The Hamptons - Figurative Prints

This exquisite four color process archival pigment print after George Condo (born 1957), titled Figure Change, from the folio George Condo, Drawing Paintings, originates from the 2011 edition published by Skarstedt Gallery, New York, and printed by Transcontinental Litho Acme, Montréal, 2011. Figure Change exemplifies Condo’s synthesis of classical technique and psychological distortion, uniting humor and existential tension through his concept of “Artificial Realism”—a vision in which the absurd and the profound coexist within a single image. Executed as a four color process archival pigment print on velin paper, this work measures 10.75 x 9.25 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Transcontinental Litho Acme, Montréal, and the high production standards of Skarstedt Gallery, New York. Artwork Details: Artist: After George Condo (born 1957) Title: Figure Change, from the folio George Condo, Drawing Paintings Medium: Four color process archival pigment print on velin paper Dimensions: 10.75 x 9.25 inches (27.3 x 23.5 cm) Inscription: Unsigned and unnumbered as issued Date: 2011 Publisher: Skarstedt Gallery, New York Printer: Transcontinental Litho Acme, Montréal Condition: Well preserved, consistent with age and medium Provenance: From the folio George Condo, Drawing Paintings, Skarstedt Gallery, New York, 2011 Notes: Excerpted from the folio, Published on the occasion of the exhibition, George Condo, Drawing Paintings, November 4 - December 17, 2011, Skarstedt Gallery, 20 East 79th Street, New York, NY 10075. Project Coordinators: Brady Doty and Dina Shaulov-Wright; Design: And Smith, LLC; Printing: Transcontinental Litho Acme. All images © George Condo. Photographs by Benjamin Provo and Chris Hood. Edition of CD + C, signed and numbered examples. About the Publication: George Condo, Drawing Paintings (2011), published by Skarstedt Gallery, New York, stands as a definitive documentation of one of Condo’s most acclaimed bodies of work. The publication accompanied the landmark exhibition of the same name, held at Skarstedt Gallery from November 4 through December 17, 2011, which brought together a series of works exploring the intersection of drawing and painting—two modes of creation that Condo masterfully fused into a single, psychologically charged process. Produced with meticulous attention to detail, the folio exemplifies the gallery’s commitment to fine art publishing, combining archival printing, and scholarly design to convey the visual complexity and intellectual depth of Condo’s practice. Printed by Transcontinental Litho Acme in Montréal, the edition reflects the technical precision and tonal richness necessary to convey Condo’s painterly surfaces and dynamic compositions. The project was realized under the direction of Project Coordinators Brady Doty and Dina Shaulov-Wright, with design by And Smith, LLC, ensuring the publication’s seamless integration of artistic and curatorial vision. More than a catalogue, the folio serves as both a visual archive and an aesthetic object in its own right, capturing the tension between chaos and order that defines Condo’s work. George Condo, Drawing Paintings remains an essential record of the artist’s ongoing dialogue between imagination, art history, and the fractured psychology of contemporary existence. About the Artist: George Condo (born 1957) is an American contemporary artist celebrated for his visionary fusion of abstraction, figuration, and psychological portraiture that bridges the grandeur of Old Master painting with the fractured sensibilities of modern and postmodern art. Born in Concord, New Hampshire, Condo studied art history and music theory before moving to New York City in 1979, where he became a central figure in the East Village art scene alongside Jean-Michel Basquiat, Keith Haring, and Julian Schnabel. His early experiences at Andy Warhol’s Factory exposed him to the interplay between fame, seriality, and popular culture, informing his concept of “Artificial Realism,” a style that merges classical draftsmanship with the chaos of contemporary life. Profoundly influenced by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Condo inherited from them a spirit of radical invention, surrealism, and intellectual play, transforming these legacies into his own psychologically charged idiom. His signature “psychological cubism” reimagines portraiture through fractured, expressive figures that embody the instability of modern identity, fusing beauty and grotesque distortion in a single image. Condo’s mastery of color, structure, and emotional tension draws upon the legacy of Velazquez, Goya, and Rembrandt while channeling the existential depth of Giacometti and the conceptual wit of Duchamp. His collaborations with William S. Burroughs and his iconic 2010 album cover for Kanye West’s My Beautiful Dark Twisted Fantasy exemplify his ongoing dialogue between high art and pop culture. Like Picasso, Miro, Dali, and Duchamp before him, Condo’s work captures the delirium and multiplicity of the human psyche through a language of visual fragmentation that continues to shape contemporary art. His influence can be seen in later artists such as Dana Schutz, Adrian...

This exquisite lithograph after Marc Chagall (1887–1985), titled Der wiedergefundene Frieden (The Peace Restored), from Homer, Die Odyssee (The Odyssey), originates from the 1989 Ger...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus und Penelope (Odysseus and Penelope), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German...

This exquisite lithograph after Marc Chagall (1887–1985), titled Das Blutbad der Freier (The Slaughter of the Suitors), from Homer, Die Odyssee (The Odyssey), originates from the 198...

This exquisite lithograph after Marc Chagall (1887–1985), titled Der Bogen des Odysseus (The Bow of Odysseus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-...

This exquisite lithograph after Marc Chagall (1887–1985), titled Penelope und der Bogen des Odysseus (Penelope and the Bow of Odysseus), from Homer, Die Odyssee (The Odyssey), origin...

This exquisite lithograph after Marc Chagall (1887–1985), titled Theoclymenus, from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by Daco...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus und Eurycleia (Odysseus and Eurycleia), from Homer, Die Odyssee (The Odyssey), originates from the 1989 Germ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Der Kampf des Odysseus und des Iros (The Battle of Odysseus and Iros), from Homer, Die Odyssee (The Odyssey), origina...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus macht sich bekannt (Odysseus Reveals Himself), from Homer, Die Odyssee (The Odyssey), originates from the 19...

This exquisite lithograph after Marc Chagall (1887–1985), titled Das Vorzeichen, Der Habicht und Taube (The Omen, The Hawk and the Dove), from Homer, Die Odyssee (The Odyssey), origi...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus und seine Gefährten (Odysseus and His Companions), from Homer, Die Odyssee (The Odyssey), originates from th...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus als Bettler verkleidet (Odysseus Disguised as a Beggar), from Homer, Die Odyssee (The Odyssey), originates f...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus bei Alkinoos (Odysseus at the Court of Alcinous), from Homer, Die Odyssee (The Odyssey), originates from the...

This exquisite lithograph after Marc Chagall (1887–1985), titled Die Sirenen (The Sirens), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio publi...

This exquisite lithograph after Marc Chagall (1887–1985), titled Die Fluten Verschlingen Odysseus (The Waves Engulf Odysseus), from Homer, Die Odyssee (The Odyssey), originates from ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tityos (Tityus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by D...

This exquisite lithograph after Marc Chagall (1887–1985), titled Kirke (Circe), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by Dac...

This exquisite lithograph after Marc Chagall (1887–1985), titled Die Insel des Aiolos (The Island of Aeolus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-l...

This exquisite lithograph after Marc Chagall (1887–1985), titled Polyphemos (Polyphemus), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio publis...

This exquisite lithograph after Marc Chagall (1887–1985), titled Palast von Alkinoos (Palace of Alcinous), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-lang...

This exquisite lithograph after Marc Chagall (1887–1985), titled Versammlung der Götter (Assembly of the Gods), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German...

This exquisite lithograph after Marc Chagall (1887–1985), titled Frontispiz (Frontispiece), from Homer, Die Odyssee (The Odyssey), originates from the 1989 German-language folio published by Daco-Verlag Gunter Blase, Stuttgart, and printed by Lichtdruck AG, Zurich, Dielsdorf, September 1989. This authorized edition, issued under the direction of Vava Chagall, serves as the visual overture to the folio, encapsulating the poetic and mythic spirit of Homer’s epic. In Frontispiz, Chagall fuses dreamlike color and fluid form to evoke the eternal voyage of Odysseus—his trials, triumphs, and divine encounters—setting the tone for the rich sequence of illustrations that follow. Executed on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper, this lithograph measures 14.88 x 11.69 inches. Unsigned and unnumbered, as issued. The edition exemplifies the exceptional quality and precision of Lichtdruck AG’s craftsmanship, reproducing the depth and richness of Chagall’s original lithographs with remarkable fidelity. Artwork Details: Artist: After Marc Chagall (1887–1985) Title: Frontispiz (Frontispiece), from Homer, Die Odyssee (The Odyssey), 1989 Medium: Lithograph on 250 g/m² Butten Papierwerke Miliani AG, Fabriano paper Dimensions: 14.88 x 11.69 inches Inscription: Unsigned and unnumbered, as issued Date: 1989 Publisher: Daco-Verlag Gunter Blase, Stuttgart Printer: Lichtdruck AG, Zurich, Dielsdorf Condition: Well preserved, consistent with age and medium Provenance: From the folio Homer, Die Odyssee (The Odyssey), Daco-Verlag Gunter Blase, Stuttgart, 1989 Notes: Excerpted from the folio (translated from German), Imprint—The French edition, L'Odyssée, with the original lithographs by Marc Chagall was published in 1974/75 in a CCL-example edition by Fernand Mourlot, Paris. In 1989, with the authorization of Mrs. Vava Chagall, the German-language edition of the Odyssey in two volumes was published by Daco-Verlag Gunter Blase, Stuttgart. Volume I contains the songs I - XII with XX color plates, including IV on double pages and XIX gray printed reproductions in the text. Volume II contains the songs XIII - XXIV with XXIII color plates, including II on double pages and XX gray printed reproductions in the text. For the German text, the prose translation by Wolfgang Schadewaldt was chosen with the permission of Rowohlt Taschenbuch Verlag, Reinbek near Hamburg. Set design in the Berthold Garamond Antiqua by F+M Bauer...

This exquisite lithograph by Andre Derain (1880–1954), titled Le Diner (The Dinner), from Verve, Revue Artistique et Litteraire, Vol. II, No. 8, originates from the 1940 issue publis...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Regards sur Paris, 1963. Published by André Sauret, Paris;...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Taureau de Persepolis (Bull of Persepolis), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithograph...

Lithograph and stencil on grand Velin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Édouard Pignon, Arbres et Voi...

This exquisite collotype after Max Ernst (1891–1976), titled Le Start du chataignier (The Chestnut Trees Take-Off), from the album Max Ernst, Histoire Naturelle (Natural History), or...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

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

This exquisite heliogravure after Georges Rouault (1871–1958), titled Clair de lune (Moonlight), from the album Georges Rouault, Stella Vespertina (Evening Star), originates from the...

This exquisite lithograph by Marcel Gromaire (1892–1971), titled Interieur Flamand (Flemish Interior), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originates fro...

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

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

This exquisite lithograph by Georges Rouault (1871–1958), titled Margot (Margot), from the album Georges Rouault, Divertissement, originates from the 1943 edition published by Editio...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

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 after Fernand Leger (1881–1955), titled Le Chapellerie, Paris (The Hat Shop, Paris), originates from the 1970 folio Fernand Leger mes voyages avec un poeme ...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie F, var. 4 (Series F, Variation 4), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph by Marc Chagall (1887–1985), titled Hommage a G. di San Lazzaro (Homage to G. di San Lazzaro), from the album San Lazzaro et ses Amis, Hommage au fondateur ...

This exquisite lithograph by Andre Marchand (1907–1997), titled Hommage a Dufy (Homage to Dufy), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), ori...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Naphtali, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by Andre Sauret, Editeur, Paris, and printed by Mourlot Freres, Paris, June 7, 1962. This luminous composition celebrates the Tribe of Naphtali, symbolizing eloquence, swiftness, and divine grace. Tribe of Naphtali captures Chagall’s poetic vision through a harmonious orchestration of radiant blues, greens, and golds, evoking motion, vitality, and spiritual liberation. The image reflects the artist’s ability to translate ancient symbolism into a timeless modern language—one that bridges faith and imagination, merging biblical narrative with lyrical abstraction. In this work, Chagall transforms sacred tradition into an exaltation of life, beauty, and spiritual freedom. Executed as a lithograph on velin paper, this work measures 15 x 11 inches (38.1 x 27.94 cm). Unsigned and unnumbered as issued. The edition exemplifies the exceptional craftsmanship of the Mourlot Freres atelier, renowned for its collaboration with the most important modern artists of the 20th century. Artwork Details: Artist: After Marc Chagall (1887–1985) Title: Tribe of Naphtali, from Marc Chagall, The Jerusalem Windows Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Unsigned and unnumbered as issued Date: 1962 Publisher: Andre Sauret, Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album Marc Chagall, The Jerusalem Windows, published by Andre Sauret, Editeur, Paris, June 7, 1962 Notes: Excerpted from the album, This album, which was compiled by Andre Sauret, was completed on June 7, 1962. The texts by Jean Leymarie were composed by hand in "Romain du roi" and were printed by The Imprimerie Nationale de France. The thirty-six preparatory color designs, some of which are in twenty colors, were transferred to the stones by Charles Sorlier under the direction of Marc Chagall. These designs and the two original lithographs by Marc Chagall were printed by Mourlot Freres. The other reproductions and the binding are by Draeger Freres. About the Publication: Marc Chagall, The Jerusalem Windows (Les Vitraux de Jerusalem), published in 1962 by Andre Sauret, Editeur, Paris, stands as one of the artist’s most celebrated illustrated albums and a cornerstone of modern printmaking. The publication documents Chagall’s monumental stained-glass windows created for the synagogue of the Hadassah-Hebrew University Medical Center in Jerusalem—an artistic and spiritual masterpiece dedicated to the twelve tribes of Israel. Conceived in collaboration with master printer Charles Sorlier and the renowned Mourlot Freres atelier, the album compiles the artist’s original color studies through vibrant lithography, achieving a remarkable luminosity that mirrors the glowing transparency of stained glass. The accompanying text by art historian Jean Leymarie offers profound insights into Chagall’s vision, faith, and symbolism. Completed on June 7, 1962, this edition embodies the union of fine art, craftsmanship, and devotion, capturing the transcendent beauty of Chagall’s windows and their universal message of peace and faith. 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 Tribe of Naphtali, Chagall Jerusalem Windows...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie P, var. 2 (Series P, Variation 2), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

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

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...

This exquisite lithograph by Charles Lapicque (1898–1988), titled Hommage a Dufy (Homage to Dufy), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), o...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les Arcs (The Arches), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Mae...

This exquisite lithograph and pochoir by Hans Jean Arp (1886–1966), titled Moustaches et squelette (Mustaches and Skeleton), from the album XXe Siecle, Nouvelle serie, No. 8 (double)...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 130, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite lithograph by Claude Garache (born 1930), titled Nu (Nude), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght (T...