Continental US - Abstract Prints

Medium: original lithograph. Printed in 1938 and published in Paris by Teriade for the art revue Verve (volume 1, number 2). Kandinsky was invited to contribute an original compositi...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Jaune, Bleu (Yellow, Blue), originates from the historic 1964 folio Derriere le Miroir, No. 149. Published by Maeght ...

Anish Kapoor, Untitled, from 15 Etchings, ex -Equitable Assurance Gallery collection, 1996 Etching on Zerkall paper This poignant Anish Kapoor etching is pencil signed and numbered 2...

Artist: Ellsworth Kelly (American, 1923-2015) Title: “Blue/Red-Orange” *Signed by Kelly in pencil lower right Year: 1972 Medium: Original Lithograph on Special Arjomari paper Limited...

Artist: Alexander Calder (1898-1976) Title: Convection, Braniff International Airways Flying Colors Collection Year: 1975 Medium: Lithograph on vélin d’Arches paper Size: 20 x 26 inc...

Apparition of the Rose is from Magic Butterfly & the Dream ( Tarot ) suite is an original signed limited ed. 5/250 lithograph by Salvador Dali. Published by Levine and Levine, 1...

Sharon Sutton Time In A Most Tantalizing Space - 1981 Print - Silkscreen print on Somerset Paper paper size 29.5'' x 29.5'' inches image size 24" x 24" inches Edition: Signed, title...

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

Stephen A. Davis, American (1945 - ) - Untitled 25, Year: 1999, Medium: Lithograph with hand colored pastel, signed and dated in pencil lower right, Image Size: 23 x 16 inches, Si...

Artist: Robert Motherwell, American (1915 - 1991) Title: Lincoln Center Mostly Mozart, 25th Anniversary Year: 1991 Medium: Lithograph and Screenprint on ...

NATURAL BEAUTY by the self taught African American artist William Tolliver (b.1951-2000) is an original hand drawn limited edition lithograph printed in 25 colors on archival printma...

Alex Katz (born 1927) Reflection 2 2021 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 47 x 39.5 inches (119 x 100.3 cm) Edition of 81/100 With flat plane...

Artist: Ellsworth Kelly Title: Black/White/Black (A. 63) Year: 1970 Medium: Lithograph on Special Arjomari paper Edition: 48/75; signed and numbered in pencil Sheet: 42 3/10 × 29 4/...

Views of Hotel Well I, from Moving Focus series (T. 280; DH. 67). Lithograph printed in colors on TGL handmade paper. Hand signed, dated and numbered by the artist. original Artist's...

Wonderful mid-century abstract serigraph by Kenneth William Auvil (American, b. 1925.) This serigraph features botanical and floral motifs in a bright color palette of yellows and or...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Sans titre (Untitled), from the album Miro, L'Oiseau solaire, L'Oiseau lunaire, Etincelles (Miro, The Sun Bi...

This limited edition abstract giclee print by Sofie Swann is an edition of 95. It features thin, imperfect vertical rectangular shapes which are half white and half deep red, and are...

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: IV from La Magnanerie de la Ferrage Year: 1971 Medium: Linocut on Japon, signed in pencil Edition: Pour Leon Amiel Image Size: ...

This is an offset print, limited edition 118 of 300, signed and numbered by Artist. It is beautiful, brand new, and framed using archival materials at a reputable framer in Los Angeles. Ready for installation or gifting. Last One Available. Enjoy video of the unwrapping of this brand new print at our Los Angeles framer! This print is now sold framed, in Los Angeles, CA. "Kansei : The Golden Age" 潤声 ゴールデンエイジ 4c offset w/cold stamp + spot varnishing オフセット印刷4色＋箔＋厚盛ニス Diameter: 710 mm / 28 in. Framed: approx 34 x 34 x 2 in. Edition 300 Signed and numbered: edition 118 of 300 Made in Japan Pristine condition, brand new, framed in Los Angeles, California Seller in Los Angeles...

Original linen-backed 1974 Spoleto poster. Roman Polanski directed Alban Berg's opera LuLu at the Spoleto Festival, which was conducted by Christopher K...

Screen print on arches paper. From Double Metamorphosis Series. Hand signed and numbered by Yaacov Agam. From the edition of 180. Sheet size 36.25 x 49.75 inches. Image size 29 ...

Vertical lines in muted colors take on the organic quality of handmade paper, resulting in this subtle iteration of Gene Davis’ iconic color field stripe paintings. The title "Narcis...

This exquisite lithograph after Henri Matisse (1869–1954), titled Zora, la robe jaune (Zora, the Yellow Dress), from the album Portraits par Henri Matisse (Portraits by Henri Matisse...

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 ...

Helen Frankenthaler (after) A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned Unnumbered) 37 × 25 inches Unframed This was printed in the artists lifetime - making it more collectible - on the occasion of the exhibition, "Helen Frankenthaler: A Paintings Retrospective from February to April, 1990 at the Los Angeles County Museum of Art (LACMA) Print is published by Editions Limited Galleries, San Francisco for Los Angeles County Museum of Art (LACMA), LA, CA The work depicted is Helen Frankenthaler, The Bay, 1963, acrylic on canvas, Detroit Institute of Arts, Michigan (Incidentally, this beautiful work is featured on the cover of the book Water and Art' by David Clarke.) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...

Screenprint in colors on wove paper. Signed by the artist in pencil and also numbered 96/126 in pencil. Published by Lincoln Center List Poster and Print Program, New York. Second ...

Richard Diebenkorn 1984 Olympic Lithograph (Hand signed deluxe limited edition w/Olympic Committee COA), 1982 Lithograph with offset lettering on 100% cotton Parsons Diploma Parchmen...

Jean Hélion was a French painter (1904 - 1987) whose abstract work of the 1930's established him as a leading modernist. His mid-career rejection of abstraction was followed by nearl...

23 x 22 inch. Handmade Paper, Textured Lithograph. Signed in Pencil: Bottom Right. Numbered in Pencil: Bottom Left "111/150" A meditative and serene, abstract piece made of a combin...

This exquisite lithograph by Willem de Kooning (1904–1997), titled Untitled, from the folio Poems, originates from the 1988 edition published by The Limited Editions Club, New York, ...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Personnages (Figures), from the album Miro, Cartones 1959–1965 (Miro, Cardboards 1959–1965), originates from...

For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject matter in favor of seemingly limitless variations in ...

Untitled Color lithograph, 1959 Unsigned (as issued) From: Derriere Le Miroir, No. 113, 1959 Publisher: Editions Pierre a Feu Editor: A. Maeght Small edition as it appeared in the ma...

Medium: lithograph (after the gouache). Printed in 1992 by l'Imprimerie Karcher and published by Nouvelles Editions Seguier in an edition of 1000 for the Sol LeWitt "Black Gouaches" ...

Francis Picabia (French, 1879-1953), "Parade Amoureuse" [Love Parade], Serigraph in Colors, signed in print lower left, wood frame. Image: 27.75" H x 21.5" W; frame: 29.5" H x 23.75"...

Enterieur (Outside) Screen print, 1973 Signed lower right in pencil (see photo) Edition: A.P., annotated lower left corner Published by Edition Ltd., Indianapolis Image size: 21 3/4 ...

This exquisite lithograph by Henri Matisse (1869–1954), titled Symphonie chromatique (Chromatic Symphony), from Verve, Revue Artistique et Litteraire, Vol. II, No. 8, originates from...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 166, 1967. Published by Aimé Maeght, Éditeur, Paris; pr...

Artist: Stanley Hayter, British (1901 - 1988) Title: II from the Aquarius Suite Year: 1970 Medium: Screenprint, signed and numbered in pencil Edition: 150; AP XXX Paper Size: 27 x ...

Carlos Cruz Diez Physichromie Panam 87, 2012 Chronographic on Aluminum and Plastic EDA 2 of 2 19 x 19 in Provenance: Private Collection, Miami.

Vivid color monotype by American Abstract Expressionist artist Helen Frankenthaler, signed by the artist in pencil, lower right. Printed and published in collaboration with Tyler Graphics...

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...

Manfred Schwartz (American, b. Poland, 1909-1970), "Somber Planet", Lithograph on Paper, mid 20th century, numbered edition "13/90" lower left, signed in pencil lower right, with the...

ICARUS I is an original hand-drawn lithograph created in 1986 by the French American artist Marius Sznajderman, printed in neutral warm grays and intense black on archival Arches pap...

Artist: After Helen Frankenthaler (1928-2011) Title: Solar Imp (Lincoln Center Salute’s the New York City Ballet) Year: 2001 Medium: Silkscreen poster on extra thick Somerset paper E...

Artist: Josef Albers (German-American, 1888-1976) Title: "Arctic Bloom" Portfolio: Soft Edge - Hard Edge *Unsigned edition, (there was also a signed edition of 50 on Rives BFK paper)...

John Baldessari, Sonnabend Gallery New York 1981: Rare early 1980s John Baldessari exhibition announcement published on the occasion of: "Shape Derived from Subject (Snake): Used as ...

Calico Jim Dine, American (1935) Portfolio: 11 Pop Artists III Date: 1965 Screenprint on Cartridge Paper, signed in pencil lower left Edition of 200 Size: 40 x 30 in. (101.6 x 76.2 c...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Information Lines, 1981. Medium: Lithograph, signed and numbered in pencil A/P 1/30. Artist's Proof. Size: 41.25 in. x 29.7...

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

This exquisite lithograph after Georges Braque (1882–1963), titled Oiseau sur fond de X (Bird on Background of X), from the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle (San Lazzaro and His Friends, Tribute to the Founder of the Journal XXe Siecle), originates from the 1975 edition published by XXe siecle, Paris, and printed by Mourlot Freres, Paris, October 1975. Oiseau sur fond de X exemplifies Braque’s late-career mastery of poetic symbolism and formal harmony. The composition’s abstracted bird—one of Braque’s most enduring motifs—emerges from an intricate background of interlocking shapes and textures, expressing his lifelong fascination with balance, serenity, and the unity between nature and form. Executed as a lithograph on velin d'Arches paper, this work measures 10.5 x 14 inches (26.67 x 35.56 cm). Unsigned and unnumbered as issued. The edition reflects the exceptional craftsmanship of Mourlot Freres, the legendary Parisian atelier known for its collaborations with Braque, Picasso, Chagall, and Matisse. Artwork Details: Artist: After Georges Braque (1882–1963) Title: Oiseau sur fond de X (Bird on Background of X), from San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle, 1975 Medium: Lithograph on velin d'Arches paper Dimensions: 10.5 x 14 inches (26.67 x 35.56 cm) Inscription: Unsigned and unnumbered as issued Date: 1975 Publisher: XXe siecle, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Vallier, Dora, et al. Braque, the Complete Graphics: Catalogue Raisonne. Translated by Robert Bononno, Gallery Books, 1988, illustration 122. Condition: Well preserved, consistent with age and medium Provenance: From the album San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle, published by XXe siecle, Paris, October 1975 Notes: Excerpted from the folio (translated from French), Finished printing in Paris in October 1975. This album has been printed on velin d'Arches in DLXXV numbered examples. The LXXV original examples include a series of VIII original lithographs, signed and numbered by the artists. In addition, LV examples were printed for artists, authors, friends and collaborators of XXe siecle. The typography is from l'Imprimerie Union in Paris; the lithographs of Max Bill, Marc Chagall, Hans Hartung, Braque, Fontana, Magnelli, Picasso, Magritte and Poliakoff were printed by Fernand Mourlot in Paris; those of Alexander Calder and Joan Miro by l'imprimerie Arte in Paris; that of Max Ernst by Pierre Chave in Vence; that of Zao Wou-Ki by ateliers Bellini in Paris; and that of Henry Moore by the Curwen Studio in London. About the Publication: San Lazzaro et ses Amis, Hommage au fondateur de la revue XXe siecle (San Lazzaro and His Friends, Tribute to the Founder of the Journal XXe Siecle), published in 1975 by XXe siecle, Paris, was conceived as a landmark tribute to Gualtieri di San Lazzaro, the visionary founder of the celebrated art journal XXe Siecle. The folio unites original lithographs by leading masters of modern art—Braque, Picasso, Chagall, Miro, Calder, Hartung, Moore, and others—printed by premier Parisian ateliers including Mourlot, Arte, Bellini, and Curwen. Representing the creative spirit and internationalism of postwar modernism, this edition stands as one of the great artistic collaborations of the 20th century. About the Artist: Georges Braque (1882–1963) was a French painter, printmaker, sculptor, and collagist whose visionary innovations and lifelong pursuit of balance, structure, and poetic form made him one of the most influential figures in 20th-century art. Born in Argenteuil-sur-Seine and raised in Le Havre, Braque began as a decorative painter before studying at the Ecole des Beaux-Arts and the Academie Humbert in Paris, where he absorbed the vibrant colorism of the Fauves and the structural logic of Paul Cezanne. His encounter with Pablo Picasso in 1907 led to one of the most groundbreaking collaborations in art history—the invention of Cubism—a movement that redefined visual perception by fragmenting form, rejecting single-point perspective, and reconstructing reality into a multidimensional experience. Between 1908 and 1914, Braque and Picasso revolutionized painting through Analytical Cubism, a style characterized by muted palettes, overlapping planes, and a focus on underlying structure rather than surface appearance. In 1912, Braque pioneered papier colle, the first use of collage in fine art, incorporating wallpaper and printed paper into his compositions and forever changing the relationship between art and the material world. After World War I, he returned to painting with renewed sensitivity, developing a lyrical and introspective form of Synthetic Cubism distinguished by harmony, rhythm, and a meditative sense of stillness. His still lifes, musical instruments, and interior scenes became metaphors for balance and contemplation, uniting intellect and emotion in perfect equilibrium. Immersed in the Parisian avant-garde, Braque worked alongside and exchanged ideas with Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom shared his passion for redefining the boundaries of modern art. His innovations in form, collage, and spatial construction deeply influenced later artists, including Jean Dubuffet, Nicolas de Stael, Henry Laurens, Ellsworth Kelly, Richard Diebenkorn, and Jasper Johns, shaping the course of postwar abstraction and modern design. In 1961, Braque became the first living artist to have a solo exhibition at the Louvre, a recognition of his monumental impact on modern aesthetics. His works are now housed in major museums worldwide, including the Museum of Modern Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris, and remain sought after for their intellectual depth and timeless serenity. His highest auction record was achieved by Paysage a la Ciotat, which sold for $15.8 million at Sotheby’s, New York, in 2013, reaffirming Georges Braque’s legacy as one of the founding architects of Cubism and a master whose art continues to define the modern age. Georges Braque Oiseau...

Roy Lichtenstein 1970-1980 (Hand Signed and dated by Roy Lichtenstein), 1981 Offset lithograph. Hand signed and dated in ink Hand-signed by artist, H...

Avraham Inlender Stones III Color Offset Lithograph Year: 2003 Size: 5.9 x 5.5 inches (15 x 14 cm) Signed in pencil COA provided Avraham Inlender (1932–2003) was a Polish-born arti...

Cover for DLM No. 173 Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), called DLM From: DLM No. 173, published October 1968, whic...

This exquisite lithograph by Henri Matisse (1869–1954), titled La Danse (The Dance), from Verve, Revue Artistique et Litteraire, Vol. I, No. 4, originates from the 1938 issue publish...

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

"Homage to the Square - P2, F8, I2" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original screenprints that ...

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