New York - Abstract Prints

This exquisite lithograph by Alexander Calder (1898–1976), titled Sabot et le bonnet phrygien (Clog and Phrygian Cap), originates from the historic 1963 folio Derriere le Miroir, No....

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Table before Window, from the folio Picasso, Fifteen Drawings, 1946, originates from the 1946 edition published by Pantheon Books, Inc., New York, and rendered and printed by Albert Carman, City Island...

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

Miro Sculptures. Illustrated by Miro, EXCLUDING 5 color lithographs, all printed by Mourlot (4 are double-page, including the cover). Includes an additional booklet with photographs ...

ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Johan Van Oeckel. In search for new compositions he always starts ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Tete blanche et rose (White and Pink Head), from the album Portraits par Henri Matisse (Portraits by Henri Matisse),...

Peter Halley Cell with Explosions I, 1993 Line Engraving on Japanese Wahon Creme Kozo Paper with glazed surface Hand signed and numbered 49/50 by the artist on lower front Original frame included: matted and framed in a wood frame Rarely to market, this hand signed and numbered 1993 Peter Halley print is held in its original 1990s vintage frame. It's on elegant Japanese Wahon cream paper which is 100% Kozo paper with glazed surface. The specs on the paper are part of the design process. Measurements: Frame: 19 x 19 x 1 inches Visible: 12 1/4 x 12 1/4 inches Sheet: 15 7/8 x 15 1/4 inches Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

This edition was commissioned in 1980 by Lincoln Center to commemorate its 10th Annual Community Festival. The signed and numbered edition is 144 was printed at Fine Creations. Born in 1940 (Pittsfield, MA), Nancy Graves explored the interplay between the replication of nature and the formal values of abstract art in her wide variety of works throughout her life. Thought she first gained attention with her realistic, life-sized camel sculptures, she was later inspired to draw, paint and print by visual representations of natural phenomena, like weather and moon maps...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by The Collector's Guild Ltd., New York in association with Th...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Charles Baudelaire, from the album Portraits par Henri Matisse (Portraits by Henri Matisse), originates from the 1...

This exquisite lithograph by Marino Marini (1901–1980), titled Miracolo (Miracle), from the album XXe Siecle, Nouvelle serie, XXXII Annee No. 35, Decembre 1970, originates from the 1...

This exquisite lithograph by Hans Jean Arp (1886–1966), titled Composition sur fond bleu (Composition on a Blue Background), from the folio Derriere le miroir, L’art abstrait, No. 21...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Ediciones Polígrafa, Redfern Gallery, 1979. Published by Redfern Gallery, London...

This exquisite heliogravure after Maurice Esteve (1904–2001), titled Le Faucheur (The Reaper), from the folio Maurice Esteve, Peintres d'aujourd'hui (Maurice Esteve, Painters of Toda...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Le Lagon (The Lagoon), from Henri Matisse, Jazz, originates from the 1983 second edition published by George Brazi...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the April 1961 folio Derriere le Miroir, No. 125-126, published by Maeght Editeur, P...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Circuitous Year: 1978 Medium: Silkscreen, signed and numbered in pencil Edition: 70 Image Size: 20 x 20 inches Size: 22 x 22 inches

ABOUT THIS PIECE: The Endless Summer film poster has long been an inspiration to the artist, evoking the question, what if summer never had to end? In these images Jessica share's th...

This exquisite lithograph by Bram van Velde (1895–1981), titled Formulaire bleu (Blue Form), from the folio Derriere le miroir, No. 43, originates from the 1952 edition published by ...

This exquisite etching after Joan Miro (1893–1983), titled L'Aigrette (The Egret), from the folio Derriere le miroir, 10 Ans d'Edition 1946–1956, No. 92–93, originates from the 1956 ...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

This exquisite lithograph after Alberto Giacometti (1901–1966), titled Femme assise (Seated Woman), from the folio Derriere le miroir, No. 65, originates from the 1954 edition publis...

This exquisite lithograph by Andre Masson (1896–1987), titled Le Labyrinthe (The Labyrinth), from the album XXe Siecle, Nouvelle serie, XXXIe Annee No. 32, Juin 1969, originates from...

ABOUT THIS PIECE: This piece is part of the Candy Skies Collection. Utilizing digital collage and advanced editing techniques, Jessica configures the tones of her photographs to repr...

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 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 ...

Artist: Thomas W. Benton, American (1930 - 2007) Title: Untitled I Year: 1979 Medium: Silkscreen, Signed and numbered in pencil Edition: AP Image Size: 32 x 32 inches Size: 35...

This limited edition color lithograph poster was created for the 1981 production of Shakespeare’s Twelfth Night, directed by David Mamet, a close associate of Donald Sultan. Printed ...

This exquisite lithograph after Joan Miro (1893–1983), titled Miro as Sculptor, originates from the 1974 edition published by Ediciones Poligrafa, S.A., Barcelona, and printed by La ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Princesse Hamide S. (Princess Hamide S.), from the album Portraits par Henri Matisse (Portraits by Henri Matisse),...

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

This exquisite heliogravure after Henri Matisse (1869–1954), titled Soudanaise (Sudanese Woman), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), originates f...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Serge Stchoukine (Serge Stchoukine), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), orig...

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 heliogravure after Henri Matisse (1869–1954), titled Charles d'Orleans (Charles of Orleans), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), o...

This exquisite lithograph by Alexander Calder (1898–1976), titled Composition aux Cercles (Composition with Circles), from the folio Derri...

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...

Signed and numbered in pencil

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 Francis Bacon (1909–1992), titled Portrait of George Dyer Crouching, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published by...

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 ...

Ansel Adams and the West, 1979 Offset Lithograph Poster 23 × 36 inches Unframed This offset lithograph poster was created on the occasion of the Ansel Adams exhibition, Ansel Adams and the West, at the Museum of Modern Art in New York from September 8 - October 28, 1979. The photograph featured in this poster is Old Faithful...

ABOUT THIS PIECE: White Wood Frame, Floated 28x20 inches “Liquid Mirrors” is an ongoing project— started in late 2012— where I use mylar to photograph t...

ABOUT THIS PIECE- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x17, edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, br...

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...

Artist: Jack Sonenberg, American/Canadian (1925 - ) Title: Dimensions 1 Year: 1970 Medium: Etching with Aquatint with String Collage, signed and numbered in pencil Edition: 50 Image ...

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...

Jonathan Borofsky 2779494: The Olympic Runner Los Angeles 1984 Olympic Games (Hand Signed with Olympic Committee COA), 1982 Offset Lithograph on Parson'...

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...

ABOUT THIS PIECE: “Meadow” 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 painting thro...

Alexander Calder (after) Paper Ball, 2001 100% silkscreen on silk scarf 33 inches × 35 inches - fully opened (unfolded) Unframed Published by Powerball, with special authorization from the Estate of Alexander Calder In 1949 Calder was commissioned by the New York firm Laverne Originals to create two designs for use as fabric and wallpaper. This design - Paint Ball, a beautiful silk scarf...

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 and pochoir after Joan Miro (1893–1983), titled Personnage et oiseaux (Figure and Birds), from the album Miro, Cartones 1959–1965 (Miro, Cardboards 1959–196...

Untitled, 2020 by Chin Chih Yang is a signed limited edition print on archival paper: 28/75 - edition number, date of creation, and artist's signature on recto (front of work) - in m...

This exquisite lithograph by Paul Wunderlich (1927–2010), titled Frau mit Lorbeer (Woman with Laurel), from the album XXe Siecle, Nouvelle serie, XXXIXe Annee, No. 48, originates fro...

This exquisite lithograph by Cesar Baldaccini (1921–1998), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXIIe Annee, N° 16, Mai 1961, originates from the ...

Thelma Appel Meeting Plaza, 2018 25 Color Silkscreen on 320 Gram Coventry paper with full margins and deckled edges. Accompanied by ARTIST SIGNED, gallery issued Certificate of Authe...

This exquisite lithograph by Max Ernst (1891–1976), titled Electra (Electra), from the album XXe Siecle, Nouvelle serie, XXIe Annee, No. 13, Noel 1959, originates from the 1959 editi...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from t...

Printer’s ink from rubber stamp on vélin Kilmurray paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Published b...