1940s Prints and Multiples

About this work: Created in 1942-43, this work belongs to one of the most fertile periods of Matisse’s career as a printmaker and draftsman. By this time, Matisse had long since mast...

Medium: lithograph (after the drawing). This impression in violet ink was printed in France in 1944 for the rare "Correspondances" portfolio, published by Teriade in a limited editio...

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...

Pablo PICASSO Carmen, The Sleeping Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catal...

Medium: pochoir (after the pastel). A soft and delicate impression, printed in Paris in 1948 and published in an edition of 1200 by Braun et Cie. Size: 6 1/2 x 4 1/2 inches (164 x 11...

Immerse yourself in the timeless beauty of this framed black and white heliogravure of Michelangelo's iconic sculpture, David, dating back to around 1940. This artwork captures the...

Original 1942 CASABLANCA vintage movie poster. Archival linen backed in very good condition, ready to frame. The original production fold marks have been touched up and restored. This is an authentic vintage 1942 issue of Casablanca for sale. "Casablanca" is widely regarded as one of the greatest films in cinema history. It received critical acclaim upon its release and won three Academy Awards, including Best Picture, Best Director for Michael Curtiz, and Best Adapted Screenplay. The cast's performances, memorable dialogue, and timeless romance have contributed to the film's enduring popularity. "Casablanca" remains a cultural touchstone and is often referenced in popular media. • Rick Blaine (Humphrey Bogart): The owner of Rick's Café Américain, an establishment known for its lively atmosphere. Rick is initially portrayed as detached and cynical, but his past is revealed as the story progresses. • Ilsa Lund (Ingrid Bergman): A Norwegian woman with a complicated history with Rick. She is caught in a love triangle between Rick and her husband, Victor Laszlo. • Captain Louis Renault (Claude Rains): The corrupt and witty French police captain in Casablanca. He adds a layer of humor to the film and undergoes a moral transformation as the story unfolds. Over the years, the Casablanca poster...

Original, Stop, Loose Talk to Strangers. ‘Enemy ears are alert’ vintage poster. Excellent condition, linen-backed WWII vintage war poster: STOP LOOSE TALK TO STRANGERS ENEMY EAR...

'Set Pieces: Vanity of Trust', color lithograph, 1949, edition 40, Fine and Looney 279. Signed, titled, dated and numbered '23/40' in pencil. A fine, impression with fresh colors, on...

David Jones (1895-1974) ‘And the Angel Said: Fear not’ Woodcut Image: 9.0 x 5.5 cm Frame: 21.0 x 19.5 cm David Jones CH, CBE (1 November 1895 – 28 October 1974) was a Welsh paint...

Medium: original etching. Printed in 1946 at the atelier Lacouriere on BFK Rives paper and published in a limited edition of 300 for the "Alternance" portfolio (a collective art and ...

This powerful 1941 Soviet poster by Dmitri Shmarinov is a striking example of wartime propaganda produced during the early months of the German invasion of the Soviet Union, known as...

Original 'La France Manque d’Huile, cultivez des Oleagineux' vintage French poster. Linen backed in excellent condition, ready to frame. FREE Continential USA shipping. Transpor...

A splendid and historical poster made by Jack Maxwell in 1948. ⛳️ The history of this legendary golf course begins in 1924: the company "Biarritz Anglet la Forêt" became the owner o...

Woodcut print realized by Escher in 1948. Hand signed in pencil and annotated in pencil lower right "eigen druck". Monogrammed and dated in the plate "MCE/X-'48 upper right. One o...

A group of 14 Blackfeet Indians prints created by the artist Winold Reiss. The Great Northern Railway printed and released these prints in c. 1940. This is for the entire group...

Artist: Pablo Picasso Title: Round Head of a Man with Mismatched Eyes (Plate XVI) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18...

Untitled (Surrealist Composiition) Lithograph with hand coloring, 1945 Signed and dated lower right (see photo) Numbered 10/12 lower left (see photo) fragment from 6X litho In 1945, ...

Still life with eleven objetcs in a sphere (Original Italian title: Natura morta in un tondo) is an etching realized by Giorgio Morandi (1890-1964) in 1942. Hand numbered Edition 5...

Etching and aquatint on paper, edited in 1942. Limited edition, numbered as 30/50 in lower left corner. Signed on the plate in lower right corner. Plate size: 23,8 x 29,9 cm Framed ...

Medium: collotype (after the etching). Printed in 1947 and published by The Museum of Modern Art in an edition of 2000 for a scarce Paul Klee portfolio. Image size: 7 x 5 3/8 inches ...

Lawrence Nelson Wilbur (1897-1988), 'Sundown, Stonington, Maine', wood engraving, artist's proof, edition not stated but small, 1969. Signed and titled in pencil. Signed in the block...

Medium: original etching and aquatint. Printed in 1947 on Velin de Hollande paper and published in New York by the Quadrangle Press as the frontispiece of the deluxe edition of Rober...

Original “Is that Gun LOADED?” vintage National Rifle Association of America vintage poster. Archival linen backed in excellent condition, mint, and ready to frame. Printed in 1946 on a thick cardboard stock. Excellent condition, vibrant green and reds. 22 x 14 inches. NO paper loss, no tears. These are images of the exact poster you will receive. The poster shows a careless man incorrectly holding a rifle pointing towards another person. The men’s camping gear...

The Vallery of the Three Moons is an original contemporary artwork realized by Luigi Spacal (Trieste, 1907 - Trieste, 2000) in the 1940s. Original Black and White woodcut print on c...

Medium: pochoir stencil print (after the drawing). Printed in 1947 in an edition of 1500 and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: 10 3/4 x 7 5/8 ...

⚓️ "The U.S. Marines Want You" Vintage WWII Recruitment Poster, 1942. Archival linen-backed and in very good condition. A tear at the top was repaired during linen backing. Note th...

Medium: collotype (after the etching). Printed in 1947 and published by The Museum of Modern Art in an edition of 2000 for a scarce Paul Klee portfolio. Image size: 5 1/2 x 3 3/4 inc...

Medium: lithograph with pochoir coloring (after the 1882 drawing in sanguine). Printed in 1948 on Johannot paper for the "Seize Aquarelles et Sanguines de Renoir" portfolio and publi...

Etching on imitation Japan paper. Image dimension: 26.7x39 cm. Signed and dated in the lower right in pencil "Morandi 1945". Edition of 22/50, numbered in pencil. Ref. Vitali 111...

Title: Theme C 4 Year: February 7, 1943 Medium: Collotype on vélin pur fil paper Size: 10.04 x 13.15 inches Condition: Very good Inscription: Signed in the plate, unnumbered Publishe...

Robert Vale Faro, 'Cheerleader', wood engraving, 1945, edition 15. Signed, dated, titled, and numbered '104' (the artist's inventory number) and '8/15' in pencil. A fine, black impression, with full margins (1 1/2 inches), on heavy, cream wove paper, in excellent condition. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus...

Vintage French fashion poster, original lithograph, by Jean Choiselat, (1947). Take a step back to the 1940s to immerse yourself in the surprising work ...

Untitled Screen print, 1941 Signed and dated in pencil lower right From an unnumbered edition of 6 Condition: Excellent Image size: 7 1/4 x 5 3/4 inches Sheet size: 10 x 8 inches Pr...

Composition au verre a pied (Composition with stemmed glass) Lithograph (Ink drawing, pen and brush transferred to lithograph stone) , 1947 Unsigned Editi...

Myron Kozman (1916-2002) Abstraction #318 Screenprint in colors, 1947 Signed, titled, and numbered in pencil (see photos) Rare abstract screenprint Myron Kozman’s Abstraction #318 of...

Ian Hugo, 'Early Marshes', from the portfolio 'Ten Engravings'. engraving, 1943, edition 50. Signed, dated, titled, and numbered '37/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with margins (2 5/8 to 7 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 x 5 7/8 inches (127 x 149 mm); sheet size 15 x 11 inches (381 x 279 mm). Ian Hugo originally created "Ten Engravings" in 1945 and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

Original PARIS linen-backed 1946 vintage travel poster, preservation linen-backed and ready to frame. Very good condition, Grade A- Original 1946 Paul Colin Paris Vintage Poster ...

Bernard Brussel-Smith, 'City Scene II', wood engraving, 1949, artist's proof, edition 100. Signed, titled, and annotated 'A.P.' in pencil. A superb, richly-inked impression, on whit...

Henri Matisse Martiniquaise 1946 Etching on annam appliqué on wove paper, Edition of 25 Paper size: 38 x 28 cms (15 x 11 ins) Plate size: 25.2 x 19 cms (10 x 7 1/2 ins) Henri Matiss...

THOMAS HART BENTON (1889-1975) INSTRUCTION 1940 (Fath 41) Lithograph, signed edition of 250 as published by Associated American Artists. 10 ¼” x 12 ¼”. Full margins, deckle edges....

Original pencil signed Grant Wood lithograph, "February," created 1940. A fine impression and one of the most important of the 19 lithographs created by the painter of "American Goth...

Lumber Workers (Cuidad del Carmen, State of Campeche) Color lithograph on wove paper, c. 1945 Signed lower right in pencil From: Mexican Art - A Portfolio of Mexican People and Places Edition: 250 Published by Associated American Artist and Taller Grafica de Popular (TGP) This print is one of two supplemental color lithographs from a portfolio of ten black-and-white lithographs showing images of Mexican people engaged in daily activities, primarily labor and crafting, by ten different mid-century Mexican political printmakers and members of the Taller de Gráfica Popular print collective, printed on cream wove paper, each signed in pencil at lower right. This image depicts the lumber industry in Campeche, one of the 31 states, located in Southeast Mexico, it is bordered by the states of Tabasco to the south west, Yucatán to the north east, and Quintana Roo to the east, and to the southeast by the Orange Walk district of Belize. Campeche was part of the province of Yucatán but split off in the mid-19th century, mostly due to political friction with city of Mérida. Today, much of the state’s economic comeback is due to the finding of petroleum offshore in the 1970s, which has made the coastal cities of Campeche and Ciudad del Carmen important economic centers. The state has important Mayan and colonial sites but they are not as well known or visited as others in the Yucatán. (Courtesy Annex Galleries) Condition: Excellent Slight toning around the sheet edges Image size: 11 3/8 x 14 1/8 inches Sheet size: 15 x 17 3/4 inches Reference: AAA Index 928 Alfredo Zalce Torres (12 January 1908 – 19 January 2003) was a Mexican artist and contemporary of Diego Rivera, David Siqueiros and other better-known muralists. He worked principally as a painter, sculptor, and engraver, also taught, and was involved in the foundation of a number of institutions of culture and education. He is perhaps best known for his mural painting, typically imbued with ”fervent social criticism”. He is acclaimed as the first artist to borrow the traditional material of coloured cement as the medium for a ”modern work of art”. Publicity-shy, he is said to have turned down Mexico's Premio Nacional de Ciencias y Artes before finally accepting it in 2001. Before his death, Sotheby's described him as ”the most important living Mexican artist up to date”. Early life A number of episodes from his childhood have been used to cast light on his future artistic career. Born in Pátzcuaro, Michoacán in 1908, as an infant he lived in Tacubaya during the Mexican Revolution; his school was near where the rival forces of Victoriano Huerta and Emiliano Zapata met in battle. One day he saw a dead body; he says that instead of fear his attitude was that of contemplation. According to a friend and prominent collector of his works, the young Alfredo began to draw aged six or seven, but chose to do so upon the linoleum floor of his home; nevertheless both his parents praised him. While at primary school, he regularly drew on the blackboard to accompany his teachers and illustrate their lessons, as encouragement to his fellow pupils. Between 1924 and 1927 he studied at the Escuela Nacional de Artes Plásticas in Mexico City, where formative influences included Mateo Saldaña, Germán Gedovius and Diego Rivera.[3] He was soon on friendly terms with Diego Rivera as well as Rufino Tamayo, David Siqueiros, José Clemente Orozco and Frida Kahlo. As the oldest of three children, he took responsibility for the family after the death of his father; while a student, he studied in the mornings and worked in the afternoons so as to be able to provide financial support. He undertook further studies at the Escuela de Talla Directa and the Taller de Litografía of Emilio Amero. Career Much of Zalce's career was spent in teaching and cultural activities. He first went to Zacatecas to teach art but, since the Cristero War had ended only shortly before, the school was not permitted to operate owing to lingering political tensions. He taught drawing at various primary schools for the Secretariat of Education from 1932 to 1935. In 1944, he became a teacher at the La Esmeralda and Escuela Nacional de Artes Plásticas. He moved to Morelia in 1950 and became the director of the Escuela de Pintura y Escultura. He also worked as a professor at the Universidad Autónoma de Nuevo León and the Escuela Popular de Bellas Artes.[3] Besides teaching, he illustrated books with academic and social themes. He was a founder or cofounder of the Escuela de Pintura of Tabasco, the Taller de Gráfica Popular, the Escuela de Pintura of Taxco in Guerrero, the Taller de Artes Plásticas in Uruapan and the Escuela de Pintura y Artesanías in Morelia. He was also a founder of the Liga de Escritores y Artistas Revolucionarios in 1933; one of its first missions was to oppose the favourable attitude at the time of many in Mexico towards Adolf Hitler. In 1930, he created a mural for the primary school in Ayotla, State of Mexico. In 1932, he worked in ”fresco” at the Escuela para Mujeres in Mexico City. He painted murals in the former Talleres Gráficos de la Nación in 1936; again in collaboration with Leopoldo Méndez at the Escuela Normal de Puebla in 1938; and at the Palacio de Gobierno and the Cámera de Diputados in Michoacán with Ángel Bracho...

Long before becoming the father of Op Art, Victor Vasarely explored an entirely different visual language — one deeply rooted in surrealism, symbolism, and dreamlike imagery. This or...

Artist: Pablo Picasso Title: Square Head of a Man with Soft Features (Plate IV) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18" ...

Benton Spruance, 'From the Sea' also 'From the Sea — Pieta', lithograph, editions 30, 35, 1943. A superb, richly inked impression, on off-white wove paper; the full sheet, with decke...

More Production-Bomb features a US made bomb dropping on the combined symbol of the Nazi swastika and Japanese flag. This striking image was created by an anonymous artist in 1942 to...

Shahn, Ben. IMMIGRANT FAMILY. Serigraph, 1941. Prescott 2. Edition size unknown; Prescott knew of only 3. This copy unsigned. 11 1/2 x 18 inches (image), 19 1/4 x 25 1/4 (sheet), framed to 23 x 28 1/4 inches. This was only the second print made by Shahn, and the first serigraph, a medium in which he continued to use for his prints throughout his career. Provenance: Kennedy Galleries, with its label, George Krevsky Gallery...

Medium: original lithograph. Printed in Paris by Mourlot and published by Pierre à Feu and Maeght Editeur for the Marcel Duchamp / André Breton project "Surréalisme en 1947". Issued ...

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Bold lithograph titled "Bread" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 2 from a series of 10, pr...

Benton Spruance, 'A Wind is Rising and the Rivers Flow', color lithograph, 1945, edition 40, Fine and Looney 242. Signed, dated, and titled, and annotated 'Ed 40' in pencil. A fine ...

Henri Matisse (1869-1954) Woman face, 1946 Original lithograph Unsigned Edition of 200 copies On Rives vellum size 25 x 18 cm REFERENCE : Catalog raisonné Duthuit 25 Very good con...

Medium: pochoir (after the drawing). A soft and delicate impression, printed in Paris in 1948 and published in an edition of 1200 by Braun et Cie. Size: 6 1/2 x 4 1/2 inches (164 x 1...

The circa 1940 original poster by French designer Jean Carlu, titled V - Franklin D. Roosevelt, is a striking wartime propaganda piece aimed at rallying support and confidence in Ame...

The 1947 original poster designed by André Bermond for the "Fêtes de l'Amitié Franco-Suisse" in Menton is a striking representation of post-war European unity and celebration. This f...

Step into the timeless brilliance of Paul Cezanne with this extraordinary color cliché, expertly edited by Editions du Chêne in Paris, France, in 1945. Adorned by a stunning solid ...

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Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...

Medium: original etching. Printed in Paris by Lacourière and published by Pierre à Feu and Maeght Editeur for the Marcel Duchamp / André Breton project Surréalisme en 1947. Issued in...