New Arrivals

Artist: Marc Chagall (1887–1985) Title: Isaiah (Isaie) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well...

Artist: Marc Chagall (1887–1985) Title: The Creation (Creation) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condit...

Artist: Marc Chagall (1887–1985) Title: Paradise I (Paradise I) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condit...

Artist: Marc Chagall (1887–1985) Title: Hagar in the Desert (Agar dans le desert) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 ...

Artist: Marc Chagall (1887–1985) Title: Tamar, Daughter-in-Law of Judah (Tamar Belle-Fille de Judas) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Tamar Belle-Fille de Judas (Tamar, Daughter-in-Law of Judah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical story of Tamar, evoking themes of justice, identity, and moral complexity through his luminous color and dreamlike symbolism. The flowing forms and expressive imagery convey a sense of quiet intensity and narrative depth, capturing Tamar’s pivotal role within the unfolding story and its enduring resonance within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of resilience, consequence, and the intricacies of human destiny. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Tamar...

Artist: Marc Chagall (1887–1985) Title: Ahasuerus Dismisses Vashti (Asuerus chasse Vasthi) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inche...

Artist: Marc Chagall (1887–1985) Title: Cain and Abel (Cain et Abel) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) C...

Artist: Marc Chagall (1887–1985) Title: Rahab and the Spies of Jericho (Rahab et les espions de Jericho) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 1...

Artist: Marc Chagall (1887–1985) Title: Rachel Steals Her Father’s Idols (Rachel derobe les Idoles de son Pere) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Rachel derobe les Idoles de son Pere (Rachel Steals Her Father’s Idols), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical episode in which Rachel secretly takes her father’s household idols, evoking themes of identity, defiance, and spiritual transformation through his luminous color and dreamlike symbolism. The flowing forms and radiant imagery convey a sense of tension and quiet determination, capturing the narrative’s emotional complexity and symbolic resonance within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of transition, belief, and the shifting boundaries between past and future. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Rachel...

Artist: Marc Chagall (1887–1985) Title: Ruth at the Feet of Boaz (Ruth aux pieds de Booz) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Ruth aux pieds de Booz (Ruth at the Feet of Boaz), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical moment in which Ruth lies at the feet of Boaz, evoking themes of humility, devotion, and destiny through his luminous color and dreamlike symbolism. The flowing forms and radiant imagery convey a sense of intimacy and quiet revelation, capturing the emotional and spiritual significance of the encounter within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of faith, grace, and providential union. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Ruth...

Artist: Marc Chagall (1887–1985) Title: Job in Despair (David sauve par Michal) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x 26.67 cm) Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue Raisonne Reference: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. Additional notes: This exquisite lithograph by Marc Chagall (1887–1985), titled Job En Desespoir (Job in Despair), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical figure of Job in a moment of profound suffering, evoking themes of anguish, endurance, and spiritual trial through his luminous color and dreamlike symbolism. The flowing forms and expressive imagery convey a sense of emotional intensity and existential weight, capturing Job’s despair and inner turmoil within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of sorrow, resilience, and the search for divine meaning. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. MARC CHAGALL (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Job...

Artist: Marc Chagall (1887–1985) Title: Adam and Eve Expelled from Paradise (Adam et Eve chasses du Paradis) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Siz...

Artist: Marc Chagall (1887–1985) Title: The Face of Israel (Le visage d'Israel) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 10.5 inches (35.56 x ...

Artist: Marc Chagall (1887–1985) Title: The Meeting of Ruth and Boaz (Rencontre de Ruth et de Booz) Year: July 29, 1960 Medium: Lithograph on velin du Marais paper Paper Size: 14 x 1...

Artist: Joan Miro (1893–1983) Title: The Giants, Plate 4 (Les geants, Planche 4) Year: 1960 Medium: Lithograph on velin paper Paper Size: 15 x 22 inches (38.1 x 55.88 cm), with centerfold as issued Condition: Well preserved, consistent with age and medium Inscription: Unsigned and unnumbered, as issued Publisher: Maeght Editeur, Paris Printer: Imprimerie Arte, Paris Catalogue raisonne reference: Dupin, Jacques, et al. Miro Graveur. D. Lelong, 1984–2001, illustration 279 Notes: This exquisite lithograph by Joan Miro (1893–1983), titled Les geants, Planche 4 (The Giants, Plate 4), originates from 1960 and was published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Arte, Paris. The composition exemplifies Miro’s lyrical abstraction and poetic engagement with monumental form, gesture, symbolism, and the expressive possibilities of color and space. In Les geants, Planche 4 (The Giants, Plate 4), the artist transforms suggestions of immense figures and primordial presences into a highly personal visual language of biomorphic shapes, spontaneous marks, and dynamic spatial relationships. The result is a poetic interpretation of scale, imagination, and mythic presence seen through the lens of modern abstraction. Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the twentieth century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned simultaneously as an exhibition catalogue and as an autonomous work of art, featuring original lithographs printed directly from the artists stones or plates alongside essays, poems, and critical texts. Over more than three decades, Derriere le Miroir produced over 250 issues and presented an extraordinary range of artists including Henri Matisse, Marc Chagall, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Antoni Tapies, Pierre Alechinsky, Pol Bury, Bram van Velde, and many others. Printed by master ateliers such as Mourlot and Arte, the series established new standards of excellence in modern lithography and graphic design. Closely linked to exhibitions at Galerie Maeght, each issue served as a lasting document of postwar modernism, uniting image, text, and philosophy into a uniquely influential publication that remains among the most important and collectible achievements in twentieth century art publishing. 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 twentieth 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. Miro’s 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, Miro’s 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) (Painting (Blue Star)) (1927), which sold for approximately 37 million USD at Sothebys, London, on June 19, 2012. Joan Miro Album 19, Plaque 5 (Album 19, Plate 5), Joan Miro lithograph, Miro Maeght Editeur Paris, Miro Imprimerie Arte, Miro 1960...

Artist: Pierre Tal-Coat (1905–1985) Title: Untitled (Sans titre) Year: 1960 Medium: Lithograph on velin paper Paper Size: 15 x 11 inches (38.1 x 27.94 cm) Condition: Well preserved, ...

Other Details: Primary Stone: Emerald Center Emerald Weight: Approximately 4.00 carats Center Emerald Cut: Cabochon Cut Center Emerald Origin: Zambia Secondary Stones: Diamond Seco...

Artist: Alexander Shandor Title: In the Spring Medium: Oil on Hardboard Year: 2017 Style: Impressionism Dimensions: 11 x 16" x 0.2" inch (28 x 40x 1cm) Presentation: Unframed, Type...

Artist Comments
A winding road curves toward softly silhouetted mountains. As the moon rises, the sky transitions from blue to warm yellow and muted pastels near the horizon. A...

"2 Mikes", contemporary portrait bold woman red blue close-up acrylic painting. A close-up portrait of a woman with red hair staring down at the viewer, judging the merits of the two...

Pair large Italian neoclassical black and white marble lamps with grey tole shades. Urn form marble lamps with Neoclassical style banding, newly electrified with silk cord twist and...

A very nice and large and heavy cast iron outdoor sconce, the patina is so much nicer in person, at the time of the picture we remove the glass, too much reflection with the flash,B...

Large French German Shepherd sculpture by Louis-Albert Carvin, dating to circa 1910. This impressive animal figure is cast in spelter and mounted on a substantial marble base, creati...

A grey, brown-glazed stoneware, brass and off-white fabric table lamp produced by Royal Copenhagen, Denmark, c. 1940s. In good vintage condition, with visible wear consistent with a...

Pair Neoclassical Cast Stone Pine Cone Garden Ornaments. Pair large vintage cast stone pine cones / artichokes on raised socle and square plinths with lichened and moss, originally a...

100% authentic Hermès Isthme pendant necklace, an Art Deco-inspired charm distilled to graphic effect. The oversized "O" pendant is crafted in palladium-...

Cartier 21 Must de 18K Yellow Gold Two Tone Silver Dial Quartz Watch, circa 2001. Fits a wrist measuring approximately 6 inches. Original box and papers are not included.

An exceptional and extraordinarily rare pair of tulip-shaped wall sconces designed by Tomaso Buzzi for Venini, Murano, circa 1932–1934. These museum-quality examples of Italian deco...

A crystal masterpiece of beautiful proportions by Thomas Bastide, this vase crystallize the extraordinary know-how of the Baccarat craftsmen. The geometric cuts and vibrant amethyst ...

A crystal masterpiece of beautiful proportions, this vase crystallize the extraordinary know-how of the Baccarat craftsmen. The different cuts and vibrant amethyst colour in the vase...

A rare and wonderfully decorative **19th-century cast-ironand Bronze apothecary cork press**, also known as a cork compressor, combining ingenious mechanical function with highly orn...

A beautifully designed Mid-Century Modern champagne chiller, combining polished chrome and brass in a sophisticated and glamorous presentation. The sculptural brass sphere handles a...

Charming parrot-form liquor pitcher or pourer made by the Angelo Minghetti manufactory in Bologna, Italy, circa 1930. Crafted in richly glazed polychrome majolica, this playful sculp...

19th Century Hovis, Grocery and Post Office Delivery Hand Cart This enduring piece was made in the 19th Century, by closely examining the script you can see it has changed hands a few time even back then This Charming Dray was made over 100 years ago in wood, the cart has been sign painted some years ago advertising the services of “G Dew” Also visible are advertisements for “POST OFFICE” “HOVIS” and addresses in ANERLY Croydon Rd S.E and Norwood Junction SE25. The Cart has 2 large wood and iron Cart wheels...

A dramatic matched pair of vintage Royal Haeger ceramic sculptures depicting stylized gazelles captured in mid-leap, produced in the United States circa 1992. Each gazelle is modeled...

Solid bronze numbered edition John Polland (1932-2003) figurine. Signature and edition number located on base of back side. This sculpture is the 1970 release of Polland's iconic Wa...

c. 1950s/1960s; Winchester Repeating Arms Co. - New Haven, CT A tin lithograph advertising sign promoting the Winchester Museum at the Buffalo Bill Historical Center in Cody, Wyomin...

Mid Century "October Song" Minnesota Autumn Forest Landscape Highly detailed mid century landscape depicting a glorious autumn scene, of a tranquil stream running through a forest f...

Beautiful original painting of Ellicott City, Maryland depot by American artist, Aurion M. Proctor (1909-1983). Ellicott City with Approaching Train, ca. 1940. Oil on illustratio...

Artist: Ian Hornak (1944–2002) Title: Lilies and Mushrooms with my Parrot Kouka Year: 1986 Medium: Acrylic on panel, with artist painted frame Size: 65.5 x 52.5 inches (166.37 x 133....

Artist: Ian Hornak (1944–2002) Title: Sorcerer Series: Beast Head, Spider Web Year: 1969 Medium: Acrylic on canvas Size: 72 x 48 inches (182.88 x 121.92 cm) Condition: Well preserve...

Artist: Ian Hornak (1944–2002) Title: Nocturne I: White Peacock, Black Cockatoo Year: 1990 Medium: Acrylic on panel, with artist painted frame Size: 58 x 48 inches (147.32 x 121.92 c...

Red Azzedine Alaia “Goddess” dress, 2004 edition, in semi-sheer cupro. The dress has a deep V neckline with wide gathered straps and an open back. ...

Moschino Jeans Cotton Pinstripe Blazer ABOUT A pinstripe jacket with an eye-catching, contemporary look, thanks to its white stripes on a black background and its fitted cut. The b...

Grande bouteille en verre de Murano, vers 1970.

Large antique flower pots made of craquelé earthenware; XL cachepots featuring a red-to-brown floral design with butterflies. Marked on the base wit...

This very rare dining table was designed by Robert Guillerme and Jacques Chambron and produced by their company Votre Maison in Northern France in the 1960s. The tabletop is compose...

Billy Al Bengston Sweet Filthy Cheat, 2004 Watercolor and acrylic on paper Signed, dated and titled on the front Frame included Unique This unique work, with it's charmingly sly tit...

Bridget Riley - Rose, Rose, 2012 London Olympics silkscreen (Autographed by Bridget Riley and dozens of Olympic medalists), with official hologram, 2012 Silkscreen poster with hologr...

20th Century English oil on board painting 'Campo Santa Maria Formosa' by Ken Howard. 'The Last Impressionist' Ken Howard studied at Hornsey School of Art from 1949 to 1953. He then...

Contemporary British acrylic on canvas 'Hoopla' by Patrick Hughes, 2011. Patrick Hughes Patrick was born in Birmingham, England in October 1939. His first exhibition was in 1961 and...

20th Century British oil on wood painting 'August Night' by George Dannatt (1915-2009). Dannatt’s abstract paintings are appreciated for their balance of structure and poise, as wel...

Cartier's Juste Un Clou began as a punk-inspired provocation in the 1970s — an ordinary nail, bent into a bracelet — and this large model example, signed, numbered, and hallmarked, c...

Adriana Montariello is an Italian artist, architect, and sculptor. His work is part of the Neapolitan contemporary art scene, ranging from painting and sculpture to theoretical essay...

Pair of 1970's French hammered metal floor lamps with gilt details. Measurements: Height of body: 73.5" base width : 11.25" base depth: 9.75"

A handsome antique Victorian / Edwardian cast iron combination fireplace, offering substantial architectural presence and the distinctive character associated with traditional Britis...

A striking original Georgian / Victorian cast iron fireplace insert, reclaimed from a period property in Ludlow, Shropshire, and distinguished by its beautifully detailed figurative ...

An impressive enamelled cast iron fireplace mantel surround, offering a strong architectural presence and an elegant period-inspired appearance. Its open design makes it particularly...

A highly decorative Art Nouveau cast iron fireplace surround, featuring beautifully crisp stylised ornamentation across the frieze and legs. The design has organic forms of the Art ...

An elegant original antique cast iron fireplace mantel surround, reclaimed from a period property in London and distinguished by it...