David Barnett Gallery Portrait Prints

"Magpie Eagle Feathers" is an original lithograph proof for Fox Graphics signed by the artist Leonard Baskin. It depicts a Cheyenne man named Magpie Eagle Feathers in a black hat against a blue background. Artwork Size: 38 1/2" x 26 3/4" Frame Size: 49 3/4" x 37 1/2" Artist Bio: Leonard Baskin (1922-2000) was an American artist born in New Jersey and taught art classes in Massachusetts. He 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...

"Cheyenne Woman in the Robes of a Secret Society" is an original lithograph by Leonard Baskin. It depicts a Native American woman in pale green robes. The title is written on the lef...

"Little Crow-Sioux" is an original lithograph created by Leonard Baskin. This is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and lab...

"Geronimo - Apache" is an original color lithograph by Leonard Baskin. TThis is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and label...

"Sophie-Broncheau" is an original lithograph by Leonard Baskin. This is a proof purchased directly from the artist. Baskin signed the work in the lower right margin and labelled the ...

"Helen Goes Ahead- Crow" is an original lithograph proof signed by the artist Leonard Baskin. It depicts a Crow woman named Helen Goes Ahead in front of a red background. 19" x 12 ...

"Red Cloud-Oglala" is an original color lithograph by Leonard Baskin. It is an artists proof, and signed in the lower right under the image. It is a portrait of one of the most well ...

"Sambaso After Hirosada" is an original color lithograph by Michael Knigin from his Osaka series. This lithograph features a portrait of a traditional Japanese man in front of the Ne...

"Lion Dancer After Hirosada" is an original color lithograph by Michael Knigin from his "Osaka" series. The artist signed the piece lower right and titled it lower left. This is the ...

"Sonja, After Hirosada" is an original color lithograph by Michael Knigin. The artist signed and dated the piece in the lower right and titled/editioned it lower left in graphite. Th...

"Love Letter, After Kunimasa" is a hand-painted lithograph by Michael Knigin. It is signed in the lower right and is edition 16/200. This print is inspired by the Ukiyo-e prints of U...

"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 ...

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...

"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...

"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...

This is an original drypoint and aquatint artwork by Jacques Villon. The artist signed in pencil on the lower right. As well as signed in plate at the top right of the image. This is a wonderful artwork of different intaglio processes being brought together in a beautiful almost seamless harmony. The thin pencil like markings and hair detailing are made using the Drypoint printmaking method. Whilst the color details around the girls are made using the Aquatint etching method. Jacques Villon shows his skills as a printmaker with the way these pieces line up perfectly and with how clean the rest of the plate is around the girls. Catalogue Raisonne E101, pg. 66-67 (Ginestet & Pouillon. It depicts two young girls. 15" x 11 1/2" art 25 1/8" x 20" frame French painter, printmaker and illustrator. The oldest of three brothers who became major 20th-century artists, including Raymond Duchamp-Villon and Marcel Duchamp, he learnt engraving at the age of 16 from his maternal grandfather, Emile-Frédéric Nicolle (1830-94), a ship-broker who was also a much appreciated amateur artist. In January 1894, having completed his studies at the Lycée Corneille in Rouen, he was sent to study at the Faculty of Law of the University of Paris, but within a year he was devoting most of his time to art, already contributing lithographs to Parisian illustrated newspapers such as Assiette au beurre. At this time he chose his pseudonym: Jack (subsequently Jacques) in homage to Alphonse Daudet’s novel Jack (1876) and Villon in appreciation of the 15th-century French poet François Villon...

The present artwork is an original etching by American artist Leonard Baskin. Here, he presents a portrait of the Flemish Renaissance artist Peter Breughel the Elder in profile, executed after the engraving by Johannes Wierix published in 1572 by Volcxken Diericx and Hieronymus Cock. In the portrait, Baskin displays a love of line and texture, using the etching technique to exaggerate and draw attention to the wrinkles of the face, while leaving the hair and clothing like a study or sketch. Like in the work of contemporary artist Claude Weisbuch, the result for Baskin is an image that recalls the old masters and displays the mastery of contemporary printmakers, but that also places mid-century formal concerns at the forefront of portraiture and figuration. etching in black in on Rives paper 17.5 x 17.5 inches, plate 29.75 x 22 inches, sheet 33.5 x 25.88 inches, frame Entitled "Breughel" in pencil, lower left Edition 9/50 in pencil, lower center Signed in pencil, lower right "PB" in the plate, upper left "PB" in the plate, upper right (faint) Label for Irving Galleries, Milwaukee on reverse Label for David Barnett Gallery on reverse Framed behind glass in a distressed cassetta-style moulding Artwork in overall good condition; general toning to the paper; some scattered foxing; frame in good condition with some losses to finished surface revealing white ground Born in 1922 in New Brunswick, New Jersey, Baskin was reared in Brooklyn, New York. The son of a Rabbi, Baskin was educated at a yeshiva (Jewish religious college), which had a profound effect on his aesthetic. Committed to art at an early age, Baskin had his first exhibition. of sculpture, at the Glickman Studio Gallery, New York, at the age of seventeen. He studied at Yale University from 1941 to 1943 and received his B.A. at the New School for Social Research in 1949. Baskin spent 1950 and 1951 abroad, studying in Paris and Florence. In 1953 he began teaching printmaking and sculpture at Smith College in Northampton, Massachusetts, where he remained until 1974. It was while he was at Smith College that he founded Gehenna Press, a small private press specializing in fine book production. He moved to England in 1974 and stayed till 1983 when he returned to America.. These nine years were enormously productive and besides sculptures he created a fine selection of prints and paintings. Baskin became intrigued by Greek history, philosophy and mythology at an early age and this study inspired many of his sculptures and paintings. Other influences were early 20th century sculptors, notably Ernst Barlach Leonard Baskin was one of the universal artists of the 20th century. He was a sculptor of renown. He was a writer and illustrator of books ranging from the bible to children's' stories and natural history. He was a talented water-colourist and a superb, prolific print-maker. His prints ranged from woodcuts through lithography and etching; his subjects covered portraits...

This color lithograph printed in 2011, Magie noire (Black Magic), by the Surrealist artist, René Magritte, is number 16 in an edition of 275. Facsimile sig...

'Babylone d'Allemagne' or 'German Babylon' is an original lithograph poster by the lauded artist of the Art Nouveau style Henri de Toulouse-Lautrec. This is the second poster that La...

This print is from a highly regarded series by the Edo woodblock artist Utagawa Kuniyoshi: in the period, there were at times prohibitions in depicting a...

In this print, Wenceslaus Hollar presents a portrait of an unidentified woman, copying a portrait by Hans Holbein the Younger. The identity of the sitter is a mystery: formerly, the portrait was believed to be of Catherine of Aragon, and the National Portrait Gallery in London identifies her as Queen Mary I...

Following in line with artists before her, like Rembrandt and van Gogh, Sandra Sweeny here presents a self portrait. The image is both direct and subtle not only in its handling of m...

In this print, Wenceslaus Hollar presents a portrait of D. Henrico van der Borcht, copying a painting or drawing by Hans Holbein. Copying works of famous masters was a common task of...

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...

"Farmer" is an original linoleum print by Schomer Lichtner, signed in the lower right hand corner. A side profile of a man in rendered in clear lines full of expression. Image: 6" x...

"Portrait of a Girl" is an original wood engraving by Barbara K. Warren Weisman. It features an an overhead view of a girl, with her arms crossed and eyes clothes. A plant sits on a ...

"Untitled (Girl Reading)" is an original wood engraving by the artist Stella Emma Harlos. A young girl rests on a large armchair, head resting on one hand as she reads a book. Image: 4" x 5" Frame: 12.12" x 13.18" Stella Harlos...

"Promenade sous les Arbres (Walk under the Trees)" is an original color lithograph by Francois Batet, signed in the lower right and numbered in the lower left. At the center of the p...

"Maria (Artist's Wife)" is an original etching by Moishe Smith, signed in the bottom right corner and numbered in the bottom left. The piece depicts a seated woman from the waist up,...

"Belle D'Antan" is an Estampe Originale, originally published in "L'Estampe Moderne Volume I," created in 1897. It features a portrait of a woman in sepia. The artist signed the piec...

"Title Page" and "Art Nouveau Motif" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were from "Ilsee, Princess of Tri...

"Kish-Ke-Kosh, A Fox Brave (Sauk-Fox)" is an original hand-colored lithograph by McKenney & Hall. This piece features a Native American man. Reference: Page 200 of The North American Indian Portfolios in the Library of Congress. 13 1/4" x 9 3/4" art 27 1/4" x 22 3/8" frame American lithograph publishers. Most well-known for "History of the Indian Tribes of North America," a collection of 125 images that included biographical sketches and anecdotes of principal chiefs. Thomas Loraine McKenney (1785-1859) served as Commissioner of Indian Affairs from 1824 to 1830. In that capacity he commissioned and collected portraits of Native Americans...

"Arab Children" is an original lithograph by Fletcher Martin. The artist signed the piece lower right. This piece features two young children--a boy and a girl--with downcast eyes in draped fabric clothes in an interior. 12" x 8" art 22" x 18" frame Fletcher Martin was an American painter, illustrator, muralist and educator. He is best known for his images of soldier life during World War II and his sometimes brutal images of boxing and other sports. His artistic skills were largely self-taught. He worked as a printer in Los Angeles in the late 1920s, and as an assistant to Mexican muralist David Alfaro Siqueiros in the early 1930s. He taught at local art schools such as Otis Art Institute. He won commissions to paint murals for the New Deal's Section of Painting and Sculpture, including Mail Transportation (1938), painted for the San Pedro Federal Building and Post Office in Los Angeles. Under the WPA he painted a mural study for the Kellogg, Idaho post office titled Mine Rescue (1939). Local industrialists objected that it depicted the dangers of mining, while officials of the Mine & Smelt Workers Union praised it. The industrialists prevailed and Martin painted an uncontroversial mural, Discovery (1941), depicting the prospector who founded the town. The rejected mural study is now in the Smithsonian American Art Museum. Perhaps his most ambitious mural, also done under the WPA, was painted for North Hollywood High School in Los Angeles. Legends of Fernandino and Gabrileno Indians (1937) depicts overlapping scenes of Native American life and ritual, and the world being carried on the backs of giants. As an artist-correspondent for Life Magazine during World War II, he made hundreds of sketches of U.S. soldier life. Fourteen of his paintings from the North African campaign were published in the December 27, 1943 issue of Life, and brought him national recognition. Among these was Boy Picking Flowers...

"Wa-Em-Boesh-Kaa, A Chippeway Chief," is an original hand-colored lithograph by McKenney & Hall. It features a portrait of a notable Native American chief, with informational text below. 13 1/2" x 18 3/4" paper 25 5/8" x 20 1/2" frame American lithograph publishers. Most well-known for "History of the Indian Tribes of North America," a collection of 125 images that included biographical sketches and anecdotes of principal chiefs. Thomas Loraine McKenney (1785-1859) served as Commissioner of Indian Affairs from 1824 to 1830. In that capacity he commissioned and collected portraits of Native Americans...

"Jeune Fille" is an original sepia etching by Marie Laurencin. The artist's stamped signature is in the lower right. This piece features a delicate portrait of a young girl. 13" x 9 7/8' paper 9" x 5 1/2" image 20 7/8" x 17 3/8" frame Marie Laurencin (October 31, 1883 - June 8, 1956) was a French painter and printmaker. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. At 18, she studied porcelain painting in Sèvres. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting. During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde. A member of both the circle of Pablo Picasso, and Cubists associated with the Section d'Or, such as Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri le Fauconnier and Francis Picabia, exhibiting with them at the Salon des Indépendants (1910-1911) and the Salon d'Automne (1911-1912). Laurencin's works include paintings, watercolors, drawings, and prints. She is known as one of the few female Cubist painters, with Sonia Delaunay, Marie Vorobieff, and Franciska Clausen...

"The Presidents of the U.S." is an original hand-colored lithograph by Nathaniel Currier. It features the first eleven presidents of the United States. 14" x 10" art 23" x 19 1/8" frame Nathaniel Currier was born March 27, 1813 to Nathaniel and Hannah Currier in Roxbury, Massachusetts. At the age of fifteen he was apprenticed to William S. and John Pendleton of Boston who had set up the first lithographic establishment in America. His apprenticeship served him well as he went on to be the largest publisher of lithographs. Mr. Maurer described Nat Currier as being very gentlemanly and liberal. As is evident to the success of the firm of Currier & Ives he was very devoted to his business. Nat Currier had many friends including Horace Greely and P.T. Barnum. He was well known for his sense of humor and Harry T. Peters tells one story about P. T. Barnum. "Currier had heard that one day his friend, the great showman, had rushed into the barber shop of the old Park Hotel, at Beekman and Nassau Streets, to get a shave. Barnum had hurried up to Tom Higginson, the barber, and said, 'Tom, I'm in a hurry.' 'Sorry for it,' said Tom, 'but it's that gentleman's turn next.' 'That gentleman' was an unshaven irshman waiting for a ten-cent shave. Barnum turned to him and said, 'My friend, if you will let me have your turn, I'll pay for what you have done.' The gentleman consented, and, as Barnum found out later, had a full job done - absolutely everything the house had. The check was for a dollar and sixty cents. When Currier heard this story he found the very Irishman and had him pose. The result was the famous cartoon, "The Man that Gave Barnum 'His Turn.'" Nathaniel was married twice; his first wife was Miss Eliza West of Boston. He had one son with Eliza, Edward West Currier. In 1847 he married Miss Laura Ormsbee of Vermont. Laura and Nathaniel are memorialized in the famous N. Currier lithograph The Road Winter...

This poster depicts a photograph by Laton Alton Huffman and is advertising an exhibition at Pearl St. Gallery in Oregon from 1976. It depicts a sitting portrait of a Native American ...

"Ray Ventura" is an original lithograph poster by Jean Dominique van Caulaert. It features a portrait of Ray Ventura, a French jazz bandleader who played a...

"Emmanuelle" is an original lithograph by Maurice Denis. It is a birth announcement for the artist's granddaughter and was printed in blue. 5 7/8" x 7...

"Five Dutchmen with Hats" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (EA 15/30) in the lower left. This piece ...

"Girl With Flowers" is a lithograph printed in brown, signed and dated in stone upper left WJR. It depicts the head of a girl with short hair surrounded by floating flowers. 14.5" ...

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

"Rembrandt en Habit de Capitaine" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (249/250) in the lower left. This...

"Art Dealer With Mask (Portrait of David Barnett)" is an original mixed media collage by Carol Sternkopf. It depicts David Barnett, artist and gallerist, constructed in black and white from personal photographs. 30 1/2" x 29" BFA in Drawing from Milwaukee Institute of Art and Design Now lives in Bend...

In 1897, Alphonse Mucha created illustrations for "Ilsee, Princesse de Tripoli." This double-sided print is a rare proof of an original color lithograph before any text from the story was added. This is a special edition print from edition 252 and is 12/35 on Chinese paper. 4.25" x 5.0625" image 20.75" x 17.5" frame Alphonse Mucha was born in 1860 in what is now the Czech Republic. His career began in decorative painting for theater scenery...

"Push Aside - Comanche" is an original lithograph by Leonard Baskin. This is a proof for Fox Graphics before publication. The artist signed the piece in the lower right. This piece d...

"Le Philosophe au Papillon" is an original color lithograph from the Je Reve portfolio by surrealist artist Andre Masson. The artist signed the piece i...

"Invocation" is an original lithograph with the blindstamp of L'Estampe Moderne in the bottom right corner. L'Estampe Moderne commissioned Marcel Lenoir ...

"Beside the Dying" is an original signed lithograph by Ben Shahn. This print is from the series "For the Sake of a Single Verse" and depicts the head of a man in dark gray seemingly asleep or dead on a white background. It is signed lower right and is edition 27/200. 22" x 17" art 32 3/8" x 27 3/8" frame Ben Shahn (American, September 12, 1898 - March 14, 1969) was a painter, lithographer, and photographer best known for his left-wing political leanings, works of social realism, and The Shape of Content, a publication of his lectures. Shahn was born in Kovno, Lithuania, when the country was still occupied by the Russian Empire. In 1902, Shahn's father, Joshua Hessel, was exiled to Siberia. Shahn then moved to Vilkomir, Lithuania, with his mother, Gittel, and his two siblings. Their family moved to the United States in 1906 to join their father who had fled from exile. After settling in Brooklyn, NY, Shahn began to train in lithography and graphic design, and his favorite medium was egg tempera. In 1919, Shahn enrolled in New York University to study Biology before entering the City College in 1921 to study Art. He also studied Art at the National Academy of Design. In the 1920s, Shahn and his wife traveled around Africa and Europe to study the works of renowned artists such as Pablo Picasso (Spanish, 1881- 1973) and Raoul Dufy (French, 1877-1953). In 1933, Shahn worked as an assistant of Diego Rivera (Mexican, 1886 - 1957); at this time, Rivera was working on the mural at the Rockefeller Center in New York. Two years later, Shahn was recommended by Walker Evans (American, 1903 - 1975) to join the Farm Security Administration photographic group. One of the artist’s most famous works is the fresco mural he did for the Jersey Homesteads' community center. Shahn also worked on murals for the state on the Federal Security Building and the Bronx Central Annex Post Office. During the Second World War, Shahn made a series of paintings laced...

"Portrait of a Man" is an engraving after Hans Holbein by Wenceslaus von Prochna Hollar. It depicts a man in traditional dress for the mid-17th century: A flat hat, large shirt, and ...

"La Mere de Whistler" is an original etching and drypoint signed by the French artist Auguste Brouet in the lower right. It depicts famous artist James Abbott McNeill Whistler's moth...

"L'Atelier Mourlot Title Page" is an original color lithograph by Pablo Picasso. It depicts a simplified smiling face in blue, red, yellow, and green with the text "Mourlot Workshop"...