Wisconsin - Figurative Prints

In this image, Howard Thomas presents the viewer with a domestic interior. The image is dominated by the figure of a black woman, resting her arm on an ironing board. To the right, the tool of her task dangles a chord above a checker tiled floor. Beyond, though a window, neighboring homes fill the landscape. The careful line-work of the linocut adds a sense of expressionism to the scene, but the image nonetheless falls into the Social Realism that captivated most American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 12.37 x 12.43 inches, frame Entitled "Monday in Wick Haven" lower left (covered by matting) Inscribed "Linoleum Cut" lower center (covered by matting) Artist name "Howard Thomas" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Quaker-born in Ohio, Thomas trained in the Midwest at Ohio State University and the Chicago Art Institute. He taught in the Art Department of the Milwaukee State Teachers College (now University of Wisconsin-Milwaukee) where he became good friends with Carl Holty, Edward Boerner, Robert von Neumann...

No. 305. Prestel. Ed. Ralf Michler and Lutz W. Lopsinger. Catalog Raisonne of Dali's Etchings and Mixed-Media Prints, 1924 - 1980. From the Faust Series (La Nuit de Walpurgis). This ...

"Le Trait de la Figure" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (III/CXX) in the lower left. This piece dep...

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...

"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...

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...

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...

An original color lithograph by Jules Cheret numbered 52 of three dancers. 31 5/8" x 23 3/4" art 37 1/2" x 29 5/8" framed Jules Chéret (31 May 1836 – 23 September 1932) was a Frenc...

"Viviane, Maindron" is an original color lithograph by Jules Cheret. It is an advertisement for a five-act ballet from 1886. It depicts a performer in a yellow dress with other dance...

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...

The present color collagraph, from the portfolio 'Los Animales,' is an excellent example of Joseph Rozman's pictographic style. Rozman's work often looks to ancient and non-western a...

"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...

"From: Ilsée, Princess of Tripoli Recto: "Jaufre's Entrance" Verso: "Father Scolds Son" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs f...

"Bal de l'AAAA Festival of Light" is an original lithograph poster by Paul Emile Pissarro. It depicts a silhouetted couple dancing in white, pink, and yellow ...

"Angelika's Pets" is an original wood engraving by Robert Franz Von Neumann. It features a young woman sitting at a desk, working on a wood engraving. Two large cats sit near her and look out a window nearby. Image: 6" x 5" Framed: 13.43" x 12.43" 1888 - 1976 Born in Rostock, Mecklenburg, Germany, Robert von Neumann...

"Orient-Express" is a lithograph poster by Pierre Fix-Masseau. It depicts two people dining and being served drinks on a luxury train. The artist signed the artwork in the image lower right. There was a small tear on the margin that has been repaired. 38 5/8" x 24 1/4" art 40 1/2" x 26" frame French Poster...

"From: Ilsee, Princesse de Tripoli "Ilsee and Jaufre" is an original lithograph by Alphonse Mucha. From "Ilsee, Princesse de Tripoli," a rare illustrated book. Image: 8.12" x 6" F...

"Noel" is an original linocut on blue paper by Sylvia Spicuzza. The artist stamped her signature lower center. This artwork features the Virgin Mary holding the baby Jesus. Both figu...

"Pour Daniel-Henry Kahnweiler Figure in Landscape" is an original lithograph by Yves Rouvre. The artist signed the piece lower right. It features an abstracted figure in fields of co...

The present unique collagraph is an excellent example of Joseph Rozman's pictographic style. The composition is organized like a tiled floor, each square containing an abstracted ima...

"Manomon (L'Estampe Moderne Volume I)" is an original estampe originale in color by Rene-Xavier Prinet. The artist signed the piece lower right. This piece was published in "L'Estampe Moderne," an Art Nouveau publication, and features a seated woman in a white robe and large, coiffed hair. 15 3/4" x 12" art 25 1/4" x 21 1/2" frame René-Xavier Prinet , born on December 31 , 1861 in Vitry-le-François and died on January 26 , 1946 in Bourbonne-les-Bains is a French painter Prinet exerts a spiritual talent, holding a distinguished place in Parisian society. He is noted for his bourgeois interiors and his portraits (families Saglio and Desgranges for example). His home region, Franche-Comté , as well as the Normandy coast where his residence the "Double Six...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood 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...

"Dalila" is an original color lithograph by Andre Masson. This piece, which features an abstract, surreal woman, is from Masson's "Je Reve (I Dream)" por...

The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime. 9.25 x 12.5 inches, artwork 18.38 x 22 inches, frame Entitled bottom center "Partridge Shooting...

'Hommage à Michel-Ange' is an original color lithograph signed by the contemporary artist Claude Weisbuch and shows the strong interest he took in the High Renaissance. In the image, Weisbuch draws from Michelangelo's frescoes on the ceiling of the Sistine Chapel...

'Mad Dash' is a print that exemplifies the work of Joseph Rozman during the 1970s, moving beyond the playful pictographs of the previous decade and morphing into an increasingly surr...

This original color lithograph poster features some of the most iconic and beloved comedians of the early 20th century: The image is dominated by the figure of Charlie Chaplin, holding his iconic bowler hat over his head. Surrounding him are portraits of Harold Lloyd...

"From: Ilsée, Princesse de Tripoli Recto: "Flood" Verso: "Trials of the Pilgrimage" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from ...

"See Ya Next Week" is a giclee print on paper after a 1999 acrylic and pastel on grocery bag signed by Reginald K. Gee. A male and a female embrace in the foreground. The man's face ...

"Eve Incurs God's Displeasure" is an original double sided lithograph by Marc Chagall. On recto the print features the biblical story of Eve being scolded by God for her sin in the G...

"The Urchin (Le Gamin)" is an original etching by Edouard Manet. It depicts a young boy holding a basket with his long-haired dog. This is the second and fina...

"La Grande Guerre (The Great War)" is a color lithograph after the 1964 painting by Rene Magritte. A Victorian lady stands in white facing the viewer. A bouq...

"The Walk" is an original lithograph on sommerset paper signed in pencil and inscribed to David Barnett. It is edition 68/75 and depicts a young boy in a striped shirt holding onto a...

"Seul Dans l'Atelier" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (108/160) in the lower left. This piece depic...

"From the Series Cheval et Chevalier" is an original color lithograph signed in the lower right by the artist, Marino Marini. It depicts three red abstracted horses and their riders ...

'Lobsterman's Wharf, Maine' is an original lithograph signed by Malvin Marr "Zsissly" Albright. While Malvin Marr – along with his better-known identical twin Ivan Albright – was known for his meticulous and unsettling magic realist compositions, he and his brother were also prolific in capturing landscapes of the coast of Maine where the two spent several consecutive summers away from Chicago over their lives. Sometimes these Maine landscapes and views would be painterly and seemingly antithetical to the careful realism of his other work; but in this example, however, the wharf is treated with the same macabre decay as his human subjects. In the composition, the shack...

"Projet D'Assiette" is an original zincographie print by Paul Gauguin. It is from the first edition of 50, created in 1889. 18 7/8" x 13" art 24 3/4" x 21" framed Paul Gauguin (1...

'Gladia' is an original color lithograph by the renown printmaker R.C. Gorman. from Arizona, the artist's later works focus almost entirely on the female figure and take Native American and Southwestern imagery as a source of inspiration. Here, a single woman sits in a colorful yet undefined space. The oval shape of her broad seated form is repeated in the delicately drawn shape of the flower basket at her feet. The basket contains a bundle of multicolor gladiolus flowers...

"November Morning" is an original etching by Churchill Ettinger. The artist signed the piece in pencil lower right and titled it in pencil lower left. It depicts two fishermen workin...

"Artiste Dans l'Atelier" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (126/320) in the lower left. This piece de...

No. 189. Prestel. Ed. Ralf Michler and Lutz W. Lopsinger. Catalog Raisonne of Dali's Etchings and Mixed-Media Prints, 1924 - 1980. From the Secret Poems by Apollinaire Series (Poemes...

"Marche a la Volaille, a Gisors" is an original etching by Camille Pissarro. It depicts a dense crowd in black and white. This is edition 34/43 from Loys Delteil 98, 2nd State. 14" ...

"Calligraphie Heroique" is an original color lithograph by Claude Weisbuch. The artist signed the piece in the lower right and wrote the edition number (116/275) in the lower left. T...

"First Steps" is an original lithograph created by Jean Charlot. This is a wonderful piece with hispanic styling, showing a mother teaching her child how to walk. The mother is shown standing behind the child holding it in a fabric sling. The child is shown in the foreground leaning into the fabric sling as it starts to take its first steps. The artist signed this work in the lower right. Image Size: 13 7/8" x 9 3/4" Paper Size: 17 1/2" x 12 5/8" Frame Size: 23" x 19" Artist Bio: Louis Henri Jean Charlot was a French-born American painter and illustrator, active mainly in Mexico and the United States. Charlot’s mother’s family originated from Mexico City, and the artist was fascinated with Mexican manuscripts and pre-Columbian artifacts...

'Le Chef D'Oeuvre Inconnu,' or in English 'The Unknown Masterpiece,' is an original signed lithograph by the contemporary artist Claude Weisbuch – and it is an excellent example of t...

"Matinee a l'Odeon" is an original etching by Maurice Asselin. The artist signed and titled the print below the image. This piece is edition 13/30 and depicts three figures watching ...

"La Visite des Amateurs" is an original color lithograph by Claude Weisbuch. It is signed in the lower right and editioned "EA" in the lower left. This piece depicts four figures: one artist in black robes, two onlookers, and one female nude model. They appear to be in an endless flat landscape. 22" x 29 7/8" art Claude Weisbuch was born on February 8th, 1927 in Thionville, France. His art includes drawing, painting and lithographs. Inventive and unique with his style he uses color range that is warm and rich in tone, certainly equal to that of Rembrandt. The fluidity of line and creation of motion is even more vigorous that in the work of Daumier or Toulouse Lautrec. His creativeness in composition is awesome and seems to have infinite possibilities of variation and vision. Weisbuch died in 2014. Exhibitions Herve Odermatt Gallery Paris, France Escole de Paris Paris, France David Barnett...

This is a 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. An unnumbered impression, apart from the numbered edition of 50. 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...

"Venise en Fleurs" 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/...

'The Dealer' is an original lithograph from John Doyle's 'Gambler' series. The suite included ten different prints, each image capturing the exhilaration and danger of the games of chance played by casino goers. In one of the prints, a woman pulls the lever of a slot machine; in another, men queue before a lottery ticket window. In 'The Dealer,' a man faces the viewer directly. His stern gaze is hidden behind dark glasses as he springs cards between his hands in a flurry of aces and spades. His clothes reflect both the fashion of the 1970s while also hearkening to the villains of Western films. All the while, he is framed from behind by the arch of a blackjack table, which is itself lined by glistening lights of the casino. 29.5 x 20.5 inches, artwork 37.75 x 28.75 inches, frame Signed "doyle" in pencil, lower right Entitled "Dealer" in pencil, lower left Series title "Gamblers" in pencil, lower left Edition "XXXIII/XL" (33/40) in pencil, lower left Publisher blindstamp, lower left Framed to conservation standards using archival materials including 100 percent rag matting, UV Clear glass to inhibit fading, and housed in a maroon-tinted mock tortoise shell finish wood moulding with a gold finish bevel. Artwork in excellent condition; housed in a new custom frame. John Lawrence Doyle...

"The Row at the Picnic" is an original etching by John Sloan. This piece depicts a fight that broke out in a park. There is a mass of people huddled together. 4 7/8" x 3 1/2" art 17...

"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 ...

"Le Dejeuner" is a rare original color lithograph by Edouard Vuillard. It depicts a finely dressed woman with more less distinguishable figures in the background. This print was exec...

"Présure Guillien, Dijon Cow" is an original color lithograph poster. The artist's name is printed in the lower left, and the name of the printing company, Havas, is printed in the lower right. The poster advertises rennet, a product used to curdle milk and make cheese, featuring a milk maid with a red kerchief tied around her head in front of a white cow. She holds a golden bucket...

'Polichinelle Et Ses Trois Chiens,' or in English 'Pulcinella and His Three Dogs,' is an original signed lithograph by the contemporary artist Claude Weisbuch – and it is an excellen...

"Homage a Leonardo d'Vinci (Leonardo drawing, 3 Figures, Horse from De La Bataille Vol. I)" is an original color lithograph signed by Claude Weisbuch. A group of figures stand to the...

"Mexican Family" is a black and white lithograph by Howard Cook. The artist signed the piece lower right. It is from an edition of 250, unnumbered. This...

In this untitled serigraph, Vincent DiMattio combines the aesthetics of the space age with Pop Art sensibilities and techniques. In the postwar era of the 1950s and 1960s, the United States was in the midst of a period of economic growth for the middle class, and so the trappings and imagery of middle class life became the subjects of a number of artists. While figures like Andy Warhol focused on images of celebrities and soup cans, here DiMattio looks to robots and rockets. At the far left, a figure appears with a round green head and a small clamping arm. To the right, a form like a tank with phallic protrusions, one with a head like the form of a space ship. These signs all alight with the space age toys...

"Daphnis et Chloe - The Lovers" is an original lithograph by Pierre Bonnard. This lithograph is a rare proof for the illustrated edition of Daphnis et Chloe. There were two proofs, o...

The present lithograph, a certificate of Government Accounts Registry and War Record, was produced by the publishing company owned and operated by James M. Vickroy. The certificate was never used and has not been filled with the information of a veteran. Surrounding the text are various vignettes, arranged chronologically, of important moments of the Civil War, including the Battles of Gettysburg, Fort Sumter, Shiloh, as well as the Surrender of General Lee...