20th Century More Prints
to
608
1,441
860
1,278
499
308
Overall Width
to
Overall Height
to
982
612
512
504
259
81
74
63
22
20
17
13
5
232
165
131
90
69
244
508
4,386
3,001
28
56
70
117
228
351
775
1,020
570
371
179
3,116
1,148
106
150
101
94
83
53
53
43
37
33
31
25
22
16
11
9
8
7
7
7
7
2,404
615
544
434
243
507
1,169
2,084
1,969
Period: 20th Century
Valentine
Located in New York, NY
Lithograph on Suzuki paper. Signed, dated and numbered 38/47 in pencil by de Kooning. Printed by Hollanders Workshop, New York. Published by Knoedler, New York.
Category
Abstract Expressionist 20th Century More Prints
Materials
Lithograph
He wrote in the Tables the wordes of the covenant, even the Ten Commandments
By Marc Chagall
Located in OPOLE, PL
This work will be exhibited at Art on Paper NYC, September 4–7, 2025.
–
Marc Chagall (1887-1985) - He wrote in the Tables the wordes of the covenant, even the Ten Commandments
Li...
Category
Symbolist 20th Century More Prints
Materials
Lithograph
Black Roses
Located in New York, NY
A very good impression of this color screenprint on Somerset Satin White paper. Initialed and dated in pencil, and titled and numbered 80/100 in pencil. Printed by Watanabe Studio, N...
Category
Contemporary 20th Century More Prints
Materials
Color, Screen
Tanks #1.
Located in New York, NY
This 1929 lithograph by Louis Lozowick was printed in an edition of 50. Lozowick signed this impression in pencil lower right with a monogram on stone, in the lower left. The sheet...
Category
Modern 20th Century More Prints
Materials
Lithograph
Odyssetron I (From the suite of 5 lithographs)
Located in San Francisco, CA
This artwork titled "Odyssetron I" 1982 is an original color lithograph by American PopArt artist Bryan Rogers, 1941-2013. It is hand signed and numbered 1/50 in pencil by the artist. With the blind stamp of the publisher, Western Wedge, Oakland California at the lower left corner. The sheet size is 18 x 24 inches. It is in excellent condition, has never been framed. An example of this particular artwork is in the permanent collection of the Museum Of Modern Art in San Francisco...
Category
Pop Art 20th Century More Prints
Materials
Lithograph
Plate VI, from 1972 Lithographe I
By Joan Miró
Located in Washington, DC
Artist: Joan Miro
Title: Plate VI
Portfolio: Lithographe I
Medium: Lithograph
Date: 1972
Edition: Unnumbered
Frame Size: 18 1/2" x 16"
Sheet Size: 12 1/2" x 10"
Image Size: 12 1/2" x...
Category
20th Century More Prints
Materials
Lithograph
Kukryniski 11 posters New Great Leap of Peking 1979 Soviet Propaganda
Located in London, GB
KUKRYNIKSY
Новый «Болшой Скачок» Пекина [The new Great Leap of Peking [Beijing]]
Moscow, Izadetelstvo 'Plakat'
1979
54 x 37 cm, 11 (of 12) posters loosely inserted in a printed pape...
Category
Modern 20th Century More Prints
Materials
Lithograph
Holed Fruit from Flordali suite
Located in OPOLE, PL
Salvador Dali (1904-1989) - Holed Fruit from Flordali suite
Lithograph with drypoint etching from 1969.
The E.A. on Rives paper.
Dimensions of work: 74.5 x 54.5 cm.
Hand signed.
...
Category
Modern 20th Century More Prints
Materials
Drypoint, Etching
Color Field Abstract Chevron Ojai Festival lithograph Deluxe Signed 6/100 Framed
Located in New York, NY
Kenneth Noland
Ojai Festival print (Deluxe signed limited edition), 1986
Lithograph with offset lettering
Hand signed and numbered 6/100 by Kenneth Noland on lower front
Frame inclu...
Category
Abstract Geometric 20th Century More Prints
Materials
Lithograph, Offset
Alberto Magnelli - Composition - Original Lithograph
Located in Collonge Bellerive, Geneve, CH
Alberto Magnelli
Original Lithograph
Executed in 1967 for XXe Siecle (issue No. 29 "Vers un nouvel humanism")
published in Paris by San Lazzaro
There is a fold in the center, as issu...
Category
Abstract Geometric 20th Century More Prints
Materials
Lithograph
United Nations Peacekeeping Operations
By Joan Miró
Located in Washington, DC
Artist: Joan MIro
Title: United Nations Peacekeeping Operations
Medium: Lithograph in colors
Date: 1980
Edition: 683/1500
Framed Size: 18 3/4" x 16 1/4"
Sheet Size: 11" x 8 1/2"
Ima...
Category
Pop Art 20th Century More Prints
Materials
Lithograph
Rupprecht Geiger, Zurückgehen, Weitergehen, Fortgehen - Portfolio of 20 Prints
Located in Hamburg, DE
Rupprecht Geiger (German, 1908-2009)
Zurückgehen, Weitergehen, Fortgehen, 1966
Medium: Portfolio of 20 screen prints on paper
Dimensions: 35 x 28.5 cm and 35 x 57 cm (with middle fol...
Category
Abstract 20th Century More Prints
Materials
Screen
Indians of North America 1936 by Jo Mora
Located in Phoenix, AZ
Indians of North America 1936
Jo Mora
Lithograph
Paper size: 31 7/8 x 24 1/4 inches
Image size; 30 1/4 x 22 7/8 inches
These are the original lithographs from the Jo Mora Estate from Jo Mora Jr.
THESE ARE NOT REPRODUCTIONS!
SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & INSURANCE
Joseph Jacinto Mora 1876 – 1947
Mora was born in Montevideo, Uruguay, and was the son of Domingo Mora, a well-known painter and sculptor who brought his family to the United States in the mid 1890s and then became a teacher in New York at the Art Students League. Joseph and his artist brother Luis Mora (1874-1940) grew up being much influenced by the creative atmosphere of their father’s studio. In 1904, he returned to Arizona and New Mexico and lived with Hopi and Navajo tribes, learning their languages and painting depictions of their ceremonies, especially the Kachina ceremonial dances. One of the results of his Western travels was a series of humorous maps that were spoofs of the national parks and that were made into posters. In the 1930s, the maps sold for 25 cents each and were distributed through souvenir shops at the parks. He also painted a watercolor series, “Horsemen of the West” and wrote two books, “Trail Dust and Saddle Leather” and “Californios.” Joseph Mora died in Pebble Beach on October 10, 1947. Devoting his life to exploration of subjects as diverse as vaqueros, Hopi Kachina figures, the Arizona landscape, and California missions, Joseph Mora also excelled as a writer, photographer, designer, children’s book illustrator, and map maker.
“Apart from the bread and butter commissions that he referred to as “pot-boilers,” Mora has left a vast legacy of fine artwork. His contributions to public sculpture and architectural decorations, which are numerous and diverse, gaze calmly at the world from buildings in Los Angeles, San Francisco, Salinas, San Jose and Portland. Mora’s dioramas and large-scale figures are permanently in Monterey and Sacramento, California and Claremore and Bartlesville, Oklahoma. His drawings, paintings and photographs are cherished in private collections and private institutions across the country and first editions of his books are highly valued. But in the final analysis, Mora’s most important works may be his cartes.
In these entertaining maps, Mora combined his encyclopedic knowledge of history, his writing, drawing, and cartooning skills, his fine sense of design, and his sense of playfulness to create an art form uniquely his own. Mora’s cartes are still captivating more than fifty years after their completion, and they exemplify the popular, entertaining, direct, and informative art at which Mora excelled.”
Betty Hoag McGlynn
• Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg
Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists.
• The Fine Art Estate of Lon Megargee
• Vintage rodeo...
Category
Other Art Style 20th Century More Prints
Materials
Lithograph
Deluxe Hand Signed & Numbered 25/30 Cat: Lembark 155 Carnegie Museum lithograph
By Sam Francis
Located in New York, NY
Sam Francis
Untitled Abstract Expressionist lithograph (Hand Signed from the Carnegie Museum Deluxe Edition), 1972
Catalogue Raisonné: 155, Lembark
Hand signed and numbered 25/30 on...
Category
Abstract Expressionist 20th Century More Prints
Materials
Lithograph
Flower, Aquatint Etching by Tighe O'Donoghue
Located in Long Island City, NY
Tighe O'Donoghue's detailed depiction of a flower is highly reminiscent of anatomical drawings and mathematical studies due to the careful linework, detailed shading, and soft colors...
Category
Folk Art 20th Century More Prints
Materials
Etching, Aquatint
Apollon et Dionysos
By André Masson
Located in Roma, IT
Image dimensions: 21x33 cm.
Edition of 50 prints by Galerie Louis Leiris, numbered and hand signed by the Artist.
Excellent conditions.
This artw...
Category
20th Century More Prints
Materials
Etching
Soldiers - Original Lithograph by Marcello Ercole - 1975
Located in Roma, IT
Soldiers is a wonderful colored lithograph on paper, realized in 1975 by the Italian artist, Marcello Ercole. Hand-signed and numbered in pencil on lower margin. Edition of 100 print...
Category
Contemporary 20th Century More Prints
Materials
Lithograph
Colorful Russian French Judaica Jewish Shtetl Wedding Lithograph Mourlot Paris
By Mane Katz
Located in Surfside, FL
Mane-Katz (1894-1962) Original Lithograph published by Andre Sauret, Monte Carlo, 1966, printed in France, by Mourlot. The ouvrage sheet is not included. this is from a limited editi...
Category
Modern 20th Century More Prints
Materials
Lithograph
Forever Chic, Geometric Pop Art Screenprint by Allan D'Arcangelo
Located in Long Island City, NY
Artist: Allan D'Arcangelo, American (1930 - 1998)
Title: Forever Chic
Year: 1979
Medium: Screenprint, signed and numbered in pencil
Edition: AP 15/25
Image Size: 40 x 28 inches
Size...
Category
Pop Art 20th Century More Prints
Materials
Screen
"Inverosimile" no.4 - Original Lithograph by Piero Gilardi - 1990
Located in Roma, IT
Illustration 4 From "Inverosimile" is a beautiful original lithograph on Graphia paper realized by Piero Gilardi in 1990.
Hand-signed on the lower right in pencil and numbered on th...
Category
Arte Povera 20th Century More Prints
Materials
Lithograph
"Inverosimile" no.2 - Original Lithograph by Piero Gilardi - 1990
Located in Roma, IT
Illustration 2 From "Inverosimile" is an original lithograph on Graphia paper realized by Piero Gilardi in 1990.
Hand signed on lower right in pencil and numbered on lower left. Edi...
Category
Arte Povera 20th Century More Prints
Materials
Lithograph
Sunspot
Located in San Francisco, CA
This artwork titled "Sunspot" c.1980 is an original color aquatint by noted California artist Arnold A. Grossman, 1923-2016. It is signed, titled, and numbered 3/30 in pencil by the ...
Category
Op Art 20th Century More Prints
Materials
Aquatint
Jacqueline
Located in OPOLE, PL
Pablo Picasso (1881-1973) - Jacqueline
Lithograph with quadrochromy from 1961.
Dimensions of sheet: 27 x 37.9 cm
Dimensions in frame: 43.2 x 53.2 cm
Publisher: Éditions Cercle d'...
Category
Modern 20th Century More Prints
Materials
Lithograph
Le Chavelier Roman
Located in OPOLE, PL
This work will be exhibited at Art on Paper NYC, September 4–7, 2025.
–
Salvador Dali (1904-1989) - Le Chavelier Roman
Lithograph from 1972.
The edition of 187/250.
Dimensions o...
Category
Surrealist 20th Century More Prints
Materials
Lithograph
$6,589 Sale Price
20% Off
'Pulitzer On The Beach' Slim Aarons Limited Edition Estate Stamped Print
By Slim Aarons
Located in London, GB
'Pulitzer On The Beach' Slim Aarons Limited Edition Estate Stamped Print
Premium Rates Apply. Patsy Pulitzer (nee Patsy Bartlett) at Palm Beach, Florida, circa 1955. (Photo by Slim Aarons/Hulton Archive/Getty Images)
Silver Gelatin Print
Produced from the original negative
Certificate of authenticity supplied
Archive stamped
Numbered in ink on front
Printed 2021
Various sizes and frame options available
FRAMING:
Please note that this piece is unframed – however, we offer a full framing service.
If you would like this piece framed, please contact us for a quote.
Keywords
1950s 50s woman model aesthetic luxury high society black and white beach...
Category
Modern 20th Century More Prints
Materials
Paper, Color, Digital
Colorful Modern Abstract Red, Pink, and Green Geometric Lithograph AP
Located in Houston, TX
Colorful modern abstract lithograph by modern Texas artist Allan Otho Smith. The work features a series of geometric shapes in red, pink, and green tones. The use of complementary co...
Category
Abstract 20th Century More Prints
Materials
Lithograph
Common and Surf Scoter, French antique bird duck art illustration print
By P. Mahler
Located in Melbourne, Victoria
'Macreuse Noire - Macreuse a Lunettes'
(Common Scoter and Surf Scoter)
French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From ...
Category
Art Deco 20th Century More Prints
Materials
Lithograph
Lucien Henri Weil " WEILUC" Le Frou Frou French Vintage Poster, Wall Art
Located in Plainview, NY
A fine vintage reproduction of Le Frou Frou French poster originally created by WEILUC (Lucien-Henri Weil, 1873-1947). Le "Frou Frou", which in French mea...
Category
Art Nouveau 20th Century More Prints
Materials
Glass, Paper
Victor Vasarely "Zaphir 2" Screenprint in Colors
Located in Astoria, NY
Victor Vasarely (Hungarian/French, 1906-1997), "Zaphir 2", Screenprint in Colors, unsigned, silver-tone frame. Image: 27" H x 25.5" W; frame: 32.75" H x 29.5" W. Provenance: From a N...
Category
Op Art 20th Century More Prints
Materials
Screen
Les Trois mousquetaires, Series 347, Plate 91
Located in OPOLE, PL
Pablo Picasso (1881-1973) - Les Trois mousquetaires, Series 347, Plate 91
Etching and aquatint from 1968.
The edition of 36/50.
Dimensions of work: 28.2 x 33.5 cm.
Hand signed.
...
Category
Modern 20th Century More Prints
Materials
Etching, Aquatint
Colorful Russian French Judaica Jewish Shtetl Wedding Lithograph Mourlot Paris
By Mane Katz
Located in Surfside, FL
Mane-Katz (1894-1962) Original Lithograph published by Andre Sauret, Monte Carlo, 1966, printed in France, by Mourlot. The ouvrage sheet is not included. this is from a limited editi...
Category
Modern 20th Century More Prints
Materials
Lithograph
Voyage au Japon
Located in OPOLE, PL
Bernard Buffet (1928-1999) - Voyage au Japon
Lithograph from 1981.
Artsit's edition.
On Arches paper.
Dimensions of work: 53.5 x 39 cm.
Hand signed.
The work is in Excellent co...
Category
Expressionist 20th Century More Prints
Materials
Lithograph
Salvador Dali, "Reverence de Grosillier (Gooseberry), " hand signed
Located in Chatsworth, CA
This piece was created in 1969 by Salvador Dali, it is a photolithograph of a original gouache painted on printed illustrations with original engraving. This piece is hand signed and...
Category
Surrealist 20th Century More Prints
Materials
Lithograph
The Book of Love 5
Located in Washington, DC
Artist: Robert Indiana
Title: The Book of Love 5
Medium: Serigraph
Date: 1996
Edition: Trial Proof (aside from the edition of 200)
Frame Size: 30" x 28 1/4"
Sheet Size: 24" x 20"
Sig...
Category
Pop Art 20th Century More Prints
Materials
Screen
Sol LeWitt, Lines, Not Long, Not Heavy, Not Touching, Drawn at Random (Circle)
By Sol LeWitt
Located in Hamburg, DE
Sol LeWitt (American, 1928-2007)
Lines, Not Long, Not Heavy, Not Touching, Drawn at Random (Circle), 1970
Medium: Lithograph on wove paper
Dimensions: 44.5 × 32.1 cm (17.5 × 12.6 in)...
Category
Abstract 20th Century More Prints
Materials
Lithograph
Kinema Office, Cambridge
Located in Cambridge, GB
Taken in one of Richard's favourite buildings in Cambridge. Cambridge is blessed with many architectural marvels but this former cinema had a particularly unique wooden auditorium, a...
Category
Pop Art 20th Century More Prints
Materials
Photographic Paper, C Print, Color, Silver Gelatin
Le Corbusier: "Le Poème de L'Angle Droit". Original lithograph.
By Le Corbusier
Located in Richmond, GB
Charles-Éduard Jeanneret, known as Le Corbusier, was a Swiss architect and designer who is generally regarded as a key figure in the development of modern architecture, his work bein...
Category
Modern 20th Century More Prints
Materials
Lithograph
Oceanus from the Celestial Meridian Suite, Aquatint Etching by Tighe O'Donoghue
Located in Long Island City, NY
Rendered against a deep teal background, Tighe O'Donoghue's depiction of a moon with a rose superimposed over it is accompanied by a mathematical diagram...
Category
Folk Art 20th Century More Prints
Materials
Etching, Aquatint
Siena [Large Version] - British Modernism Italian Architecture Siena
Located in London, GB
This original etching and drypoint is hand signed in pencil by the artist "Nicholson" at the lower left margin and dated “65” next to the signature.
It is also hand numbered from the...
Category
Modern 20th Century More Prints
Materials
Drypoint, Etching
Robert Rauschenberg, rare 1970s Signed/N Earth Day William Burroughs lithograph
Located in New York, NY
ROBERT RAUSCHENBERG
Dream of William Burroughs, 1972
Offset lithograph
34 1/2 × 24 inches
Edition 103/150
Signed, dated and numbered in black marker on the front
Unframed
Wonderful e...
Category
Pop Art 20th Century More Prints
Materials
Lithograph, Offset
Mick Jagger X - Andy Warhol, Announcement card, Rolling Stones, Musician, Pop
Located in Knowle Lane, Cranleigh
Mick Jagger X - After Andy Warhol. This black and white colour scheme lithographic print features - Mick Jagger - an iconic rock legend who was the frontman and one of the founders ...
Category
Pop Art 20th Century More Prints
Materials
Lithograph
Four Original Signed Etchings by Louis Jou
By Louis Jou
Located in Paonia, CO
Spanish painter, engraver, master typographer and editor Louis Jou ( 1882 – 1968 ) became a naturalized French citizen and was known as an artist of the French School . He set up his own publishing house in Paris and gained a reputation as one of the greatest typographers of the 19th century. His original etchings and wood engravings appeared in books authored by Victor Hugo, Andre Gide, Cervantes and many more. Jou’s etchings also appeared in the Gazette des Beaux Arts published in Paris. Beginning in 1859 until it’s final year in 1930 the Gazette became known for it’s role in the revival of etching as a creative process as vital as painting and sculpture. The Gazette regularly commissioned the greatest etchers of the time including such artist’s such as Whistler, Goya, Max Lieberman...
Category
Expressionist 20th Century More Prints
Materials
Etching
My Fear is Your Fear
By Glenn Ligon
Located in New York, NY
Edition 52/325 of Glenn Ligon's My Fear is Your Fear. Showing at The Queer Show Part II.
Category
20th Century More Prints
Materials
Screen
BASQUIAT : DOWNTOWN 81" Réalisé par Edo BERTOGLIO en 2000 signed by Maripol
Located in Pasadena, CA
JEAN-MICHEL BASQUIAT : DOWNTOWN 81" Réalisé par Edo BERTOGLIO en 2000 avec Jean-Michel BASQUIAT / Affiche originale entoilée / FKGB ARGUMENTS (2000) signed by Maripol directrice arti...
Category
Street Art 20th Century More Prints
Materials
C Print
Art, from The American Dream
Located in Washington, DC
Artist: Robert Indiana
Title: Art
Portfolio: The American Dream
Medium: Serigraph
Year: 1997
Edition: 395
Sheet Size: 22" x 17"
Image Size: 14" x 14"
Signature: Unsigned
Category
Abstract 20th Century More Prints
Materials
Screen
The House in My Village, from 1960 Mourlot Lithographe I
By Marc Chagall
Located in Washington, DC
Artist: Marc Chagall
Title: The House in My Village
Portfolio: Mourlot Lithographe I
Medium: Lithograph
Year: 1960
Edition: Unnumbered
Framed Size: 21 7/8" x 18 7/8"
Image Size: 12 1...
Category
Modern 20th Century More Prints
Materials
Lithograph
Untitled - Earthworm Abstract II, Aquatint Etching by Tighe O'Donoghue
Located in Long Island City, NY
Untitled - Earthworm Abstract II
Tighe O’Donoghue, American (1942–2023)
Date: 1979
Etching with Aquatint, signed in pencil
Image Size: 14 x 11 inches
Size: 29.5 in. x 22 in. (74.93 c...
Category
Folk Art 20th Century More Prints
Materials
Etching, Aquatint
Builders YOU Are Hitting Back Original British WW2 Poster Spitfire Motivational
Located in London, GB
To see our other original vintage public information posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find it.
'Builders - YOU Are Hitting Back' Original WW2 Poster...
Category
Modern 20th Century More Prints
Materials
Lithograph
Environment (Blue), OP Art Serigraph by Roy Ahlgren
By Roy Ahlgren
Located in Long Island City, NY
Artist: Roy Ahlgren, American (1927 - 2011)
Title: Environment (Blue)
Year: circa 1970
Medium: Serigraph, signed and numbered in pencil
Edition: AP
Image Size: 18 x 18 inches
Size: 2...
Category
Op Art 20th Century More Prints
Materials
Screen
Cute Tim Engelland Mouse with Cheese
Located in New York, NY
Tim Engelland (American, 1950-2012)
Untitled, 1999
Woodcut
11 x 8 1/2 in.
Signed, numbered, and dated topt: T. Engelland, 9/200, 1996
A lifelong artist, Engelland specialized in oil portraits and landscapes, and also worked extensively in woodcuts and linocuts. He was born on Jan. 5, 1950, in Ames, Iowa, the son of Charles Wilbur “Will” Engelland and Patricia Fairman Engelland.. Tim grew up in Terre Haute, IN, attending Fairbanks Elementary School and Indiana State University’s Laboratory School. He knew he wanted to be an artist from an early age, and was mentored by Lab School’s John Laska, graduating in 1968.
He received a BFA from Temple University’s Tyler School of Art; was a Norfolk Fellow at Yale University; and received his MFA from Cornell University, teaching there for two years after graduation.
He spent the majority of his career, from 1976-2004, at Deerfield Academy, a prestigious preparatory school in Deerfield, Mass. There he taught art and photography, coached basketball and lacrosse, and served as faculty resident. When the school began accepting female students, Tim designed The Deerfield Girl, a bronze statue to accompany The Deerfield Boy statue...
Category
Contemporary 20th Century More Prints
Materials
Woodcut
Dixie's
By Red Grooms
Located in Lyons, CO
Color lithograph, Edition 75.
Red Grooms is a painter, sculptor, printmaker, filmmaker, and showman par excellence. His major installations, “Ruckus Manhattan”, “The City of Chicago”, and “Tut’s Fever” have stretched the boundaries of sculpture and painting and excited the imaginations of thousands of viewers.
Red Grooms and Master printer Bud Shark began their many print collaborations in 1981 with “Mountaintime”, followed in 1982 by their first three-dimensional lithograph, “Ruckus Taxi”. The range of prints produced by Grooms and Shark include `flatsos’, flat-color lithographs, like “Elvis” and “Van Gogh with Sunflowers”, three-dimensional lithographs, “London Bus”, “Little Italy” and “Times Square”, three-dimensional lithographs with moving parts, “Red’s Roxy”, and “Holy Hula”, woodcuts, “Noa...
Category
Contemporary 20th Century More Prints
Materials
Lithograph
$1,000
Mid-Century Modern Abstract Woodcut Print, Geometric Fine Art in Color
Located in Denver, CO
This original mid-century modern woodcut print on linen, titled "Shapes", is by renowned American artist Edward Marecak (1919–1993). A striking example of his abstract work, this pie...
Category
Abstract Geometric 20th Century More Prints
Materials
Woodcut
Creole Dancer
Located in Collonge Bellerive, Geneve, CH
after Henri Matisse - Acrobat
Edition of 200
with the printed signature, as issued
80 x 60 cm
Posthumous edition after the original paper cut-out with stamp of the Succession Matisse
References : Artvalue - Succession Matisse
MATISSE'S BIOGRAPHY
YOUTH AND EARLY EDUCATION
Henri Emile Benoît Matisse was born in a tiny, tumbledown weaver's cottage on the rue du Chêne Arnaud in the textile town of Le Cateau-Cambrésis at eight o'clock in the evening on the last night of the year, 31 December 1869 (Le Cateau-Cambrésis is in the extreme north of France near the Belgian border). The house had two rooms, a beaten earth floor and a leaky roof. Matisse said long afterwards that rain fell through a hole above the bed in which he was born. Matisse’s ancestors had lived in the area for centuries before the convulsive social and industrial upheavals of the nineteenth century. Matisse grew up in a world that was still detaching itself from a way of life in some ways unchanged since Roman times. The coming of the railway had put Bohain on the industrial map, but people still traveled everywhere on foot or horseback.
Matisse’s father, Émile Hippolyte Matisse, was a grain merchant whose family were weavers. His mother, Anna Heloise Gerard, was a daughter of a long line of well-to-do tanners. Warmhearted, outgoing, capable and energetic, she was small and sturdily built with the fashionable figure of the period: full breasts and hips, narrow waist, neat ankles and elegant small feet. She had fair skin, broad cheekbones and a wide smile. "My mother had a face with generous features," said her son Henri, who always spoke of her with particular tenderness of the sensitivity. Throughout the forty years of her marriage, she provided unwavering, rocklike support to her husband and her sons. Matisse later said: "My mother loved everything I did." He grew up in nearby Bohain-en-Vermandois, an industrial textile center, until the age of ten, when his father sent him to St. Quentin for lycée.
Anna Heloise worked hard. She ran the section of her husband's shop that sold housepaints, making up the customers' orders and advising on color schemes. The colors evidently left a lasting impression on Henri. The artist himself later said he got his color sense from his mother, who was herself an accomplished painter on porcelain, a fashionable art form at the time. Henri was the couple’s first son.
The young Matisse was an awkward youth who seemed ill-adapted to the rigors of the North; in particular, he hated the gelid winters. He was a pensive child and by his own account he was a dreamy, frail and not outstandingly bright. In later life he never lost his feeling for his native soil, for seeds and growing things he had encountered in his youth. The fancy pigeons he kept in Nice more than half a century after he left home recalled the weavers' pigeon-lofts tucked away behind even the humblest house in Bohain.
Matisse's childhood memories were of a stern upbringing. "Be quick!" "Look out!" "Run along!" "Get cracking!" were the refrains that rang in his ears as a boy. In later years when survival itself depended on habits of thrift and self-denial, the artist prided himself on being a man of the North. When Matisse in turn had children of his own to bring up, he chided himself for any lapse in discipline or open display of tenderness as weakness on his part.
In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. Although he considered law as tedious, he nonetheless passed the bar in 1888 with distinction and began his practice begrudgingly. Once Matisse finished school, his father, a much more practical man, arranged for his son to obtain a clerking position at a law office.
PAINTING: BEGINNINGS
Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father.
Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted.
Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes.
In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor.
The Dinner Table (1897) was Matisse’s first masterpiece, and he had spent the entire winter working on the oeuvre. Though the Salon displayed the piece, they hung the work in a poor location, disgusted by what they considered its radical, Impressionist aspects.
Caroline Joblaud was Matisse's early lover for four years during his initial struggles to affirm his artistic direction and professional career. Caroline (also called Camille) gave Matisse his first daughter Marguerite in 1894, who after Matisse's marriage to Amélie Noellie Parayre was warmly accepted contrary to conventional hostility such arrangements provoked. Caroline posed various times for the artist’s compositions while Marguerite served many times as a model for Matisse throughout his life.
MARRIAGE WITH AMÉLIE NOELLIE PARAYRE
The Matisses of Bohain and the Parayres of Beauzelle had outwardly nothing in common, and there was no reason why Matisse and Amélie should ever have met. But in October 1897 Matisse went to a wedding in Paris and happened to sit next to her at the uproarious banquet that followed. There had been no banal flirtation between them, even when the wine flowed, each recognized the other as true metal, and when they got up from the table she held out her hand to Henri Matisse in a way that he never forgot. Matisse at that time was not yet the professorial figure of legend. He was known as a prankster, as a ribald and anti-clerical songster, and as someone who had once broken up a café concert performance just for the hell of it. Amélie's relatives operated at that time within a social, intellectual, and political context of which Matisse had had no previous experience. They stood for free thinking, for the separation of church and state, and for the secularization of the French educational system. Her family, better off that that of Matisse, provided the support he needed for the budding artist. When Matisse married Amélie in January 1898, they had been introduced only three months after.
Amélie's Aunt Noélie and two of her brothers ran a successful women's shop called the Grande Maison des Modes. Before her marriage, Amélie had shown a gift for designing, making, and modeling hats for a fashionable clientele. In June 1899, she found a partner and opened a shop of her own on the rue de Châteaudun. This allowed Henri and herself to live, with Marguerite, in a tiny two-room apartment on the same street. Madame Matisse, fervently loyal, would play a fundamental role in the life and career of the artist for more than 40 years. Marguerite was to become her father's lifetime mainstay
In 1902 disaster struck. Amélie’s parents were disgraced and financially ruined in a spectacular scandal of national scope, as the unsuspecting employees of a woman whose financial empire was based on fraud. Thanks to his early years in a lawyer's office, Matisse was able to busy himself to great effect in the organization of his father-in-law's defense. When all about him lost their heads, burst into tears, and felt more than sorry for themselves, Henri Matisse dealt with their problems one by one. The ordeal had taken its toll, in more than one way. His doctors ordered Matisse to go to Bohain and take two months' complete rest. Amélie had lost both her hat shop and the apartment on the rue de Châteaudun. For the first time, Henri, Amélie and the three children were united in Bohain, having nowhere else to go.
Hillary Spurling, one of Matisse’s biographers, asserts that Amélie’s memories of that public disgrace nurtured a “suspicion of the outside world” that would always mark the Matisse family. The Matisse family formed a kind of hermetic unit which revolved around the artist’s work and profession. They fitted their activities according his breaks and work sessions. Silence was essential. Even during the years when Matisse lived mostly alone in Nice, an annual ritual of unpacking, stretching, framing and hanging ended with the whole family settling down to respond to the paintings. The conference might last several days. Then the dealers were admitted.
Matisse and his wife had had two sons, Jean (born 1899) and Pierre (born 1900). He was not always in peace with his family. He wrote that their views were not always in accord “which disturbs me considerably in my work, for which I require the most complete calm and from those how surround me, a serenity that I cannot find here. I intend to move to a village a few league away.” Pierre, his brother, Jean, and Marguerite remained close to their father through every vicissitude, and Matisse, in his last invalid years, was devoted to his several grandchildren.
In 1899, at a time when his paintings displayed rebellious talent but not much clear direction, Matisse began attending classes in clay modeling and sculpture. Assigned to copy one of the sculptural masterpieces in the Louvre, he selected Jaguar Devouring a Hare a violently precise work by Antoine-Louis Barye. Later, whenever his paintings seemed stuck, he turned to sculpture to organize his thoughts and sensations.
Influenced by the works of the post-Impressionists Paul Cézanne, Gauguin, Van Gogh and Paul Signac, and also by Japanese art, Matisse made color a crucial element of his paintings. Matisse said, "In modern art, it is indubitably to Cézanne that I owe the most." By studying Cézanne’s fragmented planes -- which stretched the idea of the still life to a forced contemplation of color surfaces themselves -- Matisse was able to reconstruct his own philosophy of the still life.
Many of his paintings from 1899 to 1905 make use of a pointillist technique adopted from Signac. In 1898, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica.
After years in poverty, Matisse went through his "dark period" (1902-03), moved briefly to naturalism, went back to a dark palette and told friends in 1903 that he had lost all desire to paint and had almost decided to give up.
Fortunately, Matisse was able to earn some money painting a frieze for the World Fair at the Grand Palais in Paris. He also traveled extensively in the early 1900s when tourism was still a new idea. Brought on by railroad, steamships, and other forms of transportation that appeared during the industrial revolution, travel became a popular pursuit. As a cultured tourist, he developed his art with regular doses of travel.
FAUVISM
Matisse's career can be divided into several periods that changed stylistically, but his underlying aim always remained the same: to discover "the essential character of things" and to produce an art "of balance, purity, and serenity," as he himself put it. The changing studio environments seemed always to have had a significant effect on the style of his work.
In these first years of struggle Matisse set his revolutionary artistic agenda. He disregarded perspective, abolished shadows, repudiating the academic distinction between line and color. He was attempting to overturn a way of seeing evolved and accepted by the Western world for centuries by substituting a conscious subjectivity in the place of the traditional illusion of objectivity .
Matisse hit his stride in the avant-garde art world in the first years of the new decade. He explored the modern art scene through frequent visits to galleries such as Durand-Ruel and Vollard, where he was exposed to work by Paul Cézanne, Paul Gauguin, and Vincent van Gogh.
Matisse’s first solo exhibition took place in 1904, without much success. In 16 May 1905 he arrived in the charming Catalan port of Collioure, in the south of France. He soon invited the painter André Derain (1880-1954), 11 years his junior, to join him. By 1905, Matisse was considered spearhead the Fauve movement in France, characterized by its spontaneity and roughness of execution as well as use of raw color straight from the palette to the canvas. Matisse combined pointillist color and Cézanne’s way of structuring pictorial space stroke by stroke to develop Fauvism - a way less of seeing the world than of feeling it with one’s eyes. When the Fauve summer drew to an end, Derain left Collioure with 30 paintings, 20 drawings and some 50 sketches, never to return, while Matisse departed some days later bringing back to Paris 15 finished paintings, 40 aquarelles, over 100 drawings. He returned Collioure in the summers of 1906, 1907, 1911 and 1914. The lure of the sun would prove always to have powers of restoration to the artist throughout his life particularly after periods of great emotional exertion.
When Fauvist works were first exhibited Salon d'Automne in Paris they created a scandal. Eyewitness accounts tell of laughter emanating from room VII where they were displayed. Gertrud Stein, one of Matisse's most important future supporters, reported that people scratched at the canvases in derision. "A pot of paint has been flung in the face of the public" was the reaction by the critic Camille Mauclair. Louis Vauxcelles described the work with the historic phrase "Donatello au milieu des fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Derain himself later called the Fauves' color "sticks of dynamite." The painting that was singled out for attacks was Matisse's Woman with a Hat, a portrait of Madame Matisse. This picture was bought be was bought by Gertrude and Leo Stein, a fact which had a very positive effect on Matisse who was suffering demoralization from the bad reception of his work.
Matisse continued his experiments in Collioure, visible in the painting The Open Window and the View of Collioure , also a characteristic work of Fauvism in its raw color and disregard for details. Both of these works of the landscape in the French Mediterranean present a distinct development towards the spontaneous and uninhibited style.
Other than André Derain, Georges Braque, Raoul Dufy and Maurice Vlaminck were also members of the Fauve movement. However, Matisse’s intimate friends among artists were mostly easygoing minor painters, such as Albert Marquet. Matisse’s temperamental aloneness made him prey to vertiginous depressions. He later recalled a breakdown that he underwent in Spain, in 1910: “My bed shook, and from my throat came a little high-pitched cry that I could not stop.”
From the onset of is career women were from one of the cardinal motifs of the artist's production. His Joy of Life (1906) draws us into the world of hallucinatory vividness composed of nymphs set in an idyllic open fields dressed in pure color and sensual outline. Two women lounge in the sunlight while two more chat on the edge of the forest. One crouches to pick some flowers while her companion weaves a chain of them into her hair. A couple embraces each other while another group engages in a lively round-dance in the distance. In this way, Joy of Life depicts woodland nymphs engaging in a celebration of their life, their womanhood, and their sexuality.
Due to the recurrent incidence of nude women and intensely sensual interpretation many observers have assumed that as a man Matisse must have been a hedonist. On the contrary, historic examination demonstrates that in reality, he was rather a self-abnegating Northerner who lived only to work, and did so in chronic anguish, recurrent panic, and amid periodic breakdowns. While Picasso recompensed himself, as he went along, with gratifications of intellectual and erotic play Matisse did not. In an age of ideologies, Matisse dodged all ideas except perhaps one: that art is life by other means.
Matisse’s uninhibited celebration of women is often believed to have initiated from Cézanne’s painting Three Bathers (1882) (which he had acquired for himself along with a Van Gogh and a Gauguin). However, Matisse depicts women as nurturing, welcoming, and unlike the forbidding, massive clay-like presence of those of Paul Cézanne.
FAME
The decline of the Fauvist movement, after 1906, did nothing to deter the rise of Matisse. From 1906 -1917 he lived in Paris and established his home, studio, and school at Hôtel Biron. Among his neighbors is sculptor Auguste Rodin, writer Jean Cocteau, and dancer Isadora Duncan. Many of his finest works were created in this period, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in with his conservative appearance and strict bourgeois work habits. In fact, the aim of Matisse’s art was something less than revolutionary. In 1908, in a famous statement drawn from “Notes of a Painter,” Matisse declared as his ideal an art “for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.”
Matisse's personal habits were incredibly regular. On a typical day rose early and worked all morning with a second work session after lunch, followed by violin practice, a simple supper (vegetable soup, two hard-boiled eggs, salad and a glass of wine) and an early bedtime.
In 1906, he created a series of 12 lithographs, all variations on the theme of a seated nude. He chose to share his graphic work with the public almost immediately. The lithographs were exhibited at the Druet Gallery in Paris the same year that they were produced, and the woodcuts were shown at the Salon des Independants in the spring of 1907.
In 1907 Appolinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." Notwithstanding newly-won fame, Matisse's work continued to encounter vehement criticism and it was difficult for him to provide for his family. His controversial 1907 painting Blue Nude was burned in effigy at the Armory Show in Chicago in 1913. Contrary to the fate of the Impressionists, Matisse and other Fauves were able to exhibit in art galleries. In 1908 Paul Cassirer, the German art dealer and editor who played a significant role in the promotion of the work the French Impressionists and Post-Impressionists, staged an exhibit of Matisse’s works in Berlin. In the same year the American photographer Alfred Stieglitz in New York organized him one-man show in his tiny Manhattan gallery called 291 which effectively introduced Matisse the powerful American art market.
In the first decade of his notoriety as the leader of the Fauves, Matisse was more admired by foreigners than by the French. It was, after all, the Russians and the Americans who acquired significant collections of his early work almost as quickly as it was created. The great Matisses we see in the Paris museums today were mostly acquired after the artist's death in lieu of death duties. It took the French a good deal longer to understand Matisse's greatness-longer, certainly, than the international cadre of aspiring talents that flocked to his classes when he was still one of the most controversial figures in the Paris avant-garde.
In the summer of 1907, Matisse and his wife went on a long trip to italy "for work and Pleasure," visiting Venice and Padua, where they admired Giotto's frescos. In Florence the were the guests of the Steins in their villa in Fiesole. From this base matisse visited Arezzo, to study Piero della Francesca, and Siena, attracted by the early Sienese painters, especially, Duccio.
PICASSO, GERTRUDE STEIN AND THE CONE SISTERS
During the first decade of the 20th century Americans in Paris Gertrude Stein, her brothers Leo Stein, Michael Stein and Michael's wife Sarah took keen interest in Matisse's art. In addition, Gertrude Stein's two friends from Baltimore. Clarabel and Etta Cone, became major patrons of Matisse and Picasso, collecting hundreds of their works.The Cone Sisters acquired their first Matisse in 1906 and, during the next four decades, went on to form one of the world's great collections of his art. The Cone Collection not only contains major works from every phase of Matisse's long career but reflects the sisters' special interest in his Nice period, when a new complexity of form and psychology entered the ever intense surface allure of his paintings.
In April of 1906 during a gathering at the house of the legendary Gertrude Stein, Matisse was introduced to Pablo Picasso who was 11 years younger. Picasso and Matisse were poles apart aesthetically and their life styles were no less so. Matisse was markedly taller and more polished than the stocky, cocky Catalan, was then ruler of the turbulent Paris avant-garde art scene. The two were said to have always been looking over their shoulders at each other. It is well-known that after their rivalry grew, sides were taken. Picasso later said: "No one has ever looked at Matisse's paintings more carefully than I; and no one has looked at mine more carefully than he."
One key difference between their pictorial concepts was that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination. The subjects painted most frequently by both artists were women and still lives, with Matisse more likely to place his figures in fully realized interiors.
Gertrude Stein, who loved stirring things up, wrote, "the feeling between the Picassoites and the Matisse-ites became bitter." Although Matisse dryly noted that "our disputes were always friendly," it should be pointed out that Picasso and his friends threw suction-cupped darts at Matisse's 1906 Portrait of Marguerite (which Picasso had obtained in a trade for his own Pitcher, Bowl and Lemon, from 1907). While the rift between the two artists eventually healed, the one between their supporters remained.
ACADEMIE MATISSE IN PARIS & SERGEI SHCHUKIN
In 1909, with the Matisse family lived in a former convent on the Boulevard des Invalides, in Paris, where the artist conducted a painting school. His immense notoriety, which had been confirmed in 1905-06 by Joy of Life, a work which seemed to trash every possible norm of pictorial order and painterly finesse.His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1911 until 1917. Hans Purrmann and Sarah Stein were several of his most loyal students.
Although it lasted for only three years (1908-11), and yet, during its brief existence the Académie Matisse became one of the principal crossroads of modern painting for a number of gifted European and American artists.
Given the reputation Matisse had acquired as the"wild man" of modernist color, it must have come as a shock to some of his early students that the program of instruction he offered was remarkably conservative. As Jean Heiberg, the first Norwegian to enroll in the Académie, later wrote in a memoir: "The school had, at Matisse's suggestion, acquired a copy of two antique sculptures from the Louvre, Mars and an archaic sculpture, which he often used to demonstrate. Every now and then he got completely rid of the life model and we only drew from the plaster casts, and his critiques then were no less profitable."
Among Matisse’s students was Olga Meerson, a Russian Jew who had studied with Wassily Kandinsky in Munich and, already possessed of an elegant style, sought to remake herself under Matisse’s tutelage. Amélie suspected the worst. Perhaps a combination of Amélie’s jealousy and Meerson’s neediness caused a Matisse to end the connection, with bad feeling all around. Meerson moved to Munich, where she married the musician Heinz Pringsheim, a brother-in-law of Thomas Mann. Never having fulfilled her promise as a painter, she committed suicide in Berlin, in 1929. One of Matisse's biographers, with access to much of the artist's correspondence, contends that the artist, after his marriage, rarely, if ever, had sex with models, despite his apparent feelings for many.
Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan Morozov (1871–1921). Both acquired modern French art, developed a sensibility for spotting new trends, and publicized them in Russia.
In this period, Matisse had initiated his fecund association with the Russian textile magnate and visionary collector, Sergei Shchukin. The artist created one of his major works La Danse specially for Shchukin as part of a two painting commission. Inspired by a circular dance-- perhaps a sardana - performed by fishermen at Collioure, this painting embodies the clash between the sacred and reality. Human hands link together, but they form a divine spirit. Moreover, Matisse all but abandoned perspective The work ’s flatness emphasizes the idea, colors, and material, a notion that made Matisse a model for Modernists. The other painting commissioned was Music, 1909.
Shchukin was considered by some almost as a co-producer of some of the artist’s greatest works and was strongly commuted to the French painter’s work. Concerning the violent attacks on his friend, the Russian wrote to the artist: “The public is against you, but the future is yours.” By 1914 Shchukin’s house in Moscow contained thirty-seven Matisses. “He always picked the best,” the artist said.
During the political revolution Lenin expropriated Shchukin collection in person but allowed Shchukin to remain, in servants’ quarters, as caretaker and guide. He died in Paris, in 1936. The collection is now in the Hermitage and Pushkin Museums
From about 1911 to 1915, Matisse struggled with the ideas of Cubism, an experiment he felt he was "not participating in" because it did not "speak to [his] deeply sensory nature."
MOROCCO
Like many avant-garde artists in Paris, Matisse was receptive to a broad range of influences. He is one of the first painters to take an interest in various forms of “primitive” art. His art was profoundly influenced by Easter art...
Category
Modern 20th Century More Prints
Materials
Lithograph
Original Indiana Jones and the Last Crtusade prerelease US 1 sheet movie poster
Located in Spokane, WA
Original prerelease Indiana Jones and the Last Crusade 1 sheet movie poster that was rolled and not folded. Artist: Drew St4uzan. Size: 27" x 40". Linen backed. Excellent co...
Category
American Realist 20th Century More Prints
Materials
Offset
Moses and Monotheism Moses & Akhenaton
Located in Hollywood, FL
ARTIST: Salvador Dali
TITLE: Moses & Monotheism Moses & Akhenaton
MEDIUM: Etching on soft glove sheepskin
SIGNED: Hand Signed
PUBLISHER: Art et Valeur, Paris
EDITION NUMBER: 2...
Category
Surrealist 20th Century More Prints
Materials
Etching
The Museum of Modern Art, Wrapped (Front), Project for New York
Located in Washington, DC
Artist: Christo
Title: The Museum of Modern Art, Wrapped (Front), Project for New York
Portfolio: 1971 (Some) Not Realized Projects
Medium: Offset lithograph on Rives BFK and Special...
Category
American Modern 20th Century More Prints
Materials
Lithograph, Offset
Salvador Dali 1976 SNCF Poster French Railways Tomorrow's Technology
Located in London, GB
To see our other original vintage travel posters, many of which have skiing subjects, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poster you want.
Salvador Dali
Tomorrow's Technology
Original Poster
for French...
Category
Abstract 20th Century More Prints
Materials
Lithograph
La Casita Azul
Located in New York, NY
“LA CASITA AZUL”
Emilio Sanchez (1921-1999) created this color lithograph entitled “La Casita Azul” circa 1970. The image size is 21.50 x 31.25 inches and the paper size 23.13 x 33 inches. Printed in an edition of 100 this impression is inscribed “91/100” - the 54th impression of 100. Pencil signed in the lower right and inscribed in the lower left.
“Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...
Category
Modern 20th Century More Prints
Materials
Lithograph
Original 1930s Bieres D'Aubel, Rien de Tel! vintage beer poster, linen-backed
Located in Spokane, WA
Original poster: Bieres D' Aubel. Artist Odette Servais. Size: 21" x 28.5". Original vintage French beer poster. Archival linen-backed and ready to frame. Excellent condition. It was...
Category
American Modern 20th Century More Prints
Materials
Lithograph
Abstract print by Joan Miró from "Fusées" portfolio, blue, black, beige
By Joan Miró
Located in Köln, DE
from "Fusées" - Joan Miró, one artwork out of "Fusées" portfolio
Wonderful exemplar form the portfolio "Fusées".
Aquatint etching from 1959
32 x 50 cm. Edition of 100
Category
Abstract 20th Century More Prints
Materials
Aquatint
Recently Viewed
View AllMore Ways To Browse
Villard L
Vintage Boombox
Vintage Boxing Knockouts
Vintage Dior Bag Men
Vintage Fairground Posters
Vintage Horse Logging
Vives Maristany
Walford Painting
Walt Horton
Whitney Birch
Willi Bauer Oil Painting
William Beattie Brown
William Callow
William Krug
William Otto Emerson
Wyland Paintings
Yorkshire Terrier Oil Painting
Yvette Mimieux