Mid-20th Century Abstract Prints

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...

Colour screen printing Limited edition of 200 copies, numbered as 78/200 in lower left corner. Signed in pencil by artist in lower right corner. Paper size: 69,7 x 49 cm Very good c...

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

Bouquet de reves pour Leila-Poemes d'Yuan Goll Color lithograph, 1964 Unsigned (as issued) From: XXe siecle, No. 24, December 1964 Publisher: G. di San Lazzaro, Paris Printer: Mourlot, Paris Edition: c. 1500 Reference: Mourlot 546 Condition: Excellent Glue residue on left amrgin from binding in the book XXe Siecle (20th century-review) New series Back in Paris in 1949, Gualtieri di San Lazzaro resumed 20TH century publishing in 1951. It hosts many of the most important writers and art critics of the 1950s and 1960s, including Alain Bosquet , Genevieve Bonnefoi, Camille Bourniquel , Georges Borgeaud, Marcel Brion , Georges Boudaille, Jacques Brosse , Michel Butor , Jean Cassou , Denys Chevalier, Pierre Courthion, Hubert Damisch , Pierre Descargues, Bernard Dorival , Jacques Dupin , Mircea Eliade , Jean-Louis Ferrier , Pierre Francastel , André Frenaud , Roger Van Gindertael...

Andre Lanskoy (French / Russian 1902-1976) Untitled from the portfolio La Genese, 1966 Color lithograph on wove paper Signed 'Lanskoy' lower right Edition 11 of 30. Numbered lower ri...

This exquisite lithograph after Henri Matisse (1869–1954), titled Decoupage (Decoupage), from the album XXe Siecle, Nouvelle serie N°4 (double) Janvier 1954, originates from the 1954 edition published by Societe Internationale dArt XXe Siecle, Paris, under the direction of Gualtieri di San Lazzaro, editeur, Paris, and printed by Mourlot Freres, Paris, 1954. Decoupage reflects Matisses late career mastery of distilled form, harmonious contour, and poetic abstraction. Executed as a lithograph on velin paper, this work measures 12.5 x 9.75 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris Artwork Details: Artist: After Henri Matisse (1869–1954) Title: Decoupage (Decoupage) Medium: Lithograph on velin paper Dimensions: 12.5 x 9.75 inches (31.75 x 24.77 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1954 Publisher: Societe Internationale dArt 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 N°4 (double) Janvier 1954, published by Societe Internationale dArt XXe Siecle, Paris; printed by Mourlot Freres, Paris, 1954 About the Publication: Gualtieri di San Lazzaros 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, linocuts, and pochoirs printed by the foremost ateliers of Paris, Milan, and New York, including Mourlot, Curwen, Atelier Lacouriere, and Amilcare Pizzi, creating a uniquely rich dialogue between text and image. The 1954 issue, Nouvelle serie N°4 (double), stands among the journals landmark mid century editions. Today, XXe Siecle remains an essential record of 20th century modernism, celebrated for its seamless integration of fine art, literature, and design. About the Artist: Henri Matisse (1869–1954) was a French painter, sculptor, draughtsman, and printmaker whose revolutionary vision redefined modern art through his daring use of color, line, and form. Celebrated as one of the greatest artists of the 20th century, Matisse led the Fauvist movement and devoted his life to the pursuit of balance, beauty, and emotional expression in visual art. His early works burst with vibrant hues and liberated brushwork, while his later cut out compositions achieved a poetic simplicity that transformed the relationship between color and space. Deeply influenced by the work of Paul Cezanne, Vincent van Gogh, and Georges Seurat, as well as by the rhythmic patterns of Islamic art, Byzantine mosaics, and Japanese prints, Matisse forged a new visual language that celebrated joy, movement, and serenity. He was part of an extraordinary generation of artists who shaped the evolution of modernism, maintaining lifelong dialogue and friendly rivalry with contemporaries such as Pablo Picasso, Georges Braque, Marc Chagall, Andre Derain, Albert Marquet, and Raoul Dufy peers who, like him, sought to expand the expressive potential of color and composition. Matisses influence extended across generations, inspiring modern and contemporary masters including Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom drew upon his fearless experimentation and refined visual harmony. His paintings, sculptures, and works on paper are held in the most prestigious museums in the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Hermitage Museum, where his art continues to symbolize the essence of creativity and human emotion. The highest price ever paid for a Henri Matisse artwork is approximately 80.8 million USD, achieved in 2018 at Christies New York for Odalisque couchee aux magnolias (1923). Henri Matisse Decoupage...

Original black and white abstract lithograph on archival paper by the well known American modernist artist, James Brooks. Signed in pencil by the artist and dated 1961 lower right. ...

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...

Desert Icon II Screen print, c. 1968 Signed, titled and numbered in pencil (see photos) Edition 100 (17/100) Printed by the artist This image is the most elaborate of three color var...

This colorful lithograph is part of my private collection. It is a limited edition , 1 print available, signed and numbered 25/150. It is in very good condition. Vibrant and colorful.

Manfred Schwartz (American, b. Poland, 1909-1970), "Somber Planet", Lithograph on Paper, mid 20th century, numbered edition "13/90" lower left, signed in pencil lower right, with the...

Max Ernst, German (1891 - 1976) - Les Chiens Ont Soif V, Portfolio: Les Chiens Ont Soif, Year: 1964, Medium: Lithograph, Edition: 165/320, Size: 17 x 24.5 in. (43.18 x 62.23 cm)...

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 is an original poster designed by Jean Dubuffet for his 1968 exhibition Painted Sculptures at Pace Gallery, held from April 13th to May 18th. Created by the artist specifically ...

Calico Jim Dine, American (1935) Portfolio: 11 Pop Artists III Date: 1965 Screenprint on Cartridge Paper, signed in pencil lower left Edition of 200 Size: 40 x 30 in. (101.6 x 76.2 c...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Mademoiselle P.C. (Miss P.C.), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), originates...

This color lithograph is part of my private collection since the 1970's. Marie Raymond was a pioneer post WWII painter of her generation. She was a lyrical abstractionist of her time...

Joan Miró (1893-1983) "Equinox" (Dupin 428), 1967 Etching and aquatint in colors with carborundum on Mandeure rag paper, signed in pencil and numbered 36/75, published/printed by Maeght, Paris, the full sheet, framed. sheet 41 1/4 x 28 3/4in (104.8 x 73cm) Joan Miró (1893–1983)was a Spanish painter, sculptor, and ceramicist born in Barcelona, who became one of the foremost figures in the Surrealist movement. Renowned for his whimsical abstract art...

Beautiful exhibition poster by Puerto rican artist, Rafael Tufino (1922-2008). Augusto Marin, Exposicion de Pinturas, 1965. Screen print on paper, 20 x 3...

This exquisite lithograph by Alexander Calder (1898–1976), titled Deux pyramides et spirales (Two Pyramids and Spirals), from the folio Derriere le miroir, No. 69–70, originates from...

JACKSON POLLOCK (American, 1912-1956) Untitled, CR1095 (after painting Number 22, CR344), 1951, printed 1964 Screenprint, on Strathmore wove paper, numbered 49/50 in pencil lower left, and with the Estate of Jackson Pollock 1964 blindstamp lower left From the posthumous printing of 50 authorized by his widow, Lee Krasner, in 1964 (there was also a lifetime edition of 25) Published by Bernard Steffen...

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...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Rouge, bleu, vert, jaune (Red, Blue, Green, Yellow), originates from the historic 1964 folio Derriere le Miroir, No. ...

Lithograph, 1966 Handsigned by the artist in pencil and numbered 39/150 Catalog : Sorlier 66 80.00 cm. x 57.00 cm. 31.5 in. x 22.44 in. (paper) 65.00 cm. x 50.00 cm. 25.59 in. x 19...

Engraving, 1968 Catalog : Catalogue [Denoël 91] 56.00 cm. x 38.00 cm. 22.05 in. x 14.96 in. (paper) 31.00 cm. x 24.00 cm. 12.2 in. x 9.45 in. (image) Engraving on Japan paper, 1968...

Marcel Duchamp and by Takiguchi Rrose Sélavy (Marcel Duchamp) in Wilson-Lincoln System (Schwarz, 344), 1967 Lenticular print on thin white board. Hand signed by Marcel Duchamp. Date, title and number on label verso. 12 7/10 × 10 1/10 inches Edition 8/60 Hand-signed by artist, Hand signed by Marcel Duchamp in blue ink recto. Sticker label verso bears printed title, edition number, year and description. Printed by Shuzo Takiguchi, published in Tokyo. Catalogue Raisonne Reference: "The Complete Works of Marcel Duchamp" by Arturo Schwarz, Plate 344 Provenance: This was part of the Deluxe Artist portfolio, "To and From Rrose Sélavy"; this will be the first time the work has been separated from the portfolio Please refer to the attached video to see this 3-D piece in person Eager to share Marcel Duchamp with Japanese audiences, Shuzo Takiguchi - a Japanese-born poet, critic, and artist with ties to Surrealist circles, assembled an international portfolio of graphic works by various artists with strong ties to Duchamp, to accompany the deluxe version of his monograph, "To and From Rrose Sélavy (aka Marcel Duchamp)." The present work - Takiguchi's own piece, a lenticular double portrait - combines Rrose Sélavy's signature with Man Ray's 1930 profile of Duchamp. Its subject, Marcel Duchamp, then signed this work in pencil. Its title, "Rrose Sélavy in the Wilson-Lincoln System", refers to Duchamp's Green Box note describing a two-way, changeable portrait of presidents Abraham Lincoln and Woodrow Wilson. Rrose Selavy is, famously, Marcel Duchamp's pseudonym and alter ego. Duchamp died before Takiguchi's book was completed, so this print is one of the very last graphic works that has been hand signed by Marcel Duchamp. It was published in Japan, and is a very elusive work stateside. Another edition of this work is in the permanent collection of the Museum of Modern Art. The National Portrait Gallery and other major institutional collections. This work is fully referenced in the catalogue raisonne "The Complete Works of Marcel Duchamp" by Arturo Schwarz, Plate 344, describing the work as follows: "Rrose Selavy in the Wilson Lincoln System (a double image plastic plate with, on the background, Man Ray's portrait of Duchamp, and superimposed,, Rrose Selavy's autograph signature repeated four times, signed lower right in blue ink: Marcel Duchamp, an original embossed print...." More about Marcel Duchamp: Henri-Robert-Marcel Duchamp was born July 28, 1887, near Blainville, France. In 1904, he joined his artist brothers, Jacques Villon and Raymond Duchamp-Villon, in Paris, where he studied painting at the Académie Julian until 1905. Duchamp’s early works were Post-Impressionist in style. He exhibited for the first time in 1909 at the Salon des Indépendants and the Salon d’Automne in Paris. His paintings of 1911 were directly related to Cubism but emphasized successive images of a single body in motion. In 1912, he painted the definitive version of Nude Descending a Staircase; this was shown at the Salon de la Section d’Or of that same year and subsequently created great controversy at the Armory Show in New York in 1913. Duchamp’s radical and iconoclastic ideas predated the founding of the Dada movement in Zurich in 1916. By 1913, he had abandoned traditional painting and drawing for various experimental forms, including mechanical drawings, studies, and notations that would be incorporated in a major work, The Bride Stripped Bare by Her Bachelors, Even (1915–23; also known as The Large Glass). In 1914, Duchamp introduced his readymades—common objects, sometimes altered, presented as works of art—which had a revolutionary impact upon many painters and sculptors. In 1915, Duchamp traveled to New York, where his circle included Katherine Dreier and Man Ray, with whom he founded the Société Anonyme in 1920, as well as Louise and Walter Arensberg, Francis Picabia, and other avant-garde figures. After playing chess avidly for nine months in Buenos Aires, Duchamp returned to France in the summer of 1919 and associated with the Dada group in Paris. In New York in 1920, he made his first motor-driven constructions and invented Rrose Sélavy, his feminine alter ego. Duchamp moved back to Paris in 1923 and seemed to have abandoned art...

This exquisite lithograph by Pablo Palazuelo (1915–2007), titled Sans titre (Untitled), originates from the 1963 folio Derriere le Miroir, No. 137, published by Maeght Editeur, Paris...

This exquisite lithograph by Pablo Palazuelo (1915–2007), titled Sans titre (Untitled), originates from the 1963 folio Derriere le Miroir, No. 137, published by Maeght Editeur, Paris...

This exquisite lithograph after Francis Bacon (1909–1992), titled Portraits of George Dyer, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published by Maeght E...

An original French Surrealist lithograph in colors by Jean Cocteau (1889-1963), titled "Tete un Profil", 1950. This wonderful original lithograph by Jean Cocteau depicts a beautiful ...

Artist: Josef Albers (German-American, 1888-1976) Title: "Variant III" Portfolio: Ten Variants *Unsigned edition Year: 1967 Medium: Original Screenprint on Rives BFK paper Limited ed...

This artwork titled "Hecatombe de Toros" 1971, is an original color lithograph on Arches paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It is hand signed and numb...

Düsseldorf (German Cities), 1970 24 x 33.8 in. / 61 x 86 cm Screen print in one color on offset lithograph, black on white card. “for Paul” written in pencil lower middle. Signed and...

This exquisite silkscreen by Ad Reinhardt (1913–1967), titled Untitled, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Atheneum...

Charles Quest, 'Still Life', 1947, wood engraving, edition 8. Signed, dated, and numbered '3/8' in pencil. Titled and annotated 'wood engraving' in the bottom left margin. A fine impression, on off-white wove paper, with full margins (1 to 2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Untitled (Martha Jackson Gallery Poster) Lithograph, 1960 Signed and dated in red crayon by the artist Edition 90 (63/90) 1st state before letters for the poster created for the Martha Jackson Gallery, Ting Exhibition, April 23-May 31, 1960 Printed on wove paper with a ”JAPAN' watermark Edition: 90 Provenance: Martha Jackson Gallery, New York Anderson Gallery David K. Anderson Collection (label) Walasse Ting (Chinese: 丁雄泉, 13 October 1929 – May 17, 2010)[1] was a Chinese-American visual artist and poet. His colorful paintings have attracted critical admiration and a popular following. Common subjects include nude women and cats, birds and other animals. He was born on 13 October 1929 in Shanghai, left China in 1946 and lived for a while in Hong Kong, then settled in Paris in 1952.[2] There, he associated with artists such as Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group CoBrA. Ting started his career as an artist in Paris in the 1950s, where he became friends with artists such as Sam Francis and Pierre Alechinsky. His early works were influenced by the CoBrA group, a European art movement known for its use of expressive, childlike imagery. In the 1960s, Ting moved to New York City and became associated with the Pop Art movement. Ting is perhaps best known for his series of paintings featuring women, which he called "Cat Women...

Stanley William Hayter, 'Feu sous L'eau (Fire Under Water)', color engraving, soft-ground etching and scorper with yellow silkscreen, 1955, edition 50 plus 10 artist proofs, Black & Moorhead 221. Signed, titled 'Fire Under Water', dated and annotated 'Essai' in pencil. Dedicated in the artist’s hand 'for Adja & Dove WH Bill 17–5–55' in the top margin. A superb, richly inked impression with fresh colors, on heavy, cream wove paper; wide margins (2 1/2 to 3 7/8 inches), in excellent condition. One of 10 artist’s proofs. Image size 10 3/16 x 7 inches; sheet size 18 1/8 x 12 1/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK In 1950 Hayter returned to Paris and reopened Atelier 17. Works such as 'Fire Under Water' reveal newfound influences, such as that of the Ardèche area of southern France, where he acquired a house in 1951 and frequently visited. Hayter took great interest in the flowing Escoutay River, an experience that parallels the artist and co-director of Atelier 17 Krishna Reddy’s interest in depicting water. While some forms in this print evoke the natural world, the palette of contrasting tones of purple, yellow, black, and white reflects Hayter’s belief in using color intuitively to express emotions and evoke feelings. The sharp white relief lines from the paper and the textural effects realized through soft-ground etching operate in tandem with the sweeping curves and bold colors to give the composition a sense of vitality and dynamism. —edited from the Metropolitan Museum of Art Published by 'La Jeune Gravure Contemporaine', Paris. Impressions of this work are in the following collections: British Museum, Metropolitan Museum of Art, National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

Medium: original lithograph. Printed in 1938 and published in Paris by Teriade for the art revue Verve (volume 1, number 2). Kandinsky was invited to contribute an original compositi...

This exquisite lithograph by Henri Matisse (1869–1954), titled La Chute d’Icare (The Fall of Icarus), from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the...

This lot comprises multiple hand-watercolored drypoint etchings on extremely fine Japanese paper, all edited in 1969. Each piece is part of a limited edition of 145 copies, water-col...

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

Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Une Aventure méthodique, 1950; published by Fernand Mourlot, Paris, a...

MAN RAY Hands, 1966 Silkscreen on Plexiglass Published by Gemini GEL Measurements: Image: 20"h x 16"w sheet plexi: 25.5"h x 19.5"w overall (with frame): 26.75"h x 20.75"w. Edition ...

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

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 89 Year: 1969 Medium: Screenprint, signed in pencil Edition: AP Size: 25 x 19 in. (63.5 x 48.26 cm)

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Formulaire rouge (Red Form), originates from the historic 1958 folio Derriere le Miroir, No. 110. Published by Maeght...

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...

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...

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...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Published by Aimé Maeght, Éditeu...

Black and Moorehead 198, edition of 50. Signed, titled, and numbered, in pencil. Made shortly after Stanley William Hayter returned to his Paris Atelier 17 from New York, Trois Perso...

Untitled (Plate 2) DLM Color lithograph, 1963 Unsigned and unnumbered (as issued) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Printer: Mourlot Freres, Paris Note...

This exquisite lithograph and pochoir by Joan Miro (1893–1983), titled Personnages (Figures), from the album XXe Siecle, Nouvelle serie, No. 8 (double), Janvier 1957, originates from...

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...

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...

This exquisite lithograph after Amedeo Modigliani (1884–1920), titled Portrait (Portrait), from the album Douze Contemporains (Twelve Contemporaries), originates from the 1959 editio...

This exquisite linocut by Joan Miro (1893–1983), titled Femme (Woman), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no...

This exquisite lithograph by Joan Miro (1893–1983), titled Bouquet de reves pour Leila, Poemes d'Yvan Goll (Bouquet of Dreams for Leila, Poems by Yvan Goll), from the album XXe siecl...

This exquisite lithograph by Joan Miro (1893–1983), titled Personnages et oiseaux (Figures and Birds), from the folio Derriere le miroir, No. 151–152, originates from the 1965 editio...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie O, var. 7 (Series O, Variation 7), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...