Comics Art

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...

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...

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...

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.

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.

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...

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....

Vasilios Janopoulos, Greek (1953 - ) - Untitled IV, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Image Size: 22 x 17 inches, Size: 28.5 in. ...

Kabuki Scene is an original Woodcut print realized in mid 19th century after Utagawa Kuniyoshi (1797-1861). Good condition and Beautiful colored woodblock print. This wonderful mo...

L'Assiette au Beurre is a Comic Magazine published in December 1906, reproducing drawings by Jules Félix Grandjouan. Signed, numbered and dated on the margins. Jules Félix Grandjou...

This painting, one of ten, belongs to a series of works exhibited in 2017 for the " DECADES " exhibition, that tell the atmosphere of 60's Specifically, the works reproduce the cover...

L'Assiette au Beurre is a Comic Magazine published in August 1905, reproducing drawings by Bernard Étienne Hubert Naudin . Signed, numbered and dated on the margins.

Ex-Libris - Bormio is an Artwork realized in Mid 20th Century. Woodcut on paper. Good conditions. The artwork represents a minimalistic, clean design, through preciseness .

The Letter by Xavier Viramontes is an intimate, multilayered portrait of a young artist’s inner world, composed through the objects and images gathered on his workspace. A handwritte...

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.

Even without the punch line, Gahan Wilson's highly stylized paintings are marvelous to behold. He is one of a few artists with a unique style instantly re...

Sketch is an original drawing in china ink on cardboard realized by Alfredo Chiappori (1/9/1977). The artwork is in very good conditions on a white cardboard, on the back there is t...

Japanese Accessories is a Woodcut print realized in the first half of the 19th century by Utagawa Kunisada. Good condition. This wonderful modern artwork represents Japanese acce...

Screen Print on metal. Hand Signed and numbered. Edition of 40 pieces. Very good conditions.

Vintagel offset print from "Valentina" to "O”in an artwork realized in 1976 by Guido Crepax. This Crepax offset is hand signed. This original print is from an edition of 40 signed co...

Le 3e régiment d'infanterie légère is an original drawing in ink and watercolor realized by Herbert Knotel in 1930/40s. Good condition except for being aged. Hand-signed. The artwork is depicted through strong lines in well-balanced conditions. Herbert Knotel was a german artist, son and pupil of the famous uniformologist and military historian Richard Knotel...

The European Macabre Dance N.12 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Origina...

Beautiful advertising poster of the beginning of the XXth century and of Art Nouveau style, signed P. F. Grignon. It is an advertisement for the brand A. A. Tunmer & Co and its vario...

Caitlin 2019 5-color photopolymer letterpress relief print of hand-torn kozo paper (Edition of 300) 20.5 x 13.5 inches This work is offered by CLAMP in New York City.

11 layer-screen print on archival 100% cotton rag paper. Measures 15x22 inches. Based on original linocut from the Al Norte y P’atras/North and Back series. Depicts farm workers in my hometown of Salinas, California. Álvaro D. Márquez is a visual artist and part-time professor of Chicana/o and Latina/o Studies at Cal State LA. Much of Marquez's work explores art as social inquiry, looking at the history of displacement in the Americas, starting with Indigenous dispossession after European conquest, following through to current issues around gentrification and homelessness. Marquez was born into the working-class migrant community of East Salinas, in California’s Central...

The Cabourg travel poster, created by Édouard Elzingre, is a vibrant and visually appealing example of early 20th-century advertising designed to attract visitors to "la plus belle p...

Sumo Fighters is an original Woodcut print realized in mid 19th century by Utagawa Kunisada. Good condition and Beautiful colored woodblock print. This wonderful modern artwork re...

Gallant Proposals is an original watercolored ink drawing on ivory-colored paper, in the 1920s realized by Luigi Bompard (1879-1953). Hand-signed in pen on the lower margin. In go...

Man is an original china ink drawing realized by painter Pierre Georges Jeanniot (1848-1934). Hand-signed on the lower right. Good conditions. The artwork is represented through d...

Le Rire is a Comic Magazine published on May 1896, illustrations by Lucien Métivet. Good condition on a yellowed paper, except for some torn paper on the left...

Le Rire is an Original Comic Magazine published on September 1897 with illustrations by Hermann Paul (1864-1940). Good condition on a yellowed paper, except s...

Bernard Nacion Untitled (DeBeers), Late 20th Century Mixed media on artist board 19 3/4 x 15 in. This illustration shows a woman wearing a sparkling di...

Civilisation à la Porte is an Original Litograph realized by Cham in mid-19th century from the series "La Civilisation à la Porte". Signed on the plate by the artist on the lower. ...

Beautiful poster of Hergé and the adventures of Tintin. The Seven Crystal Balls is the thirteenth album of the comic book series The Adventures of Tintin, ...

Original travel poster titled "Luchon la reine de Pyrénées - Fêtes des fleurs Théâtre Bals Fêtes de nuit Orchestre Broustet" is a captivating glimpse into the allure of Luchon, often hailed as the "queen of the Pyrénées." This poster, promoting various festivities and attractions in Luchon, encapsulates the spirit of leisure and entertainment that characterized the Belle Époque era.

Luchon, a renowned spa town nestled in the heart of the Pyrénées mountains, was a popular destination for tourists seeking relaxation, recreation, and rejuvenation. The poster highlights the diverse array of activities available to visitors, including flower festivals...

The Pope is a modern artwork realized by Bruno Angoletta for "L'Asino" Magazine, and there published. Ref. Pioggerella Elettorale 1909 Asino XVIII n. 8 21/02/1909. Hand-signed in ...

Signed and numbered woodcut from the edition of 15. Political satire is a frequent topic in Hazelwood's work. This print shows a stock investor dancing happily past a homeless figure on the ground, while visions of stock quotes fill his mind. This is the last print available from the edition. Art Hazelwood calls himself artist, instigator and impresario to define the three intertwining areas of his practice. He uses printmaking within a range of political allegory and satire making work from political posters to fine press edition artist books. He has curated and organized a range of exhibitions at venues from museums to immigrant centers. He has worked for over 20 years with homeless rights groups; creating prints, and street posters, and has authored one book and contributed to another on art and homelessness. He has been a regular visiting guest artist at San Quentin State Prison and teaches currently at the San Francisco Art Institute. He organized the San Francisco Poster...

Raoul Dufy, French (1877 - 1953) - Le Serpent, Year: circa 1911, Medium: Woodblock, Image Size: 8 x 7.5 inches, Size: 13 x 10 in. (33.02 x 25.4 cm), Descr...

The Militaries and Martyrs is an original woodcut print on ivory-colored paper realized by Paul Baudier (1881-1962) in the 1930s. On the lower right description in French. Signed o...

The circa 1950 original poster by Couronne, titled "Tissu Garanti Boussac," is a striking example of mid-20th-century advertising. This vibrant piece promotes Boussac fabrics, showca...

In front of the mirror 19/100. Paper, linocut, 49,5x31,5 cm. 1970. Arturs Mucenieks (1912-1984) Graphic artist, painter. Born in the family of the tenant. Zenta Muсenieсe wife - painter, daughter Ilse Muceniece - painter. In 1949 he graduated from the AAL department of Painting; Diploma work "Sportsman holiday " (head O. Skulme). He worked as a teacher and head of the teaching department at the J. Rosenthal Riga Art School (1950-56), editorial managers of landscape, poster and cards at publishing house "Liesma" (1966-68). He participated in exhibitions since 1948. Significant personal and memorabilia exhibition: in Riga (1969-70, 1971, 1975, 76, 78-79, 80, 85), Ogre (1978-79, 1989). Member of the Artists` Union of Latvia since 1959. In easel graphic he carried away with monumentalism, poetically rich and naturally true person depiction, which realized in dynamic linocuts cycles ( "Latvian farm Anturage", 1961; "We want peace", 1962; "Spring Song", 1967). Concept of monumantalizing image developed in book graphics, primarily in the illustration to the prose (P. Bauģe "People near the water" 1961, R. Ezeras "Wild apple tree" 1966, and "Water well", 1972, A. Auziņa "Griezies, vilciņ", 1973) and poster art (" Riga - 750! ", 1951; the cycle" Latvian Riflemen", 1959; triptych "Slava" 1967 "on March 8", 1968...

Image dimensions: 13.1 x 21 cm. Bad Joke is a black and white lithograph realized in 1899. The artwork is dated 1899 (as printed on the right side). Monogram of the artist (H.B.) ...

General is an original lithograph realized by Jules Renard in 19th Century. It is part of the collection "Soldiers of the Republic". Hand-signed. Good condition. Draner, actually...

Poster of the Exhibition of Emilio Tadini in Palazzo Rondanini, Rome 1992.  Very good condition.

Artillery is an original lithograph realized by Jules Renard in 19th Century. It is part of the collection "Soldiers of the Republic". Hand-signed. Good condition. Draner, actual...

Erda is a beautiful original print on paper realized by Aubrey Vincent Beardsley. Black and white lithograph. The artwork is the plate n. 33 from the portfolio Erotiques de Beard...

Robert Anderson, American (1945 - 2010) - The Queen's Masque, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Image Size: 23 x 17 inches, Size: ...

Jane Birch Casino Off Exit Six graphite on paper 8.50h x 5.50w in 21.59h x 13.97w cm 15h x 11.75w in framed JAB012 My drawings are lovingly objectifying. I’m an alien researcher, an...

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...

Marseille Station is a Color Marker Drawing realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition on a sheet of a notebook. No signature, titled and dated on t...

Le Pilori - Vissé - is an original Modern Artwork realized in 1887. Original Colored Lithograph on paper. Passepartout is included. Good conditions. Dimensions: 70 x 50 cm.

A Satirical Scene is an original modern artwork realized by Edmond Lavrate in the second half of the XX Century. Original colored lithograph. Hand-signed on the lower right corne...

Artist: Peter Max (1937) Title: Landscape thru Window Year: 1978 Edition: 98/100, plus proofs Medium: Silkscreen on Arches paper Size: 30 x 23 inches Condition: Good Inscription: Sig...

Meeting is an original china ink drawing realized by painter Pierre Georges Jeanniot (1848-1934). Hand-signed on the lower right. Good conditions. The artwork is represented throu...

Political Comics is an original drawing in China ink, realized in 1977 by the Italian cartoonist Alfredo Chiappori. Good conditions Signed lower left, with the blue stamp of 'Archivio Paese Sera" on the rear. Alfredo Chiappori (Lecco, 27 August 1943) was an important Italian designer and writer. After releasing several books with the publisher Feltrinelli, in 1975 Chiappori started a long collaboration as a cartoonist with the magazine Panorama. His collaborations also include the newspaper Corriere della Sera...

EXCALIBUR by the woman artist Robin Morris, is an original limited edition lithograph printed in 15 colors using hand lithography techniques on archival Arches paper, 100% acid free....