The Hamptons - Abstract Prints

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 120, 1960. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 171, 1968. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 121-122, 1960. Published by Aimé Maeght, Éditeur, Paris...

Engraving on vélin papier à la cuve du Moulin Richard de Bas paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'amour du plus lointain, neuf gravures...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Tapis De Tarragona (Tarragona Tapestry), illustrations, Joan Miro, 1972, originate...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Tapis De Tarragona (Tarragona Tapestry), illustrations, Joan Miro, 1972, originate...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 105-106, 1958. Published by Aimé Maeght, Éditeur, Paris...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Tapis De Tarragona (Tarragona Tapestry), illustrations, Joan Miro, 1972, originate...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 114, 1959. Published by Aim...

This exquisite heliogravure by Joan Miro (1893–1983), titled Femme Assise IV/V (Seated Woman IV/V), from the folio Joan Miro, Femmes (Women), originates from the 1965 edition publish...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 121-122, 1960. Published by Aimé Maeght, Éditeur, Paris...

This exquisite lithograph after Max Ernst (1891–1976), titled Oiseau (Bird), from the album XXe Siecle, vol. no. 11, 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 Mourlot Freres, Paris, 1958. Oiseau reflects Ernsts poetic, dream-infused visual language during a period that bridged Surrealist invention with his mature exploration of myth, metamorphosis, and symbolic form. 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 Mourlot Freres, Paris Artwork Details: Artist: After Max Ernst (1891–1976) Title: Oiseau (Bird) 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: 1958 Publisher: Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album XXe Siecle, vol. no. 11, 1958, published by Societe Internationale dArt XXe Siecle, Paris; printed by Mourlot Freres, 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, Ernst dismantled traditional notions of art through chance, dream imagery, and psychological exploration, transforming painting, sculpture, and collage into instruments of the unconscious mind. 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. His traumatic experience serving in World War I left him disillusioned with logic and order, propelling him toward the Dada movement in Cologne in 1919, where he began creating his seminal collages that fused scientific diagrams and Victorian engravings into surreal dreamscapes. By 1922, Ernst had moved to Paris and joined a circle of avant-garde luminaries that included 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 beneath the surface and allowing chance to become an active participant in creation. His visionary paintings—such as The Elephant Celebes (1921), Two Children Are Threatened by a Nightingale (1924), and Europe After the Rain II (1940–42)—blend myth, science, and dream into vast symbolic landscapes that remain among the defining masterpieces of Surrealism. A restless innovator, Ernst expanded into sculpture, crafting enigmatic totemic forms such as Capricorne (1948–1963) that bridged organic abstraction and surreal fantasy, echoing the fluid equilibrium of Calders mobiles and the conceptual wit of Duchamp. Fleeing Nazi-occupied France during World War II, Ernst emigrated to the United States with the support of Peggy Guggenheim, whom he later married, influencing the emerging Abstract Expressionists—among them Jackson Pollock, Robert Motherwell, and Willem de Kooning—through his fusion of automatism, texture, and mythic narrative. Returning to Europe after the war, he continued to refine his poetic, alchemical approach to painting, blending chaos and order into cosmic landscapes that inspired later artists such as Anselm Kiefer, Robert Rauschenberg, Cy Twombly, and Kiki Smith. His work, housed in major museums including MoMA, the Tate, and the Centre Pompidou, stands as a testament to his belief that art could bridge the conscious and unconscious, the rational and the fantastic. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Max Ernst remains a cornerstone of modern art, an artist-philosopher whose limitless curiosity reshaped visual language and influenced generations of creators. 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, reaffirming Max Ernsts enduring legacy as one of the most visionary, provocative, and collectible masters of 20th century modernism. Max Ernst XXe Siecle 1958, Max Ernst lithograph...

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...

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...

Aquatint 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 ...

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...

Lithograph on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Une Étoile de Craie, seize lithographies originales par An...

This exquisite lithograph by Joan Miro (1893–1983), titled La Melodie acide (The Acid Melody), from the folio 14 original lithographs by Joan Miro "La Melodie acide" (The Acid Melody...

This exquisite lithograph by Joan Miro (1893–1983), titled La Melodie acide (The Acid Melody), from the folio 14 original lithographs by Joan Miro "La Melodie acide" (The Acid Melody...

Woodcut on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Jean Arp, Dreams and Projects, 1951-1952. Published by Curt V...

This exquisite engraving by Andre Masson (1896–1987), titled Sans titre (Untitled), from the folio Le septieme chant, la mort d'Isidore Ducasse, Jeudi 24 Bovembre 1870, 7 Rue du Faub...

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

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; ...

Lithograph on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Une Étoile de Craie, seize lithographies originales par An...

Lithograph on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Une Étoile de Craie, seize lithographies originales par An...

Woodcut on wove paper. Inscription: Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, The Documents of Modern Art. Arp: On My Way, Poetry And Essays 1912 - 1...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Georges Braque, Derniers messages,...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 157, 1966. Published by Aim...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré à Jean-Paul Riopelle, Derrière le mi...

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

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled La Lecture (The Reading), from the folio Contrastes, 13 Aquarelles, Gouache, Lavis, Crayon (Contrasts, 1...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Les Buches (The Logs), from the folio Contrastes, 13 Aquarelles, Gouache, Lavis, Crayon (Contrasts, 13 W...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Georges Braque, Derniers messages,...

Lithograph and cinétisation on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 191, 1971....

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Judith, Tragödie in Drei Akten, Lithographien von Max Ernst und Dorothe...

This exquisite lithograph after Andre Derain (1880–1954), titled Sans titre (Untitled), originates from the 1957 folio Derriere le miroir, No. 94–95. Published by Maeght Editeur, Par...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Judith, Tragödie in Drei Akten, Lithographien von Max Ernst und Dorothe...

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...

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...

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...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 148, 1964. Published by Aim...

Woodcut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, miró graveur II. 1961-1973, 1989. Published by Daniel Lelong, éditeur...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 114, 1959. Published by Aim...

This exquisite lithograph by Fernand Leger (1881–1955), titled Depart (Departure), originates from the 1949 folio Les Illuminations, lithographies originales de Fernand Leger (The Il...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 20 (Plate No. 20), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 210, 1974. Published by Aim...

This exquisite lithograph after Andre Derain (1880–1954), titled Sans titre (Untitled), originates from the 1957 folio Derriere le miroir, No. 94–95. Published by Maeght Editeur, Par...

Woodcut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, miró graveur III. 1973-1975, 1989. Published by Daniel Lelong, éditeu...

This exquisite lithograph by Fernand Leger (1881–1955), titled Parade, originates from the 1949 folio Les Illuminations, lithographies originales de Fernand Leger (The Illuminations,...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 55-56, 1953. Published by Aimé Maeght, Éditeur, Paris; ...

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 by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1971 folio Derriere le miroir, No. 193–194. Published by Maeght Editeur, Paris, ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 197, 1972. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 197, 1972. Published by Aimé Maeght, Éditeur, Paris; pr...

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

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 148, 1964. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite woodcut by Eduardo Chillida (1924–2002), titled Sans titre (Untitled), originates from the historic 1968 folio Derriere le Miroir, No. 174. Published by Maeght Editeur...

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 after Sonia Delaunay (1885–1979), titled Planche No. 36 (Plate No. 36), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 131, 1962. Published by Aimé Maeght, Éditeur, Paris; pr...