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. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-Gabriel Daragnes, this art and literary album celebrated Paris in 1937, with original etchings from important artists of the time, and essays from leading writers. Plate size: 13 1/8 x 10 1/8 inches (333 x 262 mm). With narrow margins (as published) the sheet size is: 13 5/8 x 10 5/8 inches (345 x 273 mm). Signed in the plate, not hand-signed.

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: original etching and and aquatint with drypoint. Catalogue reference: Delteil 97. Executed in 1891, this lovely impression is from the edition on cream wove paper published in 1923 for inclusion in the Loys Delteil catalogue raisonne "Le peintre-graveur illustre: Pissarro, Sisley, Renoir (Volume 17). Plate size: 10 x 8 inches (255 x 201 mm). Sheet size: 12 1/2 x 9 1/4 inches (318 x 235 mm). Not signed.

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 2252. 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: 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: original lithograph. Printed in 1954 at the Mourlot Freres atelier and published in New York by The Noonday Press in an edition of 64 for the "Elegy of Ihpetonga and Masks of Ashes" portfolio. Ihpetonga was the name given by the Canarsie Indians to the part of Brooklyn now known as Columbia Heights. Printed on Arches wove paper with deckle edges, the sheet measures 13 x 9 7/8 inches (330 x 251 mm). This work was mounted by the publisher onto a support sheet of black paper. Not signed.

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 etching and aquatint. Catalogue reference: Harris 85 iii/iii. This is a fine impression from the 1884 Bazire edition, printed on laid paper. Plate size: 5 x 4 inches; 127 x 103mm. Not signed.

Condition: there is minor foxing.

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 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 this etching is the only one he completely finished before his death in 1881. Catalogue reference: Lister E13. Image size: 4 5/8 x 7 inches (117 x 176 mm). Plate size: 6 x 8 3/8 inches (151 x 214 mm). Sheet size: 8 1/2 x 12 1/2 inches (215 x 317 mm). Signed in the plate (not by hand).

Condition: there is some foxing, plus age-toning near the edges of the sheet.

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

Condition: there is a small dark spot near the upper left corner.

Medium: original woodcut. Printed in 1919 and published in Germany for GENIUS: Zeitschrift fur Werdende und Alte Kunst, an 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. Image size: 7 3/4 x 9 1/2 inches (198 x 240 mm). Signed in the plate (not by hand).

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 Homeward Star 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 E14. 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: 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 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 Cypress Grove 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 E15. 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 3/4 inches (212 x 323 mm). Signed in the plate (not by hand).

Condition: there are a few spots of foxing, plus age-toning near the edges of the sheet.

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. Moeris and Galatea 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 E17. 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. Printed in 1970 in an edition of 150 on Johannot wove paper for the Paroles Peintes IV portfolio and published in Paris by Lazar-Vernet. Plate size: 13 1/2 x 9 1/2 inches (344 x 243 mm). Not signed.

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.

Medium: original lithograph. Catalogue reference: Mourlot 244. This charming Miro lithograph was printed by Mourlot for XXe Siecle in 1957 for issue number 8 "Art et humour au XXe Siecle" and published in Paris by San Lazzaro. Size: 12 3/8 x 9 1/2 inches (315 x 243 mm). In 1960 XXe Siecle published a reproduction of a similar (but not identical) composition, not to be confused with this, the original lithograph. Not signed.

Condition: there are bumps to two corners of the sheet.

Medium: etching. Etched by French artist Gustave Greux (1838-1919) after the Monet painting. Catalogue reference: Sanchez & Seydoux 1904-18. Printed in 1904 at the Alfred Porcabeuf atelier and published in Paris by Gazette des Beaux-Arts. Image size: 4 3/4 x 5 1/2 inches (120 x 138 mm). Sheet size: 7 x 10 1/2 inches (178 x 268 mm). Signed in the plate (not hand-signed).

Medium: original pochoir stencil print in four colors. Catalogue reference: Dupin 50. Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for the rare portfolio "The Prints of Joan Miro". The English title of this work is "Woman and Birds in the Night". The publisher's inscription is printed on verso. Size: 11 x 8 1/2 inches (278 x 214 mm). Not signed.

Condition: there is foxing, wear and soiling to the paper.

Medium: lithograph (after the découpage). Printed in 1954 for the art revue XXe Siecle (issue number 4) and published in Paris by San Lazzaro. Sheet size: 12 3/8 x 9 1/2 inches (314 x 241 mm). Signed in the plate, not hand-signed.

Condition: there is some creasing to the paper.

Medium: pochoir (after the watercolor). Printed in Paris in 1929 at the atelier of Daniel Jacomet for L'Art Cubiste. Image size: 7 5/8 x 6 inches (195 x 152 mm). Sheet size: 10 5/8 x 8 inches (270 x 203 mm). Signed in the plate (not hand-signed).

Medium: original lithograph. Printed in 1972 on Rives wove paper at the atelier Mourlot 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 Andre Masson.

Medium: pochoir (after the watercolor). Printed in 1924 and published in Paris by Albert Morance for "L'Art d'Aujourd'hui". The publisher's provenance inscription is printed beneath the image. Image size: 7 x 5 inches (180 x 125 mm). Not signed.

Medium: pochoir (after the watercolor). Published in Paris in 1924 by Albert Morance for "L'Art d'Aujourd'hui", and now very scarce. The publisher's provenance inscription is printed beneath the image. Size: 6 1/2 x 7 3/4 inches (image). Signed in the plate (not by hand).

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper. Image size: 6 3/4 x 4 inches (172 x 105 mm). Sheet size: 13 x 9 3/4 inches (325 x 250 mm). Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: original lithograph. Catalogue reference: M 238. Printed in 1956 at the Mourlot atelier and published in Paris by Maeght for the Jacques Prévert catalogue. Sheet size: 9 x 15 inches (230 x 380 mm). This lithograph was published as a folded sheet with a center crease. Not signed.

Medium: lithograph (after the gouache). This is the whimsical and striking surrealist composition, created by Rene Magritte for the cover of the December 1946 issue of "View", devoted to Surrealism in Belgium. View was a quarterly American art revue, published in New York from 1940-1947, focused especially on surrealist art. The total sheet measures 12 x 9 inches (305 x 230 mm). This was the actual cover and there is text printed on verso, as issued. Signed in the plate, not hand-signed.

Medium: original etching. The complete title is "Passerelle du Pont au Change apres l'incendie de 1621". Catalogue reference: Delteil/Wright 50. This is a view of the footbridge which temporarily replaced the Exchange Bridge in Paris after the disastrous 1621 fire. This impression on chine-collé paper was printed in Paris by Delatre and published in 1860 by Gazette des Beaux-Arts. Image size: 3 3/4 x 7 7/8 inches (95 x 200mm). Signed in the plate (not by hand). This is a good impression of this well-known Meryon etching in fine condition.

Medium: engraving (after the 1932 etching for Poésies de Mallarmé). Printed in 1933 on watermarked Montgolfier laid paper and published in Paris by Arts et Métiers Graphiques. Size: 12 1/4 x 9 3/8 inches (310 x 238 mm). Not signed.

Medium: original lithograph. Catalogue reference: M 233. Printed in 1956 at the Mourlot atelier and published in Paris by Maeght for the Jacques Prévert catalogue. Sheet size: 9 x 14 1/2 inches (230 x 370 mm). This lithograph was published as a folded sheet with a center crease. Not signed.

Condition: there is a spot of foxing in the margin.

Medium: original etching. Catalogue reference: Klackner 27. This is a rich, dark impression on wove paper, printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cassell & Company. Plate size: 5 7/8 x 8 3/4 inches (152 x 225 mm). Signed in the plate with Thomas Moran's monogram (not by hand).

Medium: original lithograph. Printed in 1956 for the rare Miro / Artigas exhibition catalogue and published by the Pierre Matisse Gallery. Size: 8 x 27 inches (202 x 694 mm). This work was issued as a folded sheet with three folds, and there are different original Miro lithographs printed on the back side. Not signed.

Condition: there is some creasing and wear, with pinholes along the middle fold.

Medium: pochoir (after the oil on paper). Printed in 1965 at the atelier Daniel Jacomet in an edition of 1200 for the rare exhibition catalogue "Miro Cartones 1959-1965" and published by the Pierre Matisse Gallery. An exquisite, richly inked impression. Size: 12 1/4 x 8 5/8 inches (315 x 220 mm). Signed in the plate (not by hand).

Medium: pochoir (after the oil on paper). Printed in 1965 at the atelier Daniel Jacomet in an edition of 1200 for the rare exhibition catalogue "Miro Cartones 1959-1965" and published by the Pierre Matisse Gallery. An exquisite, richly inked impression. Size: 12 1/4 x 8 5/8 inches (315 x 220 mm). Signed in the plate (not by hand).

Medium: pochoir (after the oil on paper). Printed in 1965 at the atelier Daniel Jacomet in an edition of 1200 for the rare exhibition catalogue "Miro Cartones 1959-1965" and published by the Pierre Matisse Gallery. An exquisite, richly inked impression. Size: 8 5/8 x 12 1/4 inches (220 x 315 mm). Signed in the plate (not by hand).

Medium: pochoir (after the oil on paper). Printed in 1965 at the atelier Daniel Jacomet in an edition of 1200 for the rare exhibition catalogue "Miro Cartones 1959-1965" and published by the Pierre Matisse Gallery. An exquisite, richly inked impression. Size: 8 5/8 x 12 1/4 inches (220 x 315 mm). Signed in the plate (not by hand).

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-Gabriel Daragnes, this art and literary album celebrated Paris in 1937, with original etchings from important artists of the time, and essays from leading writers. Plate size: 13 1/8 x 10 1/4 inches (336 x 258 mm). With narrow margins (as published) the sheet size is: 13 1/2 x 10 1/2 inches (345 x 270 mm). Signed in the plate, not hand-signed.

Medium: original etching with drypoint. Catalogue reference: Fiorani 38. This impression on laid paper was printed in 1884 and published in Paris by the Gazette des Beaux Arts. Plate size: 5 1/2 x 8 5/8 inches (140 x 220 mm). Sheet size: 7 x 10 5/8 inches (177 x 268 mm). Not signed.

"Beduinenlied"
Medium: pochoir (after the watercolor). Printed in 1917 and published in Munich in an edition of 110 by Franz Hanfstaengl for the rare "Stella Peregrina" portfolio. Image size: 10 inches round (255 mm). This work was mounted by the publisher onto a larger support sheet. Not signed.

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 6 1/2 x 4 1/4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 7 x 4 1/4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 6 3/4 x 4 1/4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: pochoir (after the oil on paper). Issued in 1967 in an edition of 1200 for the rare exhibition catalogue "Oiseau solaire, oiseau lunaire, etincelles", published by the Pierre Matisse Gallery. This is a fine impression printed in Paris by Ateliers Daniel Jacomet. Sheet size: 12 x 27 1/2 inches (305 x 700 mm). This work was issued as a folded sheet with two center folds. Not signed.

Medium: etching (etched by Edmond Hedouin after the Jean-Francois Millet painting). Catalogue reference: Beraldi 39. Published in 1875 in Paris by L'Art and printed on japon paper, and tipped (lightly mounted along the top by the publisher onto a sheet of Bristol board). The image measures 8 x 6 1/2 inches (205 x 165mm). Not signed. This state (before letters and on japon) is far more rare than the final published edition.

Condition: In very good condition, with a bit of rippling near the top right corner where the etching is tipped onto the support sheet.

Medium: original etching. Printed on chine-collé paper by Pierron Montfaucon and published in Paris in 1861 by Gazette Beaux-Arts. Plate size: 8 1/2 x 5 inches (213 x 132mm). Signed with Meryon's monogram in the plate (not by hand).

Condition: there is minor rippling to the paper in the margins, not affecting the actual image.

Medium: original lithograph. This interesting work was a collaboration between artists Joan Miró, Jacques Prévert and Georges Ribemont-Dessaignes. Printed in 1956 at the Mourlot atelier and published in Paris by Maeght for the Jacques Prévert catalogue. Size: 9 x 14 5/8 inches (230 x 372 mm). This lithograph was published as a folded sheet with a center crease. Signed in the plate by Prévert and Ribemont-Dessaignes (not hand-signed).

Medium: pochoir (after the painting). Printed in Paris in 1929 at the atelier of Daniel Jacomet for L'Art Cubiste. Image size: 5 3/4 x 8 1/8 inches (147 x 205 mm). A text inscription beneath the image identifies the artist. Signed in the plate (not hand-signed).

Condition: there is soiling in the margin.

Medium: original lithograph. Printed in 1964 and published by Eberhard Kornfeld for the 1 Cent Life portfolio in an edition of 2000. Size: 16 1/4 x 22 3/4 inches (408 x 580 mm). Published with a center fold and poetry text (composed by Walasse Ting) on verso. Signed in the plate, not hand-signed.

Medium: pochoir (after the painting). Printed in 1961 in an edition of 1200 for the rare catalogue "Miró 1959-1960" and published by the Pierre Matisse Gallery. This is a richly inked impression, printed in Paris at the Atelier Daniel Jacomet. Size: 12 x 9 1/4 inches (303 x 235 mm). Not signed.

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

Medium: lithograph. Printed in 1945 on Marais paper and published in Paris by Teriade for his art revue Verve (Volume IV, Number 13). Size: 13 3/4 x 10 1/8 inches (348 x 258 mm). There is a different composition on the back, as published. Signed in the plate (not by hand).

Medium: original lithograph. Printed in 1963 for the art revue Derriere le Miroir (issue number 139-140 devoted to Miro and Artigas) and published in Paris by the Maeght atelier. Size: 15 x 22 inches (377 x 557 mm). There is a center fold and text on verso, as originally issued. Not signed.

Medium: etching (after the painting). Etched by French artist Henri Guerard (1846-1897) after the iconic Manet painting. This impression on cream laid paper was printed in 1903 and published in Paris by the Gazette des Beaux-Arts. Image size: 5 1/2 x 7 3/8 inches (140 x 187 mm). Signed in the plate (not by hand).

Medium: original etching. Catalogue reference: White 1. This impression on laid paper was printed in 1880 for The American Art Review. The plate measures 6 1/2 x 9 3/8 inches; the sheet size is 9 x 12 inches. Signed in the plate by Peter Moran (not by hand).

Landscape with Goats
Medium: original etching and drypoint. Signed in pencil by Felix Meseck and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. This impression is one of the deluxe signed edition of 300 printed on cream wove paper. The plate measures 7 3/4 x 5 3/8 inches (197 x 140 mm); a fine impression with full original margins.

Medium: lithograph (after Picasso). Printed in 1959 by Young & Klein of Cincinnati and published by the Cincinnati Art Museum for their Picasso exhibition catalogue (now quite scarce). Size: 17 x 14 inches (430 x 350 mm). There is text on the back side, as published. Not signed.

Condition: there is some creasing.

Medium: original etching. This impression on wove paper was printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cassell & Company. Plate size: 5 x 6 3/4 inches (125 x 173 mm). Signed in the plate, not by hand.

Condition: there is soiling in the margins and an old library stamp on verso.

Medium: color woodcut (engraved by Alfred Prunaire after the Manet painting). This impression was printed on thin japon paper and published by Paul Cassirer in 1923. Size: 7 3/4 x 10 inches (195 x 255 mm). Please note, the apparent rippling of the paper is exaggerated by the camera. Signed in the plate, not hand-signed.

Medium: original lithograph. Printed in Paris in 1974 by the Atelier Arte and published by Maeght. Size: 11 x 22 inches (275 x 562 mm). This lithograph was published as a folded sheet with a center crease. Signed in the plate; not hand-signed.

Medium: original lithograph. Printed in Paris in 1974 by the Atelier Arte and published by Maeght. Size: 11 x 22 inches (275 x 562 mm). This lithograph was published as a folded sheet with a center crease. Signed in the plate; not hand-signed.

Medium: lithograph (after the drawing). Printed in 1951, this composition was executed by Picasso for the back cover of Verve (volume VII, number 25-26) and published in Paris by Teriade. Size: 14 x 10 1/2 inches (355 x 269 mm). Not signed.

Medium: original lithograph. Catalogue reference: Mourlot 223. Printed in 1956 for the art revue Derriere le Miroir (issue number 87-88-89) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 276 mm). There is printed text on verso, as issued. Not signed.

Condition: some of the text from the back side shows through partially.

Medium: lithograph. Printed by Mourlot and published in Paris by Teriade for Verve (Volume 1, Number 5-6), in 1939. Image size: 12 1/2 x 9 inches (317 x 227 mm). Sheet size: 14 x 9 7/8 inches (353 x 250 mm). Signed in the plate (not by hand).

Condition: there is some soiling and the margin is narrow on the right side.

Medium: color woodcut. Catalogue reference: Gabler 44. Printed in Paris and published in 1953 by Editions d'Art d'Aujourd'hui, of Boulogne. Sheet size, including margins: 11 3/4 x 8 1/8 inches (300 x 206 mm). A richly inked impression, as usual from this now rare series. Not signed.

Condition: the margins have been trimmed and there is a stain near the bottom left.

Medium: original lithograph. Catalogue reference: M 234. Printed in 1956 at the Mourlot atelier and published in Paris by Maeght for the Jacques Prévert catalogue. Size: 9 x 15 inches (230 x 380 mm). There is a center fold, as published. Not signed.

Medium: original lithograph. Executed for Derriere le Miroir (No. 128) in 1961, and published the same year by the Maeght atelier. Sheet size: 15 x 22 inches; with a center fold, as originally published. Not signed.

Condition: there is some creasing near the edges of the sheet.

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 6 3/4 x 4 1/4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: original etching with drypoint. Catalogue reference: Fiorani 23. This impression on laid paper was printed in 1913 and published by Gazette des Beaux Arts. The image size is 4 3/4 x 8 inches (120 x 203 mm) and the full sheet measures 7 x 10 7/8 inches (175 x 275 mm). Not signed.

Medium: linocut re-creation (after the original Picasso linocut). Picasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

This impression from the sought-after 1962 edition (published by Abrams) was done on heavy wove paper with a richly textured printed surface. The sheet measures 12 1/2 x 14 1/2 inches (312 x 365 mm) and the image size is 10 1/2 x 12 3/4 inches (270 x 325 mm). Not signed.

Condition: there is foxing in the margins but the linocut image is good with strong, fresh color.

Medium: original etching. Catalogue reference: Sanchez and Seydoux 1903-11. This delightful etching was published in Paris in 1903 by Gazette des Beaux-Arts. The plate measures 8 5/8 x 6 inches (220 x 150 mm). A very nice impression printed on laid paper. Signed in the plate, not hand-signed.

Medium: original lithograph. Executed by Picasso in 1964 especially for the dust-jacket back cover of the Lithographe IV catalogue raisonné, printed in Paris by Mourlot. Size: 12 1/4 x 9 1/4 inches (312 x 237 mm). Please note, this listing is for the front cover lithograph only and does not include any other lithographs from this edition. Not signed.

Condition: The edges of the sheet have been trimmed and there is minor wear to the top right corner of the sheet.

Medium: etching. Etched by Edmond Hedouin after Jean-Francois Millet and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. The image measures 5 3/8 x 3 1/4 inches (135 x 85 mm). Signed in the plate, not hand-signed.

Medium: etching. Etched by Charles Bertaut after Jean-Francois Millet and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. The image measures 4 1/2 x 6 1/4 inches (115 x 157 mm). Signed in the plate, not hand-signed.

Medium: original lithograph. Catalogue reference: Mourlot 508. Printed in 1967 for the art revue Derriere le Miroir (issue number 164-165 -- L'Oiseau Solaire, L'Oiseau Lunaire, Etincelles) and published in Paris by the Maeght atelier. Size: 15 x 11 inches (378 x 277 mm). There is text on verso, as published. Not signed.

Medium: etching (etched by Edmond Hedouin after the Jean-Francois Millet painting). Catalogue reference: Beraldi 39. Published in 1875 in Paris by L'Art and printed on watermarked laid paper. The image measures 8 x 6 1/2 inches (205 x 165mm). Not signed.

Medium: lithograph (after the the sketch). Executed as a sketchbook drawing during the middle 1950's and subsequently made available by Picasso for publication as a lithograph. This impression was printed in Paris in 1959 by Mourlot Freres, and issued in a sketchbook-style portfolio entitled "Carnet de la Californie", published by Editions Cercle d'Art. Size: 10 3/8 x 16 1/2 inches (260 x 422 mm). These lithographs are now quite scarce. Not signed.

Medium: original lithograph. Catalogue reference: M 236. Printed by Mourlot in 1956 and published in Paris by Maeght for the Jacques Prevert catalogue. Size: 9 x 7 3/4 inches (228 x 197 mm). Not signed.

Medium: lithograph (after the the sketch). Executed as a sketchbook drawing during the middle 1950's and subsequently made available by Picasso for publication as a lithograph. This impression was printed in Paris in 1959 by Mourlot Freres, and issued in a sketchbook-style portfolio entitled "Carnet de la Californie", published by Editions Cercle d'Art. Size: 10 3/8 x 16 1/2 inches (260 x 422 mm). There is a different Picasso lithograph printed on the back, as issued. These lithographs are now quite scarce. Not signed.

Medium: original etching and engraving. This impression on wove paper was printed in 1939 and published in Paris by San Lazzaro for the art revue XXe Siecle (issue number 5-6). Size: 12 1/2 x 9 1/2 inches (317 x 240 mm). Signed in the plate (not hand-signed).

Medium: lithograph (after the the sketch). Executed as a sketchbook drawing during the middle 1950's and subsequently made available by Picasso for publication as a lithograph. This impression was printed in Paris in 1959 by Mourlot Freres, and issued in a sketchbook-style portfolio entitled "Carnet de la Californie", published by Editions Cercle d'Art. Size: 10 3/8 x 16 1/2 inches (260 x 422 mm). There is a different Picasso lithograph printed on the back, as issued. These lithographs are now quite scarce. Not signed.

Medium: lithograph (after the the sketch). Executed as a sketchbook drawing during the middle 1950's and subsequently made available by Picasso for publication as a lithograph. This impression was printed in Paris in 1959 by Mourlot Freres, and issued in a sketchbook-style portfolio entitled "Carnet de la Californie", published by Editions Cercle d'Art. Size: 10 3/8 x 16 1/2 inches (260 x 422 mm). There is another Picasso lithograph printed on the back, as issued. These lithographs are now quite scarce. Not signed.

Medium: lithograph (after the the sketch). Executed as a sketchbook drawing during the middle 1950's and subsequently made available by Picasso for publication as a lithograph. This impression was printed in Paris in 1959 by Mourlot Frères, and issued in a sketchbook-style portfolio entitled "Carnet de la Californie", published by Editions Cercle d'Art. Size: 10 3/8 x 16 1/2 inches (260 x 422 mm). These lithographs are now quite scarce. Not signed.

Medium: original etching. Printed on laid paper in 1919 for Genius. Plate size: 9 1/2 x 7 1/2 inches (240 x 190mm). This etching 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. Not signed.

Medium: original lithograph. Printed in 1955 and published in Milan by Groupe Espace for the rare Documenti d'Arte d'Oggi. Size: 12 1/2 x 8 1/2 inches (318 x 218 mm). Signed in the plate, not hand-signed.

Condition: there is age-toning to the paper.

Medium: original lithograph. Printed in 1956 for the rare Documenti d'Arte d'Oggi, published in Milan by Groupe Espace. Size: 12 3/4 x 8 3/4 inches (320 x 222 mm). Signed in the plate (not hand-signed).

Condition: there is age-toning to the paper.

Medium: original lithograph. Printed in 1979 and published in Barcelona by La Poligrafa in an edition of 1000 for the cover of a scarce catalogue. Size: 10 1/8 x 7 1/2 inches (257 x 189 mm). Please note, this listing is for the front cover lithograph only and does not include any other lithographs from this edition. Signed in the plate (not by hand).

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

Medium: original lithograph. Printed in Paris in 1965 at the Mourlot Frères atelier and published by the Pierre Matisse Gallery in an edition of 1200 for the "Miro Cartones 1959-1965" portfolio. Size: 12 1/4 x 17 1/8 inches (310 x 435 mm). There is a center fold, as originally published. Not signed.

Medium: original lithograph. Catalogue reference: Mourlot 672. Printed in 1970 for the art revue Derrière le Miroir (issue number 186) and published in Paris by the Maeght atelier. Size: 15 x 22 inches (377 x 555 mm). There is a center fold and text on verso, as published. Not signed.

Condition: there is a mark near the top right corner, which is most likely a printer's defect.

Medium: pochoir on sandpaper (after the oil painting on sandpaper). This unusual work was printed in 1967 on actual sandpaper for the rare catalogue "Oiseau solaire, oiseau lunaire, etincelles" and published by the Pierre Matisse Gallery in an edition of 1200. This is a richly inked impression, printed in Paris at the atelier of Daniel Jacomet. Size: 11 1/4 x 3 1/2 inches (288 x 90 mm). Not signed.

Medium: pochoir on sandpaper (after the oil painting on sandpaper). This unusual work was printed in 1967 on actual sandpaper for the rare catalogue "Oiseau solaire, oiseau lunaire, etincelles" and published by the Pierre Matisse Gallery in an edition of 1200. This is a richly inked impression, printed in Paris at the atelier of Daniel Jacomet. Size: 11 1/4 x 3 1/2 inches (288 x 90 mm). Not signed.

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 in a limited edition of 999. Size: 9 1/8 x 7 7/8 inches (232 x 200 mm). Not signed.

Medium: pochoir. Published in Paris in 1945 by Teriade for Verve (Volume IV, No. 13). This was the title page composed by Matisse for the special "De la Couleur" issue, now rare. Printed on Marais wove paper. Sheet size: 13 3/4 x 10 1/4 inches (350 x 258 mm). Signed in the plate (not by hand).

Medium: pochoir (after the painting). Printed in Paris in 1929 at the atelier of Daniel Jacomet for L'Art Cubiste. Image size: 6 x 8 inches (155 x 205 mm). Sheet size: 8 x 10 5/8 inches (205 x 270 mm). Signed in the plate (not hand-signed).

"Nur ein Leben"
Medium: pochoir (after the watercolor). Printed in 1917 and published in Munich in an edition of 110 by Franz Hanfstaengl for the rare "Stella Peregrina" portfolio. Image size: 4 1/2 x 4 3/4 inches (115 x 120 mm). This work was mounted by the publisher onto a larger support sheet. Not signed.

Medium: original lithograph. Signed by the artist in blue pencil. Printed by Imprimerie Clot, Bramsen et Georges on Arches paper in a limited edition of 100. This lithograph was published in Paris in 1967 by Daniel Gervis. The total sheet measures 9 3/4 x 5 1/4 inches (250 x 133mm). The avant-garde Russian artist Paul Mansouroff is also known as Pavel Mansurov. Rare.

Medium: original lithograph. This lithograph was printed in 1953 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1953 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 an edition of 2000. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

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

Medium: original lithograph. This lithograph was printed in 1954 for the "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 an edition of 2000. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

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

Medium: original lithograph. This lithograph was printed in 1951 for the "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 an edition of 2000. Size: 12 x 8 5/8 inches (303 x 220 mm). Signed in the plate (not hand-signed).

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

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 6 3/4 x 4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 6 3/4 x 4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 6 3/4 x 4 1/4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: original lithograph. Catalogue reference: M 230a. Executed in 1956, printed by Mourlot and published in Paris by Maeght as the front cover of the Jacques Prevert catalogue. The sheet size is 9 x 7 3/4 inches (228 x 198 mm). Please note, this listing is for the front cover lithograph only and does not include any other lithographs from this edition. Signed in the plate; not hand-signed.

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

Medium: original lithograph. Catalogue reference: Guerin 265. This lithograph was executed by Aristide Maillol in homage to Paul Cezanne. Printed in 1914 and published in Paris by Bernheim-Jeune for the rare volume "Cezanne". This impression is one of 400 printed on wove paper (from a total edition of 600). Image size: 6 x 8 3/4 inches (155 x 220 mm). Sheet size: 11 x 15 inches (275 x 383 mm). Signed in the plate; not hand-signed.

Condition: there is some foxing to the paper.

Medium: original etching. Catalogue reference: Schneider 113. Executed in 1885; this is a fine, dark impression with full original margins on watermarked laid paper from "The Portfolio" edition, published in London by Seeley, Jackson & Halliday and edited by 19th Century artist and art critic Phillip Gilbert Hamerton. The plate measures 5 1/2 x 10 3/8 inches (138 x 264 mm). Signed in the plate (not hand-signed).

Medium: linocut re-creation (after the original Picasso linocut). Picasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

This impression from the sought-after 1962 edition (published by Abrams) was done on heavy wove paper with a richly textured printed surface. The sheet measures 12 1/2 x 14 1/2 inches (312 x 365 mm) and the image size is 10 1/2 x 12 3/4 inches (270 x 325 mm). Not signed.

Condition: there is foxing in the margins but the linocut image is good with strong, fresh color.

Medium: linocut re-creation (after the original Picasso linocut). Picasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

This impression from the sought-after 1962 edition (published by Abrams) was done on heavy wove paper with a richly textured printed surface. The sheet measures 12 1/2 x 14 1/2 inches (312 x 365 mm) and the image size is 10 1/2 x 12 3/4 inches (270 x 325 mm). Not signed.

Condition: there is foxing in the margins but the linocut image is good with strong, fresh color.

Medium: original lithograph. Printed in 1920 on smooth wove paper for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Sheet size: 12 1/4 x 9 1/4 inches (315 x 235 mm). Signed in the plate (not by hand).

Medium: etching. Etched by E. Bolvin after Jean-Francois Millet and published in 1890 in an edition of 200. This is a nice impression printed on a japon-style paper. The image measures 4 1/4 x 5 inches (110 x 130 mm). Signed in the plate, not hand-signed.

Medium: offset lithograph with pochoir coloring (after the 1905 Picasso watercolor). Printed in 1946 for the rare Picasso Fifteen Drawings portfolio, published in New York in an edition of 500. Image size: 8 3/4 x 6 inches (225 x 160 mm). Sheet size: 17 3/4 x 12 1/2 inches (453 x 320 mm). Signed in the plate (not hand-signed).

Condition: there are a few small spots in the margin.

Medium: original lithograph. Reference: Mourlot 862. Printed in 1972 at the Mourlot atelier and published for the "Miro Lithograph I" catalogue raisonne. Size: 12 1/2 x 9 5/8 inches (320 x 245 mm). Not signed.

Medium: original lithograph. Reference: Mourlot 858. Printed in 1972 at the Mourlot atelier and published for the "Miro Lithograph I" catalogue raisonne. Size: 12 1/2 x 9 5/8 inches (320 x 245 mm). Not signed.

Medium: original lithograph. Catalogue reference: Mourlot 342. Printed in 1963 for the art revue Derriere le Miroir (issue number 139-140 devoted to Miro and Artigas) and published in Paris by the Maeght atelier. Size: 15 x 11 inches (378 x 277 mm). There is text on verso, as published. Not signed.

Medium: original lithograph. Catalogue reference: Mourlot 343. Printed in 1963 for Derriere le Miroir (issue number 139-140 devoted to Miro and Artigas) and published in Paris by the Maeght atelier. Size: 15 x 11 inches (378 x 277 mm). There is another image on verso, as issued. Not signed.

Medium: original serigraph / silkscreen. Signed in pencil by Clayton Pond. Printed in 1966 for The Artist's Proof art revue and published by the Pratt Graphic Art Center. Size: 9 x 7 1/4 inches (228 x 183 mm). This work was attached along the top edge by the publisher onto a larger support sheet. A fine impression in rich, electric color!

Medium: pochoir (after the watercolor). Printed in Paris in 1924 and published by Albert Morancé for "L'Art d'Aujourd'hui", and now very scarce. The publisher's provenance inscription is printed beneath the image. Image size: 5 1/8 x 7 inches (130 x 180 mm). Not signed.

Medium: original lithograph. Printed in 1964 and published by Eberhard Kornfeld for the 1 Cent Life portfolio in an edition of 2000. Image size: 11 x 10 inches. There is poetry text (composed by Walasse Ting) beneath the image and on the back side, as issued. Signed in the plate, not hand-signed.

Medium: original lithograph. Reference: Mourlot 857. Printed in 1972 at the Mourlot atelier and published for the "Miro Lithograph I" catalogue raisonne. Size: 12 1/2 x 9 5/8 inches (320 x 245 mm). Not signed.

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

Medium: original color woodcut. Reference: Dupin 1293. Published for the Jacques Dupin catalogue raisonne "Miro Graveur III" in 1992. Sheet size: 12 1/2 x 9 3/4 inches (320 x 248 mm). A rich impression on quality Arches wove paper. Not signed.

Medium: original color woodcut. Reference: Dupin 1289. Published for the Jacques Dupin catalogue raisonne "Miro Graveur I" in 1984. Sheet size: 12 1/2 x 9 3/4 inches (320 x 248 mm). A rich impression on quality Arches wove paper. Not signed.

Medium: original color woodcut. Reference: Dupin 1290. Published for the Jacques Dupin catalogue raisonne "Miro Graveur I" in 1984. Sheet size: 12 1/2 x 9 3/4 inches (320 x 248 mm). A rich impression on quality Arches wove paper. Not signed.

Medium: pochoir. Printed by Jacomet for XXe Siecle in 1957 for issue number 8 "Art et humour au XXe Siecle" and published in Paris by San Lazzaro. Sheet size: 12 3/8 x 9 1/2 inches (315 x 242 mm). Signed in the plate (not by hand).

Condition: there is creasing to the corners of the sheet.

Medium: original lithograph. Catalogue reference: Mourlot 891. Printed in 1973 for the art revue Derriere le Miroir (issue number 203) and published in Paris by the Maeght atelier. Size: 15 x 22 inches (377 x 555 mm). There is a center fold, as published. Unlike most lithographs issued by DLM, there is no text on the back of this work. Not signed.

Medium: original lithograph. Printed in Paris in 1964 by Mourlot Frères and issued in a limited edition of 2000 on Arches wove paper. Image size: 3 1/4 x 7 1/2 inches (80 x 185 mm). There is printed text beneath the image and on back, as published. Not signed.

This original Miro lithograph is from the scarce limited edition catalogue, "Prints from the Mourlot Press". Published in 1964 by Mourlot on the occasion of their landmark traveling exhibition, which was sponsored by the French Embassy and The Smithsonian.

Medium: pochoir (after the oil). Issued in 1967 in an edition of 1200 for the rare exhibition catalogue "Oiseau solaire, oiseau lunaire, etincelles", published by the Pierre Matisse Gallery. This is a fine impression printed in Paris by Ateliers Daniel Jacomet. Sheet size: 12 1/2 x 9 1/2 inches (315 x 242 mm). Not signed.

Condition: there is an area where the paper is skinned on the back side, but this doesn't penetrate to the front or affect the pochoir image.

Medium: original lithograph. Published in Paris in 1938 by Teriade for the second issue of the art revue Verve (Volume 1, Number 2). Andre Masson was invited to contribute an original composition on the theme of Heavenly Bodies. Size: 14 x 10 1/4 inches (355 x 262 mm). Signed in the plate (not by hand).

Medium: original burin etching and engraving. This impression on wove paper was printed in 1939 and published in Paris by San Lazzaro for the art revue XXe Siecle (issue number 5-6). The flies are a Louis Marcoussis trademark. Size: 12 1/2 x 9 1/2 inches (317 x 240 mm). Signed in the plate (not hand-signed).

Medium: pochoir (after the 1877 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 9 1/4 x 6 3/4 inches (233 x 172 mm). The total sheet size is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: lithograph (after the painting). Printed in 1967 for the art revue Derriere le Miroir (issue number 164-165 -- L'Oiseau Solaire, L'Oiseau Lunaire, Etincelles) and published in Paris by the Maeght atelier. Size: 15 x 22 inches (375 x 560 mm). There is a center fold and text on the back side, as originally published. Not signed.

Medium: original lithograph. Printed in 1965 for the art revue Derriere le Miroir (issue number 151-152) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). There is a different Miro lithograph on the back, as issued. Not signed.

Medium: original lithograph. Printed in 1965 for the art revue Derriere le Miroir (issue number 151-152) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). There is a different Miro lithograph on the back, as issued. Not signed.

Medium: original lithograph. Printed in 1965 for the art revue Derriere le Miroir (issue number 151-152) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). There is a different Miro lithograph on the back, as issued. Not signed.

Medium: original lithograph. Printed in 1965 for the art revue Derriere le Miroir (issue number 151-152) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). There is a different Miro lithograph on the back, as issued. Not signed.

Medium: original lithograph. Printed in 1965 for the art revue Derriere le Miroir (issue number 151-152) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). There is a different Miro lithograph on the back, as issued. Not signed.

Medium: original lithograph. Catalogue reference: Mourlot 222. Printed for the cover of Derriere le Miroir (issue number 87-88-89) in 1956, and published in Paris by the Maeght atelier. Size: 15 x 22 inches (377 x 560 mm). There is a center fold with text on verso, as issued. Please note, this listing is for the cover lithograph only and does not include any other lithographs from this edition. Signed in the plate (not by hand).

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

Medium: serigraph (after the drawing). Printed in 1967 on semi-glossy paper and published by Gemini G.E.L. of Los Angeles as part of a prospectus to promote the sale of limited edition Man Ray prints. Size: 7 3/4 x 6 inches (195 x 153 mm). Not signed. Scarce!

Condition: there is some wear.

Medium: original lithograph. Printed in 1956 for the art revue Derriere le Miroir (issue number 87-88-89) and published in Paris by Maeght. Size: 15 x 21 3/4 inches (380 x 555 mm). There is a center fold and text on verso, as issued. Not signed.

Condition: there is minor creasing at the top edge of the sheet.

Medium: original lithograph. This lithograph was printed in 1952 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1952 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 an edition of 2000. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

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

Medium: original lithograph. This lithograph was printed in 1954 for the "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 an edition of 2000. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

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

Medium: original lithograph. This lithograph was printed in 1954 for the "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 an edition of 2000. Size: 12 x 8 5/8 inches (305 x 220 mm). Signed in the plate (not hand-signed).

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

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 8 3/4 x 5 1/2 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 7 x 4 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: lithograph (after the drawing). Executed by Matisse especially for the cover of "Portraits", printed at the atelier Mourlot and published in 1954. The image measures 8 5/8 x 8 5/8 inches (220 x 220 mm) and the full sheet size is 12 1/8 x 9 1/2 inches (308 x 242 mm). Please note, this listing is for the front cover lithograph only and does not include any other lithographs from this edition. Not signed.

Condition: this was the actual cover and there is age-toning and discoloration to the paper.

Medium: original etching. This impression on wove paper was printed in 1885 for the Sylvester R. Koehler portfolio of etchings and published by Cassell & Company. Plate size: 5 1/2 x 8 1/4 inches (138 x 212 mm). Signed in the plate, not by hand.

Condition: there is soiling in the margins and an old library stamp on verso.

Medium: pochoir (after the 1875 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 6 1/4 x 8 1/2 inches (160 x 215 mm). The total sheet size is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Signed in the plate, not by hand.

Medium: pochoir (after the 1879 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 6 x 8 inches (150 x 206 mm). The total sheet size is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Signed in the plate, not by hand.

Medium: pochoir (after the 1885 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. Image size: 7 1/2 x 7 3/4 inches (190 x 200 mm). Sheet size: 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Signed in the plate, not hand-signed.

Medium: pochoir (after the 1888 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 7 1/2 x 10 inches (190 x 255 mm). The total sheet size is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1880 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 7 x 6 1/4 inches (185 x 160 mm). The total sheet size is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1885 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 9 1/4 x 8 inches (233 x 202 mm). The total sheet size is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1891 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 12 1/2 x 8 3/4 inches (320 x 220 mm). The total sheet size is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1883 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 9 1/2 x 7 3/4 inches (245 x 195 mm). The total sheet is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1881 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 8 x 9 inches (233 x 203 mm). The total sheet is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1871 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 8 1/4 x 8 1/2 inches (210 x 220 mm). The total sheet is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1872 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 9 3/4 x 9 inches (245 x 230 mm). The total sheet is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: pochoir (after the 1888 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. The image measures 11 1/2 x 7 3/4 inches (290 x 200 mm). The total sheet is 15 x 11 inches (380 x 280 mm). There is an index number in the margin beneath the image. Not signed.

Medium: original etching and drypoint. This work by Rodolphe Piguet (sometimes spelled Piquet) was printed in 1904 and published in Paris by the Revue de l'art ancien et moderne. Plate size: 9 1/2 x 6 1/2 inches (242 x 163 mm). Signed in the plate (not by hand).

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munich in the studios of Guenther Dietz under the personal supervision of Picasso. It was published in 1970 in a limited edition of 666 by Editions Cercle d'Art and Harry Abrams. Printed on handmade Arches rag paper, the total sheet measures 13 x 9 3/4 inches (325 x 250 mm) and the image is 7 3/4 x 5 inches. Not signed.

According to the publisher, these lithographs were made "through a unique process that employs the same type of materials as used by the artist, instead of the usual printing inks. Grease crayon, lithographic tusche, lead pencil and charcoal are among the artist's materials used". The result is a truly rich and lifelike impression!

Medium: pochoir. Printed at the atelier Jacomet in 1958 for the hard-to-find XXe Siecle (issue No. 10) published in Paris by San Lazzaro. Size: 12 3/8 x 9 1/2 inches (315 x 242 mm). Signed in the plate (not by hand).

Medium: lithograph (after the 1878 Adolphe Monticelli painting). Printed in Paris on Arches paper at the Mourlot studio in 1973 in an edition of 1000 for the Collection Pierre Lévy deluxe portfolio. The image measures 20 1/2 x 15 1/2 inches (520 x 395 mm) and the full sheet is 26 x 20 inches. Signed in the plate; not hand-signed.

Medium: lithograph (after the Jean-Francois Millet painting). Printed in Paris on Arches paper at the Mourlot studio in 1973 in an edition of 1000 for the Collection Pierre Lévy deluxe portfolio. The image measures 16 x 12 3/4 inches (400 x 323 mm) and the full sheet is 26 x 20 inches. Not signed.

Medium: lithograph (after the Jean-Francois Millet painting). Printed in Paris on Arches paper at the Mourlot studio in 1973 in an edition of 1000 for the Collection Pierre Lévy deluxe portfolio. The image measures 20 x 16 1/2 inches (504 x 424 mm) and the full sheet is 26 x 20 inches. Not signed.

Medium: original lithograph. Catalogue reference: Beraldi 3. Executed in 1822; this impression on cream wove paper was printed in Paris by Bertauts and published in 1869 by Gazette des Beaux Arts. The image measures 8 x 5 3/4 inches (202 x 145 mm). Not signed.

Condition: there is a tear to the right edge of the sheet, not affecting the image.

Medium: original silkscreen / serigraph. This silkscreen was printed in 1966 and issued in an edition of 2200 by the Stedelijk Museum of Amsterdam. This screenprint was executed by Georg Karl Pfahler especially for the "Vormen van der Kleur” (New Shapes of Color) portfolio, published in 1966 by the Stedelijk Museum and now rare. Size: 10 1/2 x 10 1/2 inches (270 x 270 mm). A beautiful impression in rich color. Not signed.

Medium: lithograph (after Picasso). Printed in 1959 by Young & Klein of Cincinnati and published by the Cincinnati Art Museum for their Picasso exhibition catalogue (now quite scarce). Image size: 10 1/2 x 14 inches (265 x 350 mm). Sheet size: 17 x 14 inches (430 x 350 mm). There is printed text beneath the image and on the back, as issued. Not signed.

Condition: there is creasing and age-toning to the paper.

Medium: lithograph (after Picasso). Printed in 1959 by Young & Klein of Cincinnati and published by the Cincinnati Art Museum for their Picasso exhibition catalogue (now quite scarce). Image size: 7 1/2 x 10 inches (195 x 253 mm). Sheet size: 17 x 14 inches (430 x 350 mm). There is printed text beneath the image and on the back, as issued. Not signed.

Condition: there is some creasing to the paper.

Medium: lithograph (after the painting). Executed by William Thornley after Puvis de Chavannes and published in Paris in 1896 by Gazette des Beaux-Arts. This impression is printed in a lovely blue-gray ink on chine-colle paper. Image size: 8 5/8 x 4 5/8 inches (220 x 117 mm). Sheet size: 10 1/4 x 6 3/4 inches (258 x 174 mm). Not signed.

Medium: etching (after the painting). Etched by French artist Frederic Auguste Laguillermie after the Millet painting. Published in Paris in 1873 by the Galerie Durand-Ruel for the rare "Recueil D'Estampes Gravees a L'Eau-Forte" portfolio. This impression is on cream laid paper and the plate size is 5 x 4 1/4 inches (127 x 103 mm). In good condition with good margins; there is a platemark but it is not shown here in this photo. Signed in the plate, not hand-signed.

Medium: linocut re-creation (after the original Picasso linocut). Picasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

This impression from the sought-after 1962 edition (published by Abrams) was done on heavy wove paper with a richly textured printed surface. The sheet measures 12 1/2 x 14 1/2 inches (312 x 365 mm) and the image size is 10 1/2 x 12 3/4 inches (270 x 325 mm). Not signed.

Condition: there is foxing in the margins but the linocut image is good with strong, fresh color.

Medium: linocut re-creation (after the original Picasso linocut). Picasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

This impression from the sought-after 1962 edition (published by Abrams) was done on heavy wove paper with a richly textured printed surface. The sheet measures 12 1/2 x 14 1/2 inches (312 x 365 mm) and the image size is 10 1/2 x 12 3/4 inches (270 x 325 mm). Not signed.

Condition: there is foxing in the margins but the linocut image is good with strong, fresh color.

Medium: linocut re-creation (after the original Picasso linocut). Picasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

This impression from the sought-after 1962 edition (published by Abrams) was done on heavy wove paper with a richly textured printed surface. The sheet measures 12 1/2 x 14 1/2 inches (312 x 365 mm) and the image size is 10 1/2 x 12 3/4 inches (270 x 325 mm). Not signed.

Condition: there is foxing in the margins but the linocut image is good with strong, fresh color.

Medium: linocut re-creation (after the original Picasso linocut). Picasso started making linoleum cuts during the late 1950's and the originals were issued by Galerie Louise Leiris in signed editions of 50. In 1962 Picasso and the Louise Leiris Gallery cooperated with the production of a facsimile edition of the linocuts, meticulously recreated in reduced size. The printing was done in West Germany, with a French edition published by Editions Cercle D'Art and an American edition published by Harry Abrams, both in 1962. In later years reprints were issued but the prints from the 1962 set are far superior in quality, having the look and feel of actual linocuts.

This impression from the sought-after 1962 edition (published by Abrams) was done on heavy wove paper with a richly textured printed surface. The sheet measures 12 1/2 x 14 1/2 inches (312 x 365 mm) and the image size is 10 1/2 x 12 3/4 inches (270 x 325 mm). Not signed.

Condition: there is foxing in the margins but the linocut image is good with strong, fresh color.