Modern Abstract Prints

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

Miro a l’Encre II Joan Miro, Spanish (1893–1983) Portfolio: Indelible Miro Date: 1972 Lithograph on Wove Paper Size: 14 x 10 in. (35.56 x 25.4 cm) Frame Size: 21.5 x 18 inches Printe...

This exquisite lithograph by Alexander Calder (1898–1976), titled Soleil orange (Orange Sun), from the folio Derriere le miroir, No. 69–70, originates from the 1954 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1954. This work captures Calder’s mastery of motion, balance, and vibrant color through the spontaneous energy of his abstract forms, embodying the rhythmic harmony and visual poetry that defined his art. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Alexander Calder (1898–1976) Title: Soleil orange (Orange Sun), from the folio Derriere le miroir, No. 69–70 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Unsigned and unnumbered as issued Date: 1954 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 69–70, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1954 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: Alexander Calder (1898–1976) was an American sculptor, painter, and printmaker whose pioneering innovations in kinetic art revolutionized 20th-century sculpture and transformed modern visual language. Born in Lawnton, Pennsylvania, into a family of artists, Calder initially trained as a mechanical engineer at the Stevens Institute of Technology before turning to art at the Art Students League in New York—a combination of technical precision and creative imagination that defined his career. Moving to Paris in 1926, he immersed himself in the avant-garde and formed friendships with Pablo Picasso, Alberto Giacometti, Joan Miro, Wassily Kandinsky, Salvador Dali, Marcel Duchamp, and Man Ray, whose ideas profoundly shaped his artistic philosophy. From Picasso, he absorbed structural invention; from Miro, lyrical abstraction; from Kandinsky, spiritual geometry; and from Duchamp and Man Ray, the courage to merge intellect and play. In Paris, Calder created his famous Cirque Calder, a miniature mechanical circus that introduced motion and performance as central components of sculpture, and by the early 1930s, he invented the mobile—a term coined by Duchamp—to describe his delicately balanced, moving sculptures that responded to air currents. Later, Jean Arp would name his stationary counterparts stabiles. These two inventions—sculptures that could either float and spin gracefully or stand monumentally still—transformed art into a dynamic dialogue between movement, balance, and space. Calder’s signature forms, painted in vivid reds, blacks, blues, and yellows, embodied both joy and precision, creating an art that was at once abstract, organic, and deeply human. Like Kandinsky and Miro, he viewed art as a form of rhythm and emotion; like Duchamp, he embraced innovation and humor; and like Giacometti and Dali, he was fascinated by perception, structure, and the unseen forces of motion. His monumental public sculptures—such as La Grande Vitesse (1969) in Grand Rapids and Flamingo (1973) in Chicago—redefined public art as a symbol of civic optimism and modern progress. A key bridge between European modernism and American abstraction, Calder’s influence extended to artists including Jean Tinguely, George Rickey, Donald Judd, Ellsworth Kelly, Richard Serra, and Olafur Eliasson, whose works in kinetic and spatial art continue to echo his vision. His gouaches, prints, and jewelry carried the same balance and movement as his sculptures, revealing a unified language of rhythm across media. Represented in every major modern museum—including MoMA, the Guggenheim, the Tate, and the Centre Pompidou—Calder remains celebrated for merging engineering, color, and poetry into an art of pure equilibrium. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he remains one of the cornerstones of modern art—a visionary whose works breathe with motion, grace, and joy. His highest auction record was achieved by Poisson Volant (Flying Fish) (1957), which sold for $25.9 million at Christie’s, New York, on May 15, 2014, reaffirming Alexander Calder’s enduring legacy as one of the most inventive, dynamic, and collectible artists in the history of modern art. Alexander Calder Soleil...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Harlequin and Boy, from the folio Picasso, Fifteen Drawings, 1946, originates from the 1946 edition published by Pantheon Books, Inc., New York, and rendered and printed by Albert Carman, City Island...

This exquisite lithograph by Jean Dubuffet (1901–1985), titled Le Guerrier (The Warrior), from the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double), Mars 1958, originates...

Joan Miro is known for his abstract, expressive, and child-like Modern style. Original lithograph published in Miro Lithographe III Catalogue Raisonne. Nicely framed. Artist: Joan ...

This exquisite lithograph by Bernard Buffet (1928–1999), titled La piscine (The Swimming Pool), originates from the 1987 album Bernard Buffet, Lithographe II (Bernard Buffet, Lithogr...

Joan Miro is known for his abstract, expressive, and child-like Modern style. Original lithograph published in Miro Lithographe II Catalogue Raisonne. Nicely framed. Lithographs II ...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Akzent im Rosa (Accent in Pink), from the folio Derriere le miroir, No. 118, originates from the 1960 edition pu...

Lithograph and original issue World Federation of United Nations Associations postage stamp on vélin paper. Inscription: Signed in the plate, as issued. Good condition. Notes: Publis...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Ediciones Polígrafa, Redfern Gallery, 1979. Published by Redfern Gallery, London...

John Pasche Rolling Stones American Tour, original 1972 poster, 1972 Original vintage offset lithograph poster (this is the original poster, not a reprint 35 1/2 × 25 inches Unframed...

4th issue of VERVE, "the magazine to look for" Teriade, E. (director), texts by Henri Michaux, Paul Valéry, Rainer Maria Rilke, Jean-Paul Sartre et. al Verve Volume One No. 4; No. 4...

Joan Miro is known for his abstract, expressive, and child-like Modern style. Original lithograph published in Miro Lithographe II Catalogue Raisonne. Nicely framed. Lithographs II ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie D, var. 3 (Series D, Variation 3), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph and pochoir after Paul Klee (1879–1940), titled Plan ciner Maschinenanlage (Plan of a Machine Installation), from the folio Paul Klee, 12 aquarelles (Paul K...

ED: 22/60 Work on paper Golden wooden frame with glass pane

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

Etching with aquatint in colors on white wove paper with a deckle edge, 17 1/2 x 23 1/2 inches (317 x 598 mm); sheet 22 1/2 x 30 inches (571 x 762 mm), full margins. Signed and numbe...

This exquisite lithograph by Paul Klee (1879–1940), titled Sommeil d’hiver (Winter Sleep), from Verve, Revue Artistique et Litteraire, Vol. I, No. 3, originates from the 1938 issue p...

Artist: Alexander Calder (after) (American, 1898-1976) Title: Skybird, Flying Colors for Braniff Airlines Year: 1974 Medium: Lithograph, signed in the plate Size: 20 in. x 26 in. (50...

This is an exclusive handprinted limited edition of a cyanotype. This beautiful triptych is called "Fresh California Pool patterns", which shows the semi-abstract movements of light reflecting in a California swimming pool. Details: + Edition Size: only 20 + Medium: Cyanotype Print on Watercolor Paper + Stamped and Certificate of Authenticity provided. + Measurements : 100x210 cm (40 x 84 in.) Each paper measures 100cm x 70cm (about 40 in. x 28 in.) each. , a standard frame size. + All cyanotype prints...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

Thomas A. Robertson, 'The Orange Point', color serigraph, edition 54, 1941. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper;...

"Colors in Space II" (SF-95) Signed Printer's Proof Lithograph on Archival Paper Bright and playful abstract composition by Sam Francis (American, 1923-1994). Splashes of yellow, or...

This exquisite heliogravure after Bernard Buffet (1928–1999), titled La Fenetre ouverte (The Open Window), from the folio Bernard Buffet, Peintres d'aujourd'hui (Bernard Buffet, Pain...

This exquisite heliogravure by Joan Miro (1893–1983), titled Femme VI/VI (Woman VI/VI), from the folio Joan Miro, Femmes (Women), originates from the 1965 edition published and print...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Scene XXXVIII, Bacchus (Scene XXXVIII, Bacchus), originates from the 1957 album Jean Cocteau de l'Academie francaise, Th...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

“I prefer drawing to talking. Drawing is faster, and leaves less room for lies.” This colorful modern lithograph was printed at the Atelier Mourlot in Paris in 1963 and is from the printer's edition. It is signed and dated in the plate in the bottom left quadrant. Le Corbusier...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Scene VIII, Romeo et Juliette (Scene VIII, Romeo and Juliet), originates from the 1957 album Jean Cocteau de l'Academie ...

Marc Chagall Paris L' Opera Le Plafond, Romeo and Juliet at Place de la Concorde and Arc de Triomphe, 1965 Original poster on wove paper Unsigned Limited Edition of 5000 24 3/4 × 38 ...

Charles Quest, 'Still Life', 1947, wood engraving, edition 8. Signed, dated, and numbered '3/8' in pencil. Titled and annotated 'wood engraving' in the bottom left margin. A fine impression, on off-white wove paper, with full margins (1 to 2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Alexander Calder Rocks and Sun, 1952 Original Lithograph (3 color stones) Printed in Mourlot workshop On vellum 31 x 24 cm (c. 12,2 x 9,5 in) Edited by San Lazzaro in 1952 Very goo...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Georges Braque, Derniers messages,...

Joan Miro Danse Barbare (from Artigas) Original Color Lithograph Year: 1963 Size: 14.5x10.5in Edition: 1,500 Portfolio: DLM 139-140 Publisher: Maeght Editeur, Paris 1963 Catalogue ...

This exquisite heliogravure after Nicolas de Stael (1914–1955), titled Bouteilles (Bottles), from the folio Nicolas de Stael, Peintres d'aujourd'hui (Nicolas de Stael, Painters of To...

A poster belonging to Erik Nitsche's third series for General Dynamics, promoting its Convair Company. Founded 1952, General Dynamics hired Nitsche a...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by The Collector's Guild Ltd., New York in association with Th...

Alexander Calder The original Los Angeles County Museum of Art poster, 1965 Limited Edition vintage Offset Lithograph 32 × 24 3/4 inches 81.3 × 62.9 cm Edition of 300 This is the OR...

This exquisite lithograph after Henri Matisse (1869–1954), titled La danse (The Dance), from the album Douze Contemporains (Twelve Contemporaries), originates from the 1959 edition p...

Joan Miro is known for his abstract, expressive, and child-like Modern style. Original lithograph published in Miro Lithographe IV Catalogue Raisonne. Nicely framed. Lithographs II ...

Pablo Picasso (after) "Deux Pigeons" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 146/500 lower left From the estate of Pablo Picass...

This exquisite lithograph after Francis Bacon (1909–1992), titled Portraits of George Dyer, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published by Maeght E...

Edward Landon 'River View, color serigraph, 1942, edition 50, Ryan 159. Signed in pencil in the image, lower right. Titled, dated, and annotated '9 COLORS – 50 PRINTS' in the screen,...

The Spanish Modern and Surrealist artist Joan Miro was one of the great masters of the 20th century. His bold linework and childlike technique set him apart from his contemporaries a...

Pablo Picasso (after) "Femme dans un fauteuil" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 31/500 lower left From the estate of Pab...

This exquisite heliogravure by Joan Miro (1893–1983), titled Femme et Oiseau VIII/X (Woman and Bird VIII/X), from the folio Joan Miro, Femmes (Women), originates from the 1965 editio...

Artist: Jean Arp Title: Constellations Portfolio: XXe Siecle No. 4 Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19 3/4" x 16 3/4" Sheet Size: 12 5/8" x 9 5/8" Signature...

Untitled Double Page Illustration for DLM Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), calle...

Pablo Picasso (after) "Le Bouquet" Bouquet of flowers, abstract floral arrangement. limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 244...

This exquisite lithograph and pochoir after Paul Klee (1879–1940), titled Hammamet mit der Moschee (Hammamet with the Mosque), from the folio Paul Klee, 12 aquarelles (Paul Klee, Twe...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

Lithograph on vélin Chiffon de Mandeure paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres I...

Joan Miró Litografia Original IX (Abstract, Modern, Surrealism, Colorful, Iconic) Color Lithograph Year: 1975 Size: 13.25 x 20 inches (33.65 x 50.8 cm) Catalogue Raisonné: Queneau, M...

Alexander Calder Lithographic cover c. 1971 from Derrière le miroir: Lithographic cover in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of u...

Untitled (Plate 1) DLM Color lithograph, 1963 Unsigned and unnumbered (as usual) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Image/sheet size: 14 7/8 x 11 inches...

This exquisite lithograph by Serge Poliakoff (1900–1969), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, No. 7 (double), Juin 1956, originates from the 1956...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Ediciones Polígrafa, Redfern Gallery, 1979. Published by Redfern Gallery, London...

Teal, brown and blue tone abstract figurative original print by Amado Maurilio Pena. The piece depicts five women figures that either appear back-to-back or fa...