La Galerie d Art Moderne à Southampton Abstract Prints

This exquisite lithograph by Zao Wou-Ki (1920–2013), titled Hommage a San Lazzaro (Homage to San Lazzaro), from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XX...

This exquisite lithograph by Alexander Calder (1898–1976), titled Rouge et bleu sur jaune (Red and Blue on Yellow), originates from the historic 1973 folio Derriere le Miroir, No. 20...

This exquisite lithograph by Pablo Palazuelo (1915–2007), titled Onde (Wave), originates from the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painter...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Icare (Icarus), from Henri Matisse, Jazz, originates from the 1983 second edition published by George Braziller, I...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Tapis De Tarragona, illustrations, Joan Miro (Tarragona Tapestry, Illustrations), ...

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

This exquisite collotype after Alfonso Ossorio (1916–1990), titled Peinture initiatique V (Initiatory Painting V), from the album Peintures initiatiques d'Alfonso Ossorio (Initiatory...

This exquisite collotype after Alfonso Ossorio (1916–1990), titled Peinture initiatique II (Initiatory Painting II), from the album Peintures initiatiques d'Alfonso Ossorio (Initiato...

This exquisite collotype after Alfonso Ossorio (1916–1990), titled Peinture initiatique IV (Initiatory Painting IV), from the album Peintures initiatiques d'Alfonso Ossorio (Initiato...

This exquisite collotype after Alfonso Ossorio (1916–1990), titled Peinture initiatique IX (Initiatory Painting IX), from the album Peintures initiatiques d'Alfonso Ossorio (Initiato...

This exquisite collotype after Alfonso Ossorio (1916–1990), titled Peinture initiatique X (Initiatory Painting X), from the album Peintures initiatiques d'Alfonso Ossorio (Initiatory...

This exquisite collotype after Alfonso Ossorio (1916–1990), titled Peinture initiatique VIII (Initiatory Painting VIII), from the album Peintures initiatiques d'Alfonso Ossorio (Init...

This exquisite lithograph after Georges Braque (1882–1963), titled Le Char (The Chariot), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Bra...

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

This exquisite lithograph after Georges Braque (1882–1963), titled L’Atelier (The Studio), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Br...

This exquisite lithograph after Georges Braque (1882–1963), titled L’Oiseau noir et l’Oiseau blanc (The Black Bird and the White Bird), originates from the 1964 folio Derriere le Mir...

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

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

This exquisite lithograph after Georges Braque (1882–1963), titled Le Portugais (The Portuguese), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Geo...

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

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

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

This exquisite lithograph by Alberto Giacometti (1901–1966), titled Georges Braque le 31 aout 1963 (Georges Braque, August 31, 1963), originates from the 1964 folio Derriere le Miroi...

This exquisite lithograph by Roger Bissiere (1886–1964), titled Derniere fleur (Last Flower), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges...

This exquisite lithograph by Raoul Ubac (1910–1985), titled Charrue (Plow), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute t...

This exquisite lithograph by Pierre Tal-Coat (1905–1985), titled Oiseau et son ombre (Bird and Its Shadow), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hom...

This exquisite lithograph by Pierre Pallut (1900–1985), titled Sans titre (Untitled), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque ...

This exquisite lithograph by Maurice de Vlaminck (1876–1958), titled La route (The Road), from the album Vlaminck, originates from the 1958 edition published by Andre Sauret, Editeur...

This exquisite lithograph by Maurice de Vlaminck (1876–1958), titled Les Challonges (The Challonges), from the album Vlaminck, originates from the 1958 edition published by Andre Sau...

This exquisite lithograph by Maurice de Vlaminck (1876–1958), titled La Potiniere a Rueil (The Potiniere at Rueil), from the album Vlaminck, originates from the 1958 edition publishe...

This exquisite lithograph by Maurice de Vlaminck (1876–1958), titled Vallee de l'Avre (Valley of the Avre), from the album Vlaminck, originates from the 1958 edition published by And...

This exquisite lithograph by Maurice de Vlaminck (1876–1958), titled Maisons dans la Beauce (Houses in the Beauce), from the album Vlaminck, originates from the 1958 edition publishe...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La baie des Trepasses (The Bay of the Dead), from the album Vlaminck, originates from the 1958 edition publish...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La Maladrerie sous la neige (The Maladrerie in the Snow), from the album Vlaminck, originates from the 1958 ed...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La maison dans la plaine (The House in the Plain), from the album Vlaminck, originates from the 1958 edition p...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Allainville sous la neige (Allainville in the Snow), from the album Vlaminck, originates from the 1958 edition...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled L'église de Bougival (The Church of Bougival), from the album Vlaminck, originates from the 1958 edition publi...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Les tilleuls sous la neige (Linden Trees in the Snow), from the album Vlaminck, originates from the 1958 editi...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Près de Beaumont sur Sarthe (Near Beaumont on Sarthe), from the album Vlaminck, originates from the 1958 editi...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Village de la Sarthe (Village in Sarthe), from the album Vlaminck, originates from the 1958 edition published ...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled L'église de Saint Lubin (The Church of Saint Lubin), from the album Vlaminck, originates from the 1958 edition...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La route de Brezolles (The Road to Brezolles), from the album Vlaminck, originates from the 1958 edition publi...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Coucher de soleil Forêt de Senonches (Sunset, Forest of Senonches), from the album Vlaminck, originates from t...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La route de Mortagne (The Road to Mortagne), from the album Vlaminck, originates from the 1958 edition publish...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La Haute Folie (The High Madness), from the album Vlaminck, originates from the 1958 edition published by Andr...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La meule (The Haystack), from the album Vlaminck, originates from the 1958 edition published by Andre Sauret, ...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La moisson (The Harvest), from the album Vlaminck, originates from the 1958 edition published by Andre Sauret,...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La Seine a Chatou (The Seine at Chatou), from the album Vlaminck, originates from the 1958 edition published b...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La Seine a Poissy (The Seine at Poissy), from the album Vlaminck, originates from the 1958 edition published b...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled La route de Longny (The Road to Longny), from the album Vlaminck, originates from the 1958 edition published b...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Paysage d'hiver (Winter Landscape), from the album Vlaminck, originates from the 1958 edition published by And...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Voiliers sur la Seine (Sailboats on the Seine), from the album Vlaminck, originates from the 1958 edition publ...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Chatou à l'arbre rouge (Chatou with the Red Tree), from the album Vlaminck, originates from the 1958 edition p...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Le Pont de Chatou (The Bridge at Chatou), from the album Vlaminck, originates from the 1958 edition published ...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Les Coteaux de Chatou (The Hills of Chatou), from the album Vlaminck, originates from the 1958 edition publish...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Sui...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Sui...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches; image size: 5.51 x 7.08 inches. Inscription: Unsigned and unnumbered, as is...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Sui...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Sui...