Men Landscape Prints

"High Noon 1" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) 2019 ABOUT Rob Woodcox Rob Woodcox is a fine art and fash...

Jean-Emile Laboureur (1877-1947), Coin de Rue Dans Soho, woodcut, 1909, signed in pencil lower left and numbered (15/15) [also initials in the plate]. Reference: Sylvain Laboureur 64...

PEPPER JELLY LADY is a hand drawn, limited edition lithograph by one of the most important American artists of the 20th century, Romare Bearden. PEPPER JELLY LADY was printed using t...

Medium: Screenprint Year: 2021 Image Size: 22 x 22 inches Edition of 25 Jos Sances was born John Joseph Sances in Boston and attended Montserrat School of Visual Art in Beverly, Mas...

Meet at the Ferris Wheel by Kathleen Beausoleil Signed on front, lower right Print, Amusement Park, Human figures, Skyscape, Outdoors, Nature, Nighttime

This exquisite etching by Marc Chagall (1887–1985), titled Le cocher donne a manger aux chevaux (The Coachman Feeds the Horses), originates from the celebrated folio Nicolas Gogol, L...

Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated wit...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surreal mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett creates r...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Reception d'un amiral anglais sur un bateau francais (Reception of an English Admiral on a French Ship), from the folio...

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

One of a series of oil-based monotypes on fine printmaking paper. Monochromatic with subtle color. Moody, symbolist/expressionist image reflecting on NY city's ambient current and past.

Classic polo scene drawn on stone featuring six ponies on the field drawn on stone & signed by Edward King (LL) Print Sz: 10 3/4"H x 18 1/2"W Frame Sz: 18"H x 25 3/8"W

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

"Flood Waters" is an original wood engraving by Harold Wescott, It features a tree in the center, with its roots wrapping languidly over a form. High waters rise up from the back. Un...

Screen print realized by Ivan Generalic in 1976. It is after Generalic's Painting "Carnevale", also know as "Masquerade in Winter" or "Fastnach"). Edition of 90. Hand signed and nu...

Artist: Warrington Colescott Title Out My Garden Window Year: 1969 Medium: Color drypoint, soft-ground etching, and aquatint, with roulette, vibrograver, à la poupée inking, found l...

Claude VENARD (1913-1999) Woman by the Sea Original Lithograph Signed in pencil Numbered / 100 copies On Arches vellum, 74.5 x 52.5 cm Very good condition, minor handling defects o...

A lithograph by George Bellows. “Tennis (Tennis Tournament)” is a realistic lithograph on paper in black and white by American Realist, George Bellows. Bellows’ depictions of sportin...

This striking photograph captures the timeless essence of a Roman marble bust, portraying a handsome male leader with thoughtful details. The subject, seemingly untouched by the passage of centuries, emerges from the stone with a head of naturally falling curly hair. The face, in profile, emanates strength and resilience as the leader gazes steadfastly into the distance. Symbolic of the Roman Empire's grandeur, the bust stands as a testament to the strength and authority that characterized that ancient civilization. As the Roman Empire eventually faced the challenges leading to its fall, this marble bust endures as a silent witness to the ebb and flow of history. Marble, known for its enduring nature, further enhances the longevity of this artistic documentation. The photograph captures not just a static representation of a bygone era but a dynamic convergence of time, where the resilience of the stone mirrors the enduring legacy of the Roman Empire. This work is a photographic digital print on plexiglass cut to the form of the bust. Fidel Santos...

Winter Skate by Rebecca Denton [2021] limited_edition Etching Edition number /40 Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:27 cm ...

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

Peloton by Robyn Forbes [2020] limited edition Screen print on paper Edition of 20 Image size: H:20 cm x W:29 cm Complete Size of Unframed Work: H:29....

"The Last War-Whoop!" is a lithograph by Currier & Ives. The framed size is 26 x 32.62 x 1.25 inches. Provenance: Private Collection

The original World War II propaganda poster "Belgium Fights On" is a powerful, dramatic example of wartime rallying art, created circa 1942 and published by the Belgian Information C...

Epinal Print Battalle De Fleur US is a Hand-colored lithograph probably realized by Francis Pellerin of the 19th century. It depicts the Battle of Fleurus, a significant engagement ...

This exquisite lithograph by Georges Rouault (1871–1958), titled Acrobate (Acrobat), from the album Georges Rouault, Divertissement, originates from the 1943 edition published by Edi...

Engraving on cream wove paper, 8 x 5 3/8 inches (203 x 137 mm), narrow to thread margins. First state (of 2). A fine impression with archival paper adhered at left top and bottom cor...

This exquisite lithograph after Edgar Degas (1834–1917), titled Danseuse touchant sa boucle d’oreille (Dancer Touching Her Earring), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Studio Publications, Inc., New York, rendered and printed by Albert Carman, City Island, 1945, this work reflects Degas’s sensitive mastery of line, movement, and intimate observation, capturing the grace, poise, and psychological immediacy that define his iconic ballet imagery. In Danseuse touchant sa boucle d’oreille (Dancer Touching Her Earring), Degas reveals gesture and inner emotion through economical contour and lyrical nuance. Executed as a lithograph and pochoir on velin paper, this work measures 17 x 13 inches (43.18 x 33.02 cm). Signed in the plate and unnumbered as issued. Rendered and printed by Albert Carman, City Island, one of the notable American ateliers specializing in fine art lithography during the mid-20th century. Artwork Details: Artist: After Edgar Degas (1834–1917) Title: Danseuse touchant sa boucle d’oreille (Dancer Touching Her Earring), from Degas, Ten Ballet Sketches, 1945 Medium: Lithograph and pochoir on velin paper Dimensions: 17 x 13 inches (43.18 x 33.02 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1945 Publisher: The Studio Publications, Inc., New York Printer: Albert Carman, City Island, 1945 Condition: Well preserved, consistent with age and medium Provenance: From the 1945 folio Degas, Ten Ballet Sketches, published by The Studio Publications, Inc., New York Notes: Excerpted from the album, Born in Paris in 1834, Edgar Degas lived, and surely loved the life of that city during most of his years. These continued somewhat sadly beyond those of most of his friends— into the debacle of the first World War, during which he died in 1917. Judging by the frequency with which he used them as models, he must have had an especial admiration for the ballet girls who followed a profession that at the time brought none of the glory and prosperity which attend it today. New aspects of the human body, revealed in movement, fascinated him. But his occupation with the simply anatomical side of his subjects never resulted in a cold interpretation. On the contrary there is a warmth and sympathy that pervades all of his work. The drawings here represent the painter in one important phase of his multi-sensitive view of life; and permit an insight which a more ambitious work might not do-into the operation of the creative process, the artist's transformation of reality as it passes through the mesh of his sensibilities. The Edition of this Portfolio is limited to MMMD examples. Rendered by Albert Carman. About the Publication: Degas, Ten Ballet Sketches, published in 1945 by The Studio Publications, Inc., New York, stands as one of the most elegant and scholarly mid-century American fine art folios devoted to the ballet imagery of Edgar Degas. Conceived as a high-quality interpretive portfolio, the album presents a series of lithograph-and-pochoir renderings based on Degas’s original drawings, executed with exceptional attention to tonal subtlety, contour fidelity, and the emotional interiority that defines the artist’s draftsmanship. Rendered and printed by Albert Carman on City Island, the publication embodies an American postwar effort to restore and celebrate European masterworks through meticulous handcraft and artisanal color application, honoring Degas’s distinctive line and the atmospheric delicacy of his studio-based studies. Produced in a substantial edition of MMMD examples, the portfolio offered audiences rare access to Degas’s private working drawings—images rarely seen outside institutional collections—while exemplifying the technical refinement and interpretive care characteristic of Carman’s workshop. Today, Degas, Ten Ballet Sketches remains a sought-after historical publication, valued for its craft, fidelity to Degas’s aesthetic, and its role in preserving and disseminating the artist’s intimate ballet imagery in a beautifully executed mid-century fine art format. About the Artist: Edgar Degas (1834–1917) was a French painter, draughtsman, printmaker, and sculptor whose groundbreaking fusion of classical draftsmanship, modern experimentation, and psychological depth helped define the trajectory of Western art, positioning him as one of the most influential figures of the nineteenth and early twentieth centuries; renowned for his depictions of ballet dancers, racehorses, theater scenes, cafe life, domestic interiors, milliners, laundresses, and women at their toilette, Degas reimagined observational realism through radical compositional innovation—employing extreme cropping, asymmetrical framing, oblique viewpoints, and dramatic lighting that anticipated photographic and cinematic language long before these technologies shaped visual culture, and although associated with Impressionism, he rejected plein-air spontaneity in favor of studio-based discipline rooted in the linear precision of Jean-Auguste-Dominique Ingres, the expressive chromaticism of Eugene Delacroix, and the modernity of Edouard Manet while also drawing inspiration from Japanese ukiyo-e prints, classical sculpture, and early photography; his independent artistic philosophy resonated with and helped shape the innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, whose explorations of movement, form, dream logic, abstraction, and conceptualism all find antecedents in Degas’s investigations into seriality, temporality, and the fragmented figure, and his pioneering use of pastel, monotype, and wax sculpture fundamentally transformed each medium, influencing artists from Henri Matisse, Francis Bacon, Lucian Freud, and Giacomo Manzu to Paula Rego, contemporary realists, experimental photographers, and choreographers; his works are held in nearly every major museum collection worldwide—including the Musee dOrsay, the Louvre, the Metropolitan Museum of Art, the National Gallery of Art, the Art Institute of Chicago, the Courtauld Institute, and the National Gallery, London—affirming his central place in the history of art, and the highest auction record for Degas was achieved at Sothebys London on February 3, 2015, when Danseuses en Bleu sold for 37,033,000 GBP, cementing his status as one of the most sought-after and enduringly significant artists of the Western canon. Edgar Degas lithograph...

This exquisite etching by Marc Chagall (1887–1985), titled Collision en chemin (Collision on the Road), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fort...

"Synchronicity (part 3)" Photography 40" x 30" inch Edition of 24 by Rob Woodcox Hahnemuhle Torchon Matte FineArt Paper (archival) Ships in a tube 2021 ABOUT Rob Woodcox Rob Woo...

London: Charles Hullmandel, c1839. Stipple point lithograph with hand coloring in watercolor on cream wove paper, 21 1/4 x 14 1/4 inches (540 x 362 mm), the full sheet. In fair cond...

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

Original 1921 Swedish Silent Movie Poster – "Om kvinnan bara visste" ("If Only Women Knew"). Linen-backed, ready to frame. Grade A- condition. These posters were hand printed one co...

Original Vintage Poster: Eria Cyclomoteurs - Paris to Tokyo 18,000 km. Endurance Race, Archival linen-backed and ready to frame. Printer: Rocher Studio. Creator: Unknown (attribu...

The Colossus of Rhodes - Vue d'optique day/night, Seven Wonders series, Probst, 1770 Technique and materials: hand-colored etching, punch-perforated, with collage work and colored p...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Le pas de deux (The step of two), originates from the 1952 album The Circus of Toulouse-Lautrec. Publish...

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

This exquisite etching by Marc Chagall (1887–1985), titled L'indication de la route (The Road Sign), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes ...

Wickey, Harry (American, 1892-19680 NINTH AVENUE.(New York City) Circa 1926. Etching and drypoint, not dated, but circa 1926. Edition of 50, numbered 8/50 ans siged in pencil. 9 x 9 ...

This exquisite lithograph after Roger de La Fresnaye (1885–1925), titled La Roumaine (The Romanian Woman), from the album Roger de la Fresnaye, III, Collection Pierre Levy, 1968, ori...

Tripoli – Libia Original ENIT Italian State Railways antique Travel Poster, Linen-Backed, A- Excellent, 39" x 27". Ready to frame. Condition A-. Original vintage travel poster pr...

This exquisite lithograph by Marc Chagall (1887–1985), titled Esther, 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 graceful and expressive composition depicts Queen Esther, the courageous biblical heroine whose faith and wisdom saved her people. Through delicate linework and luminous imagery, Chagall conveys the quiet strength and divine purpose embodied in Esther’s story, transforming the narrative into a meditation on courage, morality, and spiritual grace. The work exemplifies Chagall’s poetic vision, blending the sacred and the human in a harmonious fusion of devotion and beauty. 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: Esther, 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 Esther...

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

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

This exquisite lithograph after Raoul Dufy (1877–1953), titled Quai a Rouen (Quay in Rouen), from the folio Raoul Dufy, IV (Raoul Dufy, IV), Collection Pierre Levy, 1969, originates ...

Original Japan serigraph travel poster. Linen backed in very find condition, ready to frame. The prominent fuchsia colors suggest vibrancy and ...

Prati Castel - Vintage Postcard is a colored vintage postcard realized in the 1980s. Copyright and information on the rear. Good conditions, aged with foxing.

This exquisite etching by Marc Chagall (1887–1985), titled Apparition des policiers (Appearance of the Policemen), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), published by Teriade Editeur, Paris, 1948, and printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort, 1923–1927. The composition reveals Chagall’s dramatic and often darkly comic response to Gogol’s narrative, transforming the sudden intrusion of authority into a surreal, psychologically charged vision infused with irony and theatrical tension. Executed as an etching on velin d arches filigrane paper, this work measures 17.764 x 10.827 inches (45.12 x 27.5 cm). Signed in the plate and unnumbered as issued. Printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Apparition des policiers (Appearance of the Policemen), from Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), 1948 Medium: Etching on velin d arches filigrane paper Dimensions: 17.764 x 10.827 inches (45.12 x 27.5 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1948, published; 1923–1927, printed Publisher: Teriade Editeur, Paris Printer: Fort, Impressions artistiques, Paris, under the direction of Louis Fort Catalogue raisonne reference: Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustres. P. Cramer ed., 1995, illustration 17 Condition: Well preserved, consistent with age and medium Provenance: From Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), published by Teriade Editeur, Paris, 1948 Notes: Excerpted from the folio (translated from French), It was taken from this album, on velin d arches filigrane "Les Ames mortes", L examples, numbered from there, including a complimentary suite on japon nacre; CCLXXXV examples, numbered from LI to CCCXXXV and XXXIII non-market examples, numbered from I to XXXIII reserved for employees. All colophons are signed by the artist. About the Publication: Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall) stands among the most important illustrated literary works of the twentieth century. Conceived over several decades and rooted in Chagall’s deep emotional connection to Gogol’s satirical vision of Russian society, the album unites text and image in a profoundly imaginative synthesis. Published by Teriade in 1948 and printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort, the album embodies the high standards of Parisian printmaking and continues to be regarded as one of the great illustrated works of the twentieth century, admired for its fusion of literature, etching, and the distinctively dreamlike vision of Marc Chagall. 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 twentieth 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. Over a prolific career spanning painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art. His works are held in major museums worldwide, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sothebys New York for Les Amoureux (1928). Marc Chagall etching...

The Battle of Dan-no-ura in Yashima, Nagato Province in the First Year of the Bunji Era (1185) Tokyo c. 1830 Woodblock print (nishiki-e) with ink and hand-coloring in watercolor on handmade mulberry paper, 14 7/16 x 9 15/16 inches (367 x 252 mm), ōban tate-e, the full sheet. In good condition with some handling creases. Colors are fresh and extremely vibrant. The right panel from the triptych by Yoshitora depicting one of Japan's most storied naval battles. An impression of this work may be found in the permanent collection of the Honolulu Museum of Art. The great naval battle of Dan-no-ura in 1185 was the final climax in a long series of bitter wars between two powerful families in feudal Japan...

This exquisite lithograph after Henri de Toulouse-Lautrec (1864–1901), titled Elephant en liberte (Elephant at Liberty), originates from the 1952 album The Circus of Toulouse-Lautrec...

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

M.C. ESCHER (1898-1972) Reflecting globe, 2008 Facsimile after the original woodcut from 1935 Signed in the plate Numbered / 450 copies (the number you can see can be different) On ...

Original French poster: ARIE'S AMERICAN STYLE BLUE JEANS. Original French fashion vintage poster for Arie's American Style Blue Jeans. Archival linen backed and ready to frame. ...

Lithograph in colors on cream wove paper 16 3/4 x 12 inches (425 x 304 mm); sheet 21 1/2 x 14 1/4 (546 x 361 mm), full margins. In good condition with minor toning.

Frederick Kiesler "Frederick Kiesler: An Exhibition of Architecture and Sculpture (Endless House, Model)" Yale University School of Art and Architecture, New Haven, c. 1967 Exhibitio...

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

A perfect summer day. A young mother, little boy, and even smaller girl have their luncheon under a make shift 'fly' -- a stripped cloth canopy fixed up with poles. Although it is titled 'Seaside Nomads,' to me it has the look of a bay or inlet. It's relatively flat and there are all sorts of grasses, old...

Surprise is a black and White etching realized by François Chifflart in the 1860s.  Titled in the lower. Image size: 24x32. Very good impression with wide margins and a very fresh...

Amida, a Deity of Japan; One plate from A new and complete collection of voyages and travels containing all that have been remarkable from the earliest period to the present time Vol...