Continental Europe - More Prints

In Femme au chien, Manuel Robbe captures a moment of serene domestic intimacy—a young woman pausing during a garden stroll as her loyal dog gently nuzzles her. This original 1907 aqu...

"Ada" from 2011 is a Japanese woodblock in thirty-one colors on New Hosho paper. We are offering the number 18/70. 3 Artist's proofs. Ada is Alex Katz' wife and his most important mu...

This original 1905 chromolithographic poster by Ernest Montaut celebrates the dawn of the automobile age with bold drama and speed. Titled “Le pneu Michelin a vaincu le rail” (The Mi...

Henri Matisse (1869-1954) - Jazz (Jazz) Lithograph from 1983. Dimensions of sheet: 61 x 39 cm Dimensions in frame: 73 x 53 cm Publisher: George Brazilier, New York. Printer: Ern...

Step into a radiant vision of the French countryside with this original 1968 travel poster designed by legendary graphic artist Bernard Villemot. Created for the SNCF (French Nationa...

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

Serge Poliakoff Composition bleu et verte, 1963 Lithograph on paper 10 3/10 × 12 4/5 in 26.2 × 32.5 cm Edition of 200: Hand-signed in pencil Original (double-sided) greeting card f...

After Marc Chagall (1887-1985) - Avenue de la victoire à Nice Lithograph from 1967. Dimensions of work: 73 x 52 cm. Reference: Chagall Lithographs CS 31. The work is in Excellent...

Joan Miro (1893-1983) - La Mélodie Acide, Planche XII Lithograph from 1980. The edition 777/1500. Dimensions of work: 32 x 24 cm. Plate signed. Publisher: Au Pont des Arts and G...

Appareil et Main  is an artwork realized after a painting by the Surrealist Catalan artist Salvador Dalí  (Figueres, 1904-1989). This is a color lithograph on wove paper, properly e...

Marc Chagall (1887-1985) - Couple et poisson (Couple and Fish) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x...

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 From the last po...

This striking original Swiss travel poster, created around 1950 by the artist Plangg, captures the clean, bold graphic style that defined mid-century Swiss tourism promotion. Showcas...

Marc Chagall (1887-1985) - Bataille de Fleurs (Carnaval of Flowers) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work:...

Marc Chagall (1887-1985) - Abdullah Discovered before Him..., from the Arabian Nights Lithograph from 1948. Inscribed Pl. 9 and numbered 82/90. Dimensions of work: 42.5 x 32.5 cm...

Victor Vasarely (Hungarian-French, 1906–1997) Untitled (Spiegel 70), 1970 Medium: Screenprint on paper Dimensions: 83 x 62 cm Edition of 150: Hand-signed and numbered in pencil

Marc Chagall - Bath-Sheba at the Feet of David - Original Handsigned Etching 1958 Printed by Tériade Dimensions: 54 x 39 cm Handsigned and numbered handcolored Edition: 100 Reference: Cramer 30. Etching with hand-coloring, circa 1930, initialled in pencil, numbered 75/100 (there were also twenty hors-commerce copies) , published 1958 by Tériade, Paris, on Arches wove paper Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

This original 1976 one-sheet poster for A Matter of Style captures the essence of 1970s surf culture—bold, expressive, and unapologetically free. Released by Golden Breed and distrib...

Giuseppe Capogrossi - Stencil 1958 Dimensions: 32 x 25 cm Edition: G. di San Lazzaro. Giuseppe Capogrossi B. 1900, ROME; D. 1972, ROME Giuseppe C...

This original lithograph by Jean Cocteau, titled Petit profil d'Orphée aux arabesques, captures the distinctive fusion of mythology and modernist elegance that defines the artist’s o...

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 Jean Cocteau W...

(after) Alberto Magnelli Untitled (Cubist Composition) after the collage Pochoir on paper Conditions: excellent 32 x 24 cm 1956 Printed by Daniel Jacomet for XXe Siecle (issue number...

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 Jean Cocteau W...

Günther Uecker (German, born 1930) Untitled (from Nagelbuch Portfolio), 1970-1971 Medium: Etching on wove paper Dimensions: 34.6 x 34.5 cm Edition of 500: Hand-signed in pencil

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 From the last po...

Bernard Buffet (1928-1999) - Voyages Fantastiques aux États et Empires de la Lune et du Soleil (Cyrano de Bergerac) Complete portfolio of 18 original drypoint etchings from 1958. E...

Pierre Alechinsky (1927) - A bras le corps Etching from 1997. Dimensions of work: 67 x 50 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Lieu dit Etching and aquatint from 1988. The edition of 90. Dimensions of work: 31 x 21 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Sans Titre Etching from 1980. The edition of 90. Dimensions of work: 56.5 x 76 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Sans carapace Etching from 1997. Pour Denis, cordialement. Dimensions of work: 67 x 50 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Devidoirs, Planche VII Etching from 1972. The edition X/X on Arches paper. Dimensions of work: 76 x 56 cm. Hand signed. The work is in Excellent condi...

Pierre Alechinsky (1927) - Devidoirs, Planche IV Etching from 1972. The edition X/X on Arches paper. Dimensions of work: 76 x 56 cm. Hand signed. The work is in Excellent condit...

Pierre Alechinsky (1927) - Devidoirs, Planche II Etching from 1972. The edition X/X on Arches paper. Dimensions of work: 76 x 56 cm. Hand signed. The work is in Excellent condit...

Pierre Alechinsky (1927) - Volturno III Lithograph from 1989. The ea edition. Dimensions of work: 90 x 60 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Volturno II Lithograph from 1989. The ea edition. Dimensions of work: 90 x 60 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - L’inconditionnement humain Lithograph from 1970. The edition of 112/300. Dimensions of work: 64 x 98 cm. Hand signed. The work is in Good condition.

Pierre Alechinsky (1927) - 1815 Etching and aquatint from 1978. The edition of 60. Dimensions of work: 59 x 78.5 cm. Hand signed. The work is in Good condition.

Pierre Alechinsky (1927) - Ordre Minéral Etching from 1980. The edition of 60. Dimensions of work: 62 x 90 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Autour de chute Etching and aquatint from 1979. The edition of 23/60. Dimensions of work: 60 x 98 cm. Hand signed. This etching with aquatint is inclu...

Pierre Alechinsky (1927) - Théatre pacifique Lithograph from 1978. Dimensions of work: 50 x 88 cm. Hand signed. A special edition - hand written the complete edition run. Dedicat...

Pierre Alechinsky (1927) - S aspiré Etching from 1988. The edition of 12/70. Dimensions of work: 70 x 70 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Paysage déplié Lithograph from 1995. The edition of 35. Dimensions of work: 160 x 120 cm. Hand signed. The work is in Excellent condition.

Pierre Alechinsky (1927) - Arbre Central à l'orange Etching from 1993. The edition of 60. Dimensions of work: 77 x 61 cm. Hand signed. Publisher: Robert Lydie Dutrou, Pari...

Pierre Alechinsky (1927) - Choses rapportées du Japon Lithograph from 1990. The edition of 49/50.. Dimensions of work: 28.5 x 23.5 cm. Hand signed. Publisher: Éditions Fata Morg...

Pierre Alechinsky (1927) - Espionne Lithograph from 1970. The edition of 33/300 on Arches paper. Literature: Rivière 474. Dimensions of work: 51.5 x 69 cm. Hand signed. Publishe...

Pierre Alechinsky (1927) - Chapeau fort Etching with lithograph from 1976. The edition of 3/90. Dimensions of work: 63.5 x 91 cm. Hand signed. This etching with lithograph is in...

Salvador Dali (1904-1989) - Terpsichore Hand-coloured drypoint etching from 1971. The edition 81/145 on Arches paper. Dimensions of work: 65 x 51 cm. Hand signed. Publisher: Les...

Salvador Dali (1904-1989) - Urania Hand-coloured drypoint etching from 1971. The edition 67/145 on Arches paper. Dimensions of work: 51 x 65 cm. Hand signed. Publisher: Les Heur...

Pablo Picasso (1881-1973) - L'atelier de Cannes Lithograph from 1958. On Arches paper. Dimensions of work: 44.8 x 33.4 cm. Plate signed. It's an enhanced version of the first st...

Henri Matisse (1869-1954) - Le cheval, l'écuyère et le clown (The Horse, the Equestrienne, and the Clown) Lithograph from 1983. Dimensions of sheet: 61 x 39 cm Dimensions in frame...

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 From the last po...

Salvador Dali (1904-1989) - Corridor de Kathmandou (Katmandu Corridor) Drypoint etching from 1969. The edition 25/145 on Arches paper. Dimensions of work: 66 x 51 cm. Hand signed...

Hans Bellmer (1902-1975) - Sans titre Drypoint etching from 1975. Edition of 49/99 on Lana paper. Dimensions of work: 50.5 x 32 cm. Hand signed. Publisher: Éditions Borderie, Pa...

Salvador Dali (1904-1989) - Femme à la chaussure Etching from 1969. 66/145 on Japan paper. Dimensions of work: 38 x 28 cm. Hand signed. Publisher: Graphik Europa Anstalt. Refer...

Salvador Dali (1904-1989) - Le Démon ailé Etching from 1969. 66/145 on Japan paper. Dimensions of work: 38 x 28 cm. Hand signed. Publisher: Graphik Europa Anstalt. Reference: M...

This original circa 1970 silkscreen poster, designed by Emory Douglas, the Minister of Culture of the Black Panther Party, is a striking example of revolutionary graphic art and mili...

Step into the golden age of American travel with this 1971 original poster promoting Eastern Airlines as the official airline of Walt Disney World. Issued in the year the now-legenda...

Joan Miro - Peacock Feathers - Original Lithograph Artist: Joan Miro Dimensions: 9 x 14-/12 inches (sheet), with the usual centerfold, as published in "Joan Miro" by Jacques Prevert ...

Jean Dubuffet Banque de L'Hourloupe Original Card with a title card Original edition of 350 numbered sets with 30 hors commerce Dimensions: 25 x 16 cm Screen printed by Kelpra Studios, London Editions Alecto, London 1967 Jean Dubuffet (1901 - 1985) Jean Dubuffet was born on July 31, 1901, in Le Havre, France. He attended art classes in his youth and in 1918 moved to Paris to study at the Académie Julian, which he left after six months. During this time, Dubuffet met Raoul Dufy, Max Jacob, Fernand Léger, and Suzanne Valadon and became fascinated with Hans Prinzhorn's book on psychopathic art. He traveled to Italy in 1923 and South America in 1924. Then Dubuffet gave up painting for about ten years, working as an industrial draftsman and later in the family wine business. He committed himself to becoming an artist in 1942. Dubuffet's first solo exhibition was held at the Galerie René Drouin, Paris, in 1944; the Pierre Matisse Gallery gave him his first solo show in New York in 1947. During the 1940s, the artist associated with André Breton, Georges Limbour, Jean Paulhan, and Charles Ratton...