1950s Landscape Prints

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...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Clown dressant un cheval et un singe (Clown Training a Horse and a Monkey), originates from the 1952 alb...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled La dresseuse d'animaux (The Animal Trainer), originates from the 1952 album The Circus of Toulouse-Lautr...

"Ceremonial Day at Taos" is a captivating vintage black and white etching by renowned American artist Gene Kloss. Created in 1953, this drypoint etching depicts the vibrant life of T...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Le Pont de Chatou (The Bridge at Chatou), from the album Vlaminck, originates from the 1958 edition published ...

Jean Carlu, Foire de Paris, 1955, Original Vintage Poster, Linen Backed. Very fine condition, Grade A-, ready to frame. This is an original, linen-backed 1955 "Foire de Paris" (Pa...

This exquisite lithograph after Jules Pascin (1885–1930), titled Manolita, from the album Pascin, originates from the 1954 edition published by Editions du livre, Monte-Carlo, under the direction of Andre Sauret, Editeur, Monte-Carlo, and printed by Mourlot Freres, Paris, March 3, 1954. Manolita captures Pascin’s delicate mastery of line and his profound sensitivity to the human form, embodying the poetic lyricism and emotional intimacy that define his work. Executed as a lithograph on grand velin Renage paper, this work measures 9.5 x 12.25 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Mourlot Freres, Paris, and the exceptional production standards of Editions du livre, Monte-Carlo. Artwork Details: Artist: After Jules Pascin (1885–1930) Title: Manolita, from the album Pascin Medium: Lithograph on grand velin Renage paper Dimensions: 9.5 x 12.25 inches (24.1 x 31.1 cm) Inscription: Unsigned and unnumbered as issued Date: 1954 Publisher: Editions du livre, Monte-Carlo, under the direction of Andre Sauret, Editeur, Monte-Carlo Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album Pascin, published by Editions du livre, Monte-Carlo, 1954 Notes: Excerpted from the album (translated from French), This album, published under the direction of Andre Sauret, was completed on March 3, 1954. The color plates were executed in the workshops of Mourlot Freres, lithographes, in Paris. Typography of L'Imprimerie Union. The original etchings attached to the C head examples were printed on Roger Lacouriere's presses. The total edition was drawn in MM examples, decomposing as follows: C examples numbered from I to C with III original etchings, MCM examples from CI to MM. About the Publication: Pascin, published in Monte-Carlo in 1954 under the direction of Andre Sauret and printed by Mourlot Freres, Paris, stands as one of the most refined tributes to the artist’s oeuvre within the distinguished postwar series of French art albums. The album combines impeccable lithographic craftsmanship with scholarly presentation, highlighting the poetic subtlety and expressive line central to Pascin’s artistic legacy. Printed on grand velin Renage paper, the publication exemplifies the collaboration between Sauret and Mourlot that defined a generation of fine art editions, uniting artists, printers, and publishers dedicated to preserving the vitality of modern art in print. The album reflects the technical mastery of Mourlot’s atelier—celebrated for its work with Picasso, Matisse, Chagall, Braque, and Léger—while reinforcing Editions du livre’s commitment to producing luxurious, museum-quality publications that captured the spirit and emotion of twentieth-century masters. As a fine art album, Pascin occupies a central place among mid-century European art editions, representing both a celebration of the artist’s humanistic vision and a testament to the collaborative artistry that sustained modern printmaking. About the Artist: Jules Pascin (1885–1930) was a Bulgarian-born French painter and draftsman whose exquisite sensitivity, refined draftsmanship, and poetic vision made him one of the most evocative and influential figures of early modern art. Known as “the Prince of Montparnasse,” Pascin became a central figure of the Ecole de Paris and a defining presence in the bohemian world of early 20th-century Paris. Born Julius Mordecai Pincas in Vidin, Bulgaria, to a wealthy Sephardic Jewish family, he studied in Vienna and Munich before moving to Paris in 1905, where he quickly established himself among the leading modernists of his era, including Pablo Picasso, Amedeo Modigliani, Chaim Soutine, Georges Braque, and Marc Chagall. Deeply influenced by Edgar Degas, Henri de Toulouse-Lautrec, and Paul Cezanne, Pascin created paintings and drawings distinguished by their delicate lines, soft tonal harmonies, and psychological depth. His nudes, portraits, and scenes of Parisian cafe life radiate an atmosphere of quiet intimacy and emotional nuance, capturing the fragility and beauty of human existence. Unlike contemporaries such as Picasso, Joan Miro, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, Alexander Calder, Alberto Giacometti, and Man Ray, who pushed toward abstraction and surrealism, Pascin remained devoted to figuration, exploring the subtleties of light, gesture, and emotion with unmatched tenderness. His works express sensuality without artifice, revealing the vulnerability and inner life of his subjects through line and color that seem to breathe with human feeling. His studio became a gathering place for artists and writers such as Ernest Hemingway, Henry Miller, and Anais Nin, who admired his introspection and his ability to translate psychological complexity into visual poetry. Though his life was marked by emotional turbulence and melancholy, his art radiated a timeless empathy that transcended style, influencing later artists including Balthus, Lucian Freud, Francis Bacon, Egon Schiele, and Eric Fischl, who drew inspiration from his fusion of sensuality, sensitivity, and psychological depth. Today, his works are held in major institutions including the Centre Pompidou, Musee d’Orsay, Tate Modern, and the Museum of Modern Art in New York, where they continue to resonate for their humanism and grace. Standing alongside Picasso, Calder, Giacometti, Dali, Miro, Kandinsky, Duchamp, and Man Ray, Jules Pascin helped define the emotional vocabulary of modern painting, and his legacy endures as one of the most intimate and humanist voices of his century. The highest auction record for Jules Pascin was achieved by Portrait de jeune fille en robe rouge sur fond bleu (1928), which sold for $2,950,500 USD at Sotheby’s, New York, on May 8, 2008, confirming his enduring reputation as one of the most refined, psychologically profound, and collectible artists of modern art history. Jules Pascin Manolita Pascin Editions du livre Monte-Carlo 1954 lithograph...

Lithograph on hand made Fabriano vélin paper mounted on museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Elegy of Ihpetonga and Ma...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 52–53 (Plates 52–53), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originate...

This exquisite lithograph by Marc Chagall (1887–1985), titled Les Amoureux au Gris (The Lovers in Gray), from the album Chagall, originates from the 1957 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1957. This intimate and poetic composition reveals Chagall’s enduring fascination with love as both a personal and universal theme. Les Amoureux au Gris presents two lovers tenderly united against a soft, monochromatic background, their forms gently intertwined in a suspended moment of emotion and serenity. The subdued palette of grays enhances the dreamlike atmosphere, evoking nostalgia and the quiet beauty of devotion. Through its delicate tonal harmonies and lyrical symbolism, the work exemplifies Chagall’s belief that love transcends time, space, and circumstance—a central tenet that defines his artistic legacy. Executed as a lithograph on velin paper, this work measures 9.06 x 7.875 inches (23.01 x 20 cm). Unsigned and unnumbered as issued. The edition reflects the extraordinary craftsmanship of the Mourlot Freres atelier, renowned for its close collaboration with Chagall and for achieving unmatched brilliance and subtlety in color lithography. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Les Amoureux au Gris (The Lovers in Gray), from Chagall, 1957 Medium: Lithograph on velin paper Dimensions: 9.06 x 7.875 inches (23.01 x 20 cm) Inscription: Unsigned and unnumbered as issued Date: 1957 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Chagall, Marc, and Julien Cain. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustration 194. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustres. P. Cramer ed., 1995, illustration 34. Condition: Well preserved, consistent with age and medium Provenance: From the album Chagall, published by Maeght Editeur, Paris, 1957 Notes: Excerpted from the album (translated from French), This album was printed by Drager Freres in Montrouge on behalf of Maeght Editeur, 13, Rue de Teheran, Paris VIII. The original color lithographs were drawn by Mourlot Freres. The photographs of the works printed are of Y. Hervochon, M. Routhier, Draeger. Copyright 1957. About the Publication: The 1957 album Chagall, published by Maeght Editeur, Paris, and printed by Mourlot Freres, stands among the most celebrated collaborations between Marc Chagall and the great Parisian ateliers of the mid-20th century. The album features a series of color lithographs that capture Chagall’s poetic world of memory, faith, and love through luminous tones and expressive line. Each lithograph embodies the artist’s mastery of the medium, where the transparency of pigment and fluidity of form fuse into a language of visual music. Guided by the technical expertise of Mourlot Freres, these works convey Chagall’s painterly spontaneity and emotional depth with remarkable fidelity. The Maeght album remains a touchstone in modern printmaking, symbolizing the creative dialogue between artist, publisher, and master printer that defined the golden age of the French art book. 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 Les Amoureux...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Le chapeau epingle, etat en couleur (The Pinned Hat, Color State), from the album Les Lithographies de Renoi...

This exquisite lithograph and pochoir after Andre Derain (1880–1954), titled Paysage de l'Arbre Bleu (Landscape of the Blue Tree), from the album Douze Contemporains (Twelve Contempo...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 111 (Plate 111), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates fro...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Femme nue assise (Seated Nude Woman), from the album Les Lithographies de Renoir (The Lithographs of Renoir)...

Edmond Ceria, Brittany (Bretagne), 1953 — Original SNCF Travel Poster, Linen-Backed. An original 1953 French National Railroads (SNCF) travel poster for Brittany by Edmond Ceria (...

This exquisite lithograph after Henri Matisse (1869–1954), titled La Gerbe (The Sheaf), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1958 issue...

This exquisite lithograph after Henri Matisse (1869–1954), titled Nu Bleu IX (Blue Nude IX), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1958 ...

This exquisite lithograph after Jules Pascin (1885–1930), titled La Dame en vert (The Lady in Green), from the album Pascin, originates from the 1954 edition published by Editions du...

Engraving on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'Âge de Soleil, 1950. Published by Robert J. Godet, Paris; rendered by ...

Medium: Lithograph on grand vélin Renage filigrané paper. Year: 1952 Paper Size: 9.5 x 12.5 inches; image size: 7.87 x 10.63 inches Inscription: Unsigned and unnumbered, as issued No...

This exquisite lithograph and pochoir by Zoran Music (1909–2005), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXIe Annee, N°13, Noel 1959, originates fro...

This exquisite lithograph by Henri Michaux (1899–1984), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie N°7 (double) Juin 1956, originates from the 1956 editi...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Les Trois Graces (The Three Graces), from the folio Eaux-de-vie, Esprit de la fleur et du fruit (Spirits, Essence of th...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 111, 1958. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite collotype after Alfonso Ossorio (1916–1990), titled Peinture initiatique II (Initiatory Painting II), from the album Peintures initiatiques d'Alfonso Ossorio (Initiato...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 31 (Plate 31), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 47 (Plate 47), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Pierre Renoir de face (Pierre Renoir, Frontal Portrait), from the album Les Lithographies de Renoir (The Lit...

Original 1957 “Emprunt SNCF Souscrivez” vintage French poster by Paul Schmitt, linen-backed and ready to frame. The poster had been folded for shipment, and the fold lines were res...

Foire de Paris; original lithograph; artist: Albert Solon. Year: 1954. Acid free archival linen backed Size 10.5" x 16 5/8". Excellent condition. Ready to frame The top of this antique poster features the image of the first poster from 1904 in the art nouveau style; and the bottom of the 1954 Foire de Paris where the sails cover part of the earliest poster image. The bottom portion of this design is reflected in its art deco style with the wording of the name of the Foire de Paris reflecting in the water. Original. Linen-backed. The annual Paris Fair was a large international industrial exhibition that attracted not only manufacturers from around the world, but also posterists who vied for the honor of having their design selected as the official poster of the event. For 1954, this poster artist is nostalgic for the turn of the century. He is reminding us that it is the 50th anniversary of the Paris Fair. The vintage poster...

Medium: Lithograph on vélin de Lana paper Year: 1950 Paper Size: 9.75 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Signac Dessins, 1950. Publi...

This exquisite lithograph after Henri Matisse (1869–1954), titled L’Escargot (The Snail), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1958 iss...

This exquisite lithograph by Marino Marini (1901–1980), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, No. 5 (double), Juin 1955, originates from the 1955 e...

Original Andalusia, Spain. Iberia Airlines vintage travel poster. A flamingo dancer holds her hand up in the air as the Iberia Constellation plane flies overhead. Reddish-pink ca...

This exquisite lithograph and pochoir after Nicolas de Stael (1914–1955), titled Sans titre (Untitled), from the album XXe siecle, Nouvelle serie, XXIe Annee, No. 12, Mai-Juin 1959, ...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Noir et blanc (Black and White), originates from the historic 1958 folio Derriere le Miroir, No. 110. Published by Ma...

This exquisite lithograph after Henri Matisse (1869–1954), titled Vigne (Vine), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1958 issue publish...

This exquisite lithograph by Joan Miro (1893–1983), titled Nocturne (Nocturnal), from the folio Derriere le miroir, No. 57–59, originates from the 1953 edition published by Maeght Ed...

This exquisite lithograph by Marc Chagall (1887–1985), titled L'Opera (The Opera), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published by Maeght ...

This exquisite lithograph and pochoir after Marc Chagall (1887–1985), titled Dans le village (In the Village), from the folio Couleur amour, 13 Aquarelles, Gouaches, Lavis (Color of ...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Le chapeau epingle (The Pinned Hat), from the album Les Lithographies de Renoir (The Lithographs of Renoir),...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Clownesse et cheval (Clowness and Horse), originates from the 1952 album The Circus of Toulouse-Lautrec. Published by Paris Book Center, Inc., New York, under the direction and supervision of Andre Sauret, and printed by Mourlot Freres, Paris, this work reflects Toulouse-Lautrec’s incisive observational skill, capturing the theatricality, elegance, and rhythmic grace associated with the spectacle of the circus ballet. In Clownesse et cheval (Clowness and Horse), Lautrec conveys poise and expressive movement through his signature economy of line, expressive contour, and psychological nuance. Executed as a lithograph on velin paper, this work measures 9.25 x 12.125 inches (23.49 x 30.8 cm). Signed in the plate and unnumbered as issued. Printed by Mourlot Freres, Paris, one of the foremost ateliers of the 20th century. Artwork Details: Artist: After Henri de Toulouse-Lautrec (1864–1901) Title: Clownesse et cheval (Clowness and Horse), from The Circus of Toulouse-Lautrec, 1952 Medium: Lithograph on velin paper Dimensions: 9.25 x 12.125 inches (23.49 x 30.8 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1952 Publisher: Paris Book Center, Inc., New York; under the direction and supervision of Andre Sauret Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1952 album The Circus of Toulouse-Lautrec, published by Paris Book Center, Inc., New York Notes: Excerpted from the album, This edition of The Circus of Toulouse-Lautrec has been realized and published for Paris Book Center Inc. of New York, under the direction and supervision of Andre Sauretat the presses of Fernand Mourlot in Paris. There has been published of this english edition of The Circus of Toulouse-Lautrec, MD examples, numbered from I to MD. In addition there has been printed, XX examples on Imperial Japon Paper numbered from I to XX, L examples on Special Velin numbered XXI to LXX. About the Publication: The Circus of Toulouse-Lautrec, published in 1952 by Paris Book Center, Inc., under the direction and supervision of Andre Sauret and printed by Mourlot Freres, is one of the most historically significant postwar fine art albums devoted to the artist’s graphic work. The album presents lithographic renderings based on Lautrec’s original drawings and studies, executed with exceptional fidelity to the artist’s gestural clarity, compositional dynamism, and psychological insight. Conceived as a deluxe fine art album, the edition brought together Lautrec’s dynamic portrayals of acrobats, riders, clowns, animal trainers, dancers, and circus performers, offering a vivid window into the spectacle, discipline, and theatricality of the late nineteenth-century circus tradition. Printed at the prestigious atelier Mourlot—renowned for its collaborations with leading modernists—the album reflects a postwar commitment to reviving and preserving the lithographic legacy of master artists. Today, The Circus of Toulouse-Lautrec stands as a landmark in fine art publishing, prized by collectors for its craftsmanship, historical importance, and the rare opportunity it offers to experience Lautrec’s circus imagery in an elegant, carefully supervised edition. About the Artist: Henri de Toulouse-Lautrec (1864–1901) was a French painter, printmaker, draughtsman, and illustrator celebrated for his vivid and empathetic depictions of Parisian nightlife during the Belle Epoque. A master observer of character and movement, Toulouse-Lautrec chronicled the bohemian world of Montmartre—its cabarets, performers, dancers, and cafes—with a revolutionary use of color, composition, and line that redefined both fine art and commercial design. His iconic posters for the Moulin Rouge and other venues not only captured the exuberant energy of modern urban life but also elevated lithography to the level of high art. Despite his physical frailty due to a congenital condition, his creative output was prolific and profoundly influential, shaping the evolution of modern visual culture. Inspired by the expressive realism of Honore Daumier, Edgar Degas, and Edouard Manet, as well as the vivid color and composition of Japanese ukiyo-e woodblock prints, Toulouse-Lautrec absorbed and transformed these influences into a bold, modern visual language uniquely his own. He worked and exhibited among many of the most important artists of his time, including Vincent van Gogh, Edgar Degas, Paul Gauguin, Pierre Bonnard, Edouard Vuillard, and Paul Signac, and his work stands in lasting dialogue with the great modern masters who followed—Pablo Picasso, Henri Matisse, Alexander Calder, Georges Braque, Marc Chagall, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kantinsky, Marcel Duchamp, and Man Ray—each of whom shared his drive to reinvent art for the modern age. His paintings, drawings, and lithographs are represented in major museums worldwide, including the Musee dOrsay, the National Gallery, the Tate, and MoMA, where they continue to captivate audiences for their psychological depth and timeless vitality. The highest price ever paid for a Henri de Toulouse-Lautrec artwork is approximately 22.4 million USD, achieved in 2005 at Christies London for La Blanchisseuse (1886–87). Henri de Toulouse-Lautrec lithograph, Lautrec Clownesse et cheval, Toulouse-Lautrec The Circus, Lautrec Sauret edition, Lautrec Mourlot Freres, 1952 Circus album, Lautrec clown lithograph...

WERNER DREWES (1899 - 1985) CASTLE ROCK WYOMING (Jackson Hole), (Rose RIII 194) Color woodcut Total edition XXX, Signed, annotated AP and dated '58 in...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Ballets, fantaisie (Ballets, Fantasy), originates from the 1952 album The Circus of Toulouse-Lautrec. Pu...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Ecuyere de haute ecole (High School Rider), originates from the 1952 album The Circus of Toulouse-Lautre...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Dresseur de chiens (Dog Trainer), originates from the 1952 album The Circus of Toulouse-Lautrec. Publish...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Dans les coulisses (Backstage), originates from the 1952 album The Circus of Toulouse-Lautrec. Published...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Travail de panneau (Panel Work), originates from the 1952 album The Circus of Toulouse-Lautrec. Publishe...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Dans les coulisses (Backstage), originates from the 1952 album The Circus of Toulouse-Lautrec. Published...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Travail des poids (Weight Training), originates from the 1952 album The Circus of Toulouse-Lautrec. Publ...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Ecuyere de haute ecole (High School Rider), originates from the 1952 album The Circus of Toulouse-Lautre...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Nègre jouant du banjo (Black Man Playing Banjo), originates from the 1952 album The Circus of Toulouse-L...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Un Petit Cob (A Small Cob), originates from the 1952 album The Circus of Toulouse-Lautrec. Published by ...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Amazone (Amazon), originates from the 1952 album The Circus of Toulouse-Lautrec. Published by Paris Book...

Medium: Lithograph and stencil on vélin paper Year: 1954 Paper Size: 13.5 x 9.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Femmes de Lautrec, 21 Pl...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Le Rappel (The Recall), originates from the 1952 album The Circus of Toulouse-Lautrec. Published by Pari...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Ecuyere de panneau (Equestrienne of the Panel), originates from the 1952 album The Circus of Toulouse-La...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Travail sans selle (Work Without a Saddle), originates from the 1952 album The Circus of Toulouse-Lautre...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Voltige (Trick Riding), originates from the 1952 album The Circus of Toulouse-Lautrec. Published by Pari...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Écuyère de haute école (High School Rider), originates from the 1952 album The Circus of Toulouse-Lautre...