Head Figurative Prints

Original Lithograph by Jean Cocteau Title: Antigone From "Théâtre" Portfolio, 1957 Edition: 207 / 8800 Dimensions: 22.5 x 15.5 cm

Portrait of a Child is an original Woodcut Print realized by Mino Maccari in mid-20th century. Good condition on a yellowed paper, included a white cardboard passpartout (35x28 cm)....

Poster of Stowackiego theater is an original offset print realized in 1975 for "Ulani". Signed on the lower right " M. Gorowski 75". Good conditions except for light and small cutt...

Jay Leno NBC Tonight Talk Show Host Emmy Award Time Magazine Cover Caricature Al Hirschfeld (1903 – 2003) Jay Leno Sight Size: 19 x 16 inches Etching with aquatint Signed lower righ...

Bacchus and the Nymphs is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Signed and dated on plate on the lower right corner: F. Bac 1922. Original Lit...

Raymond Pettibon 1986-2001 poster/announcement cards: A curated set of 4 vintage Raymond Pettibon illustrated announcement cards plus a copy of Picturebook, a 1993 art publication (with a Raymond Pettibon original poster inside). Medium: 4 offset printed announcement cards, 1 fold-out poster. Dimensions ranging from: 4.25x6 inches to 11x17 inches. Condition: Each in good to very good overall vintage condition with some minor signs of handling. Each unsigned from an edition of unknown. Included in the collection: - Raymond Pettibon, Feature gallery, New York, NY, February 18-March 18, 1989. - Raymond Pettibon, A&P Gallery Closing Announcement, New York, NY, October 3, 1986. - Raymond Pettibon Poster...

Rare print handsigned by surrealist artist Leonor Fini, inscreasingly esteemed with the movement of rediscovering art by women. This rare original lithograph is an artist proof in ve...

Peter Max, German/American (1937 - ) - Facing Waves, Year: 1973, Medium: Lithograph, signed and numbered in pencil, Edition: 227/300, Image Size: 23.25 x 15.25 inches, Size: 26 ...

Rey, Margaret and H.A. CURIOUS GEORGE GOES TO THE HOSPITAL. Houghton Mifflin, Boston, 1966. 1st Printing stated. INSCRIBED in ink on the front free endpaper "To Edith Bell from the R...

Yoshitomo Nara In the Pink Water, 2021 Print on paper 28 7/10 × 20 3/10 in 72.8 × 51.5 cm

April is an expertly crafted, embossed serigraph on paper with foil stamping and an image size of 27 x 22 inches. From the edition of 650, the art is numbered 296/300 and estate-stam...

Charles Bragg, American (1931 - 2017) - Don Juan, Year: circa 1970, Medium: Etching, signed, numbered, and titled in pencil, Edition: 300, Image Size: 8 x 10.5 inches, Size: 11.5 x...

Hand Signed. Edition of 50 pieces. Very good condition.

"Marilyn Crying Diamond (Marmont Pink)" acrylic, oil-based ink and diamond dust hand-pulled screen print on linen by artist Russell Young. Depic...

Raymond Pettibon illustrated Black Flag flyer published on the occasion of: Black Flag at the Elite Club, Oct. 31 1981; with D.O.A., Saccharine Trust, & Overkill. A rare early Petti...

Baby Pandas Cuddling! Yay! (2022) by Takashi Murakami Offset print Hand signed and numbered by the artist Published by Kaikai Kiki Co., Ltd., Tokyo 51.3 × 51.3 cm Edition 75/100 T...

"The Putting Green" - Figurative Landscape 20th century lithograph copy (restrike) of an original painting by British artist Douglas Adams (English, 185...

Maria Callas Opera Diva Icon Superstar Greek-American Classical Music Al Hirschfeld (1903-2003) "Maria Callas" Sight: 14 1/4 x 10 1/2 inches Lithograph on heavy paper Signed lower ...

Alex Katz (b. 1927) has been dedicated to art-making since the 1950's - however, it wasn't until the 60's when he established his signature 'flat' figurative style. Over the succeedi...

Cuca Romley, Spanish woman artist (born 1933) Color etching "Petite Fille" (young girl with blue eyes) Hand signed lower right, titled lower center, "epreuve d'artiste" lower left....

"Play" is an original etching by Kenneth Hayes Miller. The artist signed the piece in pencil and in the plate. This piece features a nude figure with two smaller doll-like figures. ...

Yoshitomo Nara Midnight Truth, 2017 Screenprint on paper 20 3/10 × 14 3/10 in 51.5 × 36.4 cm

Adored by collectors and art lovers the world over, Alex Katz is renowned for his elegant and distinctive version of figuration. Born in 1927, Katz has been dedicated to art-making s...

Program for A Bas Le Progres. By Edmond de Concourt 1894. Four-color lithograph. 12 3/4 x 9 7/8" 25 April 1894. Signed in the stone. Rare. Ibels’ images were powerful and heavily ...

"Untitled 1.16" Still Life Photography 35' x 24' in Ed of 10 by García De Marina Signed and numbered by the artist Comes with COA issued by the artist García de Marina was born in ...

Beautifully framed original 1920 "Cachou Lajaunie" vintage lithograph poster by Leonetto Cappiello. Printed by Devambez Imp. Paris.

Original Lithograph by Jean-Gabriel Domergue Title: Sublime Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisienne...

Janick LEDERLE The Wedding Day Original lithograph (Mourlot) Handsigned in pencil Limited /275 copies On vellum 76 x 55.5 cm (c. 29.9 x 21.6 in) Verry good condition, foxing in the...

18" x 32" Unframed Limited Edition Giclee with Hand Embellishment of 135 Hand Signed by Todd White Todd white captures restaurant, night and Hollywood scenes with contrasting colors...

Etching with extensive hand coloring in watercolor on white wove paper, 13 3/4 x 10 3/4 inches (347 x 271 mm); sheet 24 x 17 inches (608 x 430 mm), full margins. In good condition wi...

This exquisite lithograph after Edgar Degas (1834–1917), titled Danseuse touchant sa boucle d’oreille (Dancer Touching Her Earring), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Studio Publications, Inc., New York, rendered and printed by Albert Carman, City Island, 1945, this work reflects Degas’s sensitive mastery of line, movement, and intimate observation, capturing the grace, poise, and psychological immediacy that define his iconic ballet imagery. In Danseuse touchant sa boucle d’oreille (Dancer Touching Her Earring), Degas reveals gesture and inner emotion through economical contour and lyrical nuance. Executed as a lithograph and pochoir on velin paper, this work measures 17 x 13 inches (43.18 x 33.02 cm). Signed in the plate and unnumbered as issued. Rendered and printed by Albert Carman, City Island, one of the notable American ateliers specializing in fine art lithography during the mid-20th century. Artwork Details: Artist: After Edgar Degas (1834–1917) Title: Danseuse touchant sa boucle d’oreille (Dancer Touching Her Earring), from Degas, Ten Ballet Sketches, 1945 Medium: Lithograph and pochoir on velin paper Dimensions: 17 x 13 inches (43.18 x 33.02 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1945 Publisher: The Studio Publications, Inc., New York Printer: Albert Carman, City Island, 1945 Condition: Well preserved, consistent with age and medium Provenance: From the 1945 folio Degas, Ten Ballet Sketches, published by The Studio Publications, Inc., New York Notes: Excerpted from the album, Born in Paris in 1834, Edgar Degas lived, and surely loved the life of that city during most of his years. These continued somewhat sadly beyond those of most of his friends— into the debacle of the first World War, during which he died in 1917. Judging by the frequency with which he used them as models, he must have had an especial admiration for the ballet girls who followed a profession that at the time brought none of the glory and prosperity which attend it today. New aspects of the human body, revealed in movement, fascinated him. But his occupation with the simply anatomical side of his subjects never resulted in a cold interpretation. On the contrary there is a warmth and sympathy that pervades all of his work. The drawings here represent the painter in one important phase of his multi-sensitive view of life; and permit an insight which a more ambitious work might not do-into the operation of the creative process, the artist's transformation of reality as it passes through the mesh of his sensibilities. The Edition of this Portfolio is limited to MMMD examples. Rendered by Albert Carman. About the Publication: Degas, Ten Ballet Sketches, published in 1945 by The Studio Publications, Inc., New York, stands as one of the most elegant and scholarly mid-century American fine art folios devoted to the ballet imagery of Edgar Degas. Conceived as a high-quality interpretive portfolio, the album presents a series of lithograph-and-pochoir renderings based on Degas’s original drawings, executed with exceptional attention to tonal subtlety, contour fidelity, and the emotional interiority that defines the artist’s draftsmanship. Rendered and printed by Albert Carman on City Island, the publication embodies an American postwar effort to restore and celebrate European masterworks through meticulous handcraft and artisanal color application, honoring Degas’s distinctive line and the atmospheric delicacy of his studio-based studies. Produced in a substantial edition of MMMD examples, the portfolio offered audiences rare access to Degas’s private working drawings—images rarely seen outside institutional collections—while exemplifying the technical refinement and interpretive care characteristic of Carman’s workshop. Today, Degas, Ten Ballet Sketches remains a sought-after historical publication, valued for its craft, fidelity to Degas’s aesthetic, and its role in preserving and disseminating the artist’s intimate ballet imagery in a beautifully executed mid-century fine art format. About the Artist: Edgar Degas (1834–1917) was a French painter, draughtsman, printmaker, and sculptor whose groundbreaking fusion of classical draftsmanship, modern experimentation, and psychological depth helped define the trajectory of Western art, positioning him as one of the most influential figures of the nineteenth and early twentieth centuries; renowned for his depictions of ballet dancers, racehorses, theater scenes, cafe life, domestic interiors, milliners, laundresses, and women at their toilette, Degas reimagined observational realism through radical compositional innovation—employing extreme cropping, asymmetrical framing, oblique viewpoints, and dramatic lighting that anticipated photographic and cinematic language long before these technologies shaped visual culture, and although associated with Impressionism, he rejected plein-air spontaneity in favor of studio-based discipline rooted in the linear precision of Jean-Auguste-Dominique Ingres, the expressive chromaticism of Eugene Delacroix, and the modernity of Edouard Manet while also drawing inspiration from Japanese ukiyo-e prints, classical sculpture, and early photography; his independent artistic philosophy resonated with and helped shape the innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose explorations of movement, form, dream logic, abstraction, and conceptualism all find antecedents in Degas’s investigations into seriality, temporality, and the fragmented figure, and his pioneering use of pastel, monotype, and wax sculpture fundamentally transformed each medium, influencing artists from Henri Matisse, Francis Bacon, Lucian Freud, and Giacomo Manzu to Paula Rego, contemporary realists, experimental photographers, and choreographers; his works are held in nearly every major museum collection worldwide—including the Musee dOrsay, the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Courtauld Institute, and the National Gallery, London—affirming his central place in the history of art, and the highest auction record for Degas was achieved at Sothebys London on February 3, 2015, when Danseuses en Bleu sold for 37,033,000 GBP, cementing his status as one of the most sought-after and enduringly significant artists of the Western canon. Edgar Degas lithograph...

Eduardo Arroyo A Winter Day, 1984 Original lithograph Handsigned in pencil On Arches vellum, 45 x 61 cm (c. 17,7 x 24 cm) Numbered /100 copies INFORMATION : This lithograph is part of the set "Oraisons funèbres", inspired by the text of André Malraux...

NEW DREAMS is an original limited edition lithograph by the Harlem Renaissance, American social realist artist ERNEST CRICHLOW (1914-2005). NEW DREAMS was printed from hand drawn pl...

after Henri MATISSE (1869-1954) Lithograph after a drawing of 1941 Printed signature and date Book plate from Aragon. Henri Matisse: Dessins, Thèmes et Variations : précédés de "...

Pas de Deux II (Danny Moynihan and Laura Faber) is a serigraph on paper with an image size of 36 x 20 inches, signed ‘Alex Katz’ lower left and numbered 107/150. From the edition of ...

Henri de Toulouse-Lautrec (French 1864-1901) "À La Gaieté Rochechouart: Nicolle", 1893 Printer: Edward Ancourt Lithograph in black on velin paper Artist's red monogram stamp lower le...

HENRI MATISSE 1869-1954 (Emile Benoît) Le Cateau-Cambrésis 1869-1954 Nice (French) Title: Figure Reading Figure lisant, 1929 Technique: Original Hand Signed and Numbered Etching o...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Kathe Kollwitz, Ten Lithographs. Published by Henry C. Kleemann and...

Kollwitz, Kathe. TOD, FRAU UND KIND (DEATH, WOMAN AND CHILD). Knesebeck 108, Klipstein 113. Etching, drypoint, sandpaper, and soft-ground with the imprint of Ziegler's transfer paper...

Untitled . Offset Lithograph by Izumi Kato Printed in 2020 for the Exhibition at Perrotin Gallery Paris Sheet size: 58.5 × 39 cm (Framed 63 x 43 cm)

This artwork titled "Cabeza con Pajaros" 1958, is an original colors lithograph on Wove paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 273/30...

This exquisite etching by Marc Chagall (1887–1985), titled Manilov (Manilov), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chag...

Batman – Turin Museum Retrospective By Andy Warhol Andy Warhol, a leading figure in the Pop Art movement, revolutionized the art world with his iconic works that celebrated consum...

This etching features a nude woman in high heels. Whipping her head to the left, she gazes intently past the viewer through a wild tangle of tresses. A sunhat with a bow nearly floats off her head, a tongue-in-cheek nod to modesty. Taking a wide stance, she straddles a comically large phallus, which springs up eagerly from the ground like a plant. Unusually, this etching was drawn directly onto the plate from the artist’s imagination and not from a life model. This spontaneity is visible around the woman’s bust and arms, where Oldenburg sketched several variations of her anatomy, giving the impression of a figure in movement. Beside her left breast, Oldenburg extends this halo of lines by cheekily doodling a small, floating phallus. Paper 36 x 27.5 in. / 91.4 x 69.2 cm. Plate 23.5 x 17.7 in. / 59.7 x 45.1 cm. Etching in one color on white, thick, slightly textured Wookey Hole handmade paper watermarked with the artist’s signature. Signed by the artist and dated 1975 lower right in pencil. The edition of 60 includes ten prints in each of six different ink colors: Indigo blue, vermilion, mauve, burnt sienna, astral blue, and yellow-ochre. A copy of each color is available: this listing is for one copy in the color of your choice. As recorded in the artist’s unpublished notes: “In 1974 an ambitious project for a suite of large-scale etchings was hatched with Paul Cornwall-Jones, for production by Maurice Payne in Petersburg Press’s new Pembroke studios in London. The project would consist of meticulous transcriptions of a certain group of drawings...

Lithograph after a drawing by Jean Cocteau Title: Profil Signed in the plate Dimensions: 33 x 46 cm Edition: 600 Luxury print edition from the portfolio of Sciaky 1961

Goya, Francisco (Spanish, 1746-1828). MUCHACHOS AL AVIO (LADS MAKING READY). Harris 46, State iii. Etching, aquatint, and engraving, 1799. Plate 11 from the First Edition of Los Capr...

This exquisite lithograph after Henri Matisse (1869–1954), titled Plume (Feather), from the album Dessins de Henri-Matisse (Drawings by Henri Matisse), originates from the 1925 editi...

Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm). Literature and Exhibition: Back cover illustration of the catalog of the artist’s prints, 'Helen Hyde', Smithsonian Institution Press, 1990; 'The International Block Print Renaissance, Then And Now, Block Prints In Wichita, Kansas, A Centennial Celebration — 1922-2022', Barbara J. Thompson, Wichita Art Museum, 2022 (back cover). Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art. ABOUT THE ARTIST Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth. Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work. Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown. After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors. Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene. Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago. During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence. In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California. Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints...

The Nine Drawings Portfolio is a strong example of Shahn’s commitment to the struggle for social justice and racial equity. It was “published and distributed as part of a fund-raisin...

11 color hand pulled screen print on Mohawk Superfine UltraWhite 160 lb cover paper with deckled edges. Hand signed on front by Hebrew Brantley. Hand numbered 54/100 on front. Art...

Etching on chamois-colored laid paper, realized in 1968/69. Plate from "Faust (La Nuit de Walpurgis), published by Argillet, Paris. Edition of 49/150, hand colored. Hand signed an...

From the "ADS" portfolio. Screen print on lenox museum board Hand signed and numbered by the artist. Edition PP 5/5 (There is a main edition of Edition of 190, 30 AP, 5 PP, 5 EP, 1...

Nude is an etching on paper realized by Carlo Marcantonio. Hand-signed in the lower right in pencil. Good conditions. Edition of 50.

Elizabeth Catlett - CHILDREN WITH FLOWERS 1995, limited edition lithograph printed in twelve colors using traditional hand lithography techniques on archival Arches paper, 100% acid ...

Shepard Fairey They Live We Sleep (Cream Black Set) Letterpress on Cream Cotton Paper and Classic Crest Epic Black 165# Paper with Hand-Deckled Edges Year: 2025 Size: 13 x 10 i...

Signed, dated and numbered in pencil Printer: Rebekah Wilhelm, Zygote Press, Cleveland Created at Zygote Press, Cleveland, 2015, while the artist was an Artist in Residence. Exhib...

Alex Katz Vivien in White Coat, 2021 is a work of subtle admiration that the artist holds for her daughter-in-law, Vivien Bittencourt. The gentle hues...

Black And White Marilyn Oversize Signed limited edition - Pop Art - Marilyn Monroe by the London based contemporary pop art image creator and artist, BATIK. Measures approximatel...

This exquisite lithograph and pochoir after Gustave Courbet (1819–1877), titled Portrait de Juliette Courbet endormie (Portrait of Juliette Courbet asleep), originates from the 1968 ...

Artist: Mel Ramos Medium: Lithograph Title: Tiger Girl Portfolio: 1¢ Life Year: 1963 Edition Size: 2000 Framed Size: 22.5 x 18 inches Image Size: 16 1/4 x 1...