Vertical Abstract Prints

Medium: original lithograph. Executed by Andre Masson for XXe Siecle (issue No. 32) in 1969. Size: 12 1/4 x 9 1/2 inches (310 x 240 mm). Not signed.

Pierre SOULAGES (1919-2022) Serigraph n°10, 1979 Original serigraph Signed in pencil Numbered 27/75 copies On Arches vellum 52 x 37 cm (c. 21 x 15 in) REFERENCE: Catalogue raisonné of the original prints of Pierre Soulages, BNF #102 INFORMATION: This serigraph is part of the series "On the wall opposite", published by Bernard Frize...

Pierre SOULAGES Composition in Black and Blue, 1956 Lithograph and stencil (Jacomet workshop) Unsigned On wove paper 31 x 24 cm (c. 12.2 x 9.4 inches) Edited by San Lazaro in 1956 ...

Alexander CALDER USA : McGovern for McGovernment, 1972 Original screenprint Handsigned in pencil Justified EA (artist proof) On BFK Rives Vellum 88 x 60 cm (c. 35 x 24 in) Authentic...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Matisse, Henri, et a...

Title: Pour Roby (L’Age de Soleil) Year: 1969 Medium: Restrike Etching on Arches paper Size: 12.875 x 10 inches Condition: Good Inscription: Signed in the plate in reverse. Notes: ...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Etching, 1974 Handsigned by the artist in pencil and numbered 44/75 Publisher : Yves Rivières (Paris) Printer : Lacourière-Frélaut (Paris) Catalog : [BNF 30] 56.50 cm. x 38.00 cm. 2...

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 ...

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

"...Blue has no dimensions, it is beyond dimensions, whereas the other colours are not.... All colours arouse specific associative ideas, psychologically material or tangible, while ...

Joan Miró (Spain, 1893-1983) 'Sala Gaspar, Metras and Belarte Gallery (avant la lettre)', 1964 Lithograph on Paper (Cahiers d'Art magazine Nº4-5) Original lithograph without signing ...

The 2000 Roland Garros poster by Antoni Tàpies is a compelling fusion of sport and abstract art. Its textured, abstract composition and philosophi...

Helen Frankenthaler Untitled, from the estate of Stephen Poleskie (Berggruen 11, Clark 12, Harrison and Boorsch 11), 1967 Color silkscreen on wove paper Unframed A unique unsigned pr...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Pintura - Dibujo. Sala Gaspar', 1971 lithograph on paper 39.6 x 20.4 in. (100.5 x 51.7 cm.) Unframed Ref: PIC2001-P003 Conservation: Not previo...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXVIe Année N°24, Décem...

Silksreen, 1969 Handsigned by the artist in pencil Edition : 120/250 Publisher : Fondation Vasarely, Château de Gordes Printer : Arcay, Paris Catalog : Benavides 165 72.00 cm. x 62....

Arnaldo Pomodoro di Auguri, 1992-1993 Etching on art paper Hand signed, numbered 69 from an edition of 100 and dated by the artist on the front Frame Included This uncommon limited e...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 60-61, 1953. Published by Aimé Maeght, Éditeur, Paris; ...

Tipped in color plate produced in 1962 for a rare official Lucio Fontana artist monograph published by famed art book publisher Harry N. Abrams, Inc. (not included), during the artis...

The Easy Dark poster for Julie Mehretu’s exhibition at the Louisiana Museum of Modern Art is a remarkable piece that embodies the energy and complexity of Mehretu’s work. Printed in ...

Jasper Johns The Drawings of Jasper Johns (hand signed and inscribed by Jasper Johns), 1991 Amazing provenance: Offset lithograph poster (hand signed and inscribed to Frank Martin, former conservator of the Whitney Museum) Hand signed and inscribed by Jasper Johns on the front Frame Included: matted in cream colored matting and held in original vintage frame Jasper Johns signed and inscribed this poster to Jack Martin, former Head Preparator at the Whitney Museum. This print was published by the Whitney Museum of American Art for the exhibition, " The Drawings of Jasper Johns Whitney...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Woodcut on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the block and unnumbered, as issued. Catalogue raisonné references: Kandinsky, Wassily, and Hans Konrad...

ABOUT THIS PIECE: "My photographs are a personal collection of moments that reveal my most genuine and beautiful depictions in the world around us. Preserving precious moments in ti...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 156, 1966. Published by Aimé Mae...

HIRST Damien (1965 - ) Rhodotorulic Acid. Woodcut in colors. Signed. Provenance : DTR Modern Gallery, New York. About Damien Hirst (Artist) British artist Damien Hirst is widely considered the enfant terrible of contemporary art. He is the most prominent of the so-called Young British Artists, or YBAs, a group, largely composed of Hirst’s classmates at Goldsmiths, in London, that began exhibiting together in warehouses and factories after 1988 and is known for the use of unconventional materials and “shock tactics.” In the 1990s, Hirst said, “I can’t wait to get into a position to make really bad art and get away with it.” And indeed, he is notorious for piquing critics and baffling the public with such pieces as his signature glass vitrines containing dead sheep or sharks in formaldehyde, and his diamond-encrusted skull, For the Love of God. Working primarily in sculpture, Hirst takes after French modernist master Marcel Duchamp in his use of ready-made objects and materials, which he combines to ironic effect. He often creates in series, as with The Cure (Violet) and The Cure (Turquoise), both from 2014, which are among several pill paintings...

Engraving Handsigned by the artist in pencil Edition : 13/95 76.00 cm. x 56.50 cm. 29.92 in. x 22.24 in. (paper) 76.00 cm. x 56.50 cm. 29.92 in. x 22.24 in. (image) Arches paper A...

Jean-Michel Basquiat Gagosian Gallery 1986: Original 1980’s Basquiat exhibition poster, published on the occasion of: Jean-Michel Basquiat at Larry Gagosian Gallery, 510 North Robert...

This piece is part of my private collection of 20th Century artists that were part of the School of Paris era. This piece is original and signed by Pelayo and numbered.

DAMIEN HIRST (BORN 1965) Taytu Betul, from 'The Empresses' (H10-5), 2022 signed in pencil on the publisher's label affixed verso, stamp-numbered, laminated giclée print with screenpr...

Incised signature in aluminum, annotated "Artists Proof" and titled; ink on top smudged If you've ever visited the Guggenheim Bilbao, you should get this stunning mixed media on alum...

Wayne Thiebaud Cake Slices, for the New SFMOMA (Hand signed by Wayne Thiebaud), 1996 Color Offset lithograph (hand signed by Wayne Thiebaud) B...

Letter C, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

ABOUT THIS PIECE: Since 2008 fine art photographer Jonathan Chritchley has regularly been invited to attend the Classic Yacht Regattas on the legendary Cote d’Azur in France, working...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

"Water in swimming pools changes its look more than any other form. If the water surface is almost still and there is a strong sun, then dancing lines with the color of the spectrum appear everywhere." - - David Hockney David Hockney Offset Lithograph poster (Deluxe Hand Signed Limited Edition) on Parsons Diploma Parchment Paper, accompanied by COA from the Publisher and Olympic Committee 36 × 24 inches Pencil signed and unnumbered from the Edition of 750 (there was a separate, larger unsigned edition) Unframed Also accompanied by gallery issued Certificate of Guarantee One of the most coveted, historic and popular David Hockney limited editions created - beloved by American and international collectors alike: The official edition of this work is 750, but the publisher famously destroyed unsold editions after the Olympic Games and only about 200-250 are said to remain. This hand signed limited edition iconic Hockney work was printed as one of the fifteen Official Fine Art Olympic Posters for the 1984 Olympic Games in Los Angeles. (the XXIII'rd Olympiad). It depicts an aerial view of a swimmer under rippling water broken up into 12 squares. A statement released by the 1984 Olympic committee explains the set as follows - "The posters commissioned for the 1984 Olympics contain an enlightened selection of the best American artists with special emphasis on those who work in Southern California...As the Games develop, transpire and pass into memory, these fifteen posters contain the images, forms and symbols that will represent the 1984 Olympics in the museums, galleries, homes and the minds of people all over the world.” This work is NOT to be confused with the ubiquitous plate signed poster of the same image, which was printed on different paper in an open edition.) In 1982, the Olympic Committee commissioned 15 artists to create posters for the 1984 Games in Los Angeles. Hockney designed this offset lithograph depicting Olympic swimming. It was printed on Parsons Diploma Parchment paper in 1982, in an edition of 750, hand signed in pencil by the artist. Even though this print was published in an edition of 750, after the first marketing blitz, the publisher destroyed the remaining portfolios of signed prints - literally discarding hundreds of them in the dumpster. The Olympic Committee commissioned these portfolios to celebrate and promote the 1984 Olympics, and nobody expected the individual prints to have such enduring value. As the executives running the short-term promotional campaign were neither prophets nor curators, they saw no reason to hold on to these huge prints...

Kyohei Inukai Life Forces - 1978 Print - Silkscreen   30'' x 22½'' in Edition: signed in pencil and marked 128/200 Since the 1940s, Kyohei Inukai has created his own brand of illusi...

Etching and aquatint on Japan paper, realized in 1972. Printed and published by Georges Visat, Paris. Edition of 100, numbered 99/100 and hand signed in pencil.

Felipe Pantone CHROMADYNA MICAP #3 Date of creation: 2020 Medium: Lithograph on paper Edition: 30 Size: 75.5 x 55.5 cm Condition: New, in mint condition and never framed Lithograph o...

Victor Vasarely (Hungarian/French, 1906-1997) Rubin, 1964 Screenprint in Colours from the Lapidaire portfolio signed in pencil lower right with blind stamp, numbered edition "41/15...

David Shrigley You are not alone, 2014 Linocut on wove paper 31 x 21 cm (image) 39 x 29 cm (paper) Edition 42 of 100 signed and numbered by the artist published by Schafer Editions ...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960....

Winter Moon Rising by Frank Schott 60 x 48 inches / 152cm x 122cm signed edition of 7 40 x 32 inches / 102cm x 81cm signed edition of 25 archival quality fine art pigment print li...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, New Séries, XXIIIth year, N°17 - Christ...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Information Lines, 1981. Medium: Lithograph, signed and numbered in pencil A/P 1/30. Artist's Proof. Size: 41.25 in. x 29.7...

Lithograph on vélin Chiffon de Mandeure paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres Illustres Or...

Artist: Pablo Picasso Title: Le Ballet Medium: Lithograph Date: 1954 Edition: 10,000 Framed Size: 20 1/4" x 16 3/4" Sheet Size: 12 1/2" x 8 3/4" Signature: Signed in the stone Refere...

Marc Chagall (After) and Charles Sorlier (his collaborator and printer) Carmen, Metropolitan Opera, New York City, 1966 Color Lithograph on Arches watermarked Paper with deckled edg...

SHEPARD FAIREY Bureau of Public Works (on Wood), 2004 Silkscreen on wood panel. Hand signed and annotated on both the recto and verso. In original handmade artist's frame. 24 × 18 in...

Roy Lichtenstein Art About Art Whitney Museum of American Art 1978 poster, 1978 Offset lithograph poster Frame included: held in the original vintage frame Provenance: from the colle...

Brice Marden Distant Muses 2000 Screenprint 23 1/2 x 19 1/8 inches; 60 x 49 cm Edition of 300 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks...

Screenprint Printers proof 2 of an edition of 5, aside from the main edition of 100 88.8 x 58.4 cm (34.9 x 23 in) Framed: 101 x 70.5 cm with Acrylic Signed and dated on the front Ar...

In this contemporary encaustic monotype, layers of pigmented beeswax on lightweight paper create an undulating composition suggesting layers of the earth's crust and geological forma...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Chagall, Marc, and Fernand Mourlot. Chagall...

Kenny Scharf Thou Shalt Have No Other Gods Before Me (The First Commandment), 1987 5-Color lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Hand signed, date...