André Dunoyer de Segonzac Abstract Prints

Günther Förg (Germany, 1952-2013) 'Erker-Gallery', 1995 Original poster from exhibition of 1995 lithograph on paper 36.5 x 22.6 in. (92.7 x 57.4 cm.) Unframed Ref: FOR100-201 Günthe...

Original AIR FRANCE EUROPE, Editions Perceval, artist: Jacques Nathan Garamond. Professional acid-free archival linen backed vintage travel post...

Eduardo Chillida (Spain, 1924-2002) '5 Livres Gravés', 1974 Original poster from show lithograph on paper 25.2 x 17 in. (64 x 43 cm.) Unframed Ref: CHI100-202 Eduardo Chillida He be...

This exquisite lithograph by Marc Chagall (1887–1985), titled Paradise I (Paradise I), 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 paradise, evoking a realm of harmony, innocence, and divine presence through his luminous color and dreamlike symbolism. The flowing forms and radiant imagery convey a sense of spiritual unity and transcendence, capturing the timeless serenity and mystical beauty of Eden within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of paradise and the enduring connection between humanity and the divine. 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. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Paradise I (Paradise I), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, July 29, 1960 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: 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. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, published by Editions de la revue Verve, Paris, 1960 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. About the Publication: 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. About the Artist: 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 Paradise...

This exquisite lithograph by Marc Chagall (1887–1985), titled Paradise II (Paradise II), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et...

This exquisite lithograph by Marc Chagall (1887–1985), titled Bateau-Mouche au Bouquet (Excursion Boat with Bouquet), from Regards Sur Paris (Views of Paris), originates from the Jan...

Joan Miró Lithographie Originale III Color Lithograph Year: 1977 Size: 12.5 × 9.6 inches Catalogue Raisonné: Teixidor, Miro Lithographe III, 1964-1969 Publisher: Maeght Editeur, Pari...

KAREL APPEL (1921 - 2006) BLACK FACE, 1969 Lithograph in colors signed in pencil. Edition 26/75, Image: 19 3/4 x 25 1/4, sheet: 22 x 30 inches. Just hint of a mat line Appel was a member of the Cobra art movement

Nahum Tschacbasov Mid Century Modern Clown, 1956 Lithograph Signed, dated and numbered 144/250 in graphite on the front 34 x 27.5 inches Unframed, affixed to matting Published by American Color Slide Co, Ltd., New York Terrific uncommon vintage signed, numbered and dated mid Century modern lithograph from this interesting and distinctive -and undervalued Russian American artist. Highly collectible clown...

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Selbstbildnis (Self-Portrait), from the folio Kathe Kollwitz, Ten Lithographs, originates from the 1941 edition published by Henry C. Kleemann, New York, and Curt Valentin, New York; printed by Duenewald Printing Corporation, New York. The composition reflects Kollwitz’s profound engagement with themes of identity, introspection, and human vulnerability, rendered with stark emotional intensity and a powerful graphic economy that underscores her enduring social message. Executed as a lithograph on velin paper, this work measures 19 x 16 inches (48.26 x 40.64 cm), overall; 10.5 x 9 inches (26.67 x 22.86 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Selbstbildnis (Self-Portrait), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 10.5 x 9 inches (26.67 x 22.86 cm), image Inscription: Unsigned and unnumbered as issued Date: 1941 Publisher: Henry C. Kleemann, New York, and Curt Valentin, New York Printer: Duenewald Printing Corporation, New York Condition: Well preserved, consistent with age and medium Provenance: From the folio Kathe Kollwitz, Ten Lithographs, 1941 About the Publication: Kathe Kollwitz, Ten Lithographs, published in New York in 1941 by Henry C. Kleemann in collaboration with Curt Valentin, represents an important early American presentation of Kollwitz’s graphic work at a time when her reputation was expanding internationally. Issued during the turbulence of the Second World War and following the suppression of her work in Germany under the Nazi regime, the folio played a crucial role in introducing her imagery to a broader audience outside Europe. The publication gathers a selection of her most powerful lithographic compositions, emphasizing her mastery of tonal contrast, expressive line, and psychological depth. Produced with careful attention to print quality by Duenewald Printing Corporation, the edition reflects the continued transmission of European modernist printmaking traditions into the American context, serving both as a document of artistic excellence and as a vehicle for the preservation and dissemination of Kollwitz’s humanistic vision. About the Artist: Kathe Kollwitz (1867–1945) was a German draughtsman, printmaker, and sculptor whose profoundly moving imagery, exceptional technical mastery, and unwavering social conscience established her as one of the most important and influential artists of the twentieth century, widely recognized as a master of modern printmaking and one of the most powerful visual chroniclers of human suffering, war, and social injustice. Born in Konigsberg, East Prussia, into a progressive and intellectually engaged family, Kollwitz was encouraged from an early age to pursue art and developed a deep awareness of social inequality that would shape her entire career, studying in Berlin and Munich at a time when women were largely excluded from formal academies while mastering drawing and graphic techniques with extraordinary discipline. Her breakthrough came with the monumental graphic cycle A Weavers’ Revolt (1893–1897), followed by The Peasants’ War (1901–1908), works that combined complex narrative structure with extraordinary technical command in etching, aquatint, and lithography, establishing her reputation as one of Europe’s leading graphic artists. Throughout her career, Kollwitz remained committed to portraying the lives of workers, mothers, and victims of poverty and conflict with unflinching honesty, creating compositions defined by bold, sculptural line, dense shadow, and unparalleled psychological depth that conveyed grief, resilience, and dignity. Working during a period transformed by the radical innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Kollwitz maintained a resolutely figurative and human-centered approach, aligning more closely with German Expressionism and artists such as Ernst Barlach, Max Liebermann, and Edvard Munch, whose emotional intensity and symbolic treatment of the human figure profoundly shaped her artistic language. Her later work, particularly the woodcut cycle War (1922–1923), stands among the most powerful anti-war statements in the history of art, reflecting both personal tragedy, including the death of her son in World War I, and a universal condemnation of violence and loss. In addition to her prints, Kollwitz created deeply moving sculptures that extended her exploration of grief and maternal protection into three dimensions, reinforcing her status as a multidisciplinary artist of exceptional range. She achieved significant recognition during her lifetime, becoming the first woman elected to the Prussian Academy of Arts, though her work was later condemned by the Nazi regime as degenerate, leading to her forced resignation and the removal of her works from public collections, yet her reputation expanded internationally after World War II and she is now regarded as a central figure in modern art. Her influence has been profound and far-reaching, shaping later artists including Francis Bacon, Anselm Kiefer, Leon Golub, Kiki Smith, and numerous contemporary figurative and socially engaged artists who continue to explore themes of trauma, memory, and human vulnerability. Today her works are held in major museum collections worldwide, including the Kathe Kollwitz Museum in Berlin, the Museum of Modern Art in New York, the British Museum in London, and the Art Institute of Chicago, and remain highly sought after by collectors for their emotional intensity and historical significance. The highest auction record for a work by Kathe Kollwitz is held by her sculpture Mutter mit totem Sohn (Mother with Dead Son), which achieved approximately 1.2 million EUR at auction, confirming her enduring importance. Kathe Kollwitz Selbstbildnis 1941 lithograph German Expressionism social realism print.

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 Marc Chagall (1887–1985), titled L'Offrande (The Offering), from Chagall Lithographe I (Chagall Lithographer I), originates from the October 1960 issue p...