People Landscape Prints

Artist: John Hutchins (English, 1698-1773) Title: "Southwest View of Sherborne Abbey Church" (Plate 15) Portfolio: The History and Antiquities of the County of Dorset Year: 1861-1870...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Le divan (The Divan), from the folio Les Bleus de Barcelone, 12 aquarelles et pastels (The Blues of Barc...

Thomas Hart Benton (American, 1889 - 1975) was a painter, muralist, and printmaker whose sinuous, rhythmic style came to define the Regionalist movement. His paintings and lithograph...

Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

"Stone of Unction, Church of the Holy Sepulchre" is a framed 19th century hand-colored lithograph by David Roberts from the large folio edition of his monumental 6 volume publication...

Etching and drypoint on watermarked Hudelist laid paper, 9 5/8 x 5 inches (245 x 129mm) full margins. Second state (of five) after lettering. A superb condition with a pencil inscrip...

Werner Bronkhorst, Birdie Chance, 2025 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over F...

This stunning Artist's Proof is an one-off, oil hand-painted and gilded by the artist , signed at front and on the back label too; each proof is 80% hand painted and gold gilded by S...

Etching realized by Giambattista Albrizzi (1698-1777) for Thomas Salmon's Lo Stato presente di tutti i Paesi e Popoli do Mondo. Regno di Spagna. Includes a contemporary wooden frame...

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...

This exquisite lithograph by Marc Chagall (1887–1985), titled Cheval bleu au couple (Blue Horse with Couple), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght (Tribute to Aime and Marguerite Maeght). Published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Moderne du Lion, Paris, this vibrant composition reflects Chagall’s lyrical fusion of color, dream, and devotion. In Cheval bleu au couple, ethereal figures and a radiant blue horse float within a luminous space of poetic imagination, evoking love, memory, and transcendence. The image captures the artist’s timeless ability to unite fantasy and emotion within the expressive language of modernism. Executed on velin paper, this lithograph measures 15 x 11 inches (38.1 x 27.9 cm). As issued, it is unsigned and unnumbered, consistent with the authorized publication format. The edition exemplifies Chagall’s mastery of color lithography and his lifelong exploration of faith, folklore, and the human spirit. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Cheval bleu au couple (Blue Horse with Couple), from Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght (Tribute to Aime and Marguerite Maeght), 1982 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Unsigned and unnumbered, as issued Date: 1982 Publisher: Maeght Editeur, Paris Printer: Imprimerie Moderne du Lion, Paris Catalogue raisonne references: Chagall, Marc, et al. Chagall Lithographe VI, 1980–1985. Andre Sauret, Editeur, 1986, illustration 993. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustres. P. Cramer ed., 1995, illustration 113. Condition: Well preserved, consistent with age and medium Provenance: From the 1982 folio Derriere le Miroir, No. 250, published by Maeght Editeur, Paris Notes: Excerpted from the folio (translated from French), This special issue of Derriere le Miroir was designed and defined by Aime Maeght in the fall of 1980. He envisioned its publication as a celebration with which artists and writers published since 1946 were to be associated. He also chose Francois Chapon, president of the Reverdy Committee, to write the presentation. This Derriere le Miroir number 250 took the form, after its disappearance on September 5, 1981, of a tribute to Aime Maeght and his wife Marguerite Maeght who died four years earlier. 24 artists agreed to create an original graphic work for this issue which includes the general table of all issues as well as excerpts from texts by 32 writers. Finished printing on June 2, 1982 on the presses of the l'Imprimerie moderne du Lion in Paris. CL examples were printed on velin d'Arches, numbered from I to CL, and some non-commercial examples constituting the original edition. About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary use of color and poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the rich imagery of his Jewish heritage and childhood in Vitebsk, Chagall’s dreamlike compositions fused memory, folklore, faith, and romance with the expressive innovations of modern art. His work evolved alongside and in dialogue with the great modern masters—Pablo Picasso, Henri Matisse, Alexander Calder, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, redefined artistic language for a new century. Spanning painting, printmaking, stained glass, ceramics, stage design, and illustration, Chagall’s career reflected both his deep spirituality and his boundless imagination. His works are held in major museum collections worldwide, including the Museum of Modern Art, the Guggenheim, the Tate, and the Centre Pompidou. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Cheval bleu au couple, Marc Chagall lithograph, Chagall Derriere le Miroir, Chagall Maeght...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Reuben, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

Title: 4 Liberty Heads Year: 2005 Medium: Offset lithograph in colors on gloss archival paper Size: 15 x 19 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as iss...

Original “Never So Few” vintage linen-backed movie poster, NSS 59/348. Very clean and bright, with original theater-issued fold marks touched up. Grade A-. Ready to frame. Nev...

One print from Jos Sances cycle concerning Moby Dick. A vast sperm whale drifts below the surface, scarred by harpoons, while above floats a lone survivor on a coffin raft—a haunting...

Leonora Carrington (British-Mexican 1917 - 2011) was a painter, writer, and key figure in Surrealism whose work explored the sacred, the mystical, and the magical in everyday life. B...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Chandelier (The Candelabrum), from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition pu...

This exquisite lithograph by Marc Chagall (1887–1985), titled Vision de Paris (Vision of Paris), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edition...

This exquisite lithograph after Edgar Degas (1834–1917), titled Danseur au bar (Dancer at the Barre), originates from the 1945 folio Degas, Ten Ballet Sketches. Published by The Stud...

This exquisite lithograph by Henry Moore (1898–1986), titled Red and Blue Standing Figures, from the album XXe Siecle, Nouvelle serie, No. 1, 1951, originates from the 1951 edition p...

Bretherton, James (After Rembrandt van Rijn). Christ and the Woman of Samaria Among Ruins. London: c 1775. Etching on light cream laid paper, 4 3/4...

This exquisite lithograph by Marc Chagall (1887–1985), titled Paradis II (Paradise II), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, originates from the September 1956 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1956. This luminous composition portrays the splendor of Paradise, filled with light, harmony, and divine presence. Through his poetic use of line and ethereal symbolism, Chagall evokes the spiritual unity between humanity and the divine, capturing the purity and joy of creation. Paradis II reflects the artist’s enduring belief in love and beauty as transcendent forces, transforming a biblical vision into a universal celebration of faith and imagination. The work forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Paradis II (Paradise II), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, September 1956 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cain, Julien, and Fernand Mourlot. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustrations 117–46. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustrés. P. Cramer ed., 1995, illustration 25. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, published by Editions de la revue Verve, Paris, 1956 Notes: Excerpted from the album (translated from French), This double issue of Verve is dedicated to the full reproduction in heliogravure of the one hundred-five plates etched by Marc Chagall, between 1930 and 1955, for the illustration of the Bible. The artist composed especially for the present work, sixteen lithographs in color and twelve in black, as well as the cover and the title page. This volume was completed and printed on September 10, 1956, by the Master Printers Draeger Freres for heliogravure, and by Mourlot Freres for lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. VIII, No. 33–34 in September 1956, represents one of the crowning achievements of Chagall’s lifelong dialogue with the sacred. Conceived and directed by the visionary publisher Teriade and printed by the master lithographers Mourlot Freres, the issue features thirty-four color lithographs and numerous black-and-white drawings inspired by biblical figures and stories. Chagall’s works for this edition unite text and image in a luminous meditation on divine creation, moral struggle, and spiritual renewal, imbued with his signature dreamlike symbolism and radiant color. Produced in postwar Paris, this landmark publication reaffirmed the enduring union of art and faith, establishing Dessins Pour La Bible as one of the most important illustrated works of the 20th century. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Paradis...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

This exquisite lithograph after Edgar Degas (1834–1917), titled Danseur debout de profil (Dancer Standing in Profile), originates from the 1945 folio Degas, Ten Ballet Sketches. Publ...

Werner Bronkhorst Swing, 2025 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks. Hand-stretched over FSC-certifi...

This exquisite lithograph by Marc Chagall (1887–1985), titled Place de la Concorde (Place de la Concorde), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originates...

Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...

Baroque 17th century German fountain design Copper-line engraving, published in 1664 in Nuremberg. From 'Architectura Curiosa Nova' by George Andreas B...

1641. Etching on cream wove paper, 5 1/16 x 7 11/16 inches (128 x 195 mm), narrow margins. Printed 19th century on a remainder which has a partially trimmed, printed image of a Virgi...

Vintage poster realized in 1981. Offset and lithograph. Very good condition.

This exquisite lithograph by Marc Chagall (1887–1985), titled Vision de Paris (Vision of Paris), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originates from the ...

Artist: Romare Bearden (1911-1988) Title: Girl in the Garden (Gelburd/Rosenberg 62) Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 33/150, plus proofs Size: 28.75 x 2...

Lithograph on vélin paper. Paper Size: 13 x 9.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and Fernand Mourlot. Chagall Lit...

This exquisite lithograph and pochoir by Joan Miro (1893–1983), titled La Femme et l’Oiseau (The Woman and the Bird), from the album XXe Siecle, Nouvelle serie No. 6, originates from...

This exquisite lithograph by Marc Chagall (1887–1985), titled Nocturne a Vence (Nocturne in Vence), from the album The Lithographs of Chagall, Volume II, originates from the 1963 edi...

Ten lithographs in excellent condition, with portfolio cover. The ten artists included in the 1946 portfolio "Mexican Art: A Portfolio of Mexican People and Places" include: Ángel Bracho / Francisco Mora / Fernando Castro Pacheco / Raúl Anguiano / Alberto Beltrán...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Portrait de Jacqueline (Portrait of Jacqueline), from the folio Picasso, La flute double, 16 Dessins, Aq...

Josep Maria Vayreda Canadell (Gerona 1932-2001) - Paris - Lithograph Print measurements 52x43 cm. Frame measurements 75x61 cm. Josep Maria Vayreda Canadell Year of birth: 1932 Biography: Member of a family spanish saga of artists, which highlighted Joaquim Vayreda...

Artist: Andy Warhol (1928-1987) Title: Jacqueline Kennedy (Jackie II) Year: 1966 Medium: Silkscreen in colors on wove paper Size: 24 x 30 inches Condition: Excellent Inscription: Sig...

JAMES McNEILL WHISTLER (American 1834–1903 London) THAMES WAREHOUSES, 1859 (K 38 ii/ii; Glascow 46 iv/v; Mansfield 37) Etching and drypoint on fine thin laid paper. Plate: 3 × 8 i...

'New York, Central Park', etching, edition 40, c. 1930. Signed in pencil. Titled and numbered '14/40' on the bottom sheet edge, in pencil. Signed in the plate, lower left. A superb, ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Judah, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by And...

This exquisite lithograph after Marc Chagall (1887–1985), titled La Tribu de Levi (The Tribe of Levi), from the special issue of the XXe Siecle Review, Chagall in Jerusalem, originat...

Original France travel by bicycle (and French bread) vintage serigraph poster, excellent condition, ready to frame. These images are of the exact rare poster you will receive. Ar...

Earl Horter, 'The Woolworth Building Under Construction', etching, c. 1912, edition not stated. Signed in pencil. A fine, richly-inked impression, in warm black ink, with selectively...

Serge LASSUS (1933-) Thalasso at Saint Malo, 1983 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 76 x 56 cm (c. 30 x 22 ...

The Los Angeles Olympics Torch /runner. 1984 Los Angeles Olympics original vintage poster. Original, hand signed and numbered #232/300 "The Olympic Tor...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

THE LANTERN is an original, handmade limited edition lithograph printed in 13 colors from hand drawn lithography plates using traditional hand lithography methods on archival Somerse...

TEAR OF TIME (Melting Clock) is a limited edition color lithograph by the Modern master Salvador Dali, after an original Salvador Dali gouache pa...

GOING TO CHURCH is an original hand drawn lithograph (not a photo reproduction or digital print) printed on archival printmaking paper 100% acid free, using hand lithography techniqu...

Limited edition woodblock print in colors seated in a black metal frame behind glass with a front profile of 1/4 inch and a side profile of 1 1/4 inch. Hand signed and numbered out o...

ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré au Blau...

Lithograph on vélin bouffant des Papeteries de Hauteville paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Fernand Léger mes voyages avec un poème d'...

THE CONVERSATION is an original limited edition lithograph printed using traditional hand lithography methods on archival Somerset printmaking paper, 100% acid free. THE CONVERSATION...

This exquisite lithograph by Marc Chagall (1887–1985), titled Sara et Abimelech (Sarah and Abimelech), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue...

Original 1947 Paris 1900 lithographic movie poster by the artist Raymond Peynet. The poster had originally been folded, and there is some wrinkling at the bottom edge of the poste...

Werner Bronkhorst Walk On Water, 2025 Giclée print on heavyweight 395gsm matte Canson Infinity PhotoArt ProCanvas, made with long-lasting Epson archival inks 43 x 33 cm (16.9 x 13 ...