1950s Landscape Prints

This exquisite lithograph after Henri Matisse (1869–1954), titled Nu Bleu VIII (Blue Nude VIII), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1...

This exquisite lithograph by Joan Miro (1893–1983), titled Grandes terres de feu (Great Lands of Fire), from the folio Derriere le miroir, No. 87–89, originates from the 1956 edition...

This exquisite lithograph after Jules Pascin (1885–1930), titled Ginette et Mireille (Ginette and Mireille), from the album Pascin, originates from the 1954 edition published by Edit...

This exquisite lithograph after Georges Braque (1882–1963), titled Le Char (The Chariot), from Carnets intimes (Private Sketchbooks), Verve, Vol. VIII, No. 31–32, originates from the...

This exquisite lithograph by Giuseppe Capogrossi (1900–1972), titled Superficie (Surface), from the album XXe Siecle, Nouvelle serie, No. 5 (double), Juin 1955, originates from the 1...

This exquisite lithograph by Maurice Utrillo (1883–1955), titled Montmartre, Place Saint-Pierre (Montmartre, Place Saint-Pierre), from the album Paris Capitale (Paris Capital), origi...

L'Arbre blessé is an artwork realized by Paulette Humbert (1904-1994) in 1950 ca. Etching on paper. Hand-signed on the lower right margin. Titled "L'Arbre blessé" and numbered on th...

This exquisite lithograph after Jules Pascin (1885–1930), titled Jeanie Warnod, 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. Jeanie Warnod 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 12.25 x 9.5 inches. Signed in the plate 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: Jeanie Warnod, from the album Pascin Medium: Lithograph on grand velin Renage paper Dimensions: 12.25 x 9.5 inches (31.1 x 24.1 cm) Inscription: Signed in the plate 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 Jeanie Warnod Pascin Editions du livre Monte-Carlo 1954 lithograph...

Original vintage French movie poster: THE PRODIGAL SON; Le Fils Prodigue. Rare linen-backed poster Stars: Lana Turner and Edmund Purdom, Louis Calhern, Audrey Dalton, Neville Brand, James Mitchell...

This exquisite lithograph after Jules Pascin (1885–1930), titled Deux nus (Two Nudes), 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. Deux nus 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 12.25 x 9.5 inches. Signed in the plate 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: Deux nus (Two Nudes), from the album Pascin Medium: Lithograph on grand velin Renage paper Dimensions: 12.25 x 9.5 inches (31.1 x 24.1 cm) Inscription: Signed in the plate 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 Deux nus Two Nudes Pascin Editions du livre Monte-Carlo 1954 lithograph...

This exquisite lithograph by Alberto Magnelli (1888–1971), titled Papel colle (Pasted Paper), from the album XXe Siecle, Nouvelle serie, No. 9 (double), Juin 1957, originates from th...

Original vintage Danish poster: ODENSE, DENMARK. THE NATIVE TOWN OF HANS CHRISTIAN ANDERSEN. Great condition original. Linen backed origina...

Original French poster. Linen-backed KARTING HAFA motor oil KARTING poster estimated to be in the late 1950s—early 60s. It is in excellent condition and ready to frame. COUPE d´ E...

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

Original ARIZONA, Fly TWA (Airlines) vintage travel poster. Archival linen backed in excellent condition, ready to frame. Grade A. Images shown are of the exact poster you will ...

This exquisite lithograph by Maurice Utrillo (1883–1955), titled Montmartre, Moulin de la Galette (Montmartre, Moulin de la Galette), from the album Paris Capitale (Paris Capital), o...

This exquisite lithograph by Marcel Gromaire (1892–1971), titled Interieur Flamand (Flemish Interior), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originates fro...

This exquisite lithograph after Henri Matisse (1869–1954), titled Souvenir d’Océanie (Memory of Oceania), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates f...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Village de la Sarthe (Village in Sarthe), from the album Vlaminck, originates from the 1958 edition published ...

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...

Original French vintage travel poster: "FRANCE, Société Nationale des Chemins de Fer Français." Printed in France by the French National Railroads. Original linen-backed poster; read...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled L'église de Bougival (The Church of Bougival), from the album Vlaminck, originates from the 1958 edition publi...

A ca. 1958 lithograph with applied pastel titled "Edgartown Harbor" by notable Chicago artist Francis Chapin. Image size: 14 3/4" x 19 3/4. Archivally matted to: 20" x 25 1/2". ...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Portrait de Madeleine (Portrait of Madeleine), from the album Vlaminck, originates from the 1958 edition publi...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La meule (The Haystack), from the album Vlaminck, originates from the 1958 edition published by Andre Sauret, ...

Original poster: BOMBAY (American President Lines) Small format without text along the bottom. This is the smaller format for the poster. Archival linen-backed in very fine cond...

This evocative 1950 original lithograph by celebrated New Mexico artist Kenneth Miller Adams offers a hauntingly beautiful moonlit view of the iconic San Francisco de Asís Mission Ch...

This exquisite lithograph after Georges Braque (1882–1963), titled Deux oiseaux sur fond bleu (Two Birds on a Blue Background), from Carnets intime...

"The Graces Lie Shy" intaglio etching by Chaim Koppelman (American b.1920 d.2009). Moody etching by prominent American printmaker and educator Chaim Koppelman. In this piece a nude...

This exquisite lithograph after Fernand Leger (1881–1955), titled Le deux figures (The Two Figures), from the folio Derriere le miroir, No. 79-81, originates from the 1955 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1955. This composition exemplifies Leger’s rhythmic balance of color, form, and movement, translating the mechanical vitality of modern life into a harmonious, humanized geometry. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Fernand Leger (1881–1955) Title: Le deux figures (The Two Figures), from the folio Derriere le miroir, No. 79-81 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1955 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 79-81, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1955 About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght's belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: 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 USD at Sotheby’s, New York, on May 7, 2008. After Fernand Leger Le deux figures 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

This exquisite lithograph by Marc Chagall (1887–1985), titled Rachel derobe les Idoles de son Pere (Rachel Steals Her Father’s Idols), 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 poignant and symbolic composition illustrates the biblical episode in which Rachel secretly takes her father Laban’s household idols, an act that represents both defiance and devotion. Chagall’s interpretation imbues the scene with mystery and spiritual complexity, transforming it into a meditation on faith, transformation, and the tension between tradition and revelation. With his characteristic use of fluid lines and emotional resonance, Chagall elevates this intimate moment into a timeless vision of courage and divine purpose. 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: Rachel derobe les Idoles de son Pere (Rachel Steals Her Father’s Idols), 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 Rachel...

This exquisite lithograph by Mark Tobey (1890–1976), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie N°5 (double) Juin 1955, originates from the 1955 edition ...

Authentic 1959 US 1-sheet poster for "The Scapegoat" starring Alec Guinness and Bette Davis. This original theatrical release poster has been professionally linen-backed for preserva...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Ambroise Vollard, from the album Les Lithographies de Renoir (The Lithographs of Renoir), originates from th...

This exquisite lithograph by Giuseppe Capogrossi (1900–1972), titled Sin titulo I (Untitled I), from the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double), Mars 1958, orig...

This exquisite lithograph by Jean Bazaine (1904–2001), titled Paysage (Landscape), from the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93, originates from the 1956 ...

This exquisite lithograph and pochoir after Marc Chagall (1887–1985), titled Acrobate Aile (Winged Acrobat), from the folio Couleur amour, 13 Aquarelles, Gouaches, Lavis (Color of Lo...

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

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

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Vert, Bleu, Noir (Green, Blue, Black), originates from the historic 1958 folio Derriere le Miroir, No. 110. Published...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Chatou à l'arbre rouge (Chatou with the Red Tree), from the album Vlaminck, originates from the 1958 edition p...

Original vintage advertising poster in French for the 26th Anniversary of the Mozart Festival in Wurtzbourg 11-25 June 1955 - 26th Anniversary of the Festival of Mozart. Great image ...

This exquisite lithograph and pochoir by Jean Fautrier (1898–1964), titled Annabelle nue (Annabelle Nude), from the album XXe siecle, Nouvelle serie No. 9, Juin 1957, originates from...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Louis Valtat, from the album Les Lithographies de Renoir (The Lithographs of Renoir), originates from the 19...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Enfants jouant a la balle (Children Playing with a Ball), from the album Les Lithographies de Renoir (The Li...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Les Laveuses (The Washerwomen), from the album Les Lithographies de Renoir (The Lithographs of Renoir), orig...

This exquisite lithograph by Marc Chagall (1887–1985), titled Nature Morte Brune (Brown Still Life), from the album Chagall, originates from the 1957 edition published by Maeght Edit...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La Maladrerie sous la neige (The Maladrerie in the Snow), from the album Vlaminck, originates from the 1958 ed...

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 and pochoir after Marc Chagall (1887–1985), titled Femme a l'oiseau (Woman with Bird), from the album Douze Contemporains (Twelve Contemporaries), originate...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Portrait de femme (Portrait of a Woman), from the album Les Lithographies de Renoir (The Lithographs of Reno...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La moisson (The Harvest), from the album Vlaminck, originates from the 1958 edition published by Andre Sauret,...

This exquisite lithograph and pochoir after Robert Delaunay (1885–1941), titled La fenetre, n°2 (The Window, No. 2), from the album XXe Siecle, Nouvelle serie N°9 (double), Juin 1957...

This exquisite lithograph after Henri Matisse (1869–1954), titled Fleurs et Fruits (Flowers and Fruit), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates fro...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Paul Cezanne, from the album Les Lithographies de Renoir (The Lithographs of Renoir), originates from the 19...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Le chapeau epingle et La baigneuse (The Pinned Hat and The Bather), from the album Les Lithographies de Reno...

Fernand Léger The Viaduct, 1959 Original lithograph (Atelier Mourlot) Signed with the artist's stamp Limited to 180 copies (Here numbered 160) On Arches vellum 66 x 50.5 cm (c. 25....

Original linen-backed Bruxelles (Brussels) Foire Internationale oversize vintage travel poster. The poster features the most famous Grand Pal...

This exquisite lithograph after Georges Braque (1882–1963), titled Le Bouquet (The Bouquet), from Carnets intimes (Private Sketchbooks), Verve, Vol. VIII, No. 31–32, originates from ...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled L’Enfant au biscuit (Child with a Biscuit), from the album Les Lithographies de Renoir (The Lithographs of R...