New York - Abstract Prints

Russell’s Way by Al Held, American (1928–2005) Date: 1969 Aquatint on Somerset paper, signed, dated, and numbered in pencil verso Edition of 37/50 Image Size: 35.5 x 44.5 inches Size...

Dimitri Petrov, American (1919 - 1986) - Cubist Band, Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: AP 48, Size: 22 x 30 in. (55.88 x 76.2 cm)

Niki de Saint Phalle I Rather Like You A Lot You Fool, 1970 Silkscreen on wove paper Signed and numbered 74//75 in graphite pencil on the front Frame included: This work is elegantly floated and framed in a museum quality white wood frame with UV plexiglass Accompanied by gallery issued Certificate of Guarantee A delightful and clever work. The text reads: I Rather Like You A Lot You Fool Not much Hair Crooked Nose You are not very rich You’re not terribly intelligent You smoke too much pot You are lazy A bit crazy But I like the way you touch me I like the way you look at trees and flowers I like the way you look at me You found the key to my heart Dimensions: Framed 23.5 vertical by 28.5 by 1.5 inches Artwork: 19.5 by 25.5 inches "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles... Her Nanas, bold, sexy sculptures...

Black & Moorhead 158. In just the middle inch or so of this image Hayter has managed to draw in a female nude and a horse, with special attention to the head. It was Hayter's custom ...

Signed and numbered in pencil

This exquisite four color process archival pigment print after George Condo (born 1957), titled Purple Compression, from the folio George Condo, Drawing Paintings, originates from th...

'EVEN THE HEART SKIPS A BEAT' is a signature stylistic print by RETNA. The large-scale glittering artwork is a silkscreen print with layers of genuine diamond dust. This exquisite p...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

Walter Darby Bannard, American (1934 - 2016) - Summer Dots, Year: 1980, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 153/160, Image Size: 22.5 x 34 inches...

This is a high-quality reproduction of Tiger Boat, an expressive and abstract work by Don van Vliet, better known to many as Captain Beefheart. While the...

Artist: Darryl Hughto, American (1943 - ) Title: Number Four Date: 1978 Screenprint, signed, titled, dated and numbered in pencil Edition: 150 Image Size: 39 x 29 inches Size: 42.5...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Mademoiselle M.B. (Miss M.B.), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), originates...

numbered and signed lower margin S&S Cat. no. 2007.01 edition 6/30 Published by Simmelink/Sukimoto Editions, Kingston, New York Associated with the Minimalist art movement of the 1...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 2 (Plate No. 2), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositions...

Jasper Johns "Jasper Johns Paintings", vintage Leo Castelli Gallery poster, 1984 Offset lithograph Unsigned Unnumbered 30 × 22 1/2 inches Unframed Offset lithograph poster published...

Claes Oldenburg Fagends Carved in Rock, De-Accessioned from the Denver Art Museum (137, Axsom and Platzker), 1975 Offset Lithograph. Hand signed and ...

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

Gilbert & George Gilbert and George Major Exhibition, Tate Modern (Hand Signed), 2007 Offset Lithograph Poster Hand signed by Gilbert & George on the front 30 x 20 inches Unframed E...

Victor Vasarely, Hungarian (1908–1997) Date: 1955 Screenprint, signed and numbered in pencil Edition of 124/150 Image Size: 16 x 22 inches Size: 20 x 25.75 in. (50.8 x 65.41 cm)

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Femme et oiseau V/X (Woman and Bird V/X), from the album Miro 1959–1960 (Miro 1959–1960), originates from th...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1964 album Recettes pour un ami, illustrations de Jean Cocteau (Recipes for a...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1955 album Sous le manteau de feu, Poems, douze lithographies originales de J...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 17.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

This screen print was created to celebrate the Mostly Mozart Festival in 1982. A pattern of shapes in pale pinks, greens and silver tones creates an image resembling a tapestry. The total edition size is 144 plus 18 artist proofs. It is hand signed and numbered in pencil by the artist with the blindstamp of the printer, Fine Creations, Inc., New York. This print comes directly from Lincoln Center, the publisher of the edition. Joyce Kozloff was a founder of the 1970s Pattern...

ABOUT THIS ARTIST: Karin Berndl is an award-winning still life and beauty photographer who found her true creative home in London. Karin is fascinated by unusual materials, fleeting ...

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...

Emily Mason Untitled (For Douglas), 1990 Carborundum etching and monotype on paper Pencil signed, dated and inscribed "For Douglas" Vintage wood frame included This work was created ...

Billy Al Bengston LA 1984 (with official COA from Olympic Committee), 1982 Offset Lithograph and lithograph on Parson's Diploma paper (hand signed), with COA from Olympic Committee &...

Original serigraph published in 1997, printed by master printer Alain Buyse. This work, titled Alter Ego, measures 14 x 19.5 inches and exemplifies Förg’s distinctive exploration of ...

Hans Hofmann Hans Hofmann at Andre Emmerich Gallery Poster, 1973 Offset lithograph poster Plate signed on the bottom right front Frame Included (held in original vintage metal frame)...

Cecily Brown Paintings at Modern Art Oxford (hand signed and inscribed), 2005 Offset lithograph poster (signed and inscribed to Nadine) Hand signed and inscribed to Nadine by Cecily ...

Jasper Johns, Prints, 1960-70 (Hand Signed by Jasper Johns), 1970 Offset lithograph poster (signed by Jasper Johns) Boldly signed in black marker on the front 35 × 23 1/2 inches Published by the Philadelphia Museum of Art The artwork depicted in the poster is Jasper Johns lithograph...

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...

Lanny Lasky (1923-2011) Untitled, c. 1970s Print (lithograph?) Sight: 22 1/4 x 17 1/2 in. (image) Framed: 30 1/2 x 22 1/2 x 1 1/2 in. Signed lower right, numbered lower left: 113/120 Lasky was as passionate about making art accessible to all as she was about creating it. She devoted much of her time to art education — as an education director for the Hudson River Museum, at the Lincoln Center Institute and the Bronx Council on the Arts. She was a consultant to the New York State Council on the Arts and the Connecticut State Department of Education and worked in many capacities, including director at the Museum of Modern Art’s education department from 1986 to 2001. Lasky brought art to countless Riverdale children and senior citizens through her work with Riverdale Neighborhood House. “Throughout her life she was always committed to her work as an artist, but she was also seriously committed to art education and that was important,” her son, Michael Lasky, said. “She worked toward innovative art programs and had the kids paint...

Woodcut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, miró graveur 1. 1928- 1960, 1984. Published by Daniel Lelong, éditeur...

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

ABOUT THIS PIECE: I based Cloud 9 on the spectrum of colors found in nature at different times of the day and four seasons in Aspen, Colorado. Little Nell is a reflection of the cool...

A dynamic and textured screenprint by American Abstract Expressionist, Larry Poons. This series of prints resemble canvases that have been splashed violently with paint. This piece i...

This exquisite lithograph by Alexander Calder (1898–1976), titled Porc qui pique (Prickly Pig), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeg...

ABOUT THIS ARTIST: Siobhan O’Dwyer is a creative artist splitting her time between New York City and Southern California. Working as a full-time pharmacist in the beginning of her cr...

Kenneth Noland Ojai Festival print (Deluxe signed limited edition), 1986 Lithograph with offset lettering Hand signed and numbered 6/100 by Kenneth Noland on lower front Frame inclu...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Runde Linie (Round Line), from the folio Derriere le miroir, No. 101–103, originates from the 1957 edition publi...

Liu Jian, Chinese (1961 - ) - LXXVIII, Year: 1999, Medium: Monoprint, signed and dated in pencil, Size: 25 x 19 in. (63.5 x 48.26 cm), Description: An Abstract Expressionist mo...

ABOUT THIS PIECE: “Liquid Mirrors” is an ongoing project— started in late 2012— where I use mylar to photograph the reflections of my subjects. I am mimicking the medium of oil paint...

Paula Scher, American (1948 - ) - The Letter G, Portfolio: The Alphabet Portfolio, Year: 1994, Medium: Screenprint, Image Size: 33.75 x 22 inches, Size: 35 x 23 in. (88.9 x 58.4...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1955 album Sous le manteau de feu, Poems, douze lithographies originales de J...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1955 album Sous le manteau de feu, Poems, douze lithographies originales de J...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1955 album Sous le manteau de feu, Poems, douze lithographies originales de J...

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1955 album Sous le manteau de feu, Poems, douze lithographies originales de J...

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

This exquisite lithograph by Jean Cocteau (1889–1963), titled Sans titre (Untitled), originates from the 1955 album Sous le manteau de feu, Poems, douze lithographies originales de J...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Le Destin (Destiny), from Henri Matisse, Jazz, originates from the 1983 second edition published by George Brazill...

Thomas Nozkowski (b. 1944, Teaneck, New Jersey; d. 2019, New York) was recognized for his richly colored and intimately scaled abstract paintings, drawings, and prints that push the...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition aux Spirales (Composition with Spirals), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1968. Composition aux Spirales exemplifies Calder’s mastery of rhythm and form, translating his sculptural language of balance and motion into vivid, dynamic compositions on paper that capture his signature sense of energy and harmony. Executed as a lithograph on velin paper, this work measures 15 x 22 inches, with centerfold, as issued. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Alexander Calder (1898–1976) Title: Composition aux Spirales (Composition with Spirals), from the folio Derriere le miroir, No. 173 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.88 cm), with centerfold, as issued Inscription: Unsigned and unnumbered as issued Date: 1968 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 173, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1968 Notes: Excerpted from the folio (translated from French), The illustrations in this issue are original lithographs by Alexander Calder drawn in the workshops of the Arte printing shop. This issue of "Behind the Mirror" has a luxury edition drawn on velin de Lana and limited to CL examples numbered and signed by the artist on the colophon. The text of G. Carandente was translated from Italian by Alain Veinstein. About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght’s belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Alexander Calder (1898–1976) was an American sculptor, painter, and printmaker whose pioneering innovations in kinetic art revolutionized 20th-century sculpture and transformed modern visual language. Born in Lawnton, Pennsylvania, into a family of artists, Calder initially trained as a mechanical engineer at the Stevens Institute of Technology before turning to art at the Art Students League in New York—a combination of technical precision and creative imagination that defined his career. Moving to Paris in 1926, he immersed himself in the avant-garde and formed friendships with Pablo Picasso, Alberto Giacometti, Joan Miro, Wassily Kandinsky, Salvador Dali, Marcel Duchamp, and Man Ray, whose ideas profoundly shaped his artistic philosophy. From Picasso, he absorbed structural invention; from Miro, lyrical abstraction; from Kandinsky, spiritual geometry; and from Duchamp and Man Ray, the courage to merge intellect and play. In Paris, Calder created his famous Cirque Calder, a miniature mechanical circus that introduced motion and performance as central components of sculpture, and by the early 1930s, he invented the mobile—a term coined by Duchamp—to describe his delicately balanced, moving sculptures that responded to air currents. Later, Jean Arp would name his stationary counterparts stabiles. These two inventions—sculptures that could either float and spin gracefully or stand monumentally still—transformed art into a dynamic dialogue between movement, balance, and space. Calder’s signature forms, painted in vivid reds, blacks, blues, and yellows, embodied both joy and precision, creating an art that was at once abstract, organic, and deeply human. Like Kandinsky and Miro, he viewed art as a form of rhythm and emotion; like Duchamp, he embraced innovation and humor; and like Giacometti and Dali, he was fascinated by perception, structure, and the unseen forces of motion. His monumental public sculptures—such as La Grande Vitesse (1969) in Grand Rapids and Flamingo (1973) in Chicago—redefined public art as a symbol of civic optimism and modern progress. A key bridge between European modernism and American abstraction, Calder’s influence extended to artists including Jean Tinguely, George Rickey, Donald Judd, Ellsworth Kelly, Richard Serra, and Olafur Eliasson, whose works in kinetic and spatial art continue to echo his vision. His gouaches, prints, and jewelry carried the same balance and movement as his sculptures, revealing a unified language of rhythm across media. Represented in every major modern museum—including MoMA, the Guggenheim, the Tate, and the Centre Pompidou—Calder remains celebrated for merging engineering, color, and poetry into an art of pure equilibrium. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he remains one of the cornerstones of modern art—a visionary whose works breathe with motion, grace, and joy. His highest auction record was achieved by Poisson Volant (Flying Fish) (1957), which sold for $25.9 million at Christie’s, New York, on May 15, 2014, reaffirming Alexander Calder’s enduring legacy as one of the most inventive, dynamic, and collectible artists in the history of modern art. Alexander Calder Composition...