The Hamptons - Still-life Prints

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 168, 1967. Published by Aim...

This exquisite lithograph after Georges Braque (1882–1963), titled Le Lierre (The Ivy), from Carnets intimes (Private Sketchbooks), Verve, Vol. VIII, No. 31–32, originates from the 1...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 211, 1974. Published by Aimé Maeght, Éditeur, Paris; pr...

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...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 175, 1968. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 175, 1968. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 175, 1968. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 157, 1966. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Nature morte au lard (Still Life with Bacon), from the album Vlaminck, originates from the 1958 edition publis...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Nature morte au whisky (Still Life with Whisky), from the album Vlaminck, originates from the 1958 edition pub...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Nature morte au pots (Still Life with Pots), from the album Vlaminck, originates from the 1958 edition publish...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Les fleurs au pot de grès (Flowers in a Stoneware Vase), from the album Vlaminck, originates from the 1958 edi...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Les Anémones (The Anemones), from the album Vlaminck, originates from the 1958 edition published by Andre Saur...

This exquisite lithograph after Maurice de Vlaminck (1876–1958), titled Les Delphiniums (The Delphiniums), from the album Vlaminck, originates from the 1958 edition published by Andr...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sabot (Clog), originates from the historic 1963 folio Derriere le Miroir, No. 141. Published by Maeght Editeur, Pari...

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 after Alberto Giacometti (1901–1966), titled Deux natures mortes (Two Still Lifes), from the folio Derriere le miroir, No. 65, originates from the 1954 edit...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, Sur Qua...

This exquisite lithograph after Juan Gris (1887–1927), titled Pot de Fleurs (Flower Pot), from the folio Au Soleil du Plafond (In the Sunlight of the Ceiling), originates from the 19...

This exquisite lithograph after Juan Gris (1887–1927), titled Violin (Violin), from the folio Au Soleil du Plafond (In the Sunlight of the Ceiling), originates from the 1955 edition ...

This exquisite lithograph after Juan Gris (1887–1927), titled Le Livre (The Book), from the folio Au Soleil du Plafond (In the Sunlight of the Ceiling), originates from the 1955 edit...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, In Memory of My Feelings,...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, In Memory of M...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 11.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 11.937 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: ...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 11.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 11.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

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...

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...

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...

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...

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 Henri Matisse (1869–1954), titled Serie N Gc’S, var. 3 (Series N Gc’S, Variation 3), from the album Henri Matisse, Dessins, Themes et Variations (Draw...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie N Gc’S, var. 2 (Series N Gc’S, Variation 2), from the album Henri Matisse, Dessins, Themes et Variations (Draw...

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

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

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

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie J, var. 1 (Series J, Variation 1), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie H, var. 8 (Series H, Variation 8), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie H, var. 5 (Series H, Variation 5), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie A, var. 6 (Series A, Variation 6), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

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...

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. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 153, 1965. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 129, 1961. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 129, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 129, 1961. Published by Aim...

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, with centerfold, as issued. Notes: From Derrière le miroir, N° 116, 1959. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 116, 1959. Published by Aim...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 116, 1959. Published by Aim...

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...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 117, 1959. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 116, 1959. Published by Aim...

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

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 116, 1959. 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° 211, 1974. 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° 167, 1967. 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° 211, 1974. Published by Aimé Maeght, Éditeur, Paris; pr...