1950s Figurative Prints

Lithograph on Vellum Paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From volume, Derrière le miroir, No. 87-88-89. June-J...

Original Edition Lithograph on wove paper. Paper Size: 9.0625 x 9.25 inches. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; nev...

Original Edition Lithograph on wove paper. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Publishe...

Original Edition Lithograph on wove paper. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Publish...

Original Edition Lithograph on wove paper. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Publishe...

Original Edition Lithograph on wove paper. Paper Size: 7.875 x 7.5 inches. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; never...

Original Edition Lithograph on wove paper. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Publishe...

Original Edition Lithograph on wove paper. Paper Size: 8.25 x 16.625 inches. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; nev...

Original Edition Lithograph on wove paper. Paper Size: 8.25 x 16.625 inches. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; nev...

Original Edition Lithograph on wove paper. Paper Size: 9.374 x 8.25 inches. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; neve...

Original Edition Lithograph on wove paper. Edition: 6,000, plus proofs. Inscription: unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Publishe...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 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...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Olympian Games Engraving, 1957 Signed, dated, titled and numbered (see photos) Edition: 25 (7/25) From the first and only edition, probably less than 8 impressions printed Printed by...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Pierre Dieuzey et ses Capetiens, Jazz New Orleans vintage poster. Artist: Pierre Merlin. Lithograph, archival linen-backed vin...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Lithograph by Jean Cocteau Title: The Voice Signed in the plate Dimensions: 32 x 25.5 cm Edition: 200 1959 Publisher: Bibliophiles Du Palais Unnumbered as issued

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

ARTIST: Salvador Dali TITLE: The Woman in The Cosmos Dominating The World MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Jean-Paul Lorriaux EDITION NUMBER: 115/150 MEASURE...

Original Limited Edition Collotype on Arches paper. Paper Size: 16.5 x 10.38 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Original vintage exhibition poster: HENRI MATISSE EXHIBITION. Linen baked in excellent condition, ready to frame. The background is a flat...

Artist: Joan Miro Title: La Femme Au Miroir Portfolio: Derriere le Miroir: 10 Ans d'Edition Medium: Lithograph Date: 1956 Edition: Unnumbered Frame Size: 21 3/4" x 28 3/4" Sheet Size...

Original Limited Edition Collotype on Arches paper. Paper Size: 10.25 x 16.5 inches. Inscription: Unsigned and unnumbered, as issued. Edition: 1500, plus proofs. Excellent condit...

Medium: original etching. This Villon etching was published in Paris in 1956 by Manuel Bruker in an edition of 150-- this impression is from the deluxe ...

Medium: original etching. Catalogue reference: Ginestet-Pouillon 525. Printed in 1952 for the art revue XXe Siecle and published in Paris by San Lazzaro. Plate size: 9 1/2 x 7 5/8 in...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

Medium: original zincograph (a lithograph which was printed from a zinc plate rather than a stone). This original Henri Michaux was executed in 1958 for the hard-to-find XXe Siecle (...

Hand signed.  “Le Passeggiatrici” (“The Promenaders”) is a lithograph by Massimo Campigli, dated 1957. Two elegant female figures are the protagonists of this composition. The diffe...

Jean Cocteau ( 1889 - 1963 ) Vé and Astrology ceramic's pendant : Vé : signed underneath White 1ere variant ( Terre blanche en relief ). page 212 Size: 7 x5.5 cm catalogue rai...

Original American Export Lines vintage travel poster. Artist Aldo Sassi, printed in Italy by Pesce, Genova. Professional acid-free archival linen ...

Edition of 100. Hand signed and numbered. Very good condition.

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 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...

Original Ford of Germany, The All New Taunus 12M Super vintage German antique poster. Archivally linen-backed om excellent condition and ready to frame. We have not be able to locate any other document copy of this poster. The Taunus 12M, presented in 1952, was the first new German Ford...

Paul Jouve - Eagle - Original Engraving Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Artwork by Paul Jouve. Original copper engraving heightened with pochoir. Paul...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Drawings from the Bible by Marc Chagall, Verve: Revue Artistique et...

Beautiful original US threesheet (104×206 cm) for CAT GIRL directed by Peter Hennessy in 1957 starring Barbara Shelley. Poster is linen backed for restoration and longevity purpose...