Abstract Prints on Sale

This colorful lithograph after Pablo Picasso was printed by the Atelier Mourlot in Paris in 1964 and is unsigned*. This image is taken from a drawing in pencil and colored chalk enti...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Edgar Allan Poe (Edgar Allan Poe), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), origin...

Avraham Inlender Stones III Color Offset Lithograph Year: 2003 Size: 5.9 x 5.5 inches (15 x 14 cm) Signed in pencil COA provided Avraham Inlender (1932–2003) was a Polish-born arti...

This exquisite lithograph and pochoir by Maria Helena Vieira da Silva (1908–1992), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie N°7 (double) Juin 1956, ori...

Roy Lichtenstein, 'Paper Plate', serigraph, 1969, edition unknown, Corlett III.45. Printed in dark blue ink verso, 'Roy Lichtenstein © On 1st Inc. 1969'. A fine impression, on white paperboard pressure formed into a 3-dimensional plate; age toning verso, otherwise in very good condition. Published by Bert Stern, New York. Image size 10 1/4 inch diameter, 1-inch depth. Archivally sleeved, unmounted, unframed. Carefully protected for shipping. Literature: John Russell. 'Art: Time for Old-Master Prints', New York Times (July 27, 1979), p. C16. Jan Howard. 'Reflections on 'The Prints of Roy Lichtenstein', Print Collector's Newsletter 26 (July–August 1995), p. 82. Mark M. Johnson. 'The Great American Pop Art Store: Multiples of the '60s', Art & Activities 123 (June–Summer 1998), ill. p. 37 (color). Mary Lee Corlett. 'The Prints of Roy Lichtenstein: A Catalogue Raisonné', New York, 2002, p. 286, no. III.45. Susan Dackerman, ed., 'Corita Kent and the Language of Pop', exhibition catalog, Harvard Art...

This exquisite lithograph after Georges Braque (1882–1963), titled Bord de mer (Seaside), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed...

Shooting Star - 1979 Print - Silkscreen 36.5'' x 36.75'' Edition: Signed in pencil, dated and marked 238/250 Unframed

This exquisite heliogravure after Henri Matisse (1869–1954), titled Mademoiselle A.Nelck (Miss A.Nelck), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), orig...

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 lithograph after Henri Matisse (1869–1954), titled Mademoiselle Yvonne Landsberg (Miss Yvonne Landsberg), from the album Portraits par Henri Matisse (Portraits by Henr...

Martel Wiegand Untitled (Abstract, Modern, Beige, Brown, Linocut) Linoleum Cut on light paper 1996 19.48 x 25.78 inches (49.5 x 65.5 cm) Edition: Unique Signed and dated by hand COA ...

One of seven images from the Origin-Beginning series. Seiko Tachibana was born in Japan and completed her Masters of Art Education at Kobe University, Japan. Her distinctive work b...

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Madame Dorothy Parley (Mrs. Dorothy Parley), from the album Portraits par Henri Matisse (Portraits by Henri Matiss...

Alexander Calder (American, 1898-1976) Fiesta, c. 1973 Lithograph in colors Signed lower right Edition: E. A. 20 x 28 inches 35.5 x 37.75 inches, framed One of America's best known ...

Joan Miró Lithographie Originale I Color Lithograph Year: 1981 Size: 12.5 × 9.6 inches Catalogue Raisonné: Cramer 177, Der Lithograph IV, 1969-1972 Publisher: Maeght Editeur, Paris, ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Madame Dorothy Parley (Mrs. Dorothy Parley), from the album Portraits par Henri Matisse (Portraits by Henri Matiss...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Schweres Rot (Heavy Red), from the folio Derriere le miroir, No. 154, originates from the 1965 edition published...

Interspaceograph - multidimensional silkscreen print on two clear plexiglass panes. There is space between the two silkscreen print plexiglass panes in the custom frame giving the a...

This exquisite lithograph by Henry Moore (1898–1986), titled Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, originates from the 1977 edition published by Societe Internationale d'Art XXe siecle, Paris, and printed by Curwen Prints Ltd, London, 1977. Reclining Figure Interior Setting I reflects Moore’s masterful synthesis of form and space, capturing his lifelong exploration of the reclining human figure as a symbol of harmony between nature, body, and landscape. Executed as a lithograph on velin paper, this work measures 9.75 x 12.5 inches (24.77 x 31.75 cm). Unsigned and unnumbered, as issued. The edition exemplifies the superb craftsmanship of Curwen Prints Ltd, London. Artwork Details: Artist: Henry Moore (1898–1986) Title: Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977 Medium: Lithograph on velin paper Dimensions: 9.75 x 12.5 inches (24.77 x 31.75 cm) Inscription: Unsigned and unnumbered, as issued Date: 1977 Publisher: Societe Internationale d'Art XXe siecle, Paris Printer: Curwen Prints Ltd, London Catalogue raisonne reference: Moore, Henry, et al. Henry Moore, Catalogue of Graphic Work. Gerald Cramer, 1986, illustration 458 Condition: Well preserved, consistent with age and medium Provenance: From the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, published by Societe Internationale d'Art XXe siecle, Paris 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 printed by the foremost ateliers of Paris and London, including Mourlot, Arte, and Curwen, 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: Henry Moore (1898–1986) was a British sculptor, draftsman, and modernist pioneer whose monumental bronzes and organic abstractions revolutionized 20th-century sculpture and made him one of the most influential artists of his time. Renowned for his reclining figures, mother-and-child compositions, and pierced biomorphic forms inspired by nature, Moore transformed traditional carving into a universal language of rhythm, balance, and humanity. Born in Castleford, Yorkshire, he studied at the Leeds School of Art and the Royal College of Art in London, absorbing the influences of classical sculpture, African and Pre-Columbian art, and the radical innovations of the European avant-garde. Inspired by Pablo Picasso’s Cubist fragmentation of form, Joan Miro’s lyrical biomorphism, Wassily Kandinsky’s spiritual abstraction, and Constantin Brancusi’s purity of shape, Moore developed a style rooted in the harmony between mass and void, structure and space. During the interwar years, he became part of an international circle that included Alexander Calder, Alberto Giacometti, Salvador Dali, Marcel Duchamp, and Man Ray—artists who, like Moore, expanded art’s boundaries through abstraction, surrealism, and conceptual experimentation. Like Calder, Moore explored balance and movement; like Giacometti, he sought the spiritual essence of humanity; and like Dali and Duchamp, he challenged perception and redefined modern form. His sculptures, carved in stone or cast in bronze, evoke both ancient and modern sensibilities—forms that appear to breathe with natural vitality while engaging directly with their surrounding landscapes. Moore’s “Shelter Drawings” (1940–41), created during the London Blitz, revealed his deep empathy for the human condition, marking a pivotal moment in his exploration of resilience and vulnerability. By the mid-20th century, Moore’s monumental bronzes had become landmarks around the world, from the Lincoln Center in New York to the UNESCO headquarters in Paris, embodying timeless symbols of endurance, renewal, and unity. His synthesis of organic abstraction and humanism influenced generations of sculptors including Barbara Hepworth, Isamu Noguchi, Eduardo Paolozzi, Antony Gormley, Anish Kapoor, and Rachel Whiteread. Like Kandinsky and Miro, he believed abstraction could transcend culture and time, while like Duchamp and Man Ray, he embraced experimentation as a pathway to new truths. Moore’s works, housed in major collections including the Museum of Modern Art in New York, the Tate in London, the Guggenheim Museum, and the Art Institute of Chicago, continue to define the landscape of modern sculpture for their elegance, power, and emotional depth. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Henry Moore remains a cornerstone of modern art—a sculptor whose vision united nature, form, and spirit into a universal language of beauty and meaning. His highest auction record was achieved by Reclining Figure: Festival (1951), which sold for $33.1 million USD at Christie’s, London, on June 30, 2016, reaffirming Henry Moore’s enduring legacy as one of the most visionary, influential, and collectible sculptors in the history of modern art. Henry Moore Reclining Figure...

This exquisite lithograph after Henri Matisse (1869–1954), titled Madame L.D. (Mrs. L.D.), from the album Portraits par Henri Matisse (Portraits by Hen...

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...

This exquisite lithograph by Pierre Soulages (1919–2022), titled Lithographie No 28 (Lithograph No 28), from the album XXe Siecle, XXXIIe Annee, Nouvelle serie No. 34, Juin 1970, ori...

This large, abstract image celebrates the 13th Annual Community Holiday Festival, 1983 at Lincoln Center. It is signed and numbered by the artist from the edition of 144 (plus 18 APs) and was printed at Fine Creations, NY. This print comes directly from the publisher, Lincoln Center Editions...

This exquisite lithograph by Alexander Calder (1898–1976), titled Mama Citron, originates from the historic 1975 folio Derriere le Miroir, No. 212. Published by Maeght Editeur, Paris...

Unique monotype in colors. Hand signed, dated and numbered '1/1' lower left by Paul Jenkins. Frame size approx 27 x 34.5 inches. Additional images are available upon request. Cer...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph V, from the album Joan Miro Lithographs, Volume I, originates from the 1972 edition published by Tudor Publishin...

This exquisite lithograph by Alberto Magnelli (1888–1971), titled Musique (Music), from the album XXe Siecle, Nouvelle serie, XXXIIIe Annee, No. 37, Decembre 1971, originates from th...

This exquisite lithograph by Roger Bissiere (1886–1964), titled Soleil (Sun), from the album XXe Siecle, Nouvelle serie, XXVIe Annee N°24, Decembre 1964, originates from the 1964 edi...

This exquisite lithograph after Georges Braque (1882–1963), titled Profil de femme (Profile of a Woman), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Pa...

This exquisite lithograph by Joan Miro (1893–1983), titled Hommage a Aime Maeght (Tribute to Aime Maeght), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommag...

This is an original lithograph poster created for Achille Perilli’s 1973 exhibition Works on Paper at Marlborough Galerie in Zürich. A leading figure in postwar Italian abstraction, ...

Donald Baechler, Szechuan Garden, 2003: Medium: Aquatint and soft-ground etching. Sheet size: 27 x 34 inches. Edition of 35 (30 + 5 artists proofs). Hand-signed, dated and numbered on bottom of sheet. Printed on Hanhnemuhle paper. Unframed. Acquired directly from publisher. Artist Biography: Donald Baechler, a member of the East Village art scene in 1980s New York, is known for his painting-collage-drawing works depicting of childhood imagery and nostalgic ephemera like grammar school primers, old maps, and children’s drawings...

Fruitful (small) - Damien Hirst, Contemporary Art, 21st Century, YBAs, Colorful, Giclée Print, Brush Stokes, Paint, Glossy, Limited Edition Laminated Giclée print on aluminium composite panel Edition of 3308 39 x 39 cm (15.4 x 15.4 in.) Signed and numbered on label on the verso In mint condition, as acquired from the publisher and in the original packaging With Certificate of Authenticity PLEASE NOTE: Edition numbers could vary from the one shown in the images. This edition of Forever features bright, abstract details from Damien Hirst’s new series of paintings titled Cherry Blossoms. Here, Hirst reinterprets the traditional subject of landscape painting on a monumental scale, entirely covering the surface of the works with bright colours that stretch the boundaries between figuration and abstraction. The vibrant works pay homage to the Pointillism and Impressionism art movements. With the Cherry Blossoms series Hirst bridges his explorations and examination of colour as well as its effect on the eye, where movement and dynamicity of colour have been composed freely and joyously by the British artist. “The Cherry Blossoms are about beauty and life and death. They’re garish and messy and fragile and about me moving away from Minimalism and the idea of an imaginary mechanical painter and that’s so exciting to me.” —Damien Hirst This limited fine art edition is technically created by a bright Laminated Giclée print on aluminium composite panel, comes in two sizes and was realized in collaboration with Fondazione Prada to support Save the Children Italia. Hirst has taken existing imagery from his Cherry Blossoms and transposed it into a print, depicting a close up of the densely layered impasto structure, as well as colourful dabs of paint from sections of the large-scale canvases, one can see Hirst's thick brushstrokes and trace the movement of his gestural action painting through the surface. DAMIEN HIRST The Turner prize winner and epicenter of the YBA movement. Hirst's emblematic art of our era revolutionizes the art market. Hirst is widely regarded as one of the most important artists working today, creating truly iconic artworks. A genuine star of the Young British Artists (YBA) movement, Damien Hirst has always made a point of mixing up different media. Whether as a sculptor, an installation artist, a painter, or a printmaker, Hirst has produced many of the most spectacular and widely discussed works in recent years and helped to revolutionize the art market. Damien Hirst’s, For the Love of God, the diamond-encrusted replica of the skull of a thirty-five-year-old man from the thirteenth century, broke all records to become the most expensive contemporary artwork in the world. Damien Hirst´s artworks are truly emblematic icons of our era, with their recurring motives such as dots, butterflies, cows, sharks, skulls, pills, and pharmacy cabinets. “I do believe art is more powerful than money, though. I still believe that. And if I ever find out money's more important, I'll knock it on the head.”—Damien Hirst His works, captivating and intense as they are, challenge our stereotyped concepts and beliefs. Damien Hirst’s shark...

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

Elizabeth Catlett - THERE IS A WOMAN IN EVERY COLOR Rare vintage fine art lithograph poster reproduced after Catlett's original 1975 woodcut print entitled THERE IS A WOMAN IN EVERY...

Champ de Tournesols is an original hand drawn lithograph by the French artist Georges Lambert printed in Paris France during the 1970's using traditional hand lithography techniques ...

This exquisite lithograph after Georges Braque (1882–1963), titled La vague (The Wave), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed b...

This exquisite lithograph by Victor Vasarely (1906–1997), titled Beryll, originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collaboration with Leon ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled La Nageuse dans l'aquarium (The Swimmer in the Aquarium), from Henri Matisse, Jazz, originates from the 1983 secon...

Screen print in colors on wove paper. Hand signed, dated and numbered by KAWS. 93 from the edition of 100 (there were also 15 artist's proofs). Published by KAWSONE, Brooklyn. Fra...

This exquisite lithograph by Antoni Tapies (1923–2012), titled A ma (To My), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght ...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph II, from the album Joan Miro Lithographs, Volume III 1964–1969, originates from the 1977 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, April 15, 1977. Lithograph II reflects Miros poetic mastery of line, movement, and color, capturing his lifelong pursuit of visual rhythm and lyrical abstraction. Combining spontaneity and control, this composition embodies Miros signature balance of playful geometry and poetic energy—translating instinct and imagination into a harmonious field of motion and light. Executed as a lithograph on velin paper, this work measures 12.5 x 9.625 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship and technical mastery of Mourlot Freres, Paris, one of the foremost printmaking ateliers of the 20th century. Artwork Details: Artist: Joan Miro (1893–1983) Title: Lithograph II, from the album Joan Miro Lithographs, Volume III 1964–1969, 1977 Medium: Lithograph on velin paper Dimensions: 12.5 x 9.625 inches (31.8 x 24.4 cm) Inscription: Unsigned and unnumbered as issued Date: 1977 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne Des Livres Illustres. P. Cramer, 1989, illustration 230. Miro, Joan, and Patrick Cramer: Volume VI 1976–1981. Maeght, 1992, illustration 1114. Condition: Well preserved, consistent with age and medium Provenance: From the album Joan Miro Lithographs, Volume III 1964–1969, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, April 15, 1977 Notes: Excerpted from the album, Final printing in Paris on 15th April 1977 at Arte Adrien Maeght press. The wide margin lithographs as well as the supplementary lithographs were printed by the Mourlot press. V̅ examples of this English language edition, numbered I-V̅, have been printed. A deluxe edition of CL examples, numbered 1-CL, with II additional original lithographs signed by Joan Miro, and LXXX suites, numbered I-LXXX, containing the VIII original lithographs on velin with wide margins and with each lithograph signed by the artist, have also been printed. About the Publication: Joan Miro Lithographs, Volume III 1964–1969, published in 1977 by Maeght Editeur, Paris, represents the third installment in the definitive four-volume series documenting Miros original lithographic oeuvre. Printed by Mourlot Freres and completed on April 15, 1977, the album chronicles a pivotal decade in Miros artistic evolution—one marked by the synthesis of lyrical abstraction, calligraphic gesture, and radiant color that defined his mature style. The volume includes eight original lithographs, each printed under Miros supervision, demonstrating the technical excellence and chromatic brilliance characteristic of his late work. With essays, documentation, and scholarly commentary, the album stands as both a visual and historical testament to the collaboration between Miro, Maeght Editeur, and Mourlot Freres, whose joint contributions elevated fine art lithography to an unparalleled standard of creativity and craftsmanship. As part of the celebrated Maeght archive of artist albums, Volume III captures the enduring vitality of Miros vision and the timeless spirit of his contribution to modern art. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the 20th century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miros inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miros work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for 23,561,250 GBP (approximately 37 million USD) at Sotheby's, London, on June 19, 2012. Joan Miro Lithograph II...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Lithograph on vélin papier bouffant des Papeteries de Casteljaloux paper. Paper Size: 11.02 x 8.46 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Sui...

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...

Sister Mary Corita Road Signs screenprint paper size: 23 x 11.5" framed: 26 x 14.5" 1969 signed

Josef Albers, 'Interlinear K50', zinc plate lithograph offset to stone printing, 1962, edition 20, Danilowitz 151. Signed, titled, dated, and numbered '14/20' in pencil. A superb, ri...

Art, a tangible manifestation of the imaginary and the sensitive, is translated through works capable of captivating and communicating beyond words. Friedlaender's lithographs, loade...

Donald Sultan Yellow Roses, April from Fruit and Flowers II, 1992 Color Screenprint Signed in Pencil, DS and 34/100 Printed by Watanabe Studio, Brooklyn Published by Parasol Press, L...

Salvador Dalí Un entré fracassant aux U.S.A (A shattering entrance to the U.S.A) from After 50 Years of Surrealism Original etching with hand coloring, hand signed in pencil 1974 Im...

This exquisite lithograph and pochoir after Robert Delaunay (1885–1941), titled La fenetre, n°2 (The Window, No. 2), from the album XXe Siecle, Nouvelle serie N°9 (double), Juin 1957...

This exquisite lithograph after Henri Matisse (1869–1954), titled Decoupages (Cutouts), from the album XXe Siecle, Nouvelle serie N°4 (double) Janvie...

Joan Miro Lithographier Originale Original Color Lithograph Year: 1961 Size: 14.5x10.5in Edition: 1,500 Portfolio: DLM 125-126 Publisher: Maeght Editeur, Paris 1961 Additional text...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

This exquisite lithograph by Jean-Paul Riopelle (1923–2002), titled Sans titre (Untitled), originates from the historic 1982 folio Derriere le Mir...

YES TO LIFE-NO TO DRUGS (Oui À La Vie-Non À La Drogue) is a handmade color lithograph by the internationally recognized Syrian artist Mohammad Sami Burhan printed on archival Arches ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 48-49, 1952. Published by A...

This exquisite lithograph by Andre Derain (1880–1954), titled Au Jardin d'Allah (In the Garden of Allah), from Verve, Revue Artistique et Litteraire, Vol. I, No. 4, originates from t...

This exquisite heliogravure after Pierre Soulages (1919–2022), titled Planche No. 6 (Plate No. 6), from the folio Pierre Soulages, Peintres d'aujourd'hui (Pierre Soulages, Painters o...