1920s Figurative Prints

Clifford James (active 1900-1930) After James Abbott NcNeill Whistler (1834-1903) Symphony in White No. 2, The Little White Girl Color mezzotint, 1922 Signed in pencil by James (see ...

Die Bettler (The Beggars) Lithograph, 1922 Signed in pencil lower right (see photo) From: Berliner Reise Series, Plate 7 Printed on wove paper Edition: 100...

Jean HUGO ( 1894 - 1984 ) " Le miroir Magique " . PARIS .Jeanne Buchet .1927. Musée FABRE . Montpellier . portefeuille de 20 lithographies coloriées sur pochoir par Jean saudé d'ap...

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

Le chapeau épinglé (La fille de Berthe Morisot et sa cousine) 3e planche. Etching realized by Renoir in 1894. Image dimension 11.5x8 cm. / sheet dimension 33.2x15.1 cm. The final s...

Clare Leighton, 'Snow Shovellers, New York', 1929, wood engraving, edition 45, Boston Public Library 146. Signed, titled, and numbered '29/45' in pencil. A...

Henri MATISSE (1869-1964) Paris : Saint Michel Bridge, 1927 Original etching Printed signature in the plate Limited to 225 copies On BFK Rives vellum 25 x 33 cm (c. 9.8 x 12.9 in)...

Jean HUGO ( 1894 - 1984 ) " Le miroir Magique " . PARIS .Jeanne Buchet .1927. Musée FABRE . Montpellier . portefeuille de 20 lithographies coloriées sur pochoir par Jean saudé d'ap...

Louis Conrad Rosenberg, 'Mosque of the Sultan Bayazid, Constantinople', etching, 1927. Signed in pencil. Initialed and dated in the plate, lower left. A fine, richly-inked impression...

B/w etching on Hollande Van Gelder Paper, with margins. Belongs to the series "Le Chef-d'Oeuvre Inconnu". Hand Signed and numered in bistre ink. Edition of 10/99, aside from the port...

Lithograph on vellum, realized by Kubin in 1929. Hand signed in pencil. Framed under glass, frame dimension 63.5x51 cm. Ref. Raabe 380.

A superb, dark impression of a well known scene by Arms. Etching with aquatint on watermarked handmade F.J. Head & Co. laid paper, 12 3/8 x 13 15/16 inches (315 x 354 mm), full marg...

KATHE KOLLWITZ (1867-1945) GEFALLEN (Killed in Action) 1920 (Klipstein 153 (1st state, a of c of 2 states) Lithograph on laid paper. Image 16 ¼ x 15 ¼ inches, Large Full Sheet, 25 ½...

Kees VAN DONGEN (1877-1968) Paris : Parisian Club, 1927 Original etching Unsigned Limited to 225 copies On BFK Rives vellum 33 x 25 cm (c. 12.9 x 9.8 in) REFERENCE : Catalogue ra...

Jean Cocteau, Portrait de Jean Desbordes is a Lithograph on vélin pur fil des Papeteries du Marais, realized by Cocteau in 1929. Belongs to the suite "25 Dessins d'Un Dormeur", publ...

Dame Laura Knight "The Circus Dressing Room" 1925 Etching Ed. 20 Signed Lower Right Image Size: approx. 14 x 10 inches Framed Size: approx. 23.5 x 17.75 inches An English impressio...

Portrait of Gladys Anne Hoskyns Collotype after a Wyndham Lewis drawing, 1923 Singed in the plate and reinforced in pencil Published by The Dial Publishing Company in Living Art...

Ne sommes-nous pas forçats? (Are we not Slaves?) Aquatint and heliogravure on Arches laid paper watermarked "Ambroise Vollard" Signed and dated in the plate lower left (see photo) P...

Gaston Suisse (1896-1988) Panthère noire dans les bambous, 1927 Gravure sur bois, sur papier Velin de Van Gelder. Rehaussé aux lavis d’encre de Chine par l’artiste Signé en bas à gauche et daté 1927 en bas à droite Black panther in a forest of bamboos, 1927 A handcolored woodcut on Velin de Van Gelder paper Signed and dated 1927 Bibliographie /Literature Gaston Suisse, splendeur du laque art déco. Emmanuel Bréon. Somogy Éditions d'art, Paris 2013, reproduite page 105 (un autre exemplaire reproduit) The artist made a wood engraving of which he made about twenty prints himself. These proofs were not marketed as is, Gaston Suisse reworked each of the proofs using Indian ink washes in order to obtain different effects for each proof, which are thus unique original works. Born in 1896 in a family of artists, his father Georges was a close friend of Siegfried Bing and a great lover of Japanese art and a bibliophile. He passed his taste for art to his son whom he often took to draw at the Botanic Garden . Around 1910, Gaston Suisse, who hasn't entered yet the artistic school, met Paul Jouve, then 18 years his elder, who was already famous. In 1911, at the age of 17, he entered the National School of Decorative Art where he followed the teachings of Paul Renouard. Thanks to his knowledge and taste for the Japanese art, he chose lacquer painting as his specialty. His practice of this noble and demanding subject were so much appreciated that he was awarded with two gold medals in 1913 and 1914. Mobilized during the war , he joined the army and go in Salonika where he found his friend Jouve. In 1918, he finished his studies at the School of Applied Arts in order to perfect his training. He learned in particular the techniques of gilding and oxidation of metals. The first productions of Gaston Suisse, furniture and objects in lacquer with geometrical patterns, were an instant success and Suisse was appointed as member of Salon d'Automne in 1924, the very year of his first exhibition. Considered as an artist-decorator, his sincere and deep friendship with Jouve linked him in parallel with the groups of the animaliers of the Jardin des Plantes and became a close friend of Edouard-Marcel Sandoz. When travelling to Maghreb and Middle-East between 1923 and 1925, he produced numerous drawings representing antelopes, apes and fennec foxes...

JOSE CLEMENTE OROZCO (1883 – 1949) CABEZA DE MUJER, ( Woman's Head: Mexican Woman) 1929 (Orozco 9) Lithograph, signed and numbered 23/50. in pencil. Pri...

Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil. A superb impression, with fresh colors, on heavy, cream wove paper; with margins...

Hokuto Tamamura (1893-1951), 'The Spirit of the Wine' (Shuten Dōji) - from Dai Chikamatsu Zenshu (The Complete Works of Chikamatsu)', color woodblock, 1923-26. Signed 'Hokuto'. A fin...

Original French vintage poster. le "Flip" Soap. This fun image shows the tube of 'Flip" pushing away the shaving bowl, towel, and shaving brush. I...

They Thunder forth from Their Clouds is an original lithograph, realized by George Grosz in 1922, from Die Raüber, edition Malik Verlag in 100 prints, plate n°8 da Die Raüber, hand-signed in pencil. "They thunder forth from their clouds about gentleness and forbearance, while they sacrifice human victims to the God of love." (Da donnern sie Sanftmut und Duldung aus ihren Wolken und bringen dem Gott der Liebe Menschenopfer.)" Sheet dimension: 61,5 x 42 cm. In very good conditions. Here representing a man in front of cross miserably praying, below of his feet laid down many dead bodies and ruined part of the city. here is one of his artwork affected by consequences drama of war. George Grosz (1893 -1959) was a German artist known especially for his caricatural drawings and paintings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic. He studied drawing at the Dresden Academy 1909-11 and at the School of Arts and Crafts in Berlin 1912-14, He was in the army 1914-15 and again for a short time in 1917, but spent the rest of the war in Berlin where he made violently anti-war drawings...

Medium: original woodcut. Catalogue reference: Colnaghi 142. Published in London in 1921 by Herbert Furst at the Little Art Rooms for inclusion in the "Modern Woodcutters 4" volume, ...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

GEORGES ROUAULT (1871-1958) MON DOUX OU-ETES-VOUS? / MY SWEET COUNTRY, WERE ARE YOU? 1927 ( Chapon/Rouault 97; Wofsy 151) Miserere XLIV Aquatint, 1927, on laid Arches. watermark...

The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' c...

Luigi Kasimir, 'Coenties Slip', color etching with aquatint, 1927, edition 100. Signed in pencil. Dated in the plate, lower right. Annotated 'NEW YORK HANOVER SQUARE (COENTIES SLIP)'...

Irish Fair Lithograph, 1923 Signed and numbered in pencil by the artist (see photo) Titled "Irish Fair" by the artist in pencil Edition: 84 Housed in an archival frame with acid free matting (see photo) Provenance: Estate of the artist, Bellows Family Trust H.V. Allison & Company (label) Private Collection, Columbus References And Exhibitions: Reference: Mason 153 Note: An illustration commissioned by The Century Company for Don Byrne's novel The Wind Bloweth Image: 18 7/8 x 21 3/8" Frame: 29 1/2 x 30 1/2" “Eleven on a hot July morning, and the little town...

En bouche qui fut fraîche, goût de fiel (In the mouth that was once fresh, the taste of bitterness) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned as ...

Coquette Pochoir (silk screen) printed in colors, c. 1923-1925 Signed by the artist in pencil lower right; numbered in ink on the image, (see photo) Edition: 250 (100/250) in pencil in image (see photo) Image size: 10-1/2 x 12-3/4" The artist won a gold medal in Paris in 1925 for his porchoirs Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

Au Japon Pochoir (Stencil Print), 1925 Signed by the artist in pencil lower right (see photo) Signed in the image lower left (see photo) Stamped verso: Made in France Note: The artis...

Le Tir Forain, engraving, edition 108, 1920-21, Sylvain Laboureur 191. Signed and numbered '19/85 ép' in pencil. Initialed 'L' and dated 1920 in the matrix,...

Original Iolanthe vintage theatre poster: Gilbert and Sullivan Iolante stone lithograph vintage poster. Museum linen backed. Clear, clean, bright. Grade A condition. The poster features a central image of a character dressed in a traditional British Grenadier Guard uniform, complete with a bearskin hat. The character is depicted in a whimsical pose, which aligns with the comedic and satirical nature of the operetta. Above the main figure, there are smaller illustrations of various characters from the operetta, hinting at the fantastical and fairy-tale elements of the story. The title "Iolanthe" is prominently displayed in bold, stylized lettering at the bottom. "Iolanthe, or The Peer and the Peri," is a comic opera by the famous duo W.S. Gilbert and Arthur Sullivan. The opera premiered on November 25, 1882, at the Savoy Theatre in London and is one of their most beloved works. "Iolanthe" tells the story of fairy Iolanthe, who was banished from the fairy kingdom...

After Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Artist: Louis Icart, French (1888 - 1950) Title: Hiding Place Year: 1927 Medium: Etching, signed in pencil Image Size: 18 x 14.5 inches Size: 19 x 15.5 in. (48.26 x 39.37 cm) Frame S...

Lithograph on vélin Lafuma Navarre paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the album, Dessins de Henri-Matisse, 1925. Published...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Van Dongen, 1925. Published by Henri Floury, Paris; printed by Pierre Dumont, Pa...

Boris Lovet-Lorski, Untitled (Profile of an African Woman), lithograph, edition 250, 1929. Signed and numbered 15 in pencil. Number 15 of Volume 2, a series of 10 lithographs publish...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

Presenting a monumental original etching by French artist Albert Decaris. Decaris won many honors in France during his extensive career. "Leda and the Swan", depicts the mythologi...

An original etching from "Le Chef- d’Œuvre Inconnu" by Pablo Picasso, created in 1927 and published in 1931. It is hand signed and numbered 7/99 in red brush f...

"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A ri...

Original “Mercurey Kina” vintage lithographic poster. Linen backed in B condition but ready to frame. Artist: Paul Mohr. Printer: Edia Paris. Signatur...

1920 Social Realism Etching by John French Sloan titled "Bandits Cave" Compelling etching by John Sloan (American 1871 - 1951), 1920 during first year of prohibition showing a estab...

Lake Biwa, sunset in Yabase is an original modern artwork realized by Utagawa Hiroshige (1797 – 12 October 1858) in 1920s. Woodcut Print Oban Yokoe Format. Reprint of of the Taisho...

"Mexican Orchestra" is one of the George Overbury Hart's largest pieces. It is #14 from a limited edition of 50. The image captures a festive event with hanging lanterns, an orches...

Jèsus sera en Agonie jusqu'à la fin du Monde; from Folio Miserere, 1922 Aquatint of Jesus' crucifixion by Georges Rouault (French, 1871-1958). Jesus is depicted with his head lowere...

Etching and drypoint on cream wove paper, full margins. Signed in pencil, lower right margin. In generally good conditon with several scattered very light spots of foxing throughout,...

Kyoka-Tokaido is an original modern artwork realized after Utagawa Hiroshige (1797 – 12 October 1858) in 1925. Woodcut print Chuban Yokoe Format. Signed...

A very good, richly-inked impression of this lithograph. Signed and numbered 57/100 in pencil by Matisse. Printed at the studio of Duchatel, Paris 1929.

Kyoka-Tokaido is an original modern artwork realized after Utagawa Hiroshige (1797 – 12 October 1858) in 1925. Woodcut Print Chuban Yokoe Format. Repri...

Yasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...

Sir Frank Short, R.A., P.R.E. 1857-1945. The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 19 x 24). A rich, glowing impression p...

HERBERT GURSCHNER (Austrian / English (1901-1975) VILLAGE SCENE / TOWN FESTIVAL ca.1924 Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...

Image dimensions: 13x18 cm. The Plow is an original modern artwork realized in the 1920s by Marcel Falter (1866 - 1932). Original B/W Etching on paper. Artist's Proof. Hand-sign...

HENRI MATISSE (French 1869-1954) LE REPOSE du MODELE 1922 . (Duthuit 416) Original lithograph, FIRST STATE, on Chine volant paper BEFORE image was reduced at the left edge. An uns...

FOSSEY (DATES UNKNOWN) EUGENE / ONDULATION PERMANENTE. 1926. Shee Size: 35 1/4x22 1/2 inches, 89 1/2 x 57 cm. C. Courtois, Paris. This is a gorgeous example of art deco artwork...

Etching on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Published by Éditions Marcel Seheur, Paris; printed by Atelier d'art Paul Haasen, Paris, Septembe...

Etching on cream wove paper 5 7/8 x 3 3/8 inches (150 x 86 mm). Signed and dated in pencil in the lower margin. First state (of 2), before the removal of the inscription in the lowe...

Lithograph and stencil on vélin Hollande van Gelder paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Fernand Léger, 1928. Published and printed by Éd...

Medium: original woodcut. This bold and striking Expressionist woodcut was printed in 1920 for Genius. Image size: 9 1/2 x 7 inches (240 x 180 mm). This original Rouveyre print is fr...

Helios Gomez, 'El Dictador (The Dictator)', letterpress, 1929-1930. Signed in the matrix, lower right and numbered '3', upper left corner. Letterpress relief print after the original drawing, with text in black ink on buff, wove paper; the full sheet with margins. Slight toning at the sheet edges, otherwise in very good condition. From the vintage suite of 23 numbered prints, titled in five languages with Spanish verses in linotype. Matted to museum standards, unframed. As published in 'Días de Ira' (Days of Wrath), a portfolio of 23 drawings and poems on the “Spanish White Terror” by Spanish artist Helios Gómez, his first publication. Accompanied by an introduction by the 'Socialist International' and with a foreword by Romain Rolland. Printed in Berlín in 1930. Image size 7 3/4 x 5 5/8 inches; sheet size 12 7/8 x 9 3/8 inches. ABOUT THE ARTIST "Free art from representational conventions and make it live from its own dynamism; make the spectator feel the emotion of an idea thanks to pure abstract plastic art: that is, in short, my artistic aspiration... I wanted to touch the people through art". — Helios Gómez. Helios Gómez (1905–1956) was born in Triana, Seville, into a working-class Calé (gypsy) family. He received his training at the Seville Industrial Arts and Crafts School and the Cartuja factory as a painter and decorator of ceramics. His initial works were published in the anarchist Páginas Libres, and he illustrated books by local authors like Rafael Laffon and Felipe Alaiz. In 1925, he showcased his work for the first time at the Kursaal in Seville, followed by exhibitions in Madrid at the Ateneo and in Barcelona at the Dalmau Gallery the subsequent year. Gómez became increasingly aware of the need for political change, aligning himself with anarchist groups and committing to express his political beliefs through his art, writing, and speeches. His artistic career allowed him some acceptance in broader Spanish society, which still primarily viewed Romani identity as acceptable only through creative expression. Unfortunately, anti-Romani sentiment persisted, reflected in critical reviews and media coverage. His early illustrations for anarchist writer Felipe Alaiz and exhibitions at radical spaces like Café Kursaal marked the beginning of his activism. In 1927, due to his political involvement, he had to flee Spain and travel across Western Europe, connecting with avant-garde art movements and the labor movement. This experience significantly influenced his work, which incorporated elements of cubism, expressionism, and futurism. Upon returning to Spain in 1930, he settled in Barcelona and collaborated as a printmaker with the Confederación Nacional del Trabajo. Gómez later renounced anarchism and joined the Communist Party of Spain (PCE), believing that the international communist movement was the most effectively organized force opposing the rise of fascism. He participated in communist rallies and was imprisoned in Barcelona's Model prison. During the Spanish Civil War, he fought with the Communist Party. He gave an interview to the leftist magazine Crónica, where he spoke about the anti-fascist cause and praised the Soviet Union for its integration of Romani people. By 1938, he had rejoined the anarchist movement and worked on the design of the newspaper El Frente. After fleeing the country during the Nationalists' Catalonia Offensive, he was interned in French concentration camps. In the aftermath of the war, as details of the Romani Holocaust started to emerge, he embraced his Romani identity more openly, especially after his imprisonment under the Franco dictatorship. He spent time in Model prison from 1945 to 1946 and again from 1948 to 1954, during which he focused on writing. He produced two essays, including one on Romani art...

Louis Icart Faust : Margueritte and Devil Original etching with aquatint Signed in pencil Blind stamp of the editor on the bottom left corner On vellum 62 x 45 cm (c. 25 x 18 in) ...

Detailed and dramatic hand-colored etching by Luigi Kasimir (Austrian, 1881-1962). St. Stephen's cathedral towers above the streets of Vienna, with people going about their daily bus...

Henri Matisse Nu Au Coussin Bleu, 1924 Original lithograph, hand signed in pencil From the edition of 50 on arches vellum paper, numbered 5/50. Sheet measures: 29.5 x 22 inches Frame...