dimensions: 32 x 24 cm This artwork is a lithograph in colors on wov...

This lithograph was created by American Pop artist Peter Max. Max' work is an indispensable guide for cultural literacy of the 1960s, and it commands a large following worldwide. He ...

Artist: Paul Chelko Title: Promises Medium: Lithograph, signed, titled, and numbered in pencil Edition: PP 6/10 Paper Size: 24 x 34.5 inches

Etching of a woman dressed in turn of the century attire looking out at the viewer. The work is signed in pencil by the artist. The etching is not framed. Artist Biography: William...

Title: Europe's Faces printed signature Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from the portfolio of Sciaky 1961 Jean Cocteau Writer, artist and film director Jea...

Lithograph by Jean Cocteau Title: Europe and the World Signed in the plate Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from the portfolio of Sciaky 1961

Giclee on canvas. Hand signed and numbered by the artist. AP edition. Canvas is not stretched. Artwork is in excellent condition. Certificate of authenticity included. All reas...

Screen print in colors on paper. Hand signed and numbered 'HC 27' by Peter Max. Frame size approx 31 x 40 inches. Artwork is in excellent condition. Certificate of Authenticity i...

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 7 1/2 x 9 1/2 Frame Size: 15 1/4 x 17 1/4 Medium: Lithograph "Portrait of a Woman" Biography Margaret Putnam (1913-1987) ...