1930s Prints and Multiples

An attractive poster by J.L Beuzon, showing a game of ping-pong in the mid-1930s. The ladies are elegantly dressed for a game of table tennis. Table tennis is thought to have originated in England at...

This exquisite linocut by Joan Miro (1893–1983), titled Femme (Woman), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

This vibrant Art Deco poster, created to promote the operetta La Veuve Joyeuse (The Merry Widow), is a striking example of 1930s graphic design and French theatrical advertising, cre...

Zena Kavin, 'The Visitor', lithograph, c. 1935, edition 20. Signed, titled, and numbered '9/20' in pencil. A fine, richly-inked impression, on cream wove paper, with full margins (7/...

'Canard Nyroca - Canard Milouinan' (Ferruginous Duck) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series o...

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...

Framed colour map of the West Indies published 1936 w/ border design motif adapted from native West Indian handicraft and indigenous tropical fruits Colorte...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Suzanne VALADON (1865-1938) Young Woman Sponging Herself, 1932 Original etching Signed in pencil On BFK Rives vellum 47 x 37 cm (c. 18.5 x 14.5 in) INFORMATION : Printed in 1932, t...

Grand Tier at the Met Etching, 1939 From: Reginald Marsh, Thirty Etchings and Engravings Published by the Whitney Museum of American Art, 1969 Unsigned (as usual for the Whitney edit...

Original linen-backed NORWICH CASTLE vintage travel poster, printed in England in 1935 by artist C. W. Hobbis and published by Page Brothers (Norwich) Ltd. It features a city center ...

Beautiful WPA era NYC street scene by American artist, Albert Sway (b.1913). Jiggers on Broadway, ca. 1935. Lithograph on paper, image measures 9 x 13 inches. Full sheet measuring 11...

This exquisite linocut by Henri Laurens (1885–1954), titled Sirenes (Sirens), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommair...

Louis Icart, French (1888 - 1950) - Black Fan, Year: 1931, Medium: Aquatint Etching, signed in pencil lower right, Image Size: 16 x 20.75 inches, Frame Size: 25.75 x 30 inches, P...

Isac Friedlander, 'Run Little Chillun' also 'Revival', wood engraving, 1933, edition 50. Signed, titled and annotated 'New York 1933' in pencil. A sup...

This etching is signed and numbered by the artist and was printed in an edition of 50. The references for this work are: Auberty & Perussaux 266 and Ginestet & Pouillon E. 385 II/II...

"Original Vintage Aquariums Mosans Poster – Art Deco Design by A. de Loof, 1930s European Travel Advertising" Discover the Captivating "Moselle Aquariums" - A Vintage Poster by A. d...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Original poster Alexis Kow, known as Kow, is a French designer, poster artist, illustrator and model maker. Since 1922, prestigious brands of the "automobile" sector solicit him for their visual advertising such as bugatti, peugeot, pirelli or salmson but sometimes also for the elaboration of the final silhouette of a vehicle. His style is characterized by elegant lines, a pure line, the representation of the speed by lines of leakage and the work of the contrasts between shades and reflections, as we can see it on this splendid poster for the Salmson brand. Automobile - Art Deco - Advertising The precision of the plane engine...

One of only a handful of etchings done in the style of the painting Guernica. from 1937, one the artist's most famous works. Homme Nu Debout avec un Cheval Drypoint, 1938 Unsigned (...

This original 1933 poster by the artist J. Pillod is a captivating piece of automotive history, advertising Castrol oil with the iconic Bugatti car as its centerpiece. The poster beautifully combines the elegance of the Bugatti with the reliability of Castrol, making it a standout example of early 20th-century automotive advertising. The composition features a streamlined Bugatti car, symbolizing speed and luxury, set against a dynamic backdrop that emphasizes movement and modernity. The use of bold colors and clean lines reflects the aesthetic of the time, with a focus on both functionality and style. The poster’s typography is striking yet balanced, ensuring that the message about Castrol oil's superior performance is clear and compelling. This poster is printed on high-quality paper, showcasing the artistic and technical prowess of J. Pillod. The poster remains a cherished piece for collectors of vintage automotive memorabilia and those interested in the golden age of motoring. This 1933 Castrol-Bugatti poster...

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...

Tentez Votre Chance Loterie Nationale original antique French art deco poster; image created by artist Francois del Ry. "Try Your Luck National Lottery." This is a small format size...

These exquisite lithographs and pochoirs by Joan Miro (1893–1983), titled Sans titre I et II (Untitled I and II), originate from the landmark 1934 album Cahiers d'art, Nos. 1–4, 9e annee. Published by Editions des Cahiers d'Art, Paris, under the direction of Christian Zervos, Editeur, Paris, 1934, and printed by L'Imprimerie Crete, Paris, 1934, the works reflect Miros early Surrealist vocabulary, defined by biomorphic form, lyrical spontaneity, and a radiant chromatic sensibility uniquely suited to the pochoir technique. Executed as a lithographs and pochoirs on velin paper, these works measure 12.75 x 19 inches overall; 12.75 x 9.5 inches each. Unsigned and unnumbered as issued. Printed by L'Imprimerie Crete, Paris. Artwork Details: Artist: Joan Miro (1893–1983) Title: Sans titre I et II (Untitled I and II), from the album Cahiers d'art, Nos. 1–4, 9e annee, 1934 Medium: Lithographs and pochoirs on velin paper Dimensions: 12.75 x 19 inches overall; 12.75 x 9.5 inches each (32.39 x 48.26 cm overall; 32.39 x 24.13 cm each) Inscription: Unsigned and unnumbered as issued Date: 1934 Publisher: Editions des Cahiers d'Art, Paris; under the direction of Christian Zervos, Editeur Printer: L'Imprimerie Crete, Paris Catalogue raisonne reference: Dupin, Jacques, and Joan Miro. Miro Engraver 1928–1960. Rizzoli, 1984, illustration 14–15. Cramer, Patrick. Joan Miro: The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1989, illustration 3. Condition: Well preserved, consistent with age and medium Provenance: From the album Cahiers d'art, Nos. 1–4, 9e annee, 1934, published by Editions des Cahiers d'Art, Paris About the Publication: Cahiers d'art, Nos. 1–4, 9e annee, 1934, occupies an extraordinary place in the history of modern art publications, embodying the intellectual ambitions, editorial rigor, and avant-garde sensibility that defined Christian Zervos and his legendary journal Cahiers d'Art, founded in Paris in 1926 and widely regarded as one of the most influential engines of modernist thought in the twentieth century. The 1934 album brings together essays, critical writings, archaeological studies, photographic documentation, and original artworks with a level of scholarship, aesthetic refinement, and international perspective unmatched by any contemporary publication. Zervos conceived Cahiers d'Art not as a magazine but as a hybrid form—at once an academic review, a fine art album, a forum for emerging theory, and a platform through which the newest developments in painting, sculpture, architecture, ethnography, and ancient art could enter meaningful dialogue. The 1934 volume marks one of the most significant prewar issues due to its inclusion of original Joan Miro pochoirs...

This exquisite lithograph after Jules Pascin (1885–1930), titled Le Petit Chaperon Rouge (Little Red Riding Hood), from the album XXe siecle, Sommaire du No. 1, 1er Mars 1938, Chroni...

Eric Gill, 'Naked Girl in Spray, Head Thrown Back to Left, Four Leaves' and 'Naked Girl in Spray, Head Upright, Hands Over Head', wood engraving, 1930, edit...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Andre Masson, French (1896 - 1987) - L'Espagne assassinee from Solidarite, Year: 1938, Medium: Etching on wove paper, signed and numbered in pencil, Edition: 1/15, Image Size: 9.25 ...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

This original 1932 travel poster by Nufer captures the timeless allure of Locarno, the sun-drenched jewel of southern Switzerland. Designed with striking Art Deco precision, the comp...

This exquisite lithograph by Andre Derain (1880–1954), titled Au Jardin d'Allah (In the Garden of Allah), from Verve, Revue Artistique et Litteraire, Vol. I, No. 4, originates from t...

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...

EARLY JACOULET PAUL JACOULET (1896 – 1960) UNE AVERSEA METALANIM, PONAPE , EST CAROLINES, 1935 A DOWNPOUR AT METALANIM PONOPE EAT CAROLINAS (Miles 29) Color woodcut, with metallic ...

Cheetah - From Chats et Autres Bêtes is an original black and white lithograph realized in 1933 by Théophile Alexandre Steinlen. Signed on plate. The lithograph, on Arches vellum,...

This original 1932 movie poster, designed after H. Cerutti, captures the essence of "Fanny", the second installment in Marcel Pagnol’s legendary Marseille Trilogy. Directed by Marc A...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

This exquisite lithograph by Joan Miro (1893–1983), titled L'air (The Air), from Verve, Revue Artistique et Litteraire, Vol. I, No. 3, originates from the 1938 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1938. This lyrical and atmospheric composition embodies Miro's fascination with the invisible rhythms of nature and the poetry of movement. L'air captures the ethereal and weightless essence of the natural world through his fluid linework and organic forms, evoking a sense of freedom and transformation. The work reflects Miro's deep belief in the interconnectedness of all living things and his pursuit of an art that transcends material boundaries to reach the spiritual realm. Created during one of the artist's most innovative periods, this piece demonstrates the harmony between abstraction and imagination that defines his unique visual language. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the leading modernists of the 20th century. Artwork Details: Artist: Joan Miro (1893–1983) Title: L'air (The Air), from Verve, Revue Artistique et Litteraire, Vol. I, No. 3, 1938 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches Inscription: Signed in the plate and unnumbered as issued Date: 1938 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Dupin, Jacques, et al. Miro Graveur. D. Lelong, 1984, illustration 1310. Miro, Joan, et al. Joan Miro: Lithographs. Leon Amiel, 1972, illustration 6. Condition: Well preserved, consistent with age and medium Provenance: From Verve, Revue Artistique et Litteraire, Vol. I, No. 3, published by Editions de la revue Verve, Paris, 1938 About the Publication: Verve, Revue Artistique et Litteraire was one of the most influential art periodicals of the 20th century, founded in Paris in 1937 by the visionary Greek-born publisher Teriade (Stratis Eleftheriades). Conceived as a synthesis of art and literature, Verve brought together the greatest modern artists and writers of its time—Henri Matisse, Pablo Picasso, Marc Chagall, Georges Braque, Joan Miro, Fernand Leger, and others—alongside poets and philosophers such as Paul Eluard, Albert Camus, and Jean-Paul Sartre. Each issue was a work of art in itself, luxuriously printed by master lithographers such as Mourlot Freres and produced in collaboration with leading typographers and designers. Verve became a platform for avant-garde creativity, publishing original lithographs and essays that reflected the evolving spirit of modernism. Matisse collaborated closely with Teriade from the magazine's inception, producing some of its most iconic issues, including those devoted to his paper cut-outs. The final Verve issue of 1958, which featured La Tristesse du Roi and the Nu Bleu series, stands as a testament to Matisse's enduring genius and to the publication's legacy as the definitive meeting of art, poetry, and printing craftsmanship in 20th-century France. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the 20th century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro's inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro's work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for £23,561,250 (approximately $37 million) at Sotheby's, London, on June 19, 2012. Joan Miro L'air, Miro Verve...

Harold E. Keeler worked in Hollywood as a set designer. That seems especially important here because the Water Fall looks a little as though it could be a w...

This exquisite lithograph by Marie Laurencin (1883–1956), titled Toutes les personnes a plus d'un mile de haut Quitter la Cour (All Persons More Than a Mile High Leave the Court), fr...

Original Travel Poster for Belgium - Cities of Art signed by artist Poleff and dated 1932. The image, framed in an archway window, features a woman wearing Byzantine / Middle Ages e...

Original Passion Play Tercentenary Oberammergau, 300th-year anniversary poster (1634 - 1934). "Germany Invites You!" This archivally linen-backed poster is the English version. It fe...

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...

Original linen-backed Lisieux travel poster, printed by the French State Railways. Centre Mondial de Pèlerinage. Archival linen-backed and in very fine condition, ready for framing. Artist: Fred...

This magnificent original 1933 Italian travel poster promotes Trento, issued by ENIT (Ente Nazionale Italiano per il Turismo) to celebrate this Alpine city’s cultural heritage and stunning natural beauty. The poster features an elegant and detailed illustration of the Monumento a Dante, the imposing statue of Dante Alighieri inaugurated in 1896, framed by a lush landscaped park and set against the dramatic backdrop of the Dolomite foothills. The harmonious composition bathes Trento in the gentle warm light of a late afternoon, with pastel pink clouds illuminating the scene and a palette of bright florals and deep green conifers guiding the viewer’s gaze toward the monument. Printed by the renowned Chappuis printing house in Bologna, the poster is marked with the ENIT emblem at lower left, signifying its official purpose to promote Italy’s regional cities and historic sites. The stylised border and typographic simplicity evoke the Art Deco aesthetic popular in Italian graphic design during the 1930s, combining classical elegance with modern clarity. Trento, historically a meeting point of Italian and Germanic cultures, was in the interwar period developing its tourism identity as the “Gateway to the Dolomites.” This poster captures that strategy, celebrating both the city’s urban sophistication and its natural surroundings. Today, ENIT posters...

Medium: lithograph. Printed in 1939 and published in Paris by Teriade for the art revue Verve (volume 1, number 4). Image size: 9 x 6 1/4 inches (230 x 155 mm). Sheet size: 14 x 10 1...

This exquisite linocut by Henri Matisse (1869–1954), titled Teeny, from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4,...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Pal Molnar C.'s circa 1930 original travel poster, depicting Budapest and the majestic Danube River, stands as a captivating testament to the allure of the ...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, richly-inked impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...

Image dimensions: 28 x 23.5 cm. Anna e Emma nei boschi (Anna and Emma in the Woods) is an original artwork realized by Luigi Bartolini in 1933. Original etching applied on China paper. Dimensions of the plate: 280 x 235 mm. Titled, numbered and signature in pencil of the artist on the lower margin: "Anna e Emma nei boschi 16/50 Luigi Bartolini". Signed and dated on plate on the lower right corner: "L. Bartolini 1935". Excellent conditions. Other titles: Anna e Emma nel bosco; Anna e Emma. Illustration for the book "L'Alipio". Reproduced in "Amata dopo", Nistri-Lischi, 1949; reproduced on the cover of “Il mezzano Alipio”, Vallecchi, 1951. Bibliography: 1951 Petrucci, Calcografia n. 411 1952 Gli esemplari unici o rari p. 103 1959 Severini, Timpanaro n. 525 1960 Milano, riprodotta su Il Fazioso, Edizioni Il Borghese 1962 Ronci, Calcografia n. 411 1972 Barsanti, Galleria Marino n. 463 1997 Ficacci, Calcografia n. 65b 1998 La collezione Timpanaro n. 46 2003 Gli anni meranesi pag. 47 Main exhibitions: 1942 Venezia, XXII Biennale 1943 Roma, IV Quadriennale Luigi Bartolini Cupramontana (Ancona), 1892 – Rome 1963 An accomplished Twentieth Century Italian engraver, painter, writer, art critic and engraver. He spent his early years living in Rome, Siena, and Florence and was professionally formed through university courses in art and medicine, museums, and the Academy Belle Arti. He begins to study art in 1912 with a special preference for Goya, Rembrandt, and Fattori. His success as an engraver arrives in 1924 with his exhibitions at Bragaglia’s House of Art and Casa Palazzi di Roma (70 etchings). In 1925 he participates in the II Roman Biennial and then in the Venice Biennial from 1928 to 1936. He is considered, along with Morandi, the greatest Italian engraver. His expositive work continues with intensity in the post-war period with one-man exhibitions in both Italy and abroad. His last one-man exhibition takes place at the XXXI Venice Biennial and at the National Chalcography in Rome in 1962. Bartolini lives through his era in complete liberty, dedicating himself to painting, to art criticism, to literature and teaching. This intellectual and artistic autonomy is well reflected in his engravings and it is exactly because of this characteristic of intellectual autonomy that he has never really belonged to the Scuola Romana although he was very attached to it because he frequented the Roman environment and it’s artists who he would often exhibit with. His literary production is gathered the volumes Polemiche (1940), Credo d’artista (1945), Il Fallimento della Pittura (1948) and Poesie 1911-1963(1964). As a critic, he collaborates with numerous magazines such as “Il Selvaggio”, “Quadrivio”, “La Tribuna”, “L’Ambrosiano” etc. After the war, “Bicycle Thieves...

"In triptych form, the mythical Dubo, Dubon, Dubonnet is in a way the ancestor of the animated gif! A simple, poetic visual narrative wrapped in a humorous tone. A silhouette darkens as the Dubo, Dubon, Dubonnet sequence progresses. Some say that it's these gestures and features that have given rise to our image of the aperitif. Cheers, Cassandra! Today, the Evin law would forbid this type of alcohol promotion, but that hasn't stopped this poster from becoming a cult image, taken up and quoted by every generation of graphic designers. Dubonnet is a brand of vermouth flavored mainly with cinchona, available in red and white. It was created by French chemist Joseph Dubonnet. It was in Paris, near the future site of the Garnier opera house, that Joseph Dubonnet developed his cinchona wine in 1846. To combat malaria, he developed this bitter-tasting medicine, which he masked with a strong-tasting decoction of herbs and spices. Soldiers in the Foreign Legion...

Artist: Jean Helion Title: Untitled Portfolio: XXe Siecle No. 4 Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19 3/4" x 16 3/4" Sheet Size: 12 5/8" x 9 5/8" Signature: U...

JOSE CLEMENTE OROZCO (1893 – 1949) WOMEN, 1934 ( Orozco 25) Lithograph, One of 127 signed & unnumbered impressions, (total printed 255) Printer Jesus Arteaga. Image 12 1/2 x 17 inches, sheet 17 x 23 inches. Large sheet. top sheet edge with deckle edge and with some remnants of old old tape. Some slight mat burn verso., just a hint on the recto. This impression is also dedicated to Rosita Boyce by Clemente Orozco - (the Artist's Son) in 1961 From "Jose Clemente Orozco - Graphic Work" by Clemente Orozco, University of Texas Press, 2004. "The image is a detail of the Mural "Contemporary World" in the Palace of Fine Arts, Mexico City. The mural depicts "the real prostitution of power is implied by prostitutes fighting for survival. in a game of exuberance and decadence. The theme of women, especially prostitutes, has a special significance in Orozco's work, from his early watercolors to this fresco.." This print is related to Orozco's MACHINES also on 1stdibs offered by this dealer. Mexican Prints...

A La Queue (Join the Queue) original etching from the series Naughty Dogs of Paris showing a line of five dogs of various breeds trailing a small Chihuahua on a leash who is turning her head towards the queue. This original etching is in excellent condition, hand signed by the artist and published by Sidney Lucas. paper size 13.75 x 29.25 image size 8.50 x 24 Boris O'Klein ( 1893-1985 ) immigrated to France from Russia with his family when he was a young boy. He settled in Paris after World War I and became a prolific artist well known for his watercolors and etchings of dogs getting into mischief. His images are often risque and are considered very humorous. They have been referred to as the Naughty or Dirty Dogs of Paris.

Henri Matisse, French (1869 - 1954) - La Cite Notre Dame. Year: 1937, Medium: Etching, Size: 13.75 x 10.5 in. (34.93 x 26.67 cm), Reference: D 249, Description: From the collection o...

Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron catalog 89.state ii. 9 x 14 7/8 (sheet 13 1/4 x 18 7/16 ). Edition 115 recorded impressio...

MOISSON (harvest) Loterie Nationale original 1939 lithograph Artwork by Edgar Derouet (1910-2001) and Charles Lesacq (1909-1940). size 15" x 23", year 1939. Archival linen backed i...

Pharmacie à Saint Lazare, Paris is an exquisite pochoir print from the Boutiques portfolio by H. Delacroix, created around 1930. The print is rendered with silvered ink on durable pa...

Edgar DEGAS (after) Whorehouse Scene : The Drunk Prostitutes Original etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the gre...