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  • Category = prints & posters
  • Eaux Forte à la sanguine - Nu allongé by VYBOUD, Jean Auguste
    VYBOUD, Jean Auguste
    Eaux Forte à la sanguine - Nu allongé

    C1930. Beautiful signed female nude sanguine copper etching on heavy weight paper, with artist's signature in pencil to the lower right corner. The subject a graceful reclining female nude. She is lying on her side and captured from a rear view. Under glass, in a gilt wood frame with a cream mount. Image measures 130 mm x 270 mm. Total size (in frame) 250 x 395 mm (9¾ x 15½ inches).
    Jean-Auguste Vyboud (1872-1944) was a painter and engraver who studied under Gustave Moreau and François Flameng. Belle eau-forte en cuivre sanguine féminine nue signée sur papier épais, avec la signature de l'artiste au crayon dans le coin inférieur droit. Le sujet est un gracieux nu féminin allongé. Elle est…

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    C1930. Beautiful signed female nude sanguine copper etching on heavy weight paper, with artist's signature in pencil to the lower right corner. The subject a graceful reclining female nude. She is lying on her side and captured from a rear view. Under glass, in a gilt wood frame with a cream mount. Image measures 130 mm x 270 mm. Total size (in frame) 250 x 395 mm (9¾ x 15½ inches).
    Jean-Auguste Vyboud (1872-1944) was a painter and engraver who studied under Gustave Moreau and François Flameng. Belle eau-forte en cuivre sanguine féminine nue signée sur papier épais, avec la signature de l'artiste au crayon dans le coin inférieur droit. Le sujet est un gracieux nu féminin allongé. Elle est allongée sur le côté et capturée en vue arrière. Sous verre, dans un cadre en bois doré avec une monture crème. L'image mesure 130 mm x 270 mm. Taille totale (dans le cadre) 250 x 395 mm.

    Jean-Auguste Vyboud (1872-1944) est un peintre et graveur formé par Gustave Moreau et François Flameng.

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    Book ID: 3386
    View basket More details Price: £175.00
  • Editions Transatlantique. French Line by COLIN, Paul
    COLIN, Paul
    Editions Transatlantique. French Line

    Paris: Imprimerie S. A. Courbet, 1955. Poster featuring the famous 'Normandie' liner. This was produced (circa 1950) in response to the advancing popularity of airlines for transcontinental travel. The image of the ship emphasizes stability, safety, comfort, style and luxury. A beautiful ocean liner as indicated by the enormous proportions of the ship. Featuring the French national colours, and the liner's huge, imposing bow dominates this striking image. 1000 x 610 mm (39¼ x 24 inches). The poster is signed in the plate on the lower right.

    Paul Colin (1892 - 1985) was one of France's greatest poster artists. Famous for his 1925 poster for the Revue Nègre, which helped launch the career of Josephine Baker (who also became…

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    Paris: Imprimerie S. A. Courbet, 1955. Poster featuring the famous 'Normandie' liner. This was produced (circa 1950) in response to the advancing popularity of airlines for transcontinental travel. The image of the ship emphasizes stability, safety, comfort, style and luxury. A beautiful ocean liner as indicated by the enormous proportions of the ship. Featuring the French national colours, and the liner's huge, imposing bow dominates this striking image. 1000 x 610 mm (39¼ x 24 inches). The poster is signed in the plate on the lower right.

    Paul Colin (1892 - 1985) was one of France's greatest poster artists. Famous for his 1925 poster for the Revue Nègre, which helped launch the career of Josephine Baker (who also became his mistress). Colin is considered a master of modern school or poster art, and created more than 1400 posters, many theatrical sets and also costume designs. Affiche représentant le célèbre paquebot 'Normandie'. Cela a été produit (vers 1950) en réponse à la popularité croissante des compagnies aériennes pour les voyages transcontinentaux. L'image du navire met l'accent sur la stabilité, la sécurité, le confort, le style et le luxe. Un beau paquebot comme l'indiquent les proportions énormes du navire. Présentant les couleurs nationales françaises, et l'énorme et imposante proue du paquebot domine cette image saisissante. 1000 x 610 mm (39¼ x 24 pouces). L'affiche est signée dans la planche en bas à droite.

    Paul Colin (1892 - 1985) était l'un des plus grands affichistes français. Célèbre pour son affiche de 1925 pour la Revue Nègre, qui a permis de lancer la carrière de Joséphine Baker (devenue aussi sa maîtresse). Colin est considéré comme un maître de l'école moderne ou de l'art de l'affiche, et a créé plus de 1400 affiches, de nombreux décors de théâtre et aussi des conceptions de costumes.

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    Book ID: 2986
    View basket More details Price: £150.00
  • El Caso de Peter Strange by PARAMOUNT FILM SERVICES
    PARAMOUNT FILM SERVICES
    El Caso de Peter Strange Lobby Card for the Strange Affair

    Mexico: Paramount Film Services, 1968. First edition. An attractive mexican lobby card for the Spanish language release of the British firl "The Strange Affair." Released in 1968, this started Michael York, Susan George and Jeremy Kemp. It is based on the 1966 novel by former Metropolitan policeman and private investigator Bernard Toms. This poster is for the Mexican release of the film. Clean card, with some edgewear and nicking to the edges. The car is cur a little tight to the edge at the top and left edge. Still an attractive card that could be nicely framed. 31.5cm x 41cm.

    . Première édition. Une jolie carte de lobby mexicaine pour la sortie en langue espagnole du film britannique…

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    Mexico: Paramount Film Services, 1968. First edition. An attractive mexican lobby card for the Spanish language release of the British firl "The Strange Affair." Released in 1968, this started Michael York, Susan George and Jeremy Kemp. It is based on the 1966 novel by former Metropolitan policeman and private investigator Bernard Toms. This poster is for the Mexican release of the film. Clean card, with some edgewear and nicking to the edges. The car is cur a little tight to the edge at the top and left edge. Still an attractive card that could be nicely framed. 31.5cm x 41cm.

    . Première édition. Une jolie carte de lobby mexicaine pour la sortie en langue espagnole du film britannique "The Strange Affair". Sorti en 1968, ce film met en scène Michael York, Susan George et Jeremy Kemp. Il est basé sur le roman de 1966 de l'ancien policier métropolitain et détective privé Bernard Toms. Cette affiche est destinée à la sortie mexicaine du film. Carte propre, avec quelques traces d'usure et d'encoche sur les bords. La voiture est un peu serrée sur le bord supérieur et le bord gauche. Il s'agit néanmoins d'une carte attrayante qui pourrait être joliment encadrée. 31,5 cm x 41 cm.

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    Book ID: 4926
    View basket More details Price: £75.00
  • Élégantes au lézard. by HARDY, Jean
    HARDY, Jean
    Élégantes au lézard. Original Art Déco drypoint etching signed by Jean Hardy, with hand colouring

    Paris: 1926. Signed oval shaped drypoint etching with aquatint, and small detail coloured by hand. Known as Élégantes au lézard. Circa 1926, Paris. The etching depicts two women on a terrace watching a small lizard, and playing with it with a stick. The work is signed in pencil by Jean Hardy on the bottom, lower right. Numbered in pencil # 84 of 350. In an oval art déco style dark wooden frame. Print is assumed in excellent condition, but has not been removed from its wooden frame. The frame is in very good condition, with some minor scratches. Actual image size: 440 x 530 mm (17¼ x 20¾ inches). This is a fantastic example of the Années folles (France in…

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    Paris: 1926. Signed oval shaped drypoint etching with aquatint, and small detail coloured by hand. Known as Élégantes au lézard. Circa 1926, Paris. The etching depicts two women on a terrace watching a small lizard, and playing with it with a stick. The work is signed in pencil by Jean Hardy on the bottom, lower right. Numbered in pencil # 84 of 350. In an oval art déco style dark wooden frame. Print is assumed in excellent condition, but has not been removed from its wooden frame. The frame is in very good condition, with some minor scratches. Actual image size: 440 x 530 mm (17¼ x 20¾ inches). This is a fantastic example of the Années folles (France in the 1920s) passion for what was known as 'Boudoir Art'. Louis Icart and Jean Hardy were two of the most popular. Size in frame: 670 by 560 mm (26½ by 22 inches). Gravure à la pointe sèche de forme ovale signée à l'aquatinte, et petit détail colorié à la main. Connu sous le nom Élégantes au lézard. Vers 1926, Paris. La gravure représente deux femmes sur une terrasse regardant un petit lézard et jouant avec lui avec un bâton. L'oeuvre est signée au crayon par Jean Hardy en bas, en bas à droite. Numéroté au crayon # 84 sur 350. Dans un cadre ovale en bois foncé de style art déco. L'impression est supposée en excellent état, mais n'a pas été retirée de son cadre en bois. Le cadre est en très bon état, avec quelques rayures mineures. Taille réelle de l'image : 440 x 530 mm (17¼ x 20¾ pouces). C'est un exemple fantastique de la passion des Années folles (France dans les années 1920) pour ce qu'on appelait « l'art du boudoir ». Louis Icart et Jean Hardy étaient deux des plus populaires. Taille dans le cadre : 670 x 560 mm

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    Book ID: 3097
    View basket More details Price: £300.00
  • Elégantes au perroquet. by HARDY, Jean
    HARDY, Jean
    Elégantes au perroquet. Original Art Déco drypoint etching signed by Jean Hardy, with hand colouring

    Paris: 1926. Signed oval shaped drypoint etching with aquatint, and small detail coloured by hand. Known as Élégantes au lézard. Circa 1926, Paris. The etching depicts two women on a terrace picking roses, watched over by an indignant looking exotic bird. The work is signed in pencil by Jean Hardy on the bottom, lower right. Numbered in pencil # 120 of 350. In an oval art déco style dark wooden frame. Print is assumed in excellent condition, but has not been removed from its wooden frame. The frame is in very good condition, with some minor scratches. Actual image size: 440 x 530 mm (17¼ x 20¾ inches). This is a fantastic example of the Années folles (France in the…

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    Paris: 1926. Signed oval shaped drypoint etching with aquatint, and small detail coloured by hand. Known as Élégantes au lézard. Circa 1926, Paris. The etching depicts two women on a terrace picking roses, watched over by an indignant looking exotic bird. The work is signed in pencil by Jean Hardy on the bottom, lower right. Numbered in pencil # 120 of 350. In an oval art déco style dark wooden frame. Print is assumed in excellent condition, but has not been removed from its wooden frame. The frame is in very good condition, with some minor scratches. Actual image size: 440 x 530 mm (17¼ x 20¾ inches). This is a fantastic example of the Années folles (France in the 1920s) passion for what was known as 'Boudoir Art'. Louis Icart and Jean Hardy were two of the most popular. Size in frame: 670 by 560 mm (26½ by 22 inches). Gravure à la pointe sèche de forme ovale signée à l'aquatinte, et petit détail colorié à la main. Connu sous le nom Élégantes au lézard. Vers 1926, Paris. La gravure représente deux femmes sur une terrasse en train de cueillir des roses, surveillées par un oiseau exotique à l'air indigné. L'oeuvre est signée au crayon par Jean Hardy en bas, en bas à droite. Numéroté au crayon # 120 sur 350. Dans un cadre ovale en bois foncé de style art déco. L'impression est supposée en excellent état, mais n'a pas été retirée de son cadre en bois. Le cadre est en très bon état, avec quelques rayures mineures. Taille réelle de l'image : 440 x 530 mm (17¼ x 20¾ pouces). C'est un exemple fantastique de la passion des Années folles (France dans les années 1920) pour ce qu'on appelait « l'art du boudoir ». Louis Icart et Jean Hardy étaient deux des plus populaires. Taille dans le cadre : 670 x 560 mm

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    Book ID: 3098
    View basket More details Price: £300.00
  • Elephant / Olifant by MINNE, Joris
    MINNE, Joris
    Elephant / Olifant

    1922. An elephant standing to left, in rhythmic curves and arcs. Linocut. Signed in the plate. Tipped onto cream passepartout. To the passepartout it is signed "1922 Jorris Minne." This does not seem to be one of the 30 held by the British Museum, as they were numbered and printed on oriental tissue. This copy is not numbered, and is printed on Van Gelder Zonder paper. However, it is clearly also not one of the 500 printed in 1927, as these had titles printed immediately beneath the plate. A clean and tidy print under slightly handled passepartout. Print is 13.5cm x 12.5cm. Sheet is 21cm x 17cm.

    Joris Minne was a Belgian artist (Ostend 1897-Antwerp 1988). He moved from…

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    1922. An elephant standing to left, in rhythmic curves and arcs. Linocut. Signed in the plate. Tipped onto cream passepartout. To the passepartout it is signed "1922 Jorris Minne." This does not seem to be one of the 30 held by the British Museum, as they were numbered and printed on oriental tissue. This copy is not numbered, and is printed on Van Gelder Zonder paper. However, it is clearly also not one of the 500 printed in 1927, as these had titles printed immediately beneath the plate. A clean and tidy print under slightly handled passepartout. Print is 13.5cm x 12.5cm. Sheet is 21cm x 17cm.

    Joris Minne was a Belgian artist (Ostend 1897-Antwerp 1988). He moved from painting to the graphic arts. Co-founder of the Lumière Group (1919) which gave birth to the De Vijf Group. (along with Frans Masereel, Jan Frans Cantré, Jozef Cantré, and Henri van Straten). He illustrated numerous literary works from 1930.

    . Un éléphant debout à gauche, dans des courbes et des arcs rythmés. Linogravure, signée dans la planche. Collé sur un passe-partout crème. Le passe-partout est signé "1922 Jorris Minne". Il ne semble pas s'agir d'un des 30 exemplaires conservés par le British Museum, car ils étaient numérotés et imprimés sur du tissu oriental. Cet exemplaire n'est pas numéroté et est imprimé sur du papier Van Gelder Zonder. Cependant, il est clair qu'il ne s'agit pas non plus de l'un des 500 exemplaires imprimés en 1927, car les titres de ces derniers étaient imprimés immédiatement sous la planche. Une impression propre et soignée sous un passe-partout légèrement manipulé. L'épreuve mesure 13,5 cm x 12,5 cm. La feuille mesure 21 cm x 17 cm. Joris Minne était un artiste belge (Ostende 1897-Anvers 1988). Il est passé de la peinture aux arts graphiques. Cofondateur du groupe Lumière (1919) qui a donné naissance au groupe De Vijf. (avec Frans Masereel, Jan Frans Cantré, Jozef Cantré et Henri van Straten). Il illustre de nombreux ouvrages littéraires à partir de 1930.

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    Book ID: 4627
    View basket More details Price: £150.00
  • En Souvenir de diner de le Maréchal Fayolle by GANDILHON GENS-D'ARMES Camille
    GANDILHON GENS-D'ARMES Camille
    En Souvenir de diner de le Maréchal Fayolle

    Veillée d'Auvergne, 1929. A poem by Gens-d'Armes in memory of Maréchal Fayolle printed in Art Nouveau style, to stiff card, with hand coloured woodcut illustration and design by Maurice Busset. The card is signed by the poet, and also by "Sue Fayolle" possibly the daughter in law of the Maréchal? There was a dinner in honour of Maréchal Fayolle after his death in 1928. He had been an important general in the First World War, notably in command of the Reserves which played a major role in the final push at the end of the war. He also distinguished himself in the second battle of the Marne in 1918. He was promoted to Marshal of France in 1928. Gens-d'Armes…

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    Veillée d'Auvergne, 1929. A poem by Gens-d'Armes in memory of Maréchal Fayolle printed in Art Nouveau style, to stiff card, with hand coloured woodcut illustration and design by Maurice Busset. The card is signed by the poet, and also by "Sue Fayolle" possibly the daughter in law of the Maréchal? There was a dinner in honour of Maréchal Fayolle after his death in 1928. He had been an important general in the First World War, notably in command of the Reserves which played a major role in the final push at the end of the war. He also distinguished himself in the second battle of the Marne in 1918. He was promoted to Marshal of France in 1928. Gens-d'Armes was a translator and poet, who lived in the Auvergne. He was a friend and contemporary of Verlaine, Paul Fort, Guillaume Apollinaire. Maurice Busset (1879–1936) was a French painter and woodcut engraver. During World War I he was an airman and an official war artist, and a significant number of his works relate to aviation during the war. His other main subject was his native Auvergne. 230 by 295mm (9 by 11½ inches).

    . Un poème de Gens-d'Armes à la mémoire du Maréchal Fayolle imprimé dans le style Art Nouveau, sur une carte rigide, avec une illustration et un dessin gravés sur bois et coloriés à la main par Maurice Busset. La carte est signée par le poète et par "Sue Fayolle", peut-être la belle-fille du Maréchal ? Un dîner a été organisé en l'honneur du Maréchal Fayolle après sa mort en 1928. Il avait été un général important pendant la Première Guerre mondiale, notamment à la tête des Réserves qui ont joué un rôle majeur dans la poussée finale à la fin de la guerre. Il s'est également distingué lors de la deuxième bataille de la Marne en 1918. Il a été promu maréchal de France en 1928. Gens-d'Armes était un traducteur et un poète qui vivait en Auvergne. Il fut l'ami et le contemporain de Verlaine, Paul Fort, Guillaume Apollinaire. Maurice Busset (1879-1936) était un peintre et graveur sur bois français. Pendant la Première Guerre mondiale, il était aviateur et artiste de guerre officiel, et un grand nombre de ses œuvres ont trait à l'aviation pendant la guerre. Son autre sujet principal était son Auvergne natale. 230 x 295 mm

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    Book ID: 4697
    View basket More details Price: £50.00
  • Limited to 75 copies
    Etching on paper: "Saint Georges". by IVANOVSKY, Elisabeth
    IVANOVSKY, Elisabeth
    Etching on paper: "Saint Georges".

    Bruxelles: 1936. Scarce dry-point etching of Saint George slaying the dragon. Copy # 1 of 75. Sadly there are two tears which have been repaired with clear tape to the margins. Only one slightly creeps on to actual image. Otherwise in a very good, clean condition. Blank to verso. Image size: 290 x 235 mm. Total sheet size: 560 x 370 mm (22 x 14½ inches).
    Elisabeth Ivanovsky, was a Moldova born Belgian painter and illustrator. Best known for her children's book illustrations, her work drew inspiration from Russian traditions, and avant-garde art.

    Book ID: 2754
    View basket More details Price: £100.00
  • Exposition Trouville-sur-mer by CARZOU Jean.
    CARZOU Jean.
    Exposition Trouville-sur-mer

    Trouville-sur-mer: Mourlot, 1974. A first edition, striking poster by Jean Carzou for an exhibition in Trouville. Original lithograph from the time. Large format. 72 x 52.5cm. Small tape residue to the corners and a small closed tear (now repaired) to the base of the poster. Overall very clean. Jean Carzou, (Karnik Zouloumian), (1907-2000) was born in Syria, and became a renowned French painter, lithographer, and decorator of Armenian origin. Carzou's work is defined by its meticulous use of line and perspective, creating structured yet dreamlike compositions. His style merges geometric rigour with poetic surrealism, often depicting urban landscapes, architectural ruins, and enigmatic figures. His colour palette typically features muted tones that enhance the haunting quality of his imagery.

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    Trouville-sur-mer: Mourlot, 1974. A first edition, striking poster by Jean Carzou for an exhibition in Trouville. Original lithograph from the time. Large format. 72 x 52.5cm. Small tape residue to the corners and a small closed tear (now repaired) to the base of the poster. Overall very clean. Jean Carzou, (Karnik Zouloumian), (1907-2000) was born in Syria, and became a renowned French painter, lithographer, and decorator of Armenian origin. Carzou's work is defined by its meticulous use of line and perspective, creating structured yet dreamlike compositions. His style merges geometric rigour with poetic surrealism, often depicting urban landscapes, architectural ruins, and enigmatic figures. His colour palette typically features muted tones that enhance the haunting quality of his imagery.

    . Première édition d'une affiche marquante de Jean Carzou pour une exposition à Trouville. Lithographie originale de l'époque. Grand format. 72 x 52,5 cm. Petit résidu de ruban adhésif dans les coins et petite déchirure fermée (maintenant réparée) à la base de l'affiche. L'ensemble est très propre. Jean Carzou, (Karnik Zouloumian), (1907-2000) est né en Syrie et est devenu un peintre, lithographe et décorateur français renommé d'origine arménienne. L'œuvre de Carzou se caractérise par une utilisation méticuleuse de la ligne et de la perspective, créant des compositions à la fois structurées et oniriques. Son style fusionne la rigueur géométrique et le surréalisme poétique, dépeignant souvent des paysages urbains, des ruines architecturales et des figures énigmatiques. Sa palette de couleurs se caractérise par des tons sourds qui renforcent la qualité obsédante de ses images.

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    Book ID: 5028
    View basket More details Price: £50.00
  • Femme à la glace, (Woman at the Mirror) by TOULOUSE-LAUTREC, Henri de.
    TOULOUSE-LAUTREC, Henri de.
    Femme à la glace, (Woman at the Mirror)

    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant…

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    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant marking, wear or damage. Slight marking to the blank rear, and an old stock number. Rare to find in such a good state.

    . Bel exemplaire de cette reproduction lithographique de l'œuvre originale de Toulouse-Lautrec. Peint en 1896, il s'agit de l'une des 275 reproductions réalisées par le Musée Toulouse-Lautrec. Elle porte le cachet rouge du musée, le numéro au crayon et le cachet en creux du musée. Nous n'avons pas pu identifier la date de cette série. Le papier est tissé lourd et filigrané Veches. Premier exemplaire. Une femme, saisie de dos, est nue à partir de la taille et se lave le cou sur sa table de nuit. Un miroir placé devant elle révèle une partie de son image. La feuille mesure 75 cm x 54 cm. L'image elle-même mesure 61 cm x 47 cm. Un bon exemplaire, propre, sans marque, usure ou dommage significatif. Légère marque au verso vierge, et un ancien numéro de stock. Rare à trouver dans un si bon état.

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    Book ID: 4735
    View basket More details Price: £200.00
  • Femme aux Fleurs by GOERG, Edourard Joseph.
    GOERG, Edourard Joseph.
    Femme aux Fleurs [Some auctions catalogue as "The Good Life"]

    Paris: L'Estampe, C1950. A lovely signed and limited colour lithograph by Goerg. Numbered 90/100 in pencil and also signed by the artist. Printed on heavy BFK Rives paper and with the "L'Estampe" embossed logo to the bottom right of the sheet. The print is not titled to the sheet, and we have seen a couple of different names used when in auction records when this work has been sold in the past! Not dated but circa 1950. In excellent, clean condition with no significant flaws. Suitable for framing. Édouard Joseph Goerg (1893-1969) was a French expressionist painter, engraver, and illustrator. Image is 33cm x 26cm. The sheet is 56cm x 45.5cm.

    . Une belle lithographie en couleur signée et…

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    Paris: L'Estampe, C1950. A lovely signed and limited colour lithograph by Goerg. Numbered 90/100 in pencil and also signed by the artist. Printed on heavy BFK Rives paper and with the "L'Estampe" embossed logo to the bottom right of the sheet. The print is not titled to the sheet, and we have seen a couple of different names used when in auction records when this work has been sold in the past! Not dated but circa 1950. In excellent, clean condition with no significant flaws. Suitable for framing. Édouard Joseph Goerg (1893-1969) was a French expressionist painter, engraver, and illustrator. Image is 33cm x 26cm. The sheet is 56cm x 45.5cm.

    . Une belle lithographie en couleur signée et limitée de Goerg. Numéro 90/100 au crayon et également signée par l'artiste. Imprimée sur du papier BFK Rives et avec le logo "L'Estampe" en bas à droite de la feuille. L'estampe n'est pas titrée sur la feuille, et nous avons vu plusieurs noms différents dans les archives des ventes aux enchères ! L'épreuve n'est pas datée, mais elle date d'environ 1950. En excellent état, propre et sans défauts significatifs. Convient pour l'encadrement. Édouard Joseph Goerg (1893-1969) était un peintre, graveur et illustrateur expressionniste français. L'image mesure 33 cm x 26 cm. La feuille mesure 56 cm x 45,5 cm.

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    Book ID: 5008
    View basket More details Price: £100.00
  • Femme qui se lave - la toilette (Woman Washing Herself - Toilet) by TOULOUSE-LAUTREC, Henri de.
    TOULOUSE-LAUTREC, Henri de.
    Femme qui se lave - la toilette (Woman Washing Herself - Toilet)

    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant…

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    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant marking, wear or damage. Slight marking to the blank rear, and an old stock number. Rare to find in such a good state.

    . Bel exemplaire de cette reproduction lithographique de l'œuvre originale de Toulouse-Lautrec. Peint en 1896, il s'agit de l'une des 275 reproductions réalisées par le Musée Toulouse-Lautrec. Elle porte le cachet rouge du musée, le numéro au crayon et le cachet en creux du musée. Nous n'avons pas pu identifier la date de cette série. Le papier est tissé lourd et filigrané Veches. Premier exemplaire. Une femme, saisie de dos, est nue à partir de la taille et se lave le cou sur sa table de nuit. Un miroir placé devant elle révèle une partie de son image. La feuille mesure 75 cm x 54 cm. L'image elle-même mesure 61 cm x 47 cm. Un bon exemplaire, propre, sans marque, usure ou dommage significatif. Légère marque au verso vierge, et un ancien numéro de stock. Rare à trouver dans un si bon état.

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    Book ID: 4734
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  • A lovely collection of engravings in two states
    Figures des Fables de La Fontaine by [LA FONTAINE, Jean de]. RANSONNETTE, Charles
    [LA FONTAINE, Jean de]. RANSONNETTE, Charles
    Figures des Fables de La Fontaine

    Paris: Nepveu, 1820. First edition. An attractive suite of the 60 engravings of Ransonnette for the 1829 edition of Fontaine's fables. These are in two states. (So a total of 120 engravings). The first, on small sheets (20.5cm x 11.5cm). The majority of these have no text on the sheet (a couple has "ransonnette fils" and a date of 1822/1823 to them). The second set, with an identical picture, but with the title of each engraving beneath. These are on a larger sheets (24cm x 16cm). A lot of the plates have moderate to heavy foxing. Nevertheless still an attractive and scarce set of prints. Please note, we are not providing the six volumes of fables - the plates…

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    Paris: Nepveu, 1820. First edition. An attractive suite of the 60 engravings of Ransonnette for the 1829 edition of Fontaine's fables. These are in two states. (So a total of 120 engravings). The first, on small sheets (20.5cm x 11.5cm). The majority of these have no text on the sheet (a couple has "ransonnette fils" and a date of 1822/1823 to them). The second set, with an identical picture, but with the title of each engraving beneath. These are on a larger sheets (24cm x 16cm). A lot of the plates have moderate to heavy foxing. Nevertheless still an attractive and scarce set of prints. Please note, we are not providing the six volumes of fables - the plates only. Charles Nicolas Ransonnette (1793–1877) was a French draughtsman, engraver, lithographer, and water-colourist. 120 sheets.

    . Première édition. Une jolie suite des 60 gravures de Ransonnette pour l'édition de 1829 des fables de Fontaine. Celles-ci sont en deux états. (Soit un total de 120 gravures). Le premier, sur de petites feuilles (20,5cm x 11,5cm). La plupart d'entre elles n'ont pas de texte sur la feuille (quelques unes portent la mention "ransonnette fils" et une date de 1822/1823). La deuxième série, avec une image identique, mais avec le titre de chaque gravure en dessous. Celles-ci sont sur des feuilles plus grandes (24cm x 16cm). Un grand nombre de planches présentent des rousseurs modérées à importantes. Néanmoins, il s'agit toujours d'un ensemble de gravures attrayantes et rares. Veuillez noter que nous ne fournissons pas les six volumes de fables, mais uniquement les planches. Charles Nicolas Ransonnette (1793-1877) était un dessinateur, graveur, lithographe et aquarelliste français. 120 feuilles.

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    Book ID: 5161
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  • Finck Cabinet Advertising poster by WALTER, Georg Aug. (Pub)
    WALTER, Georg Aug. (Pub)
    Finck Cabinet Advertising poster

    Mainz: Georg Aug. Walkter Drucker, 1910. A nobleman, accompanied by two liveried servants with champagne glasses, looks through his lorgnette at an oversized bottle of sparkling wine. Advertising poster for the Josef Finck & Co sparkling wine cellars, (Hoflieferanten) Mainz. Anonymous color lithograph on cardboard by published by Georg August Walter, Mainz around 1910.With the title in stone and typographic address On light cardboard. There is a 7cm closed tear (with old repair) to the right edge, and a small chip to the top left corner. Otherwise in very good condition. 420 by 595mm (16½ by 23½ inches).

    Book ID: 3730
    View basket More details Price: £75.00
  • Four Sheets from the Colour edition / Block edition of this work by Stuffer-Bilderbogen
    Stuffer-Bilderbogen
    Four Sheets from the Colour edition / Block edition of this work Vier Blätter aus der Farbausgabe / Blockausgabe dieses Werkes

    Berlin: Herbert Stuffer Verlag, 1935. Four large sheets of Stuffer's Bilderbogen. In total, there were only 12 issued. Initially in a two part version for children to colour (with one colour and one identical but in black and white). There was also the "Blockausgabe" which offered the sheets in a large format and full colour edition. The sheets offered here are as follows: #1 Kapitän Knackbrot gründet einen Zirkus (text by Friedrich Böer with illustration by Werner Bürger). A good, clean copy, with a small closed tear to the left edge. Otherwise in very good condition; #2 Das schöne Heidelberg ( illustration by Andreas Meier, text by E.A. Hermann). A little foxing but otherwise clean, a small closed tear…

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    Berlin: Herbert Stuffer Verlag, 1935. Four large sheets of Stuffer's Bilderbogen. In total, there were only 12 issued. Initially in a two part version for children to colour (with one colour and one identical but in black and white). There was also the "Blockausgabe" which offered the sheets in a large format and full colour edition. The sheets offered here are as follows: #1 Kapitän Knackbrot gründet einen Zirkus (text by Friedrich Böer with illustration by Werner Bürger). A good, clean copy, with a small closed tear to the left edge. Otherwise in very good condition; #2 Das schöne Heidelberg ( illustration by Andreas Meier, text by E.A. Hermann). A little foxing but otherwise clean, a small closed tear to the left edge of the crease. A little marking to the blank rear. #10 Der Osterhase: (Illustrations by Andreas Meier, words by E.A. Herrmann). A little darkening. A little creasing, and a couple of small closed tears to the left edge. #12 Die sieben Sterne: (words by E.A. Herrmann, illustration by Margarete Kellner). Although clean, the picture has been torn in half at some point, but very neatly repaired (you can only just see the remnant of the tear). Otherwise sound. There is a crease to the centre of each of the plates. These give the impression of never having been bound into a book. 450 by 320mm (17¾ by 12½ inches)

    . Quatre grandes feuilles du Bilderbogen de Stuffer. Il n'y en a eu que 12 au total. Au départ, il s'agissait d'une version en deux parties à colorier pour les enfants (une couleur et une autre identique mais en noir et blanc). Il y eut également la "Blockausgabe" qui proposait les feuilles en grand format et en couleurs. Les feuilles proposées ici sont les suivantes : #1 Kapitän Knackbrot gründet einen Zirkus (texte de Friedrich Böer avec illustration de Werner Bürger). Un bon exemplaire, propre, avec une petite déchirure fermée sur le bord gauche. Autrement en très bon état ; #2 Das schöne Heidelberg (illustration d'Andreas Meier, texte d'E.A. Hermann). Quelques rousseurs mais autrement propre, une petite déchirure fermée au bord gauche de la pliure. Une petite marque au dos blanc. #10 Der Osterhase : (Illustrations d'Andreas Meier, texte d'E.A. Herrmann). Un peu de noircissement. Un peu de plis et quelques petites déchirures fermées sur le bord gauche. #12 Die sieben Sterne : (paroles de E.A. Herrmann, illustrations de Margarete Kellner). Bien que propre, l'image a été déchirée en deux à un moment donné, mais très proprement réparée (on ne voit que le reste de la déchirure). L'image est par ailleurs en bon état. Il y a un pli au centre de chacune des planches. Elles donnent l'impression de n'avoir jamais été reliées dans un livre. 450 x 320 mm.

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    Book ID: 4313
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  • Gedenkblatt des Zentralverband der Zimmerer und verwandter Berufsgenossen Deutschland by KARBERG, Bruno.
    KARBERG, Bruno.
    Gedenkblatt des Zentralverband der Zimmerer und verwandter Berufsgenossen Deutschland

    Hamburg: Bruno Karberg, 1928. A 25 year commemorative certificate issued to comrade Friedrich Steinig by the association of Carpenters and associated professions. Blind-embossed lithograph based on a design by Bruno Karberg. An attractive, art-deco design, with gilt and colour detail. A little rubbing to the name and date (printed after the original sheet) and slight darkening / marking to the sheet, but overall in excellent condition. Bruno Karberg was a German graphic artist based in Hamburg. Was a student of O. Czeschka at the arts and crafts school. Printed publisher details to the bottom of the certificate. 455 by 375mm (18 by 14¾ inches). 

    . Certificat commémoratif de 25 ans délivré au camarade Friedrich Steinig par l'association des charpentiers…

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    Hamburg: Bruno Karberg, 1928. A 25 year commemorative certificate issued to comrade Friedrich Steinig by the association of Carpenters and associated professions. Blind-embossed lithograph based on a design by Bruno Karberg. An attractive, art-deco design, with gilt and colour detail. A little rubbing to the name and date (printed after the original sheet) and slight darkening / marking to the sheet, but overall in excellent condition. Bruno Karberg was a German graphic artist based in Hamburg. Was a student of O. Czeschka at the arts and crafts school. Printed publisher details to the bottom of the certificate. 455 by 375mm (18 by 14¾ inches). 

    . Certificat commémoratif de 25 ans délivré au camarade Friedrich Steinig par l'association des charpentiers et des professions associées. Lithographie estampée à l'aveugle d'après un dessin de Bruno Karberg. Un beau dessin art-déco, avec des détails dorés et en couleur. Un peu de frottement au nom et à la date (imprimés après la feuille originale) et un léger assombrissement / marquage à la feuille, mais dans l'ensemble en excellent état. Bruno Karberg était un artiste graphique allemand basé à Hambourg. Il a été l'élève d'O. Czeschka à l'école des arts et métiers. Détails de l'éditeur imprimés au bas du certificat. 455 x 375 mm

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    Book ID: 4284
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  • Geteilte Interpretationen Maler sehen die Mauer - poster by MAUERMUSEUM - Museum Haus am Checkpoint Charlie
    MAUERMUSEUM - Museum Haus am Checkpoint Charlie
    Geteilte Interpretationen Maler sehen die Mauer - poster

    Berlin: Verlag Haus am Checkpoint Charlie. Original exhibition poster from the 1980s. This poster is mostly black with white text, and advertises a permanent exhibition 'Geteilte Interpretationen Maler sehen die Mauer' - the translation in English is roughly "Shared interpretations. Painters see the wall". Includes five examples of art pieces from the exhibition. In excellent condition. Under glass and in a black frame. 510 x 410 mm (20 x 16¼ inches). Can be sold with or without frame.

    The Mauermuseum – Museum Haus am Checkpoint Charlie was founded immediately after the wall that divided Berlin was built and the museum opened its doors in October 1962. It's location was chosen "To be as close as possible to injustice,…

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    Berlin: Verlag Haus am Checkpoint Charlie. Original exhibition poster from the 1980s. This poster is mostly black with white text, and advertises a permanent exhibition 'Geteilte Interpretationen Maler sehen die Mauer' - the translation in English is roughly "Shared interpretations. Painters see the wall". Includes five examples of art pieces from the exhibition. In excellent condition. Under glass and in a black frame. 510 x 410 mm (20 x 16¼ inches). Can be sold with or without frame.

    The Mauermuseum – Museum Haus am Checkpoint Charlie was founded immediately after the wall that divided Berlin was built and the museum opened its doors in October 1962. It's location was chosen "To be as close as possible to injustice, that's where human greatness unfolds most." according to the museum's founder, Dr. Rainer Hildebrandt. The museum can still be found in Friedrichstrasse in Berlin.

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    Book ID: 3606
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  • Gezigt [Gezicht] op de Oude Kerk by BEIJER, Jan de.
    BEIJER, Jan de.
    Gezigt [Gezicht] op de Oude Kerk van buiten aan de Zuidzyde

    Paulus van Liender / Pierre Fouquet, 1760. First Edition. A very nice engraving of the old church in Amsterdam. Engraved by Paulus van Liender after an original by Jan de Beijer, this was originally printed in 1760. This was later re-printed by Pierre Fouquet in his "Atlas." He produced engravings from 1769, and eventually produced over 100 engravings, so that purchasers could select the prints they wanted and create their own personal collection. The attribution to Beijer / Leander is not shown on this engraving, but the image is identical to the Rijksmuseum holding: RP-P-AO-23-5 - Only the titles differ (including spelling of Gezigt / Gezigt/ This is a nice clean print, with just a couple of small marks…

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    Paulus van Liender / Pierre Fouquet, 1760. First Edition. A very nice engraving of the old church in Amsterdam. Engraved by Paulus van Liender after an original by Jan de Beijer, this was originally printed in 1760. This was later re-printed by Pierre Fouquet in his "Atlas." He produced engravings from 1769, and eventually produced over 100 engravings, so that purchasers could select the prints they wanted and create their own personal collection. The attribution to Beijer / Leander is not shown on this engraving, but the image is identical to the Rijksmuseum holding: RP-P-AO-23-5 - Only the titles differ (including spelling of Gezigt / Gezigt/ This is a nice clean print, with just a couple of small marks to the sheet. good impression. The printed area is 28 cm x 38,5 cm. The sheet is 43cm by 51cm (17 by 20 inches). A touch of edgewear and darkening to the corners of the sheet only

    . Première édition. Une très belle gravure de la vieille église d'Amsterdam. Gravée par Paulus van Liender d'après un original de Jan de Beijer, elle a été imprimée à l'origine en 1760. Elle fut ensuite réimprimée par Pierre Fouquet dans son "Atlas". Il produisit des gravures à partir de 1769, et finalement plus de 100 gravures, afin que les acheteurs puissent sélectionner les gravures qu'ils souhaitaient et créer leur propre collection personnelle. L'attribution à Beijer / Leander n'est pas indiquée sur cette gravure, mais l'image est identique à celle du Rijksmuseum : RP-P-AO-23-5 - Seuls les titres diffèrent (y compris l'orthographe de Gezigt / Gezigt/ Il s'agit d'une belle gravure propre, avec seulement quelques petites marques sur la feuille. bonne impression. La surface imprimée est de 28 cm x 38,5 cm. La feuille mesure 43 cm sur 51 cm (17 sur 20 pouces). Un peu d'usure des bords et un assombrissement des coins de la feuille seulement.

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    Book ID: 4291
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  • Gezigt Langs Het Rokin, op de Nieuwe - Zyds - Kapel en Beurs by BEIJER, J. de.
    BEIJER, J. de.
    Gezigt Langs Het Rokin, op de Nieuwe - Zyds - Kapel en Beurs

    1765. Engraved by J. Folkema. An attractive view of the Amsterdam Stock Exchange (built in 1611 by Hendrick de Keyser) the Nieuwezijds Kapel can be seen to the left. Engraving is 28cm x 37cm. Sheet is 43cm x 52cm. A nice clean copy, with just a touch of handling. Uncoloured.

    . Gravure de J. Folkema. Une belle vue de la Bourse d'Amsterdam (construite en 1611 par Hendrick de Keyser). On aperçoit la Nieuwezijds Kapel à gauche. La gravure mesure 28 cm x 37 cm. La feuille mesure 43 cm x 52 cm. Un bel exemplaire propre, avec juste un peu de manipulation. Non coloré.

    Book ID: 4301
    View basket More details Price: £125.00
  • 'Graphic Light' silkscreen print in frame by VAN DER VET, Wout
    VAN DER VET, Wout
    'Graphic Light' silkscreen print in frame

    Zoetemeer: Wout van der Vet, 1991. Signed and numbered silkscreen print, printed in 16 passes. This is # 50 / 50. In a black mount and black metallic frame, with glass front. Measurement in frame: 715 x 515 mm (28¼ x 20¼ inches).

    Book ID: 2538
    View basket More details Price: £75.00