Etching Abstract Prints

Artist: Gilou Brillant Title: Untitled 21 Year: circa 1975 Medium: Aquatint Etching, signed and numbered in pencil Edition: 99 Size: 35.5 x 25.5 in. (90.17 x 64.77 cm)

Sparire means "to disappear" in Italian. This large-scale, dreamlike print spans almost ten feet. Enzo Cucchi Sparire II, 1988 Color etching, aquatint and silkscreen 30 1/2 × 118 in...

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...

Arnaldo Pomodoro di Auguri, 1992-1993 Etching on art paper Hand signed, numbered 69 from an edition of 100 and dated by the artist on the front Frame Included This uncommon limited e...

This artwork "Sans Titre II" c.1980 is an original color etching with aquatint on Arches paper by noted French abstract expressionist artist Francois Rouan...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Donald Baechler, Szechuan Garden, 2003: Medium: Aquatint and soft-ground etching. Sheet size: 27 x 34 inches. Edition of 35 (30 + 5 artists proofs). Hand-signed, dated and numbered on bottom of sheet. Printed on Hanhnemuhle paper. Unframed. Acquired directly from publisher. Artist Biography: Donald Baechler, a member of the East Village art scene in 1980s New York, is known for his painting-collage-drawing works depicting of childhood imagery and nostalgic ephemera like grammar school primers, old maps, and children’s drawings...

For Alberti, For Spain! it's an artwork realized by Joan Mirò in 1975. Etching,  90 x 66 cm.  Hand signed. Edition 62/90. Reference: Dupin 926 Printed on Fabriano paper, Printed ...

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

"Animated Formation" Abstract Aquatint Etching Abstract Aquatint Etching by Katherine "Kay" Metz (b. 1932-2018.)This dynamic print by Kay Metz straddles the line between organic and...

Artist: Karl Fred Dahmen Title: Bastion Year: 1976 Medium: Aquatint Etching, Signed, numbered, dated, and titled in pencil Edition: 49/75 Size: 35 in. x 27.5 in. (88.9 cm x 69.85 cm)

Artist/Designer; Manufacturer: Robert Motherwell (American, 1915-1991) Marking(s); notes: signed, blind stamp; ed. 7/10. There were also 5 APs; 1983 Materials: etching and aquatint i...

Jacqueline De Butler, French (1928 - ) - Red and Green Composition, Year: circa 1968, Medium: Etching with Aquatint on Arches, signed and number...

20JU3G-2020 (Abstract print) Aquatinte on BFK Rives paper - Unframed. Edition of 19. Image size: 69.3 x 49.6 cm / 27.3 x 19.5 in Paper size: 88 x 67.2 cm / 34.6 x 26.5 in Clément'...

Alan Shields Untitled mixed media geometric abstraction collage, ca. 1979 Etching and aquatint in colors with collage Pencil signed and numbered 15...

Created by Al Held in 1988, Almost There is an aquatint with hard-ground etching on Somerset paper. Hand-signed, dated, and numbered from the edition of 60 in pencil on the verso, th...

Werner Drewes, 'Pointed Shapes and Black Half Moon', etching, 1935, edition 20, Rose l.198. Signed, dated, and numbered 'I-XX' in pencil. A fine, rich impression, in warm black ink...

Adolph Gottlieb (1903-1974). NIGHT GLOW. Etching and aquatint in colors, 1971. Edition of 65. Signed and dated in pencil, numbered 17/65 in pencil. Published and printed by 2RC Edizi...

MARINO MARINI (1901-1980) MIRACLE - Etching, Signed and numbered 70 / 75 in pencil. Image 15 ½ x 10 ½ inches,. Full sheet 22 3/8 x 15 inches with deckle edges. Plate IV of the serie...

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 16" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is...

Jim Dine The Christmas Print (Burg, 26), 2001 Drypoint, direct gravure, etching over offset lithograph with hand coloring by artist in oil stick, on T.H. Saunders paper, the full she...

Namiko Prado Arai (Mexico, 1963) 'Untitled 3 (Buril)', 1998 etching, aquatint on paper Deponte 400g. 20.9 x 24.5 in. (53 x 62 cm.) Unframed ID: PRA-305 Hand-signed by author

86.4 x 71.8 cms (34 x 28.25 ins) Edition of 17 Paper: Somerset Textured Proofs: 9 AP, I CTP (on handmade paper) Signed right, under image; numbered left, under image; publisher's chop lower right Publisher: The Litho Shop Inc., Santa Monica, California Printed by Jacob Samuel...

Hand signed and numbered. Edition of 100 prints, numbered and hand signed. Excellent condition.

Etching and aquatint, 1970 Handsigned by the artist in pencil Edition : 13/15 Publisher : Société Internationale d’Art XXe siècle 66.00 cm. x 50.50 cm. 25.98 in. x 19.88 in. (paper)...

Etching and aquatint, 1970 Handsigned by the artist in pencil and numbered 73/125 66.00 cm. x 50.00 cm. 25.98 in. x 19.69 in. (paper) 49.00 cm. x 40.00 cm. 19.29 in. x 15.75 in. (i...

Sliced sausage, a fork and knife, a cutting board, and a cow mid-slurp comprise this elegant yet tongue-in-cheek black and white Dieter Roth etching. Diet...

Nude is an original modern artwork realized by Franco Bellardi in 1978. Etching on paper. Hand signed and dated on the lower right margin. Numbered on the lower left. Edition of 7...

Jane Kent, American (1952 - ) - Fried Egg, Year: circa 1980, Medium: Monotype etching on heavy stock cotton paper, signed and numbered in pencil, Edition: 1/1, Image Size: 24 x 2...

Mitsuo Miura (Japan, 1946) Hako III, 1986 Etching and aquatint on paper Image size: 7.08 x 4.92 in (18 x 12.5 cm.) Sheet size: 14.96 x 11.22 in. (38 x 28.5 cm.) series number: 5/25 I...

Richard Serra (born 1939) Videy Afangar #6, from Videy Afangar Series, 1991 Etching on Hahnemühle paper Signed and dated in pencil lower right Edition 73/75 (there were also 20 artis...

Artist: Terry Winters, American (1949 - ) Title: untitled 5 from Album Year: 1988 Medium: Etching with Aquatint, signed and numbered in pencil Edition: HC 2/2 Image: 20 x 16 inches S...

This piece is an original etching with color on wove paper done by Marino Marini in 1973. It is hand signed and numbered 53/90 from the edition of 90. This piece is from a portfolio...

Etching on paper realized in 1748. Very good condition except for some minor foxing. Includes a wooden frame cm. 27.5x41.5

Aquatint and etching on paper. Hand signed lower right by Roberto Matta. Hand numbered 90/100 lower left. Image size: 14.1 x 18.6 inches. Sheet size: 26 x 19.6 inches. Frame siz...

"Untitled I" is a work that displays James Hansen's intense colors and shapes of his abstract and surrealist style. This print made with etching and aquatints with hand-coloring on Arches paper pops with the illusion of three dimensions set against a muted background of esoteric shapes and symbols. The print is 32-3/4 x 25-3/4 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 12 as there are multiple prints in the possession of Collected Detroit. James Hansen was born in 1951 in New Haven, Connecticut and spent most of his artistic career in Provincetown, Massachusetts where he befriended and worked with Paul Bowen, Claude Simard...

Kathan Brown Evening Moon, 1962 Color etching on wove paper Hand signed, titled, dated and numbered 30/100 by Kathan Brown on the front 18 3/4 × 27 3/4 inches De-accessioned from the...

Signed lower right, "Ryonosuke Fukui" (Japanese, 1923-1986), a listed artist, and created circa 1965. An artist's proof, hand-colored etching comprising superimposed, stylized plan...

Moix, Santi (Spanish, b. 1960), Figural Abstraction, hybrid print with etching and aquatint, 23.5 x 16.75 inches, pencil signed and numbered 2/3. Santi Moix (Barcelona, 1960) lives ...

Will Petersen, a painter, master printer and a poet, was born in Chicago. (Amer. 1928-1994) created this limited edition Etching on Arches paper at the Lakeside Studio. The LITHOGRAPH PRINT is from a limited edition of 25 (Roman Numerals), printed in black on Arches Cover White (archival paper). with chopmarks and blindstamps. published by The Lakeside Studio (chopmark lower right). THE LITHOGRAPH IS SIGNED TITLED AND ANNOTATED BY THE ARTIST in pencil EXCELLENT condition. Will's formal art education began with classes at the Chicago Academy of Fine Arts. As a student at the city's Steinmetz High School, Petersen succeeded Hugh Hefner (of Playboy magazine fame) as the HS newspaper cartoonist, the Steinmetz Star. During this time, Petersen recovered from polio. In 1947 Petersen enrolled at Chicago's Wilbur Wright College. While there, he painted with oils for the first time. Two years later he enrolled at Michigan State University where he developed a strong interest in literature and writing and began printmaking. By 1951 he had begun to exhibit paintings and prints nationally. A year later he completed his master's degree. Petersen served in the United States Army from 1952-54, spending one year as an education specialist in Japan. This encounter with the Japanese culture affected his entire life. He became interested in calligraphy and Noh, classical Japanese Buddhist performance that combines elements of drama, music and poetry. Upon completion of his military service in Japan in 1955, Will Petersen settled in Oakland, California, where he met some of the most active poets of the Beat Generation: Gary Snyder, Allen Ginsberg, Jack Kerouac, Phil Whalen, Mike McClure and others. Petersen was attracted to the group by their intelligence and belief in Zen Buddhism. In 1956 in his small studio in Oakland, he printed the poems of Jack Kerouac. He attended for the first time, the reading of Ginsberg's Howl at Six Gallery. His relationship with Gary Snyder had begun when both were in Kyoto, Japan; later Snyder wrote for the Plucked Chicken. Petersen returned to Japan in 1957, pursuing painting, printmaking and writing for eight years while living in Kyoto. In 1965 he accepted a faculty appointment at Ohio State University, teaching drawing, painting and printmaking. Four years later Petersen took his teaching skills to West Virginia University in Morgantown, where he concentrated on printmaking. He taught there until 1977 when he began publishing Plucked Chicken, a journal of art and poetry. In 1978 in Morgantown, Petersen and his wife, Cynthia Archer, established Plucked Chicken Press, which they later moved to Chicago and then Evanston. Petersen operated the Press until his death on April 1, 1994. From 1955-57 Petersen along with Mel Strawn founded the Bay Printmakers Society. He resumed exhibiting: International Color Lithography, Cincinnati Art Museum; Gravures Americaines d’aujourd’hui, Paris; & received an MFA on the GI Bill (with Nathan Oliveira) from the California College of Arts and Crafts where Richard Diebenkorn was on the faculty. Petersen meets Kerouac, Gary Snyder, Phil Whalen, Allen Ginsberg, McClure, and Rexroth. Petersen’s now famous “Stone Garden” essay is published in Evergreen Review. 1956 In storefront studio in Oakland, California, creates serigraphs and lithographs. Prints poems of Jack Kerouac. 1961 Back in Japan, acquires a lithography press and stones and resumes printing lithographs. Exhibits regularly with Kyoto Printmakers. 1969 Resident lithographer at the Lakeside Studio, Lakeside, Michigan. Prints for the first time Richard Hunt lithographs. 1978 Establishes Plucked Chicken Press in Morgantown, West Virginia. Resident lithographer at Lakeside Studio in Michigan. 1980 Plucked Chicken Press moves to Chicago. Publishes lithographs by Don Crouch and Art Kleinman. 1982 Publishes Blossom, a lithograph/collage by Tom Nakashima. 1983 Series I of Plucked Chicken Press is published with work by Archer, Duckworth, Godfrey, Heagstedt, Himmelfarb, Hoff, Hunt, Martyl, Miller, Nakashima and Petersen. 1984 Plucked Chicken Press moves to Evanston. Series II of Plucked Chicken Press is published with works by Croydon, Ho, Archer, Torn, Osver, Middaugh, Roseberry, Petersen, Spiess-Ferris and Hoppock. 1985 Series III of Plucked Chicken Press is published with works by Driesbach, Hunt, Trupp, Gregor, Pattison, Conger, Evans, Weygandt, Archer, Ho and Petersen. Prints Suite I, Northern Illinois University Collectors Series, with lithographs by Renie Adams, David Bower, David Driesbach, Carl Hayano and Ben Mahmoud...

This artwork titled "Centre Noeuds" plate #10, 1974, is an original color etching with aquatint on Japan nacre paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It i...

Francesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...

"Orange Row", Abstract Geometric Minimalist Composition w Ovals, Limited Edition Delicate and perfect ovals in orange, yellow, red, and blue are purposefully arranged on lined paper...

Joan MIRO Le Marteau sans Maitre XX, 1976 Original etching and aquatint From a limited edition of 175 copies (+ 25 Hors Commerce) On Arches vellum With the editor watermark "Au vent...

Big Dipper, 1982 Ed Ruscha Aquatint in indigo and black, on wove paper Signed, dated and inscribed 'A. P. 4' One of ten artist's proofs aside from the edition of 10 Published by C...

Color etching and aquatint, 1946. Third state (of 3). Signed by the artist in pencil, lower right margin, and numbered 199/300 in pencil, lower left margin. Published by Laurel Ga...

Etching, 1958 Handsigned by the artist in pencil and numbered 24/75 Publisher : Maeght (Paris) Printer : Crommelynck et Dutrou (Paris) Catalog : [Vallier n°121 p. 179] 63.50 cm. x 57...

This artwork, titled "Ceremonial Landscape" c.1980 is an etching with embossing on Arches paper by noted Canadian artist Janet Jones b.1952. It is hand signed and titled in pencil by the artist. It is numbered “21/30 e.v.”. The meaning of e.v. is “edition varied.” It indicates the artist varied the ink or paper or some other aspect of the printing process to create more than one image. The image is 18 x 15 inches, sheet size is 30 x 22.25 inches. It is in excellent condition, and has never been framed. About the artist: Janet Jones was born in Montreal, Quebec in 1952. She received her BFA in painting and photography from Concordia University - studying painting with Guido Molinari and Yves Gaucher, and photography with the experimental photographer Suzanne Swibold. Janet Jones is currently a Toronto based painter whose work has been exhibited across Canada, in Los Angeles, New York, England, Germany, France and China. Her recent projects include; the solo exhibition, The Dream Machine at Patrick Mikhail Gallery, Montréal (2017), two solo exhibitions, Playtimes (2015) and Joyride (2012) both at Katzman Contemporary Toronto, a national touring exhibition of her paintings, DaDa Delirium, with an accompanying catalogue (2011) with essays by Stuart Reid, Nell Tenhaaf and an interview with the artist by Georgiana Uhlyarik, and participation in the Empire of Dreams exhibition, MOCCA (Summer 2010) curated by David Liss. Jones has been a visiting artist in France, England, Russia, China, the Netherlands, and Cuba. Jones received her MFA from York University and her PhD from New York University in the area of art theory and criticism. Her dissertation titled: Clement Greenberg and the Artist /Critic Relationship, included interviews with Clement Greenberg, Jules Olitski, and other members of the ‘Greenberg Group’ and research gained through accompanying Greenberg on numerous studio visits. A Professor in the Department of Visual Arts, York University, Toronto, where she teaches painting, she has been Chair of the Department of Visual Arts and Director of the MFA Program in Visual Arts. Professor of Painting, Department of Visual Arts and Art History, AMPD, York University. EDUCATION 1988 Ph.D. New York University, New York, NY. Dissertation Title: Clement Greenberg & the Artist/Critic Relationship. 1979 M.F.A. York University, Toronto, Ontario. Samuel Sarick Award 1977 B.F.A. Honours, with Distinction, Concordia University SOLO EXHIBITIONS 2017 The Dream Machine, Patrick Mikhail Gallery, Montréal, Quebec, October - December, 2017 2016 Recent Acquisitions from DaDa Delirium, MacLaren Art Gallery, Barrie, ON. March – July 2015 Playtimes, Katzman Contemporary, Toronto, March-April 2015. 2013 DaDa Delirium, MacIntosh Gallery, University of Western ON. 2012 Joy Ride, Katzman Kamen Gallery, Toronto, ON September, 2012. 2012 DaDa Delirium, Art Gallery of Northumberland, Coburg, ON, April-May 2010 DaDa Delirium, MacLaren Art Centre, Barrie, ON. 2009 A Las Vegas State of Mind, Peak Gallery, Toronto, ON. 2009 DaDa Delirium, Curated by Stuart Reid, Tom Thompson Art...

"Requiem" is an original etching and aquatint by Joan Snyder. The artist signed the piece, and the edition is of 120. This piece features abstract, expressionist text and an striking portrait of a woman with red lipstick on a pink background. 25 5/8" x 20" art 32" x 26" frame Joan Snyder was born on April 16, 1940, in Highland Park, New Jersey. She received her AB from Douglass College in New Brunswick, New Jersey (1962), and an MFA from Rutgers University in New Brunswick, New Jersey (1966). She was the recipient of a National Endowment for the Arts Fellowship (1974) and a John Simon Guggenheim Memorial Fellowship (1983). Snyder lives in Brooklyn and Woodstock, New York. Although Snyder’s paintings are often placed under various art-movement umbrellas—Abstract...

Alison Hildreth, American (1934 - ) - Seascape, Year: 1995, Medium: Aquatint, signed, dated and numbered in pencil, Edition: AP, Image Size: 14.5 x 21.5 inches, Size: 15.5 x 22 ...

This piece is an original etching created by Henry Moore in 1967. This piece is hand signed in pencil and numbered from the edition of 50 on Japon paper. There are also two proofs on...

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 8" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is ...

This artwork titled "Centre Noeuds" plate #9, 1974, is an original color etching with aquatint on Japan nacre paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It is...

Raul Anguiano (Mexico, 1915-2006) 'Ninfa y fauno', 2003 sugarlift on paper 19.3 x 15 in. (49 x 38 cm.) ID: ANG-107 Hand-signed by author

Etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis B...

Aquatint in colours with sugar lift "Serpentine" (green) by Georg Baselitz from 2022/23. The edition on Somerset White Satin comprises 50 copies in blue / 50 copies in green. The...

Etching and aquatint, 1975 Edition : 62/75 Publisher : O. Lazar-Vernet, Paris Printer : Georges Leblanc et Morsang, Paris Catalog : Dupin 827 38.00 cm. x 27.70 cm. 14.96 in. x 10.91...

This exquisite etching after Alberto Giacometti (1901–1966), titled Nu de Profil (Nude in Profile), from the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93, originates from the 1956 edition published by Maeght Editeur, Paris, and printed by Atelier Crommelynck, Paris, 1956. This work exemplifies Giacometti’s mastery of line and existential sensitivity, capturing the fragility, grace, and introspection that define his vision of the human form. Executed as an etching, cuivre rayé apres tirage on velin paper, this work measures 15 x 11 inches overall; 12.2 x 2.17 inches image size. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Atelier Crommelynck, Paris. Artwork Details: Artist: After Alberto Giacometti (1901–1966) Title: Nu de Profil (Nude in Profile), from the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93 Medium: Etching, cuivre rayé apres tirage on velin paper Dimensions: 15 x 11 inches, overall; 12.2 x 2.17 inches, image size (38.1 x 27.94 cm; 31 x 5.5 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Maeght Editeur, Paris Printer: Atelier Crommelynck, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93, published by Maeght Editeur, Paris; printed by Atelier Crommelynck, Paris, 1956 Notes: Excerpted from the folio (translated from French), This catalogue, forming a special issue of Derriere le miroir, was completed in October 1956 on the presses of Draeger Freres on behalf of Aime Maeght, Editeur. The original lithographs of Miro, Chagall and Bazaine were shot by Mourlot Freres. The eaux-fortes rayees of Miro and Giacometti were shot by Crommelynck. Raoul Ubac composed and pulled the engraved wood from the cover. The photographs of Braque's reproduced works are by Mr. Routhier. Those of the other artists of Y. Hervochon. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght's belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alberto Giacometti (1901–1966) was a Swiss sculptor, painter, and draughtsman whose hauntingly elongated figures and existential vision redefined modern art and made him one of the most influential artists of the 20th century. Born in Borgonovo, Switzerland, into an artistic family—his father, Giovanni Giacometti, was a noted Post-Impressionist—he was immersed in art from an early age before studying in Geneva and moving to Paris in 1922, where he became part of the city’s avant-garde alongside Pablo Picasso, Alexander Calder, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. In the 1920s and 1930s, Giacometti explored Cubism and Surrealism, creating symbolic and dreamlike sculptures such as Suspended Ball (1930–31) and The Palace at 4 A.M. (1932), which reflected the influence of Dali, Duchamp, and Man Ray. By the 1940s, he abandoned Surrealism to pursue a deeply personal exploration of the human condition, developing his iconic attenuated figures that embodied both fragility and resilience. His signature sculptures—L’Homme qui marche I (Walking Man I), Femme debout, and Le Chariot—expressed the isolation, endurance, and vulnerability of modern existence, echoing the existential philosophy of Jean-Paul Sartre and Simone de Beauvoir. Giacometti’s figures, stripped of mass yet monumental in spirit, symbolized humanity’s search for meaning in a postwar world, while his paintings and drawings—portraits of his brother Diego, his wife Annette, and his friends—captured the psychological depth of perception with trembling, repetitive lines that blurred the boundary between body and soul. His friendships with Picasso, Calder, Miro, and Kandinsky shaped his understanding of form, motion, and space, while his philosophical engagement with Duchamp and Man Ray deepened his inquiry into the nature of reality and perception. Working obsessively in his modest Montparnasse studio, Giacometti pursued art as an existential act—destroying and rebuilding his figures in an endless search for truth. His influence on postwar art was immense, shaping the work of Henry Moore, Francis Bacon, Louise Bourgeois, Lucian Freud, and later contemporary sculptors such as Antony Gormley and Anselm Kiefer. His aesthetic also resonated beyond sculpture, influencing fashion, photography, and architecture through his vision of form, isolation, and proportion. Giacometti’s work is represented in major museum collections including MoMA, the Tate Modern, and the Centre Pompidou, and continues to inspire artists, collectors, and thinkers worldwide. Standing alongside Pablo Picasso, Alexander Calder, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Giacometti remains a towering figure in modern art—a sculptor-philosopher who transformed the human form into a universal symbol of resilience and reflection. His highest auction record was achieved by L’Homme qui marche I (Walking Man I), which sold for 141.3 million USD at Sotheby’s, London, on February 3, 2010, reaffirming Alberto Giacometti’s enduring legacy as one of the most visionary, profound, and collectible artists in the history of modern art. After Alberto Giacometti Nu de Profil 1956, Giacometti Derriere le miroir No. 92-93, Giacometti etching...

Vassily Kandinsky (1866-1944) Surrealist City Scape in Blue, 1965 Heliogravure (photo-etching) Printed signature in the plate On Lana vellum 56.5 × 37.5 cm (c. 22 x 15 in) Authentic...

Abstract Composition is an original etching and aquatint on ivory-colored paper realized by Claude Clero. Hand-signed on the lower right. Numbered on the lower left, a rare edition...