1930s Landscape Prints

Untitled (Venice canal, man departing the gondola) Drypoint, c. 1930-1931 Signed in pencil lower right (see photo) Annotated in the lower margin: "Just a souvenir made ___ Monclair L...

Artist: Manuel Robbe (French, 1872-1936) Title: Marins et Femmes de Pecheurs Bretons sur les Quais Year: c.1930 Medium: Etching with aquatint Paper: B.F.K Rives Image (plate mark...

A Map and History of Peiping; formerly known as Peking; capital of provinces, princedoms, and kingdoms since 1121 B.C.; in 1264 A.D. the capital of the Mongol Empire of Kublai Khan; ...

Charming vintage Aquatint/etching titled "In the Forest" from the Paris Etching Society by French artist Pierre Maulin (France, late 19th-early 20th Cent...

Bold woodblock serigraph by Ruth Chaney (American, 1908-1973). Numbered (#17), titled, signed, and dated along the bottom edge. The Smithsonian American Art Museum has an edition of...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 38 (Plate No. 38), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

Wheat Field is an original lithography print on paper, realized by Raoul Dufy in 1933. Edition of 1000 prints. Dry Stamp of "J.B" on the lower left, editor, Paris, Jeanne Boucher. ...

Hand colored, Copperplate Etching on Paper Image size: 9.5 x 9 in Frame size: 23.25 x 22.25 in. Date: 1935 An illustrative view of Saint Michael's, a Late Romanesque, early Gothic e...

La Promenade Bordée is a modern artwork realized by Raould Dufy in 1930s Original Lithograph. Raoul Dufy (1877-1953) He was a French artist and designer. The artist painted, in th...

View of the River is an original artwork realized by George Henri Tribout. Original etching on paper glued on cardboard. Signature on the lower right corner. George Henri Tribout ...

Original stone lithograph by well-known Regionalist Thomas Hart Benton (1889-1975). Titled: "Shallow Creek.” The print has full margins and is in excellent condition. AAA print creat...

This exquisite lithograph and pochoir with hand coloring by Jean Cocteau (1889–1963), titled Sans titre (Untitled), from the album Le Livre blanc (The White Book), precede dun fronti...

Rustic Beauford S.C. Etching and drypoint on Vidalon paper, c. 1930's Created during the artist's two visits to South Carolina. Signed by the artist in pencil lower right Titled in p...

After Gustav Klimt, Max Eisler Plate #29, Am Attersee; brown-toned monochrome collotype after the 1915-16 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens. In many instances, Aftermath is our only link to these lost treasures. Max Eisler (1881-1937), the publisher of the 1931 Aftermath portfolio, was an art historian at Vienna University specializing in modern and contemporary arts and crafts whose 1920 book on Klimt was the first Klimt monograph. He saw An Aftermath as filling-in important gaps left by the earlier print portfolios which had only featured Klimt up to 1913 and which had glossed over major art projects such as the Tree of Life frieze for the Palais Stoclet. And whereas only 10 of the 50 prints from the earlier portfolios published by H.O. Miethke were made in intricate multi-color images, Eisler augmented the earlier format by featuring half of the 30 images in stunning multi-colored collotypes. Understanding the fragile nature of the collotype printing process also reinforces this project’s distinctive and exceptional characteristics. Fragile collotype plates can not be reused. As such, this necessitates the completion of a run on the first go and also dictates a limited production number. Printed by hand, the collotypes required deft handling by the printer, Osterreichische Staatsdruckerei. A complicated and lengthy process involving gelatin colloids mixed with dichromates, the creation of 16 color separation thin glass filters to achieve the light-sensitive internegative images which could faithfully capture all of the painting’s tonal gradations and colors, exposure to actinic light, and delicate chine collie papers which allowed for greater color saturation, the printer’s collaborative role in capturing and transmitting Klimt’s nuanced paint strokes is nothing short of remarkable. The Österreichische Staatsdruckerei (Austrian State Printing Office), was the successor to the KK Hof -und Staatsdruckerei which was founded by Emperor Franz I in 1804 and whose collotype printing innovations of Klimt’s art...

Hal Woolf Christ of the Andes Original Vintage Poster 76x50cm Printed by the David Allen Printing Co (London) Ltd., Wandsworth, SW18 Published by the League of Nations Union, 15 Cros...

Cincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...

An urban realist painter, Marsh was born in Paris, France and began drawing as early as the age of three. His artistic studies were done at Yale University, the Art Student League in New York and in Paris. Marsh was a member of the National Academy, the Royal Society of Artists, London, the Southern Vermont Artists...

"Kiosk in Paris" British Linocut 1/50 European Modernism Swiss Vorticism Deco Lill Tschudi (Swiss, 1911-2004) Kiosk in Paris (Coppel LT 29) Linocut...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Schwarzer Fleck (Black Spot), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San ...

To see our other hunting pictures, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Lionel Edwards (1878 - 1966) The Quorn Hu...

Etching, 1937. Signed by the artist and dated in pencil lower right margin. A scarce etching by this important American western artist.

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

This exquisite lithograph and pochoir by Joan Miro (1893–1983), titled Figures davant el mar (Figures Before the Sea), originates from the historic 1934 album D'Aci i d’Alla, Numero Extraordinari de Nadal dedicat a l’art del segle XX. Published by Llibreria Catalonia, Barcelona, under the direction of Antonio Lopez Llausas, Editeur, Barcelona, 1934, and under the supervision of Joan Prats, Barcelona, and Josep Lluis Sert, Barcelona; printed by Pochoir Publicity Art, Barcelona, under the direction of J. Mateu, Barcelona, 1934, the work reflects Miros early mastery of Surrealist biomorphism and his exceptional sensitivity to the pochoir technique, whose saturated, hand-applied colors were ideally suited to his luminous Mediterranean palette. Executed as a lithograph and pochoir on velin paper, this work measures 13 x 11.1875 inches (33.02 x 28.42 cm). Unsigned and unnumbered as issued. Printed by Pochoir Publicity Art, Barcelona, under the direction of J. Mateu. Artwork Details: Artist: Joan Miro (1893–1983) Title: Figures davant el mar (Figures Before the Sea), from the album D'Aci i d’Alla, Numero Extraordinari de Nadal dedicat a l’art del segle XX, 1934 Medium: Lithograph and pochoir on velin paper Dimensions: 13 x 11.1875 inches (33.02 x 28.42 cm) Inscription: Unsigned and unnumbered as issued Date: 1934 Publisher: Llibreria Catalonia, Barcelona; under the direction of Antonio Lopez Llausas, Editeur, Barcelona, with the supervision of Joan Prats and Josep Lluis Sert Printer: Pochoir Publicity Art, Barcelona; under the direction of J. Mateu Catalogue raisonne reference: Dupin, Jacques, and Joan Miro. Miro Engraver 1928–1960. Rizzoli, 1984, illustration 13. Cramer, Patrick. Joan Miro: The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1989, illustration 11. Condition: Well preserved, consistent with age and medium Provenance: From the album D'Aci i d’Alla, Numero Extraordinari de Nadal dedicat a l’art del segle XX, 1934, published by Llibreria Catalonia, Barcelona About the Publication: The 1934 album D'Aci i d’Alla, Numero Extraordinari de Nadal dedicat a l’art del segle XX, stands as one of the most ambitious, sophisticated, and culturally significant Catalan art publications of the interwar period, conceived at a moment when Barcelona was a thriving hub of artistic modernity. Produced by Llibreria Catalonia under the direction of Antonio Lopez Llausas, with the close involvement of Joan Prats and Josep Lluis Sert—two of the most influential Catalan cultural figures of the twentieth century—the album embodied a vision of Catalonia as an active, forward-looking center of international avant-garde thought, connected intellectually and aesthetically to Paris, yet deeply rooted in Mediterranean identity. Unlike standard periodicals, D'Aci i d’Alla functioned as a hybrid fine art album, design object, and critical journal, integrating essays, photography, architecture, poetry, and original artworks in a unified modernist aesthetic. The 1934 Numero Extraordinari, devoted to twentieth-century art, was particularly ambitious in scope: it surveyed the newest movements in modernism while highlighting Catalonia’s unique contributions to the international avant-garde. Its inclusion of an original Joan Miro pochoir...

This exquisite lithograph and pochoir by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the landmark 1934 album Cahiers d'art, ...

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

"Flood Waters" is an original wood engraving by Harold Wescott, It features a tree in the center, with its roots wrapping languidly over a form. High waters rise up from the back. Un...

Gay Head Cliffs, a 1935 lithograph by Adolf Dehn (1895-1968), depicts a National Landmark in Aquinnah, Martha's Vineyard, MA. Somehow Dehn has managed to capture the very texture of ...

Vintage Spain Original Travel Poster by Jose Morell – Linen Backed, 1930s, very good condition, ready to frame. Grade A-. Slight wear on the outside edges for a 90-year-old poster...

"Valentines The First Time" Ex- Deschamps-Robertson Gallery Print Sz: 5"H x 8"W Frame Sz: 7 3/4"H x 10 5/8"W

Jean-Emile Laboureur (1877-1943), La Promenade Sur Le Port, 1933, engraving, signed in pencil lower left. Reference: Godefry 482, Sylvain Laboureur 482, second state (of 2); from the...

This exquisite lithograph by Joan Miro (1893–1983), titled L'Ete (Summer), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, originates from the 1937 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1937. This early and vibrant composition captures Miro's poetic vision of nature and the cosmos, rendered through biomorphic forms and rhythmic abstraction. L'Ete reflects Miro's fascination with the cyclical harmony of life and his belief in art as an extension of natural forces. Through his distinctive visual language—combining organic shapes, symbolic gestures, and luminous color—Miro conveys a profound sense of vitality and dreamlike wonder, embodying the spirit of renewal that defines his oeuvre. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the leading modernists of the 20th century. Artwork Details: Artist: Joan Miro (1893–1983) Title: L'Ete (Summer), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, 1937 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches Inscription: Signed in the plate and unnumbered as issued Date: 1937 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne reference: Miro, Joan, et al. Miro, L'oeuvre Graphique: Musee d'art moderne de la ville de Paris, 1974, illustration 395. Condition: Well preserved, consistent with age and medium Provenance: From Verve, Revue Artistique et Litteraire, Vol. I, No. 1, published by Editions de la revue Verve, Paris, 1937 About the Publication: Verve, Revue Artistique et Litteraire was one of the most influential art periodicals of the 20th century, founded in Paris in 1937 by the visionary Greek-born publisher Teriade (Stratis Eleftheriades). Conceived as a synthesis of art and literature, Verve brought together the greatest modern artists and writers of its time—Henri Matisse, Pablo Picasso, Marc Chagall, Georges Braque, Joan Miro, Fernand Leger, and others—alongside poets and philosophers such as Paul Eluard, Albert Camus, and Jean-Paul Sartre. Each issue was a work of art in itself, luxuriously printed by master lithographers such as Mourlot Freres and produced in collaboration with leading typographers and designers. Verve became a platform for avant-garde creativity, publishing original lithographs and essays that reflected the evolving spirit of modernism. Matisse collaborated closely with Teriade from the magazine's inception, producing some of its most iconic issues, including those devoted to his paper cut-outs. The final Verve issue of 1958, which featured La Tristesse du Roi and the Nu Bleu series, stands as a testament to Matisse's enduring genius and to the publication's legacy as the definitive meeting of art, poetry, and printing craftsmanship in 20th-century France. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the 20th century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro's inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro's work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for £23,561,250 (approximately $37 million) at Sotheby's, London, on June 19, 2012. Joan Miro L'Ete, Miro Verve...

Etching and drypoint realized by Alcione Gubellini in the mid-20th Century. Edition of 16. Hand signed and numbered in pencil. Excellent condition.

"Silver Mine, Russell Gulch (12/25)" is a striking black-and-white lithograph by German-born American Modernist Arnold Ronnebeck (1885–1947). This rare print depicts a historic minin...

This exquisite woodcut by Hans Jean Arp (1886–1966), titled Constellations, from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire ...

Artist: Manuel Robbe (French, 1872-1936) Title: Le Retour Des Pecheurs Year: 1933 Medium: Etching with aquatint Paper: B.F.K Rives Image (plate mark) size: 1...

Rare Original "Fontinebleua" Avon – artist Lulien Lacaze – Vintage PLM Railway Poster (Linen Backed). Add a touch of classic French elegance to your collection with this authentic "...

Tripoli – Libia Original ENIT Italian State Railways antique Travel Poster, Linen-Backed, A- Excellent, 39" x 27". Ready to frame. Condition A-. Original vintage travel poster pr...

Adriaan Lubbers New York City, The El at Chatham Square, 1930 Original lithograph Handsigned in pencil Numbered / 100 On Rives vellum 28 x 22.5 cm (c. 11 x 9 in) Very good condition

Benton Murdoch Spruance (1904-1967). Harps Once Played, 1935. Edition of 30. Lithograph on wove paper, plate measures 10.75 x 14 inches. Sheet measures 13 x 18 inches. Signed in p...

A Gale at Port Errol. 1923. Etching. Hardie 215, #46. 13 x 8 3/4 (sheet 16 7 /8 x 11 1/2). Edition 76. #46. Illustrated: Fine Prints of the Year, 1923. A rich...

This exquisite lithograph by Max Bill (1908–1994), titled Variation 13, from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du n...

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...

This exquisite lithograph by Fernand Leger (1881–1955), titled L’Eau (Water), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, originates from the 1937 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1937. This vibrant composition embodies Leger’s fascination with the elemental forces of nature reinterpreted through the lens of modernity. L’Eau reflects his ongoing exploration of the harmony between mechanical precision and organic movement, transforming the natural motif of flowing water into an abstract symphony of curves, color, and rhythm. Through its interplay of form and line, the work reveals Leger’s mastery of balance and visual dynamism—an artistic celebration of motion and modern life. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Signed in the plate and unnumbered as issued. The edition reflects the superior craftsmanship of the Mourlot Freres atelier, celebrated for its collaborations with the leading modern artists of the 20th century. Artwork Details: Artist: Fernand Leger (1881–1955) Title: L’Eau (Water), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, 1937 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1937 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From Verve, Revue Artistique et Litteraire, Vol. I, No. 1, published by Editions de la revue Verve, Paris, 1937 About the Publication: Verve, Revue Artistique et Litteraire was one of the most influential art periodicals of the 20th century, founded in Paris in 1937 by the visionary Greek-born publisher Teriade (Stratis Eleftheriades). Designed as a meeting point of art, poetry, and philosophy, Verve united the era’s greatest modern artists—including Henri Matisse, Pablo Picasso, Marc Chagall, Georges Braque, Joan Miro, and Fernand Leger—with leading intellectuals such as Paul Eluard and Albert Camus. Printed by the master lithographers Mourlot Freres, each issue was a masterpiece of craftsmanship, presenting original lithographs alongside literary works in a richly designed format. The inaugural issue, Vol. I, No. 1, published in 1937, marked a defining moment in the history of modern art publishing—introducing the vision of Verve as a beacon of artistic collaboration and aesthetic excellence that would shape the visual culture of the 20th century. About the Artist: Fernand Leger (1881–1955) was a visionary French painter, sculptor, designer, and filmmaker whose groundbreaking fusion of modern industry, vivid color, and geometric form transformed the course of 20th-century art. Born in Argentan, Normandy, Leger began as an architectural draftsman before studying at the Academie Julian and the Ecole des Beaux-Arts in Paris, where he absorbed the lessons of Paul Cezanne’s structural rigor and the revolutionary ideas of Cubism. Alongside Pablo Picasso and Georges Braque, he became one of the leading innovators of the avant-garde, yet his work stood apart through its embrace of mechanical rhythm, bold contrasts, and industrial modernity—earning him the title “the painter of the machine age.” His art celebrated the beauty of technology, urban life, and the human form rendered in dynamic, interlocking cylinders and planes, evoking the pulse of the modern world. Immersed in the vibrant Parisian art scene, Leger worked in dialogue with peers and contemporaries such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom shared his commitment to innovation and the reimagining of artistic expression. Beyond painting, Leger’s creative reach extended into film, design, and monumental public art—his 1924 collaboration on Ballet Mecanique with Dudley Murphy and Man Ray remains a landmark of avant-garde cinema. His later works evolved toward greater clarity and monumentality, celebrating the unity of form, color, and humanity through large-scale murals and mosaics that bridged fine art and architecture. Leger’s synthesis of Cubism, Futurism, and abstraction paved the way for movements such as Pop Art and influenced generations of artists including Roy Lichtenstein, Ellsworth Kelly, Robert Indiana, and Alexander Calder, who admired his fusion of structure, energy, and optimism. Today, his works are prized by major museums and collectors worldwide for their bold visual power and enduring modernity. His highest auction record was achieved by La femme en rouge et vert (1914), which sold for $39,241,000 at Sotheby’s, New York, on May 7, 2008. Fernand Leger L’Eau, Leger Verve, Leger Mourlot...

Wengenroth, Stow. BLACK WEATHER. Stucky 25. Lithograph, 1932. Edition of 25. Signed in pencil, lower right. 6 1/2 x 14 inches (image), 11 1/2 x 16 inches...

Signed lower center, in pencil, 'Luigi Kasimir' (Austro-Hungarian, 1881-1962), and with title and date, 'Palo Alto, 1931'. at lower right. Paper dimensions: 12.25 x 16 inches. N.B. This is an original etching by Luigi Kasimir and is hand-signed by the artist. The notable etcher and painter, Luigi Kasimir, attended the Vienna Academy of Art where he studied under William Unger, who introduced him to colored etching. Kasimir was influenced by Anders Zorn and Karl von Kalckreuth and he furthered his studies with Sigmund L'Allemand. A pioneer in the technique of hand-colored etching, Kasimir began exhibiting in 1905 and received immediate critical recognition. Starting with a sketch, usually in pastel, Kasimir would transfer the design, by hand, onto as many as six plates, applying the color by hand to each plate. Luigi Kasimir's work is held in private and public collections throughout the world including in the permanent collections of New York's Metropolitan Museum and Smithsonian Museum, among others. Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse...

This exquisite lithograph by Pierre Bonnard (1867–1947), titled Jeune Fille dans une Barque (Young Girl in a Boat), from Verve, Revue Artistique et Litteraire, Vol. II, No. 5–6, orig...

Meheut, Mathurin. La Plante Exotique. Pl 1: Bamboo. Paris, 1931. Heliochrome print.

(New York: John Taylor Arms, 1930) Etching on antique cream laid paper with a fancy "G" watermark, 7 1/8 x 16 1/2 inches (182 x 442 mm), full margins. Signed, dated and inscribed "Ed. 70" in pencil, lower margin. From a total edirion of 81 plus 5 trial proofs. Printed by Henry E. Carling. Number 18 from the Italian Series. A superb impression of this scarce print, with all of the subtleties and details of the reflections in the water printing clearly. [Fletcher 232] [Illustrated: Page 192, Arms, Dorothy Noyes, "Hilltowns and Cities of Northern Italy"]. Along with his constant companion and wife, Dorothy Noyes, Arms spent decades exploring and documenting gothic structures throughout Europe. Noyes, an accomplished travel writer, had gifted Arms an etching set...

Saul Raskin's Cry of Union Square, has all my favorite things: a view of Union Square with S. Klein's department store on the right and a Chop Suey restaurant on the left. There's a ...

This is a fine aquatint etching by British artist Percival Gaskell. The title is: The Lonely Tower, Roman Campagna, it was created and printed in 1924 in an edition of 150. The ima...

Lalibela is an original etching on paper realized by Lino Bianchi Barriviera in 1939. Hand-signed in pencil. Image Dimensions: 35 x 47.5 cm. Num...

Lalibela is an original etching on paper realized by Lino Bianchi Barriviera in 1949. Hand-signed in pencil. Image Dimensions: 35.5 x 49.5 cm. Nu...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 22 (Plate No. 22), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

Lalibela is an original etching on paper realized by Lino Bianchi Barriviera in 1939-1943. Hand-signed in pencil. Image Dimensions: 36 x 45 cm. Nu...

This exquisite lithograph by Francisco Bores (1898–1972), titled La terre (The Earth), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, originates from the 1937 issue publi...

Louis Lozowick, 'Mural Study: Lower Manhattan', lithograph, edition 10 or fewer, 1936. Flint 135. Signed and dated in pencil. Signed in the stone, lower right. A fine, richly-inked...

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Orientalisches (Oriental), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Laz...

John Copley (1875 - 1950) Birds at Evening 1932 Image: 15 x 21.2 cm Frame: 33.0 x 38.2 cm Painter and printmaker John Copley was born in Manchester in 1875. He trained at Mancheste...