Wisconsin - Figurative Prints

"Les Petites Barnett" is an original color lithograph poster by Charles Levy. This poster features five dancers in matching dresses and it advertises an Operette. Unsigned. 23" x 30...

"Anatomie d'Un Reve" is an original color lithograph by Claude Weisbuch. The artist signed the piece in the lower right and wrote the edition number, IX/CXXX, in the lower left. This piece depicts an artist in dark robes painting while shadows and faint sketches of figures walk around in the background. 17" x 23 1/4" 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...

The frame is included. Art size: 25" x 19" This is an original and very rare vintage art poster from a Jacques VILLON's exhibition. It took place ...

"Le Bouquet" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (160/200) in the lower left. This piece de...

"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...

'Fatima' 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 form of her yellow dress as she kneels is repeated in the delicately drawn bunches gladiolus flowers...

The present print, "Victoria," is the most iconic example of the printmaking of Malvin Marr Albright, called Zsissly. The composition for the image comes from Albright's painting from about 1935, done while he was studying at the Art Institute of Chicago. We can see clearly in the image how he possesses the same skill for unsettling, magic realist images as his more famous twin brother Ivan Le Lorraine: The lady Victoria sits at a dining room table, surrounded by luxurious still-life objects. All the textures and surfaces of the image express a horror vacui as seen in his painted works, such as "The Trail of Time is Dust" at the Pennsylvania Academy of Fine Art. The door in this print recalls one of the more famous works by his brother, "That Which I Should Have Done I Did Not Do (The Door)" at the Art Institute of Chicago. 1947, after ca. 1935 original painting 8 1/2 x 13 inches, image 12 x 16 inches, sheet 16 1/4 x 20 1/2 frame Signed in pencil, lower right Title in pencil, lower left Published by Associated American Artists Inc. Unnumbered from the edition of 250 A painter and sculptor, Malvin Albright was born in Chicago, one of twin sons of Adam Emory Albright, famous Chicago figure painter of juvenile subjects, who often used Malvin and his brother Ivan Le Lorraine as models. Malvin's middle name, Marr, was after Wisconsin artist Carl von Marr...

"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...

"Navajo Indians At Home" is a color lithograph postcard by Joseph Roy Willis. A number of American Natives of varying ages and genders are depicted in the brightly colored clothing a...

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...

Edition 2/10 Signed to lower right Ananda Kesler was born in Haifa, Israel. In 2002 she received her BA in Fine Art from the University of Iowa. She has continued her art education...

"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: Ilsée, Princess of Tripoli "Princess Ilsee's Oasis Throne" is an original lithograph by Alphonse Mucha. From "Ilsee, Princesse de Tripoli," a rare illustrated book. Image: ...

Edition2/10 Signed to lower right Ananda Kesler was born in Haifa, Israel. In 2002 she received her BA in Fine Art from the University of Iowa. She has continued her art education ...

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

"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...

"Un Parisienne a Longchamp" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (126/200) in the lower left...

"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...

The present hand-colored lithograph is one of several decorative images of flower-filled vases published by Nathaniel Currier. This example contains roses, tulips, forget-me-nots, and others all within a vase with gold eagle head handles and an image of a beautiful young woman the belly. 16 x 11 inches, artwork 22.5 x 18.25 inches, frame Entitled bottom center Signed in the stone, lower left "Lith. and Pub. by N. Currier" Inscribed lower right "152 Nassau St. Cor. of Spruce N.Y." Copyrighted bottom center "Entered according to Act of Congress in the year 1848 by N. Currier in the Clerk's office of the Southern District of N.Y." with the number 249 Framed to conservation standards using 100 percent rag matting, housed in a lemon gold 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...

"Comme une Rose Sur l'Ecune des Vagues" ("Like a Rose on the Waves") is an original color lithograph by Theo Tobiasse. The artist signed the piece in the lower right and wrote the ed...

"7Eme Bal de l'AAAA Skater" is an original color lithograph poster by Ludovic Rodo Pissarro. The artist signed the piece in plate lower right. It depicts a wo...

"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 ...

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...

"Figure" is an original linoleum print by Gerrit Sinclair, signed in plate the lower left corner. It features a woman fixing her hair in front of a mirror, her nude body visible to the viewer from the back and front reflecting in the mirror. Image: 6" x 5" Framed: 13.37" x 12.43" Gerrit Sinclair brought the charming style of American Regionalism painting...

This World War I poster, featuring Uncle Sam, was printed by Meisenheimer-Milwaukee and was sponsored by the Woman's Liberty Loan Committee. The ar...

"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...

"Femmes au Bord de la Mer" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (140/200) in the lower left....

"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 ...

Printed by Moullot Fils Aine, Marseille Original vintage advertising poster for a drink, Mantalo. Raissac et Cie Revel Hte-Gne. Printed in Paris, France in the 1920s. Great Art Deco ...

"Equilebrista (Gymnast)" is an original etching and aquatint by Miguel Castro Leñero. The artist signed the piece lower right, titled it lower cen...

"Meditation" is an original linoleum print by Schomer Lichtner, signed in the lower right hand corner. It features a man in the middle of a project, in quiet meditation. Image: 6" x 8" Framed: 14.5" x 14.37" Lichtner and his wife, Ruth Grotenrath (1912-1988), are celebrated as Milwaukee’s first couple of painting and are regarded as major Wisconsin artists. Lichtner’s impressive production, perseverance, longevity, and positive approach to his life and art made him and his work distinctive and much loved by his many admirers. His work is currently represented in collections at the Milwaukee Art Museum, the John Michael Kohler Art Center, the West Bend Museum, and in the collections of many individuals. Books on the lives and art work of both Lichtner and Grotenrath are in progress and it is anticipated that they will be published next year. Recipient of the 2006 Wisconsin Visual Artist Lifetime Achievement Award The late Milwaukee artists, Schomer Lichtner and Ruth Grotenrath, created original silkscreen prints as a part of their Christmas celebration starting in the 1940's. The subjects and colors varied from year to year but they laboriously printed these little gems themselves. Ruth Grotenrath, 1912-1988, and her husband, Schomer Lichtner, (1905-2006), are celebrated as Milwaukee’s first couple of painting and are regarded as major Wisconsin artists. From the outset, Lichtner and Grotenrath were determined to become full-time artists. Ruth Grotenrath and Schomer Lichtner began their careers by creating numerous murals for the WPA (Work Projects Administration), primarily post offices. A wonderful example can be seen in the Sheboygan, Wisconsin post office. Even during the Great Depression they worked producing Post Office murals under the Treasury Department's Section of Fine Arts (SFA). According to James Auer, former Milwaukee Journal Sentinel art critic, "As art and economic trends evolved, the couple’s palettes brightened and warmed. Both fell under the spell of the Mexican social realists, notably Diego Rivera, and modernists such as Matisse and Dufy. The couple’s perspective changed further after they became friends with philosopher Alan Watts...

"Skating at Boston" is an original woodcut print by Winslow Homer. It depicts a large number of figures figure skating with Boston in the background. 9...

"La Naissance D'Eve" is an original color lithograph from the "Je Reve (I Dream)" portfolio by Andre Masson. The artist signed the piece lower right in pencil and wrote the edition n...

"Models & Horses" is an original color lithograph by Philip Pearlstein. The artist signed the piece lower left and it is edition 15/140. This piece features two nude female models lo...

"Two Horses from Homage to Marino Marini" is an original color lithograph signed in stone by Marino Marini. It depicts a horse and rider in abstracted contour lines and black shapes ...

"Guiding Light" and "Nature's Course" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were pages 113 & 114 of "Ilsee, ...

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

"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...

"Chamber Music" is an original wood engraving by Robert Franz von Neumann. It features a room full of men in the thralls of creating music together. A small audience stands outside their circle. Image: 5.5" x 7" Framed: 14" x 15.56" 1888 - 1976 Born in Rostock, Mecklenburg, Germany, Robert von Neumann...

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...

"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...

Art: 17" x 23 1/4" Frame: 27 5/8" x 33 7/8" Original color lithograph (VIII/L) Signed lower right. This original Weisbuch lithograph comes from th...

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

Lonely Moons is an original etching and aquatint signed by the artist Molly McKee. It is edition 1/10 and depicts an abstracted human figure holding a mysterious creature. 11.875" x 8.875" art 24.875" x 17.5" frame This surreal etching...

In the mid-nineteenth century, the United States government set out to survey and document its newly acquired lands and territories west of the Mississippi. The goals of these surveys were manifold: to produce topographical maps, to document flora and fauna, and to document natural resources to build the emerging US economy. These surveys, and the images from them, also functioned to build the new sense of American identity with the landscape, condensing vistas into the 'picturesque' tradition of European image making. Thus, the entire span of US territory could be seen as a single, cohesive whole. This lithograph comes from one of six surveys commissioned by the Army's Topographic Bureau in 1853, which sought to find the best route to construct a transcontinental railroad. The result was a thirteen-volume report including maps, lithographs, and technical data entitled 'Explorations and Surveys to ascertain the most practicable and economical route for a Railroad from the Mississippi river to the Pacific Ocean.' In particular, the print comes from the northern survey, commanded by Isaac Stevens, which explored the regions between the 47th and 49th parallels. In this image, Stanley shows an encampment of the people known as the Red River of the North hunters. They were generations of European and mixed-race trappers who lived on the frontier and had Indian wives and mixed-race children. They had come to the area for bison hunting, as the herds were still vast on the prairies. In the image, the figures and their encampment are dwarfed by the vast landscape around them, indicating the sublimity of these new American territories. 5.75 x 8.75 inches, image 6.5 x 9.25 inches, stone 17 x 20 inches, frame Artist 'Stanley Del.' lower left Entitled 'Camp Red River Hunters' lower center margin Publisher 'Sarony, Major & Knapp. Lith.s 449 Broadway N.Y.' lower right Inscribed 'U.S.P.R.R. EXP. & SURVEYS — 47th & 49th PARALLELS' upper left Inscribed 'GENERAL REPORT — PLATE XII' upper right Framed to conservation standards using 100 percent rag matting with French accents; glazed with UV5 Plexiglas to inhibit fading; housed in a gold reverse ogee moulding. Print in overall good condition; some localized foxing and discoloration; minor surface abrasions to frame. John Mix Stanley...

"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...

"From: Ilsée, Princess of Tripoli Recto: "Writing Verse" Verso: "Love's Lyre" is an original color lithograph by Alphonse Mucha. Exquisite double-sided color lithographs from "Ilsee...

"Cherry Kobler" is an original color lithograph poster by Pierre marrast. This artwork features a red-haired woman playing the piano. She is in...

"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...

"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...

"Black Eyed Susan" is an original lithograph by Marion Greenwood, published by Associated American Artists. The artist signed the piece in the lower right. It features a young girl w...

'The Turquoise Suite' is a portfolio of three original color lithograph by the renown printmaker R.C. Gorman. From Arizona, the artist's later works fo...

"Rappel" is an original lithograph poster designed by Jules Cheret. This poster depicts a young man drumming. There is a small stain in the upper left corner. This poster was publish...

"La Chatelaine" is a color lithograph by Charles Doudelet. The artist's name is printed lower right. This piece, featuring a wealthy woman on a white horse surrounded by dogs, was published in the Art Nouveau publication L'Estampe Moderne. 15 3/4" x 12" art 19 1/4" x 23" frame Belgian painter, sculptor, illustrator and stage designer. He studied music at the Koninklijk Muziekconservatorium and sculpture at the Gewerbeschule, Ghent (after 1877). He visited Paris in 1887 and Italy in 1890, with a grant from the city of Ghent. He was deeply impressed by the masters of the Quattrocento, and was encouraged to take up painting after meeting Constantin Meunier...

"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...

Art: 26-3/4"x19-3/4" Frame: 27"x20" Poster, signed & inscribed to Philip Barnett lower left (43/58) Claude Weisbuch was born in Thionville, France in 1927 and was a pupil at L' Écol...

François Vivares was known to have produced several copies of images after older masters, such as, in this case, Rembrandt van Rijn. In this set, Vivares reproduces "The Quacksalver" (1635, Bartsch 129), "Beggar man and beggar woman conversing" (1630, Bartsch 164), and "Beggar Seated Warming...

"The Spinner" is an original etching by Jean Leon Gerome Ferris. It depicts a woman in an interior next to a spinning wheel. The artist signed the piece lo...

"The Pipe Smoker" is an original etching by Cornelis-Pietersz Bega. It depicts a man sitting at a table with his pipe. Publisher: Pearce #38. 3 1/2" x 3 1/4" art 13 5/8" x 11 3/4" f...

"Four Women in National Costumes" is a set of four original etchings by Wenceslaus Von Prachna Hollar. 3 5/8" x 2 3/8" each print 19 1/8" x 18 1/2" frame Wenceslaus Von Prachna Ho...