The Hamptons - Abstract Prints

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 and pochoir after Joan Miro (1893–1983), titled Oiseaux dans un paysage (Birds in a Landscape), from the album Miro, Cartones 1959–1965 (Miro, Cardboards 19...

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled La verriere (The Glass Roof), from the folio Vieira da Silva, Peintres d'aujourd'hui (Vieira da Sil...

This exquisite lithograph by Maurice Esteve (1904–2001), titled Duetto (Duet), from the album XXe Siecle, Nouvelle serie, XXXIe Annee No. 33, Decembre 1969, originates from the 1969 ...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Ceramic (Ceramic), from the album Miro 1959–1960 (Miro 1959–1960), originates from the 1961 edition published by Pierre Matisse Gallery, New York, rendered by Daniel Jacomet, Paris, and printed by Daniel Jacomet et Cie, Paris, 1961. Ceramic reflects Miro’s fascination with texture, form, and material, evoking the tactile qualities and rhythmic motifs of his ceramic works through the medium of print. The composition’s interplay of abstract symbols, color, and linear energy captures the dynamic tension between the earthy and the cosmic—a hallmark of Miro’s artistic vocabulary during this period. Executed as a lithograph and pochoir on velin paper, this work measures 23 x 9.24 inches, with centerfold as issued. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Daniel Jacomet et Cie, Paris, one of France’s foremost studios specializing in pochoir and fine art printmaking. Artwork Details: Artist: After Joan Miro (1893–1983) Title: Ceramic (Ceramic), from the album Miro 1959–1960 (Miro 1959–1960), 1961 Medium: Lithograph and pochoir on velin paper Dimensions: 23 x 9.24 inches (58.4 x 23.5 cm), with centerfold as issued Inscription: Unsigned and unnumbered as issued Date: 1961 Publisher: Pierre Matisse Gallery, New York Renderer: Daniel Jacomet, Paris Printer: Daniel Jacomet et Cie, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne Des Livres Illustres. P. Cramer, 1989, illustration 69. Dupin, Jacques, and Joan Miro. Miro Engraver 1961–1973. Rizzoli, 1989, illustration 292. Miro, Joan. Joan Miro, Lithographe II, 1953–1963. Joan Miro, Lithographe, Maeght, 1975, illustration 286–294. Condition: Well preserved, consistent with age and medium Provenance: From the album Miro 1959–1960 (Miro 1959–1960), published by Pierre Matisse Gallery, New York; rendered by Daniel Jacomet, Paris; printed by Daniel Jacomet et Cie, Paris, 1961 Notes: Excerpted from the album (translated from French), It was taken from this album: XXVIII examples with II original lithographs and an etching and VI suites, numbered from I to XXV; LXXX examples with II original lithographs and an etching, numbered from XXVI to LXXV; MCC examples, numbered from I to MCC. This album was made and presented for the exhibition of the artist's works at the Gallery Pierre Matisse, New York, October 31 - November 25, 1961. About the Publication: Miro 1959–1960 (Miro 1959–1960), published in 1961 by Pierre Matisse Gallery, New York, with pochoirs rendered by Daniel Jacomet, Paris, accompanied the landmark exhibition of Miro’s paintings and graphic works held at the Pierre Matisse Gallery from October 31 to November 25, 1961. The album captures the spirit of Miro’s late 1950s and early 1960s output—a period characterized by liberated brushwork, symbolic abstraction, and radiant chromatic experimentation. Printed by Daniel Jacomet et Cie, Paris, in collaboration with Fernand Mourlot for the original lithographs, the volume reflects the exceptional precision and artistry of French printmaking at its height. Designed to evoke the immediacy of Miro’s painted surfaces, the pochoirs and lithographs maintain a tactile richness and vibrancy that honor the original works. This publication stands among Miro’s most celebrated printed albums, marking a pivotal moment in his continued dialogue between materiality, imagination, and cosmic lyricism. 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. Miro's 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, Miro's 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. After Joan Miro Ceramic...

This exquisite lithograph by Maurice Esteve (1904–2001), titled Roussadou, from the album XXe siecle, Numero special hors abonnement, Hommage a Esteve, originates from the 1975 editi...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Femme en priere (Woman in Prayer), from the album Miro, Cartones 1959–1965 (Miro, Cardboards 1959–1965), ori...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph I, from the album Joan Miro Lithographs, Volume III 1964–1969, originates from the 1977 edition published by Mae...

This exquisite linocut by Ossip Zadkine (1890–1967), titled Les trois graces (The Three Graces), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di S...

This exquisite linocut by Giorgio de Chirico (1888–1978), titled Cabina Misteriosa (Mysterious Cabin), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Croquis pour les peintures murales (Sketch for the Mural Paintings), from the folio Derriere le miroir, No. 107–...

Lithograph on vélin paper. Paper Size: 12.5 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Calder. Published and printed by Musée National d'A...

This exquisite lithograph by Jacques Herold (1910–1987), titled Composition surrealiste (Surrealist Composition), from the album XXe siecle, Nouvelle serie, XXXVIe Annee, No. 42, ori...

This exquisite lithograph by Joan Miro (1893–1983), titled Personnage (Figure), from the album Les Revolutions Sceniques du XXe Siecle, originates from the 1975 edition published by ...

This exquisite lithograph by Hans Hartung (1904–1989), titled Sans titre (Untitled), from the album XXe Siecle, Annee No. 41, Decembre 1973, or...

These exquisite lithographs by Joan Miro (1893–1983), titled Personnages (Figures), from the album Les Revolutions Sceniques du XXe Siecle, originate from the 1975 edition published ...

This exquisite lithograph after Alberto Giacometti (1901–1966), titled Portrait d'homme (Portrait of a Man), from the folio Derriere le miroir, No. 98, originates from the 1957 editi...

Lithograph on Guarro vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: Published by Art Conseil, Paris; printed by La Polígrafa, Barcelona, 1974 in...

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...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by Aimé Maeght, Éditeur, Paris; printed by Éditions Pierre à F...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

This exquisite woodcut after Wassily Kandinsky (1866–1944), titled Improvisation 7 (Improvisation 7), from the album XXe Siecle Paris, Hommage a Wassily Kandinsky, originates from th...

This exquisite lithograph by Alfred Manessier (1911–1993), titled Eau souterraine ou Tache noire n°2 (Subterranean Water or Black Stain No. 2), from the album XXe Siecle, Nouvelle se...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 160, 1966. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite lithograph and pochoir by Jean Dubuffet (1901–1985), titled Jardin de quite-vite (Garden of Quick-Living), from the album XXe Siecle, Nouvelle serie, No. 8 (double), J...

This exquisite etching after Alberto Giacometti (1901–1966), titled Annette de Face (Annette, Frontal View), from the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93, originates from the 1956 edition published by Maeght Editeur, Paris, and printed by Atelier Crommelynck, Paris, 1956. This work exemplifies Giacometti’s mastery of line and existential sensitivity, capturing the haunting stillness and psychological intensity of his wife and muse, Annette. Executed as an etching, cuivre rayé apres tirage on velin paper, this work measures 15 x 11 inches overall; 8.07 x 2.28 inches image size. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Atelier Crommelynck, Paris. Artwork Details: Artist: After Alberto Giacometti (1901–1966) Title: Annette de Face (Annette, Frontal View), from the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93 Medium: Etching, cuivre rayé apres tirage on velin paper Dimensions: 15 x 11 inches, overall; 8.07 x 2.28 inches, image size (38.1 x 27.94 cm; 20.5 x 5.8 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Maeght Editeur, Paris Printer: Atelier Crommelynck, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, 10 Ans d'Edition 1946-1956, No. 92-93, published by Maeght Editeur, Paris; printed by Atelier Crommelynck, Paris, 1956 Notes: Excerpted from the folio (translated from French), This catalogue, forming a special issue of Derriere le miroir, was completed in October 1956 on the presses of Draeger Freres on behalf of Aime Maeght, Editeur. The original lithographs of Miro, Chagall and Bazaine were shot by Mourlot Freres. The eaux-fortes rayees of Miro and Giacometti were shot by Crommelynck. Raoul Ubac composed and pulled the engraved wood from the cover. The photographs of Braque's reproduced works are by Mr. Routhier. Those of the other artists of Y. Hervochon. 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: 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. After Alberto Giacometti Annette...

This exquisite lithograph by Maurice Esteve (1904–2001), titled Bossaille, from the album XXe siecle, Numero special hors abonnement, Hommage a Esteve, originates from the 1975 editi...

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

This exquisite lithograph by Eduardo Chillida (1924–2002), titled Correlation, 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. Correlation exemplifies Chillida’s masterful exploration of form, space, and equilibrium, transforming abstract geometry into a meditative dialogue between line and void. The work reflects the artist’s enduring search for spiritual and structural balance within the material world. Executed on velin paper, this lithograph measures 15 x 11 inches (38.1 x 27.9 cm). Unsigned and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, embodying Chillida’s refined aesthetic of sculptural abstraction translated into graphic form. Artwork Details: Artist: Eduardo Chillida (1924–2002) Title: Correlation, from Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets, Painters, Sculptors), 1960 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Unsigned and unnumbered, as issued Date: 1960 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris 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 de 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: Eduardo Chillida (1924–2002) was a Spanish Basque sculptor and printmaker internationally celebrated for his monumental abstract works that explore the interplay between form, space, and material. Renowned for his mastery of iron, steel, stone, and concrete, Chillida created sculptural compositions that evoke both architectural strength and poetic balance, reflecting his lifelong dialogue between the physical and the spiritual. Emerging in postwar Europe, his art stands alongside that of the great modern masters—Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray—whose revolutionary approaches to form and perception shaped 20th-century art. Chillida’s work embodies a profound sense of harmony, rooted in the landscapes and philosophies of his native Basque Country, while maintaining a universal resonance. Exhibited internationally and collected by major institutions including MoMA, the Guggenheim, the Tate, and the Centre Pompidou, his sculptures and works on paper continue to command global acclaim. The highest price ever paid for an Eduardo Chillida artwork is approximately $4.1 million USD, achieved in 2022 at Christie’s Paris for Buscando la Luz IV (2001). Eduardo Chillida Correlation, Chillida Derriere le Miroir, Chillida Maeght...

This exquisite heliogravure after Nicolas de Stael (1914–1955), titled Barriere (Barrier), from the folio Nicolas de Stael, Peintres d'aujourd'hui (Nicolas de Stael, Painters of Toda...

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 à Jean-P...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

This exquisite lithograph and pochoir by Jean Dubuffet (1901–1985), titled Prairie de barbe (Beard Meadow), from the album XXe Siecle, Nouvelle serie, XXIIe Annee, No. 14, Juin 1960,...

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

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled Les heures, les jours et les annees (The Hours, the Days and the Years), from the folio Andre Lanskoy, Peintres d'...

This exquisite heliogravure after Hans Hartung (1904–1989), titled P. 1947-20, from the folio Hans Hartung, Peintres d'aujourd'hui (Hans Hartung, Painters of Today), originates from ...

This exquisite heliogravure after Hans Hartung (1904–1989), titled P. 1950-3, from the folio Hans Hartung, Peintres d'aujourd'hui (Hans Hartung, Painters of Today), originates from t...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 247, 1981. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite lithograph after Alberto Giacometti (1901–1966), titled Nu debout (Standing Nude), from the folio Derriere le miroir, No. 65, originates from the 1954 edition publishe...

This exquisite lithograph by Marino Marini (1901–1980), titled Guerrier (Warrior), from the album XXe Siecle, Nouvelle serie, XXXe Annee No. 30, Juin 1968, originates from the 1968 e...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

This exquisite lithograph after Georges Braque (1882–1963), titled Cheval et cavaliere (Horse and Rider), from the folio Derriere le miroir, Hesiod, Theogony, Etchings by Georges Bra...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled Les briques volantes (The Flying Bricks), from the folio Andre Lanskoy, Peintres d'aujourd'hui (Andre Lanskoy, Pai...

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...

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled Ville fantome (Ghost City), from the folio Andre Lanskoy, Peintres d'aujourd'hui (Andre Lanskoy, Painters of Today...

This exquisite heliogravure after Hans Hartung (1904–1989), titled P. 1958-10, from the folio Hans Hartung, Peintres d'aujourd'hui (Hans Hartung, Painters of Today), originates from ...

This exquisite heliogravure after Hans Hartung (1904–1989), titled P. 1957-81, from the folio Hans Hartung, Peintres d'aujourd'hui (Hans Hartung, Painters of Today), originates from ...

This exquisite heliogravure after Andre Lanskoy (1902–1976), titled Chagrins inutiles (Useless Sorrows), from the folio Andre Lanskoy, Peintres d'aujourd'hui (Andre Lanskoy, Painters...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

This exquisite heliogravure after Nicolas de Stael (1914–1955), titled Sans titre (Untitled), from the folio Nicolas de Stael, Peintres d'aujourd'hui (Nicolas de Stael, Painters of T...

This exquisite lithograph and pochoir by Victor Vasarely (1906–1997), titled Pamir (Pamir), from the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double), Mars 1958, originat...

This exquisite lithograph by Marino Marini (1901–1980), titled Le Sacre du Printemps (The Rite of Spring), from the album XXe Siecle, Annee No. 40, Juin 1973, originates from the 197...

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled Port dans le Nord (Port in the North), from the folio Vieira da Silva, Peintres d'aujourd'hui (Viei...

This exquisite heliogravure after Maurice Esteve (1904–2001), titled Arabesque de la nuit (Arabesque of the Night), from the folio Maurice Esteve, Peintres d'aujourd'hui (Maurice Est...

This exquisite lithograph by Alberto Giacometti (1901–1966), titled Buste II (Bust II), originates from the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poet...

This exquisite lithograph by Joan Miro (1893–1983), titled La danseuse espagnole (The Spanish Dancer), from the folio Derriere le miroir, No. 139–140, originates from the 1963 editio...

This exquisite lithograph and pochoir by Max Ernst (1891–1976), titled La femme 100 tetes (The Woman with 100 Heads), from the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double) Mars 1958, originates from the 1958 edition published by Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Atelier Daniel Jacomet et Cie, Paris, 1958. La femme 100 tetes reflects Ernsts distinctive synthesis of dream logic, visual poetry, and psychological transformation during one of the most influential periods of his Surrealist production. Executed as a lithograph and pochoir on velin paper, this work measures 12.5 x 9.75 inches. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Atelier Daniel Jacomet et Cie, Paris. Artwork Details: Artist: Max Ernst (1891–1976) Title: La femme 100 tetes (The Woman with 100 Heads) Medium: Lithograph and pochoir on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Unsigned and unnumbered as issued Date: 1958 Publisher: Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Atelier Daniel Jacomet et Cie, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double) Mars 1958, published by Societe Internationale dArt XXe Siecle, Paris; printed by Atelier Daniel Jacomet et Cie, Paris, 1958 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 Symbolism, Cubism, and the early abstractions of Pablo Picasso and Wassily Kandinsky; after the trauma of World War I propelled him toward the Dada movement in Cologne, he began creating seminal collages that fused scientific diagrams and Victorian engravings into surreal dreamscapes; by 1922 he had moved to Paris and joined a circle of avant-garde luminaries including Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, Man Ray, and Andre Breton, each of whom shared his fascination with the irrational and the unseen; Ernsts invention of frottage (rubbing) and grattage (scraping) revolutionized modern painting, revealing textures and hidden images below the surface and allowing chance to participate in creation; his visionary paintings—from The Elephant Celebes and Two Children Are Threatened by a Nightingale to Europe After the Rain II—blend myth, science, and dream into symbolic landscapes that remain among the defining masterpieces of Surrealism; a restless innovator, he expanded into sculpture with enigmatic totemic forms such as Capricorne, 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 Abstract Expressionists including Jackson Pollock, Robert Motherwell, and Willem de Kooning before returning to Europe to refine his poetic, alchemical approach to art; represented in MoMA, the Tate, the Centre Pompidou, and major museums worldwide, Ernst remains a cornerstone of modern art whose legacy continues to influence generations of artists. 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 XXe Siecle 1958, Max Ernst lithograph...

This exquisite heliogravure after Maurice Esteve (1904–2001), titled Sioule (Sioule), from the folio Maurice Esteve, Peintres d'aujourd'hui (Maurice Esteve, Painters of Today), origi...