Women Landscape Prints

This exquisite lithograph by Marc Chagall (1887–1985), titled Quai de fleurs (Flower Quay), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published b...

This exquisite lithograph, titled Sans titre (Untitled), by Leonor Fini, from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated with Original Lithographs by Leonor Fini), 1969, was published and printed by Pierre de Tartas, Paris-Bievres, Paris, 1969. Executed as a lithograph on grand velin d'Arches paper, this work exemplifies the technical refinement and sophisticated aesthetic that defined the finest Parisian printmaking of the mid-twentieth century. Measuring 15.94 x 11.61 inches, the work is unsigned and unnumbered as issued. Printed on grand velin d'Arches paper, the composition reveals Finis distinctive blend of psychological intensity, theatrical sensuality, and symbolic mysticism. Artwork Details: Artist: Leonor Fini (1907–1996) Title: Sans titre (Untitled), from the folio Parallelement (Parallel), Illustre de lithographies originales de Leonor Fini (Illustrated with Original Lithographs by Leonor Fini) Medium: Lithograph on grand velin d'Arches paper Dimensions: 15.94 x 11.61 inches (40.5 x 29.5 cm) Inscription: Unsigned and unnumbered as issued Date: 1969 Publisher: Pierre de Tartas, Paris-Bievres, Paris Printer: Pierre de Tartas, Paris-Bievres, Paris Catalogue Raisonne Reference: Monod, Luc. Manuel de L'amateur de Livres Illustres Modernes: 1875-1975. Ides and Calendes, 1992, No. 11122. Condition: Well preserved, consistent with age and medium Provenance: From the folio Parallelement, published and printed by Pierre de Tartas, Paris-Bievres, Paris, 1969 Notes: Excerpted from the folio (translated from French), Justification of draw: a unique example on Japon nacre, including two original watercolors specially executed for the work, two vouchers to shoot, a suite of all the plates on grand velin d'Arches, a continuation of all the plates on Japon nacre, signed by the Artist, as well as a series of the plates refused on grand velin d'Arches; a unique example. XX examples on Japon nacre with an original watercolor of the Artist executed for the work, a suite of all the plates on grand velin d'Arches, a continuation of all the plates on Japon nacre, signed by the Artist, as well as a series of the plates refused on grand velin d'Arches; lettered from A to T; XXX examples on Japon nacre including a suite of all the boards on grand velin d'Arches, as well as a suite of the plates refused on grand velin d'Arches; numbered from I to L. LX examples on grand velin d'Arches, including a suite of the six double-boards on grand velin d'Arches, as well as a series of the plates refused on grand velin d'Arches; numbered from XXXI to XC. CCC grand velin d'Arches, with the definitive state of the illustrations; numbered from XCI to CCXC; In addition, some examples were drawn, all nominative, reserved for the Artist, the Publisher and those who contributed to the production of this album. All examples are signed by the Artist on the colophon, the publisher, and endorsed by Ministere d'Huissier de Justice. On Japon nacre, it was taken from the sequels of the plates numbered and signed by the Artist. About the Publication: Parallelement (Parallel), published and printed in 1969 by Pierre de Tartas, Paris-Bievres, is one of the most refined and luxurious livres d'artiste of the late twentieth century, uniting Paul Verlaines celebrated poetry with the visionary imagery of Leonor Fini. Produced with uncompromising standards of printing, paper, and typographic craftsmanship, the folio exemplifies the golden era of French limited-edition printmaking. Issued in multiple paper states—from Japon nacre to grand velin d'Arches—the album reflects the meticulous care, material richness, and artistic ambition characteristic of Pierre de Tartas' finest publications, affirming its status as a masterwork in the tradition of French illustrated albums. About the Artist: Leonor Fini (1907–1996) was an Argentine-born Italian-French painter, illustrator, author, and stage designer whose electrifying fusion of myth, mysticism, eroticism, and psychological depth established her as one of the most unmistakable and influential artistic voices of the twentieth century. Celebrated for depicting women as sovereign, enigmatic, and psychologically commanding beings, Fini rejected the patriarchal hierarchy of Surrealism even as she exhibited alongside its foremost figures, forging instead a fiercely independent path defined by theatricality, female autonomy, and visionary imagination. Her richly symbolic universe filled with sphinxes, priestesses, witches, and androgynous guardians was shaped by a broad constellation of influences including Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, while also drawing deeply from Symbolist painting, Renaissance portraiture, and Venetian colorism. Moving among artists such as Max Ernst, Giorgio de Chirico, Leonora Carrington, Dorothea Tanning, Meret Oppenheim, and Pavel Tchelitchew, she nevertheless maintained a singular vision whose impact reverberates through the work of later creators including Kiki Smith, Cindy Sherman, Marlene Dumas, Tracey Emin, Pierre et Gilles, Laurie Simmons, and numerous feminist and queer artists who embraced her exploration of gender, identity, and psychological mythology. A prolific illustrator and designer, Fini also shaped European performance culture through celebrated costumes and stage designs, while her paintings entered major museum collections worldwide, including the Metropolitan Museum of Art, the Tate Modern, Centre Pompidou, the Museum of Modern Art in Buenos Aires, and the Moderna Museet. Known for her imaginative freedom, elaborate personal style, and legendary Parisian salon, she remains a defining figure in feminist and avant-garde art history. The highest auction record for Leonor Fini was achieved when her self-portrait Autoportrait au Scorpion sold for 2,319,000 USD at Sotheby's New York on May 12, 2021, underscoring the dramatic rise in appreciation for her visionary legacy. Keywords: Leonor Fini print, Parallelement Fini, Leonor Fini lithograph...

This exquisite lithograph by Andre Dunoyer de Segonzac (1884–1974), titled Eden Roc (Eden Roc), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), orig...

This exquisite lithograph by Marc Chagall (1887–1985), titled La Baie des Anges (The Bay of Angels), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edi...

'Musee du Vatican - Galerie Chiaramonti (Pie VII) avec l'entree de la Salle dite le Bras Nouveau' Tinted lithograph by Philippe Benoist (1813-1881). Titled in French and Italian. F...

Signed, titled and numbered etching from the edition of 90. An idyllic setting for Adam and Eve before "the expulsion". In individual prints, and his illustrated books, Washburn clev...

Artist: Peter Max (1937) Title: Liberty Head VII Year: 2003 Edition: 451/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.43 x 2.62 inches Condition: Excellent Insc...

Lithograph on vélin d’Arches 300gm paper. Paper Size: 21.8125 x 18.3125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, For My People, 1992. Published...

Artist: Lebadang, Vietnamese (1922 - 2015) Title: Horses in Moonlight Year: circa 1975 Medium: Lithograph, signed in pencil Edition: Epreuve d'Artiste Size: 25.25 x 19.5 in. (64.14 x...

Lithograph on Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: Published by Atelier Mourlot, Paris, 1964. PABLO PICASSO (1881-1973) Spanish painter and sculptor is one of the most recognized figures of twentieth century art. During his artistic career, which lasted more than 75 years, he created thousands of works using all kinds of mediums. He changed art more profoundly than any other artist of his time. First famous for pioneering cubism, Picasso continued to develop his art with a pace...

Lu Lu Bisquites; Lefevre -Utile ( Lefèvre-Utile) crackers. The original lithographic poster is printed in colors, and the vintage vintage poster is archival li...

Artist: Georges Schreiber, Belgian/American (1904 - 1977) Title: Going Home Year: circa 1945 Medium: Lithograph, signed and titled in pencil Image Size: 9.25 x 13.25 inches Size: 12 ...

Original 1931 South Africa Express Vintage Italian Cruise Line Poster - Art Deco Masterpiece - Rare Collectible. Archival linen backed in Grade A- condition. This poster features...

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Accordeoniste (The Accordionist), from the album Chagall, originates from the 1957 edition published by Maeght Editeur...

Fisherman Three is an original 1939 signed etching by the American artist John E. Costigan ( 1888-1972 ) a self-taught painter and printmaker. The locale for Costigan...

Hans Falk (1918-2002) Sport au Soleil en Suisse Original Vintage Poster - lithograph (1957) 40x25" Signed in the plate, and showing a procession of brightly-coloured skiers heading ...

"Fairly self-explanatory, but I’ll share my thoughts. Our planet Earth is often called 'Mother Earth' for reasons that seem obvious to me. Mothers are often the primary caregivers fo...

Artist: Peter Max (1937) Title: Mona Lisa II Year: 2003 Edition: 500/500, plus proofs Medium: Lithograph on Arches paper Size: 16 x 11 inches Condition: Excellent Inscription: Signed...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Jeu de la cape (The Cape Game), from the album A Los Toros Avec Picasso (To the Bulls with Picasso), originates from th...

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...

JEAN-BAPTISTE CAMILLE COROT (1876 - 1875) PAYSAGE D’ ITALIE 1866 (Melot 7 iii/iii) Etching, plate 6 ¼ x 9 inches, Third state after the removal of the text but before the random scr...

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

Original pencil signed Grant Wood lithograph, "February," created 1940. A fine impression and one of the most important of the 19 lithographs created by the painter of "American Goth...

This exquisite lithograph after Henri Matisse (1869–1954), titled Plume (Feather), from the album Dessins de Henri-Matisse (Drawings by Henri Matisse), originates from the 1925 editi...

Tahoma and Two Trees, 2024 Archival print on heavy matt stock paper 30.5 x 30.5 cm Edition of 200 signed and numbered by the artist Billy Childish is a prolific British artist, musi...

This exquisite lithograph by Marc Chagall (1887–1985), titled Eve maudite par Dieu (Eve Cursed by God), 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 emotionally charged composition depicts the moment of divine judgment following the fall of man, capturing both the sorrow and the spiritual gravity of Eve’s curse. Through his luminous lines and expressive symbolism, Chagall transforms this ancient scene into a universal meditation on loss, forgiveness, and the eternal bond between humanity and the divine. The work exemplifies Chagall’s mastery of merging sacred narrative and human emotion, rendered with poetic tenderness and transcendent light. 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: Eve maudite par Dieu (Eve Cursed by God), 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 Eve...

This realistic nautical limited edition print by Michel Brosseau captures a view of a small white dinghy boat tied to a dock. Two ores rest inside the small boat, which is surrounded...

Zincograph on Vélin Bouffant paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Non Vouloir, 1942. Published by Éditions Jeanne Bucher, Paris; printed...

This exquisite lithograph by Marc Chagall (1887–1985), titled Sans titre (Untitled), from the album The Lithographs of Chagall, Volume III, originates from the 1969 edition published...

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...

Artist: Roberto Matta (1912-2002) Title: Centre Noeuds (Sabatier 393) Year: 1974 Edition: 38/125, plus proofs Medium: Etching on Arches paper Size: 23.875 x 17.5 inches Inscription: ...

"One of Two Colossal Statues of Rameses II. Entrance to the Temple at Luxor" is a framed 19th century hand-colored lithograph by David Roberts from volume I of his monumental 6 volum...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

Medium: Lithograph on vélin d'Arches paper Year: 1966 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Soutine, I, Collect...

Adolf Dehn's, lithograph on chine collé, Curtain or The Flora Dora Girls, is an ode to burlesque with dancing girls and fabulous costumes. It comes on the heals of a 1930 pre-code mo...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

Original vintage travel advertising poster for the FRENCH RIVIERA FRENCH NATIONAL RAILROADS SNCF (French National Railways) - the French Riviera. (Cote D'Azur, known as the French Riviera) The image features people looking out towards a marina full of sailing boats. Colorful artwork by the French painter Jules Cavailles (1901-1977). Printed by Perceval, Paris in 1953. Mid-Century Modern. Grade A- This is the English version of the poster compared to the design created for Cote d'Azur. The English version is much rarer (both are rare today). The poster gives the impression of a naive painting at this Mediterranean beach and seaport. Step into a world of timeless elegance and sunlit dreams with this exquisite French Riviera Vintage...

(after) JOSEPH MALLORD WILLIAM TURNER (1775 - 1851) THE DELUGE, 1828. Mezzotint, Engraved by I. P. Quilly after a painting by J. M.W. Turner R.A.. Image ...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Christ a l’Horloge (The Christ at the Clock), from the album Chagall, originates from the 1957 edition published by M...

Original "Mexico, País de Maravillas" Linen-Backed Vintage Poster, c. 1950s. Grade A- condition. Immerse yourself in the vibrant charm of mid-c...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Claude Renoir ecrivant (Claude Renoir Writing), from the album Les Lithographies de Renoir (The Lithographs ...

Experience the intense and striking art of Cleon Peterson with his "Black Endless Sleep" print. This hand-pulled screen print, created in 2016, features Peterson's signature black an...

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 etching by Marc Chagall (1887–1985), titled Le traktir (The Inn), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc C...

This exquisite etching by Marc Chagall (1887–1985), titled L'arrivee de Tchitchikov (The Arrival of Tchitchikov), originates from the celebrated folio Nicolas Gogol, Les Ames mortes,...

Pancratius is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the laws,...

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

We have the full series of 52 prints (including title page) from Vita Passio et Resurrectio Iesu Christi listed. To find the others scroll down to "More from this Seller" and below i...

This exquisite etching by Marie Laurencin (1883–1956), titled Trois jeunes filles (Three Young Girls), from the album Antares, eaux-fortes originales de Marie Laurencin (Antares, Ori...

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...

Original vintage poster: "You buy 'em We'll fly 'em!" Artists: J. Walter Wilkinson and his son Walter G. Wilkinson. (1917 - 1971). Linen backed with original WW2 U.S. military with original issued fold marks restored. Excellent condition. Touchup pinhole in the four corners. Excellent colors. Ready to frame. A flying ace pilot smiles and gives the thumbs up to the viewer to promote war bonds, saying, "You Buy 'Em, We'll Fly' Em" in this 1942 WWII poster by J. Walter Wilkinson and his son Walter G. Wilkinson. The artwork features a squadron of Douglas SBD Dauntless, which the US Navy used as scout planes and dive bombers. The seal at the bottom of the poster reads, "The More Bonds You Buy- The More Planes Will Fly." This poster is one in a series of six created by the award-winning father-son team for the United States Treasury Department. J. Walter Wilkinson (1892-1988) and his son Walter G. Wilkinson (1917-1971) created several posters for the United States Department of Treasury during the Second World War. J. Walter Wilkinson was an academic painter who studied in Italy and worked for advertising agencies in Philadelphia. He specialized in outdoor landscapes and created many commercial artworks for advertising campaigns, including Ivory Soap, Pabst Beer...

DREAMING is an original hand drawn lithograph by the American woman artist Sally Caldwell-Fisher, printed using hand lithography techniques on archival Arches paper 100% acid free. D...

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 by Henry Moore (1898–1986), titled Reclining Figure, from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle (San Lazzaro and His Friends, Tribute to the Founder of the Journal XXe Siecle), originates from the 1975 edition published by XXe siecle, Paris, and printed by Curwen Studio, London, October 1975. Reclining Figure embodies Moore’s lifelong fascination with the human form in repose—a theme that became central to his sculptural and graphic work. Through elegant contours and balanced abstraction, the composition captures the harmony between body, landscape, and spirit that defined Moore’s artistic vision. Executed as a lithograph on velin d'Arches paper, this work measures 10.5 x 14 inches (26.67 x 35.56 cm). Unsigned and unnumbered as issued. The edition exemplifies the exceptional craftsmanship of the Curwen Studio in London, a distinguished atelier celebrated for its collaborations with the leading modern artists of the postwar period. Artwork Details: Artist: Henry Moore (1898–1986) Title: Reclining Figure, from San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle, 1975 Medium: Lithograph on velin d'Arches paper Dimensions: 10.5 x 14 inches (26.67 x 35.56 cm) Inscription: Unsigned and unnumbered as issued Date: 1975 Publisher: XXe siecle, Paris Printer: Curwen Studio, London Catalogue raisonne references: Moore, Henry, et al. Henry Moore, Catalogue of Graphic Work. Gerald Cramer, 1986, illustration 366. Condition: Well preserved, consistent with age and medium Provenance: From the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle, published by XXe siecle, Paris, October 1975 Notes: Excerpted from the folio (translated from French), Finished printing in Paris in October 1975. This album has been printed on velin d'Arches in DLXXV numbered examples. The LXXV original examples include a series of VIII original lithographs, signed and numbered by the artists. In addition, LV examples were printed for artists, authors, friends and collaborators of XXe siecle. The typography is from l'Imprimerie Union in Paris; the lithographs of Max Bill, Marc Chagall, Hans Hartung, Braque, Fontana, Magnelli, Picasso, Magritte and Poliakoff were printed by Fernand Mourlot in Paris; those of Alexander Calder and Joan Miro by l'imprimerie Arte in Paris; that of Max Ernst by Pierre Chave in Vence; that of Zao Wou-Ki by ateliers Bellin in Paris; and that of Henry Moore by the Curwen Studio in London. About the Publication: San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle (San Lazzaro and His Friends, Tribute to the Founder of the Journal XXe Siecle), published in 1975 by XXe siecle, Paris, represents one of the most significant collaborative tributes in modern art publishing. Created in honor of Gualtieri di San Lazzaro, the visionary editor and founder of the journal XXe Siecle, the folio unites original lithographs by the greatest modern masters—Picasso, Chagall, Miro, Calder, Hartung, Moore, and others. Printed by premier ateliers such as Mourlot, Arte, Bellin, and Curwen, the portfolio celebrates the spirit of artistic collaboration and innovation that defined mid-20th-century modernism. About the Artist: Henry Moore (1898–1986) was a British sculptor, draftsman, and modernist pioneer whose monumental bronzes and organic abstractions revolutionized 20th-century sculpture and made him one of the most influential artists of his time. Renowned for his reclining figures, mother-and-child compositions, and pierced biomorphic forms inspired by nature, Moore transformed traditional carving into a universal language of rhythm, balance, and humanity. Born in Castleford, Yorkshire, he studied at the Leeds School of Art and the Royal College of Art in London, absorbing the influences of classical sculpture, African and Pre-Columbian art, and the radical innovations of the European avant-garde. Inspired by Pablo Picasso’s Cubist fragmentation of form, Joan Miro’s lyrical biomorphism, Wassily Kandinsky’s spiritual abstraction, and Constantin Brancusi’s purity of shape, Moore developed a style rooted in the harmony between mass and void, structure and space. During the interwar years, he became part of an international circle that included Alexander Calder, Alberto Giacometti, Salvador Dali, Marcel Duchamp, and Man Ray—artists who, like Moore, expanded art’s boundaries through abstraction, surrealism, and conceptual experimentation. Like Calder, Moore explored balance and movement; like Giacometti, he sought the spiritual essence of humanity; and like Dali and Duchamp, he challenged perception and redefined modern form. His sculptures, carved in stone or cast in bronze, evoke both ancient and modern sensibilities—forms that appear to breathe with natural vitality while engaging directly with their surrounding landscapes. Moore’s “Shelter Drawings” (1940–41), created during the London Blitz, revealed his deep empathy for the human condition, marking a pivotal moment in his exploration of resilience and vulnerability. By the mid-20th century, Moore’s monumental bronzes had become landmarks around the world, from the Lincoln Center in New York to the UNESCO headquarters in Paris, embodying timeless symbols of endurance, renewal, and unity. His synthesis of organic abstraction and humanism influenced generations of sculptors including Barbara Hepworth, Isamu Noguchi, Eduardo Paolozzi, Antony Gormley, Anish Kapoor, and Rachel Whiteread. Like Kandinsky and Miro, he believed abstraction could transcend culture and time, while like Duchamp and Man Ray, he embraced experimentation as a pathway to new truths. Moore’s works, housed in major collections including the Museum of Modern Art in New York, the Tate in London, the Guggenheim Museum, and the Art Institute of Chicago, continue to define the landscape of modern sculpture for their elegance, power, and emotional depth. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Henry Moore remains a cornerstone of modern art—a sculptor whose vision united nature, form, and spirit into a universal language of beauty and meaning. His highest auction record was achieved by Reclining Figure: Festival (1951), which sold for $33.1 million USD at Christie’s, London, on June 30, 2016, reaffirming Henry Moore’s enduring legacy as one of the most visionary, influential, and collectible sculptors in the history of modern art. Henry Moore Reclining Figure...

Silkscreen on vélin paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Poems of Léopold Sédar Senghor, 1996. Published by The Limited Editions Club, New York; printed by Studio Heinrici, Ltd., New York, under the direction of Alexander Heinrici, New York, 1996. Excerpted from the album, CC examples of this album have been printed by Daniel Keleher at Wild Carrot Letterpress. This edition was designed and set in Bodoni types by Dan Cart and Julia Ferrari at Golgonooza Letter Foundry. The silkscreen prints were made by Alexander Heinrici at Studio Heinrici. LOIS MAILOU JONES (1905-1998) was an African American artist and educator, often associated with the Harlem Renaissance. Jones was raised in Boston by working-class parents who emphasized the importance of education and hard work. After graduating from Boston’s School of the Museum of Fine Arts, Jones began designing textiles for several New York firms. She left in 1928 to take a teaching position at Palmer Memorial Institute in North Carolina. At Palmer, Jones founded the art department, coached basketball, taught folk dancing, and played the piano for Sunday services. Two years later, she was recruited by Howard University in Washington, D.C., to join its art department. From 1930–77, Jones trained several generations of African American artists, including David Driskell, Elizabeth Catlett, and Sylvia Snowden...

C-Print on Argentic paper Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box frame. Additio...

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...

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...

"Diane Chasseresse" is an original color lithograph signed by the artist Gaston de Latenay. It is edition 36/100, which is written in the lower right...