Surrealist Landscape Prints

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph VI, from the album Joan Miro Lithographs, Volume II, originates from the 1975 edition published by Leon Amiel, N...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph XI, from the album Joan Miro Lithographs, Volume II, originates from the 1975 edition published by Leon Amiel, N...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph V, from the album Joan Miro Lithographs, Volume III 1964–1969, originates from the 1977 edition published by Mae...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph I, from the album Joan Miro Lithographs, Volume IV 1969–1972, originates from the 1981 edition published by Maeg...

Maurice Pasternak has created a surreal landscape that includes several spirit-like creatures seeming to wander in an unknown terrain. He moves images around on the paper to create a...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

This exquisite lithograph by Max Ernst (1891–1976), titled Un chant damour (A Song of Love), from the album XXe Siecle, Nouvelle serie, No. 11 (double), Noel 1958, originates from the 1958 edition published by Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1958. This work reflects Ernsts mature Surrealist language, merging dream, myth, and poetic abstraction into a visionary composition. Executed as a lithograph on velin paper, this work measures 12.5 x 9.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris Artwork Details: Artist: Max Ernst (1891–1976) Title: Un chant damour (A Song of Love) Medium: Lithograph on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Unsigned and unnumbered as issued Date: 1958 Publisher: Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Ernst, Max, et al. Max Ernst: Graphische Welten: Die Sammlung Schneppenheim. DuMont, 2003, illustration 71C Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Nouvelle serie, No. 11 (double), Noel 1958, published by Societe Internationale dArt XXe Siecle, Paris; printed by Mourlot Freres, Paris, 1958 About the Publication: Gualtieri di San Lazzaros XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs and woodcuts printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. The 1960 issue, XXe Siecle, Nouvelle serie, No. 14, showcased Daphnis et Chloe, one of Chagalls most celebrated lithographic subjects, coinciding with his work on the monumental suite of lithographs inspired by the same pastoral tale, published by Teriade. Through this publication, San Lazzaro further cemented Chagalls reputation as the modern poet of color and love, uniting myth, nature, and emotion in visual form. Today, XXe Siecle remains an essential record of 20th century modernism, celebrated for its seamless integration of fine art, literature, and design. About the Artist: Max Ernst (1891–1976) was a German-French painter, sculptor, printmaker, and poet whose groundbreaking imagination and experimental techniques made him one of the most revolutionary figures of 20th century art. A founding member of both Dada and Surrealism, Ernst dismantled traditional notions of art through chance, dream imagery, and psychological exploration, transforming painting, sculpture, and collage into instruments of the unconscious mind. Born in Bruhl, Germany, he studied philosophy and psychology at the University of Bonn before rejecting academic convention to pursue art, inspired by the Symbolists, Cubists, and the early abstractions of Pablo Picasso and Wassily Kandinsky. His traumatic experience serving in World War I left him disillusioned with logic and order, propelling him toward the Dada movement in Cologne in 1919, where he began creating his seminal collages that fused scientific diagrams and Victorian engravings into surreal dreamscapes. By 1922, Ernst had moved to Paris and joined a circle of avant garde luminaries that included Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, Man Ray, and Andre Breton, each of whom shared his fascination with the irrational and the unseen. Ernsts invention of frottage (rubbing) and grattage (scraping) revolutionized modern painting, revealing textures and hidden images beneath the surface and allowing chance to become an active participant in creation. His visionary paintings such as The Elephant Celebes (1921), Two Children Are Threatened by a Nightingale (1924), and Europe After the Rain II (1940–42) blend myth, science, and dream into vast symbolic landscapes that remain among the defining masterpieces of Surrealism. A restless innovator, Ernst expanded into sculpture, crafting enigmatic totemic forms such as Capricorne (1948–1963) that bridged organic abstraction and surreal fantasy, echoing the fluid equilibrium of Calders mobiles and the conceptual wit of Duchamp. Fleeing Nazi occupied France during World War II, Ernst emigrated to the United States with the support of Peggy Guggenheim, whom he later married, influencing the emerging Abstract Expressionists among them Jackson Pollock, Robert Motherwell, and Willem de Kooning through his fusion of automatism, texture, and mythic narrative. Returning to Europe after the war, he continued to refine his poetic, alchemical approach to painting, blending chaos and order into cosmic landscapes that inspired later artists such as Anselm Kiefer, Robert Rauschenberg, Cy Twombly, and Kiki Smith. His work, housed in major museums including MoMA, the Tate, and the Centre Pompidou, stands as a testament to his belief that art could bridge the conscious and unconscious, the rational and the fantastic. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Max Ernst remains a cornerstone of modern art an artist philosopher whose limitless curiosity reshaped visual language and influenced generations of creators. His highest auction record was achieved by Le roi jouant avec la reine (The King Playing with the Queen) (1944), which sold for approximately 24.4 million USD at Christies, New York, in November 2022, reaffirming Max Ernsts enduring legacy as one of the most visionary, provocative, and collectible masters of 20th century modernism. Max Ernst XXe Siecle 1958, Max Ernst lithograph...

Lithograph on vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Poêmes insoumis, 1963. Published by Marc Barbezat, Paris; ...

CENTER OF ATTENTION is a hand drawn original lithograph printed in blue gray ink using hand lithography techniques on archival Arches printmaking paper 100% acid free. CENTER OF ATT...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

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...

QUIET ZONE is a hand drawn limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on archival Arche...

HIGH TIDE, LOW TIDE is a hand drawn, limited edition lithograph by the American surrealist artist Fanny Brennan, created using traditional hand lithography techniques printed on arch...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

Lithograph on vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Poêmes insoumis, 1963. Published by Marc Barbezat, Paris; ...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph VI, from the album Joan Miro Lithographs, Volume IV 1969–1972, originates from the 1981 edition published by Mae...

This exquisite lithograph by Alexander Calder (1898–1976), titled Forme Noire et Composition Rouge et Jaune (Black Form and Red and Yellow Composition), from the folio Derriere le mi...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph III, from the album Joan Miro Lithographs, Volume II, originates from the 1975 edition published by Leon Amiel, ...

This exquisite lithograph by Abraham Rattner (1895–1978), titled Le Feu (The Fire), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, originates from the 1937 issue publishe...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph III, from the album Joan Miro Lithographs, Volume III 1964–1969, originates from the 1977 edition published by M...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph III, from the album Joan Miro Lithographs, Volume IV 1969–1972, originates from the 1981 edition published by Ma...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph VI, from the album Joan Miro Lithographs, Volume IV 1969–1972, originates from the 1981 edition published by Mae...

Lithograph on vélin paper. Paper Size: 12.5 x 20 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, ...

Artist: Roberto Matta (1912-2002) Title: Centre Noeuds (Sabatier 393) Year: 1974 Edition: 38/125, plus proofs Medium: Etching on Arches paper Size: 23.875 x 17.5 inches Inscription: ...

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...

Construction d’un temple – Plate n. 11  is a b/w original etching and dry-point  realized in 1973 (as stated on plate on the lower right margin) by Paul Delvaux. From the collection...

Untitled I Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

St. Helena is an etching that belongs  to the suite AtlasBatt realized within Jacques Norvins' Histoire de Napoleon, published in 1837. Author Jacques Norvins published one of the m...

Paul KLEE (after) Miraculous Docking : Boat and House Lithograph and stencil (Jacomet process), on canson paper Printed signature in the plate 50 x 38.2 cm (19.6 x 14.9 in) INFORMA...

Artist: Roberto Matta (1912-2002) Title: Centre Noeuds (Sabatier 393) Year: 1974 Edition: 38/125, plus proofs Medium: Etching on Arches paper Size: 23.875 x 17.5 inches Inscription: ...

This exquisite lithograph by Abraham Rattner (1895–1978), titled L'automne (Autumn), from Verve, Revue Artistique et Litteraire, Vol. I, No. 3, originates from the 1938 issue publish...

This exquisite collotype after Max Ernst (1891–1976), titled La Mer et la pluie (The Sea and the Rain), from the album Max Ernst, Histoire Naturelle (Natural History), originates fro...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, 1984. Published by Centre National des Arts Plastiques, Ni...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

"Sticky Sonnets I + II" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Sticky Sonnets I + II" by Jim Crabb (American, b. 1947). This piece resembl...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Man Ray, 1984. Published by Centre National des Arts Plastiques, Ni...

Jacques Villon Surrealist Mountain, 1946 Original etching Printed signature in the plate On BFK Rives vellum, 25 x 32,5 cm (c. 9,8 x 12,7 inch) Edition limited to 300 copies (unnumb...

This exquisite collotype after Max Ernst (1891–1976), titled Petites tables autour de la terre (Little Tables Around the Earth), from the album Max Ernst, Histoire Naturelle (Natural...

Contemporary colorful figurative surrealistic print on paper by Polish artist Rafal Olbinski. This print symbolizes equality of people of all races. The print is signed by the artist...

This exquisite collotype after Max Ernst (1891–1976), titled Le Repas du mort (The Repast of Death), from the album Max Ernst, Histoire Naturelle (Natural History), originates from t...

"T.A.M.P. #3" - 1975 Surrealist Lithograph on Paper 1975 surrealist lithograph on paper titled "T.A.M.P #3" by Jim Crabb (American, b. 1947). This piece resembles a surreal landscap...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

This artwork titled "Ile" 1986 is an original color etching with aquatint on Arches paper by French artist Jean Solombre, 1948-2005. It is hand signed, d...

Jorge Camacho, Cuban (1934 -2011) - Surreal Seascape, Year: 1976, Medium: Etching and Aquatint, signed and numbered in pencil, Edition: XXXVI/XLV, Image Size: 10 x 7.5 inches, Si...

This artwork titled "Jonah on the Way" 1975, is an original colors wood block print on thin paper by noted Austrian artist Bernd Kroeber, b.1942. It is hans signed, titled, dated and...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Hank Laventhol, American (1927 - 2001) - Castle Eye, Year: circa 1980, Medium: Aquatint Etching, signed and numbered in pencil, Edition: 300, AP XXXV, Image Size: 20 x 16 inches,...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Ceramic (Ceramic), from the album Miro 1959–1960 (Miro 1959–1960), originates from the 1961 edition published by Pierre Matisse Gallery, New York, rendered by Daniel Jacomet, Paris, and printed by Daniel Jacomet et Cie, Paris, 1961. Ceramic reflects Miro’s fascination with texture, form, and material, evoking the tactile qualities and rhythmic motifs of his ceramic works through the medium of print. The composition’s interplay of abstract symbols, color, and linear energy captures the dynamic tension between the earthy and the cosmic—a hallmark of Miro’s artistic vocabulary during this period. Executed as a lithograph and pochoir on velin paper, this work measures 23 x 9.24 inches, with centerfold as issued. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Daniel Jacomet et Cie, Paris, one of France’s foremost studios specializing in pochoir and fine art printmaking. Artwork Details: Artist: After Joan Miro (1893–1983) Title: Ceramic (Ceramic), from the album Miro 1959–1960 (Miro 1959–1960), 1961 Medium: Lithograph and pochoir on velin paper Dimensions: 23 x 9.24 inches (58.4 x 23.5 cm), with centerfold as issued Inscription: Unsigned and unnumbered as issued Date: 1961 Publisher: Pierre Matisse Gallery, New York Renderer: Daniel Jacomet, Paris Printer: Daniel Jacomet et Cie, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne Des Livres Illustres. P. Cramer, 1989, illustration 69. Dupin, Jacques, and Joan Miro. Miro Engraver 1961–1973. Rizzoli, 1989, illustration 292. Miro, Joan. Joan Miro, Lithographe II, 1953–1963. Joan Miro, Lithographe, Maeght, 1975, illustration 286–294. Condition: Well preserved, consistent with age and medium Provenance: From the album Miro 1959–1960 (Miro 1959–1960), published by Pierre Matisse Gallery, New York; rendered by Daniel Jacomet, Paris; printed by Daniel Jacomet et Cie, Paris, 1961 Notes: Excerpted from the album (translated from French), It was taken from this album: XXVIII examples with II original lithographs and an etching and VI suites, numbered from I to XXV; LXXX examples with II original lithographs and an etching, numbered from XXVI to LXXV; MCC examples, numbered from I to MCC. This album was made and presented for the exhibition of the artist's works at the Gallery Pierre Matisse, New York, October 31 - November 25, 1961. About the Publication: Miro 1959–1960 (Miro 1959–1960), published in 1961 by Pierre Matisse Gallery, New York, with pochoirs rendered by Daniel Jacomet, Paris, accompanied the landmark exhibition of Miro’s paintings and graphic works held at the Pierre Matisse Gallery from October 31 to November 25, 1961. The album captures the spirit of Miro’s late 1950s and early 1960s output—a period characterized by liberated brushwork, symbolic abstraction, and radiant chromatic experimentation. Printed by Daniel Jacomet et Cie, Paris, in collaboration with Fernand Mourlot for the original lithographs, the volume reflects the exceptional precision and artistry of French printmaking at its height. Designed to evoke the immediacy of Miro’s painted surfaces, the pochoirs and lithographs maintain a tactile richness and vibrancy that honor the original works. This publication stands among Miro’s most celebrated printed albums, marking a pivotal moment in his continued dialogue between materiality, imagination, and cosmic lyricism. 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 GBP (approximately 37 million USD) at Sotheby's, London, on June 19, 2012. After Joan Miro Ceramic...

This exquisite collotype after Max Ernst (1891–1976), titled Le Fascinant cypres (The Fascinating Cypress), from the album Max Ernst, Histoire Naturelle (Natural History), originates...

Hank Laventhol, American (1927 - 2001) - Beach Front, Year: circa 1980, Medium: Aquatint Etching, signed and numbered in pencil, Edition: 300, AP XXXV, Image Size: 15 x 24 inches...

This exquisite collotype after Max Ernst (1891–1976), titled Coups de fouet ou ficelles de lave (Whip Lashes or Lava Threads), from the album Max Ernst, Histoire Naturelle (Natural H...

This exquisite collotype after Max Ernst (1891–1976), titled Le Tremblement de terre (The Earthquake), from the album Max Ernst, Histoire Naturelle (Natural History), originates from...