The Hamptons - Landscape Prints

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Dans Verdun (In Verdun), from the album Fernand Leger, Dessins de Guerre 1915-16 (Fernand Leger, War Dra...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Soldats au repos (Soldiers at Rest), from the album Fernand Leger, Dessins de Guerre 1915-16 (Fernand Le...

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 lithograph and pochoir after Fernand Leger (1881–1955), titled La Preuve que l'Homme Descend du Singe (Proof that Man Descends from the Monkey), from the album Fernand...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Verdun, La place d'Armes (Verdun, The Parade Ground), from the album Fernand Leger, Dessins de Guerre 19...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Verdun, La place d'Armes (Verdun, The Parade Ground), from the album Fernand Leger, Dessins de Guerre 19...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled La gare de Verdun (The Verdun Train Station), from the album Fernand Leger, Dessins de Guerre 1915-16 (F...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Aux alentours de Verdun (Around Verdun), from the album Fernand Leger, Dessins de Guerre 1915-16 (Fernan...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled La cuisine roulante (The Rolling Field Kitchen), from the album Fernand Leger, Dessins de Guerre 1915-16...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Soldats dans un abri (Soldiers in a Shelter), from the album Fernand Leger, Dessins de Guerre 1915-16 (F...

This exquisite lithograph by Joan Miro (1893–1983), titled Le prophete et L'oiseau et la femme (The Prophet and The Bird and The Woman), originates from the historic 1966 double issu...

This exquisite lithograph by Joan Miro (1893–1983), titled L'oiseau et la femme (The Bird and the Woman), from the folio Derriere le miroir, No. 139–140, originates from the 1963 edi...

This exquisite lithograph after Fernand Leger (1881–1955), titled La Femme et l’Enfant (The Woman and the Child), from the folio Derriere le miroir, No. 79-81, originates from the 1955 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1955. This composition exemplifies Leger’s rhythmic balance of color, form, and movement, translating the mechanical vitality of modern life into a harmonious, humanized geometry. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Fernand Leger (1881–1955) Title: La Femme et l’Enfant (The Woman and the Child), from the folio Derriere le miroir, No. 79-81 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1955 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 79-81, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1955 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: Fernand Leger (1881–1955) was a visionary French painter, sculptor, designer, and filmmaker whose groundbreaking fusion of modern industry, vivid color, and geometric form transformed the course of 20th-century art. Born in Argentan, Normandy, Leger began as an architectural draftsman before studying at the Academie Julian and the Ecole des Beaux-Arts in Paris, where he absorbed the lessons of Paul Cezanne’s structural rigor and the revolutionary ideas of Cubism. Alongside Pablo Picasso and Georges Braque, he became one of the leading innovators of the avant-garde, yet his work stood apart through its embrace of mechanical rhythm, bold contrasts, and industrial modernity—earning him the title “the painter of the machine age.” His art celebrated the beauty of technology, urban life, and the human form rendered in dynamic, interlocking cylinders and planes, evoking the pulse of the modern world. Immersed in the vibrant Parisian art scene, Leger worked in dialogue with peers and contemporaries such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom shared his commitment to innovation and the reimagining of artistic expression. Beyond painting, Leger’s creative reach extended into film, design, and monumental public art—his 1924 collaboration on Ballet Mecanique with Dudley Murphy and Man Ray remains a landmark of avant-garde cinema. His later works evolved toward greater clarity and monumentality, celebrating the unity of form, color, and humanity through large-scale murals and mosaics that bridged fine art and architecture. Leger’s synthesis of Cubism, Futurism, and abstraction paved the way for movements such as Pop Art and influenced generations of artists including Roy Lichtenstein, Ellsworth Kelly, Robert Indiana, and Alexander Calder, who admired his fusion of structure, energy, and optimism. Today, his works are prized by major museums and collectors worldwide for their bold visual power and enduring modernity. His highest auction record was achieved by La femme en rouge et vert (1914), which sold for 39,241,000 USD at Sotheby’s, New York, on May 7, 2008. After Fernand Leger La Femme et l’Enfant 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

This exquisite lithograph after Fernand Leger (1881–1955), titled Femme tenant une fleur (Woman Holding a Flower), from the folio Derriere le miroir, No. 79-81, originates from the 1955 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1955. This composition exemplifies Leger’s rhythmic balance of color, form, and movement, translating the mechanical vitality of modern life into a harmonious, humanized geometry. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Fernand Leger (1881–1955) Title: Femme tenant une fleur (Woman Holding a Flower), from the folio Derriere le miroir, No. 79-81 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1955 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 79-81, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1955 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: Fernand Leger (1881–1955) was a visionary French painter, sculptor, designer, and filmmaker whose groundbreaking fusion of modern industry, vivid color, and geometric form transformed the course of 20th-century art. Born in Argentan, Normandy, Leger began as an architectural draftsman before studying at the Academie Julian and the Ecole des Beaux-Arts in Paris, where he absorbed the lessons of Paul Cezanne’s structural rigor and the revolutionary ideas of Cubism. Alongside Pablo Picasso and Georges Braque, he became one of the leading innovators of the avant-garde, yet his work stood apart through its embrace of mechanical rhythm, bold contrasts, and industrial modernity—earning him the title “the painter of the machine age.” His art celebrated the beauty of technology, urban life, and the human form rendered in dynamic, interlocking cylinders and planes, evoking the pulse of the modern world. Immersed in the vibrant Parisian art scene, Leger worked in dialogue with peers and contemporaries such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom shared his commitment to innovation and the reimagining of artistic expression. Beyond painting, Leger’s creative reach extended into film, design, and monumental public art—his 1924 collaboration on Ballet Mecanique with Dudley Murphy and Man Ray remains a landmark of avant-garde cinema. His later works evolved toward greater clarity and monumentality, celebrating the unity of form, color, and humanity through large-scale murals and mosaics that bridged fine art and architecture. Leger’s synthesis of Cubism, Futurism, and abstraction paved the way for movements such as Pop Art and influenced generations of artists including Roy Lichtenstein, Ellsworth Kelly, Robert Indiana, and Alexander Calder, who admired his fusion of structure, energy, and optimism. Today, his works are prized by major museums and collectors worldwide for their bold visual power and enduring modernity. His highest auction record was achieved by La femme en rouge et vert (1914), which sold for 39,241,000 USD at Sotheby’s, New York, on May 7, 2008. After Fernand Leger Femme tenant une fleur 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

This exquisite lithograph by Raoul Ubac (1910–1985), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 74-76, originates from the 1955 edition published by Maeght ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Cheval Brun (The Brown Horse), from the folio Derriere le miroir, No. 44-45, originates from the 1952 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1952. This lyrical composition captures Chagall’s mastery of color, symbolism, and dreamlike vision—melding folklore and spirituality into a poetic reflection on imagination and the natural world. Executed as a lithograph on velin paper, this work measures 15 x 22 inches, with centerfold as issued. Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Le Cheval Brun (The Brown Horse), from the folio Derriere le miroir, No. 44-45 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold as issued Inscription: Unsigned and unnumbered as issued Date: 1952 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne References: Cramer, Patrick. *Marc Chagall: The Illustrated Books*. Geneva: Patrick Cramer Publisher, 1974, no. 21; Mourlot, Fernand. *Chagall: The Lithographs*. Monte Carlo: Andre Sauret, 1960, no. 61. Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 44-45, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1952 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: 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 Le Cheval Brun Derriere le miroir No. 44-45, Chagall Mourlot Freres, Chagall Maeght...

This exquisite lithograph after Marc Chagall (1887–1985), titled La Flute enchantee (The Magic Flute), from the album Le plafond de l’Opera de Paris par Marc Chagall (The Ceiling of ...

This exquisite lithograph by Andre Masson (1896–1987), titled L’epervier au dessus du torrent (The Hawk Above the Torrent), from Verve, Revue Artistique et Litteraire, Vol. VII, No. ...

This exquisite lithograph by Abraham Rattner (1895–1978), titled Le Feu (The Fire), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, originates from the 1937 issue publishe...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Prophete Daniel avec les Lions (The Prophet Daniel with the Lions), from Marc Chagall, Dessins Pour La Bible (Drawing...

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 Francois Auguste Rene Rodin (1840–1917), titled Sans titre (Untitled), from the folio Douze aquarelles de Auguste Rodin (Twelve Watercolors by Auguste...

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...

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...

Woodcut in colors on vélin paper. Paper Size: 19 x 18 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Così fan tutte. Dramma giocoso in due atti. Musi...

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

This exquisite lithograph after Fernand Leger (1881–1955), titled Le Manege, Paris (The Carousel, Paris), originates from the 1970 folio Fernand Leger mes voyages avec un poeme d'ara...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, André Beaudin, Verve: Revue Artistique et...

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...

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...

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...

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...

Lithograph on vélin Chiffon de Mandeure paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres Illustres Or...

Lithograph on vélin Chiffon de Mandeure paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres I...

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

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

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 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...

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...

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...

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 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,...

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,...

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,...

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,...

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...

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...

Lithograph on grand vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, La Liberté des Mers, 1959. Published by Maeght Édite...

Etching on papeteries vélin de Lana paper. Inscription: unsigned and unnumbered, as issued. Good condition, with full margins. Notes: From the folio, Jours de gloire, Histoire de la ...

Etching on papeteries vélin de Lana paper. Inscription: unsigned and unnumbered, as issued. Good condition, with full margins. Notes: From the folio, Jours de gloire, Histoire de la ...

Lithograph and stencil on vélin de Rives paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Dignimont, 1946. Published by Éditi...

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...

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...

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...