The Hamptons - Landscape Prints

This exquisite lithograph after Raoul Dufy (1877–1953), titled Les Cavaliers sous les arbres (Riders Beneath the Trees), from the folio Lettre a mon peintre Raoul Dufy (Letter to My ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Profil et l’Enfant rouge (The Profile and the Red Child), from the album The Lithographs of Chagall, Volume I, origin...

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

This exquisite lithograph after Jean Cocteau (1889–1963), titled Frontispice pour Les Cavaliers d’Ombre (Frontispiece for The Horsemen of Shadow), from the album Les Cavaliers d'Ombr...

This exquisite lithograph by Marc Chagall (1887–1985), titled Moise III (Moses III), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Lit...

This exquisite etching by Marc Chagall (1887–1985), titled L'intendant (The Steward), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de M...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

This exquisite lithograph by Max Ernst (1891–1976), titled Electra, from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 5...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Evaluation mutuelle (Mutual Evaluation), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs b...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Fleurs des champs (Wildflowers), from the folio Eaux-de-vie, Esprit de la fleur et du fruit (Spirits, Essence of the Fl...

This exquisite lithograph by Cesar Baldaccini (1921–1998), titled Compression dans la nuit (Compression in the Night), from the album XXe Siecle, Nouvelle serie, XXVe Annee N°22, Noel 1963, originates from the 1963 edition published by Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1963. Compression dans la nuit reflects Cesar’s fascination with transformation, matter, and the poetic potential of industrial materials, encapsulating his lifelong dialogue between creation and destruction. 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: Cesar Baldaccini (1921–1998) Title: Compression dans la nuit (Compression in the Night), from the album XXe Siecle, Nouvelle serie, XXVe Annee N°22, Noel 1963 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: 1963 Publisher: Societe Internationale d'Art 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, Nouvelle serie, XXVe Annee N°22, Noel 1963, published by Societe Internationale d'Art XXe siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris; printed by Mourlot Freres, Paris, 1963 About the Publication: Gualtieri di San Lazzaro's 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. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Cesar Baldaccini (1921–1998), known simply as Cesar, was a groundbreaking French sculptor whose radical manipulation of industrial materials redefined the language of modern sculpture and secured his place among the most influential artists of the 20th century. Born in Marseille to Italian immigrant parents, he rose from modest beginnings to international acclaim through his inventive transformation of metal, scrap, and synthetic matter into dynamic works that fused poetry with power. After studying at the Ecole des Beaux-Arts in Marseille and Paris, he absorbed the innovations of modern masters such as Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. Like Picasso, Cesar sought to reinvent form through fragmentation; like Calder, he drew inspiration from the mechanics of movement; and like Duchamp, he challenged conventional definitions of art by transforming discarded materials into conceptual masterpieces. His early Fers soudes (welded iron sculptures) of the 1950s revealed his fascination with industrial detritus and the sculptural possibilities of found objects, while his Compressions of the 1960s—created by compacting automobiles and metal waste using hydraulic presses—became iconic symbols of modern industrial society’s power and fragility. These works embodied both destruction and creation, reflecting the aesthetic philosophy of the Nouveau Realisme movement, founded by Pierre Restany, of which Cesar was a central figure alongside Yves Klein, Arman, Jean Tinguely, and Niki de Saint Phalle. His Expansions of the late 1960s and 1970s, made by pouring and allowing liquid polyurethane to expand freely, introduced a radical new sculptural language of chance, energy, and transformation, blurring the boundary between control and spontaneity. With works such as Pouce (Thumb)—a monumental cast of his own thumb—Cesar turned the human form into a symbol of identity, individuality, and creative authorship, while his Human Imprints and Portraits Empreintes captured the immediacy of human presence in enduring bronze. His bold explorations of material and process anticipated later conceptual and environmental art, influencing generations of artists including John Chamberlain, Richard Serra, Anselm Kiefer, Jeff Koons, and Tony Cragg. Both a sculptural innovator and a cultural icon, Cesar designed the Cesar Award—France’s equivalent of the Academy Award—bridging avant-garde experimentation with popular recognition. His works are held in major institutions such as the Centre Pompidou (Paris), the Tate Modern (London), the Museum of Modern Art (New York), and the Peggy Guggenheim Collection (Venice), reflecting his enduring global impact. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Cesar Baldaccini remains a towering figure of postwar modernism—a sculptor who turned compression, expansion, and transformation into metaphors of contemporary existence. His highest auction record was achieved by Compression "Ricard" (Compression Ricard) (1962), which sold for $2.41 million USD at Sotheby’s, Paris, on December 5, 2018, affirming his legacy as one of the most visionary, provocative, and collectible artists of the modern era. Cesar Baldaccini Compression dans la nuit, Cesar Compression...

This exquisite lithograph by Andre Derain (1880–1954), titled La Chasse (The Hunt), from Verve, Revue Artistique et Litteraire, Vol. II, No. 8, originates from the 1940 issue publish...

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

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

This exquisite lithograph after Jean Cocteau (1889–1963), titled Deux monosabios (Two Monosabios), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by Jean ...

This exquisite lithograph by Marc Chagall (1887–1985), titled L'apparition au cirque (The Vision at the Circus), from the album The Lithographs of Chagall, Volume II, originates from...

This exquisite lithograph by David Hockney (born 1937), titled Letter B, from the folio Hockney's Alphabet, Drawings by David Hockney, originates from the 1991 edition published by A...

This exquisite lithograph and pochoir after Georges Braque (1882–1963), titled Forme (Form), from the album Georges Braque, Le Solitaire (The Solitary), originates from the 1959 edit...

This exquisite lithograph by Marc Chagall (1887–1985), titled Ange du Paradis (Angel of Paradise), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Art...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Komposition Weiss auf Schwarz (Composition White on Black), from the folio Derriere le miroir, No. 101–103, orig...

Lithograph on vélin bouffant d'Alfa paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Dur Désir de Durer, illustré par Marc Chagall, ...

Silkscreen on vélin d’Arches paper. Paper Size: 14 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks in the Pages of Life, 1998. Published by The Limited Editions Club, New York; printed by Drexel Press, Inc. Long Island City, 1998. Excerpted from the folio, CCC examples, designed, hand-set in Monotype Perpetua, printed, and hand-bound by Michael and Winifred Bixler, Skaneateles, New York. Paper made in France at Arches. Silkscreens printed by the Drexel Press, Inc. Long Island City, New York. PHOEBE BEASLEY...

This exquisite lithograph by Yaacov Agam (born 1928), titled Composition sur fond noir (Composition on a Black Background), from the album XXe siecle, Nouvelle serie, XL Annee, No. 5...

This exquisite lithograph and pochoir after Sophie Taeuber-Arp (1889–1943), titled Composition verticale-horizontale sur fond blanc (Vertical-Horizontal Composition on White Ground),...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

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, ...

Lithograph on vélin paper. Paper size: 9.25 x 12.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Ange a l’Epee (The Angel with the Sword), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Re...

This exquisite lithograph and pochoir after Georges Braque (1882–1963), titled Le Mouvement dans l’Ovale (Movement in the Oval), from the album L'Art Cubiste, Theories et Realisation...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 155, 1965. Published by Aimé Maeght, Éditeu...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 166, 1967. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Coq Bleu (The Blue Rooster), from the folio Derriere le miroir, No. 107–109, originates from the 1958 edition publish...

This exquisite lithograph after Marc Chagall (1887–1985), titled Le Bouquet d'amoureux (The Lovers' Bouquet), from the folio Les Peintres mes amis (The Painters My Friends), originat...

Lithograph on vélin papel Guarro con filigrana paper. Unsigned and unnumbered, as issued. Good condition. Notes: published in 1970 to promote the folio, Tapís De Tarragona, il·lustra...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

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 d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

This exquisite lithograph and pochoir by Jean Lurcat (1892–1966), titled Le Taureau (The Taurus), from the folio Les Signes du Zodiaque (The Signs of the Zodiac), originates from the...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Le buisson ardent (The Burning Bush), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by J...

This exquisite lithograph by David Hockney (born 1937), titled Letter I, from the folio Hockney's Alphabet, Drawings by David Hockney, originates from the 1991 edition published by A...

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,...

Etching on vélin de Rives BFK paper. Paper Size: 22 x 17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Everything That Rises Must Converge, 2005. Published by The Limited Editions Club, New York; printed by Wingate Studio, Hinsdale, under the direction of Peter Pettengill, Hinsdale, 2005. Excerpted from the folio, This edition of CCC examples of Everything That Rises Must Converge was printed on BFK Rives. Dan Carr and Julia Ferrari designed the typography, cast the Kis-Janson type in metal, set the type by hand and printed the text at Golgonooza Letter Foundry & Press, Ashuelot, New Hampshire. The six color etchings were printed by hand on BFK Rives by Peter Pettengill at Wingate Studio in Hinsdale, New Hampshire. BENNY ANDREWS (1930-2006) was an African-American artist, activist and educator. He is known for his expressive, figurative paintings that often incorporated collaged fabric and other material. Andrews helped found the Black Emergency Cultural Coalition, which agitated for greater representation of African-American artists and curators in New York’s major art museums in the late 1960s and 70s. He also led the group in founding an arts education program in prisons and detention centers. Andrews taught art at Queens College for three decades, and from 1982 to 1984, served as the Director of the Visual Arts Program for the National Endowment for the Arts. He received many awards, including the John Hay Whitney...

This exquisite lithograph after Marc Chagall (1887–1985), titled Mozart et Moussorgsky (Mozart and Mussorgsky), from the album Le plafond de l’Opera de Paris par Marc Chagall (The Ce...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

This exquisite lithograph by Hans Jean Arp (1886–1966), titled Rouge, bleu, brun (Red, Blue, Brown), from the folio Derriere le miroir, L’art abstrait, No. 21-22, originates from the...

This exquisite lithograph after Raoul Dufy (1877–1953), titled Vendanges (The Grape Harvest), from the folio Vins, Fleurs et Flammes (Wines, Flowers, and Flames), originates from the...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Banderilles de feu (Fire Banderillas), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by ...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Letterpress printing on spécialement fabriqué Curtis Rag vélin paper. Paper Size: 12.5 x 9.1875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, A Best...

This exquisite lithograph after Jean Cocteau (1889–1963), titled Appel de Muleta (Call of the Muleta), from the folio Taureaux, Lithographies de Jean Cocteau (Bulls, Lithographs by J...

This exquisite lithograph by Andre Derain (1880–1954), titled Sous-bois (Underwood), from Verve, Revue Artistique et Litteraire, Vol. II, No. 8, originates from the 1940 issue publis...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Les Foreurs (The Drillers), from the album Fernand Leger, Dessins de Guerre 1915-16 (Fernand Leger, War ...

This exquisite silkscreen by Jacob Lawrence (1917–2000), titled Farmers, from the album Hiroshima, originates from the 1983 edition published by The Limited Editions Club, New York, ...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

This exquisite lithograph by Andre Derain (1880–1954), titled Diane au bain (Diana at Her Bath), from Verve, Revue Artistique et Litteraire, Vol. II, No. 8, originates from the 1940 ...