Mid-20th Century Figurative Prints

Shading in bright turquoise above a Southwestern style thunderbird Kilim rug adorns this original exhibition poster for David Hockney's 1969 show at Andre Emmerich, New York. This po...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Le Bal (The Ball), from the folio Eaux-de-vie, Esprit de la fleur et du fruit (Spirits, Essence of the Flower and the F...

This exquisite lithograph after Amedeo Modigliani (1884–1920), titled Portrait (Portrait), from the album Douze Contemporains (Twelve Contemporaries), originates from the 1959 editio...

"Inspiration" is an original lithograph by Marc Chagall published in the "Lithographs of Marc Chagall vol. II". The book was published in a limited edition of 6000. Size: 12.5 x 9.5...

This exquisite lithograph, titled Sans titre, after Leonor Fini, from the folio L'Histoire d'O (The Story of O), 1962, was published and printed by La Compagnie des Vibliophiles, au ...

Joe Eula, vintage original The Supremes promo poster: Among Eula's most famous illustrations, this fashionable and soulful work was published in 1965 to publicize the legendary Motow...

This exquisite lithograph by Henri Matisse (1869–1954), titled Frontispice, Vence 1944–1948 (Frontispiece, Vence 1944–1948), from Verve, Revue Artistique et Litteraire, Vol. VI, No. ...

ARTIST: Salvador Dali TITLE: The Fisherman MEDIUM: Lithograph SIGNED: Hand Signed EDITION NUMBER: 44/150 MEASUREMENTS: 39.87" x 23.75" CONDITION: Excellent AUTHENTICATION: ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Creation (The Creation), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, originates from the September 1956 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1956. This visionary composition depicts the divine act of creation, evoking the genesis of light, life, and spirit through Chagall’s radiant imagination and poetic symbolism. The flowing forms and luminous harmonies reflect the unity between the divine and the natural world—a theme central to Chagall’s lifelong spiritual vision. Infused with movement and transcendence, the work transforms the biblical narrative into a lyrical meditation on the origin of existence and the creative essence of faith. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Creation (The Creation), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, September 1956 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cain, Julien, and Fernand Mourlot. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustrations 117–46. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustrés. P. Cramer ed., 1995, illustration 25. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, published by Editions de la revue Verve, Paris, 1956 Notes: Excerpted from the album (translated from French), This double issue of Verve is dedicated to the full reproduction in heliogravure of the one hundred-five plates etched by Marc Chagall, between 1930 and 1955, for the illustration of the Bible. The artist composed especially for the present work, sixteen lithographs in color and twelve in black, as well as the cover and the title page. This volume was completed and printed on September 10, 1956, by the Master Printers Draeger Freres for heliogravure, and by Mourlot Freres for lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. VIII, No. 33–34 in September 1956, represents one of the crowning achievements of Chagall’s lifelong dialogue with the sacred. Conceived and directed by the visionary publisher Teriade and printed by the master lithographers Mourlot Freres, the issue features thirty-four color lithographs and numerous black-and-white drawings inspired by biblical figures and stories. Chagall’s works for this edition unite text and image in a luminous meditation on divine creation, moral struggle, and spiritual renewal, imbued with his signature dreamlike symbolism and radiant color. Produced in postwar Paris, this landmark publication reaffirmed the enduring union of art and faith, establishing Dessins Pour La Bible as one of the most important illustrated works of the 20th century. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Creation...

Original Swiss Kaffee Rahm Pilatus ; Swiss coffee cream poster. Linen backed. The coffee-colored woman poises with a coffee cup on her head, pouring s...

Pablo Picasso, Spanish (1881 -1973) - Death of Orpheus from Ovids The Metamorphoses, Year: 1930, Medium: Etching on thin laid paper, Edition: , Image Size: 9 x 6.5 inches, Size: ...

The dimensions are for the image; there are large margins. This lithograph is signed in pencil. A native New Yorker, Ann Nooney (1900-1970) recorded the urban scene while on the Wo...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Etude pour l’homme au mouton (Study for Man with Sheep), from the folio Picasso, La flute double, 16 Des...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Pablo Picasso (1881–1973) – Le Vieux Roi (Old King) Technique: Original lithograph Year: 1959 Dimensions: 64...

Rare print numered by surrealist artist Leonor Fini, now rediscovered and inscreasingly esteemed with the movement of rediscovering art by women. It depicts a beautiful feminine figu...

This exquisite lithograph by Joan Miro (1893–1983), titled Pleine lune au-dessus de la Terre (Full Moon Above the Earth), originates from the April 1961 folio Derriere le Miroir, No....

Paul Sample The Slope Near the Bridge, 1950 Signed in pencil lower left Lithograph on wove paper Image 8 15/16 x 12 15/16 inches Sheet 11 5/16 x 15 1/16 inches From the edition of 25...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Danseuse de corde (Tightrope Dancer), originates from the 1952 album The Circus of Toulouse-Lautrec. Pub...

Philip Guston, Joan Mitchell, Cy Twombly, Jim Dine, Roberto Matta, Sam Francis, Mark Rothko, Franz Kline, Kenneth Noland, Robert Rauschenberg, Jasper Johns, Helen Frankenthaler, John...

ARTIST: Salvador Dali TITLE: Faust Femme au Clown MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Aegillet, Paris EDITION NUMBER: 6/95 MEASUREMENTS: 1...

Ski Free in Siberia. Circa 1969. Poster satirizing ski culture in Soviet-era Siberia: A skier wears a prisoner’s outfit and carries a hammer and sickle; “Gone-Dola” prison trucks are...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

Marc Chagall (1887-1985) - Le coeur de cirque (The Heart of the Circus) Lithograph from 1967. The edition of 31/50 on Arches paper. Dimensions of work: 75.5 x 58.5 cm. Hand signe...

Lithograph on Van Gelder Zonen Bütten paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Der Mensch ist kein Haustier, 1937. Published by...

Salvador Dali - Women - Original Etching Embossed signature From the edition of 731 Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 / Michler & Lopsinger 305

This exquisite lithograph and pochoir after Marc Chagall (1887–1985), titled Les Amoureux (The Lovers), from the folio Couleur amour, 13 Aquarelles, Gouaches, Lavis (Color of Love, 1...

The Crop is an original lithograph on paper realized by an anonymous artist in the Mid-20th Century. Good Conditions. Numbered. Edition, 109/220. The Artwork is Depicted through s...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

André Masson, French (1896 -1987) - Nude Figures in Garden, Medium: Etching on wove paper, signed and numbered in pencil, Edition: Epreuve d'Artiste, Image Size: 13 x 10 inches, S...

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...

Original vintage travel advertising poster for the FRENCH RIVIERA FRENCH NATIONAL RAILROADS SNCF (French National Railways) - the French Riviera. (Cote D'Azur, known as the French Riviera) The image features people looking out towards a marina full of sailing boats. Colorful artwork by the French painter Jules Cavailles (1901-1977). Printed by Perceval, Paris in 1953. Mid-Century Modern. Grade A- This is the English version of the poster compared to the design created for Cote d'Azur. The English version is much rarer (both are rare today). The poster gives the impression of a naive painting at this Mediterranean beach and seaport. Step into a world of timeless elegance and sunlit dreams with this exquisite French Riviera Vintage...

This exquisite lithograph after Henri Matisse (1869–1954), titled Madame Greta Prozor (Mrs. Greta Prozor), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), or...

European fashion design from the 'Atelier Sogra', published in Vienna. 325mm by 220mm (sheet)

Ecce homo is a Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Mediolani between 1967 and 1969. Signed and d...

Artist: Robert Indiana, American (1928 - 2018) Title: Die Deutsche Liebe (The German LOVE) from the American Dream Portfolio Year: 1968 (1997) Medium: Silkscreen on Wove Paper Editio...

Original Pin-Up Girl with Red Hat vintage pin-up poster. Artist: Billy Devorss. Size: 15.25" x 20". Archival linen backed in mint condition; ready to frame. This striking original poster displays a graceful model wearing a vibrant red sun hat against a light blue background. This is truly a lovely piece! Billy DeVorss (1908 – 1985) was a self-taught illustration artist who started his commercial career in 1933. He was well known throughout his career for the voluptuous figures and attractive faces of his images. This poster is one of those great pin-up style images created by DeVorss. Alone among the pin-up artists in being entirely self-taught, Billy De Vorss sold his first three published pin-ups to the Louis F. Dow Calendar Company in St. Paul in about 1933. Until that time, he had been working as a teller in a bank in St. Joseph, Missouri. There, he met the stunning woman Glenna, who became his wife and first official model. Encouraged to develop his talent by Gene Sayles, the manager of Brown and Bigelow...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

Ex-Libris - Fulvio Oreste is an Artwork realized in Mid 20th Century. Woodcut on paper. Good conditions. The artwork represents a minimalistic, clean design, through preciseness.

Lithograph on vélin vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Résurrection de l'oiseau, Georges Braque, 1958. Publ...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Scene XXXIV, L'Aigle a Deux Tetes (Scene XXXIV, The Eagle with Two Heads), originates from the 1957 album Jean Cocteau d...

Lithograph and stencil on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Le Peseur d'âmes, précédé d'un frontispice et suivi de hui...

After Gustav Klimt, Max Eisler #17, Aus dem Stoclet-Fries: Die Umarmung; multi-color collotype after the cartoon for the 1910-1911 mosaic frieze on the east wall of the dining hall o...

This exquisite lithograph by Andre Derain (1880–1954), titled Tete de Jeune Fille (Head of a Young Girl), from Verve, Revue Artistique et Litteraire, Vol. II, No. 5–6, originates fro...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

Artist: Joan Miro, Spanish (1893 - 1983) Title: L'Ete (Summer) from Verve (Vol. 1, No. 3) Year: 1938 Medium: Color Pochoir on Wove Paper, signed, titled and dated in the plate, verso...

This exquisite lithograph after Andrew Wyeth (1917–2009), titled Teel’s Island, originates from the distinguished 1962 folio The Four Seasons: Paintings and Drawings by Andrew Wyeth....

ARTIST: Salvador Dali TITLE: Don Quichotte et l'oursin MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali EDITION NUMBER: 4/145 MEASUREMENTS: 19" x 25.5" YEAR: 1963 FRAMED: ...

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

This artwork titled "Portrait of a Young Boy" 1949 is an original lithograph by Swiss artist Cuno Amiet, 1868-1961. It is hand signed and numbered 12/200 in...

Vintage 1962 Seattle World's Fair Poster by Earl Duff – Linen Backed. Condition A-: upper right corner restored as shown in the last enlarged photo. Size 35.5” x 25”. Capture a piec...

Original "Mexico, País de Maravillas" Linen-Backed Vintage Poster, c. 1950s. Grade A- condition. Immerse yourself in the vibrant charm of mid-c...

This exquisite lithograph by Fernand Leger (1881–1955), titled Apres le deluge (After the Flood), originates from the 1949 folio Les Illuminations, lithographies originales de Fernan...

Salvador Dali - Woman Holding a Veil - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Edition number : 7 Paper : Arches vellum. Dimensions : 16x12". Cat...

This exquisite lithograph after Roger de La Fresnaye (1885–1925), titled Visage (Face), from the album Roger de la Fresnaye, III, Collection Pierre Levy, 1968, originates from the ed...

Salvador Dali Mythology: Leda and Swan (Leda et le Cygne), Published 1963 -1965 Medium: Copper and Drypoint Etching with Hand-Coloring on Japon Edition: VII/XX Artwork Size: 30 ...

Elyse Ashe Lord (1900-1971), Celestial Nymph I, c. 1930, color etching, soft ground, drypoint; signed lower right in pencil and numbered by the artist lower left. In very good condition, the full sheet, 8 1/4 x 10, the sheet 17 x 13 1/2 inches. A fine impression, with strong color and plate tone on the nymph and surrounding decorations, and with pencil additions in various places on the nymph by the artist (using the same pencil as with signing). Printed on a light laid ivory Japan paper. Provenance: Kennedy Galleries, New York (with their stock number A 32064) Elyse Ashe Lord developed her unique artistic style exclusively around oriental subject matter. Her art was inspired by both Chinese art and various aspects of oriental culture. Although E.A.Lord never actually travelled to China, she used Chinese paintings, embroideries and wall hangings, together with objects from surrounding Eastern countries, as the sources for her images. The highly individual style which Elyse Lord created reflects both this source material and the influences of Art Deco and early 1920’s fashion. In particular, Elyse Lord is unusual in combining the technique of drypoint with woodcut colour printing. She uses the drypoint design almost as the Japanese would have used a key block in multiple block colour printing. The colours would then be added by over-printing the drypoint design using colour-inked wood blocks, precisely as displayed by this unique series of progressive proofs. Elyse Lord would always supervise the difficult process of printing her plates and blocks, in person. [I am indebted to Michael Campbell...

The Motherhood is an original lithograph on paper by Carlo Levi in 1960s Hand-signed on the lower right. Artist's proof. good conditions except for a lon...