Comics Art

Guy Peellaert's "Pravda with Françoise Hardy" poster, created in 1968, is a remarkable work distinguished by its strongly comic-book-influenced style. Guy Peellaert was a Belgian art...

Robert Anderson, American (1945 - 2010) - The Building of a Queen, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Image Size: 18 x 23.5 inches, ...

after Carl Otto Czeschka, (1878-1960), Austrian A leading member of the Vienna Secession and later the Wiener Werkstätte (Viennese Workshop), Carl Otto Czeschka was a vital figu...

Beautiful 1968 psychedelic poster created by Lee Conklin for the Yardbirds, It's a beautiful day and Cecil Taylor concert. Lee Conklin is an artist best k...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Suites nº8, Rencontres, 1964. Published...

Medium: collotype (after the woodcut). Printed in 1925 and published in Paris by Albert Morance for "L'Art d'Aujourd'hui", and now very scarce. Image size: 8 x 4 3/4 inches (205 x 11...

Screen print in colors on shaped wood. Hand signed on verso by Matt Gondek. Hand numbered 145/150 on verso. Artwork size 22.4 inches diameter. Artwork is in excellent condition. ...

The Comparison is an Original China Ink Drawing realized by Hermann Paul (1864-1940). Good condition on a white paper. Hand-signed and titled on the lower margin. Hermann René Ge...

From the Habitat 'Dating' series. Acrylic on Board

Half-length portrait of the actor Nakamura Shikan is an original modern artwork realized by Masunao in 1847. Original Woodcut Print Chuban Format, 1847. From the series "Shukoku se...

The 1977 original poster by the Soviet artistic collective Koukryniksy reflects their renowned style of sharp political caricature and satire. Active from the 1920s to the 1970s, Koukryniksy, consisting of Mikhail Kupriyanov, Porfiry Krylov, and Nikolai Sokolov, produced some of the most influential propaganda of the 20th century. This piece addresses themes of anti-racism and anti-fascism, created during a period when Cold War tensions were high, and Soviet propaganda aimed to critique Western colonialism and racism. It was part of the USSR's broader messaging to inspire solidarity with global equality movements and expose perceived moral failings of rival nations. The poster employs bold symbolism and caricature to deliver a strong political message in line with the collective’s tradition of impactful satire. Today, works by Koukryniksy are valued as historical artifacts, offering insight into Soviet perspectives during the Cold War. This 1977 poster remains a sought-after piece for collectors interested in propaganda art...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Regards sur Paris, 1963. Published by André Sauret, Paris;...

Conversation in the style of Roy Lichtenstein by David Mar (20th Century). Two people are discussing a psychological topic. The man on the right is wearing a red sportscoat, a green bowtie, and smoking a pipe. The woman on the left is wearing a green vest with a white shirt, and has a red headband...

Ben Frost - What’s Up Doc - Pop Art Edition Details Year: 2020 Class: Art Print Status: Official Released: 12/17/20 Run: 50 Technique: Digital Paper: Bauhaus 310gsm Rag 100% Cotton ...

Cashbox, Nike Shoe Box, Mark Drew, 2018. Jay-Z Rock Boys 18 in. x 18 in. Limited Edition of 100 Mark Drew is a graphic artist known for screen prints dep...

This artwork titled "Ram's Head" from the suite "Bestiary and some Correspondences" 1968 is an original color lithograph on Arches paper by renown British artist Graham Vivian Suther...

The original Cream concert poster by F. Bettencourt captures the spirit of the late 1960s psychedelic movement. Created for a show presented by Jim Salzer at the Showgrounds, this po...

Campendonk, Heinrich. SITZENDER HARLEKIN. Engels/Sohn 59. Woodcut, 1922. 15 x 11 3/8 inches; 380 x 290 mm. Signed in pencil. In Excellent condition. Framed.

This bright and cheerful poster was created by famous poster artist, Leonetto Cappiello in 1903 for a fundraiser being held in Paris' Bois de Boulogne. One of his signature smiling l...

Portrait of Woman is an oil on canvas realized by the cuban Artist Jorge Carruana in 1977. Exhibited at Galleria Rondanini in 1978. Excellent condition.

The Eyes of Herod is a beautiful original print on paper realized by Aubrey Vincent Beardsley. Black and white lithograph. The artwork is the plate n. 11 from the portfolio Eroti...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-19...

Fifteen-Panel Thumbnail Sketches of Desert and Canyon Landscapes in Ink on Paper Collection of landscape line drawings by listed Maine artist Laurence Sisson (American, 1928-2015). ...

Etching in colors on vélin de Rives paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Hésiode, Les Travaux et les jours. E...

Robert Benson Poster, Agarahsgalleriet, Bastad, Sweden, 1984, 64.5x45 cm

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 44–45 (Plates 44–45), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originate...

Original watercolor on paper, signed in pencil.

A lithograph by Icelandic Pop artist Erro. Like many other noteworthy Pop artists, Erro drew inspiration for his style and subjects from popular media, focusing mostly on comic books...

Edward M. Plunkett, American (1922 - 201?) - Arrival Scene, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP 30, Image Size: 14 x 22 inches, Size:...

after Marc CHAGALL (1887 - 1985) Poster for "Les peintres témoins de leur temps Musée Galiera" 1963 Created by Charles Sorlier after Chagall's 1937 painting...

El Pelele is a contemporary artwork realized by Emmanuel Bornstein in 2012. Mixed colored oil painting on canvas. Hand signed on the back. Emmanuel Bornstein was born in Toulouse,...

"Die Enormous (JAY-Z), 2024" Screen Print by Mark Drew Screen print in colors on 300gsm paper 16 7/10 × 11 1/2 in 42.4 × 29.2 cm Edition of 200 Immerse yourself in the timeless ess...

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...

R.K. Laxman - Deduction Watercolour & Ink on Paper 8 x 11 inches ( Framed & Delivered ) Born in Mysore (now Mysuru), Laxman was the youngest of seven siblings, one of whom was autho...

Persian Ballet is a xylograph on ivory-colored, realized at the beginning of the XX century by the Italian artist Arturo Martini (Treviso, 1889 - Milan, 1947). On the lower right ma...

The 1977 original poster by Koukryniksy serves as a sharp and incisive Soviet caricature targeting NATO, also known by its French acronym OTAN (Organisation du Traité de l'Atlantique...

The Toilette of Salome is a beautiful original lithograph on paper realized by Aubrey Vincent Beardsley. Black and white lithograph. The artwork is the plate n. 12 from the portf...

Back to the Future - Artist Edition Back to the Future is a 1985 American science fiction film directed by Robert Zemeckis. Written by Zemeckis and Bob Gale, it stars Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover, and Thomas F. Wilson. Set in 1985, the story follows Marty McFly (Fox), a teenager accidentally sent back to 1955 in a time-traveling DeLorean automobile built by his eccentric scientist friend Doctor Emmett "Doc" Brown (Lloyd). Trapped in the past, Marty inadvertently prevents his future parents' meeting—threatening his very existence—and is forced to reconcile the pair and somehow return to the future. Artists Rockin Jelly Bean...

Masson was a Parisian chocolatier who relied heavily on the Art Nouveau style to promote his products. His two favorite artists were Mucha and Grasset. "The Mexican Bandit," as this ...

Gynoecium 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 government, of the laws, ...

The Repentance of Mrs... is a beautiful original lithograph on paper realized by Aubrey Vincent Beardsley. The artwork is the plate n. 19 from the portfolio Erotiques de Beardsley. Editions Les yeux ouverts 1970, Paris. Specimen n°112 of an edition of 469. The artwork includes copy of the portfolio cover. Good conditions. The artwork shows an illustration realized in the original supplement from The Yellow Book...

The 1970 original poster by Arvalt José for the Bataclan "Music Hall de Paris" is a quintessential example of mid-20th-century French theatrical promotion. C...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of an the Ohashiya Inn in Akasaka, circa 1850. This family-owned inn operated from 1649-2015 and, upon it's c...

Six-Panel Thumbnail Sketches of Desert and Canyon Landscapes in Ink on Paper Collection of landscape line drawings by listed Maine artist Laurence Sisson (American, 1928-2015). Six ...

Urban Manga Graffiti Art entitled 'Wonderland Police Department' by British Street Artist Chris Pegg. Chris Pegg is a self-taught artist from Lancas...

Drunkards is an original Modern Artwork realized in 1880. Original Lithograph on paper. The work is part of a satirical series. Printed by Imprimerie Robert, Paris. Passepartout...

One of 30 copies. FRANCISZEK BUNSCH (born in 1926) Franciszek Bunsch was born in Bielsko in 1926. He studied painting under the guidance of prof. Eugeniusz Eibisch and graphic art as...

From Valentina to O "Valentina" to "O" is an vintage offset realized in 1976 by Guido Crepax. Not signed. This artwork was realized in the occasion of ...

Actors is an original modern artwork realized in 1820-1830 by Utagawa Sadafusa. Woodcut Print Oban Dyptich Format. Arashi Kanjuro as Benkei, Ichikawa Komazo as Minamoto Yoshitsune ...

Woodcut print realized by Diego Donati in 1968. Good condition except for some minor fold and a rip in the lower right angle.

Nakamura Utaemon is an artwork realized in 1840 by Utagawa Kunisada (1786-1865). Nakamura Utaemon in the role of the fox spirit Ukiyo Matagoro frightens the court lady Benno Naishi...

Walking in Snowy Winter is a modern print realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 1...

Original EXPO ’74 World’s Fair Spokane, USA calendar. Archival linen backed and in excellent condition, ready to frame. As a World’s Fair calendar, you would expect this item to be r...

China ink and white lead on paper, realized by Gabriele Galantara in the early 20th Century. Hand signed lower right. Very good condition.

China ink, tempera and watercolor on paper realized by Gabriele Galantara in the early 20th Century. Hand signed lower left. Very good condition.

Viramontes renders the figures with a graphic clarity that suits memory: outlines are firm, forms simplified but not flattened. Clothing—rolled cuffs, T-shirts stretched across torso...

China ink and watercolor drawing on cardboard realized by Gabriele Galantara in the early 20th Century. Hand signed in the lower right. Good condition with some signs of time.

Adoration des Mages is an original artwork realized by Isidore Sage in the first decades in 1926. Original colored xylograph on paper. Image dimensions: 13 x 24 cm. Titled and numbe...

Edward M. Plunkett, American (1922 - 201?) - Arrival Scene, Year: circa 1979, Medium: Lithograph, signed and dedicated in pencil, Image Size: 14 x 21.5 inches, Size: 19.5 x 26 in...

Richard Lindner, German/American (1901 - 1978) - Galerie Altmann, Paris, Year: circa 1970, Medium: Poster, Size: 37.5 x 26.5 in. (95.25 x 67.31 cm), Frame Size: 38 x 27 in. (96....