Medium: offset lithograph (after the drawing). Printed in 1966 for the art revue Derriere le Miroir and published in Paris by the atelier Maeght. Size: 15 x 11 inches (377 x 277 mm). There is a different image on verso. Signed in the plate, not by hand.

Medium: offset lithograph (after the drawing). Printed in 1966 for the art revue Derriere le Miroir and published in Paris by the atelier Maeght. Size: 15 x 11 inches (377 x 277 mm). There is a different image on verso. Not signed.

Medium: lithograph (after the drawing). Printed in 1966 for the back cover of the art revue Derriere le Miroir and published in Paris by Maeght. Size: 11 x 15 inches (277 x 377 mm). Not signed.

Condition: there is some soiling.

Medium: original lithograph. Executed in 1982 for the back cover of Derriere le Miroir (issue No. 250), and published in Paris by the Maeght atelier. Many of the artists who had been regular contributors to DLM throughout its more than thirty years of publication, contributed original prints for this project. Among these were Chagall, Miro, Kelly, Chillida, Palazuelo, Garache, Adami, Fiedler, Ubac, Pol Bury, Alechinsky, Steinberg, Tal-Coat, Riopelle, Tapies, Bram van Velde and several others. Sheet size: 15 x 11 inches (380 x 277mm); there is text on verso, as published. Not signed.

Condition: as this was the actual cover, there is some soiling, and wear around the edges.

Medium: original etching. This etching illustrates a scene from Nathaniel Hawthorne's famous novel "The Marble Fawn" and was executed for "The Hawthorne Portfolio" and published in 1884. Printed on laid paper, the plate size is 2 5/8 x 3 inches. Signed by Walter Shirlaw in the plate (not by hand).

Medium: etching (etched by Stephen Alonzo Schoff after Elihu Vedder). Published in 1880 by the American Art Review. Plate size: 5 1/2 x 9 inches. Plate-signed; not hand-signed.

Medium: etching (etched by Stephen Alonzo Schoff after W. M. Hunt). Published in 1880 by the American Art Review. Image size: 7 1/2 x 6 inches. Not signed.

Medium: lithograph (after the drawing). Published in London in 1896 for the scarce Volume 8 of "The Studio". Printed on brown-tinted smooth wove paper with The Studio blindstamp in the margin. Sheet size 11 1/4 x 8 inches (285 x 205 mm). Signed in the stone (not by hand).

Condition: there is some age-toning to the paper.

Medium: etching. Etched by James D. Smillie after Frederick Arthur Bridgman. Published in the 1880's by Estes & Lauriat. Image size: 7 3/4 x 6 3/8 inches with good margins. Signed in the plate (not by hand).

Medium: original lithograph. Executed in 1982 for the front cover of Derriere le Miroir (issue No. 250), and published in Paris by the Maeght atelier. Many of the artists who had been regular contributors to DLM throughout its more than thirty years of publication, contributed original prints for this project. Among these were Chagall, Miro, Kelly, Chillida, Palazuelo, Garache, Adami, Fiedler, Ubac, Pol Bury, Alechinsky, Steinberg, Tal-Coat, Riopelle, Tapies, Bram van Velde and several others. Sheet size: 15 x 11 inches (380 x 277mm). Signed in the plate, not by hand.

Condition: as this was the actual cover, there is some minor wear around the edges.

Medium: original etching. Published in 1878 by Gazette des Beaux Arts. Catalogue reference Sanchez & Seydoux 1878-5. Image size: 7 x 4 1/8 inches (180 x 104 mm) on cream laid paper. Signed in the plate, not by hand.

The Gazette des Beaux Arts was a Parisian art revue founded in 1859. From a print collector's point of view, it is much treasured for the original etchings and lithographs published during the 19th Century and early years of the 20th Century.

Medium: original etching. This etching illustrates a scene from Nathaniel Hawthorne's famous novel "The Marble Fawn" and was executed for "The Hawthorne Portfolio" and published in 1884. Printed on laid paper, the plate size is 5 1/2 x 3 1/8 inches. Signed by Walter Shirlaw in the plate (not by hand).

Medium: original etching. A fine impression in excellent condition on cream laid paper, published in 1880 by the American Art Review. Image size: 8 x 5 inches. Signed by Smillie in the plate (not by hand).

Medium: original etching. This impression on heavy cream wove paper is from the Sylvester R. Koehler portfolio of etchings, published in 1885 by Cassell & Company. Plate size: 6 x 11 3/4 inches. Signed in the plate (not by hand).

Condition: there is minor foxing in the margin, not affecting the etched image.

Medium: original etching. Printed on cream wove paper and published in 1888 for "Picturesque California: The Rocky Mountains and the Pacific Slope". Image size: 8 x 12 inches. Not signed.

Condition: there is soiling in the margins, not affecting the etched image.

Medium: engraving (after the drawing). Published in Paris for XXe Siecle in 1939. The image size is 10 1/4 x 8 1/2 inches. There is another image on the back, as issued. Not signed.

Medium: engraving (after the drawing). Published in Paris for XXe Siecle in 1939. The image size is 10 x 8 inches. There is printed text above the image and on the back, as issued. Not signed.

Medium: original lithograph. This lithograph is from the rare 1951 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1951 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association; these sponsors gave the artists complete creative freedom of expression.

This impression was printed on light brown tinted laid paper in a limited edition of 2000. Size: 12 x 8 5/8 inches. Signed in the plate (not hand-signed).

Condition: the left edge of the sheet has been trimmed.

Medium: etching. Etched by William Unger after Frans Snyders. This impression on on heavy wove paper was printed in 1880 for the "Etchers" portfolio. Plate size: 7 3/4 x 9 1/2 inches (198 x 240 mm). Signed in the plate, not by hand.

Medium: original lithograph. This lithograph is from the rare 1954 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1954 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association; these sponsors gave the artists complete creative freedom of expression.

This impression was printed on light brown tinted laid paper in a limited edition of 2000. Size: 12 x 8 5/8 inches. Signed in the plate (not hand-signed).

Condition: the left edge of the sheet has been trimmed, not affecting the composition.

Medium: original lithograph. This lithograph is from the rare 1954 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1954 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association; these sponsors gave the artists complete creative freedom of expression.

This impression was printed on light brown tinted laid paper in a limited edition of 2000. Size: 12 x 8 5/8 inches. Signed in the plate (not hand-signed).

Condition: the left edge of the sheet has been trimmed.

Medium: original lithograph. This striking lithograph was published in 1921 for Genius. Sheet size: 13 3/4 x 10 1/4 inches (350 x 260 mm) on wove paper. This original Edwin Scharff lithograph is from GENIUS: Zeitschrift fur Werdende und Alte Kunst. This art and literary project only lasted three years, but had incredible influence on German art and culture between the Wars. Some of the important artists contributing original prints included: Karl Schmidt-Rottluff, Richard Seewald, Franz Marc, Erich Heckel, Frans Masereel, Max Kaus, Karl Hofer, Alexander Archipenko, and others. This was a major vehicle for the German Expressionists. Not signed.

Medium: original color etching. Executed in 1965 for the deluxe limited edition "Paroles Peintes II" portfolio, published in Paris by Lazar-Vernet. This magnificent, rich impression is one of 150 printed on Johannot wove paper. The plate size is 6 3/4 x 10 inches (253 x 175 mm) and the full sheet measures 14 3/4 x 11 inches (375 x 285 mm). Not signed.

Condition: there is foxing in the margin.

Medium: original lithograph. Printed in Paris in 1966 at the atelier Mourlot in an edition of 1500 on Chiffon de Mandeure wove paper. Size: 10 x 7 1/4 inches. There is printed text on the back, as issued. This original Steinberg lithograph is from the scarce limited edition catalogue, published by Maeght and London's Redfern Gallery on the occasion of a 1966 exposition at the Redfern. Not signed.

Medium: original lithograph. This print was issued for XXe Siecle in 1973, published in Paris by San Lazzaro. Sheet size: 12 1/4 x 9 1/2 inches (310 x 240 mm). Not signed.

Medium: original etching. Published in Paris in 1860 by Gazette des Beaux-Arts and beautifully printed by Delatre on chine-colle paper. The catalouge reference is Sanchez and Seydoux 1860-12. Plate size: 4 1/2 x 8 1/4 inches (110 x 208mm). Not signed.

Condition: there is foxing, mostly to the outer margins, as shown in the second photo.

Medium: original etching. Printed in Germany in 1925 for the rare Ganymed "Das funfte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. The etching was printed by Franz Hanfstaengle, of Munich. This impression on thin wove paper is from the unsigned edition of 900 (the total edition was 1000, of which 100 were signed). The plate measures 5 x 7 1/4 inches (125 x 185 mm) with full original margins. Signed in the plate (not hand-signed). In fine condition. This piece is in the permanent collection of MoMA (The Museum of Modern Art).

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Printed in Germany in 1922 for the rare Ganymed portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. This impression is from the unsigned edition printed on laid paper. The image measures 5 1/2 x 7 inches (140 x 175 mm); a fine impression with full original margins. Not signed.

The Children's Shepherd
Medium: original etching and drypoint. Printed in Germany in 1921 for the rare Ganymed "Das dritte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. The etching was printed by Franz Hanfstaengle, of Munich. This impression on wove paper is from the unsigned edition of 900 (the total edition was 1000, of which 100 were signed). The plate measures 5 3/4 x 5 3/4 inches (145 x 145 mm). This piece is in the permanent collection of MoMA (The Museum of Modern Art). Not signed. Condition: there is foxing to the paper and a water stain (see the second photo); this is in the margins and can be covered with a mat when framed.

Medium: offset lithograph (after the drawing). A rare and interesting work for collectors of Raphael Soyer. This is an actual birth announcement, designed by the artist for his friends. The lithographed inscription reads, "Dr. and Mrs. Arnold Lieber announce the birth of their son David. May 17, 1962". The total sheet measures 9 1/4 x 5 3/4 inches. Not signed.

Condition: there is a natural crease in the center where it was folded, and a small stain near the right edge of the sheet.

Medium: original lithograph. Printed in 1920 on a light brown tinted wove paper for the German Expressionist art revue Das Kunstblatt, published in Berlin by Verlag Gustav Kiepenheuer. The total sheet measures 10 3/4 x 8 inches (275 x 200 mm). An impression of this same original print can be found in the permanent collection of MoMA (The Museum of Modern Art) in New York. Not signed.

Medium: original etching. Executed in 1883; this is a rich, dark impression on heavy cream wove paper, from the "Original Etchings by American Artists" portfolio, published in 1883 by Cassell and Company. The plate size is 5 x 11 7/8 inches. In excellent condition with full original margins. Signed in the plate (not by hand).

Medium: original etching. Executed in 1883; this is a rich, dark impression on heavy cream wove paper, from the "Original Etchings by American Artists" portfolio, published in 1883 by Cassell and Company. The plate size is 8 x 11 3/4 inches. In fine condition with full original margins. George Henry Smillie was the brother of artist James David Smillie. Signed in the plate (not by hand).

Medium: original lithograph. This lithograph is from the rare 1951 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1951 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association; these sponsors gave the artists complete creative freedom of expression.

This impression was printed on tinted laid paper in a limited edition of 2000. Size: 12 x 8 5/8 inches. Signed in the plate (not hand-signed).

Condition: the left edge of the sheet has been trimmed.

Medium: original lithograph. This lithograph is from the rare 1954 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1954 Spring Fantasia Masquerade Ball at the Hotel Astor. Leading artists on the New York art scene were invited to contribute original lithographs in the form of advertisements for businesses sponsoring the Artists Equity Association; these sponsors gave the artists complete creative freedom of expression.

This impression was printed on tinted laid paper in a limited edition of 2000. Size: 12 x 8 5/8 inches. Signed in the plate (not hand-signed).

Condition: the sheet has been trimmed along the left side.

Medium: silkscreen / serigraph. This work was published by Groupe Espace in Milan for the very rare Documenti d'Arte d'Oggi (1955-56). The image measures 4 x 6 inches (100 x 150mm). Attached by the publisher along the top edge onto a support sheet. Not signed.

Medium: original lithograph. Executed for the second volume (1956-57) of very rare Documenti d'Arte d'Oggi, published in Milan by Groupe Espace. The total sheet measures 12 1/2 x 8 1/2 inches (318 x 220mm). Printed on smooth wove paper. Signed in the stone, not by hand.

Documenti d'Arte d'Oggi was an ongoing project of the Concrete Art Movement (Movimento arte concreta). This important portfolio consisted of original silkscreens, serigraphs, lithographs, woodcuts and linoleum cuts on various types of paper, compiled into an annual album from 1954-1958. Among the artists represented in this issue were: Aagaard Andersen, Enrico Bordoni, Angelo Bozzola, Guiseppe Capogrossi, Gillo Dorfles, Galliano Mazzon, Gianni Monnet, Bruno Munari, Mario Nigro, Sandro Pessina, Vivaldo Poli, Carol Rama, Regina, Manlio Rho, Nino Di Salvatore, Emilio Scanavino, Tito Varisco, Luigi Veronesi and Simonetta Vigevani Jung. Original prints by most of these artists are rare.

Medium: original etching. This Hermann Struck etching was published in Berlin in 1919 by Paul Cassirer. Plate size: 8 x 5 3/4 inches (205 x 145mm). A good impression on wove paper. Signed in the plate (not by hand).

Condition: there is age-toning to the margins and a pinhole near the bottom right.

Medium: original color etching. Executed in 1965 for the deluxe limited edition "Paroles Peintes II" portfolio, published in Paris by Lazar-Vernet. This magnificent, rich impression is one of 150 printed on Johannot wove paper. The full sheet measures 14 3/4 x 11 inches (375 x 285 mm). Not signed.

Medium: original lithograph. Printed in 1979 by La Poligrafa and issued in a limited edition of 1000. Size: 10 x 7 1/2 inches (255 x 188 mm). Not signed.

This original Graham Sutherland print is from the scarce and lavishly-produced limited edition catalogue published in 1979 by the atelier Poligrafa of Barcelona, in conjunction with the prestigious Redfern Gallery of London. The project was done in homage to the earlier Redfern catalogues of the 1960's (which are now very rare) and with the same excellent technical quality.