New York - Landscape Prints

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...

Paris, Delpech. Lithograph with engraving on cream wove paper, 11 7/8 x 8 inches (299 x 203 mm), unevenly trimmed but full margins, the full sheet. In good condition with two paper ...

Etching on cream laid paper with a deckle edge and with an unidentified watermark with an "AL" inside an ovoid cartouche with a garter and buckle (likely English 19th century), 9 1/2...

Etching on watermarked antique handmade FJ Head paper, 9 1/2 x 14 3/4 inches (240 x 373 mm); sheet 14 x 18 1/4 inches (355 x 463 mm), full margins. Signed and dated in pencil, lower margin. Edition of 97. A magnificent, silvery impression with extremely minor (almost invisible) mat tone. [Fletcher 177] [Illustrated: Page 160, Arms, Dorothy Noyes, "Hilltowns and Cities of Northern Italy"]. The Boat Builders Yard in San Trovaso is a historic 17th-century gondola repair and building yard in Venice, Italy. It's one of the few remaining such workshops in Venice, where skilled artisans traditionally craft and maintain the iconic black gondolas used...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Levi, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by Andr...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

Etching on cream laid paper, 4 7/8 x 6 1/4 inches (123 x 160 mm), full margins. In good condition with some age tone around the sheet edges and an inscription in pencil on the verso.

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This exquisite lithograph after Henri Matisse (1869–1954), titled Vigne (Vine), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1958 issue publish...

This exquisite lithograph after Jean-Edouard Vuillard (1868–1940), titled Le studio de couture (The Dressmaking Studio), originates from the 1966 folio Derriere le Miroir, No. 158–15...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré au Blaue Reiter, Derrière le miroir...

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...

This exquisite lithograph after Georges Rouault (1871–1958), titled Cavalier (Horseman), from the album XXe siecle, numero special hors abonnement, Hommage a Georges Rouault, origina...

This exquisite lithograph by Marc Chagall (1887–1985), titled Tamar Belle-Fille de Judas (Tamar, Daughter-in-Law of Judah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, originates from the September 1956 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1956. This emotionally charged and symbolically rich composition depicts the story of Tamar, daughter-in-law of Judah, who secures her justice through faith and courage. Chagall’s lyrical interpretation infuses the biblical episode with empathy and transcendence, portraying Tamar not merely as a figure of defiance, but as an embodiment of dignity, destiny, and divine justice. The fluidity of his line and ethereal use of light convey the spiritual depth that defines Chagall’s biblical imagery, uniting the moral and the mystical. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Tamar Belle-Fille de Judas (Tamar, Daughter-in-Law of Judah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, September 1956 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cain, Julien, and Fernand Mourlot. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustrations 117–46. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustrés. P. Cramer ed., 1995, illustration 25. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, published by Editions de la revue Verve, Paris, 1956 Notes: Excerpted from the album (translated from French), This double issue of Verve is dedicated to the full reproduction in heliogravure of the one hundred-five plates etched by Marc Chagall, between 1930 and 1955, for the illustration of the Bible. The artist composed especially for the present work, sixteen lithographs in color and twelve in black, as well as the cover and the title page. This volume was completed and printed on September 10, 1956, by the Master Printers Draeger Freres for heliogravure, and by Mourlot Freres for lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. VIII, No. 33–34 in September 1956, represents one of the crowning achievements of Chagall’s lifelong dialogue with the sacred. Conceived and directed by the visionary publisher Teriade and printed by the master lithographers Mourlot Freres, the issue features thirty-four color lithographs and numerous black-and-white drawings inspired by biblical figures and stories. Chagall’s works for this edition unite text and image in a luminous meditation on divine creation, moral struggle, and spiritual renewal, imbued with his signature dreamlike symbolism and radiant color. Produced in postwar Paris, this landmark publication reaffirmed the enduring union of art and faith, establishing Dessins Pour La Bible as one of the most important illustrated works of the 20th century. 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 Tamar...

This exquisite lithograph by Joan Miro (1893–1983), titled L'Astre Patagon (The Patagonian Star), originates from the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. L'Astre Patagon embodies Miro's signature dreamlike abstraction—an interplay of cosmic forms, floating symbols, and lyrical color. This composition radiates the artist’s boundless imagination and his poetic dialogue between the material and the celestial. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Unsigned and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, capturing Miro’s visual rhythm and surreal energy in a strikingly balanced composition. Artwork Details: Artist: Joan Miro (1893–1983) Title: L'Astre Patagon (The Patagonian Star), from Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), 1960 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Date: 1960 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne des Livres Illustres. P. Cramer, 1989, illustration 62. Miro, Joan. Joan Miro, Lithographe / II, 1953–1963. Preface by Raymond Queneau. Maeght, 1975, illustration 265 Condition: Well preserved, consistent with age and medium Provenance: From the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), 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: Joan Miro (1893–1983) was a Catalan painter, sculptor, and ceramicist whose imaginative, dreamlike vision helped spearhead the Surrealist movement and left an indelible mark on modern art. Born in Barcelona and deeply rooted in Catalan culture, Miro moved to Paris in the early 1920s where his playful shapes, cosmic motifs, and childlike yet sophisticated abstractions broke new ground alongside the great innovators of his time. His artistic dialogue aligned with contemporaries such as Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Jackson Pollock, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom challenged the conventions of form, color, and symbolism. Miro distilled these ideas into a uniquely poetic visual vocabulary—birds, stars, and bold spectral forms emerging from flat planes of color—that has inspired scores of artists and continues to influence modern and contemporary masters including Banksy, Damien Hirst, Jeff Koons, Andy Warhol, and Jasper Johns. His works are represented in leading museums worldwide, including MoMA, the Guggenheim, the Tate, and the Centre Pompidou, and remain highly sought after by collectors. The highest price ever paid for a Joan Miro artwork is approximately $37.06 million USD, achieved in June 2012 at Sotheby’s London for Peinture (Etoile Bleue) (1927). Joan Miro L'Astre Patagon, Miro Derriere le Miroir, Miro Maeght Editeur Paris, Miro Mourlot Freres, Miro 1960...

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled Sans titre (Untitled), from the folio Vieira da Silva, Peintres d'au...

This exquisite woodcut after Wassily Kandinsky (1866–1944), titled Jungster Tag (Judgment Day), from the album XXe Siecle Paris, Hommage a Wassily Kandinsky, originates from the 1975...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

Etching on cream laid paper, 3 3/16 x 1 9 1/6 inches (81 x 41 mm), full margins. Signed, dated, and inscribed "II" in pencil, lower margin. From the second state (of 2) before the re...

Etching on cream wove paper, 3 3/16 x 1 9/16 inches (81 x 41 mm), full margins. Signed, dated, and inscribed "II" in pencil, lower margin, and with an inscription and dedication in t...

Etching on bluish-grey wove paper, 8 5/8 x 5 1/8 inches (221 x 130 mm), full margins. Signed and dated in pencil. In good condition with light mat tone on the recto and various frame...

Etching on antique cream laid paper, 5 x 2 inches (127 x 52 mm), full margins. Signed and dated in pencil lower margin. From the editoin of 156, printed by Frederick Reynolds. In s...

Etching on antique cream laid paper with a partial watermark, 9 5/8 x 4 1/4 inches (246 x 109 mm); full margins. Signed and dated "1928" in pencil, lower margin. Inscribed "Street in Porto Maurizio...

Etching with aquatint printed in brownish black ink on watermarked BFK Rives cream wove paper, 9 1/2 x 7 11/16 inches (240 x 193 mm), full margins. Signed in pencil and numbered 79/...

Etching on cream wove paper, 5 9/16 x 2 3/4 inches (142 x 70 mm), full margins. Signed, titled, numbered "III," and inscribed in pencil by the artist in the lower margin, recto. In v...

Lithograph on cream wove paper, 12 3/4 x 9 1/8 inches (322 x 231 mm), margins trimmed. Some scattered light foxing on the verso, handling creases, and adhesive residue along the top sheet edge, and left sheet edge, verso. Recto is clean. Born in Bordeaux in 1804, Adrien Dauzats...

The Minature Print Society of Kansas City, Mo. , 1942. Etching on cream colored Japon wove paper, 2 1/4 x 2 15/16 inches (58 x 75 mm), full margins. Signed, dated and inscribed "II"...

Etching on thin, bluish-green cream laid paper, 9 1/4 x 4 3/4 inches (233 x 120 mm), full margins. Signed and dated in pencil, lower margin. First and only state. Printed by Frederi...

This exquisite heliogravure after Mark Tobey (1890–1976), titled Composition en bleu-gris (Mme T.) (Composition in Blue-Gray [Mrs. T.]), from the folio Mark Tobey, Peintres d'aujourd...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

This exquisite silkscreen after Jean Cocteau (1889–1963), titled Sans titre (Untitled), from the album Nous croyons en lEurope, Etudes pour un projet de timbre (We Believe in Europe,...

Noel Daggett, American (1925 - 2005) - Pay Dirt, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 20 x 24.5 inches, Size: 22...

This exquisite collotype after Max Ernst (1891–1976), titled La Mer et la pluie (The Sea and the Rain), from the album Max Ernst, Histoire Naturelle (Natural History), originates fro...

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...

The limited edition lithograph Boat on a Shore in Brittany by Georges Braque is a significant piece for collectors and art enthusiasts. Printed by ARTE in Paris, this lithograph offe...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

This exquisite lithograph by Giuseppe Capogrossi (1900–1972), titled Superficie (Surface), from the album XXe Siecle, Nouvelle serie, No. 5 (double), Juin 1955, originates from the 1...

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled Objet sans ombre (Object Without Shadow), from the folio Andre Lanskoy, Peintres d'aujourd'hui (Andre Lanskoy, Pai...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Mere et enfants (Mother and Children), from the album Les Lithographies de Renoir (The Lithographs of Renoir...

This exquisite lithograph by Marcel Duchamp (1887–1968), titled Bond de Monte-Carlo (Monte Carlo Bond), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur ...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Richard Wagner, from the album Les Lithographies de Renoir (The Lithographs of Renoir), originates from the ...

This exquisite lithograph by Joan Miro (1893–1983), titled Grandes terres de feu (Great Lands of Fire), from the folio Derriere le miroir, No. 87–89, originates from the 1956 edition...

This exquisite lithograph by Claude Garache (born 1930), titled Deux Nus (Two Nudes), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguerit...

This exquisite lithograph by Keith Haring (1958–1990), titled Untitled, from the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989), or...

This exquisite lithograph by Francois Fiedler (1921–2001), titled Sans titre (Untitled), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Margue...

This exquisite lithograph after Pierre-Auguste Renoir (1841–1919), titled Portrait de Jeanne Baudot (Portrait of Jeanne Baudot), from the album Les Lithographies de Renoir (The Litho...

Hans-Georg Rauch, German (1939 - 1993) - Perspectives Adventure (1D), Year: 1975, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 75, Size: 14 in. x 20 in....

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled Midi (Noon), from the folio Vieira da Silva, Peintres d'aujourd'hui ...

Resist ground etching and engraving on cream wove paper, 22 x 39 inches (558 x 990 mm), full margins. Signed, titled, dated, and numbered 27/160 in pencil, lower margin. With the blindstamp of the printer, Robert E. Townsend, in the lower left margin. A beautiful, richly inked impression of this highly detailed, large image. In very good condition with minor mat tone, extremely minor scattered light surface soiling, and one pin-point sized dot of brown discoloration on the lower left margin, recto, well outside of image area. [Milton 99]. Milton states that there is a metaphorical evolution at the root of his body of graphic work, and with Les Belles et la Bête, Before the Hunt, he found himself at a crossroads that he viewed as a sort of artistic adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. The image is brimming with fantastical images and metaphors for the confrontation of sexual exploration; a Freudian analyst appears in the left of the image, scattered tableaus of paired figures...

This exquisite lithograph after Henri Matisse (1869–1954), titled Fusain (Charcoal), from the album Dessins de Henri-Matisse (Drawings by Henri Matisse), originates from the 1925 edi...

Wolf Kahn Wolf Kahn's America (Hand signed and inscribed), 2003 Hand signed and dedicated hardback monograph with dust jacket Boldly signed in ink with heartfelt personal dedication ...

This exquisite lithograph after Kees van Dongen (1877–1968), titled La Matchiche (La Matchiche), from the folio Fauves, VII (Fauves, VII), Collection Pierre Levy, 1972, originates fr...

Guy Charon, French (1927 - 2021) - Flower Lined Home, Year: circa 1975, Medium: Lithograph on Arches, signed, and numbered in pencil, Edition: 250, EA, Image Size: 22.75 x 18.25 ...

This exquisite lithograph by Max Ernst (1891–1976), titled Coelacanthe (Coelacanth), from the album XXe Siecle, Nouvelle serie, XXXVIe Annee, No. 42, Juin 1974, originates from the 1974 edition published by Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Pierre Chave, imprimeur, Vence, 1974. Coelacanthe reflects Ernsts poetic, textural, and dream-infused Surrealist language at a mature moment in his career. Executed as a lithograph on velin paper, this work measures 12.5 x 9.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Pierre Chave, imprimeur, Vence. Artwork Details: Artist: Max Ernst (1891–1976) Title: Coelacanthe (Coelacanth) Medium: Lithograph on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Unsigned and unnumbered as issued Date: 1974 Publisher: Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Pierre Chave, imprimeur, Vence Catalogue Raisonne Reference: Ernst, Max, et al. Max Ernst: Graphische Welten: Die Sammlung Schneppenheim. DuMont, 2003, illustration 252. Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Nouvelle serie, XXXVIe Annee, No. 42, Juin 1974, published by Societe Internationale dArt XXe Siecle, Paris; printed by Pierre Chave, imprimeur, Vence, 1974 About the Publication: Gualtieri di San Lazzaros XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs and woodcuts printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. The 1960 issue, XXe Siecle, Nouvelle serie, No. 14, showcased Daphnis et Chloe, one of Chagalls most celebrated lithographic subjects, coinciding with his work on the monumental suite of lithographs inspired by the same pastoral tale, published by Teriade. Through this publication, San Lazzaro further cemented Chagalls reputation as the modern poet of color and love, uniting myth, nature, and emotion in visual form. Today, XXe Siecle remains an essential record of 20th century modernism, celebrated for its seamless integration of fine art, literature, and design. About the Artist: Max Ernst (1891–1976) was a German-French painter, sculptor, printmaker, and poet whose groundbreaking imagination and experimental techniques made him one of the most revolutionary figures of 20th century art, a founding member of both Dada and Surrealism who dismantled traditional notions of art through chance, dream imagery, and psychological exploration; born in Bruhl, Germany, he studied philosophy and psychology at the University of Bonn before rejecting academic convention to pursue art, inspired by the Symbolists, Cubists, and the early abstractions of Pablo Picasso and Wassily Kandinsky; the trauma of World War I propelled him toward the Dada movement in Cologne in 1919, where he began creating collages that fused scientific diagrams and Victorian engravings into surreal dreamscapes; by 1922 he had moved to Paris and joined an avant-garde circle that included Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, Man Ray, and Andre Breton, each sharing his fascination with the irrational and the unseen; Ernsts invention of frottage (rubbing) and grattage (scraping) revolutionized modern painting by allowing chance to participate in creation, revealing hidden textures and subconscious imagery; his visionary paintings, such as The Elephant Celebes, Two Children Are Threatened by a Nightingale, and Europe After the Rain II, blend myth, science, and dream into symbolic landscapes that remain defining masterpieces of Surrealism; expanding into sculpture, he crafted enigmatic totemic forms such as Capricorne that bridge organic abstraction and surreal fantasy, echoing the equilibrium of Calders mobiles and the conceptual wit of Duchamp; fleeing Nazi-occupied France during World War II, he emigrated to the United States with the support of Peggy Guggenheim, influencing the emerging Abstract Expressionists, including Jackson Pollock, Robert Motherwell, and Willem de Kooning; returning to Europe after the war, he refined an alchemical, poetic approach to painting that inspired later artists such as Anselm Kiefer, Robert Rauschenberg, Cy Twombly, and Kiki Smith; represented in major museums including MoMA, the Tate, and the Centre Pompidou, Ernst remains a cornerstone of modern art whose limitless curiosity reshaped visual language. His highest auction record was achieved by Le roi jouant avec la reine (The King Playing with the Queen) (1944), which sold for approximately 24.4 million USD at Christies New York in November 2022. Max Ernst Coelacanthe XXe Siecle 1974, Max Ernst lithograph...

Ed Ruscha Nine Swimming Pools and a Broken Glass (HAND SIGNED), 1976 Limited Edition Artist's Book Boldly signed by Ed Ruscha on the first front end page 7 × 5 1/2 inches This is the...

This exquisite lithograph by Keith Haring (1958–1990), titled Untitled, from the album Against All Odds, 20 drawings - Oct. 3, 1989 (Against All Odds, 20 drawings - Oct. 3, 1989), or...