Modern Landscape Prints

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Kathe Kollwitz, Ten Lithographs. Published by Henry C. Kleemann and...

Ira Moskowitz, 'Navajo Horse Race', lithograph, 1946, edition 30, Czestochowski 204. Signed and titled in pencil. Signed and dated in the stone, lower le...

Etching on antique cream laid paper with a partial watermark (likely Arches), 12 1/8 x 6 1/8 inches (308 x 156 mm), full margins. Signed and dated in pencil in the lower right margin...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 166, 1967. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite heliogravure after Mark Tobey (1890–1976), titled Recherche (Research), from the folio Mark Tobey, Peintres d'aujourd'hui (Mark Tobey, Painters of Today), originates f...

Lithograph on vélin de Rives paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published and printed by Bank Street Atelier, New York, 1973. I...

Etching realized by Giambattista Albrizzi (1698-1777) for Thomas Salmon's Lo Stato presente di tutti i Paesi e Popoli do Mondo. Regno di Spagna. Includes a contemporary wooden frame...

This exquisite zincograph by Henri Michaux (1899–1984), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXe Annee, N°10 (double) Mars 1958, originates from t...

This exquisite lithograph by Fernand Leger (1881–1955), titled Planche 29 (Plate 29), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

Etching with aquatint on watermarked cream laid J Perrigot Arches paper, 15 7/8 x 9 3/4 inches (400 x 248 mm), full margins. Signed, dated, and dedicated to the the artist Ruth Knobl...

'St. Mark's Church on the Bowery', aquatint with etching, edition not stated but small, 1932. Signed in pencil. Signed in the plate lower left and titled in the plate lower right. A superb, atmospheric impression, on cream wove paper, with full margins (1 1/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 9 3/4 x 7 3/8 inches (248 x 187 mm); sheet size 13 1/8 x 10 inches (333 x 254 mm). Impressions of this work are held in the collections of the Princeton University Art Museum and the Five College Museums. ABOUT THE ARTIST Born in Vienna, Leon Dolice left a secure position in the family business to pursue his artistic interests. He began his art education in his teens and early twenties when he traveled through Europe to study the works of the Old Masters. He immigrated to America in 1920 and made his home in Manhattan. As a printmaker, he chose as his subjects the architecture, back streets, dock scenes, and other aspects of New York City life that were being overtaken by the modern world. In 1950, learning of the coming demolition of the Third Avenue El, Dolice created a series of Third Avenue and other New York City landmarks that were threatened with extinction. His images from that period provide a record of a New York that has passed into history. During his lifetime, Dolice exhibited throughout Europe and the United States. Retrospectives of his work include a one-man show of his graphic work at Tribeca Gallery, New York; the traveling exhibition ‘Vintage New York’ with the New Rochelle Council on the Arts; and the Hofstra Museum, Hempstead. Dolice's works are in the permanent collections of the Museum of the City of New York, the National Gallery of Art, the New York Historical Society, Georgetown University, the Philadelphia Print Club, and the New York Public Library, as well as private and corporate collections. ABOUT ST. MARKS CHURCH St. Mark's Church in-the-Bowery is a parish of the Episcopal Church located at 131 East 10th Street, at the intersection of Stuyvesant Street and Second Avenue in the East Village neighborhood of Manhattan in New York City. The property has been the site of continuous Christian worship since the mid-17th century, making it New York City's oldest site of continuous religious practice. The structure is the second-oldest church building in Manhattan. In 1651, Petrus Stuyvesant, Director General of New Netherland, purchased land for a bowery or farm from the Dutch West India Company and, by 1660, built a family chapel at the present-day site of St. Mark's Church. Stuyvesant died in 1672 and was interred in a vault under the chapel. Stuyvesant's great-grandson, Petrus "Peter" Stuyvesant, sold the chapel property to the Episcopal Church for $1 in 1793, stipulating that a new chapel be erected to serve Bowery Village, the community which had coalesced around the Stuyvesant family chapel. In 1795, the cornerstone of the present-day St. Mark's Church was laid, and the fieldstone Georgian-style church, built by the architect and mason John McComb Jr., was completed and consecrated on May 9, 1799.[4] Alexander Hamilton provided legal aid in incorporating St. Mark's Church as the first Episcopal parish independent of Trinity Church in New York City. By 1807, the church had as many as two hundred worshipers at its summer services, with 70 during the winter. While the 19th century saw St. Mark's Church grow through its many construction projects, the 20th century was marked by community service and cultural expansion. Today, the rectory houses the Neighborhood Preservation Center, the Greenwich Village Society for Historic Preservation, and the Historic Districts Council, as well as other preservation and community organizations such as the Poetry Project, the Millennium Film Workshop, and the Danspace Project. St Mark's has supported an active artistic community since the 19th century. In 1919, poet Kahlil Gibran was appointed a member of the St. Mark's Arts Committee, and the next year, the two prominent Indian statues, "Aspiration" and "Inspiration" by sculptor Solon Borglum...

You really need to bring home this wonderful & handsome serigraph for your collection! A fabulous ca. 1959, Mid-Century serigraph of the Chicago Skyline by artist Mark Coomer...

Drypoint etching on white, buff laid paper with deckle edges, 8 13/16 x 12 inches (224 x 305 mm), full margins. One of only 25 proof impressions. In superb condition with excellent i...

This is a very hard to find hand colored etching of Central Park Zoo, New York City, well conserved in this excellent condition. It’s beautiful both for the skill: intricate details,...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Peineta de teja (Tile Comb), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by Jean Cocte...

Chicago: A. Ackermann & Son, Inc., 1930. Aquatint with engraving on heavy wove paper with a deckle edge, 15 1/8 x 12 inches (384 x 304 mm); sheet 24 1/2 x 17 1/2 inches (622 x 445 m...

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

This exquisite lithograph and pochoir by Marie Laurencin (1883–1956), titled Sans titre (Untitled), from the album Les Biches (The Does), originates from the 1924 edition published b...

HAP Grieshaber Untitled Wood block print in two colors Year: 1977 Size: 21 x 14 in Edition: 1,500 Signed in the plate Publisher: HMK Fine Arts, New Yor...

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...

Etching on handmade cream laid paper, 3 1/2 x 4 1/4 inches (890 x 108 mm), full margins. Signed, dated and inscribed "III" in pencil, lower margin. Edition of 150, third state (of th...

This exquisite lithograph by Alexander Calder (1898–1976), titled Serpent et Soleil (Serpent and Sun), originates from the historic 1973 folio Derriere le Miroir, No. 201. Published ...

Etching with drypoint on antique handmade laid Japon paper, 12 7/8 x 7 1/2 (327 x 191 mm); sheet 15 5/16 x 10 7/16 (389 x 265 mm), full margins. Signed in pencil in the lower margin....

This exquisite lithograph by Georges Rouault (1871–1958), titled Jentie Bernard (Jentie Bernard), from the album Georges Rouault, Divertissement, originates from the 1943 edition pub...

Serge FENECH (1951-) Provencal landscape, 1982 Original Lithograph Handsigned in pencil Numbered / 290 (the number you can see can be different) On Vellum 56 x 76 cm (c. 22 x 30 in)...

Louis Lozowick, 'Angry Skies (Andante Cantabile)', lithograph, 1935; edition 10, AAA 250; Flint 123. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impressio...

Original vintage poster: Chicago to Europe Fly SAS. Book your trip - NOW! Scandinavian Airlines System. Original linen-backed, excellent condition. This early SAS poster features the Eiffel Tower; the Roman Colosseum, the Arch of Triumph...

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...

This exquisite lithograph by Hans Hartung (1904–1989), titled P. 1958-35, from the album XXe siecle, Nouvelle serie, XXIe Annee, No. 12, Mai-Juin 1959, originates from the 1959 editi...

Etching and drypoint on tissue-thin cream laid paper, 6 5/8 x 8 1/8 inches (167 x 205 mm), full margins. Signed in pencil in the lower right margin, and inscribed "Ponte Trinità, Florence" in pencil the lower left margin. Non-archival paper tape tabs at the top right and left corners on the verso, with minor associated discoloration which presents on the recto. Minor, light mat tone, and some very small losses at the extreme corners, well outside of image area. The numerals "325" written in pencil in the lower right margin, in reference to the Rinder catalog number. A beautiful, silvery, early-state impression. Rinder 325 [Rinder 325 iii/vii]. The son of a clergyman, Sir David Young Cameron was born in Glasgow in 1865. After a brief and unhappy dalliance in the fields of business and law, Cameron began attending the prestigious Glasgow School of the Arts in 1881, and later the Edinburgh School of the Arts. At first associated with the Glasgow Boys (John Lavery, Joseph Crawhall...

This artwork "Village" c.1980, is an original color lithograph on Wove paper by noted French artist Claude Gaveau, b.1940. It is hand signed and numbered 77/170 in pencil by the arti...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Sans Titre (Untitled), originates from the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. This plate pays homage to the artist’s groundbreaking geometric abstraction and his profound influence on postwar modernism. Through precise form and rhythmic structure, Sans Titre captures the musicality and spiritual dynamism that defined Kandinsky’s mature visual language, balancing intuitive movement with mathematical harmony. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Signed in the plate and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, honoring Kandinsky’s legacy in fine art printing. Artwork Details: Artist: After Wassily Kandinsky (1866–1944) Title: Sans Titre (Untitled), from Derriere le Miroir, Nos. 60–61, 1953 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1953 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Wassily Kandinsky (1866–1944) was a Russian-born painter, theorist, and pioneer of abstract art whose revolutionary vision transformed 20th-century modernism. Regarded as one of the first artists to create purely nonobjective paintings, Kandinsky sought to express inner emotion and spirituality through color, rhythm, and form, believing that art could evoke the same universal harmony as music. His groundbreaking theories on abstraction and the “spiritual in art” shaped the foundation of modern aesthetics and influenced generations of artists worldwide. Closely associated with the Bauhaus movement, he developed a dynamic visual language that combined geometry and lyricism, bridging intuition and intellect. Kandinsky’s legacy resonates alongside the innovations of Pablo Picasso, Henri Matisse, Alexander Calder, Georges Braque, Marc Chagall, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, and Man Ray—artists who, like him, redefined the possibilities of modern art. His works are represented in the world’s leading museums, including MoMA, the Guggenheim, the Centre Pompidou, and the Tate, and remain among the most coveted by collectors globally. The highest price ever paid for a Wassily Kandinsky artwork is approximately $45.6 million USD, achieved in 2017 at Christie’s London for Bild mit weissen Linien (Painting with White Lines) (1913). Wassily Kandinsky Sans Titre, Kandinsky Derriere le Miroir, Kandinsky Maeght Editeur Paris, Kandinsky Mourlot Freres, Kandinsky 1953 edition, Kandinsky lithograph...

View of Paris is an artwork realized by an anonymous artist in the 1950s.   Watercolor drawing on paper.   Good conditions. The artwork is created through deft brushstokes and har...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8)). Edition 92. A rich, tonal impress...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Sans Titre (Untitled), originates from the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. This plate pays homage to the artist’s groundbreaking geometric abstraction and his profound influence on postwar modernism. Through precise form and rhythmic structure, Sans Titre captures the musicality and spiritual dynamism that defined Kandinsky’s mature visual language, balancing intuitive movement with mathematical harmony. Executed on velin paper, this lithograph measures 15 x 11 inches (38.1 x 27.9 cm), as issued. Signed in the plate and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, honoring Kandinsky’s legacy in fine art printing. Artwork Details: Artist: After Wassily Kandinsky (1866–1944) Title: Sans Titre (Untitled), from Derriere le Miroir, Nos. 60–61, 1953 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm), as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1953 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Wassily Kandinsky (1866–1944) was a Russian-born painter, theorist, and pioneer of abstract art whose revolutionary vision transformed 20th-century modernism. Regarded as one of the first artists to create purely nonobjective paintings, Kandinsky sought to express inner emotion and spirituality through color, rhythm, and form, believing that art could evoke the same universal harmony as music. His groundbreaking theories on abstraction and the “spiritual in art” shaped the foundation of modern aesthetics and influenced generations of artists worldwide. Closely associated with the Bauhaus movement, he developed a dynamic visual language that combined geometry and lyricism, bridging intuition and intellect. Kandinsky’s legacy resonates alongside the innovations of Pablo Picasso, Henri Matisse, Alexander Calder, Georges Braque, Marc Chagall, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, and Man Ray—artists who, like him, redefined the possibilities of modern art. His works are represented in the world’s leading museums, including MoMA, the Guggenheim, the Centre Pompidou, and the Tate, and remain among the most coveted by collectors globally. The highest price ever paid for a Wassily Kandinsky artwork is approximately $45.6 million USD, achieved in 2017 at Christie’s London for Bild mit weissen Linien (Painting with White Lines) (1913). Wassily Kandinsky Sans Titre, Kandinsky Derriere le Miroir, Kandinsky Maeght Editeur Paris, Kandinsky Mourlot Freres, Kandinsky 1953 edition, Kandinsky lithograph...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Akzent im Rosa (Accent in Pink), from the folio Derriere le miroir, No. 118, originates from the 1960 edition pu...

Edition of 100 prinst on verge crème, numbered and signed by the artist in pencil. Hand signed. Full margins. Belonging to the suite “L’Album des peintres-graveurs”. Ref. Cat. Cai...

This exquisite lithograph and pochoir after Marc Chagall (1887–1985), titled Nu a l'oiseau (Nude with Bird), from the folio Couleur amour, 13 Aquarelles, Gouaches, Lavis (Color of Lo...

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

This exquisite lithograph by Maurice Utrillo (1883–1955), titled Saint-Germain-des-Pres (Saint-Germain-des-Pres), from the album Paris Capitale (Paris Capital), originates from the 1...

WILLIAM SELTZER RICE (1873 - 1963) THE THAW c 1915-20 Color woodcut, signed and titled in pencil. Image 8 7/8 x 12 inches, sheet 10 3/4 x 14 3/8 inches. On textured fibrous paper. V...

Very rare original Signed E.A. Artist's Proof, color lithograph, "New York", by Bernard Buffet (1928-1999). Circa 1980. A Landscape image by the celebrated French Modernist figurative artist Bernard Buffet, titled "New York". The color litho shows buildings and skyline in New York City, this is a rare image from a series of New York views produced by Buffet. The artwork is signed in pencil lower left "E.A", Artist's Proof in French, from the limited edition numbered prints (which was limited to 150) , it is also boldly signed "Bernard Buffet" lower right. Condition is excellent, we at Bloomsbury Fine...

Linnea Pergola Food Carts (Cityscape, Iconic, James Rizzi, Fun, Vibrant) Giclee on Hahnemuhle Velvet Year: 2019 Size: 24.01 × 18.38 inches (61 x 46.7 cm) Edition: 50 Signed and numbe...

This exquisite heliogravure after Maurice Esteve (1904–2001), titled La Tapisserie (The Tapestry), from the folio Maurice Esteve, Peintres d'aujourd'hui (Maurice Esteve, Painters of ...

Original poster: NORTHWEST ORIENT AIRLINES, TRANS WORLD AIRLINES poster. Description There’s a New Way Around the World / Northwest Orient Airlines – Trans World Airlines. Circa 1...

This exquisite lithograph after Francois Auguste Rene Rodin (1840–1917), titled Sans titre (Untitled), from the folio Douze aquarelles de Auguste Rodin (Twelve Watercolors by Auguste...

McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6th trial proof (McCarron records 84 impressions including 4 trial proofs). Illustrated L'Amérique de la Dépression: Artistes En...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Interrogation (Questioning), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by Jean Cocte...

This exquisite lithograph by Pablo Palazuelo (1916–2007), titled Sans titre (Untitled), from the folio Derriere le miroir, Tendance, No. 50, originates from the 1952 edition publishe...

This artwork "Landscape" c.1980 is an original color lithograph on wove paper by noted American artist Robert Kipniss, b.1931. It is hand signed and numbered 168/200 in pencil by the...

Lawrence Nelson Wilbur (1897-1988), 'Sundown, Stonington, Maine', wood engraving, artist's proof, edition not stated but small, 1969. Signed and titled in pencil. Signed in the block...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

This exquisite lithograph and pochoir by Marie Laurencin (1883–1956), titled Sans titre (Untitled), from the album Les Biches (The Does), originates from the 1924 edition published b...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Fleurs (Flowers), from the folio Eaux-de-vie, Esprit de la fleur et du fruit (Spirits, Essence of the Flower and the Fr...

Original vintage travel poster: Chicago - Fly TWA. UP UP and Away Trans World Airline. Artist: David Klein. Size 25" x 40" Dated 1960's. ...

The Biggest of All; Telephone and Telegraph Building. 1925. Etching. Wuerth 853. 9 7/8 x 11 7/8 (sheet 11 1/2 x 17 1/8). Edition probably 35. An atmospheric impression with plate tone, printed on antique laid paper...

Camille BELTRAND (1877-1951) Street from the old Paris, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of th...

Original London Jet B.O.A.C. British Overseas Airline Corporation vintage poster. Mid-century design from c. 1953. Archival linen backed in ex...