1960s Abstract Prints

Karel Appel Miss World First Class Pretty (Deluxe hand signed edition of the 1 Cent Life Portfolio, from the estate of artist Robert Indiana), 1964 Lithograph splayed across two shee...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 17.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

This exquisite lithograph by Joan Miro (1893–1983), titled La femme et l'oiseau (The Woman and the Bird), from the folio Derriere le miroir, No. 139–140, originates from the 1963 edi...

Lithograph, 1969 Handsigned by the artist in pencil and Annotated "Epreuve artiste" Artist proof Edition : 75 ex. 59.00 cm. x 71.50 cm. 23.23 in. x 28.15 in. (paper) 50.00 cm. x ...

This exquisite lithograph after Francis Bacon (1909–1992), titled Portrait of George Dyer Staring at Blind-Cord, originates from the historic 1966 folio Derriere le Miroir, No. 162. ...

1963 Mixed Media by Mateo Manaure (Venezuelan, 1926-2018) Frame: 12.25" X 15.25" Image: 11" X 13.75" Hand signed Thought provoking abstract, mixed media modern graphic art Not sure of the exact technique but it seems photo based. Mateo Manaure (11926 – 2018) was a Venezuelan modern artist. In Venezuela he is considered a master of modernist abstractionism, and is known for his works in the University City of Caracas and for creating the largest glass murals in the world. Mateo Manaure was born on 18 October 1926 in Uracoa, in Monagas state. Between 1941 and 1946 he studied at the Escuela de Artes Plásticas y Artes Aplicadas under the instruction of Antonio Edmundo Monsanto. Here, he studied graphic arts in the workshop of Pedro Ángel González, to whom he was an assistant. He also began participating in the artist salon of the Museo Bellas Artes in Caracas. In 1947 he won the inaugural National Prize for Plastic Arts and traveled to Paris. He made a trip back to Caracas the next year to work with the Taller Libre de Arte, before returning to Paris in 1950 and being involved with the artistic movement of Los disidentes. (The Dissidents), a coalition of Venezuelan artists (active from 1945-50) that also included -Jesús Rafael Soto, Narciso Debourg, Alejandro Otero, Pascual Navarro, Rubén Núñez, Nena Palacios, J.M. Guillermos Péres, Alirio Oramas, Luis Guevara Moreno, Aime Battistini, Armando Barrios, Omar Carreño (refer to lot 222), and Carlos Gonzáles Bogen. Through their journal of the same name and their accompanying radical manifesto No (1950), Los Disidentes championed a progressive vision, that eschewed the conservative academicism embodied by the Escuela de Artes Plásticas and the Escuela Paisajista in Caracas, and in its place advocated for experimentation and geometric abstraction. Upon his return to Caracas in 1952, Manaure set out in earnest to put these ideas into practice and found an immediate affinity with the modernist project unfolding so indicative of that era's unprecedented growth and development. The latter was most evident in the architectural and public art works designed by the legendary modernist architect Carlos Raúl Villanueva, whose Cuidad Universitaria, the main campus of the Central University of Venezuela, is considered a landmark of city planning and architecture. Villanueva commissioned Manaure to execute several murals, painted wood reliefs, and stained glass windows for Ciudad Universitaria all reflective of the young artist's newly adapted aesthetic. By 1956, the year both of these works were painted, Manaure was a leading figure of the abstractionist movement, exhibiting abroad at the Venice Biennial and locally at the Museo de Bellas Artes. His geometric abstraction painting infuse his compositions with a kinetic power and lyrical sensibility. Manaure's desire to evoke a sense of the local or regional amid the universal. He returned to Caracas in 1952 to found the Galería Cuatro Muros with Carlos González Bogan, and gave the first exhibition of abstract art in Venezuela. He also began collaborating with architect Carlos Raúl Villanueva, first on the University City of Caracas, to which he contributed 26 works of art and was "promoted" to art supervisor of the campus, and then to other public spaces like the redesign of the neighborhood of 23 de Enero. For the next several years, Manaure continued to develop within abstract art, which made up the Venezuelan artistic avant-garde of that time. He later returned to more traditional graphic art forms, especially lithograph prints, though still did some work in abstract expression. He is a Venezuelan Latin American art Master along with Gego, Lia Bermudez, Alejandro Colina, Narciso Debourg, Alejandro Otero, Gerd Leufert, Armando Reverón, Braulio Salazar, Jesús Rafael Soto and Martín Tovar y Tovar. His work was included in the MoMA show Sur moderno, Journeys of Abstraction— Patricia Phelps de Cisneros. It included artists: Israeli, Yaacov Agam, Brazilian, Lina Bo Bardi, Hércules...

Shusaku Arakawa Still Life, from To and From Rrose Selavy, for Marcel Duchamp, 1967 Limited Edition Silkscreen on velincarton (thin board) paper 10 1/2 × 13 1/4 inches Limited Edition of 60 Hand signed, titled and dated on the front Unframed The entire portfolio, including the present work, is referenced in the Marcel Duchamp catalogue raisonne: Arturo Schwarz The Complete Works of Marcel Duchamp, Abrams, P.532, 344c Eager to share Marcel Duchamp with Japanese audiences, Shuzo Takiguchi - a Japanese-born poet, critic, and artist with ties to Surrealist circles, assembled an international portfolio of graphic works by various artists with strong ties to Duchamp, to accompany the deluxe version of his monograph, "To and From Rrose Sélavy". The present work was created for this portfolio by one of Marcel Duchamp's friends, Shusaku Arakawa. It is signed, dated and titled on the front - and can be exhibited both vertically and horizontally - (see photos). The present work, along with others in the portfolio, was published in Japan and is rarely found stateside. Shusaku Arakawa (荒川 修作 Arakawa Shūsaku, July 6, 1936 – May 18, 2010) who spoke of himself as an “eternal outsider” and “abstractionist of the distant future,” first studied mathematics and medicine at the University of Tokyo, and art at the Musashino Art University. He was a member of Tokyo’s Neo-Dadaism Organizers, a precursor to The Neo-Dada movement. Arakawa’s early works were first displayed in the infamous Yomiuri Independent Exhibition, a watershed event for postwar Japanese avant-garde art. Arakawa arrived in New York in 1961 with fourteen dollars in his pocket and a telephone number for Marcel Duchamp, whom he phoned from the airport and over time formed a close friendship. He started using diagrams within his paintings as philosophical propositions. Jean-Francois Lyotard has said of Arakawa’s work that it “makes us think through the eyes,” and Hans-Georg Gadamer has described it as transforming “the usual constancies of orientation into a strange, enticing game—a game of continually thinking out.” Quoting Paul Celan...

This exquisite lithograph by Joan Miro (1893–1983), titled Oiseau Bleu (Blue Bird), originates from the 1963 folio Derriere le Miroir, published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. Executed during the height of Miro’s mature period, this poetic composition embodies the artist’s fascination with the interplay between form, color, and cosmic symbolism. Through his lyrical use of line and vibrant hues, Miro transforms the image of the bird—a recurring motif in his visual language—into a jubilant expression of freedom and imagination. Oiseau Bleu exemplifies Miro’s capacity to merge spontaneity and precision, creating a timeless dialogue between abstraction and dreamlike vision. Executed on velin paper, this lithograph measures 22 x 15 inches (55.9 x 38.1 cm), as issued. Signed in the plate and unnumbered, as issued. The edition reflects Miro’s mastery of both color and gesture, fusing Surrealist spontaneity with the refined craftsmanship of the Mourlot ateliers. Artwork Details: Artist: Joan Miro (1893–1983) Title: Oiseau Bleu (Blue Bird), from Derriere le Miroir, 1963 Medium: Lithograph on velin paper Dimensions: 22 x 15 inches (55.9 x 38.1 cm), as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1963 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne des Livres Illustres. P. Cramer, Geneva, 1989, illustration 87 Condition: Well preserved, consistent with age and medium Provenance: From the 1963 folio Derriere le Miroir, published by Maeght Editeur, Paris Notes: Excerpted from the folio (translated from French): Taken from this special issue of “Behind the Mirror,” CCCL examples on velin de Rives were numbered, constituting the original deluxe edition of Derriere le Miroir. The lithographs for this issue were printed in the ateliers of Mourlot Editeur, Levallois. The text was printed by Fequet et Baudier, typographers. Finished printing 1963. About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, and ceramicist whose imaginative, dreamlike vision helped spearhead the Surrealist movement and left an indelible mark on modern art. Born in Barcelona and deeply rooted in Catalan culture, Miro moved to Paris in the early 1920s where his playful shapes, cosmic motifs, and childlike yet sophisticated abstractions broke new ground alongside the great innovators of his time. His artistic dialogue aligned with contemporaries such as Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Jackson Pollock, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom challenged the conventions of form, color, and symbolism. Miro distilled these ideas into a uniquely poetic visual vocabulary—birds, stars, and bold spectral forms emerging from flat planes of color—that has inspired scores of artists and continues to influence modern and contemporary masters including Banksy, Damien Hirst, Jeff Koons, Andy Warhol, and Jasper Johns. His works are represented in leading museums worldwide, including MoMA, the Guggenheim, the Tate, and the Centre Pompidou, and remain highly sought after by collectors. The highest price ever paid for a Joan Miro artwork is approximately $37.06 million USD, achieved in June 2012 at Sotheby’s London for Peinture (Etoile Bleue) (1927). Joan Miro Oiseau...

This exquisite lithograph by Eduardo Chillida (1924–2002), titled Sans titre (Untitled), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque). Published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris, this composition exemplifies Chillida’s mastery of spatial balance and sculptural abstraction. In Sans titre, Chillida translates his distinctive exploration of mass and void into two dimensions, creating an interplay of dense form and open space that mirrors the structural poetry of his sculpture and a heartfelt tribute to Braque, “Learning to fly down here — to Braque, master, friend, inventor of birds.” The composition conveys a sense of weight and stillness, embodying the meditative precision for which Chillida is renowned. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Signed in the plate and unnumbered, as issued. The edition captures Chillida’s unique sensitivity to form and rhythm within a printed medium, reflecting the same architectural strength that defines his sculptural practice. Artwork Details: Artist: Eduardo Chillida (1924–2002) Title: Sans titre (Untitled), from Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque), 1964 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1964 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1964 folio Derriere le Miroir, Nos. 144–145–146, published by Maeght Editeur, Paris Notes: Excerpted from the folio (translated from French): Taken from this special issue of “Behind the Mirror,” CCCL examples on velin de Rives were numbered, constituting the original edition of L’Hommage a Georges Braque. These deluxe examples also included an etching based on Trois oiseaux sur fond violet. The lithographs for this issue were printed in the ateliers of Maeght Editeur, Levallois. The text was printed by Fequet et Baudier, typographers. Finished printing May 13, 1964. About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Eduardo Chillida (1924–2002) was a Spanish Basque sculptor and printmaker internationally celebrated for his monumental abstract works that explore the interplay between form, space, and material. Renowned for his mastery of iron, steel, stone, and concrete, Chillida created sculptural compositions that evoke both architectural strength and poetic balance, reflecting his lifelong dialogue between the physical and the spiritual. Emerging in postwar Europe, his art stands alongside that of the great modern masters—Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray—whose revolutionary approaches to form and perception shaped 20th-century art. Chillida’s work embodies a profound sense of harmony, rooted in the landscapes and philosophies of his native Basque Country, while maintaining a universal resonance. Exhibited internationally and collected by major institutions including MoMA, the Guggenheim, the Tate, and the Centre Pompidou, his sculptures and works on paper continue to command global acclaim. The highest price ever paid for an Eduardo Chillida artwork is approximately $4.1 million USD, achieved in 2022 at Christie’s Paris for Buscando la Luz IV (2001). Eduardo Chillida Sans titre, Chillida Derriere le Miroir, Chillida Maeght...

Jack Youngerman Blue/Yellow from New York City Center of Music & Drama Portfolio, 1968 Silkscreen on wove paper Hand signed, dated and numbered 75/144, in graphite by Jack Youngerman...

This lithograph by Joan Miró, printed by Mourlot for the book "Art in Posters" by Sauret in 1959, reproduces the original poster #51, which was published for the Galerie Maeght. The ...

Artwork title: Miramar IArtist name: Nathan Oliveira Date created: 1969 Classification: print Medium: lithograph Edition: 75 Dimensions: 29 3/8 × 22 1/8 in. (74.6 × 56.2 cm) Signed...

Lithograph, 1964 Edition : 105/150 Publisher : Hochschule St. Gallen (St. Gallen) Printer : Maeght (Paris) Catalog : [Cramer 111] 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (paper)...

This exquisite silkscreen by Joan Mitchell (1925–1992), titled Untitled, from the album The Poems, originates from the 1960 edition published and printed by Tiber Press, New York, un...

Sam Francis Untitled Circa 1960 Lithograph, Edition of 40 71.9 x 50.8 cms (28.3 x 20 ins) SF17686

Hans Bellmer, Les Marionettes I, etching with hand coloring, 1969, edition 150. Signed and annotated 'HC' in pencil. A fine impression on brown Roma hand-made laid paper; the full sheet with margins (1 to 2 5/8 inches), in excellent condition. Archivally sleeved, unmatted. Image size 11 13/16 x 11 1/8 inches; sheet size 15 5/8 x 13 1/4 inches. A 'Hors Commerce' impression. From a suite of 11 etchings created by Bellmer to illustrate 'On the Marionette Theatre...

This exquisite lithograph after Georges Braque (1882–1963), titled Ajax, originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to G...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 179, originates from the 1969 edition published by...

The painting is being offered with a work and authenticity certificate

This exquisite lithograph by Marc Chagall (1887–1985), titled Hommage a Georges Braque (Homage to Georges Braque), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque). Published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris, this luminous composition stands as Chagall’s poetic tribute to his friend and contemporary Georges Braque, “Neither the sun nor the brilliance of the moon can calm today this strange sadness. Something close has gone, though his life was distant. And there is nothing with which this life can be compared. And from this departure there arise feelings inexpressible, like his colors which spoke but not to everyone. I have seen his plastic world so far from the worries of the day and his personality beyond this world. That is what he called “reality.” How true he was, and how troubling that is! Perhaps if we enter into the grandeur of certain French paintings — La Poix d’Avignon, a still life by Chardin, or The Embarkation for Cythera by Watteau — then the dream of Braque will seem clearer to us. And our path will become clearer too.” In Hommage a Georges Braque, Chagall fuses symbolic imagery to evoke themes of flight, harmony, and spiritual transcendence, celebrating Braque’s lifelong devotion to art and transformation. The composition reflects Chagall’s unique synthesis of emotion and imagination, merging the visionary with the intimate. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Signed in the plate and unnumbered, as issued. The edition exemplifies Chagall’s lyrical command of color and form within the refined graphic artistry of Derriere le Miroir. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Hommage a Georges Braque (Homage to Georges Braque), from Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque), 1964 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1964 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1964 folio Derriere le Miroir, Nos. 144–145–146, published by Maeght Editeur, Paris Notes: Excerpted from the folio (translated from French): Taken from this special issue of “Behind the Mirror,” CCCL examples on velin de Rives were numbered, constituting the original edition of L’Hommage a Georges Braque. These deluxe examples also included an etching based on Trois oiseaux sur fond violet. The lithographs for this issue were printed in the ateliers of Maeght Editeur, Levallois. The text was printed by Fequet et Baudier, typographers. Finished printing May 13, 1964. About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary use of color and poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the rich imagery of his Jewish heritage and childhood in Vitebsk, Chagall’s dreamlike compositions fused memory, folklore, faith, and romance with the expressive innovations of modern art. His work evolved alongside and in dialogue with the great modern masters—Pablo Picasso, Henri Matisse, Alexander Calder, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, redefined artistic language for a new century. Spanning painting, printmaking, stained glass, ceramics, stage design, and illustration, Chagall’s career reflected both his deep spirituality and his boundless imagination. His works are held in major museum collections worldwide, including the Museum of Modern Art, the Guggenheim, the Tate, and the Centre Pompidou. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Hommage a Georges Braque, Chagall Derriere le Miroir, Chagall Maeght Editeur Paris, Chagall Mourlot Freres, Chagall 1964...

Charles LAPICQUE (1898-1988) View on Marseille, 1965 Original lithograph (Mourlot workshop) Printed signature in the plate On vellum 30 x 24 cm (c. 11.8 x 9.4 in) INFORMATION : Li...

This exquisite lithograph after Jacques Villon (1875–1963), titled Intimite (Intimacy), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circ...

This exquisite heliogravure after Mark Tobey (1890–1976), titled L'automne (Autumn), from the folio Mark Tobey, Peintres d'aujourd'hui (Mark Tobey, Painters of Today), originates fro...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Accord reciproque (Reciprocal Agreement), from the folio Derriere le miroir, No. 179, originates from the 1969 e...

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled Contre-attaque (Counterattack), from the folio Andre Lanskoy, Peintres d'aujourd'hui (Andre Lanskoy, Painters of T...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celles (...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celle...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celle...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celles (...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celles (...

This exquisite lithograph by Joan Miro (1893–1983), titled Les Trois Oiseaux (The Three Birds), from the album XXe Siecle, Nouvelle serie, XXIXe Annee, No. 28, originates from the 19...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

Date: 1965 Etching with relief on wove paper, signed and numbered in pencil Edition of 17/75 Size: 23 x 30.5 in. (58.42 x 77.47 cm) Frame Size: 26.5 x 34 inches Publisher: Maeght, Paris

This exquisite lithograph by Joan Miro (1893–1983), titled Murale (Mural), originates from the 1961 folio Derriere le miroir, No. 128. Published by Maeght Editeur, Paris, under the d...

This exquisite lithograph by Joan Miro (1893–1983), titled L’anneau (The Ring), originates from the 1961 folio Derriere le miroir, No. 128. Published by Maeght Editeur, Paris, under ...

This exquisite lithograph by Joan Miro (1893–1983), titled Jaune et vert (Yellow and Green), originates from the 1961 folio Derriere le miroir, No. 128. Published by Maeght Editeur, ...

This exquisite lithograph by Joan Miro (1893–1983), titled Lanneau (The Ring), originates from the 1961 folio Derriere le miroir, No. 128. Published by Maeght Editeur, Paris, under t...

This exquisite lithograph by Joan Miro (1893–1983), titled Lanneau (The Ring), originates from the 1961 folio Derriere le miroir, No. 128. Published by Maeght Editeur, Paris, under t...

This exquisite lithograph by Joan Miro (1893–1983), titled Tete detoile (Star Head), originates from the 1961 folio Derriere le miroir, No. 128. Published by Maeght Editeur, Paris, u...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Rouge, Vert (Red, Green), originates from the historic 1964 folio Derriere le Miroir, No. 149. Published by Maeght Ed...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les Triangles (The Triangles), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Mae...

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled La garde des anges (The Guard of Angels), from the folio Vieira da Silva, Peintres d'aujourd'hui (V...

Max Ernst, German (1891 - 1976) - Les Chiens Ont Soif IV, Portfolio: Les Chiens Ont Soif, Year: 1964, Medium: Lithograph, Edition: 165/320, Size: 17 x 24.5 in. (43.18 x 62.23 cm...

Medium: original lithograph. Executed for XXe Siecle (issue No. 25), printed in Paris by Mourlot and published in 1965 by San Lazzaro. Sheet size 12 1/4 x 9 1/2 inches (310 x 240 mm)...

Medium: original lithograph. Printed in 1969 for the art revue XXe Siecle (issue number 33) and published in Paris by San Lazzaro. Size: 12 1/4 x 9 3/8 inches (310 x 238 mm). Not si...

This exquisite lithograph by Maria Helena Vieira da Silva (1908–1992), titled La ville (The City), from the album XXe Siecle, Nouvelle serie, XXVIIIe Annee N°26, Mai 1966, originates...

Here's something nobody you know has - and good luck finding another hand signed by the artist anywhere else in the world Nancy Graves Original Graham Gallery poster (hand signed by ...

This exquisite lithograph by Maurice Esteve (1904–2001), titled Sans titre (Untitled), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circu...

Lithograph on vélin Chiffon de Mandeure paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres Illustres Or...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

This exquisite lithograph after Georges Braque (1882–1963), titled Paysage a l’Estaque (Landscape at L’Estaque), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, ...

Andre Baudin Composition 1964 Original Color Lithograph on Velin d'Arches Size: 10x7.375in Edition: 2,000 Annotated verso Publisher: Mourlot, Paris Printer: Mourlot, Paris COA provid...

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 15" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is...

Composition is a linocut realized by Luigi Veronesi in 1964. Hand-signed and numbered. Edition of 20 prints. Good conditions. Image Dimensions: 41 x 35 cm.

Artist: Peter Green Title :Astral Form Year:1969 Edition: Signed, Dated and marked 19/30 Paper Size = 26½" x 38½" inches Type: Woodcut Born in 1933, Peter Green studied at Brighto...

Oiseau et Lotus is a color lithograph on paper, realized by the French Cubist artist, Georges Braque (1882-1963). Printed by ARTE in 1963 by order of Galerie Maeght in Paris in a ci...

Rarely found on the market, this lithograph is annotated "Bon a Tirer" (B.A.T.)- which literally means "Good (i.e. Ready) to Print". It is a unique proof, and, as the very first sign...

Hans Hartung (Germany, 1904-1989) Galerie Im Erker, 1963 lithograph on paper 36.5 x 22.7 in. (92.5 x 57.5 cm.) Excellent condition, unframed Ref: HAR100-204 Hans Hartung was born in...

"Personaje en un Cueva" (Personage in a Cave) Surrealist Lithograph by Rufino Tamayo (b. 1899 d. 1991.) Abstract figurative lithograph featuring a textured background and bold figur...

Lithograph, 1963 Edition : 96/150 Publisher : Hochschule St. Gallen (St. Gallen) Printer : Erker Presse (St Gallen) Catalog : [Galfetti n° 47, p.38] 50.00 cm. x 65.50 cm. 19.69 in....