672 results for "ellsworth kelly"

Art Card: James Rosenquist, Nomad, 1963 (Hand signed), ca. 1996 Offset lithograph postcard Hand signed in marker on the front Provenance: collection of Tom Grafton, famed autograph c...

This exquisite lithograph by Joan Miro (1893–1983), titled Cahier d'ombres (Book of Shadows), originates from the December 1971 folio Derriere le Miroir, No. 195, published by Maeght...

Saul Steinberg Derrière le Miroir: A lithographic cover published c. 1970. Well suited for framing. A fantastic vintage Saul Steinberg collectible within reach. Lithograph in color...

ART, poster for Colby College Museum exhibition (autographed and inscribed by Robert Indiana), 1973 Offset lithograph poster Autographed and inscribed by the artist on the front 35 × 23 inches This uniquely signed and inscribed poster was published on the occasion of an exhibition at Colby College Art Museum from September 16 - November 3, 1973, featuring new acquisitions...

As a child, Ryan Van Der Hout owned a telescope and was fascinated by the sight of the moon in the night sky. This iconic image of the moon as viewed from earth is re-imagined when V...

As a child, Ryan Van Der Hout owned a telescope and was fascinated by the sight of the moon in the night sky. This iconic image of the moon as viewed from earth is re-imagined when V...

This exquisite lithograph after Jean-Edouard Vuillard (1868–1940), titled Le studio de couture (The Dressmaking Studio), originates from the 1966 folio Derriere le Miroir, No. 158–15...

Technical Information: James Rosenquist While the Earth Revolves at Night 1982 Pastel and pencil on paper 36 1/2 x 72 1/4 in. Unique Signed, dated, and titled Additional Technical ...

This exquisite lithograph by Robert Motherwell (1915–1991), titled Tricolor, from the album XXe Siecle, Annee No. 40, Juin 1973, originates from the 1973 edition published by Societe...

ABOUT Erica Hauser is a Newburgh, NY based artist and has a BFA from the School of Visual Arts (2002). She received a 2011 NYFA grant, and has attended ar...

This exquisite lithograph by Joan Miro (1893–1983), titled L'arc (The Bow), originates from the 1964 folio Derriere le Miroir, No. 148, published by Maeght Editeur, Paris, under the ...

James Rosenquist Art Gallery, from the Estate of Nina Castelli and the Collection of Ileana Sonnabend (Glenn, 41), 1971 Color lithograph on Rives BFK paper 30 × 22 1/2 inches Edition...

This exquisite lithograph after Francis Bacon (1909–1992), titled Portrait of Isabel Rawsthorne, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published by Mae...

"Blown Glass" vase is a light beautiful wisp of blown glass infused with a milky white and blue fog of color and bold splashes of red. The vase has a long elegant neck and round body. Herb Babcock known as a Michigan Glass Artist began as a metal sculptor. He studied glass blowing in 1969 and created a series of Glass Image Vessels in 1974. Eventually he began to combine metal and glass in sculpture. The Pillared Series, which includes glass, steel and stone, began in 1989. Herb received both his BFA and his MFA in Sculpture: his bachelor’s degree from the Cleveland Institute of Art and his master’s from the Cranbrook Academy of Art Bloomfield Hills, Michigan. Cranbrook was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), and Morris Brose...

Caucus is an offset lithograph on paper with an image size of 37 x 27 inches, framed in a contemporary, silver-tone frame 50.5 x 40.25 inches. From the edition of 190 - the art is si...

Artist: (after) Robert Indiana (American, 1928-2018) Title: "Louisiana Museum of Modern Art (LOVE)" Year: 1972 (First edition) Medium: Original Screenprint, Exhibition Poster on heav...

Ballpoint pen and inkjet on paper. Unframed. Caldicott has always had a habit of working serially; his works on paper are rapidly produced and large in quantity. His drawings have a...

ABOUT After 30 years of only exhibiting fine art photography, the Robin Rice Gallery is pleased to present a group exhibition featuring a selection of her gallery photographers and three visual artists new to the space: Erica Hauser, and Matt Kinney. The selected works of these well-established Beacon, NY artists blend with the gallery’s fine art photography. Upon entering the gallery, viewers will encounter figurative sculptures, abstract paintings, and ink wash drawings alongside fine art photography. Since Robin Rice’s move to Beacon, NY, this concept developed organically; the group exhibition is a fusion of artistic mediums inspired by chance encounters between Rice and friends at art events in Beacon. After spending time with creatives who've spent lockdown in studios, Rice carefully chose works most apropos with her edited inventory of framed photography. Through these chance encounters Rice found inspiration to create this exhibition unlike anything seen before at the gallery and curated an immersive experience. Maintaining her expert aesthetic, Rice has brought together a mosaic of mediums that seamlessly fit together like pieces of a puzzle. Kinney's collection of ink wash paintings in Japanese Sumi ink and watercolor paintings on hand-torn paper render fleeting glimpses of figures and animals as well as primal symbols. Tasmania Spiral is a hypnotic work that resembles a gyre. Also in focus is Hauser’s collection of abstract paintings featuring an alluring vintage color palette...

This exquisite lithograph by Konrad Klapheck (1935–2023), titled Sans titre (Untitled), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguer...

'Cold Pistachio' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly d...

Young Girl Posing Beneath Chandelier is an original hand drawn stone lithograph attributed to the American Pop artist Mel Ramos, printed by hand at Bank Street Atelier NYC (the New York branch of the renowned lithographic printshop Atelier Mourlot Paris, France) circa 1970 using opaque slate blue ink on Buff color ARCHES paper 100% acid free. Young Girl Posing Beneath Chandelier portrays a topless young girl, eyes closed, wearing a floppy hat, striking a pose on the lower portion of the composition with a silhouetted image of a chandelier positioned at the very top. Print size - 16.5 x 12 inches, Image size - 10 x 9.5 in., unframed, excellent condition, rare unsigned Printers Proof/trial proof from an unknown early edition, fine hand printed impression Historic Note on Bank Street Atelier - Bank Street Atelier was founded in 1969 by George J. Goodstadt (Fine Arts Publisher) along with Jacques Mourlot, third generation of the famous Mourlot print shop in Paris, France. Bank Street Atelier became one of the premier lithography print studios in NYC at that time and became a major graphic center, which attracted many of the Modern American Masters of the 1970’s, including Alexander Calder, Willem deKooning, Red Grooms, Al Hirschfeld, Ellsworth Kelly, Romare Bearden, Fairfield Porter, Jasper Johns, Frank Stella, Alex Katz and many more. The resulting prints were produced with the highest quality and earned a reputation in the art world for professionalism and excellence in lithographic printmaking. About the artist - Mel Ramos(1935 - 2018, California) Mel Ramos is an American Pop artist best known for his female nudes painted alongside brand logos. The artist’s coupling of women with familiar products like martini glasses and bananas serves as a commentary on the ways in which capitalism has employed the female body. “I make sure that my pictures are not too erotic and that they always have a trace of humor,” he said of his work. “I make sure they are ‘in good taste.’ Either you understand it or not.” Born on July 24, 1935 in Sacramento, CA, Ramos like Roy Lichtenstein and Andy Warhol, found inspiration through the comic books Wonder Woman and Superman growing up and later pinup posters...

This exquisite lithograph by Fernand Leger (1881–1955), titled L’Eau (Water), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, originates from the 1937 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1937. This vibrant composition embodies Leger’s fascination with the elemental forces of nature reinterpreted through the lens of modernity. L’Eau reflects his ongoing exploration of the harmony between mechanical precision and organic movement, transforming the natural motif of flowing water into an abstract symphony of curves, color, and rhythm. Through its interplay of form and line, the work reveals Leger’s mastery of balance and visual dynamism—an artistic celebration of motion and modern life. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Signed in the plate and unnumbered as issued. The edition reflects the superior craftsmanship of the Mourlot Freres atelier, celebrated for its collaborations with the leading modern artists of the 20th century. Artwork Details: Artist: Fernand Leger (1881–1955) Title: L’Eau (Water), from Verve, Revue Artistique et Litteraire, Vol. I, No. 1, 1937 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1937 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From Verve, Revue Artistique et Litteraire, Vol. I, No. 1, published by Editions de la revue Verve, Paris, 1937 About the Publication: Verve, Revue Artistique et Litteraire was one of the most influential art periodicals of the 20th century, founded in Paris in 1937 by the visionary Greek-born publisher Teriade (Stratis Eleftheriades). Designed as a meeting point of art, poetry, and philosophy, Verve united the era’s greatest modern artists—including Henri Matisse, Pablo Picasso, Marc Chagall, Georges Braque, Joan Miro, and Fernand Leger—with leading intellectuals such as Paul Eluard and Albert Camus. Printed by the master lithographers Mourlot Freres, each issue was a masterpiece of craftsmanship, presenting original lithographs alongside literary works in a richly designed format. The inaugural issue, Vol. I, No. 1, published in 1937, marked a defining moment in the history of modern art publishing—introducing the vision of Verve as a beacon of artistic collaboration and aesthetic excellence that would shape the visual culture of the 20th century. About the Artist: Fernand Leger (1881–1955) was a visionary French painter, sculptor, designer, and filmmaker whose groundbreaking fusion of modern industry, vivid color, and geometric form transformed the course of 20th-century art. Born in Argentan, Normandy, Leger began as an architectural draftsman before studying at the Academie Julian and the Ecole des Beaux-Arts in Paris, where he absorbed the lessons of Paul Cezanne’s structural rigor and the revolutionary ideas of Cubism. Alongside Pablo Picasso and Georges Braque, he became one of the leading innovators of the avant-garde, yet his work stood apart through its embrace of mechanical rhythm, bold contrasts, and industrial modernity—earning him the title “the painter of the machine age.” His art celebrated the beauty of technology, urban life, and the human form rendered in dynamic, interlocking cylinders and planes, evoking the pulse of the modern world. Immersed in the vibrant Parisian art scene, Leger worked in dialogue with peers and contemporaries such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom shared his commitment to innovation and the reimagining of artistic expression. Beyond painting, Leger’s creative reach extended into film, design, and monumental public art—his 1924 collaboration on Ballet Mecanique with Dudley Murphy and Man Ray remains a landmark of avant-garde cinema. His later works evolved toward greater clarity and monumentality, celebrating the unity of form, color, and humanity through large-scale murals and mosaics that bridged fine art and architecture. Leger’s synthesis of Cubism, Futurism, and abstraction paved the way for movements such as Pop Art and influenced generations of artists including Roy Lichtenstein, Ellsworth Kelly, Robert Indiana, and Alexander Calder, who admired his fusion of structure, energy, and optimism. Today, his works are prized by major museums and collectors worldwide for their bold visual power and enduring modernity. His highest auction record was achieved by La femme en rouge et vert (1914), which sold for $39,241,000 at Sotheby’s, New York, on May 7, 2008. Fernand Leger L’Eau, Leger Verve, Leger Mourlot...

Acrylic and pencil on paper painting Signed and dated in graphite on acrylic on the front Evocative mixed media painting on paper of Central Park as part of the artist's City at Twil...

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

Acrylic and pencil on paper painting Signed and dated in graphite on acrylic on the front Evocative mixed media painting on paper of The Brooklyn Bridge as part of the artist's City ...

This exquisite lithograph by Georges Braque (1882–1963), titled La Charrue (The Plow), originates from the 1960 folio Derriere le Miroir, No. 119, Poetes, peintres, sculpteurs (Poets...

"Green Compression" Acrylic on canvas over shaped panel. 20"diameter. 2020 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into th...

Soothe 1 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecti...

This exquisite lithograph after Francis Bacon (1909–1992), titled Portrait of Henrietta Moraes, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published by Maeg...

"Spring Garden I - Japanese Magnolia" is a colorful naturalist landscape featuring hues of lime green, purple, pink, orange and yellow. This work is unframed. Carlyle is inspired by the works of Claude Monet, Edouard Vuillard, Henri Matisse, Walter Inglis Anderson, Charles Burchfield, Ellsworth Kelly, Alexander Calder and Mary Delany...

Twist 2 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connectin...

Snap 8 (Abstract Painting) Acrylic and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at th...

Untitled, 2014 (Id. 383) (Abstract Drawing) Ballpoint pen and inkjet on paper. Unframed. Caldicott has always had a habit of working serially; his works on paper are rapidly produc...

Untitled, 2014 (Id. 383) (Abstract Drawing) Ballpoint pen and inkjet on paper. Unframed. Caldicott has always had a habit of working serially; his works on paper are rapidly produced and large in quantity. His drawings have a minimal esthetic, an architectural character, created with only one or two lines. Pastel tones, softened colors, and a formal composition generate a feeling of austerity and sophistication. Richard Caldicott is an English artist who explores abstract photography and creates abstract compositions on paper. He lives and works in London. As an interdisciplinary artist, Caldicott comes across materials and techniques, including drawing, photography, and sculpture. His works on paper, made with ballpoint pen and inkjet printing, reveal a bare sophistication whether it be with minimal drawings...

This work features a photographic portrait of Helen Frankenthaler, taken by renowned musician and photographer Jim Arkatov, founder of the Los Angeles Chamber Orchester, and author o...

'Licorice Coral' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly d...

'Guava Kiwi Melon' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 156, originates from the 1966 edition published by Mae...

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), originates from the 1972 album Calder autobiographie. Published by Maeght Editeur, Paris, and...

'Muted Marigold Sugar' is an excellent example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, line...

Robert Indiana Early Sculpture 1960-1962 Hardback monograph housed in slipcase Introduction by William Katz Published by Salama-Caro Gallery, London, 1991 Autographed and dedicate o...

1970s Joan Miró Lithograph Portfolio: Derriere Le Miroir, 1973. Off-set lithograph in colors. 15x22 inches. Center fold-line as issued; very good overall vintage condition. Unsign...

The Blooming Ram (Le belier fleuri) Color lithograph, 1973 Unsigned (as issued) From: Derrière le Miroir, No. 193-194, Peintures sur papier, dessins Large edition Published by Maeght...

"August Wildflowers II" is a colorful naturalist landscape featuring hues of purple, pink, orange, blue and green. This work is framed in a simple white frame behind Museum Glass measuring 60 by 41 inches. Carlyle is inspired by the works of Claude Monet, Edouard Vuillard, Henri Matisse, Walter Inglis Anderson, Charles Burchfield, Ellsworth Kelly, Alexander Calder and Mary Delany. This piece is part of a collaborative series by Carlyle and her husband Thad Lee. This body of work was made in tandem, through painting and photography, that explores their mutual delight in the natural world and within their own marriage. Carlyle Wolfe’s paintings & works on paper are about an awareness of the natural world—becoming progressively, cyclically more present to its rhythms, gaining deeper understanding of its design, & acquiring direct experiential knowledge of its mysterious beauty. For the last 15 years, Wolfe has been making contour line drawings of plants form observation. From her drawings, she isolates silhouettes into paper stencils which she uses to create oil paintings & works on paper – or cut out of metal to make sculptures. Her work is cumulative in nature – gradually marking time & seasonal change, unity & variety, individual & collective beauty. Wolfe grew up in Canton, Mississippi, & earned a BFA in painting from the University of Mississippi & an MFA in painting & drawing from Louisiana State University. She has also studied in Cortona, Italy, & at the University of Georgia. Wolfe has exhibited work throughout the South, including Spalding Nix...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Sans Titre (Untitled), originates from the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris. This plate pays homage to the artist’s groundbreaking geometric abstraction and his profound influence on postwar modernism. Through precise form and rhythmic structure, Sans Titre captures the musicality and spiritual dynamism that defined Kandinsky’s mature visual language, balancing intuitive movement with mathematical harmony. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Signed in the plate and unnumbered, as issued. The edition reflects the exceptional quality and craftsmanship of the Maeght and Mourlot collaborations, honoring Kandinsky’s legacy in fine art printing. Artwork Details: Artist: After Wassily Kandinsky (1866–1944) Title: Sans Titre (Untitled), from Derriere le Miroir, Nos. 60–61, 1953 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1953 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1953 folio Derriere le Miroir, Nos. 60–61, published by Maeght Editeur, Paris About the Publication: 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 20th 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 as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Wassily Kandinsky (1866–1944) was a Russian-born painter, theorist, and pioneer of abstract art whose revolutionary vision transformed 20th-century modernism. Regarded as one of the first artists to create purely nonobjective paintings, Kandinsky sought to express inner emotion and spirituality through color, rhythm, and form, believing that art could evoke the same universal harmony as music. His groundbreaking theories on abstraction and the “spiritual in art” shaped the foundation of modern aesthetics and influenced generations of artists worldwide. Closely associated with the Bauhaus movement, he developed a dynamic visual language that combined geometry and lyricism, bridging intuition and intellect. Kandinsky’s legacy resonates alongside the innovations of Pablo Picasso, Henri Matisse, Alexander Calder, Georges Braque, Marc Chagall, Alberto Giacometti, Salvador Dali, Joan Miro, Marcel Duchamp, and Man Ray—artists who, like him, redefined the possibilities of modern art. His works are represented in the world’s leading museums, including MoMA, the Guggenheim, the Centre Pompidou, and the Tate, and remain among the most coveted by collectors globally. The highest price ever paid for a Wassily Kandinsky artwork is approximately $45.6 million USD, achieved in 2017 at Christie’s London for Bild mit weissen Linien (Painting with White Lines) (1913). Wassily Kandinsky Sans Titre, Kandinsky Derriere le Miroir, Kandinsky Maeght Editeur Paris, Kandinsky Mourlot Freres, Kandinsky 1953 edition, Kandinsky lithograph...

ABOUT Erica Hauser is a Newburgh, NY based artist and has a BFA from the School of Visual Arts (2002). She received a 2011 NYFA grant, and has attended ar...

"Pushed Boundaries" Acrylic on canvas. 48 x 48" 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion and...

Rise 3 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting...

Ron Gorchov Historic Self Portrait, 1955-1959 Oil painting on board Hand signed in paint on the upper recto and dated 1955-9 Frame included: held in original vintage artist's frame T...

This exquisite silkscreen by George Earl Ortman (1926–2015), titled Untitled, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth At...

"Pushed Boundaries" Acrylic on canvas. 48 x 48" 2019 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emotion and...

Bael, Liques, 2024 Acrylic on canvas 100 x 100 cm (39.7 x 39.7 in) Hand-signed on the reverse Michael James Bell is a contemporary artist who goes under the alias ‘Bael’. He live...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les Arcs (The Arches), from the folio Derriere le miroir, No. 173, originates from the 1968 edition published by Mae...

This exquisite lithograph after Fernand Leger (1881–1955), titled Femme tenant une fleur (Woman Holding a Flower), from the folio Derriere le miroir, No. 79-81, originates from the 1955 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, 1955. This composition exemplifies Leger’s rhythmic balance of color, form, and movement, translating the mechanical vitality of modern life into a harmonious, humanized geometry. Executed as a lithograph on velin paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: After Fernand Leger (1881–1955) Title: Femme tenant une fleur (Woman Holding a Flower), from the folio Derriere le miroir, No. 79-81 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1955 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Derriere le miroir, No. 79-81, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, 1955 About the Publication: Derriere le miroir (Behind the Mirror) was one of the most important art publications of the 20th century, created and published by Maeght Editeur in Paris from 1946 to 1982. Founded by the visionary art dealer and publisher Aime Maeght, the series served as both an exhibition catalogue and a work of art in its own right, uniting original lithographs by leading modern and contemporary artists with critical essays, poetry, and design of the highest quality. Printed by master lithographers such as Mourlot Freres and Arte, Derriere le miroir became synonymous with the artistic vanguard of postwar Europe. Each issue was devoted to a single artist or theme and published to accompany exhibitions at the Galerie Maeght in Paris, featuring works by Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, and Alberto Giacometti, among others. The publication reflected Maeght's belief that art should be both accessible and elevated—an ideal realized through its luxurious production values, meticulous printing, and collaboration with the greatest creative minds of its time. About the Artist: Fernand Leger (1881–1955) was a visionary French painter, sculptor, designer, and filmmaker whose groundbreaking fusion of modern industry, vivid color, and geometric form transformed the course of 20th-century art. Born in Argentan, Normandy, Leger began as an architectural draftsman before studying at the Academie Julian and the Ecole des Beaux-Arts in Paris, where he absorbed the lessons of Paul Cezanne’s structural rigor and the revolutionary ideas of Cubism. Alongside Pablo Picasso and Georges Braque, he became one of the leading innovators of the avant-garde, yet his work stood apart through its embrace of mechanical rhythm, bold contrasts, and industrial modernity—earning him the title “the painter of the machine age.” His art celebrated the beauty of technology, urban life, and the human form rendered in dynamic, interlocking cylinders and planes, evoking the pulse of the modern world. Immersed in the vibrant Parisian art scene, Leger worked in dialogue with peers and contemporaries such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom shared his commitment to innovation and the reimagining of artistic expression. Beyond painting, Leger’s creative reach extended into film, design, and monumental public art—his 1924 collaboration on Ballet Mecanique with Dudley Murphy and Man Ray remains a landmark of avant-garde cinema. His later works evolved toward greater clarity and monumentality, celebrating the unity of form, color, and humanity through large-scale murals and mosaics that bridged fine art and architecture. Leger’s synthesis of Cubism, Futurism, and abstraction paved the way for movements such as Pop Art and influenced generations of artists including Roy Lichtenstein, Ellsworth Kelly, Robert Indiana, and Alexander Calder, who admired his fusion of structure, energy, and optimism. Today, his works are prized by major museums and collectors worldwide for their bold visual power and enduring modernity. His highest auction record was achieved by La femme en rouge et vert (1914), which sold for 39,241,000 USD at Sotheby’s, New York, on May 7, 2008. After Fernand Leger Femme tenant une fleur 1955, Leger Derriere le miroir No. 79-81, Leger Mourlot...

This exquisite lithograph after Francis Bacon (1909–1992), titled Study for Portrait of Lucian Freud, originates from the historic 1966 folio Derriere le Miroir, No. 162. Published b...

Offset lithograph postcard Hand signed and dated 1989 in blue marker on the verso Provenance: Collection of Dan Pope, former CBS cameraman who amassed one of the best collection of v...

Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

This painting is a large-scale example of the paintings of Daniel Klewer, coming from his series 'Linear Tactility.' The paintings in this series all share a consistent, linearly div...

Saul Steinberg Lithograph c. 1970 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition; well-preseved. Unsigned from an edition of...