Yves Alix Prints and Multiples

Raoul DUFY The Hunt, c. 1910 Original woodcut Signed with the stamp of the artist's studio Numbered on /220 Titled in the board 50.5 x 65.4 cm (c. 19.6 x 25.5 inch) Excellent condi...

La Negresse (The Negress) Etching & drypoint, 1909 Unsigned (as issued in the portfolio) From the album "Les Bars" (8 plates plus cover illustration) Editi...

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...

A 1928 woodcut on paper of a self-portrait of notable Chicago Modernist artist, Emil Armin. Artwork size: 10 1/2" x 8". Archivally matted to: 12 1/2" x 14 1/2. Signed, titled and numbered in pencil. Edition 7/30. Emil Armin was born in Radautz, Austria in 1883. By the age of 10, Armin was orphaned and was raised by his older siblings. He supported himself by working in restaurants and drew in his spare time. In 1905, at the age of 21, Armin immigrated to Chicago. He began studying at the Art Institute of Chicago in 1907, but financial difficulties forced him to start and stop a number of times, finally graduating in 1920. He studied with George Bellows and Randall Davey. Armin was an integral part of Chicago’s 57th Street Art Colony and exhibited in both the more avant-garde Chicago No-Jury Society Shows, as well as the more formal and conventional Chicago Society of Artists Exhibitions, the Chicago Renaissance Society and Art Institute of Chicago (1922-1949) exhibitions. He taught at Hull House...

'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Japanese Kitaka...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 ...

La Promenade en Bateau is an original modern artwork realized by Raoul Dufy in 1930s Original Lithograph. Good conditions. Raoul Dufy (1877-1953) He was a French artist and design...

Original 1989 Louis Vuitton Automobile Classiques Poster –Hand Signed, Archival Linen-Backed. This poster was created for the Concours d’Elegance ...

This is an original 19th century hand-colored lithograph entitled "Portico of the Temple of Kalabshi" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, p...

Isac Friedlander, 'Run Little Chillun' also 'Revival', wood engraving, 1933, edition 50. Signed, titled and annotated 'New York 1933' in pencil. A sup...

An original vintage poster of Perlach Macaroni Spaghetti created by Richard Roth for the German pasta brand, Perlach in the 1940s 1. The poster features an anthropomorphic pasta man...

Barbara Latham, 'Our Mexican Kitchen', wood engraving, edition not stated but small, 1932. Signed and titled in pencil. A fine richly-inked impression, on tan wove paper, with full margins (5/8 to 7/8 inch), in excellent condition. Matted to museum standards, unframed. Image size: 5 5/8 x 7 5/8 inches (143 x 194 mm); sheet size 7 1/4 x 9 inches (184 x 229 mm). An impression of this work is held in the collection of the Metropolitan Museum of Art. ABOUT THIS WORK During the late 1920s and early 1930s, Latham traveled extensively with her husband, the artist–printmaker Howard Cook, working for periods in Mexico, Europe, and the American South. These experiences broadened her artistic vision while reinforcing her commitment to creating modernist works rooted in direct observation. 'Mexican Kitchen' (also known as 'Our Mexican Kitchen') exemplifies Latham's technical mastery and assured compositional sense. Transforming an ordinary domestic interior into a compelling modernist composition, she employs strong structural rhythms, subtle tonal contrasts, and carefully balanced forms to create a dynamic space imbued with an intimate sense of everyday life. ABOUT THE ARTIST Barbara Latham (1896–1989) was an American printmaker, painter, and illustrator whose work is closely associated with the Regionalist movement and the broader development of American graphic art in the first half of the twentieth century. Born in Walpole, Massachusetts, she pursued her early studies at the School of the Museum of Fine Arts, Boston, and later in New York, where she became part of a generation of artists committed to depicting American subjects with unembellished clarity and conviction. Latham's formation as an artist coincided with a period of renewed interest in printmaking as a primary medium of expression. Working principally in lithography and wood engraving, she developed a disciplined approach grounded in draftsmanship and strong compositional integrity. Her work reflects direct engagement with the American scene, particularly the rural environments of New England, the American South, and later the Southwest, where she worked from direct observation. By the 1930s and 1940s, Latham had established a distinctive voice within American Regionalism. Her prints depict landscapes, village life, and shared human experience with an unusual balance of modernist design and emotional accessibility. Rather than romanticizing rural subjects, Latham approached them with empathy and quiet humanism, finding dignity and beauty in ordinary moments. This combination of formal restraint and genuine warmth remains one of the defining qualities of her work. Technically, Latham's lithographs are notable for their subtle tonal gradations and ability to evoke atmosphere without sacrificing clarity. Her wood engravings demonstrate a decisive economy of line, simplified forms, and masterful control of black and white to create compositions of remarkable graphic strength. Across both media, her work reflects exceptional technical expertise anchored by a deep commitment to balanced design and visual integrity. In addition to her work as a fine artist, Latham enjoyed a distinguished career as an illustrator. She designed greeting cards for the Norcross Publishing Company and contributed illustrations to such publications as Forum magazine and The New York Times Sunday Magazine. She also earned widespread recognition as a children's book illustrator. Her book 'Maggie' was selected by the American Institute of Graphic Arts as one of the outstanding illustrated books produced between 1945 and 1950, reflecting the same clarity of design and sympathetic observation that characterize her prints. Following her move to Taos, New Mexico, Latham became associated with the community of artists known as the Taos Moderns. There she expanded her work in painting, producing luminous landscapes and scenes of Southwestern life that complemented her achievements in printmaking. Her New Mexico paintings...