New York - Abstract Prints

Alan Sonfist, American (1946 - ) - Tree Trunk Series - Pink I, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Image Size: 20.5 x 20.5 inches, Size: ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Autoportrait au maillot raye (Self-Portrait in a Striped Shirt), from the album Portraits par Henri Matisse (Portrai...

"Homage to the Square - Portfolio 2, Folder 5, Image 1" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origina...

This exquisite heliogravure after Henri Matisse (1869–1954), titled A la memoire d'Auguste Lumiere (In Memory of Auguste Lumiere), from Verve, Revue Artistique et Litteraire, Vol. IV...

Andrea Belag New Moon, 1990 Monotype on Wove Paper 42 × 30 inches Hand signed and dated on the front Published by Pelavin Editions, with blind stamp on the front Unique Unframed Love...

This exquisite lithograph by Marc Chagall (1887–1985), titled Reve au cirque (Dream at the Circus), from the album XXe Siecle, Nouvelle serie, XXVIIIe Annee N°26, Mai 1966, originate...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré a George...

This exquisite lithograph by Henri Michaux (1899–1984), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie N°3 (double) Juin 1952, originates from the 1952 editi...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

This exquisite lithograph by Joan Miro (1893–1983), titled Personnage et Etoiles (Figure and Stars), from the folio Les Peintres mes amis (The Painters My Friends), originates from t...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Henry de Montherlant (Henry de Montherlant), from the album Portraits par Henri Matisse (Portraits by Henri Matiss...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Maravillas con variaciones acrosticas en el Jardin de Miro (Marvels with Acrostic Var...

Lithograph on vélin papel Guarro con filigrana paper. Unsigned and unnumbered, as issued. Good condition. Notes: published in 1970 to promote the folio, Tapís De Tarragona, il·lustra...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: Briggs Edward Solomon's artwork is known for its balance and juxtaposi...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Medium: Screenprint, signed, numbered, dated, and titled in pencil Image Size: 25 x 18 inches Paper Size: 30 x 22 inches

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Engineer often brought him to the lab. The daily experimentations happening around him, both personal and scientific, would later inform his work. While his parents wanted him to follow more straightforward career paths, he was the first in his family to eschew their expectations and pursue art and music instead. Malghan went on to receive an MFA in Photography from Savannah College of Art and Design - Hong Kong. Here he experimented in a darkroom, bleaching film, adding watercolor to glass plates, thinly cross-sectioning fruits and vegetables until they formed abstractions, beginning his exploration into the repurposing of materials. In his twenties, Malghan was diagnosed with Leukemia, the treatment of which resulted in avascular necrosis, a bone disease that eventually required numerous surgeries and three hip replacements. His experience through illness and recovery not only led him to photography, but also informs his manipulation of raw, often overlooked materials in order to reorient our understanding of beauty, pleasure, and purpose. Malghan has been exhibited across the country and has lectured in Hong Kong, India, the University of Texas, the University of Notre Dame - Maryland, and UMLAUF Sculpture & Design Museum. He most recently has been commissioned by The Walters Art Museum, and his work is in the private collections of Johns Hopkins...

This exquisite lithograph after Andre Derain (1880–1954), titled Route de Village (Village Road), from the folio Les Peintres mes amis (The Painters My Friends), originates from the ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie Z, var. 1 (Series Z, Variation 1), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Sans Titre (Untitled), originates from the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. This plate pays homage to the artist’s groundbreaking geometric abstraction and his profound influence on postwar modernism. Through precise form and rhythmic structure, Sans Titre captures the musicality and spiritual dynamism that defined Kandinsky’s mature visual language, balancing intuitive movement with mathematical harmony. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Signed in the plate and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, honoring Kandinsky’s legacy in fine art printing. Artwork Details: Artist: After Wassily Kandinsky (1866–1944) Title: Sans Titre (Untitled), from Derriere le Miroir, Nos. 60–61, 1953 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: 1953 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Wassily Kandinsky (1866–1944) was a Russian-born painter, theorist, and pioneer of abstract art whose revolutionary vision transformed 20th-century modernism. Regarded as one of the first artists to create purely nonobjective paintings, Kandinsky sought to express inner emotion and spirituality through color, rhythm, and form, believing that art could evoke the same universal harmony as music. His groundbreaking theories on abstraction and the “spiritual in art” shaped the foundation of modern aesthetics and influenced generations of artists worldwide. Closely associated with the Bauhaus movement, he developed a dynamic visual language that combined geometry and lyricism, bridging intuition and intellect. Kandinsky’s legacy resonates alongside the innovations of Pablo Picasso, Henri Matisse, Alexander Calder, Georges Braque, Marc Chagall, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, and Man Ray—artists who, like him, redefined the possibilities of modern art. His works are represented in the world’s leading museums, including MoMA, the Guggenheim, the Centre Pompidou, and the Tate, and remain among the most coveted by collectors globally. The highest price ever paid for a Wassily Kandinsky artwork is approximately $45.6 million USD, achieved in 2017 at Christie’s London for Bild mit weissen Linien (Painting with White Lines) (1913). Wassily Kandinsky Sans Titre, Kandinsky Derriere le Miroir, Kandinsky Maeght Editeur Paris, Kandinsky Mourlot Freres, Kandinsky 1953 edition, Kandinsky lithograph...

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

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 155, 1965. Published by Aimé Maeght, Éditeu...

This exquisite lithograph by Bernard Buffet (1928–1999), titled Clown sur fond rouge (Clown on Red Background), originates from the 1967 album Bernard Buffet, Lithographs 1952-1966, ...

This exquisite lithograph by Hans Hartung (1904–1989), titled P. 1958-35, from the album XXe siecle, Nouvelle serie, XXIe Annee, No. 12, Mai-Juin 1959, originates from the 1959 editi...

Yaacov Agam, Israeli (1928 - ) - Union II, Year: 1976, Medium: Screenprint, signed in pen lower right, Image Size: 27 x 22.75 inches, Size: 33 x 28.75 in. (83.82 x 73.03 cm), Fra...

This exquisite lithograph and pochoir by Maria Helena Vieira da Silva (1908–1992), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie N°7 (double) Juin 1956, ori...

RICHARD ANUSZKIEWICZ Grey Tinted Rainbow, 1992 Assemblage with 14 Color Silkscreen and Lithograph Pencil signed and numbered 11/40 on the front Frame included: elegantly framed in a ...

Artist: Budd Hopkins Title: Guardian X Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: AP 45 Paper Size: 40 x 26 inches (101.6 x 66...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph II, from the album Joan Miro Lithographs, Volume I, originates from the 1972 edition published by Tudor Publishing Company, New York, and printed by Mourlot Freres, Paris, 1972. Lithograph II reflects Miros poetic mastery of line, movement, and color, capturing his lifelong pursuit of visual rhythm and lyrical abstraction. Combining spontaneity and control, this composition embodies Miros signature balance of playful geometry and poetic energy—translating instinct and imagination into a harmonious field of motion and light. Executed as a lithograph on velin paper, this work measures 12.5 x 9.625 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship and technical mastery of Mourlot Freres, Paris, one of the foremost printmaking ateliers of the 20th century. Artwork Details: Artist: Joan Miro (1893–1983) Title: Lithograph II, from the album Joan Miro Lithographs, Volume I, 1972 Medium: Lithograph on velin paper Dimensions: 12.5 x 9.625 inches (31.8 x 24.4 cm) Inscription: Unsigned and unnumbered as issued Date: 1972 Publisher: Tudor Publishing Company, New York Printer: Mourlot Freres, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne Des Livres Illustres. P. Cramer, 1989, illustration 160. Calas, Nicolas, and Elena Calas. Joan Miro: Lithographs Volume IV 1969-1972. Maeght, 1981, illustration 858. Condition: Well preserved, consistent with age and medium Provenance: From the album Joan Miro Lithographs, Volume I, published by Tudor Publishing Company, New York; printed by Mourlot Freres, Paris, 1972 Notes: Excerpted from the album, The original Joan Miro lithographs were printed by Mourlot, the illustrations by Arte Adrien Maeght, and the text by Imprimerie Union, Paris, France. V̅ examples of this English-language edition, numbered I-V̅, have been printed. A deluxe French edition of CL examples, numbered I-CL, with II additional original lithographs signed by Joan Miro, and LXXX suites, numbered I-LXXX, containing the XIII original lithographs on velin with wide margins and with each lithograph signed by the artist, have also been printed. About the Publication: Joan Miro Lithographs, Volume I, published in 1972 by Tudor Publishing Company, New York, in collaboration with Mourlot Freres, Paris, inaugurated the definitive four-volume catalogue series devoted to Miros original lithographs. This landmark publication was conceived as both a scholarly reference and a visual celebration of the artist’s printmaking achievements, uniting essays, documentation, and full-color lithographic plates printed from the original stones. The English-language edition, produced for international distribution, was printed to the same technical standards as the French deluxe edition issued by Maeght Editeur, ensuring identical quality and fidelity. The lithographs, executed at the Atelier Mourlot—Europe’s most renowned lithographic studio—reflect the seamless collaboration between Miro and printer Fernand Mourlot, whose partnership had defined the highest standards of fine art lithography since the 1930s. The album embodies Miros philosophy of printmaking as a form of spontaneous creation, translating the energy of his hand directly into color and form. Combining artistic rigor with playful invention, the series captures the essence of Miros late style: joyous, musical, and deeply poetic. 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. Miros 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, Miros 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. Joan Miro Lithograph II...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Rouge, jaune, bleu (Red, Yellow, Blue), originates from the historic 1964 folio Derriere le Miroir, No. 149. Publishe...

ABOUT THIS PIECE: Color is the foundation of this Canadian artist's work. Her circles start as a mood or idea that eventually evolve into a colored circle. She is curious how different colors interact when they're placed next to each other. Within a digital medium she experiments with intensity of colors and the different sensations colors evoke. Why a circle? When she explores her fascination with this shape, she discovers that the circle represents all that is familiar and comforting. It is the shape of the rising sun, of a mother's nipple, of the iris of the eye, and of a full moon. ABOUT THIS ARTIST: Ruth Adler is a Canadian artist whose mediums include paintings, works on paper, animated films and textiles. She is inspired by the city of Tel Aviv, music (she plays the harmonica) and her personal memories. Jim Kempner Fine Art...

This exquisite lithograph by Marc Chagall (1887–1985), titled Les Amoureux sous la Lune (The Lovers under the Moon), from Contes de Boccace, peintures du manuscrit des ducs de Bourgogne, Bibliotheque de l'Arsenal (Ms. no. 5193) (Tales of Boccaccio, Paintings from the Manuscript of the Dukes of Burgundy, Library of the Arsenal), Lavis de Marc Chagall, from Verve, Revue Artistique et Litteraire, Vol. VI, No. 24, originates from the 1950 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Draeger Freres, Maitres-Imprimeurs, Paris, 1950. This tender and poetic composition exemplifies Chagall’s lifelong fascination with love, dream, and transcendence. Les Amoureux sous la Lune radiates intimacy and serenity, its nocturnal palette and floating forms capturing the timeless romance between lovers united under the moon’s luminous gaze. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches. Unsigned and unnumbered as issued. The edition exemplifies the exquisite craftsmanship of the Draeger Freres atelier, celebrated for its precision and tonal richness in printing fine artworks. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Les Amoureux sous la Lune (The Lovers under the Moon), from Contes de Boccace (Tales of Boccaccio), Verve, Revue Artistique et Litteraire, Vol. VI, No. 24, 1950 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches Inscription: Unsigned and unnumbered as issued Date: 1950 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Draeger Freres, Maitres-Imprimeurs, Paris Condition: Well preserved, consistent with age and medium Provenance: From Verve, Revue Artistique et Litteraire, Vol. VI, No. 24, published by Editions de la revue Verve, Paris, 1950 Notes: Excerpted from the album (translated from French), This Verve issue contains the lavis that Marc Chagall composed to illustrate Tales of Boccaccio's Decameron and the paintings on the same theme of the Manuscript of the Dukes of Burgundy preserved in the Arsenal Library. Marc Chagall executed the cover of this work which was completed printing on April 20, 1950 on the presses of Maitres-Imprimeurs, the Draeger Freres. About the Publication: This 1950 issue of Verve, Revue Artistique et Litteraire, titled Contes de Boccace (Tales of Boccaccio), was devoted to the great Italian humanist Giovanni Boccaccio and illuminated manuscripts from the 15th century, interpreted and revived through the eyes of modern artists. Under the artistic direction of Teriade, Marc Chagall contributed a series of lyrical paintings and lavis that reimagined these Renaissance themes with his signature dreamlike color, tenderness, and spiritual symbolism. The issue juxtaposed Chagall’s contemporary vision with the rich heritage of medieval illumination, bridging centuries of artistic imagination. Printed by the master craftsmen of Draeger Freres, the publication stands as a testament to Verve’s tradition of uniting art, literature, and history in one luxurious volume that celebrates the continuity of human creativity from the Middle Ages to modernity. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Les...

Artist: Jacqueline Debutler, French (1928 - ) Title: untitled Year: circa 1965 Medium: Etching with Aquatint, signed and numbered in pencil Edition...

The front cover of Derriere le Miroir (DLM) No. 183 features the work of the renowned Spanish Basque sculptor and artist Eduardo Chillida. This issue, published by the esteemed Frenc...

Abstract landscape monotype of a large cumulus cloud in soft pink and periwinkle blue 12 x 12 inch image on 22 x 33 inch Rives BFK paper Rives BFK paper is made of cotton, has deckle...

Gerhard Richter Abstract Painting (one plate) - artist authorized, 2002 Offset lithographic reproduction on GardaMatt Art 250 GSM paper with full margins. (Artist Authorized) Not signed, edition of 3433 12 1/2 × 16 1/2 inches Unframed This striking limited edition color plate, printed on GardaMatt Art 250 GSM paper with full margins, was published on the occasion of the major twin Richter exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting), and it depicts Richters 1999 Oil on Aluminum abstract picture, catalogue raisonne reference, 858-6. This print is unframed, unnumbered and in excellent condition. More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis B...

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

Mary Anne Watson, American - Net, Year: 1967, Medium: Etching and Aquatint, signed, titled, numbered and dated, Edition: 3/25, Image Size: 12 x 12 inches, Size: 18.5 x 18 in. (46.9...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Allo! Paris!, 1926. Published by Éditions des ...

This exquisite lithograph by Serge Poliakoff (1900–1969), titled Composition rose, rouge et bleue (Pink, Red and Blue Composition), from the album XXe Siecle, Nouvelle serie, XXe Ann...

This exquisite heliogravure after Maurice Esteve (1904–2001), titled La Tapisserie (The Tapestry), from the folio Maurice Esteve, Peintres d'aujourd'hui (Maurice Esteve, Painters of ...

1-2-3 Outside reproduces James Rosenquist’s 1963 oil painting of the same name, collected in the Spencer Museum of Art, The University of Kansas, Lawrence. Rosenquist sourced the ima...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 179, originates from the 1969 edition published by...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Esquiman (Eskimo), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), originates from the 19...

This exquisite heliogravure by Joan Miro (1893–1983), titled Femme V/VI (Woman V/VI), from the folio Joan Miro, Femmes (Women), originates from the 1965 edition published and printed...

Aaron Wexler received his B.F.A. in painting from Tyler School of Art - Philadelphia, PA. & M.F.A in painting from The School of The Art Institute of Chicago. He has exhibited his work nationally and internationally - including Josée Bienvenu Gallery, Pavel Zoubok Gallery, Morgan Lehman Gallery, The National Academy Museum, The Katonah Museum of Art, among many others. Works have been acquired by numerous collections such as The Saatchi Collection, The West Collection, Fidelity Investments Art...

Robert Rauschenberg Museo D'Arte Moderna, Ca' Pesaro Venezia, 1975 Extremely rare vintage offset lithograph poster 39 4/5 × 27 3/5 inches Unframed Accompanied by Certificate of Guara...

This exquisite lithograph by Alexander Calder (1898–1976), titled Formulaire noir et rouge (Black and Red Form), originates from the historic 1973 folio Derriere le Miroir, No. 201. ...

Artist: Arthur Boden, American Title: T Series (Red) Year: circa 1970 Medium: Screenprint, signed and numbered in pencil Edition: 100 Size: 29 in. x 23 in...

These lively, colorful works are full of movement and Mira's characteristic mysterious, mythical figures and shapes. Victor Mira Set of three woodcuts on buff, textured paper, 1983...

Rio de Janeiro is a colorful, bold, graphic, and visually compelling offset-lithograph by blue chip, pop artist Robert Rauschenberg. ​​​​​​​​​​​​​​​​In 1991, he was involved with th...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From volume, Joan Miro by Jacques Prévert and Georges R...

This exquisite lithograph by Pablo Palazuelo (1915–2007), titled Sans titre (Untitled), originates from the 1963 folio Derriere le Miroir, No. 137, published by Maeght Editeur, Paris...

Created by Al Held in 1988, Almost There is an aquatint with hard-ground etching on Somerset paper. Hand-signed, dated, and numbered from the edition of 60 in pencil on the verso, th...

Georg Karl Pfahler, German (1926 - 2002) - Ost-West Transit IV, Portfolio: Ost-West Transit, Year: 1971, Medium: Screenprint, signed and numbered in pencil on verso, Edition: 52/...

Art Card: Wolf Kahn, High Summer 1972 (Hand signed, dated and inscribed) Offset lithograph card 1972, ca. 1988 Hand signed, dated 2/96 and inscribed "For Tom" in black marker on the ...

Artist: Robert Goodnough Title: Autumn Leaves Always Year: 1992 Medium: Screenprint, signed and numbered in pencil Edition: 150, A/P Image: 23 x 31.5 inches Size: 27.5 x 39.5 in. (6...

This exquisite lithograph by Henri Matisse (1869–1954), titled Vence 1944–1948, from Verve, Revue Artistique et Litteraire, Vol. VI, No. 21–22, originates from the 1948 issue publish...