Mid-20th Century Landscape Prints

This artwork titled "Marshland" 1962, is an original drypoint etching by noted American artist Peter Winslow Milton, b.1930. It is hand signed, dated, titled and numbered 31/40 in pe...

Original Vintage French Travel Poster "LE HOHWALD" by ROGER BRODERS ca. 1930. Size: 24.5" x 39.25". Archival linen-backed antique skiing French vinta...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Bouquet Noir et Bleu (The Black and Blue Bouquet), from the album Chagall, originates from the 1957 edition published...

This exquisite silkscreen by Joan Mitchell (1925–1992), titled Untitled, from the album The Poems, originates from the 1960 edition published and printed by Tiber Press, New York, un...

Original HISWA RAI-Gebouw, Amsterdam vintage sports poster. Also referred to as: HISWA Amsterdam Boat Show. The last boat show was in March 2020, and this iconic event is not be...

Etching in colors on vélin de Rives paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Hésiode, Les Travaux et les jours. E...

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 ...

Linen-backed original 1939 James Montgomery Flagg vintage poster: You're in Trust; we must protect it from fire. "If we would have forests--we must prevent fires: Maryland Stat...

Signed lower right, 'Y. Ganne' for Yves Ganne (French, b. 1931) and with print edition and limitation, '114/150', lower left. Yves Ganne first studied at the Ecole des Beaux-Arts o...

S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...

This exquisite lithograph after Henri Matisse (1869–1954), titled Femmes et Singes (Women and Monkeys), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates fro...

Signed lower right, 'Y. Ganne' for Yves Ganne (French, b. 1931), inscribed lower left with number and limitation, '87/150' and created circa 1975. Born in Anjou, Ganne first studied...

A magnificent impression from the collection of the artist's sister, with a dedication in Arms's hand. Etching on antique grayish-blue laid paper, 9 1/2 x 5 1/2 inches (242 x 140 mm...

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 School Painters, Daniel Garber was born on April 11, 1880, in North Manchester, Indiana. At the age of seventeen, he studied at the Art Academy of Cincinnati with Vincent Nowottny. Moving to Philadelphia in 1899, he first attended classes at the "Darby School," near Fort Washington; a summer school run by Academy instructors Anshutz and Breckenridge. Later that year, he enrolled at the Pennsylvania Academy of the Fine Arts. His instructors at the Academy included Thomas Anshutz, William Merritt Chase and Cecilia Beaux. There Garber met fellow artist Mary Franklin while she was posing as a model for the portrait class of Hugh Breckenridge. After a two year courtship, Garber married Mary Franklin on June 21, 1901. In May 1905, Garber was awarded the William Emlen Cresson Scholarship from the Pennsylvania Academy, which enabled him to spend two years for independent studies in England, Italy and France. He painted frequently while in Europe, creating a powerful body of colorful impressionist landscapes depicting various rural villages and farms scenes; exhibiting several of these works in the Paris Salon. Upon his return, Garber began to teach Life and Antique Drawing classes at the Philadelphia School of Design for Women in 1907. In the summer of that same year, Garber and family settled in Lumbertville, Pennsylvania, a small town just north of New Hope. Their new home would come to be known as the "Cuttalossa," named after the creek which occupied part of the land. The family would divide the year, living six months in Philadelphia at the Green Street townhouse while he taught, and the rest of the time in Lambertville. Soon Garber’s career would take off as he began to receive a multitude of prestigious awards for his masterful Pennsylvania landscapes. During the fall of 1909, he was offered a position to teach at the Pennsylvania Academy as an assistant to Thomas Anshutz. Garber became an important instructor at the Academy, where he taught for forty-one years. Daniel Garber painted masterful landscapes depicting the Pennsylvania and New Jersey countryside surrounding New Hope. Unlike his contemporary, Edward Redfield, Garber painted with a delicate technique using a thin application of paint. His paintings are filled with color and light projecting a feeling of endless depth. Although Like Redfield, Garber painted large exhibition size canvases with the intent of winning medals, and was extremely successful doing so, he was also very adept at painting small gem like paintings. He was also a fine draftsman creating a relatively large body of works on paper, mostly in charcoal, and a rare few works in pastel. Another of Garber’s many talents was etching. He created a series of approximately fifty different scenes, most of which are run in editions of fifty or less etchings per plate. Throughout his distinguished career, Daniel Garber was awarded some of the highest honors bestowed upon an American artist. Some of his accolades include the First Hallgarten Prize from the National Academy in 1909, the Bronze Medal at the International Exposition in Buenos Aires in 1910, the Walter Lippincott Prize from the Pennsylvania Academy and the Potter Gold Medal at the Art Institute of Chicago in 1911, the Second Clark Prize and the Silver Medal from the Corcoran Gallery of Art for “Wilderness” in 1912, the Gold Medal from the Panama-Pacific Exposition in San Francisco of 1915, the Second Altman Prize in1915, the Shaw prize in 1916, the First Altman Prize in 1917, the Edward Stotesbury Prize in1918, the Temple Gold Medal, in 1919, the First William A...

This exquisite lithograph by Francois Fiedler (1921–2001), titled Peinture (Painting), originates from the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Femme nue couchee et joueur de flute (Reclining Nude Woman and Flute Player), from the folio Picasso, La...

Artist Name: Julian Trevelyan Title:Richmond Year: 1969 Medium Type: Etching, with Aquatint Size-Width Size-Height: 22'' x 29'' inches Signed Edition Size: Signed in pencil, title...

Original, smaller format size, NANTUA SON LAC. Archival linen-backed original lithograph, excellent condition, ready to ship or frame. Grade A. This poster promotes mini-golf, v...

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 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...

Etching on vélin de Rives paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Hésiode, Les Travaux et les jours. Eaux-fortes...

‘The Flying Scotsman’ is an iconic steam train running from Edinburgh to Kings Cross London. Dubbed ‘The Flying Scotsman’ when exhibited in 1924 the expres...

Original 1934 “Lyon — A Internacia Foiro” original vintage poster, linen-backed and ready to frame. Striking original 1934 Art Deco-era poster for the Lyon International Fair, title...

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...

Signed lower right, 'Georges Lambert' (French, 1919-1998), titled lower center 'Grau du Roi' and inscribed lower left 'Epreuve d'Artiste' with number and limitation 12/25. An Artist...

Etching and aquatint on antique laid paper, wide margins. Signed, dated and inscribed "Edition of 100" in pencil, lower margin. Second state (of 2)....

This exquisite lithograph after Georges Braque (1882–1963), titled Marine a la Mouette (Seascape with Seagull), originates from the 1968 folio Varengeville, published by Maeght Edite...

Drypoint on cream wove paper, 4 1/2 x 6 7/8 inches (114 x 174 mm), full margins. Signed in pencil, lower right margin. In very good condition with no visible defects; inking is exce...

Original Marina Militare Concorso 1961 Vintage Italian Naval Poster – Linen Backed. Grade B+ condition with original fold marks restored. Step back in time with this authentic 19...

This exquisite lithograph after Marc Chagall (1887–1985), titled Le Cirque (The Circus), from the folio Derriere le miroir, No. 155, originates from the 1965 edition published by Mae...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Femme au cep de vigne (Woman with Vine Branch), from the album Les Lithographies de Renoir (The Lithographs ...

Sidney Chafetz (1922-2013) is an outstanding American printmaker whose career stretched from the 1940s through the twentieth century. A Rhode Island native, Sidney Chafetz attended ...

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 French vintage poster: DAHLIAS DOMAINE DE SCEAUX. Linen backed in very good condition. Ready to frame. Artist: Touchagues Timeless French Elegance: Featuring the ic...

This exquisite linocut by Jean Helion (1904–1987), titled Sans titre (Untitled), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Somm...

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...

This exquisite woodcut after Wassily Kandinsky (1866–1944), titled Klange (Sounds), from the album XXe Siecle, Decembre 1966, originates from the 1966 edition published by Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1966. Klange reflects Kandinsky’s revolutionary synthesis of sound, color, and emotion, merging visual rhythm and spiritual resonance in a poetic abstraction that embodies the birth of modern non-objective art. Executed as a woodcut on velin paper, this work measures 12.5 x 9.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Wassily Kandinsky (1866–1944) Title: Klange (Sounds), from the album XXe Siecle, Decembre 1966 Medium: Woodcut on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Unsigned and unnumbered as issued Date: 1966 Publisher: Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Decembre 1966, published by Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris; printed by Mourlot Freres, Paris, 1966 About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs and woodcuts printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Wassily Kandinsky (1866–1944) was a visionary Russian-born, later French, painter, printmaker, and pioneering theorist whose quest to translate music and spirituality into pure visual form helped birth abstract art and irrevocably transform the modern aesthetic. Emerging from a background of law and economics, he embraced painting in his late thirties and soon became a central figure in avant-garde circles—including co-founding the Munich-based Der Blaue Reiter and later teaching at the prestigious Bauhaus school—fusing his deep interests in Russian icon painting, folk ornament, theosophy, color theory, and the experimental energy of early 20th-century artistic innovation. Influenced by predecessors such as Cezanne, Matisse, and the non-European masks and forms he encountered, Kandinsky worked alongside and in dialogue with contemporaries including Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, and Man Ray—artists united by a fearless rejection of conventional representation and a shared impulse toward radical visual invention. His compositions of floating geometric forms, vibrant chromatic symphonies, and lyrical abstractions not only charted new territory for the avant-garde in his own time but also inspired innumerable later artists—from the Abstract Expressionists like Jackson Pollock and Mark Rothko, to the Color Field painters, post-war neo-expressionists, and contemporary abstractionists who continue to echo his bold experimentations with color, line, and composition. Kandinsky’s works remain cornerstone acquisitions for major museums worldwide and prime offerings in the global collector market. His auction record stands with Murnau with Church II (1910), which sold for £37,196,800 (≈$44.9 million) at Sotheby’s, London, on March 1, 2023. Wassily Kandinsky Klange...

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Ange (The Angel), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edition published by A...

A charming 1930s, WPA era lithograph of young children on a carousel, created by noted children's book illustrator, Jo Poulson. Artwork size: 10 x 14 inches. Archivally matted to 16 x 20 inches. Signed and titled in pencil, inscribed "12 Proofs". In 1904, Josephine Hollingsworth Poulson was born in Lebanon Indiana. In 1926, she graduated from the John Herron School of Art in Indianapolis and in 1929, she moved to Chicago to become an illustrator of children’s books. She continued her studies at the Art Institute of Chicago, studying with Francis Chapin. In 1942, she had a one-woman show of her watercolors at the Hoosier Art...

Etching on cream wove paper, 2 3/8 x 3/14 inches (61 x 83), full margins. Signed, dated and inscribed "IV" in the artist's hand. In superb condition with the numerals "365" written i...

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...

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...

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 by Georges Rouault (1871–1958), titled Le Moqueur (The Mocking One), from the album Georges Rouault, Divertissement, originates from the 1943 edition publis...

This exquisite lithograph after Georges Braque (1882–1963), titled Les champs (The Fields), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and print...

Original 1940 Loterie Nationale Vintage Poster. Tranche de l”Historie de France. Linen-backed in very good condition – excellent, ready to frame. The team of Eddgard Derouet and C...

This exquisite lithograph after Georges Braque (1882–1963), titled Paysage a l’Estaque (Landscape at L’Estaque), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, ...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Hommage a Renoir (Homage to Renoir), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), ...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Steinberg, Derrière le miroir, N° ...

This exquisite lithograph by Alexander Calder (1898–1976), titled Forme Noire (Black Form), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by ...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

Etching, Engraving on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagn...

Original 1943 Linen-Backed Vintage Poster — “Doing all you can, brother? Buy War Bonds”. In excellent condition, with the best restoration of the original fold lines. You won’t fin...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Curro Romero, from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by Jean Cocteau), originates...

This exquisite lithograph after Georges Braque (1882–1963), titled La barque D-27 (The Boat D-27), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, an...

This exquisite lithograph after Georges Braque (1882–1963), titled Paysage (Landscape), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed b...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a panoramic view of the Nihonbashi business district in Tokyo, circa 1850. Signed in Kanji lower right, "Hiroshige ...

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...

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled Rupture poetique (Poetic Rupture), from the folio Andre Lanskoy, Peintres d'aujourd'hui (Andre Lanskoy, Painters o...