Mid-20th Century Landscape Prints

Artist: Hans Figura (Austrian, 1898-1978) Title: Winter Landscape Year: Circa 1950 Medium: Color etching with aquatint on silk Edition: Unknown Plate mark (Image) size: 17.25 x 13.75 inches Framed size: 23 x 19.5 inches Signature: Hand signed in pencil by the artist Condition: very good Frame: Custom framed in a silver and gold frame About the artist. Hans Figura (Austrian, 1898-1978) was a noted painter and etcher, who was well known for his aquatint etchings on paper or satin of European and American landscape and cityscape scenes, as well as paintings of landscape and cityscape scenes, Tyrolean Alp scenes of villages and chalets, street scenes, harbor and marine scenes. Hans Figura was born January 22, 1898, in the small town of Nagy-Kikinda near the Austro-Hungarian border, to Austrian parents. His father was a railway official and he spent his childhood in various small villages along the railway line between Vienna and Hungary. He graduated from the highschool in Vienna and also studied at the Higher Graphical Federal Education and Research Institute, a vocational school there (Höhere Graphische Bundes-Lehr und Versuchsanstalt) As a young man, he served as an officer in the Austrian Army during WWI from 1916-18 on the Russian and Italian fronts. After the war he attended medical school at the University of Vienna for several years beginning in 1918, and seven semesters later, he passed his first state exam, but eventually decided that he preferred the arts to medicine. He also studied at the Academy of Fine Arts in Vienna (Akademie der bildenden Künste Wien) and by 1922 he had devoted himself to painting and etching, while also working in other artistic printing mediums, batik, illustration, bookbinding and working with leather. From 1923-28, Figura made numerous art study trips throughout Europe including; Germany, Italy, France, Belgium, Holland, England, Czechoslovakia and Hungary. His first major success came in 1924, when he won acclaim for his etchings exhibited in Italy and the United States. In 1929, he visited the United States and in 1930, he traveled back to France, Holland and also Switzerland. During this time, Figura maintained studios in both New York City and Vienna, Austria. Throughout the course of his career, he exhibited his paintings and prints in many of the large cities throughout Europe and the United States and many of his etchings and paintings were acquired by museums and galleries, including The Kulturamt, Vienna, Austria; the Landesmuseum of Lower Austria; as well as The Society of Art Lovers, Berlin and Munich. Select Exhibitions: 1924- Exhibitions in Italy and the United States. Circa Mid 1920's-1939- All the exhibitions at the Kunstlerhaus, Vienna, Austria. 1926- "Secession...

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 Marc Chagall (1887–1985), titled Tribe of Joseph, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

Image dimensions: 17.7 x 14.6 cm. Landscape is a beautiful black and white etching on paper, realized at the middle of the XX century by the Italian artist Renzo Biasion (Treviso, 1914 - Florence, 1996). Hand-signed in pencil on the lower right margin. This artist proof represents a natural landscape with some houses in the distance and a railway running along a pathway with a strong and sure sign and an excellent inking. In very good conditions. Renzo Biasion (Treviso, 1914 - Florence, 1996) Born in Treviso in 1914, he moved to Venice where he graduated from the local art school and taught drawing in secondary schools. In 1940, when Italy entered World War II, he fought on the Greek-Albanian front as a second-lieutenant in the infantry and began writing a war diary...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Les Foreurs (The Drillers), from the album Fernand Leger, Dessins de Guerre 1915-16 (Fernand Leger, War ...

This exquisite etching by Henri Matisse (1869–1954), titled Masque de jeune garcon (Mask of a Young Boy), from the album Alternance (Alternation), originates from the 1946 edition pu...

This exquisite lithograph by Max Ernst (1891–1976), titled Un chant damour (A Song of Love), from the album XXe Siecle, Nouvelle serie, No. 11 (double), Noel 1958, originates from the 1958 edition published by Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1958. This work reflects Ernsts mature Surrealist language, merging dream, myth, and poetic abstraction into a visionary composition. Executed as a lithograph 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: Max Ernst (1891–1976) Title: Un chant damour (A Song of Love) Medium: Lithograph on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Unsigned and unnumbered as issued Date: 1958 Publisher: Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Ernst, Max, et al. Max Ernst: Graphische Welten: Die Sammlung Schneppenheim. DuMont, 2003, illustration 71C Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Nouvelle serie, No. 11 (double), Noel 1958, published by Societe Internationale dArt XXe Siecle, Paris; printed by Mourlot Freres, Paris, 1958 About the Publication: Gualtieri di San Lazzaros 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. The 1960 issue, XXe Siecle, Nouvelle serie, No. 14, showcased Daphnis et Chloe, one of Chagalls most celebrated lithographic subjects, coinciding with his work on the monumental suite of lithographs inspired by the same pastoral tale, published by Teriade. Through this publication, San Lazzaro further cemented Chagalls reputation as the modern poet of color and love, uniting myth, nature, and emotion in visual form. Today, XXe Siecle remains an essential record of 20th century modernism, celebrated for its seamless integration of fine art, literature, and design. About the Artist: Max Ernst (1891–1976) was a German-French painter, sculptor, printmaker, and poet whose groundbreaking imagination and experimental techniques made him one of the most revolutionary figures of 20th century art. A founding member of both Dada and Surrealism, Ernst dismantled traditional notions of art through chance, dream imagery, and psychological exploration, transforming painting, sculpture, and collage into instruments of the unconscious mind. Born in Bruhl, Germany, he studied philosophy and psychology at the University of Bonn before rejecting academic convention to pursue art, inspired by the Symbolists, Cubists, and the early abstractions of Pablo Picasso and Wassily Kandinsky. His traumatic experience serving in World War I left him disillusioned with logic and order, propelling him toward the Dada movement in Cologne in 1919, where he began creating his seminal collages that fused scientific diagrams and Victorian engravings into surreal dreamscapes. By 1922, Ernst had moved to Paris and joined a circle of avant garde luminaries that included Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, Man Ray, and Andre Breton, each of whom shared his fascination with the irrational and the unseen. Ernsts invention of frottage (rubbing) and grattage (scraping) revolutionized modern painting, revealing textures and hidden images beneath the surface and allowing chance to become an active participant in creation. His visionary paintings such as The Elephant Celebes (1921), Two Children Are Threatened by a Nightingale (1924), and Europe After the Rain II (1940–42) blend myth, science, and dream into vast symbolic landscapes that remain among the defining masterpieces of Surrealism. A restless innovator, Ernst expanded into sculpture, crafting enigmatic totemic forms such as Capricorne (1948–1963) that bridged organic abstraction and surreal fantasy, echoing the fluid equilibrium of Calders mobiles and the conceptual wit of Duchamp. Fleeing Nazi occupied France during World War II, Ernst emigrated to the United States with the support of Peggy Guggenheim, whom he later married, influencing the emerging Abstract Expressionists among them Jackson Pollock, Robert Motherwell, and Willem de Kooning through his fusion of automatism, texture, and mythic narrative. Returning to Europe after the war, he continued to refine his poetic, alchemical approach to painting, blending chaos and order into cosmic landscapes that inspired later artists such as Anselm Kiefer, Robert Rauschenberg, Cy Twombly, and Kiki Smith. His work, housed in major museums including MoMA, the Tate, and the Centre Pompidou, stands as a testament to his belief that art could bridge the conscious and unconscious, the rational and the fantastic. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Max Ernst remains a cornerstone of modern art an artist philosopher whose limitless curiosity reshaped visual language and influenced generations of creators. His highest auction record was achieved by Le roi jouant avec la reine (The King Playing with the Queen) (1944), which sold for approximately 24.4 million USD at Christies, New York, in November 2022, reaffirming Max Ernsts enduring legacy as one of the most visionary, provocative, and collectible masters of 20th century modernism. Max Ernst XXe Siecle 1958, Max Ernst lithograph...

This exquisite lithograph by Georges Braque (1882–1963), titled Oiseau sur fond de X (Bird on Background of X), from the album XXe Siecle, Nouvelle serie N°11 (double), Noel 1958, or...

This exquisite heliogravure after Pierre Soulages (1919–2022), titled Planche No. 11 (Plate No. 11), from the folio Pierre Soulages, Peintres d'aujourd'hui (Pierre Soulages, Painters...

This exquisite heliogravure after Mark Tobey (1890–1976), titled Le monde des cailloux (The World of Pebbles), from the folio Mark Tobey, Peintres d'aujourd'hui (Mark Tobey, Painters...

Zygmund Jankowski is known for his modernist compositions and effective use of “the white of the paper.” 'Come Fly with Me' perfectly illustrates that skill; It is signed, titled, and dated in pencil. Jankowski was born in South Bend, Indiana. After serving in the US Navy Jankowski attended the California College of Arts and Crafts, where studied with Victor DeWilde, Otis Oldfield, and George Post. Returning to the mid-west he taught at Indiana University, South Western Michigan College, Hilton Leech School of Art, the Bremen Art Center, the Niles Art Center, the South Bend Art Association, and the Rockport Art Association. Beginning in 1964 he summered in Rocky Neck, MA, and opened a summertime gallery. In the 1970s he made a permanent move to Gloucester where he held workshops at his studio. In the 1990s he moved to Lanesville. Among those institutions with work by Jankowski is the Cape Ann Museum. In their biography of the artist they acknowledge his role of inspiring a generation of Cape Ann artists...

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

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 25 (Plate 26), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

This exquisite lithograph after Raoul Dufy (1877–1953), titled L'Orchestre (The Orchestra), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), originat...

This exquisite lithograph and pochoir after Georges Rouault (1871–1958), titled Le Docte (The Scholar), from the album Georges Rouault, Visages (Faces), originates from the 1969 edit...

‘Help RCA Help USA, Beat the Promise, You and I Beat the Promise,’ original WWII antique vintage military poster. In the foreground are two clasped hand...

This exquisite heliogravure after Maurice Esteve (1904–2001), titled L'automne (Autumn), from the folio Maurice Esteve, Peintres d'aujourd'hui (Maurice Esteve, Painters of Today), or...

Three native Mexican women all similarly dressed in traditional, flowing white dresses covered in dark, fringed shawls raise their heads as if the...

This exquisite heliogravure after Maurice Esteve (1904–2001), titled Le Lithographe (The Lithographer), from the folio Maurice Esteve, Peintres d'aujourd'hui (Maurice Esteve, Painter...

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

An Ohio native Witonski made his home in the Chelsea neighborhood of New York City and this subject may well be a Chelsea scene. But mostly it is a homage to intaglio printmaking. It...

This exquisite heliogravure after Georges Rouault (1871–1958), titled Automne (Autumn), from the album Georges Rouault, Stella Vespertina (Evening Star), originates from the 1947 edi...

This exquisite lithograph by Maurice Esteve (1904–2001), titled Duetto (Duet), from the album XXe Siecle, Nouvelle serie, XXXIe Annee No. 33, Decembre 1969, originates from the 1969 ...

This exquisite lithograph and pochoir after Georges Rouault (1871–1958), titled Blaise (Blaise), from the album Georges Rouault, Visages (Faces), originates from the 1969 edition pub...

This exquisite heliogravure after Nicolas de Stael (1914–1955), titled Pere des Princes (Father of the Princes), from the folio Nicolas de Stael, Peintres d'aujourd'hui (Nicolas de S...

Silkscreen on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the album, Numbers, 1968. Published by the Edition Domberger, Stuttgart, and G...

Page size: 17.5 x 17 in. Vintage Frame with gold leaf finish size: 24 x 26 in. This intricately detailed lithograph depicts an vibrant floral scene against a warm, earthy backgroun...

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled Les joueurs de cartes (The Card Players), from the folio Vieira da Silva, Peintres d'aujourd'hui (V...

This exquisite heliogravure after Hans Hartung (1904–1989), titled P. 1960-76, from the folio Hans Hartung, Peintres d'aujourd'hui (Hans Hartung, Painters of Today), originates from ...

This exquisite heliogravure after Georges Rouault (1871–1958), titled Christ et disciples (Christ and Disciples), from the album Georges Rouault, Stella Vespertina (Evening Star), or...

This exquisite heliogravure after Georges Rouault (1871–1958), titled Puits de Jacob (Jacob’s Well), from the album Georges Rouault, Stella Vespertina (Evening Star), originates from...

This exquisite heliogravure after Georges Rouault (1871–1958), titled Nocturne (Nocturnal), from the album Georges Rouault, Stella Vespertina (Evening Star), originates from the 1947...

Etching on Vélin de Rives paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Shakespeare, Macbeth, Eaux-fortes de Gromaire, 1958. Published by Tériade,...

1930. Etching. Beetles 17. 6 x 5 1/4 (sheet 11 1/2 x 9). Edition 30, #29, published by the Twenty-One Gallery. Exhibited at the Royal Society of Painter-Etchers and Engravers, 1932(...

This exquisite lithograph by Marie Laurencin (1883–1956), titled Alice dans la piscine des larmes (Alice in the Pool of Tears), from the folio Les aventures d'Alice au pays des merve...

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

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

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled L'espace retrouve (The Space Regained), from the folio Andre Lanskoy, Peintres d'aujourd'hui (Andre Lanskoy, Paint...

This exquisite heliogravure after Hans Hartung (1904–1989), titled P. 1958-91, from the folio Hans Hartung, Peintres d'aujourd'hui (Hans Hartung, Painters of Today), originates from ...

Original Air France "Far - East" original travel poster by artist Guy Georget; under the artistic direction of Jean Carlu. Conservation linen-backed and ready to frame. This difficult-to-find original Air France poster was printed in Frame by Bedos & Cie, Paris. Restored tear in bottom and touched up in outer white border. Presents very well. The center focal point is a pagoda-shaped building with three tall bamboo spears growing up the left side. A windsock fish is flying in the air about the building. Bright and vibrant orange and greens with contrasting dark red, grey, and black bring this vintage original poster...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Oiseaux dans un paysage (Birds in a Landscape), from the album Miro, Cartones 1959–1965 (Miro, Cardboards 19...

This exquisite lithograph after Jacques Villon (1875–1963), titled Hommage a Dufy (Homage to Dufy), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), ...

This exquisite etching by Marie Laurencin (1883–1956), titled Jeune femme et son fils (Young Woman and Her Son), from the album Antares, eaux-fortes originales de Marie Laurencin (An...

Turtle Fountain - Rome is an original artwork realized by Giuseppe Malandrino. Original print in etching technique. Hand-signed by the artist in pencil on the lower right corner. ...

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

Original linen backed one sheet "The Savage Guns". Nss: 62/298. Archivally linen backed with the original issued fold marks restored. Great color, no paper loss, Excellent condition. As close to mint as you will find. Because the original fold marks were restored, it can only be listed as good. Condition: A. The gunfighter and the spitfire meet and love in a wild wind-lashed land where the law ends ... And the one they thought was afraid surprised them the day the banditos came!. Metro Goldwyn Mayer. Starring: Richard Basehart; Don Taylor, Alex Nicol, Pacquita Rico. In Metrocolor and Metroscope. Western movie poster...

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

This exquisite lithograph after Jean Cocteau (1889–1963), titled Por la boca de su herida (Through the Mouth of His Wound), from the folio Taureaux, Lithographies de Jean Cocteau (Bu...

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled La verriere (The Glass Roof), from the folio Vieira da Silva, Peintres d'aujourd'hui (Vieira da Sil...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Femme en priere (Woman in Prayer), from the album Miro, Cartones 1959–1965 (Miro, Cardboards 1959–1965), ori...

Linda Plotkin, American (1938 - ) - Four Views II, Year: circa 1965, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 21/100, Image Size: 16.5 x 21.5 inches, ...

This exquisite lithograph after Fernand Leger (1881–1955), titled Nature morte (Still Life), 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: Nature morte (Still Life), 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 Nature morte 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

The Vraic Season (No 1). 1936. Etching. Appleby 181. 12 x 14 1/4 (sheet 15 1/4 x 20). Edition 125 for The American College Society of Print Collectors (alternatively titled Seaweed H...

LILIAN MILLER (1895 - 1943) LANTERN ON A HILL - NKKO - AUTUMN, 1934 (Brown 104) Color woodcut, signed and dated in ink in the image. Titled in pencil by the artist at lower sheet edge. Circular, 10 inches in diameter. Beautiful fresh impression In very good condition with full margins, sheet 10 5/8 x 10 1/2 inches. Miller carried on a tradition started by woman, Americans Helen Hyde, Berta Lum and Englishwoman Elizabeth Keith, who learned and used Japanese color woodcut making techniques in the first part of the 20th century. Illustrated in "Between Two Worlds - The Life and Art of Lilian May Miller...

This exquisite linocut by Giorgio de Chirico (1888–1978), titled Cabina Misteriosa (Mysterious Cabin), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G...

"Conquering The Wilderness" - Lewis and Clark Expedition Original Etching Original 1932 black and white etching titled "Conquering The Wilderness" by Robert Hogg Nisbet (American, ...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

French etching of arched bridge by artist E. Roux-Fabre, circa 1930. Original artwork on paper displayed on a white mat with a gold border. Mat fits a ...

Orignal NEW ORLEANS GREYHOUND vintage travel poster; larger format size. Excellent condition that has acid-free archival linen backing; ready to frame. This image is from the old French Quarter section of New Orleans. It features two women entering into the courtyard and in the background, the old stairs leading to the upstairs area. A bright and colorful image that would compliment any room or office. A great New Orleans vintage poster...