Medium: lithograph, collage and stencil poster. This work consists of a lithograph mounted onto brown wove paper, with a collage of hand-cut newsprint letters and stenciled text in red and blue ink. On verso is a stamp stating that this affiche (poster) was issued in a limited edition of 60 and that this is copy number 1 (see photos).

The lithograph itself appears to be a slightly different state of "Tête de femme". It is known that Tete de femme (references Bloch 384; Mourlot 4) was executed by Picasso in 1945 and issued in an edition of 50 with Picasso's red pencil signature but with no plate signature. The lithograph offered here is printed on Arches laid paper and is signed in the stone, but is not hand-signed.

The size of the lithograph portrait is 11 3/4 x 8 1/4 inches (300 x 210 mm) and the full poster measures 19 3/4 x 13 inches (500 x 325 mm).

Condition: there are pinholes at each corner of the poster, with minor creasing throughout. The lithograph shows a horizontal crease near the top, where it is attached to the support sheet. Extremely rare!

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 literary project). Size: 13 x 9 5/8 inches (330 x 245 mm). Signed in the plate (not by hand).

Medium: serigraph (after the 1917 painting). Printed in 1957 on Bristol San Francisco smooth wove paper in an edition of 300 at the atelier Arcay and published by Galerie Denise René. Image size: 15 1/2 x 13 3/4 inches (395 x 350 mm). Sheet size: 26 x 20 inches (660 x 510 mm). Not signed.

Condition: there is minor wear to the edges of the sheet, not affecting the image.

Medium: serigraph (after the 1911 watercolor). Printed in 1957 on Bristol San Francisco smooth wove paper in an edition of 300 at the atelier Arcay and published by Galerie Denise René. Image size: 15 x 19 inches (377 x 488 mm). Sheet size: 20 x 26 inches (510 x 660 mm). Signed in the plate (not by hand).

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

Medium: original etching and drypoint. This rare and beautiful impression on japon paper is one of only 50 printed for the deluxe edition of the Gazette des Beaux Arts. Published in Paris in 1890, this Pissarro etching is printed in brown ink, rather than the typical black ink. Catalogue reference: Delteil 93. A fine impression with plate tone, measuring 7 3/4 x 5 1/4 inches -- 198 x 135mm (plate size) with full original margins. Not signed.

Condition: there is some slight discoloration in the margin from having been previously framed.

Medium: original etching. Catalogue reference: Guerin 27 and Harris 31. This charming etching is one of several compositions executed by Edouard Manet on the subject of a boy and his dog. This edition on wove paper was published in 1902. Plate size: 8 1/8 x 5 3/4 inches (207 x 145 mm). Signed in the plate, not by hand.

Condition: the margins are irregular, being 10mm at the most narrow spot (see the second photo).

Medium: etching and drypoint. This is Seymour Haden's etched version of the painting by Thomas Wright of Derby entitled "Edwin the Minstrel". The man in the portrait was actually Sir Francis Seymour Haden's own grandfather. This is a very rare first state impression circa 1864 -- before the artist added additional crosshatched drypoint shading at the back of the figure. An additional plate signature would also be added for the second state. There were five different states in all. Catalogue references: Drake 51 and Schneiderman 53. This impression is signed both in pencil and in the plate. Printed on watermarked laid paper, the plate measures 14 x 9 1/2 inches (355 x 242mm). The total sheet measures 17 x 12 1/8 inches (434 x 308mm).

Condition: the paper is age-toned and light struck.

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue reference: Rifkind 610. Image size: 6 5/8 x 4 7/8 inches (170 x 122 mm). Sheet size: 12 5/8 x 9 1/4 inches (320 x 235 mm). This work can be found in the permanent collection of MoMA (The Museum of Modern Art) in New York. Signed in the plate (not by hand).

Medium: pochoir (after the 1920 watercolor). Printed in Paris in 1926 in a limited edition of 700 and published by Christian Zervos for the art revue Cahiers d'Art. Image size: 7 3/4 x 6 inches (197 x 153 mm). Sheet size: 11 x 8 3/4 inches (280 x 220 mm). Signed in the plate, not hand-signed.

Condition: there are a few spots of foxing in the margin, not affecting the pochoir image.

Cahiers d'Art was published in Paris from 1926-1960 by Greek art collector, writer and art critic Christian Zervos. From a print collector's viewpoint, this art revue is most famous for the pochoirs which were commissioned for some of the issues. Zervos had high technical standards, and this work is a lucky find.

Medium: original lithograph. Printed in 1972 on Rives wove paper at the atelier Rene Guillard and published by Philippe Lebaud in a limited edition of 190 for the "Variations sur l'imaginaire" portfolio. Size: 14 1/2 x 10 3/4 inches (370 x 275 mm). Signed in pencil by Leonor Fini.

Medium: original lithograph. Printed in 1972 on Rives wove paper at the atelier Clot, Bramsen et Georges and published by Philippe Lebaud in a limited edition of 190 for the "Variations sur l'imaginaire" portfolio. Size: 14 1/2 x 10 3/4 inches (370 x 275 mm). Signed in pencil by Man Ray.

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue reference: Dube 266B. Image size: 9 7/8 x 6 1/4 inches (250 x 159 mm). Sheet size: 12 5/8 x 9 1/4 inches (320 x 235 mm). This work can be found in the permanent collection of MoMA (The Museum of Modern Art) in New York. Not signed.

Medium: original serigraph / silkscreen. In 1964 Samuel Wagstaff, Jr. (at that time Curator of Paintings at the Wadsworth Atheneum in Hartfordford, Connecticut) selected ten important American artists and asked them to contribute original prints for the portfolio “Ten Works by Ten Painters”. This was issued in 1964 in an edition of 500. The publisher's blindstamp is in the margin near the bottom right corner. Not signed.

The other artists collaborating with the project were Stuart Davis, Ellsworth Kelly, Roy Lichtenstein, Robert Motherwell, George Ortman, Larry Poons, Ad Reinhardt, Frank Stella and Andy Warhol. Image size: 17 1/2 x 16 inches (445 x 408mm). Printed on wove paper with full original margins, the sheet measures 24 x 20 inches.

Condition: there is a mat stain in the margin.

Medium: original etching and aquatint. This is Plate 62 from Goya's Los Desatres de la Guerra series; the Spanish title translates to "The Beds of Death". Catalogue reference: Delteil 181. The plate measures 6 7/8 x 8 3/8 inches (175 x 212 mm). This is a fine, rich impression on laid paper; the date of printing is unknown (estimated late 19th century).

Condition: the margins have been trimmed and there is old glue residue on the back.

Medium: original lithograph. Catalogue reference: Mourlot 209. Executed in 1953 and issued in an edition of 1350 for the rare exhibition catalogue "Miro Recent Paintings", published by the Pierre Matisse Gallery. The printing was done in Paris by Mourlot Freres. Sheet size: 12 1/8 x 9 3/8 inches (310 x 238 mm). Not signed.

Medium: lithograph and pochoir. Catalogue reference: Dupin 1310, Benhoura 396. This lithograph was printed in 1938 at the atelier Mourlot and published in Paris by Teriade for the art revue Verve (volume 1, number 3). Four artists were commissioned to contribute compositions on the four seasons, with Miro choosing Summer. A beautiful, richly-inked impression of this important Miro print. Size: 14 x 10 3/8 inches (353 x 263 mm). Signed in the plate (not by hand).

Medium: stencil print on sandpaper (after the painting). At the height of his period of creative experimentation during the 1930's, Miro executed an abstract painting on sandpaper.
The rare work offered here is a faithful vintage re-creation of that work, and is printed on actual sandpaper. This is the same Wellington Mills, John Oakey & Sons Waterproof No. 2/0 flint sandpaper that was used by Miro for the original painting. Printed in London in 1937 for "Signature: A Quadrimestrial of Typography and Graphic Arts". Size: 9 3/4 x 6 1/2 inches (245 x 165mm). Not signed.
A richly inked impression, this unusual Miro seems to invite the viewer to touch it!

Medium: etching (etched by William Bicknell after Winslow Homer's 1896 painting). Although there is no inscription, it is presumed to have been published in 1906 by the John A. Lowell Bank Note Co., Boston, and issued for the Hamburg-American Line (there is a vignette of one of their passenger steamships in the margin at the bottom left). Image size: 23 1/2 x 17 1/2 inches (595 x 443mm) printed on heavy wove paper. Signed in the plate (not by hand).

Condition: The margins have been somewhat trimmed (not affecting the etching but slightly cropping the steamship vignette along the bottom edge). There is small skinned spot at the top right corner of the composition, and a pink erasure mark in the margin at the bottom right with skinning to the surface of the paper. A rich, dark impression of this magnificent etching. A lucky find!

Medium: original woodcut. Printed in 1947 in an edition of 950 on Rives wove paper for "Pierre a feu / Les miroirs profonds" and published in Paris by Maeght. Image size: 8 1/4 x 6 1/2 inches (210 x 167 mm). Sheet size: 9 1/2 x 8 inches (240 x 203 mm). There is printed text on verso, as issued. Not signed.

The English title is "Delicious Earth". This impression (after the original woodcut) was printed on japon paper in 1943 in an edition of 250, and is one of Gauguin's beautiful Tahiti compositions. Image size: 14 x 8 inches (360 x 205 mm).

The extremely rare originals are well beyond the reach of most collectors, and the edition offered here presents an affordable alternative.

(Legend of the Animals); Medium: original woodcut. Catalogue reference Lankheit 831-3. Published in 1919 for Genius. Image size: 7 3/4 x 9 1/2 inches (198 x 240mm). This is a very richly inked impression printed on wove paper. Signed in the plate (not by hand).

This print is from GENIUS: Zeitschrift fur Werdende und Alte Kunst, a deluxe art revue founded in 1919 in the aftermath of The First World War. Europe was devastated by the War, both physically and psychologically, and Expressionist art was attempting to create a new artistic idiom. From the first (and rarest) year of Genius; one does not see many original Franz Marc prints on the market.

Medium: original etching and drypoint. Catalogue reference Delteil 126. Printed in 1900 and published in Paris by H. Floury as the frontispiece for Gustave Geffroy's "La Vie Artistique". Printed on laid paper, the plate size is 4 3/4 x 3 1/4 inches (120 x 80 mm). Not signed.

Condition: there are a few spots of foxing and areas of age-toning to the paper.

Medium: original lithograph. Printed in 1965 by Mourlot Freres in an edition of 1000 on Arches paper for the "L'Atelier Mourlot" catalogue. Size: 10 x 7 1/4 inches (255 x 186 mm). Signed in the plate (not by hand).

Medium: lithograph (after the découpage). Printed in 1945; Matisse executed this composition for the cover of the art revue Verve (Volume IV, Number 13 -- the "De la Couleur" issue). Size: 14 x 21 1/2 inches (360 x 545 mm). This work was published as a folded sheet with another lithograph printed on the back. Please note, this listing is for the cover lithograph only and does not include any other lithographs from this edition. Not signed.

Condition: in better condition than normally found; there are some areas of discoloration and small tears at the top center and bottom center of the sheet.

Medium: lithograph (after the drypoint on three zinc plates). Printed in 1945 on heavy wove paper by Lithographie Parisienne for Cahiers d'Art. Size: 12 5/8 x 9 1/2 inches (320 x 243 mm). Signed in the plate, not by hand.

Condition: there is age-toning to the paper and minor wear around the edges.

Medium: original etching. This impression on Alton Mill laid paper was printed in 1883 for "An English Version of the Eclogues of Virgil" and published in London by Seeley and Company. Samuel Palmer had planned a series of etchings to illustrate his translation of Virgil's Eclogues, but died in 1881 before finishing the project. The Sepulchre is one of four etchings left by the artist in an advanced state of completion, and the final details were finished by his son Alfred Herbert Palmer. Catalogue reference: Lister E16. Image size: 4 x 6 inches (100 x 152 mm). Plate size: 5 1/4 x 7 3/8 inches (133 x 189 mm). Sheet size: 8 1/4 x 12 5/8 inches (212 x 320 mm). Not signed.

Condition: there is age-toning near the edges of the sheet.

Medium: original etching. This etching was executed in 1970 for Paroles Peintes IV, and is from the edition of 150 on Johannot wove paper. A limited number of signed proofs were also issued; this impression is not signed. Plate size 13 1/2 x 9 1/2 inches (344 x 243 mm).

Published in Paris in 1970 for the Paroles Peintes IV portfolio, by Lazar-Vernet. This was an art and poetry project featuring original prints in a small edition. There was no second edition of this Henry Moore and no later printing. A very rich impression, with burr!

Medium: pochoir (after Miro). This rare pochoir was printed in 1949 and published in Paris by Cahiers d'Art. Image size: 7 1/2 x 11 1/4 inches (193 x 287 mm). Sheet size: 9 x 12 1/4 inches (230 x 313 mm). Cahiers d'Art was an art revue published from 1926-1960 by the Greek writer, collector and art critic Christian Zervos. Not signed.

The English title is "Women at the River". This impression (after the original woodcut) was printed on japon paper in 1943 in an edition of 250, and is one of Gauguin's beautiful Tahiti compositions. Image size: 8 1/4 x 14 inches (210 x 360 mm).

The extremely rare originals are well beyond the reach of most collectors, and the edition offered here presents an affordable alternative.

Medium: original etching. One of just a few night scenes composed by Claude Gellée (better known as Claude Lorain), this etching was executed in 1634. The impression offered here is printed on wove paper; this is the final state and the date of printing is unknown. The sheet measures 4 1/8 x 6 3/4 inches (105 x 173 mm). Not signed.

Condition: the margins are trimmed, the etching has been mounted by a previous owner at the four corners onto a support sheet, and there are some areas of discoloration to the paper.