New York - Figurative Prints

This exquisite lithograph by Henri Matisse (1869–1954), titled Vence 1944–1948, from Verve, Revue Artistique et Litteraire, Vol. VI, No. 21–22, originates from the 1948 issue publish...

Bruyn, Abraham de (after). Court wrestlers of the Sultan of Turkey-dressed for outdoors, resting and fighting. 1577. Engraving on hand made laid paper, 10 5/8 x 6 7/8 inches (268 x 1...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Jeune femme en buste (Young Woman in Bust), from the album Les Lithographies de Renoir (The Lithographs of R...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie O, var. 18 (Series O, Variation 18), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Th...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Cheval Rouge (The Red Horse), from the album XXe Siecle, XXXIIe Annee, Nouvelle serie, No. 34, Juin 1970, originates ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Rencontre de Ruth et de Booz (The Meeting of Ruth and Boaz), from Marc Chagall, Dessins Pour La Bible (Drawings for the ...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by The Collector's Guild Ltd., New York in association with Th...

Ron Kleemann, American (1937 - 2014) - Porsche, Year: 1980, Medium: Screenprint on Arches Paper, signed and numbered in pencil, Edition: 250, Size: 23.5 x 33 in. (59.69 x 83.82...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Isaac Newton (Isaac Newton), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), originat...

John Baldessari The Sprinters, 1982 Limited Edition Offset Lithograph on Parson's Diploma paper Signed in graphite pencil on the front. Accompanied by letter of authenticity from the publisher 36 x 24 inches Unframed Provenance: Acquired as part of the complete SIGNED 1984 Olympic Lithographic Print Portfolio Exhibition History: Olympic Museum in Lausanne, Switzerland, 2017 (different edition) Accompanied by a letter of authenticity from the publisher on Olympic Committee letterhead. This is one of 750 hand signed lithographic posters, published in 1982 to celebrate the 1984 Los Angeles Olympics...

b. 1923, Bronx, NY – d. 2002, New York, NY An artist, musician, filmmaker and occasional actor, Larry Rivers was best known as a revolutionary - deliberately opposing the prevailing...

Date: 1957 Lithograph Edition of 6000 Size: 9 x 15.25 in. (22.86 x 38.74 cm) Frame Size: 15.5 x 22 inches Printer: Mourlot Paris Publisher: Maeght, Paris 1957 Reference: Cramer 34: M...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Francoise Rabelais (Francois Rabelais), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), o...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Simeon, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie E, var. 10 (Series E, Variation 10), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Th...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie L, var. 16 (Series L, Variation 16), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Th...

Twin Sisters Erté, Russian (1892–1990) Date: 1982 Screenprint, signed and numbered in pencil Edition of 350, AP Size: 36 x 48 in. (91.44 x 121.92 cm)

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

Drypoint etching on papier de Rives B.F.K. pur fil paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Voyages fantastiques aux États et empires de la l...

Etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis B...

Keith Haring San Francisco 1986: "Club DV8 Unveils the Keith Haring Room": San Francisco June 5th, 1986: Vintage original 1980s Keith Haring illustrated poster for Club DV8 San Francisco. During the time Haring was creating a mural for the St. Patrick's Day Care Center San Francisco, he painted several canvases to be installed above the bar at the famed Club DV8. Performance artist John Sex, whose name appears on the poster, was one of Haring's close friends. Offset lithograph. Image: 16 x 20 inches. Framed dimensions: 25 x 21 inches. Fair overall vintage condition; minor surface tear & age related wear. Framed in glass; frame in very good overall condition. Literature/Catalogue Raisonne: Keith Haring: Posters (entry 46; Prestel publishing) Further Background: Keith Haring DV8...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Peineta de teja (Tile Comb), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by Jean Cocte...

A 1933 lithograph on cream wove paper 14 x 18 inches (354 x 452mm), full margins. Signed, titled, and numbered 17/33 in pencil, lower margin. Minor mat tone around the perimeter of t...

This exquisite four color process archival pigment print after George Condo (born 1957), titled Parallel Figures, from the folio George Condo, Drawing Paintings, originates from the ...

Noel Daggett, American (1925 - 2005) - Bring Back the Buffalo, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 20, Image Size: 19 x 23 inche...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 92 (Plate 92), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

Guardians of the Spire; Amiens Cathedral Number 2 New York: 1937. Etching and drypoint on watermarked F.J. Head cream-colored, antique laid paper, 6 3/4 ...

Daniel Bennett Schwartz, American (1929 - ) - Tennis Match - Jimmy Connors, Year: 1977, Medium: Lithograph, signed and numbered in pencil, Edition: 600, Image Size: 24 x 18 inche...

This striking serigraph by Erté (Romain de Tirtoff) exemplifies the elegance and fluidity of the Art Deco style. Known for his iconic depictions of movement and couture, Erté capture...

Lithograph and stencil on vélin Rives BFK paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Yvette Guilbert vue par Toulouse-...

Peter Max, German/American (1937 -) - Statue of Liberty, Year: circa 1986, Medium: Poster, Image Size: 30.5 x 15 inches, Frame Size: 44.25 x 28.25 inches

Mario Grenville made this print for the publishing program of Associated American Artists. It was issued in 1945 making it a calm antidote to the ending of World War II, although it ...

This elegant and authentic serigraph by the renowned Art Deco master Erté (Romain de Tirtoff), titled "Three Graces." This exceptional work comes from Erté’s celebrated series of cos...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie O, var. 17 (Series O, Variation 17), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Th...

Robert Indiana 3, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included This classic 1960s silks...

Alexander Calder Lithograph c. 1964 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition; well-preserved. Unsigned from an edition of unknown. From: Derrière le miroir. Printed in France. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. _ Alexander Calder was an American artist best known for his invention of the kinetic sculptures known as mobiles. Calder also produced a variety of two-dimensional artworks including lithographs, paintings, and tapestries as seen in his Butterfly (1970). “My whole theory about art is the disparity that exists between form, masses, and movement,” the artist once said. Born on August 22, 1898 in Lawnton, PA, Calder turned to art in the 1920s, studying drawing and painting under George Luks and Boardman Robinson at the Art Students League in New York. Calder moved to Paris to continue his studies in 1926, where he was introduced to the European avant-garde through performances of his Cirque Calder (1926–1931). “I was very fond of the spatial relations,” he said of his interest in the circus. “The whole thing of the—the vast space—I’ve always loved it.” With these performances, along with his wire sculptures, Calder attracted the attention of such notable figures as Marcel Duchamp, Jean Arp, and Fernand Léger. Notably, it was his friend Duchamp that coined the term mobile—a pun in French meaning both “motion” and “motive”—during a visit to Calder’s Paris studio in 1931. His earliest mobiles moved by motors, but Calder soon abandoned these mechanics and designed pieces that moved by air currents or human interaction. Over the course of seven decades, along with his mobiles, he also produced paintings, monumental outdoor sculptures, works on paper, domestic objects, and jewelry. The artist lived in both Roxbury, CT, and Saché, France, before his death on November 11, 1976 in New York, NY. Today, his works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London. Related Categories Calder prints. Mid Century Modern. 1970s. Miro. Chagall. Calder lithograph. Figurative art. Alexander Calder Derrière...

This vintage David Hockney poster features whimsical imagery and rich, bright color. Palm trees, boats in the ocean, a cafe, and a bodega with an elaborate iron-wrought balcony sit a...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

Etching on cream laid paper, 6 1/8 x 4 3/4 inches (156 x 120 mm), full margins. In good condition with some minor, uniform age tone. Printed by George Bertauts, Paris. [Beraldi II.140.26] Henri Béraldi Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes. Librairie L. Conquet, vol. XII, Paris, 1885–1892, cat. no. 34, p. 140. __________ Well known in his native Germany as a watercolorist, Karl Bodmer had a rich experience exploring in North America in the 19th century, accompanying German explorer Prince Maximilian zu Wied-Neuwied as the official artist on an expedition which toured the Missouri River...

This exquisite linocut by Henri Matisse (1869–1954), titled Teeny, from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4,...

Jane Wooster Scott (American, b. 1920) Autumn in New York, c. 20th Century Lithograph Sight: 15 x 12 in. Framed: 27 3/4 x 23 3/4 x 1 in. Signed and titled lower right in plate: Autum...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie L, var. 17 (Series L, Variation 17), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Th...

Pablo Picasso's "Sculpteur et modèle debout" (1933), (which translates to "Sculptor and Model Standing") is a striking example of his exploration of the human form and his innovative...

This exquisite etching after Alberto Giacometti (1901–1966), titled Nu de Profil (Nude in Profile), from the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93, originates from the 1956 edition published by Maeght Editeur, Paris, and printed by Atelier Crommelynck, Paris, 1956. This work exemplifies Giacometti’s mastery of line and existential sensitivity, capturing the fragility, grace, and introspection that define his vision of the human form. Executed as an etching, cuivre rayé apres tirage on velin paper, this work measures 15 x 11 inches overall; 12.2 x 2.17 inches image size. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Atelier Crommelynck, Paris. Artwork Details: Artist: After Alberto Giacometti (1901–1966) Title: Nu de Profil (Nude in Profile), from the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93 Medium: Etching, cuivre rayé apres tirage on velin paper Dimensions: 15 x 11 inches, overall; 12.2 x 2.17 inches, image size (38.1 x 27.94 cm; 31 x 5.5 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Maeght Editeur, Paris Printer: Atelier Crommelynck, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93, published by Maeght Editeur, Paris; printed by Atelier Crommelynck, Paris, 1956 Notes: Excerpted from the folio (translated from French), This catalogue, forming a special issue of Derriere le miroir, was completed in October 1956 on the presses of Draeger Freres on behalf of Aime Maeght, Editeur. The original lithographs of Miro, Chagall and Bazaine were shot by Mourlot Freres. The eaux-fortes rayees of Miro and Giacometti were shot by Crommelynck. Raoul Ubac composed and pulled the engraved wood from the cover. The photographs of Braque's reproduced works are by Mr. Routhier. Those of the other artists of Y. Hervochon. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght's belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alberto Giacometti (1901–1966) was a Swiss sculptor, painter, and draughtsman whose hauntingly elongated figures and existential vision redefined modern art and made him one of the most influential artists of the 20th century. Born in Borgonovo, Switzerland, into an artistic family—his father, Giovanni Giacometti, was a noted Post-Impressionist—he was immersed in art from an early age before studying in Geneva and moving to Paris in 1922, where he became part of the city’s avant-garde alongside Pablo Picasso, Alexander Calder, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. In the 1920s and 1930s, Giacometti explored Cubism and Surrealism, creating symbolic and dreamlike sculptures such as Suspended Ball (1930–31) and The Palace at 4 A.M. (1932), which reflected the influence of Dali, Duchamp, and Man Ray. By the 1940s, he abandoned Surrealism to pursue a deeply personal exploration of the human condition, developing his iconic attenuated figures that embodied both fragility and resilience. His signature sculptures—L’Homme qui marche I (Walking Man I), Femme debout, and Le Chariot—expressed the isolation, endurance, and vulnerability of modern existence, echoing the existential philosophy of Jean-Paul Sartre and Simone de Beauvoir. Giacometti’s figures, stripped of mass yet monumental in spirit, symbolized humanity’s search for meaning in a postwar world, while his paintings and drawings—portraits of his brother Diego, his wife Annette, and his friends—captured the psychological depth of perception with trembling, repetitive lines that blurred the boundary between body and soul. His friendships with Picasso, Calder, Miro, and Kandinsky shaped his understanding of form, motion, and space, while his philosophical engagement with Duchamp and Man Ray deepened his inquiry into the nature of reality and perception. Working obsessively in his modest Montparnasse studio, Giacometti pursued art as an existential act—destroying and rebuilding his figures in an endless search for truth. His influence on postwar art was immense, shaping the work of Henry Moore, Francis Bacon, Louise Bourgeois, Lucian Freud, and later contemporary sculptors such as Antony Gormley and Anselm Kiefer. His aesthetic also resonated beyond sculpture, influencing fashion, photography, and architecture through his vision of form, isolation, and proportion. Giacometti’s work is represented in major museum collections including MoMA, the Tate Modern, and the Centre Pompidou, and continues to inspire artists, collectors, and thinkers worldwide. Standing alongside Pablo Picasso, Alexander Calder, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Giacometti remains a towering figure in modern art—a sculptor-philosopher who transformed the human form into a universal symbol of resilience and reflection. His highest auction record was achieved by L’Homme qui marche I (Walking Man I), which sold for 141.3 million USD at Sotheby’s, London, on February 3, 2010, reaffirming Alberto Giacometti’s enduring legacy as one of the most visionary, profound, and collectible artists in the history of modern art. After Alberto Giacometti Nu de Profil 1956, Giacometti Derriere le miroir No. 92-93, Giacometti etching...

Jim Dine Love for Channel 13 Lithograph. Hand signed and numbered recto 27 × 21 1/2 inches Edition 185/200 Signed and numbered 185/200 in graphite pencil on the recto Unframed Rarel...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

This exquisite heliogravure by Joan Miro (1893–1983), titled Femme Assise II/II (Seated Woman II/II), from the folio Joan Miro, Femmes (Women), originates from the 1965 edition publi...

Keith Haring Dance on the Lower East Side: Fold-out invitation designed & illustrated by Haring for a opening night benefit party at The Underground, New York, NY 1983; in conjunctio...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Le Tobogan (The Slide), from Henri Matisse, Jazz, originates from the 1983 second edition published by George Braz...

Barbara Kruger Don't Be a Jerk skateboard, 2017 Screenprint on skate deck 31 × 8 inches From the Barbara Kruger "The Drop" show at Performa 17 in NYC. which sold out. An ironic play ...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Artist: Will Barnet, American (1911 - 2012) Title: The Cat Year: 1997 Medium: Screenprint on Arches, signed in pencil Edition: AP Image Size: 16 x 7 inches Siz...

Claes Oldenburg Rolling Collar and Tie (AXSOM/PLATZKER 259), 1995 Color lithograph on rice paper Pencil signed and numbered from the limited edition of only 52 on the front Measureme...

Mr. Brainwash (after) Obama Superman, 2009 Offset Lithograph Poster Plate signed on lower right front 36 × 24 inches Unframed This Mr. Brainwash poster ...

Keith Haring Gay Pride New York 1986: Keith Haring illustrated folding-invitation for Gay/Lesbian Pride Day at New York's Palladium nightclub, 1986. Executed during Haring’s lifetim...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie F, var. 2 (Series F, Variation 2), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...