1950s Abstract Prints

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 20, 1962. Pub...

Artist: Joan Miro Title: Plate 2 Portfolio: Joan Miro Medium: Lithograph Date: 1956 Edition: Unnumbered Frame Size: 17" x 24" Sheet Size: 9" x 15" Image Size: 7 1/2" x 14" Signature:...

Lithograph on wove paper. Inscription: Unsigned and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 69-70, publis...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 36-37-38, published by Derrière le miroir, Paris; printed by Galerie Maeght, Paris, 1951. Excerpted from a Christie’s, New York lot essay, The life span of Derrière le Miroir was thirty-five years. Publication began in 1946. Aimé Maeght, initiator of Derrière le Miroir, had already made few attempts to start publications illustrated with fine printed lithographs in colours in the years prior to the launch of Derrière le Miroir. The name, Derrière le Miroir was suggested by Jacques Kober, manager of Galerie Maeght. The gallery had opened in 1945; the first number of Derrière le Miroir was released a year later. For this first issue Geer van Velde was invited to create lithographs to illustrate the publication. The lithographs in the first issue was printed by Mourlot, Paris. The first three issues of Derrière le Miroir were unsuccessful for Maeght as far as the edition size—the initial print-runs were far too large. From 30,000 for the first issue, the number was taken down to 10,000 for numbers two and three, until Derrière le Miroir number four was published in an edition of 1500. Maeght instituted a policy whereby unsold issues were recycled and used for the fabrication of new paper for the coming editions—this served to both conserve resources and also usually result in ultimate edition sizes far less than 1,500. With number four, the permanent format for Derrière le Miroir was established. Lithographs in colours were key; text was limited to comments on the featuring artist's exhibition taking place in the Galerie Maeght, and this catalogue format was defining to Derrière le Miroir. Galerie Maeght took on the leading role in Paris and presented all main artists including Braque, Matisse, Chagall, Léger, Bonnard, Chillida and many more. So too did Derrière le Miroir. The idea of a magazine was meanwhile still on the mind of Aimé Maeght. He found an insert as a solution. Two, and later four, pages of art review were inserted from 1952 onwards. In 1968 this find had ripened to independency and the dream of Aimé Maeght was now a tangible fact named l'Art vivant. Derrière le Miroir was on it's own again. Over 250 issues in a row. At that point publisher Aimé Maeght wished to make a mark with the publication of an hommage to all who once contributed to the magazine which came in the form of issue number 250, but was delayed by the death of Aimé Maeght. It was published after number 253 in 1982 and became a tribute to Aimé and Marguérite Maeght and 35 years of friendship with artists and poets. The era of Derrière le Miroir was closed with that final publication. GEORGES ROUAULT (1871-1958) French painter, printmaker, ceramicist, and maker of stained glass who, drawing inspiration from French medieval masters, united religious and secular traditions divorced since the Renaissance. Rouault was born in a cellar in Paris during a bombardment of the city by the forces opposed to the Commune. His father was a cabinetmaker. A grandfather took an interest in art and owned a collection of Honoré Daumier’s lithographs...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 10, 1958. Pub...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 20, 1962. Pub...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 20, 1962. Pub...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 10, 1958. Pub...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 79-80-81, published by Derrièr...

Original Edition Lithograph on wove paper. Edition: 1,500. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe S...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 36-37-38, published by Derrièr...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 36-37-38, published by Derrièr...

Original Edition Woodcut on wove paper. Edition: 1,500. Inscription: Signed in the plate and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volum...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 36-37-38, published by Derrièr...

Original Edition Woodcut on wove paper. Edition: 1,500. Inscription: Signed in the plate and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volum...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 115, published by Derrière le ...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 48-49, published by Derrière l...

Lithograph on vélin du Marais paper. Inscription: Signed in the plate, verso, with title and additional lithograph. Good condition. Notes: From the volume, Verve: Revue Artistique et...

RGRFineArt is pleased to offer this abstract lithograph by Carl Pickhardt done while he was painting shaped canvasses. Sheet measures 22.75 x 17.75 in. Initialed CP and numbered 9/20...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 36...

Artist: Joan Miro Title: Joan Miro (Plate 4) Portfolio: Joan Miro Medium: Original lithograph Year: 1956 Edition: Unnumbered Frame Size: 15 1/2" x 14 1/4" Sheet Size: 9" x 7 1/2" Ima...

Lithograph on wove paper. Inscription: Unsigned and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 33, 1950. Pub...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 48...

Lithograph on vélin du Marais paper. Inscription: Signed in the plate, verso, with title and additional lithograph. Good condition. Notes: From the volume, Verve: Revue Artistique et...

Lithograph on vélin du Marais paper. Inscription: Signed in the plate. Good condition; with centerfold, as issued. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol....

Lithograph, 1951 Handsigned by the artist in pencil Edition : 300 Publisher : Editions Falaize (Paris) Printer : Mourlot (Paris) Catalog : Saphire 109 32.00 cm. x 45.00 cm. 12.6 in....

Lithograph on wove paper. Inscription: Unsigned and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 48-49, published by Derrière le miroir, P...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Excellent Condition. Notes: From Derrière le miroir, N° 115, published by Derrièr...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 85...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 48...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 115, published by Derrière le ...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 11...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 115, published by Derrière le ...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 79-80-81, published by Derrièr...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 79...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 85-86, published by Derrière l...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 79-80-81, published by Derrièr...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 115, published by Derrière le ...

Lithograph on wove paper. Inscription: Unsigned and unnumbered; text on verso, as issued. Good Condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 113, publishe...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 48-49, published by Derrière l...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 115, published by Derrière le ...

Lithograph on wove paper. Inscription: Signed in the plate and unnumbered; text on verso, as issued. Good Condition. Notes: From Derrière le miroir, N° 115, published by Derrière le ...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good Condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 110, published by Derr...

This is a cast metal sculpture of a woman and child, mother and baby in a rocking chair. It has a patina on a white metal. Not sure if it is steel or aluminum. It is and older vintage piece and has wear to patina where it sits and rocks on table. It is not signed or numbered and there is no foundry mark. Hence it is being sold as being after or in the manner of Henry Moore. Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From volume, Joan Miro by Jacques Prév...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good Condition. Notes: From Derrière le miroir, N° 110, published by Derrière le miroir, Paris; print...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition, with centerfold, as issued; never framed or matted. Notes: From volum...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From volume, Joan Miro by Jacques Prév...

Lithograph on Vellum Paper. Inscription: Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From volume, Derrière le miroir, No. 87-88-89. June-July-A...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From volume, Joan Miro by Jacques Prév...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition, with centerfold, as issued; never framed or matted. Notes: From volum...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From volume, Joan Miro by Jacques Prév...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Extracted from the volume, XXe Siècle,...

Lithograph on Vellum Paper. Inscription: Unsigned and unnumbered, as issued. Good Condition with centerfold, as issued; never framed or matted. Notes: From volume, Derrière le miroi...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From volume, Joan Miro by Jacques Prév...

Lithograph on Vellum Paper. Inscription: Unsigned and unnumbered, as issued. Good Condition with centerfold, as issued; never framed or matted. Notes: From volume, Derrière le miroir...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition, with centerfold, as issued; never framed or matted. Notes: From volum...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition, with centerfold, as issued; never framed or matted. Notes: From volum...