Small Portrait Prints

Ancient Roman statue of Aphrodite, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Filippo Morghen in the 18th century. Signed on the plate...

Ancient Roman statue, 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 r...

Ancient Roman statue, 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 ri...

Ancient Roman statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli in the 18th century. Signed on the plate, on the ...

Ancient Roman Statues, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli in the 18th century. Signed on the plate, on the...

Original etching on paper realized by Ferdinando Campana in the 18th century. Signed on the plate, on the lower right. Good conditions. The etchi...

Sibyl and the Border is an original etching and aquatint realized by Leo Guida in 1970. Good condition. Mounted on a white cardboard passpartout (50x35). Dated and signed by the a...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Bernardino Nolli. Signed on the plate, on the lower right. Very good c...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum Exposed", is an original etching realized by Nicola Fiorillo in the late 18th century. Signed on the plate...

Profile of Ancient Roman Bust, from the series bAntiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana. Signed on the plate, on the lower right...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum Exposed", is an original etching realized by Nicola Fiorillo in the late 18th century. Signed on the plate...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Bernardino Nolli. Signed on the plate, on the lower right. Good condit...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana. Signed on the plate, on the lower right....

Ancient Roman Bust, from the series "Antiquities of Herculaneum Exposed", is an original etching realized by Pietro Mangini in the late 18th century. Signed on the plate. Good cond...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right. Very Good...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right....

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Pietro Campana. Signed on the plate, on the lower right. Go...

Profile of Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nicola Billy. Signed on the plate, on the lower right. Good...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Bernardino Nolli. Signed on the plate, on the lower right. Good condit...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Francesco Cepparoli. Signed on the plate, on the lower right. Very Good...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Nicola Billy. Signed on the plate, on the lower right. Very Good condit...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Bernardino Nolli. Signed on the plate, on the lower right. Good condit...

Ancient Roman Bust, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Ferdinando Campana. Signed on the plate, on the lower right. Good con...

Ancient Roman Busts, from the Series Antiquities of Herculaneum, is an original etching on paper realized by Filippo Morghen. Signed on the plate, on the lower right. Good condition...

Salvador Dali - The Biblia Sacra was published in 1969 by Rizzoli of Rome - SIGNATURE: printed in the image - LIMITED EDITION: 1499 - SIZE : 19 x 13 3/4" - REFERENCES: Michler and ...

"Young Girl With Hat" is a classical Victorian portrait etching. It is signed in graphite in the lower right by the artist, F.M. Spiegle. It depicts a Victorian girl with curly hair ...

ARMODIO (1938) Abstract Composition Original Etching Signed and justified c.p.a Dimensions: 49,5 x 34,5 cm. Armodio was born in Piacenza in 1938. His training depends not so much on the attendance of the "Gazzola" Art Institute in his city, but also on the encounter with the painter Luciano Spazzali, whose study is the ideal place for experimentation and contamination. Here he met the painter Gustavo Foppiani, first teacher and then a fellow traveler; the two work together and then join the painter Carlo Bertè who will divide the study until 1980. This formed a free grouping animated by curiosity towards the most varied manifestations of culture, intent on reading reality under the sign of irony and inclined towards playful transgression. The first Piacenza personal exhibition was in 1963 at the Genocchi Gallery in Piacenza and in 1964, thanks to Foppiani, the Obelisk of Rome...

A. Tofanelli, P. Fontana, “Pittaco Mitileneo”. Image Dim: cm 48x33, Dim: cm 59x44; Passepartout Dim: cm 69 x 49. Precious Etching on copper: Hand-Watercolored subject on black ink bottom. Designed by Agostino Tofanelli...

Devotion is original lithograph realized by Denis Auguste Marie Raffet in 1849. Signed on the plate on the lower left. Titled on the lower. Good condition. An interesting Lithogra...

Signed in graphite. No. 11/20. Presented in a light wooden frame. On paper.

Serigraph in colors on paper. Hand signed and numbered by Linda Le Kinff. From the edition of 350. Sheet size 18.5 x 15 inches. Image size 16 x 12.5 inches. Artwork is in exc...

"The fisherwoman" is an original woodcut on brown-colored paper, realized by Anonymous Artist of the 20th Century. The state of preservation of the artwork is very good. Sheet dimen...

Christ is an original Lithograph artwork realized by Ernesto Treccani. Hand-signed at the bottom. Numbered, edition 104 / 125 In excellent conditions. This is an original Artwork...

Portrait of Giuseppe Ungaretti is a fine lithograph realized by the Italian artist Pericle Fazzini in 1958. Hand-signed in lower margin. Numberd in Roman Numerals. In very good con...

Published by Portal Publications. Printed in USA Good Condition 24 x 18

Woman's Face is an original Hand-colored lithography artwork realized by Mario Ceriacca. Hand-signed. Good conditions except for a small hole along the right margins that does not ...

Lithograph in colors on paper. Hand signed and numbered by the artist. AE edition of 100. Image size approx 20 x 6 inches. Sheet size is 22 x 8 inches. Artwork is in excellent con...

Linda Stein considers her Mood Portraits of Women of Courage series a feminist labor of love. Each portrait is made by hand with watercolors and gouache paints, then converted into ...

Pioneer Activists is an ongoing series of artworks by Suzanne Benton. Consisting largely of monoprints with Chine collé where the artist references suffragists, feminists, writers and educators from the 19th century and beyond. These works embody the artist’s stellar theme of bringing past to present. Susan B. Anthony the Elder, monoprint with Chine collé, 18 ½ x 13 ¼ inches, 2020 From Wikipedia Susan B. Anthony (born Susan Anthony; February 15, 1820 – March 13, 1906) was an American social reformer and women's rights activist who played a pivotal role in the women's suffrage movement. Born into a Quaker family committed to social equality, she collected anti-slavery petitions at the age of 17. In 1856, she became the New York state agent for the American Anti-Slavery Society. In 1851, she met Elizabeth Cady Stanton, who became her lifelong friend and co-worker in social reform activities, primarily in the field of women's rights. In 1852, they founded the New York Women's State Temperance Society after Anthony was prevented from speaking at a temperance conference because she was female. In 1863, they founded the Women's Loyal National League, which conducted the largest petition drive in United States history...

Lithograph in colors on paper. Hand signed and dated lower right by Edward Plunkett; hand titled lower middle. From the edition of 300. Hand numbered lower left. Sheet size: 19 ...

Dodd, Francis. CHARLES CUNDALL, R. A.. Drypoint, 1926. Schwabe, 171. Signed in pencil. 18 x 11 3/4 inches, on a sheet of cream colored wove paper 20 1/2 x 14 5/8 inches. In excellent...

Ackermann, Max (German, 1887-1975). DIE SCHAUSPIELERIN HILDE KORBER. Etching, 1928. A proof before, or in addition to the edition of 200. Signed and dated "Max Ackermann 1928" in pen...

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...

George Lockwood, American (1929 - 1969) - A woman with Flowers, Year: circa 1963, Medium: Screenprint on laid paper, signed, titled and numbered in pencil, Edition: AP, Image Size: ...

Peter Paone, American (1936 - ) - Tattooed Boy, Year: circa 1965, Medium: Lithograph on Rives, signed, titled and numbered in pencil, Edition: 25, Image ...

James Kearns, American (1924 - ) - Jester, Year: circa 1975, Medium: Etching on Rives, signed, titled and numbered, Edition: AP, Image Size: 5.25 x 4.5 inches, Size: 19.75 x 12.5 i...

James Kearns, American (1924 - ) - Acrobat, Year: circa 1975, Medium: Etching on Rives, signed, titled and numbered, Edition: 44/50, Image Size: 14.5 x 8.75 inches, Size: 22 x 15 i...

Michael Knigin, American (1942 - 2011) - Masked Figures, Year: 2002, Medium: Chromogenic Print on Canvas, mounted to board, signed and dated in pen top left, Size: 19 x 18.5 in. (4...

“Busto di Nerone” (Bust of Nerone) is a beautiful black and white burin and etching on paper, realized by the Italian artist Pietro Fontana, after Bernardino Nocchi as the inscriptions on plates on lower margins report “Bernardino Nocchi delineò./ Pietro Fontana incise Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. XVII" and is a plate from the series "Illustrazioni de'Monumenti scelti Borghesiani già esistenti nella Villa sul Pincio (..)date ora per la prima volta in luce dal cav. Gio. Gherardo De Rossi e da Stefano Piale sotto la guida di Vincenzo Feoli", by Ennio Quirino Visconti, published by Stamperia de Romanis in Rome, 1821. This old master’s original prints shows a precious piece of the Borghese's collection, the marble bust of the Roma Emperor, Nerone, realized with neoclassical style and a wise touch In excellent conditions with some light signs of the time, with some sporadic minor stains along the margins above all on the lower, and a usual yellowing of the paper on the lower margin, this wonderful burin has preserved still today his fresh impression. Illustrazioni de' Monumenti scelti Borghesiani This collection in two volumes is a beautifully detailed catalog of classical sculptures collected by Prince Borghese (1730-1800) in his Villa on the Pincio. Ennio Quirino Visconti (1751 - 1818) wrote the texts that accompany the large branches depicting. To these writings, which were available by the son of the illustrious archaeologist, the publishers added only a few illustrations relating to some minor monument of which copper had already been engraved. The engraved title-plate are signed by draughtsmen like Agostino Tofanelli, Stefano Tofanelli, Bernardino Nocchi, Domenico de Angelis or Teodoro Matteini, and by engravers Pietro Fontana Veneto, P. Vitali, Pietro Bettelini, Giovanni Folo Veneto, Giovanni Brunetti da Ravenna, Giovanni Ottaviani, Francesco Cecchini, Gio. Batta. Leonetti, Girolamo Carattoni, Domenico Cunego, Luigi Cunego, Alessandro Mochetti, Luigi Pizzi, Angelo Campanella or Giacomo Bossi. The Volume I shows ancient full-length statues, of the Borghese warrior by Agasias (two plates), Greek gods and heroes and Roman famous historical figures; the last two plates represents antique Egyptian deities. There are plates representing ancient bas-reliefs, sarcophagi, of mythological subjects, the Borghese Vase, portrait busts, a vase on an altar, two statues of Amor; and two modern statues, by Bernini (the Apollo and Daphne, and the David). «Très bel ouvrage» writes Brunet, «Grand ouvrage, le seul qui mérite, parmi ceux sur la villa Borgese, de figurer dans le chapitre aux Galeries et Collections» Vinet said, looking at this plate. Pietro Fontana (Bassano Romano,1762 – Rome, 1837) The Italian artist and engraver, Pietro Fontana was active in Rome and specialized in subjects dealing with the Vatican and the Papacy. He started his career as a student of Raffaello...

Self Portrait is an original artwork realized by Eliseo Fattorini in the second half of the XIX Century. Etching on paper. Hand-signed by the artist on the lower right corner. Orig...

MOA-NA-HON-GA. GREAT WALKER. AN IOWAY CHIEF., from History of the Indian Tribes of North America Artist:Charles Bird King Publisher:McKenney and Hall hand-colored engraving on paper ...

Poster. Measures 23.75 x 18.75 inches and is Unframed. Good Condition. Original painting created in 1895. An Abrams Color Print, printed in Lucerne, Switzerland by Mengis & Sticher

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

"Clint Eastwood 'Hollywood Superstar'" original etching by artist Al Hirschfeld. Caricature portrait of a young Clint Eastwood in "Rawhide." Hand pulled in an edition of 160 plus 30 ...

Screen print in colors on paper. Hand signed and numbered by the artist. Edition of 300. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable ...

Poster. Measures 21.25 x 19 inches and is Unframed. Good Condition.

C.O. Paeffgen (German, 1933-2019) Untitled, 1992 Medium: Offset lithograph on card stock Dimensions: 49.5 x 50 cm Edition of 100: Monogrammed, numbered and dated Condition: Very good

HC 6/50. Signed on back 8/50 by the artist. Image measures 16 x 20 inches. Canvas is stretched. Excellent Condition. Let this painting remind you of your kids on the beach!