La Galerie d Art Moderne à Southampton Abstract Prints

This exquisite lithograph after Georges Braque (1882–1963), titled La plage de Varengeville (The Beach at Varengeville), originates from the 1968 folio Varengeville, published by Mae...

This exquisite lithograph after Georges Braque (1882–1963), titled La charrue (The Plow), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed...

This exquisite lithograph after Georges Braque (1882–1963), titled La barque echouee (The Stranded Boat), originates from the 1968 folio Varengeville, published by Maeght Editeur, Pa...

This exquisite lithograph after Georges Braque (1882–1963), titled Les barques bleues (The Blue Boats), originates from the 1968 folio Varengeville, published by Maeght Editeur, Pari...

This exquisite lithograph after Georges Braque (1882–1963), titled Marine a la Mouette (Seascape with Seagull), originates from the 1968 folio Varengeville, published by Maeght Edite...

This exquisite lithograph after Georges Braque (1882–1963), titled Les champs (The Fields), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and print...

This exquisite lithograph after Georges Braque (1882–1963), titled Les falaises (The Cliffs), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and pri...

This exquisite lithograph after Georges Braque (1882–1963), titled Paysage (Landscape), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed b...

This exquisite lithograph after Georges Braque (1882–1963), titled La barque D-27 (The Boat D-27), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, an...

This exquisite lithograph after Georges Braque (1882–1963), titled Paysage aux coquelicots (Landscape with Poppies), originates from the 1968 folio Varengeville, published by Maeght ...

This exquisite lithograph after Georges Braque (1882–1963), titled Marine noire (Black Seascape), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and...

This exquisite lithograph after Georges Braque (1882–1963), titled Les champs (The Fields), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and print...

This exquisite lithograph after Georges Braque (1882–1963), titled Bord de mer (Seaside), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed...

This exquisite lithograph by Marc Chagall (1887–1985), titled Bouquet pour Fernand (Bouquet for Fernand), from the album Souvenirs et Portraits d'Artistes (Memories and Portraits of ...

This exquisite lithograph by Joan Miro (1893–1983), titled Faillie du calcaire (Limestone Fault), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in...

This exquisite lithograph after Georges Braque (1882–1963), titled Profil de femme (Profile of a Woman), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Pa...

This exquisite lithograph after Henri Matisse (1869–1954), titled La Religieuse Portugaise (The Portuguese Nun), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with Leon Amiel, editeurs, New York, and printed by Mourlot Freres, Paris, April 5, 1972. This serene and balanced composition captures Matisse’s mastery of line, harmony, and emotional resonance. La Religieuse Portugaise reflects the artist’s lifelong exploration of purity and rhythm through simplified form and luminous balance, revealing his belief that true beauty lies in the unity of contour, and spirit. The lithograph exemplifies Matisse’s ability to transform spiritual themes into modern expressions of grace and contemplation. Executed as a lithograph on velin d’Arches paper, this work measures 12.81 x 9.81 inches (32.54 x 24.92 cm). Unsigned and unnumbered as issued. The edition exemplifies the exceptional craftsmanship of the Mourlot Freres atelier, renowned for its collaboration with leading modern artists of the 20th century. Artwork Details: Artist: After Henri Matisse (1869–1954) Title: La Religieuse Portugaise (The Portuguese Nun), 1972 Medium: Lithograph on velin d’Arches paper Dimensions: 12.81 x 9.81 inches (32.54 x 24.92 cm) Inscription: Unsigned and unnumbered as issued Date: 1972 Publisher: Editions A. C. Mazo et Cie., Paris, in collaboration with Leon Amiel, editeurs, New York Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with Leon Amiel, editeurs, New York, 1972 Notes: Excerpted from the album (translated from French), This album is the album of friendship, and I want to thank all the artists who wanted to participate. Some lithographs presented here, and whose authors have left us for too long, were made at my request for an album "Adieu a la rue de Chabrol" that I intended to publish ten years ago. So it was at this time that I was able to get the lithos of Braque, Cocteau, Derain, Giacometti and Villon. Mrs. Duthuit-Matisse and her brothers authorized me to print the composition of Henri Matisse, an unused original lithograph of the album by Teriade "La Religieuse portugaise". I am happy to have brought together so many works by contemporary artists, it is a great honor for me and I am infinitely grateful to them. Finished printing in Paris on April 5, 1972, this album was printed on velin d’Arches, in DCCC numbered examples. In addition, a number of copies were printed for artists, friends and collaborators of this album. The original lithographs were printed by Mourlot, and the typography is from Fequet and Baudier. Alain A.C. Mazo, Paris, and Leon Amiel, New York, publishers. About the Publication: Souvenirs et Portraits d'Artistes (Memories and Portraits of Artists), published in 1972 by Editions A. C. Mazo et Cie., Paris, and Leon Amiel, New York, stands as one of the most distinguished collaborative albums of the postwar era. Bringing together original lithographs by some of the foremost artists of the 20th century, the portfolio celebrates artistic friendship, collaboration, and the enduring spirit of creative dialogue. La Religieuse Portugaise (The Portuguese Nun) after Henri Matisse exemplifies this spirit, blending spiritual serenity with the refined formal language that made Matisse one of the most influential artists in modern art. Printed at the renowned Atelier Mourlot, the work embodies the clarity, rhythm, and elegance that characterize Matisse’s timeless aesthetic. About the Artist: Henri Matisse (1869–1954) was a French painter, sculptor, draughtsman, and printmaker whose revolutionary vision redefined modern art through his daring use of color, line, and form. Celebrated as one of the greatest artists of the 20th century, Matisse led the Fauvist movement and devoted his life to the pursuit of balance, beauty, and emotional expression in visual art. His early works burst with vibrant hues and liberated brushwork, while his later “cut-out” compositions achieved a poetic simplicity that transformed the relationship between color and space. Deeply influenced by the work of Paul Cezanne, Vincent van Gogh, and Georges Seurat, as well as by the rhythmic patterns of Islamic art, Byzantine mosaics, and Japanese prints, Matisse forged a new visual language that celebrated joy, movement, and serenity. He was part of an extraordinary generation of artists who shaped the evolution of modernism, maintaining lifelong dialogue and friendly rivalry with contemporaries such as Pablo Picasso, Georges Braque, Marc Chagall, Andre Derain, Albert Marquet, and Raoul Dufy—peers who, like him, sought to expand the expressive potential of color and composition. Matisse’s influence extended across generations, inspiring modern and contemporary masters including Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom drew upon his fearless experimentation and refined visual harmony. His paintings, sculptures, and works on paper are held in the most prestigious museums in the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Hermitage Museum, where his art continues to symbolize the essence of creativity and human emotion. The highest price ever paid for a Henri Matisse artwork is approximately $80.8 million USD, achieved in 2018 at Christie's New York for Odalisque couchee aux magnolias (1923). Henri Matisse La Religieuse Portugaise, Matisse Mourlot...

This exquisite lithograph after Jacques Villon (1875–1963), titled Portrait d'une jeune fille (Portrait of a Young Girl), originates from the 1972 edition published by Editions A. C....

This exquisite lithograph after Alberto Giacometti (1901–1966), titled Fleurs (Flowers), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collabor...

This exquisite lithograph after Andre Derain (1880–1954), titled Buste de femme (Bust of a Woman), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, i...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Manuscrit (Manuscript), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collabor...

This exquisite lithograph by Andre Masson (1896–1987), titled Le depart (The Departure), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collabor...

This exquisite lithograph by Bernard Buffet (1928–1999), titled Les ombelles (The Umbels), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collab...

This exquisite lithograph by Paul Delvaux (1897–1994), titled Confidences, originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with Leo...

This exquisite lithograph by Andre Minaux (1923–1986), titled La femme et l'oiseau (The Woman and the Bird), originates from the 1972 edition published by Editions A. C. Mazo et Cie....

This exquisite lithograph by Apel·les Fenosa (1899–1988), titled Tramontane, originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with L...

This exquisite lithograph by Maurice Esteve (1904–2001), titled Alalito, originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with Leon ...

This exquisite lithograph by Graham Sutherland (1903–1980), titled Hybrid, originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with Leo...

This exquisite lithograph by Andre Beaudin (1895–1979), titled Feuilles evades (Escaped Leaves), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in ...

This exquisite lithograph by Paul Guiramand (1926–2007), titled Intérieur (Interior), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaborati...

This exquisite lithograph by Victor Vasarely (1906–1997), titled Beryll, originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with Leon ...

This exquisite lithograph by Paul Wunderlich (1927–2010), titled Torso sur une pierre bleue (Torso on a Blue Stone), originates from the 1972 edition published by Editions A. C. Mazo...

This exquisite lithograph by Alfred Manessier (1911–1993), titled La tache rouge (The Red Spot), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in ...

This exquisite lithograph by Bernard Cathelin (1919–2004), titled L’Arlequin (The Harlequin), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in col...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated...

This exquisite lithograph by Alberto Giacometti (1901–1966), titled Annette, from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by the Traveling Exhibition Service of the National Collection of Fine Arts, Smithsonian Institution 1964–1965, originates from the 1964 edition published by Fernand Mourlot, Paris, in collaboration with the Embassy of France, Washington, D.C., and the Smithsonian Institution, Washington D.C., and printed by Mourlot Freres, Paris, October 27, 1964. This lithograph captures Giacometti’s distinct approach to portraiture, defined by trembling lines and psychological depth that distill the essence of human presence into a study of perception and being. Annette, his wife and muse, appears as both intimate subject and universal archetype, embodying the fragility and endurance that pervade Giacometti’s entire oeuvre. Executed as a lithograph on velin d'Arches paper, this work measures 10 x 7.5 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Mourlot Freres and highlights Giacometti’s mastery of line and form within the existential context of postwar modernism. Artwork Details: Artist: Alberto Giacometti (1901–1966) Title: Annette, from the album Prints from the Mourlot Press Medium: Lithograph on velin d'Arches paper Dimensions: 10 x 7.5 inches (25.4 x 19.05 cm) Inscription: Unsigned and unnumbered as issued Date: 1964 Publisher: Fernand Mourlot, Paris, in collaboration with the Embassy of France, Washington, D.C., and the Smithsonian Institution, Washington D.C. Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album Prints from the Mourlot Press, published by Fernand Mourlot, Paris, 1964 Notes: Excerpted from the album, This exhibition is a manifestation of Franco-American friendship and we would be very happy if it is of interest to all those who visit it. I wish to thank Mrs. Annemarie Pope for proposing and organizing this exhibition of the work of the artists who have used our press. We are honored that Mr. Herve Alphand, Ambassador of France to the United States, and Mr. Edouard Morot-Sir, Cultural Counsellor at the French Embassy in New York, will sponsor this exhibition. I express to them my thanks and appreciation. As for the artists themselves, who executed the originals contained in this catalogue, I can only say simply, "Thank you." They are all friends. We would have liked to include not just the twenty-four illustrations in this small book, but many more. During the year 1963, we lost three great artists who were faithful friends of our press. Thanks to Mrs. Georges Braque, Mr. Louis Carre, and Mr. Edouard Dermit, who have been able to pay our respects to Georges Braque, Jacques Villon and Jean Cocteau. The great Henri Matisse is also with us, since Mrs. Du-thuit-Matisse and her brothers have allowed us to use an unpublished original lithograph. Thanks to them all for their generosity. —Fernand Mourlot. The lithography at Mourlot printing press by Jean Adhemar, Curator of prints at the Bibliotheque nationale. Acknowledgments, Fernand Mourlot has long been the acknowledged master printer of France in every field, from lithographs to fine books to posters. The unfailing quality of his work commands the respect of museums, collectors, and most important of all, the artists themselves. Every product of his workshop bears the mark of Mourlot's discipline and craft and can truly be called an ideal collaboration between artist and artisan. The result of years of thoughtful planning, this special exhibition presents an accurate portrait of the Mourlot Press. We are greatly indebted to Fernand Mourlot, who made the selection, supervised the production of the catalogue, and gave endless time and energy to the details of preparation. This album was finished in Paris on 27th October 1964. The original lithographs and the reproductions were printed on the presses of Mourlot. The Imprimerie Nationale, Director Andre Brignole, was responsible for the typography. The edition has been limited to MM examples on Velin d'Arches and CC on Velin de Rives, reserved for the artists, the staff and the friends of the Imprimerie Mourlot. About the Publication: Prints from the Mourlot Press, published in Paris by Fernand Mourlot in 1964 in collaboration with the Embassy of France and the Smithsonian Institution, celebrated the profound artistic partnerships that defined 20th-century printmaking. The portfolio accompanied a traveling exhibition organized by the Smithsonian’s National Collection of Fine Arts and presented at major institutions across the United States between 1964 and 1965. Containing twenty-four original lithographs by leading modern artists—including Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, Alberto Giacometti, and Jean Cocteau—the publication chronicled the collaborative artistry of Mourlot Freres, whose Paris workshop elevated lithography to a fine art. Each plate demonstrated the mastery of color, composition, and craftsmanship that defined postwar printmaking, while the edition itself stood as a symbol of Franco-American cultural exchange. About the Artist: Alberto Giacometti (1901–1966) was a Swiss sculptor, painter, and draughtsman whose hauntingly elongated figures and existential vision redefined modern art and made him one of the most influential artists of the 20th century. Born in Borgonovo, Switzerland, into an artistic family—his father, Giovanni Giacometti, was a noted Post-Impressionist—he was immersed in art from an early age before studying in Geneva and moving to Paris in 1922, where he became part of the city’s avant-garde alongside Pablo Picasso, Alexander Calder, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. In the 1920s and 1930s, Giacometti explored Cubism and Surrealism, creating symbolic and dreamlike sculptures such as Suspended Ball (1930–31) and The Palace at 4 A.M. (1932), which reflected the influence of Dali, Duchamp, and Man Ray. By the 1940s, he abandoned Surrealism to pursue a deeply personal exploration of the human condition, developing his iconic attenuated figures that embodied both fragility and resilience. His signature sculptures—L’Homme qui marche I (Walking Man I), Femme debout, and Le Chariot—expressed the isolation, endurance, and vulnerability of modern existence, echoing the existential philosophy of Jean-Paul Sartre and Simone de Beauvoir. Giacometti’s figures, stripped of mass yet monumental in spirit, symbolized humanity’s search for meaning in a postwar world, while his paintings and drawings—portraits of his brother Diego, his wife Annette, and his friends—captured the psychological depth of perception with trembling, repetitive lines that blurred the boundary between body and soul. His friendships with Picasso, Calder, Miro, and Kandinsky shaped his understanding of form, motion, and space, while his philosophical engagement with Duchamp and Man Ray deepened his inquiry into the nature of reality and perception. Working obsessively in his modest Montparnasse studio, Giacometti pursued art as an existential act—destroying and rebuilding his figures in an endless search for truth. His influence on postwar art was immense, shaping the work of Henry Moore, Francis Bacon, Louise Bourgeois, Lucian Freud, and later contemporary sculptors such as Antony Gormley and Anselm Kiefer. His aesthetic also resonated beyond sculpture, influencing fashion, photography, and architecture through his vision of form, isolation, and proportion. Giacometti’s work is represented in major museum collections including MoMA, the Tate Modern, and the Centre Pompidou, and continues to inspire artists, collectors, and thinkers worldwide. Standing alongside Pablo Picasso, Alexander Calder, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Giacometti remains a towering figure in modern art—a sculptor-philosopher who transformed the human form into a universal symbol of resilience and reflection. His highest auction record was achieved by L’Homme qui marche I (Walking Man I), which sold for 141.3 million USD at Sotheby’s, London, on February 3, 2010, reaffirming Alberto Giacometti’s enduring legacy as one of the most visionary, profound, and collectible artists in the history of modern art. Alberto Giacometti Annette...

This exquisite lithograph after Henri Matisse (1869–1954), titled Fruits, from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by the ...

This exquisite lithograph after Georges Braque (1882–1963), titled Oiseaux de nuit (Night Birds), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by the Traveling Exhibition Service of the National Collection of Fine Arts, Smithsonian Institution 1964–1965, originates from the 1964 edition published by Fernand Mourlot, Paris, in collaboration with the Embassy of France, Washington, D.C., and the Smithsonian Institution, Washington D.C., and printed by Mourlot Freres, Paris, October 27, 1964. This lithograph exemplifies Braque’s poetic exploration of form, balance, and symbolism, merging Cubist structure with lyrical abstraction. In Oiseaux de nuit, the recurring motif of the bird—one of Braque’s most personal and spiritual symbols—embodies freedom, transcendence, and harmony between nature and imagination. Executed as a lithograph on velin d'Arches paper, this work measures 10 x 7.5 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Mourlot Freres and reflects Braque’s ability to fuse structural clarity with lyrical mystery. Artwork Details: Artist: After Georges Braque (1882–1963) Title: Oiseaux de nuit (Night Birds), from the album Prints from the Mourlot Press Medium: Lithograph on velin d'Arches paper Dimensions: 10 x 7.5 inches (25.4 x 19.05 cm) Inscription: Unsigned and unnumbered as issued Date: 1964 Publisher: Fernand Mourlot, Paris, in collaboration with the Embassy of France, Washington, D.C., and the Smithsonian Institution, Washington D.C. Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album Prints from the Mourlot Press, published by Fernand Mourlot, Paris, 1964 Notes: Excerpted from the album, This exhibition is a manifestation of Franco-American friendship and we would be very happy if it is of interest to all those who visit it. I wish to thank Mrs. Annemarie Pope for proposing and organizing this exhibition of the work of the artists who have used our press. We are honored that Mr. Herve Alphand, Ambassador of France to the United States, and Mr. Edouard Morot-Sir, Cultural Counsellor at the French Embassy in New York, will sponsor this exhibition. I express to them my thanks and appreciation. As for the artists themselves, who executed the originals contained in this catalogue, I can only say simply, "Thank you." They are all friends. We would have liked to include not just the twenty-four illustrations in this small book, but many more. During the year 1963, we lost three great artists who were faithful friends of our press. Thanks to Mrs. Georges Braque, Mr. Louis Carre, and Mr. Edouard Dermit, who have been able to pay our respects to Georges Braque, Jacques Villon and Jean Cocteau. The great Henri Matisse is also with us, since Mrs. Du-thuit-Matisse and her brothers have allowed us to use an unpublished original lithograph. Thanks to them all for their generosity. —Fernand Mourlot. The lithography at Mourlot printing press by Jean Adhemar, Curator of prints at the Bibliotheque nationale. Acknowledgments, Fernand Mourlot has long been the acknowledged master printer of France in every field, from lithographs to fine books to posters. The unfailing quality of his work commands the respect of museums, collectors, and most important of all, the artists themselves. Every product of his workshop bears the mark of Mourlot's discipline and craft and can truly be called an ideal collaboration between artist and artisan. The result of years of thoughtful planning, this special exhibition presents an accurate portrait of the Mourlot Press. We are greatly indebted to Fernand Mourlot, who made the selection, supervised the production of the catalogue, and gave endless time and energy to the details of preparation. This album was finished in Paris on 27th October 1964. The original lithographs and the reproductions were printed on the presses of Mourlot. The Imprimerie Nationale, Director Andre Brignole, was responsible for the typography. The edition has been limited to MM examples on Velin d'Arches and CC on Velin de Rives, reserved for the artists, the staff and the friends of the Imprimerie Mourlot. About the Publication: Prints from the Mourlot Press, published in Paris by Fernand Mourlot in 1964 in collaboration with the Embassy of France and the Smithsonian Institution, celebrated the profound artistic partnerships that defined 20th-century printmaking. The portfolio accompanied a traveling exhibition organized by the Smithsonian’s National Collection of Fine Arts and presented at major institutions across the United States between 1964 and 1965. Containing twenty-four original lithographs by leading modern artists—including Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, Fritz Glarner, and Jean Cocteau—the publication chronicled the collaborative artistry of Mourlot Freres, whose Paris workshop elevated lithography to a fine art. Each plate demonstrated the mastery of color, composition, and craftsmanship that defined postwar printmaking, while the edition itself stood as a symbol of Franco-American cultural exchange. About the Artist: Georges Braque (1882–1963) was a French painter, sculptor, and printmaker whose pioneering vision transformed the course of 20th-century art. A central figure in modernism and the co-founder of Cubism alongside Pablo Picasso, Braque redefined visual perception by breaking objects into geometric forms and reassembling them from multiple perspectives, creating a new visual language that bridged the gap between abstraction and reality. His early work was influenced by the vibrant colors and expressive energy of the Fauvist painters Henri Matisse and Andre Derain, before evolving toward the more analytical and structured compositions inspired by Paul Cezanne’s theories of form and perspective. Braque’s collaboration with Picasso between 1908 and 1914 marked one of the most fertile and revolutionary periods in art history, resulting in works that challenged traditional notions of space, depth, and illusion. Throughout his career, Braque maintained a deep interest in harmony, rhythm, and balance, infusing his still lifes, landscapes, and later reliefs with poetic subtlety and intellectual rigor. He moved among a brilliant circle of contemporaries including Pablo Picasso, Henri Matisse, Marc Chagall, Juan Gris, Fernand Leger, and Amedeo Modigliani—artists united in their pursuit of new modes of artistic expression. Braque’s influence extended well beyond his own era, shaping the creative approaches of later modernists such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom drew inspiration from his structural innovations and aesthetic integrity. His works are held in major museum collections worldwide, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to embody the essence of modern artistic thought and visual poetry. The highest price ever paid for a Georges Braque artwork is approximately 15 million USD, achieved in 2013 at Christie’s New York for Paysage a la Ciotat (1907). Georges Braque Oiseaux...

This exquisite lithograph by Fritz Glarner (1899–1972), titled Tondo, from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by the Trav...

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

This exquisite lithograph by Akira Kito (1909–1995), titled Enfant (Child), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by th...

This exquisite lithograph by Alfred Manessier (1911–1993), titled Sans titre (Untitled), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, cir...

This exquisite lithograph by Richard Florsheim (1916–1979), titled La Seine a Paris (The Seine in Paris), from the album Prints from the Mourlot Press, exhibition sponsored by the Fr...

This exquisite lithograph by Andre Brasilier (born 1929), titled Le Cadre noir (The Black Frame), from the album Prints from the Mourlot Press, exhibition sponsored by the French Emb...

This exquisite lithograph by Bernard Cathelin (1919–2004), titled Mexique (Mexico), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulat...

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

This exquisite lithograph by Paul Guiramand (1926–2007), titled Le port de New York (The Port of New York), from the album Prints from the Mourlot Press, exhibition sponsored by the ...

This exquisite lithograph by Andre Minaux (1923–1986), titled La barque echouee (The Stranded Boat), from the album Prints from the Mourlot Press, exhibition sponsored by the French ...

This exquisite lithograph by Maurice Brianchon (1899–1979), titled Saint-Jean-de-Luz: la plage (Saint-Jean-de-Luz: The Beach), from the album Prints from the Mourlot Press, exhibitio...

This exquisite lithograph by Paul Jenkins (1923–2012), titled Sans titre (Untitled), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circula...

This exquisite lithograph by Alexander Calder (1898–1976), titled Joueurs de cartes III (Card Players III), originates from the historic 1975 folio Derriere le Miroir, No. 212. Publi...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les folles de Sache (The Madwomen of Sache), originates from the historic 1975 folio Derriere le Miroir, No. 212. Pu...

This exquisite lithograph by Alexander Calder (1898–1976), titled Un patriote et Mama Citron (A Patriot and Mama Citron), originates from the historic 1975 folio Derriere le Miroir, ...

This exquisite lithograph by Alexander Calder (1898–1976), titled Joueurs de cartes I et II (Card Players I and II), originates from the historic 1975 folio Derriere le Miroir, No. 2...

This exquisite lithograph by Alexander Calder (1898–1976), titled Une famille de là-bas II (A Family from Over There II), originates from the historic 1975 folio Derriere le Miroir, ...

This exquisite lithograph by Alexander Calder (1898–1976), titled Joueurs de cartes II (Card Players II), originates from the historic 1975 folio Derriere le Miroir, No. 212. Publish...

This exquisite lithograph by Alexander Calder (1898–1976), titled Joueurs de cartes I (Card Players I), originates from the historic 1975 folio Derriere le Miroir, No. 212. Published...

This exquisite lithograph by Alexander Calder (1898–1976), titled Un Patriote (A Patriot), originates from the historic 1975 folio Derriere le Miroir, No. 212. Published by Maeght Ed...

This exquisite lithograph by Alexander Calder (1898–1976), titled Mama Citron, originates from the historic 1975 folio Derriere le Miroir, No. 212. Published by Maeght Editeur, Paris...

This exquisite lithograph after Georges Braque (1882–1963), titled Cheval et oiseau (Horse and Bird), from the folio Derriere le miroir, Hesiod, Theogony, Etchings by Georges Braque,...