New Arrivals: Landscape Prints

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, André Lanskoy, Peintres d'aujourd'hu...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, André Lanskoy, Peintres d'aujourd'hu...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui, 1962. Pub...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui...

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle sé...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, André Lanskoy, Peintres d'aujourd'hu...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, André Lanskoy, Peintres d'aujourd'hu...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, André Lanskoy, Peintres d'aujourd'hu...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, André Lanskoy, Peintres d'aujourd'hu...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Hans Hartung, Peintres d'aujourd'hui...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, André Lanskoy, Peintres d'aujourd'hu...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XLIIIe Année, N°57, Sep...

Damien Hirst, Where the Land Meets the Sea (Signed) (Set of 3), 2023 Offset Lithograph 3 x 60 x 84 cm Edition of 666 Hand-signed by the artist From Damien Hirst's latest exhibi...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

This is a one-off hand painted Limited Edition, on offer here is the No 1 of the only Five Editions. 60% of the painting is hand painted with original paint on Giclee print on alumin...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

Jos Sances' screenprint "Rachel" serves as a poignant tribute to the themes explored in Herman Melville's Moby Dick. The artwork depicts the whaling ship Rachel, a vessel steeped in ...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960....

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960....

In Pequod, artist Jos Sances offers a visually powerful interpretation of a climactic moment from Herman Melville’s Moby-Dick. Rendered with meticulous detail, the scene depicts the ...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960....

In Perth, Jos Sances captures a dramatic and symbolic scene drawn from Herman Melville’s Moby-Dick, depicting the ship’s blacksmith Perth forging a harpoon under the watchful eye of ...

In this compelling portrait titled Ahab, acclaimed artist Jos Sances channels the psychological intensity of Herman Melville’s iconic anti-hero from Moby-Dick. The print presents a b...

Jean-Marie Picard, French - Winter Tree, Medium: Lithograph on Arches, Image Size: 27 x 20 inches, Size: 22.5 x 29.75 in. (57.15 x 75.57 cm)

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Mark Tobey, Peintres d'aujourd'hui, ...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Mark Tobey, Peintres d'aujourd'hui, ...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Mark Tobey, Peintres d'aujourd'hui, ...

Jean-Marie Picard, French - Paysage, Medium: Lithograph on Arches, signed in the plate lower right, Image Size: 19.5 x 26.75 inches, Size: 22 x 29.75 in. (55.88 x 75.57 cm)

JR (French, b. 1983) Women Are Heroes, Elizabeth Kamanga on Sea, Le Havre, France, 2021 Medium: Lithograph in colors on BFK Rives paper Dimensions: 50 × 70 cm (19 7/10 × 27 3/5 in) E...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Mark Tobey, Peintres d'aujourd'hui, ...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Mark Tobey, Peintres d'aujourd'hui, ...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Mark Tobey, Peintres d'aujourd'hui, ...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Mark Tobey, Peintres d'aujourd'hui, ...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Maurice Estève, Peintres d'aujourd'h...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Maurice Estève, Peintres d'aujourd'h...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva...