David Barnett Gallery Prints and Multiples

"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 ...

"Simple Things Are In Fashion. The Cow That Laughs." Authenticated by the Laughing Cow Museum Curator of Collections and History department. Artist is Jacques Parnel. Color lithograp...

"Derriere Le Miroir" is an original color lithograph created by the artist Saul Steinberg. Edition: 53/150 Artwork Size: 14"x 20" Frame Size: 33 1/8"x 25 5/8" From the Saul Steinb...

This is an original color lithograph created by Claude Weisbuch. It was designed to promote his show at Vision Nouvelle, a gallery in France. This show in particular was about his Ho...

"Derriere Le Miroir" is an original color lithograph signed by the artist Saul Steinberg. The artist's signature is in the bottom left margin. Image Size: 14"x20" Frame Size: 25 5/8...

"Bacchanale" is an original color lithograph by Andre Masson. This piece is from the Je Reve (I Dream) portfolio and is edition number H.C. XVV/XVV. Masson signed the piece in pencil...

"The Temptation of Saint Anthony" is an original etching by Fernand Cormon. This piece has the artist's stamp. The piece is signed in pencil by the artis...

"The Bighorn at Night" is an original woodcut signed and titled by the artist, Carol Summers. It is edition 48/50. Catalogue raisonné listing: cat. 105...

"Le Prince Iris" is an original color lithograph by Andre Masson. The artist signed the piece lower right in pencil and wrote the edition number, H.C. XXV/X...

The present work is an excellent example of the erotic Shunga prints produced by Utagawa 'Ando' Hioshige and his school. Shunga imagery became especially widespread in Japan with the...

The present work is an excellent example of the erotic Shunga prints produced by Utagawa 'Ando' Hioshige and his school. Shunga imagery became especially widespread in Japan with the...

Rembrandt's print 'Christ Crucified Between Two Thieves: an oval plate' is one of the most captivating of the artist's oeuvre. Etched to an oval rather than a rectangular plate and t...

"Satan" is an original color lithograph by Andre Masson. This piece is from the "Je Reve" (I Dream) portfolio of 1975. The edition number, written lower left, is H.C. XXV/XXV. The ar...

"Le Philosophe Au Papillon", from Je Reve (I Dream) Portfolio, is an original color lithograph signed in pencil lower right by French Surrealist artist Andre Masson. This is H.C. XXV/XXV. It depicts a brightly colored man...

A color pochoir on arches paper by Kees Van Dongen titled "Couple Conversing" from the La Garconne Series "Un Couple Parle Ensemble." Two figures are surrounded by an aura-like pink ...

This color pochoir from the La Garconne Series was done in 1925 on Arches paper No. 738/750 depicting a couple sitting at a cafe. Pochoir or stencil has been used to print limited ed...

This color pochoir was done in 1925 on Arches paper No. 738/750 and depicts two nude lovers. Archivally framed with 12k white gold; white gold fillet, silk mat, and museum glass. ...

This color pochoir was done in 1925 on Arches paper No. 738/750 depicting a parade with animals and balloons. Archivally framed with 23k gold; 23k gold fillet, silk mat, and museum...

This color pochoir by Kees Van Dongen is titled which was done in 1925 on arches paper No. 738/750. Archivally framed with 23k gold; 23k gold fillet, silk mat, and museum glass. 9...

This color pochoir was done in 1925 on Arches paper No. 738/750. It depicts a mother and her child underneath a tree with doves flying around them. Archivally framed with 23k gold; ...

Kees van Dongen (b. 1877, Delfshaven – d. 1968 Monte Carlo) He is considered a Fauvist, but his style is still nevertheless closely related to the German Expressionists. He is appr...

This color pochoir was created in 1925 on Arches paper No. 738/750 and depicts two women in Japanese kimonos. Archivally framed with 23k gold; 23k gold fillet, silk mat, and museum ...

This color pochoir was done in 1925 on Arches paper No. 739/750 and depicts two couples on a night out all dressed up. Archivally framed with 12k white gold; white gold fillet, silk...

This color pochoir by Kees Van Dongen was done on arches paper No. 738/750. Two nude women outlined by purple cover their faces with a white sheet. Archivally framed with 12k white...

"From Ilsee, Princess of Tripoli Recto: "Last Kiss" Verso: "Union" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee, Princesse...

"Les Patineurs" is a signed etching by James Ensor. It is from the Loÿs Delteil 65 volume XIX and depicts a multitude of skaters on a frozen pond. "Les Patineurs" is the French word ...

"From Ilsee, Princess of Tripoli Recto: "Visiting Women" Verso: "Departing Pilgrims" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from...

"Fan Shape with Dancers" is a silkscreen print by Schomer Lichtner in blue and pink. The print is signed in pencil lower right and is edition 13/200. In this work, the Matissean arabesque figures...

"A Round of Birds" is an original linocut by Mark Herrling. It depicts a radial pattern of black birds and abstract, geometric shapes. The artist signed, titled, and wrote the editio...

"Kill Spotted Horse" is an original lithograph created by Leonard Baskin. It was published by Fox Graphics. This is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and labelled the work as a proof in the lower left margin, written with graphite. It depicts Kill Spotted Horse, an Assinniboine Native American, in a feather headdress against a light blue background.  Artwork Size: 15" x 13 1/2" Frame Size: 27 1/2" x 26 3/8" Artist Bio: Leonard Baskin (1922-2000) was an american artist born in New Jersey and taught art classes in Massachusetts. He has received many public commissions (including a bas relief for the FDR Memorial), honors, and his work is owned by many major museums around the world. Additionally, Baskin was a teacher at Smith College in Northampton, Massachusetts. As a champion for human rights, Baskin created many pieces celebrating those who were seldom recognized.  Baskin’s interest in nineteenth century Native Americans was roused into acute attendance from ignorant indifference, when the National Park Service asked him to provide illustrations for the handbook that described the then called “Custer National Park”, now called “Little Big...

"Tokijiro, Midori, and Katsumi" is an original Japanese color woodcut by the artist Kuniyoshi. It was created in 1851 and depicts a scene from the play "Akegarasu Hana no Nureginu" (...

This woodblock print depicts two characters from the play Godairiki Koi no Fujime, Igami no Gonda and Koman, a Geisha. The play tells the story of Koman, who is in love with the nob...

"Yanagibashi in Snow" is an original color woodcut by Utagawa Kunisada. This woodblock print depicts a woman walking in the snow near the Motoyanagi canal, which was located in Tokyo...

"En Auto" is an original color lithograph by Singils. The artist signed the piece in stone and wrote the title in the lower left. The edition number, also written lower left, is 46/5...

This original etching and aquatint in colors is by Surrealist and Dada artist Man Ray, an excerpt from the book "Ballade de Dames Hors du Temps". The etching is from a sketch Man...

In the present work, Judy Chicago turns the subject of the female nude on its head: from the Renaissance though the twentieth century in Western art, the female nude was a favorite s...

Printed in 1943, by the U.S. Government Printing Office for the U.S. Department of Agriculture Forest Service. The poster features the beloved Disney characters, Bambi (deer), Thumper (rabbit), and Flower (skunk) in wide-eyed shock leaning towards fear. With the slogan "Please, Mister, don't be careless" the poster is designed to tug at the heartstrings of the viewer and make them consider what actions they could take in their own lives to prevent forest fires. Poster: 20" x 14 1/4" Frame: 30" x 22 1/2" Framed to conservation standards with a 100% cotton fiber matboard border and UV clear glass that filters 99% of UV Rays. UV Rays can be especially damaging and cause fading to the inks used in poster making. All of these features are housed in a contemporary natural wood frame. Smokey Bear...

"Krishna Steals the Gopis Clothes" is an original color woodcut by Carol Summers. The artist signed the piece in the center. This woodcut depicts three trees on a red and blue hill. ...

"Solitude" is an original linoleum block print by George Raab. It is signed in the lower right and titled. It depicts a treeline and other forest ...

"Le Retour (Return)" is a color lithograph after the original 1940 painting by Rene Magritte. A bird which is really just the sky in the day and clouds. A nest bellow the bird has th...

"The Long White Road" is an original wood engraving by Lowell Merritt Lee. A long white road stretches past empty barren trees under a cloudy sky. Image: 6" x 5" Framed: 15.37" x 1...

"La Tempete" is an original etching by Claude Lorrain (Claude Gellee). This is Claude's earliest dated etching (1630). The work depicts a storm-tossed sea with ships on the verge of ...

"Untitled" is an original color lithograph by Angelika Thusius. This is an artist proof and a completely unique impression. This piece depicts two women sharing beans in front of a d...

Born in Milwaukee, WI in 1959, Pamela Bachman is a contemporary Wisconsin artist creating folk art acrylic and oil paintings, as well as silkscreen folk art prints. This poster, prod...

"Les Bucoliques X" is an original black and white lithograph signed in stone by the artist Henri Fantin-Latour. It depicts two figures spending free time in bucolic nature. This prin...

"Passage a Village" is an original drypoint print by Hermine David. It depicts a number of figures on a path into a village using various forms of transportation. This piece is edition 120/150. 11" x 9 3/4" art 21 5/8" x 17" frame Hermine Lionette Cartan David (19 April 1886 in Paris-1 December 1970 in Bry-sur-Marne) was a French painter and the wife of Jules Pascin. She was also a great-granddaughter of the revolutionary painter Jacques-Louis David. Hermine David was one of the Ecole de Paris...

"Deer Shooting in the Northern Woods" is an original hand-colored lithograph by Currier & Ives. It depicts a landscape with a hunter aiming his gun at a deer on a winter day. 10" x 14" art 19 1/2" x 23 1/4" frame 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. In 1907, faced with competitive pressures from advancements in offset printing and photo engraving, Chauncey closed the venerable lithography business and sold the printing equipment and lithographic stones to his shop foreman, Daniel W. Logan. Nathaniel Currier and James Merritt Ives are laid to rest along with their families at the Greenwood Cemetery...

"Le Rhone a Avignon" is an original hand colored etching signed by the artist Armand Coussens. This incredibly rare print depicts a church in Avignon, where Pablo Picasso had one of ...

"Road Landscape" is an original etching and aquatint by Felix Bracquemond. This piece depicts a shadowy path through the foliage. The artist signed the piece in the lower right and i...

This is an offset lithograph poster signed by the artist Carol Summers. Based on his original woodcut that is of a much larger size.

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right. IT was publ...

"From: Ilsee, Princess of Tripoli Recto: "Dream Woman" Verso: "Visions" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee, Prin...

"Ilsee's Palace" and "The Princess's Creation" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 67 & 68 of "...

"Going to Meet the Princess" and "Ilsee's Followers" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 53 & 5...

"Departing Beauty" and "Dreams" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 94 & 93 of "Ilsee, Princess...

"La Plage de la Panne" is an original etching by James Ensor. The artist signed the piece in plate in the lower right and signed, titled, and dated it below t...

Ed Baynard's linocut "The Little Bird & The Leaves of Grass", which also includes elements of relief and Thai garden grass. A small red bird perches on a dark brown branch on an off-...

Ilya Bolotowsky's Red/Blue/Black Diamond from around 1970, immediately shows the deep influence of Piet Mondrian's New-Plasticism. Bolotowsky first saw Mondrian's paintings in the 19...

"Zarathustra" is an original color woodcut by Carol Summers. The artist signed the piece in the image. This woodcut depicts an erupting volcano in simplified color fields. The editio...

"Acquacaliente" is an original color woodcut by Carol Summers. The artist signed the piece in the lower right. This woodcut depicts a fountain spouting rainbows in the background of ...