Mid-20th Century Landscape Prints

Mezzotint. 8 x 9 7/8 (sheet 13 7/8 x 19 3/4). A fine impression with tone printed in dark brown ink on white wove paper. Signed in pencil.

This exquisite lithograph and pochoir by Jean Bazaine (1904–2001), titled Paysage (Landscape), from the album XXe Siecle, Nouvelle serie N°11 (double), Noel 1958, originates from the...

Playful black and white etching of a child figure looking out on a quaint city square in Nancy, France, 1959. Signed and dated lower right, titled and numbered 16 of 140 lower left. ...

This exquisite lithograph by Joan Miro (1893–1983), titled Chien aboyant a la lune (Dog Barking at the Moon), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originates from the 1953 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1953. This playful and dreamlike composition captures Miro’s characteristic blend of whimsy, symbolism, and abstraction. The image—an iconic motif of a small dog gazing up and barking at the moon—embodies both humor and mystery, evoking themes of desire, solitude, and wonder. Through bold shapes, floating lines, and radiant color, Miro transforms a simple scene into a poetic meditation on the connection between the earthly and the cosmic. Executed as a lithograph on velin du Marais paper, this work measures 14 x 21 inches, with centerfold and stitch perforations as issued. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the foremost modern artists of the 20th century. Artwork Details: Artist: Joan Miro (1893–1983) Title: Chien aboyant a la lune (Dog Barking at the Moon), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, 1953 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 21 inches, with centerfold and stitch perforations as issued Inscription: Signed in the plate and unnumbered as issued Date: 1953 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne reference: Miro, Joan, et al. Joan Miro: Lithographs. Leon Amiel, 1972, illustration 189. Condition: Well preserved, consistent with age and medium Provenance: From Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, published by Editions de la revue Verve, Paris, 1953 About the Publication: Verve, Revue Artistique et Litteraire was one of the most influential art periodicals of the 20th century, founded in Paris in 1937 by the visionary Greek-born publisher Teriade (Stratis Eleftheriades). Conceived as a synthesis of art and literature, Verve brought together the greatest modern artists and writers of its time—Henri Matisse, Pablo Picasso, Marc Chagall, Georges Braque, Joan Miro, Fernand Leger, and others—alongside poets and philosophers such as Paul Eluard, Albert Camus, and Jean-Paul Sartre. Each issue was a work of art in itself, luxuriously printed by master lithographers such as Mourlot Freres and produced in collaboration with leading typographers and designers. Verve became a platform for avant-garde creativity, publishing original lithographs and essays that reflected the evolving spirit of modernism. Miro’s collaborations with Teriade for Verve exemplify his capacity to blend spontaneous imagery with profound poetic resonance. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the 20th century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro's inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro's work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for £23,561,250 (approximately $37 million) at Sotheby's, London, on June 19, 2012. Joan Miro Chien aboyant a la lune, Miro Verve...

Fernand Léger Dantzig's street, 1959 Original lithograph (Atelier Mourlot) Signed with the artist's stamp Limited to 180 copies (Here numbered 160) On Arches vellum 66 x 50.5 cm (c...

Lithograph and stencil on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Le Peseur d'âmes, précédé d'un frontispice et suivi de hui...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition aux Triangles (Composition with Triangles), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1968. Composition aux Triangles exemplifies Calder’s mastery of rhythm and form, translating his sculptural language of balance and motion into vivid, dynamic compositions on paper that capture his signature sense of energy and harmony. 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: Composition aux Triangles (Composition with Triangles), from the folio Derriere le miroir, No. 173 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Unsigned and unnumbered as issued Date: 1968 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 173, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1968 Notes: Excerpted from the folio (translated from French), The illustrations in this issue are original lithographs by Alexander Calder drawn in the workshops of the Arte printing shop. This issue of "Behind the Mirror" has a luxury edition drawn on velin de Lana and limited to CL examples numbered and signed by the artist on the colophon. The text of G. Carandente was translated from Italian by Alain Veinstein. 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 Composition...

This exquisite lithograph after Henri Matisse (1869–1954), titled Baigneuse dans les Roseaux (Bather in the Reeds), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, or...

This exquisite lithograph after Andre Derain (1880–1954), titled Age d'or et Terre promise (Golden Age and Promised Land), from the folio Vins, Fleurs et Flammes (Wines, Flowers, and...

This exquisite lithograph by Marie Laurencin (1883–1956), titled Le sommeil d'Alice (The Sleep of Alice), from the folio Les aventures d'Alice au pays des merveilles (Alice's Adventu...

This exquisite lithograph after Andre Derain (1880–1954), titled Enlevement de Dionysos (The Abduction of Dionysus), from the folio Vins, Fleurs et Flammes (Wines, Flowers, and Flame...

WARRENPOINT AND THE MOUNTAINS of MOURNE, horizontal stone lithograph. Printer: J.B. Stephens. Professional acid-free archival linen-backed, ready to frame. B condition image with only minor wear on the 1/2" cream outer border and a horizontal tear that was repaired during linen backing (shown in image #7). The last document copy of this poster was sold in 2021 on 1st dibs for $4518. Rare Irish Railway (railroad) lithograph poster. Warrenpoint is a small, but beautiful town in County Down, Ireland. The hamlet itself is situated on the shores of Carlingford Lough...

This exquisite lithograph after Henri Matisse (1869–1954), titled Rosace (Rosette), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1958 issue pub...

Caroline Durieux's image captures a lone figure in her garden in this southern plantation in Louisiana. "Plantation Garden" is a lithograph created by Durieux in 1946 in an edition of 20. It is signed in pencil. Durieux shared her feeling about this piece with these reflections. “The spectrum analysis of satire runs from the red of invective at one end to the violet of the most delicate irony at the other.” David Worcester 16, "The Art of Satire". The feeling expressed in Plantation Garden is that of a dirge with ironic overtones; it is sad, nostalgic yet satirical. The bent figure of the old lady, the ancient trees, the static moss, all seem to belong to the past; even the lady is old. For contrast, a ray of late afternoon sun lights up the only young note in the picture: perennials in the foreground. When “we are satirical and we are friendly at the same time, the consciousness of the friendship gives a regretful and tender touch to the satire, and the sting of the satire makes the friendship a trifle humble and sad.” George Santayna 255, "The Sense of Beauty". This concept of satire mixed with friendship comes closer to humor because there is less censure involved. In "Plantation Garden", the satire is tempered by a feeling of empathy. Caroline Durieux (American, 1896 – 1989) Printmaker, painter, satirist, innovator, social activist, Caroline Durieux was born in New Orleans and was already making sketches by the age of four. Her formal art training was at Newcomb College (1912-1917) and the Pennsylvania Academy of Fine Arts (1918-1920). Carl Zigrosser of the Philadelphia Museum of Art encouraged Durieux to try lithography. While living in Mexico, she learned lithography from Emilio Amero...

This exquisite lithograph by Marc Chagall (1887–1985), titled Solomon, from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. ...

Lithograph on vélin bouffant d'Alfa paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Dur Désir de Durer, illustré par Marc Chagall, ...

Lithograph and stencil on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Le Peseur d'âmes, précédé d'un frontispice et suivi de hui...

This exquisite lithograph after Georges Braque (1882–1963), titled Feuillage noir (Black Foliage), from Carnets intimes (Private Sketchbooks), Verve, Vol. VIII, No. 31–32, originates...

A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 sSheet 13 3/16 x 19 3/8). Edition 80, #5. A fine impression on cream-colored wove paper with full margins. Signed and numbered in ink. Housed in an 18 x20-inch archival mat. Carter writes, "A procession of boats, gaily decorated, is entering the Grand Canal, with the Campanile and the Doges' Palace in the background. On the left is the baroque poop of a boat with a flamboyant, carved female figure; on the right, another boat with a prow of two prancing horses." Born in Newburgh near Aberdeen, James McBey attended evening classes at Graydon's School of Art and taught himself etching, building his own press at the age of fifteen. He moved to London to prepare for a one-man show at Goupil's Gallery, and shortly after this highly successful first show, he traveled to Morocco with James Kerr Lawson...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

This exquisite lithograph by Raoul Ubac (1910–1985), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 74-76, originates from the 1955 edition published by Maeght ...

This lithograph titled Varengeville No. 2 by Georges Braque, published by Arte in Paris, France, is a serene depiction of a wooden plow resting in the middle of a field. Varengeville...

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

Le Jardin De Montmagny by Maurice Utrillo. it is one of 12 signed limited edition wood engravings from the portfolio "Estampes" by Robert Rey, 1950. Edited by L'Image Litteraire, N...

Medium: Lithograph on vélin Acropole Papeteries de Renage paper. Year: 1967 Paper Size: 12.25 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the ...

Societe National des Chemins de fer Francais. Puissance Economie. (powerful and economical) Original vintage railroad SNCF poster. Linen backed. Movin...

This exquisite woodcut by Hans Jean Arp (1886–1966), titled Relief I et II (Relief I and II), from the album XXe Siecle, Nouvelle serie N°4 (double) Janvier 1954, originates from the...

Duomo (Florence) Etching & aquatint , 1965-66 Signed, titled and annotated "artist's proof" (see photos) Edition: 100, this impression an artist's proof Reference: Silvie Turner. Ju...

This exquisite lithograph by Marc Chagall (1887–1985), titled Les Saltimbanques (The Acrobats), from the album The Lithographs of Chagall, Volume II, originates from the 1963 edition...

Robert SAVARY Paris : Street Market, 1969 Original lithograph (Mourlot workshop) Handsigned in pencil On Arches vellum 37 x 29 cm (c. 16 x 12 in) Excel...

Linda Plotkin, American (1938 - ) - Clouds IV, Year: circa 1965, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 6/30, Image Size: 6.75 x 8.75 inches, Size: ...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a daiymo procession caught in the rain. Signed in Kanji lower left, "Hiroshige Ga" for Utagawa (Ando) Hiroshige (Jap...

Lithograph on hand made Fabriano vélin paper mounted on museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Elegy of Ihpetonga and Ma...

"Covered Bridge Near Columbia" - Woodblock Landscape on Tissue Paper Bold woodblock print by Charles Surendorf (American, 1906-1979). A covered br...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Sans Titre (Untitled), originates from the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. This plate pays homage to the artist’s groundbreaking geometric abstraction and his profound influence on postwar modernism. Through precise form and rhythmic structure, Sans Titre captures the musicality and spiritual dynamism that defined Kandinsky’s mature visual language, balancing intuitive movement with mathematical harmony. Executed on velin paper, this lithograph measures 15 x 11 inches (38.1 x 27.9 cm), as issued. Signed in the plate and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, honoring Kandinsky’s legacy in fine art printing. Artwork Details: Artist: After Wassily Kandinsky (1866–1944) Title: Sans Titre (Untitled), from Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), 1960 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm), as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1960 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), published by Maeght Editeur, Paris 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: Wassily Kandinsky (1866–1944) was a Russian-born painter, theorist, and pioneer of abstract art whose revolutionary vision transformed 20th-century modernism. Regarded as one of the first artists to create purely nonobjective paintings, Kandinsky sought to express inner emotion and spirituality through color, rhythm, and form, believing that art could evoke the same universal harmony as music. His groundbreaking theories on abstraction and the “spiritual in art” shaped the foundation of modern aesthetics and influenced generations of artists worldwide. Closely associated with the Bauhaus movement, he developed a dynamic visual language that combined geometry and lyricism, bridging intuition and intellect. Kandinsky’s legacy resonates alongside the innovations of Pablo Picasso, Henri Matisse, Alexander Calder, Georges Braque, Marc Chagall, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, and Man Ray—artists who, like him, redefined the possibilities of modern art. His works are represented in the world’s leading museums, including MoMA, the Guggenheim, the Centre Pompidou, and the Tate, and remain among the most coveted by collectors globally. The highest price ever paid for a Wassily Kandinsky artwork is approximately $45.6 million USD, achieved in 2017 at Christie’s London for Bild mit weissen Linien (Painting with White Lines) (1913). Wassily Kandinsky Sans Titre, Kandinsky Derriere le Miroir, Kandinsky Maeght Editeur Paris, Kandinsky Mourlot Freres, Kandinsky 1960 edition, Kandinsky lithograph...

Medium: Lithograph on vélin du Canson & Montgolfier Vidalon-Les-Annonay paper Year: 1948 Paper Size: 12.5 x 9.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

This exquisite lithograph after Fernand Leger (1881–1955), titled Composition aux trois cles (Composition with Three Keys), from the folio Derriere le miroir, No. 79-81, originates from the 1955 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1955. This composition exemplifies Leger’s rhythmic balance of color, form, and movement, translating the mechanical vitality of modern life into a harmonious, humanized geometry. Executed as a lithograph on velin paper, this work measures 15 x 22 inches, with centerfold as issued. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Fernand Leger (1881–1955) Title: Composition aux trois cles (Composition with Three Keys), from the folio Derriere le miroir, No. 79-81 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.88 cm), with centerfold as issued Inscription: Signed in the plate and unnumbered as issued Date: 1955 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 79-81, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1955 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: Fernand Leger (1881–1955) was a visionary French painter, sculptor, designer, and filmmaker whose groundbreaking fusion of modern industry, vivid color, and geometric form transformed the course of 20th-century art. Born in Argentan, Normandy, Leger began as an architectural draftsman before studying at the Academie Julian and the Ecole des Beaux-Arts in Paris, where he absorbed the lessons of Paul Cezanne’s structural rigor and the revolutionary ideas of Cubism. Alongside Pablo Picasso and Georges Braque, he became one of the leading innovators of the avant-garde, yet his work stood apart through its embrace of mechanical rhythm, bold contrasts, and industrial modernity—earning him the title “the painter of the machine age.” His art celebrated the beauty of technology, urban life, and the human form rendered in dynamic, interlocking cylinders and planes, evoking the pulse of the modern world. Immersed in the vibrant Parisian art scene, Leger worked in dialogue with peers and contemporaries such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom shared his commitment to innovation and the reimagining of artistic expression. Beyond painting, Leger’s creative reach extended into film, design, and monumental public art—his 1924 collaboration on Ballet Mecanique with Dudley Murphy and Man Ray remains a landmark of avant-garde cinema. His later works evolved toward greater clarity and monumentality, celebrating the unity of form, color, and humanity through large-scale murals and mosaics that bridged fine art and architecture. Leger’s synthesis of Cubism, Futurism, and abstraction paved the way for movements such as Pop Art and influenced generations of artists including Roy Lichtenstein, Ellsworth Kelly, Robert Indiana, and Alexander Calder, who admired his fusion of structure, energy, and optimism. Today, his works are prized by major museums and collectors worldwide for their bold visual power and enduring modernity. His highest auction record was achieved by La femme en rouge et vert (1914), which sold for 39,241,000 USD at Sotheby’s, New York, on May 7, 2008. After Fernand Leger Composition aux trois cles 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

This exquisite lithograph by Marc Chagall (1887–1985), titled Visage, Femme et Chevre (Face, Woman and Goat), from the folio Derriere le miroir, No. 147, originates from the 1964 edi...

This exquisite lithograph by Marc Chagall (1887–1985), titled Pleurs de Jeremie (The Tears of Jeremiah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Rev...

Lithograph and stencil on grand Velin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Édouard Pignon, Arbres et Voi...

This exquisite lithograph by Joan Miro (1893–1983), titled Les geants (The Giants), from the folio Derriere le miroir, No. 139–140, originates from the 1963 edition published by Maeg...

This exquisite lithograph by Joan Miro (1893–1983), titled Le scarabee sacre (The Sacred Scarab), from the folio Derriere le miroir, No. 139–140, originates from the 1963 edition pub...

This exquisite lithograph by Joan Miro (1893–1983), titled Figure noire sur fond bleu et Composition avec formules chimiques (Black Figure on Blue Background and Composition with Che...

This exquisite lithograph by Joan Miro (1893–1983), titled Empreinte de main sur fond jaune (Handprint on Yellow Background), from the folio Derriere le miroir, No. 87–89, originates...

This exquisite lithograph by Joan Miro (1893–1983), titled La femme dans la nuit (The Woman in the Night), from the folio Derriere le miroir, No. 139–140, originates from the 1963 ed...

This exquisite lithograph by Andre Masson (1896–1987), titled Le Soleil (The Sun), from Verve, Revue Artistique et Litteraire, Vol. I, No. 2, originates from the 1938 issue published...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

This exquisite lithograph after Marc Chagall (1887–1985), titled Carmen, from the album Le plafond de l’Opera de Paris par Marc Chagall (The Ceilin...

Robert SAVARY Paris : Animated Street, 1969 Original lithograph (Mourlot workshop) Handsigned in pencil On Arches vellum 37 x 29 cm (c. 16 x 12 in) Excellent condition

This exquisite lithograph by Marc Chagall (1887–1985), titled Ruth aux pieds de Booz (Ruth at the Feet of Boaz), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, originates from the September 1956 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1956. This intimate and poetic composition portrays the biblical moment when Ruth, in an act of humility and devotion, lays at the feet of Boaz. Chagall’s masterful interplay of tenderness, faith, and symbolic light transforms this nocturnal scene into a vision of spiritual union and divine grace. The figures, rendered with his distinctive lyricism and fluid lines, embody the artist’s enduring fascination with love, compassion, and redemption. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Ruth aux pieds de Booz (Ruth at the Feet of Boaz), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, September 1956 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cain, Julien, and Fernand Mourlot. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustrations 117–46. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustrés. P. Cramer ed., 1995, illustration 25. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, published by Editions de la revue Verve, Paris, 1956 Notes: Excerpted from the album (translated from French), This double issue of Verve is dedicated to the full reproduction in heliogravure of the one hundred-five plates etched by Marc Chagall, between 1930 and 1955, for the illustration of the Bible. The artist composed especially for the present work, sixteen lithographs in color and twelve in black, as well as the cover and the title page. This volume was completed and printed on September 10, 1956, by the Master Printers Draeger Freres for heliogravure, and by Mourlot Freres for lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. VIII, No. 33–34 in September 1956, represents one of the crowning achievements of Chagall’s lifelong dialogue with the sacred. Conceived and directed by the visionary publisher Teriade and printed by the master lithographers Mourlot Freres, the issue features thirty-four color lithographs and numerous black-and-white drawings inspired by biblical figures and stories. Chagall’s works for this edition unite text and image in a luminous meditation on divine creation, moral struggle, and spiritual renewal, imbued with his signature dreamlike symbolism and radiant color. Produced in postwar Paris, this landmark publication reaffirmed the enduring union of art and faith, establishing Dessins Pour La Bible as one of the most important illustrated works of the 20th century. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. 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 Ruth...

Original Salisbury where history lingers vintage poster. Visit of King Charles II, 1651. See Britain by Train. Artist: Claude Henry Buckle. Lithograph printed in 1952 by Jor...

Walking in Snowy Winter is a modern print realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in the 1...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Grun (Green), from the folio Derriere le miroir, No. 101–103, originates from the 1957 edition published by Maeg...

Etching and drypoint realized by Alcione Gubellini in the mid-20th Century. Edition of 16. Hand signed and numbered in pencil. Excellent condition. 

Original vintage poster ZERMATT MATTERHORN SWITZERLAND TWA c.1950. Along the way of TWA. Professional acid-free archival linen backed in fine condition. Ready to frame. Early Trans World Airline poster that features the Constellation aircraft. This is before the artwork of David Klein for TWA. TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was New York to Los Angeles, soon followed by multiple National routes. The airline expanded to serve Europe, the Middle East, and Asia after WWII when the company was under Howard Hughes's owner's control from 1939 until 1961. Hughes was a dominant force in expanding and promoting the routes flown by his company. The economy was vastly improving and travels through the air for business and pleasure...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Douze formes (Twelve Forms), from the folio Derriere le miroir, No. 101–103, originates from the 1957 edition pu...

A perfect summer day. A young mother, little boy, and even smaller girl have their luncheon under a make shift 'fly' -- a stripped cloth canopy fixed up with poles. Although it is titled 'Seaside Nomads,' to me it has the look of a bay or inlet. It's relatively flat and there are all sorts of grasses, old...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Schwarz und Weiss (Black and White), from the folio Derriere le miroir, No. 77–78, originates from the 1955 edit...

After Marc Chagall La Tribu de Gad, from Douze Maquettes de vitraux pour Jérusalem (The Tribe of Gad, from Twelve Maquettes of Stained Glass Windows for Jerusalem) by Charles Sorlie...