Lithograph Still-life Prints

Cosmic Flowers is an original hand drawn lithograph by Peter Max printed using traditional hand lithography techniques on archival Arches paper, 100% aci...

This exquisite lithograph after Rene Magritte (1898–1967), titled La Traversee Difficile (The Difficult Crossing), from the folio Les Enfants Trouves de Magritte (The Found Children ...

Clark, A.H. The Lotus. Ca 1890.Original Lithograph. 22 3/4 x 13" sheet, 26 1/2 x 17" on linen. Rare.

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 11.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

This exquisite lithograph by Bernard Buffet (1928–1999), titled Nature morte avec des fruits (Still Life with Fruits), originates from the 1967 album Bernard Buffet, Lithographs 1952...

Offset lithograph Edition 248 of 300 60 x 60 cm (23.6 x 23.6 in) Signed and numbered on the front Mint Published by Kaikai Kiki Co. Ltd

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 17.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

Cristobal Toral (Spain, 1940) 'Bodegón', ca. 1990-2000 lithograph on paper 21.3 x 17.8 in. (54 x 45 cm.) Edition of 225 ID: TOR1167-001-225 Hand-signed...

Signed and numbered lithograph from the edition of 250. Vibrant image of fruits, inluding strawberries, lemons, blueberries and melons. A whole series of different fruits and vegetab...

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left with edition number and limitation, '115/170'. Pierre Garcia-Fons left Spain d...

after Henri MATISSE (1869-1954) Lithograph after a drawing of 1941 Printed signature and date Book plate from Aragon. Henri Matisse: Dessins, Thèmes et Variations : précédés de "...

'Blattpflanzen I' (Leaf Plants) German chromolithograph, circa 1910. Key in German to the varieties at the bottom of the image. Central vertical fold as issued. 245mm by 305mm (s...

This exquisite lithograph by Bernard Buffet (1928–1999), titled Nature morte avec une bouteille (Still Life with a Bottle), originates from the 1967 album Bernard Buffet, Lithographs...

Lithograph on vélin papier pur chiffon paper. Paper Size: 10 x 7.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Les chants de Maldoror, illustrat...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Nature Morte Aux Fruits (Still Life with Fruits), from the folio Raoul Dufy, IV (Raoul Dufy, IV), Collection Pierre Lev...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe IV ...

Robert Rahway Zakanitch (American b. 1935), Lilies, Blue and Orange, Hand signed and dated 78 in pencil at the lower right, and inscribed Artists Proof with edition notation AP 6/6...

Each a lithograph with hand coloring on watermarked Arches wove paper with a deckle edge. Each 16 1/4 x 12 1/4 (412 x 312 mm); sheet 26 x 19 3/4 inches (661 x 502 mm), each with full...

This exquisite lithograph after Rene Magritte (1898–1967), titled Une Porte souvre sur la Nuit Veloutee (A Door Opens onto the Velvety Night), from the folio Les Enfants Trouves de M...

after Henri MATISSE (1869-1954) Lithograph after a drawing of 1941 Printed signature and date Book plate from Aragon. Henri Matisse: Dessins, Thèmes et Variations : précédés de "Matisse-en-France". (M. Fabiani: Paris 1943). Vélin Paper Dimensions: 32 x 24 cm (12 x 9") This lithograph is one of a rare edition made during the Second World War (1941 - 1943) by the Fabiani Editions. MATISSE'S BIOGRAPHY YOUTH AND EARLY EDUCATION Henri Emile Benoît Matisse was born in a tiny, tumbledown weaver's cottage on the rue du Chêne Arnaud in the textile town of Le Cateau-Cambrésis at eight o'clock in the evening on the last night of the year, 31 December 1869 (Le Cateau-Cambrésis is in the extreme north of France near the Belgian border). The house had two rooms, a beaten earth floor and a leaky roof. Matisse said long afterwards that rain fell through a hole above the bed in which he was born. Matisse’s ancestors had lived in the area for centuries before the convulsive social and industrial upheavals of the nineteenth century. Matisse grew up in a world that was still detaching itself from a way of life in some ways unchanged since Roman times. The coming of the railway had put Bohain on the industrial map, but people still traveled everywhere on foot or horseback. Matisse’s father, Émile Hippolyte Matisse, was a grain merchant whose family were weavers. His mother, Anna Heloise Gerard, was a daughter of a long line of well-to-do tanners. Warmhearted, outgoing, capable and energetic, she was small and sturdily built with the fashionable figure of the period: full breasts and hips, narrow waist, neat ankles and elegant small feet. She had fair skin, broad cheekbones and a wide smile. "My mother had a face with generous features," said her son Henri, who always spoke of her with particular tenderness of the sensitivity. Throughout the forty years of her marriage, she provided unwavering, rocklike support to her husband and her sons. Matisse later said: "My mother loved everything I did." He grew up in nearby Bohain-en-Vermandois, an industrial textile center, until the age of ten, when his father sent him to St. Quentin for lycée. Anna Heloise worked hard. She ran the section of her husband's shop that sold housepaints, making up the customers' orders and advising on color schemes. The colors evidently left a lasting impression on Henri. The artist himself later said he got his color sense from his mother, who was herself an accomplished painter on porcelain, a fashionable art form at the time. Henri was the couple’s first son. The young Matisse was an awkward youth who seemed ill-adapted to the rigors of the North; in particular, he hated the gelid winters. He was a pensive child and by his own account he was a dreamy, frail and not outstandingly bright. In later life he never lost his feeling for his native soil, for seeds and growing things he had encountered in his youth. The fancy pigeons he kept in Nice more than half a century after he left home recalled the weavers' pigeon-lofts tucked away behind even the humblest house in Bohain. Matisse's childhood memories were of a stern upbringing. "Be quick!" "Look out!" "Run along!" "Get cracking!" were the refrains that rang in his ears as a boy. In later years when survival itself depended on habits of thrift and self-denial, the artist prided himself on being a man of the North. When Matisse in turn had children of his own to bring up, he chided himself for any lapse in discipline or open display of tenderness as weakness on his part. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. Although he considered law as tedious, he nonetheless passed the bar in 1888 with distinction and began his practice begrudgingly. Once Matisse finished school, his father, a much more practical man, arranged for his son to obtain a clerking position at a law office. PAINTING: BEGINNINGS Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor. The Dinner Table (1897) was Matisse’s first masterpiece, and he had spent the entire winter working on the oeuvre. Though the Salon displayed the piece, they hung the work in a poor location, disgusted by what they considered its radical, Impressionist aspects. Caroline Joblaud was Matisse's early lover for four years during his initial struggles to affirm his artistic direction and professional career. Caroline (also called Camille) gave Matisse his first daughter Marguerite in 1894, who after Matisse's marriage to Amélie Noellie Parayre was warmly accepted contrary to conventional hostility such arrangements provoked. Caroline posed various times for the artist’s compositions while Marguerite served many times as a model for Matisse throughout his life. MARRIAGE WITH AMÉLIE NOELLIE PARAYRE The Matisses of Bohain and the Parayres of Beauzelle had outwardly nothing in common, and there was no reason why Matisse and Amélie should ever have met. But in October 1897 Matisse went to a wedding in Paris and happened to sit next to her at the uproarious banquet that followed. There had been no banal flirtation between them, even when the wine flowed, each recognized the other as true metal, and when they got up from the table she held out her hand to Henri Matisse in a way that he never forgot. Matisse at that time was not yet the professorial figure of legend. He was known as a prankster, as a ribald and anti-clerical songster, and as someone who had once broken up a café concert performance just for the hell of it. Amélie's relatives operated at that time within a social, intellectual, and political context of which Matisse had had no previous experience. They stood for free thinking, for the separation of church and state, and for the secularization of the French educational system. Her family, better off that that of Matisse, provided the support he needed for the budding artist. When Matisse married Amélie in January 1898, they had been introduced only three months after. Amélie's Aunt Noélie and two of her brothers ran a successful women's shop called the Grande Maison des Modes. Before her marriage, Amélie had shown a gift for designing, making, and modeling hats for a fashionable clientele. In June 1899, she found a partner and opened a shop of her own on the rue de Châteaudun. This allowed Henri and herself to live, with Marguerite, in a tiny two-room apartment on the same street. Madame Matisse, fervently loyal, would play a fundamental role in the life and career of the artist for more than 40 years. Marguerite was to become her father's lifetime mainstay In 1902 disaster struck. Amélie’s parents were disgraced and financially ruined in a spectacular scandal of national scope, as the unsuspecting employees of a woman whose financial empire was based on fraud. Thanks to his early years in a lawyer's office, Matisse was able to busy himself to great effect in the organization of his father-in-law's defense. When all about him lost their heads, burst into tears, and felt more than sorry for themselves, Henri Matisse dealt with their problems one by one. The ordeal had taken its toll, in more than one way. His doctors ordered Matisse to go to Bohain and take two months' complete rest. Amélie had lost both her hat shop and the apartment on the rue de Châteaudun. For the first time, Henri, Amélie and the three children were united in Bohain, having nowhere else to go. Hillary Spurling, one of Matisse’s biographers, asserts that Amélie’s memories of that public disgrace nurtured a “suspicion of the outside world” that would always mark the Matisse family. The Matisse family formed a kind of hermetic unit which revolved around the artist’s work and profession. They fitted their activities according his breaks and work sessions. Silence was essential. Even during the years when Matisse lived mostly alone in Nice, an annual ritual of unpacking, stretching, framing and hanging ended with the whole family settling down to respond to the paintings. The conference might last several days. Then the dealers were admitted. Matisse and his wife had had two sons, Jean (born 1899) and Pierre (born 1900). He was not always in peace with his family. He wrote that their views were not always in accord “which disturbs me considerably in my work, for which I require the most complete calm and from those how surround me, a serenity that I cannot find here. I intend to move to a village a few league away.” Pierre, his brother, Jean, and Marguerite remained close to their father through every vicissitude, and Matisse, in his last invalid years, was devoted to his several grandchildren. In 1899, at a time when his paintings displayed rebellious talent but not much clear direction, Matisse began attending classes in clay modeling and sculpture. Assigned to copy one of the sculptural masterpieces in the Louvre, he selected Jaguar Devouring a Hare a violently precise work by Antoine-Louis Barye. Later, whenever his paintings seemed stuck, he turned to sculpture to organize his thoughts and sensations. Influenced by the works of the post-Impressionists Paul Cézanne, Gauguin, Van Gogh and Paul Signac, and also by Japanese art, Matisse made color a crucial element of his paintings. Matisse said, "In modern art, it is indubitably to Cézanne that I owe the most." By studying Cézanne’s fragmented planes -- which stretched the idea of the still life to a forced contemplation of color surfaces themselves -- Matisse was able to reconstruct his own philosophy of the still life. Many of his paintings from 1899 to 1905 make use of a pointillist technique adopted from Signac. In 1898, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. After years in poverty, Matisse went through his "dark period" (1902-03), moved briefly to naturalism, went back to a dark palette and told friends in 1903 that he had lost all desire to paint and had almost decided to give up. Fortunately, Matisse was able to earn some money painting a frieze for the World Fair at the Grand Palais in Paris. He also traveled extensively in the early 1900s when tourism was still a new idea. Brought on by railroad, steamships, and other forms of transportation that appeared during the industrial revolution, travel became a popular pursuit. As a cultured tourist, he developed his art with regular doses of travel. FAUVISM Matisse's career can be divided into several periods that changed stylistically, but his underlying aim always remained the same: to discover "the essential character of things" and to produce an art "of balance, purity, and serenity," as he himself put it. The changing studio environments seemed always to have had a significant effect on the style of his work. In these first years of struggle Matisse set his revolutionary artistic agenda. He disregarded perspective, abolished shadows, repudiating the academic distinction between line and color. He was attempting to overturn a way of seeing evolved and accepted by the Western world for centuries by substituting a conscious subjectivity in the place of the traditional illusion of objectivity . Matisse hit his stride in the avant-garde art world in the first years of the new decade. He explored the modern art scene through frequent visits to galleries such as Durand-Ruel and Vollard, where he was exposed to work by Paul Cézanne, Paul Gauguin, and Vincent van Gogh. Matisse’s first solo exhibition took place in 1904, without much success. In 16 May 1905 he arrived in the charming Catalan port of Collioure, in the south of France. He soon invited the painter André Derain (1880-1954), 11 years his junior, to join him. By 1905, Matisse was considered spearhead the Fauve movement in France, characterized by its spontaneity and roughness of execution as well as use of raw color straight from the palette to the canvas. Matisse combined pointillist color and Cézanne’s way of structuring pictorial space stroke by stroke to develop Fauvism - a way less of seeing the world than of feeling it with one’s eyes. When the Fauve summer drew to an end, Derain left Collioure with 30 paintings, 20 drawings and some 50 sketches, never to return, while Matisse departed some days later bringing back to Paris 15 finished paintings, 40 aquarelles, over 100 drawings. He returned Collioure in the summers of 1906, 1907, 1911 and 1914. The lure of the sun would prove always to have powers of restoration to the artist throughout his life particularly after periods of great emotional exertion. When Fauvist works were first exhibited Salon d'Automne in Paris they created a scandal. Eyewitness accounts tell of laughter emanating from room VII where they were displayed. Gertrud Stein, one of Matisse's most important future supporters, reported that people scratched at the canvases in derision. "A pot of paint has been flung in the face of the public" was the reaction by the critic Camille Mauclair. Louis Vauxcelles described the work with the historic phrase "Donatello au milieu des fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Derain himself later called the Fauves' color "sticks of dynamite." The painting that was singled out for attacks was Matisse's Woman with a Hat, a portrait of Madame Matisse. This picture was bought be was bought by Gertrude and Leo Stein, a fact which had a very positive effect on Matisse who was suffering demoralization from the bad reception of his work. Matisse continued his experiments in Collioure, visible in the painting The Open Window and the View of Collioure , also a characteristic work of Fauvism in its raw color and disregard for details. Both of these works of the landscape in the French Mediterranean present a distinct development towards the spontaneous and uninhibited style. Other than André Derain, Georges Braque, Raoul Dufy and Maurice Vlaminck were also members of the Fauve movement. However, Matisse’s intimate friends among artists were mostly easygoing minor painters, such as Albert Marquet. Matisse’s temperamental aloneness made him prey to vertiginous depressions. He later recalled a breakdown that he underwent in Spain, in 1910: “My bed shook, and from my throat came a little high-pitched cry that I could not stop.” From the onset of is career women were from one of the cardinal motifs of the artist's production. His Joy of Life (1906) draws us into the world of hallucinatory vividness composed of nymphs set in an idyllic open fields dressed in pure color and sensual outline. Two women lounge in the sunlight while two more chat on the edge of the forest. One crouches to pick some flowers while her companion weaves a chain of them into her hair. A couple embraces each other while another group engages in a lively round-dance in the distance. In this way, Joy of Life depicts woodland nymphs engaging in a celebration of their life, their womanhood, and their sexuality. Due to the recurrent incidence of nude women and intensely sensual interpretation many observers have assumed that as a man Matisse must have been a hedonist. On the contrary, historic examination demonstrates that in reality, he was rather a self-abnegating Northerner who lived only to work, and did so in chronic anguish, recurrent panic, and amid periodic breakdowns. While Picasso recompensed himself, as he went along, with gratifications of intellectual and erotic play Matisse did not. In an age of ideologies, Matisse dodged all ideas except perhaps one: that art is life by other means. Matisse’s uninhibited celebration of women is often believed to have initiated from Cézanne’s painting Three Bathers (1882) (which he had acquired for himself along with a Van Gogh and a Gauguin). However, Matisse depicts women as nurturing, welcoming, and unlike the forbidding, massive clay-like presence of those of Paul Cézanne. FAME The decline of the Fauvist movement, after 1906, did nothing to deter the rise of Matisse. From 1906 -1917 he lived in Paris and established his home, studio, and school at Hôtel Biron. Among his neighbors is sculptor Auguste Rodin, writer Jean Cocteau, and dancer Isadora Duncan. Many of his finest works were created in this period, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in with his conservative appearance and strict bourgeois work habits. In fact, the aim of Matisse’s art was something less than revolutionary. In 1908, in a famous statement drawn from “Notes of a Painter,” Matisse declared as his ideal an art “for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.” Matisse's personal habits were incredibly regular. On a typical day rose early and worked all morning with a second work session after lunch, followed by violin practice, a simple supper (vegetable soup, two hard-boiled eggs, salad and a glass of wine) and an early bedtime. In 1906, he created a series of 12 lithographs, all variations on the theme of a seated nude. He chose to share his graphic work with the public almost immediately. The lithographs were exhibited at the Druet Gallery in Paris the same year that they were produced, and the woodcuts were shown at the Salon des Independants in the spring of 1907. In 1907 Appolinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." Notwithstanding newly-won fame, Matisse's work continued to encounter vehement criticism and it was difficult for him to provide for his family. His controversial 1907 painting Blue Nude was burned in effigy at the Armory Show in Chicago in 1913. Contrary to the fate of the Impressionists, Matisse and other Fauves were able to exhibit in art galleries. In 1908 Paul Cassirer, the German art dealer and editor who played a significant role in the promotion of the work the French Impressionists and Post-Impressionists, staged an exhibit of Matisse’s works in Berlin. In the same year the American photographer Alfred Stieglitz in New York organized him one-man show in his tiny Manhattan gallery called 291 which effectively introduced Matisse the powerful American art market. In the first decade of his notoriety as the leader of the Fauves, Matisse was more admired by foreigners than by the French. It was, after all, the Russians and the Americans who acquired significant collections of his early work almost as quickly as it was created. The great Matisses we see in the Paris museums today were mostly acquired after the artist's death in lieu of death duties. It took the French a good deal longer to understand Matisse's greatness-longer, certainly, than the international cadre of aspiring talents that flocked to his classes when he was still one of the most controversial figures in the Paris avant-garde. In the summer of 1907, Matisse and his wife went on a long trip to italy "for work and Pleasure," visiting Venice and Padua, where they admired Giotto's frescos. In Florence the were the guests of the Steins in their villa in Fiesole. From this base matisse visited Arezzo, to study Piero della Francesca, and Siena, attracted by the early Sienese painters, especially, Duccio. PICASSO, GERTRUDE STEIN AND THE CONE SISTERS During the first decade of the 20th century Americans in Paris Gertrude Stein, her brothers Leo Stein, Michael Stein and Michael's wife Sarah took keen interest in Matisse's art. In addition, Gertrude Stein's two friends from Baltimore. Clarabel and Etta Cone, became major patrons of Matisse and Picasso, collecting hundreds of their works.The Cone Sisters acquired their first Matisse in 1906 and, during the next four decades, went on to form one of the world's great collections of his art. The Cone Collection not only contains major works from every phase of Matisse's long career but reflects the sisters' special interest in his Nice period, when a new complexity of form and psychology entered the ever intense surface allure of his paintings. In April of 1906 during a gathering at the house of the legendary Gertrude Stein, Matisse was introduced to Pablo Picasso who was 11 years younger. Picasso and Matisse were poles apart aesthetically and their life styles were no less so. Matisse was markedly taller and more polished than the stocky, cocky Catalan, was then ruler of the turbulent Paris avant-garde art scene. The two were said to have always been looking over their shoulders at each other. It is well-known that after their rivalry grew, sides were taken. Picasso later said: "No one has ever looked at Matisse's paintings more carefully than I; and no one has looked at mine more carefully than he." One key difference between their pictorial concepts was that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination. The subjects painted most frequently by both artists were women and still lives, with Matisse more likely to place his figures in fully realized interiors. Gertrude Stein, who loved stirring things up, wrote, "the feeling between the Picassoites and the Matisse-ites became bitter." Although Matisse dryly noted that "our disputes were always friendly," it should be pointed out that Picasso and his friends threw suction-cupped darts at Matisse's 1906 Portrait of Marguerite (which Picasso had obtained in a trade for his own Pitcher, Bowl and Lemon, from 1907). While the rift between the two artists eventually healed, the one between their supporters remained. ACADEMIE MATISSE IN PARIS & SERGEI SHCHUKIN In 1909, with the Matisse family lived in a former convent on the Boulevard des Invalides, in Paris, where the artist conducted a painting school. His immense notoriety, which had been confirmed in 1905-06 by Joy of Life, a work which seemed to trash every possible norm of pictorial order and painterly finesse.His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1911 until 1917. Hans Purrmann and Sarah Stein were several of his most loyal students. Although it lasted for only three years (1908-11), and yet, during its brief existence the Académie Matisse became one of the principal crossroads of modern painting for a number of gifted European and American artists. Given the reputation Matisse had acquired as the"wild man" of modernist color, it must have come as a shock to some of his early students that the program of instruction he offered was remarkably conservative. As Jean Heiberg, the first Norwegian to enroll in the Académie, later wrote in a memoir: "The school had, at Matisse's suggestion, acquired a copy of two antique sculptures from the Louvre, Mars and an archaic sculpture, which he often used to demonstrate. Every now and then he got completely rid of the life model and we only drew from the plaster casts, and his critiques then were no less profitable." Among Matisse’s students was Olga Meerson, a Russian Jew who had studied with Wassily Kandinsky in Munich and, already possessed of an elegant style, sought to remake herself under Matisse’s tutelage. Amélie suspected the worst. Perhaps a combination of Amélie’s jealousy and Meerson’s neediness caused a Matisse to end the connection, with bad feeling all around. Meerson moved to Munich, where she married the musician Heinz Pringsheim, a brother-in-law of Thomas Mann. Never having fulfilled her promise as a painter, she committed suicide in Berlin, in 1929. One of Matisse's biographers, with access to much of the artist's correspondence, contends that the artist, after his marriage, rarely, if ever, had sex with models, despite his apparent feelings for many. Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan Morozov (1871–1921). Both acquired modern French art, developed a sensibility for spotting new trends, and publicized them in Russia. In this period, Matisse had initiated his fecund association with the Russian textile magnate and visionary collector, Sergei Shchukin. The artist created one of his major works La Danse specially for Shchukin as part of a two painting commission. Inspired by a circular dance-- perhaps a sardana - performed by fishermen at Collioure, this painting embodies the clash between the sacred and reality. Human hands link together, but they form a divine spirit. Moreover, Matisse all but abandoned perspective The work ’s flatness emphasizes the idea, colors, and material, a notion that made Matisse a model for Modernists. The other painting commissioned was Music, 1909. Shchukin was considered by some almost as a co-producer of some of the artist’s greatest works and was strongly commuted to the French painter’s work. Concerning the violent attacks on his friend, the Russian wrote to the artist: “The public is against you, but the future is yours.” By 1914 Shchukin’s house in Moscow contained thirty-seven Matisses. “He always picked the best,” the artist said. During the political revolution Lenin expropriated Shchukin collection in person but allowed Shchukin to remain, in servants’ quarters, as caretaker and guide. He died in Paris, in 1936. The collection is now in the Hermitage and Pushkin Museums From about 1911 to 1915, Matisse struggled with the ideas of Cubism, an experiment he felt he was "not participating in" because it did not "speak to [his] deeply sensory nature." MOROCCO Like many avant-garde artists in Paris, Matisse was receptive to a broad range of influences. He is one of the first painters to take an interest in various forms of “primitive” art. His art was profoundly influenced by Easter art...

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Back Cover, from Joan Miro by Jacques Prevert and Georges Ribemont-Dessaignes Artist: Joan Miro Editor: Maeght Year: 1956 Dimensions: 23 x 20 cm Refere...

LADDER is a rarely seen, hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archi...

This exquisite lithograph after Chaim Soutine (1893–1943), titled Nature morte a la pipe (Still Life with Pipe), from the folio Soutine, I, Collection Pierre Levy, 1966, originates from the edition published by Fernand Mourlot, Paris, and printed by Mourlot Freres, Paris, on October 20, 1966. The work conveys the heightened emotional tension and expressive force characteristic of Soutines painterly vision, capturing in lithographic form the dynamic structure and psychological immediacy that define his mature still lifes. Executed as a lithograph on velin d'Arches paper, this work measures 20 x 26 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the technical mastery of the Mourlot atelier. Artwork Details: Artist: After Chaim Soutine (1893–1943) Title: Nature morte a la pipe (Still Life with Pipe), from the folio Soutine, I, Collection Pierre Levy Medium: Lithograph on velin d'Arches paper Dimensions: 20 x 26 inches Inscription: Signed in the plate and unnumbered as issued Date: 1966 Publisher: Fernand Mourlot, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Soutine, I, Collection Pierre Levy, 1966 Notes: Excerpted from the folio (translated from French), This album, the first of a series dedicated to Mr. Pierre Levys collection, was printed in DL examples on Arches velin. Printing was finished on October 20, 1966 by Mourlot for lithographs of the canvases of Soutine, and by Fequet and Baudier for Waldemar Georges unpublished text. Fernand Mourlot, Paris 1966. About the Publication: Soutine, I, Collection Pierre Levy, published in 1966 by Fernand Mourlot, Paris, is the first album in the important series devoted to the Pierre Levy collection, one of the most significant private collections of twentieth century French painting. Conceived as a scholarly and visual record, the album was designed to present key works by Chaim Soutine in lithographic form at a time when renewed international interest in the artist was expanding. Created in collaboration with Mourlot Freres, the foremost lithographic atelier in France, the publication reflects the printers commitment to translating Soutines canvases into richly tonal lithographs that preserve the emotional intensity and structural drama of the originals. Issued in a single edition on Arches velin, the album stands as an essential document of postwar art publishing, illuminating the historical partnership between artist, collector, and master printer, and contributing to the larger historiography of modern French Expressionism and museum quality print albums of the mid twentieth century. About the Artist: Chaim Soutine (1893–1943) was a Belarus-born French Expressionist painter whose explosive brushwork, emotionally charged distortions, and uncompromising commitment to depicting the psychological intensity of human experience have secured his place as one of the most vital and transformative figures in twentieth century art, creating his legacy within the same revolutionary modernist environment defined by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray; after leaving his impoverished childhood in Smilavichy and arriving in Paris in 1913, Soutine immersed himself in the School of Paris circle at La Ruche—an incubator of international avant garde talent—where he developed formative friendships with Amedeo Modigliani, Marc Chagall, Jules Pascin, and other pioneering artists whose daring approaches inspired him to push color, gesture, and form into new emotional territories. His portraits of cooks, choirboys, servants, and village residents; his tempestuous landscapes of Cagnes, Chartres, and Ceret; and his deeply visceral still lifes—most famously his monumental depictions of slaughtered carcasses—reveal a singular ability to transform ordinary subjects into raw, pulsing, almost metaphysical dramas, building on the influence of Rembrandt, Goya, Velazquez, and El Greco while departing radically from academic restraint. His paintings vibrate with psychological tension, their twisted perspectives, molten colors, and trembling outlines capturing an inner world marked by anxiety, longing, resilience, and profound empathy. Soutines originality profoundly shaped the evolution of modern painting: Francis Bacon cited him as one of his greatest influences, Willem de Kooning and the Abstract Expressionists admired his gestural ferocity, and later artists—including Frank Auerbach, Leon Kossoff, Lucian Freud, Jenny Saville, and Adrian Ghenie...

Stamped verso with Certification of Authenticity for Yves Ganne (French, b. 1931), inscribed lower left, 'Epreuve d' Artiste' (Artist's Proof), titled 'Tulipes' and created circa 197...

This exquisite lithograph by Bernard Buffet (1928–1999), titled Nature morte aux iris (Still Life with Irises), originates from the 1979 album Bernard Buffet, Lithographe I (Bernard ...

This exquisite lithograph by Alexander Calder (1898–1976), titled La lune (The Moon), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeght Editeur...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, In Memory of My Feelings,...

This exquisite heliogravure after Bernard Buffet (1928–1999), titled Nature morte au lapin (Still Life with Rabbit), from the folio Bernard Buffet, Peintres d'aujourd'hui (Bernard Bu...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Guitariste (Guitarist), from the album, Picasso, Oeuvres 1920-1926, 1926, originates from the 1926 edition published and printed by Editions des Cahiers d'Art, Paris, under the direction of Christian Zervos, Editeur, Paris, December 10, 1926. Guitariste (Guitarist) captures Picasso’s evolving exploration of form, movement, and emotion during the mid-1920s—a pivotal period in which he redefined the relationship between classical representation and modern abstraction. With its bold contouring, stylized anatomy, and rhythmic color balance, the composition embodies the harmony between structural precision and sensual fluidity that characterized Picasso’s work in this era. Executed as a lithograph and pochoir on velin paper, this work measures 11 x 8.75 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the refined craftsmanship of Editions des Cahiers d'Art and the technical excellence of Parisian printmaking in the interwar period. Artwork Details: Artist: After Pablo Picasso (1881–1973) Title: Guitariste (Guitarist), from the album, Picasso, Oeuvres 1920-1926, 1926 Medium: Lithograph and pochoir on velin paper Dimensions: 11 x 8.75 inches (27.94 x 22.23 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1926 Publisher: Editions des Cahiers d'Art, Paris, under the direction of Christian Zervos, Editeur, Paris Printer: Ducros & Colas, Paris Catalogue raisonne references: Cramer, Patrick. Pablo Picasso, The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1983, illustration 15; Bloch, Georges. Pablo Picasso: Catalogue of the Printed Graphic Work 1904–1967. Kornfeld & Klipstein, 1968, illustration 56 Condition: Well preserved, consistent with age and medium Provenance: From the album, Picasso, Oeuvres 1920-1926, published and printed by Editions des Cahiers d'Art, Paris, under the direction of Christian Zervos, Editeur, Paris, 1926 Notes: Excerpted from the album (translated from French), This volume was completed to be printed by the Ducros & Colas printing house, 7, rue Croulebarbe in Paris, for the Editions des Cahiers d'Art, on December 10th MCMXXVI, DCC numbered examples, VI on Japon Imperial with an etching by Picasso, numbered from I to VI, L examples on paper by papier de Hollande, Van Gelder, with an etching by Picasso, numbered from VII to LVI, DCXL examples on velin, numbered from LVII to DCC, plus II examples intended for legal deposit. About the Publication: The album Picasso, Oeuvres 1920-1926 was issued in 1926 by Editions des Cahiers d'Art under the direction of Christian Zervos, one of the most influential editors, critics, and publishers of 20th-century modernism. Conceived as both a visual and intellectual tribute to Pablo Picasso’s mastery during a crucial transitional period, the volume presents a series of lithographs and pochoirs that chronicle his stylistic evolution from synthetic Cubism toward a renewed engagement with the human figure. Published in conjunction with the legendary Cahiers d'Art journal, the edition reflects Zervos’s vision of uniting scholarship, craftsmanship, and artistic authenticity in the modern book arts. Each composition was executed by the master printers Ducros & Colas and colored using the pochoir technique, faithfully translating the tonal subtleties and compositional balance of Picasso’s original drawings and gouaches. Completed on December 10, 1926, the edition comprised DCC examples—VI on Japon Imperial, L on Hollande Van Gelder, and DCXL on velin paper, plus II copies reserved for legal deposit—each numbered and printed to exacting standards. The volume stands as one of the earliest major Cahiers d'Art collaborations with Picasso, preceding the monumental Catalogue Raisonne des Oeuvres de Picasso that Zervos would later dedicate his life to producing. Today, Picasso, Oeuvres 1920-1926 remains a cornerstone of interwar art publishing, representing the confluence of avant-garde innovation, technical excellence, and intellectual rigor that defined the Parisian art world of the 1920s. About the Artist: Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, and ceramicist whose extraordinary vision revolutionized modern art and defined the visual language of the 20th century. A child prodigy from Malaga, Spain, Picasso's career spanned more than seven decades and encompassed an astonishing range of styles and innovations—from the melancholic Blue and romantic Rose periods to his pioneering invention of Cubism with Georges Braque, which shattered conventional notions of perspective and form. Influenced by the bold expressiveness of El Greco, the structure of Cezanne, and the vitality of African and Iberian sculpture, Picasso became a central figure of the Paris avant-garde, working in creative dialogue with contemporaries such as Henri Matisse, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. His insatiable experimentation extended across painting, drawing, printmaking, ceramics, and sculpture, forever expanding the boundaries of artistic expression. A master of reinvention, Picasso profoundly shaped generations of artists who followed—from Andy Warhol, Roy Lichtenstein, David Hockney, and Jean-Michel Basquiat to Jeff Koons and Banksy—cementing his status as a timeless cultural icon whose works remain among the most sought after worldwide. His landmark painting Les Femmes d'Alger (Version O) achieved a record-breaking sale of 179,365,000 USD at Christie's, New York, on May 11, 2015, affirming Picasso's enduring legacy as one of the most influential and valuable artists in history. Pablo Picasso Guitariste (Guitarist), Picasso Oeuvres 1920-1926, Picasso Zervos Cahiers d'Art, Picasso pochoir...

GARDEN FLOWERS is an original hand drawn lithograph enhanced with hand coloring by the renowned American Pop artist, Peter Max. GARDEN FLOWERS was created in 1979 printed using tradi...

Fish, Janet (American, 1938-2025) TULIPS AND TEACUPS. Lithograph in colors, 1982. Edition of 43. Signed, dated and numbered 31/43 in pencil. Printed at Tamarind Institute and publish...

Pochoir (French for stencil) is a fine art printing technique that was especially popular in France from the late 19th to the early 20th century. It involves applying layers of color...

Jules CAVAILLES Fruits and Flowers on Red Background Original lithograph Handsigned in pencil Justified EA (artist proof) On Arches vellum 33 x 50 cm (c. 13 x 20 in) Excellent cond...

Artist: Ben Shahn, American (1898 - 1969) Title: Many Cities from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 22.5 x 17.75 in....

Joan Miro Miro Abstract Lithograph Artist: Joan Miro Plate III from “Miro Lithographs I” Medium: Lithograph on Rives vellum Year: 1972 Image Size: 10" x ...

Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...

Jean-Baptiste VALADIE Flowers Blue, White Red Original lithograph Handsigned in pencil Limited / 199 copies On vellum 71 x 56 cm (c. 28 x 22 in) Excellent condition

This exquisite offset lithograph with collage additions after Jasper Johns (born 1930), titled Target, from the album Technics and Creativity, Gemini G.E.L., 1971, originates from th...

Hand-numbered in front lower left corner. Hand-signed in front lower right corner. Framed under glass in natural wood frame. Framed dimensions are 32 1/2 x 24 1/2 inches. Image size ...

This exquisite lithograph and pochoir after Juan Gris (1887–1927), titled Nature morte (Still Life), from the album L'Art Cubiste, Theories et Realisations, Etude Critique (Cubist Ar...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Sui...

This exquisite lithograph after Chaim Soutine (1893–1943), titled Nature morte a la dinde (Still Life with Turkey), from the folio Soutine, I, Collection Pierre Levy, 1966, originates from the edition published by Fernand Mourlot, Paris, and printed by Mourlot Freres, Paris, on October 20, 1966. The work conveys the heightened emotional tension and expressive force characteristic of Soutines painterly vision, capturing in lithographic form the dynamic structure and psychological intensity that define his mature still lifes. Executed as a lithograph on velin d'Arches paper, this work measures 20 x 26 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the technical mastery of the Mourlot atelier. Artwork Details: Artist: After Chaim Soutine (1899–1943) Title: Nature morte a la dinde (Still Life with Turkey), from the folio Soutine, I, Collection Pierre Levy Medium: Lithograph on velin d'Arches paper Dimensions: 20 x 26 inches Inscription: Signed in the plate and unnumbered as issued Date: 1966 Publisher: Fernand Mourlot, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Soutine, I, Collection Pierre Levy, 1966 Notes: Excerpted from the folio (translated from French), This album, the first of a series dedicated to Mr. Pierre Levys collection, was printed in DL examples on Arches velin. Printing was finished on October 20, 1966 by Mourlot for lithographs of the canvases of Soutine, and by Fequet and Baudier for Waldemar Georges unpublished text. Fernand Mourlot, Paris 1966. About the Publication: Soutine, I, Collection Pierre Levy, published in 1966 by Fernand Mourlot, Paris, is the first album in the important series devoted to the Pierre Levy collection, one of the most significant private collections of twentieth century French painting. Conceived as a scholarly and visual record, the album was designed to present key works by Chaim Soutine in lithographic form at a time when renewed international interest in the artist was expanding. Created in collaboration with Mourlot Freres, the foremost lithographic atelier in France, the publication reflects the printers commitment to translating Soutines canvases into richly tonal lithographs that preserve the emotional intensity and structural drama of the originals. Issued in a single edition on Arches velin, the album stands as an essential document of postwar art publishing, illuminating the historical partnership between artist, collector, and master printer, and contributing to the larger historiography of modern French Expressionism and museum quality print albums of the mid twentieth century. About the Artist: Chaim Soutine (1893–1943) was a Belarus born French Expressionist painter whose explosive brushwork, emotionally charged distortions, and uncompromising commitment to depicting the psychological intensity of human experience have secured his place as one of the most vital and transformative figures in twentieth century art, creating his legacy within the same revolutionary modernist environment defined by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray; after leaving his impoverished childhood in Smilavichy and arriving in Paris in 1913, Soutine immersed himself in the School of Paris circle at La Ruche—an incubator of international avant garde talent—where he developed formative friendships with Amedeo Modigliani, Marc Chagall, Jules Pascin, and other pioneering artists whose daring approaches inspired him to push color, gesture, and form into new emotional territories. His portraits of cooks, choirboys, servants, and village residents; his tempestuous landscapes of Cagnes, Chartres, and Ceret; and his deeply visceral still lifes—most famously his monumental depictions of slaughtered carcasses—reveal a singular ability to transform ordinary subjects into raw, pulsing, almost metaphysical dramas, building on the influence of Rembrandt, Goya, Velazquez, and El Greco while departing radically from academic restraint. His paintings vibrate with psychological tension, their twisted perspectives, molten colors, and trembling outlines capturing an inner world marked by anxiety, longing, resilience, and profound empathy. Soutines originality profoundly shaped the evolution of modern painting: Francis Bacon cited him as one of his greatest influences, Willem de Kooning and the Abstract Expressionists admired his gestural ferocity, and later artists—including Frank Auerbach, Leon Kossoff, Lucian Freud, Jenny Saville, and Adrian Ghenie...

This exquisite lithograph after Rene Magritte (1898–1967), titled Les Grands Oiseaux sont Ceux de LIle au Tresor (The Great Birds are Those of Treasure Island), from the folio Les Enfants Trouves de Magritte (The Found Children of Magritte), 1968, originates from the edition published by A.C. Mazo et Cie, Paris, and printed by Mourlot Freres, Paris, on November 20, 1968. The work embodies Magrittes sustained inquiry into semiotics and visual epistemology, translating his characteristic strategies of displacement, symbolic inversion, and conceptual ambiguity into an image that operates as both a poetic metaphor and a philosophical proposition concerning the instability of meaning. Executed as a lithograph on grand velin dArches paper, this work measures 17.5 x 23.5 inches (44.5 x 59.7 cm). Signed in the plate by the artist; hand signed by Fernand Mourlot, Editeur. The edition exemplifies the technical mastery of the Mourlot atelier. Artwork Details: Artist: After Rene Magritte (1898–1967) Title: Les Grands Oiseaux sont Ceux de LIle au Tresor (The Great Birds are Those of Treasure Island), from the folio Les Enfants Trouves de Magritte (The Found Children of Magritte) Medium: Lithograph on grand velin dArches paper Dimensions: 17.5 x 23.5 inches (44.5 x 59.7 cm) Inscription: Signed in the plate by the artist; hand signed by Fernand Mourlot, Editeur Date: 1968 Publisher: A.C. Mazo et Cie, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne: Magritte, Rene, et al. Rene Magritte: Catalogue Raisonne, Vol. 3. Menil Foundation; Philip Wilson Publishers; Distributed in the USA and Canada by Rizzoli International, 1992, nos. 791–792 and 1056; vol. 5, p. 218, Bibliography entry 68.28. Condition: Well preserved, consistent with age and medium Provenance: From the folio Les Enfants Trouves de Magritte, 1968 Notes: Excerpted from the folio (translated from French), Finished printing in Paris on November 20, 1968, on the presses of Mourlot, for the lithographs. The unpublished text by Louis Scutenaire was composed in Elzevir Casion corps 28 and printed by Fequet et Baudier, typographers. The unpublished compositions numbered from I to IV were specially made by Rene Magritte for this album. The compositions of the Enchanted Domain, are the renderings of the eight paintings of the mural of the Casino de Knokke. They were printed with the benevolent authorization of Mr. Gustave J. Nellens. Justification of the draw, this album was taken from CCCL examples on grand velin dArches numbered from I to CCCL, plus a few examples for collaborators and assistants. About the Publication: Les Enfants Trouves de Magritte (The Found Children of Magritte), published in 1968 by A.C. Mazo et Cie, Paris, represents one of the most significant late life print projects devoted to Rene Magrittes work. Conceived as both a literary and visual tribute, the folio pairs texts by the Belgian writer Louis Scutenaire, Magrittes close friend and fellow Surrealist, with lithographic interpretations produced at the Mourlot atelier, the premier lithographic workshop of twentieth century France. The album includes compositions by Magritte alongside lithographic renderings of the celebrated Enchanted Domain mural from the Casino de Knokke, printed with the authorization of Gustave J. Nellens, who commissioned the original mural. Issued in a single edition of CCCL examples on grand velin dArches, the folio stands as a testament to the collaboration between artist, writer, publisher, and master printer, and remains one of the most culturally important Surrealist print albums of the post war era. About the Artist: Rene Magritte (1898–1967) was a Belgian Surrealist painter whose visionary, intellectual, and poetic imagery redefined twentieth century art and forever changed how the world perceives reality and illusion. Celebrated for his calm precision and thought provoking juxtapositions of ordinary objects in extraordinary contexts, Magritte used painting as a philosophical tool, transforming the everyday into visual paradoxes that challenged the boundaries between what is seen and what is known. Born in Lessines, Belgium, and trained at the Academie Royale des Beaux Arts in Brussels, he absorbed early influences from Cubism, Futurism, and Symbolism before embracing Surrealism, where he found his true voice. In Paris, he became part of the avant garde circle that included Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—all artists whose radical ideas helped him forge his distinctive synthesis of logic and mystery. Unlike Dalis dream...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, In Memory of My Feelings,...

Yves GANNE (1931-2019) Lilies on an Oranfe Background Original Lithograph Signed on pencil Numbered on 140 copies On vellum BFK Rives 75 x 53.5 cm (c. 29.52 x 20.86 in) Very good c...

This exquisite lithograph and pochoir after Andre Derain (1880–1954), titled Nature morte avec des citrons (Still Life with Lemons), from the folio Andre Derain 1880 - 1954, 1961, or...

Bernard Buffet Crocus jaunes, 1987 Lithograph Hand signed low right Numbered 15/150 Image 67 x 50 cm Sheet 75 x 58 Framing is an option, will be framed with an aluminium frame, an a...

Artist: (after) Andy Warhol (American, 1928-1987) Title: "San Francisco Museum of Art (Pepper Pot)" Year: 2004 Medium: Original (double-sided) Offset-Lithograph on Vinyl, Museum Street Banner...

This exquisite lithograph and pochoir after Andre Derain (1880–1954), titled Nature morte avec des pommes (Still Life with Apples), from the folio Andre Derain 1880 - 1954, 1961, ori...

This piece is a truly emotional one, just waiting to be hung on a wall of remembrance to loved ones of honor. It's beautifully kept frame emphasizes its merit, and the piece itself i...

Business cards like this fall into the category of what art historians today generally refer to as "ephemera." Ones like this were produced for companies in the late 19th century, pr...

This exquisite lithograph and pochoir after Henri Laurens (1885–1954), titled Nature morte (Still Life), from the album L'Art Cubiste, Theories et Realisations, Etude Critique (Cubis...

Framed 24.50 x 21 in No. 366 in the Catalogue Raisonne of Chagall's lithographs Framed with museum-quality archival materials, including museum glass which filters out 99% of harmf...

Jean-Antoine Watteau Winter – Spring 1841 Hand colored lithograph 14 x 19.5 inches Framed: 25 x 31 inches

Peter Max, German/American (1937 - ) - Two Flowers, Year: 1980, Medium: Lithograph, signed in pencil, Edition: 165, H/C, Image Size: 22 x 18.5 inches, Size: 28 in. x 21 in. (71....

Hand signed and numbered by the artist. Lithograph in colors. Edition of 300. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offers will...

This exquisite lithograph after Rene Magritte (1898–1967), titled Sans titre (Untitled), from the album Poems 1923-1958, Dix dessins de Rene Magritte (Ten Drawings by Rene Magritte),...

This exquisite lithograph after Roger de La Fresnaye (1885–1925), titled La table Louis-Philippe (The Louis-Philippe Table), from the album Roger de la Fresnaye, III, Collection Pier...