Miniature Abstract Prints

Zao Wou-ki - Original Lithograph 1962 From La tentation de l’Occident Dimensions: 39 x 28.5 cm Publisher: Les Bibliophiles Comtois Edition of 170 Reference: Jørgen Ågerup 137 - 146...

Printer’s ink from rubber stamp on vélin Buckeye paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Published by ...

Printer’s ink from rubber stamp on vélin Buckeye paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Published by ...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled 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...

Vintage Robert Motherwell Announcement cards: Set of 3 announcement cards featuring his works "Color Intaglios", "Elegy fragment II" as well as work from his show "Robert Motherwel...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

A very good impression of this lithograph on Chine appliqué. Edition of 50. Printed by Blanchard, Paris. Published by Vollard, Paris. From "La Tentation de Saint-Antoine (Troisième s...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the [Braniff International Airways] Flying Colors Collection, 1976....

Silkscreen on vélin Saunders Waterford, St Cuthberts Mill paper. Paper Size: 8 x 7.625 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Ficciones, 1984...

"Wee Fun" is Joseph Rozman's second artist's proof of a relief etching. The piece is in black and white and depicts many intricate interactions between figures, animals, and objects....

'Flowers' is an original linocut by Wisconsin-based artist Schomer Lichtner. The composition presents a scattered floral still life amongst abstracted shadows and forms, rendered with Lichtner's quintessential abstract sensibilities. This print is one from a series that each depict abstracted subjects in black silhouette, taking pleasure in the materiality of the linocut technique. The free forms of the flower resemble the lyrical mid-century works of the French artist Henri Matisse, which combined with these material concerns demonstrate Lichter's modern sensibilities. The prints from this series are unusual because of how below the image, Lichtner also includes his Chinese seal and a linocut remarque of a cow, each of which act as an additional signature of the artist on the artwork. Linocut in black and red on Permalife white wove paper 4 x 5.25 inches, image 11.5 x 8.75 inches, sheet 16.5 x 13.63 inches, frame Signed in pencil, below image, lower right. Edition 1/100 in pencil, below image, lower left. Chinese signature stamp in red, below image, lower right. Remaque of a cow in red, below image, lower right. Permalife watermark to paper. Framed to conservation standards in a shadow-box style mounting, using 100 percent rag matting, museum glass, and housed in a silver-finish wood moulding. Overall excellent condition with no creases or discoloration. Milwaukee artist Schomer Lichtner was well known for his whimsical cows and ballerinas and abstract imagery. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows...

Tracey Emin Svart katt / Black cat (2008), from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional print on card stock (hand signed by Tracey Emin) Boldly signed in black marker on the front Frame included Accompanied by gallery issued Certificate of Guarantee This offset lithograph promotional print on card stock was produced by the Royal Academy in London in a limited edition of an unknown quanity on the occasion of the exhibition TRACEY EMIN/EDVARD MUNCH EXHIBITION: THE LONELINESS OF THE SOUL, 2021. The card depicts Emin's 2008 work "Svart katt / Black cat". It was issued unsigned; however, exceptionally, Tracey Emin hand...

WENDINGEN - Number 2 of the 5th series 1923 dedicated to posters of Dutch artists author Jac.Jongert Color Lithograph after a drawing by Jan Sluijters. Dutch text cover designed by Jan Sluijters In good condition with minor wear. JAN SLUYTERS. Posters by Dutch Artists. Published March 1923. Introduction by Jac. Jongert, twenty-seven illustrations after designs by Roland Holst...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vo...

Wolfgang Tillmans (German, born 1968) Texte zur Kunst Edition 2018, 2018 Medium: Inkjet print on paper Dimensions: 29.5 × 21 cm (11 3/5 × 8 3/10 in) Edition of 100: Hand-signed and n...

Gary Hume Bird with Pink Beak 2009 Five-color screenprint on Somerset Satin White paper 17 3/8 x 14 7/8 inches; 44 x 38 cm Edition of 45 Signed, titled, dated, and numbered in graphi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°17, 1961. Published and printed under the direction ...

Figurative surreal etching print with watercolor by Polish artist Leszek Rozga. Artwork depicts several portraits in different styles. Artwork is signed by the artist, it comes from ...

Artist Commentary: After a long, dark and cold Vermont winter, the longing for summer is strong. We dream of the first bloom of the bleeding hearts and the scent of peonies. Sometim...

A very good impression of this color drypoint and aquatint. Third state (of 3). Edition of 150. Signed and inscribed "No. 25" in pencil, lower right.

Engraving on vélin papier à la cuve du Moulin Richard de Bas paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'amour du plus lointain, neuf gravures...

Jean Arp, Signes, woodcut, edition 50, 1949. A fine, black impression, with all the fine lines printing clearly, on cream wove paper; the full sheet with wide margins (1 5/8 to 6 7/8 inches), in excellent condition. Signed and numbered '8/50' in pencil. Matted to museum standards, unframed. ABOUT THE ARTIST Jean Arp was born Hans Arp on September 16, 1886, in Strassburg. In 1904, after leaving the Ecole des Arts et Métiers, Strasbourg, he visited Paris and published his poetry for the first time. From 1905 to 1907, Arp studied at the Kunstschule, Weimar, and in 1908 went to Paris, where he attended the Académie Julian. In 1909, he moved to Switzerland and in 1911 was a founder of the Moderner Bund group there. The following year, he met Robert and Sonia Delaunay in Paris and Vasily Kandinsky in Munich. Arp participated in the Erste deutsche Herbstsalon in 1913 at the gallery Der Sturm, Berlin. After returning to Paris in 1914, he became acquainted with Guillaume Apollinaire, Max Jacob, Amadeo Modigliani, and Pablo Picasso. In 1915, he moved to Zurich, where he executed collages and tapestries, often in collaboration with his future wife Sophie Taeuber (who became known as Sophie Taeuber-Arp after they married in 1922). In 1916, Hugo Ball...

Peter Kalen - Sky, Year: 1969, Medium: Screenprint, signed, numbered, titled and dated in pencil on verso, Edition: AP, Size: 15 x 10.75 in. (38.1 x 27.31 cm)

Woodcut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 174, 1968. Published by Aimé Maeght, Éditeur, Paris; print...

Richard Tuttle The Art of Richard Tuttle (Hand signed, dated and inscribed by Richard Tuttle), 2005 Hardback monograph with dust jacket (Hand signed, dated and inscribed to Nadine by...

Tetsuo "Bob" Ochikubo, 'Untitled (Abstract Expressionist Composition)', color lithograph, 1963, edition 3. Signed, dated, and numbered '3-3' in pencil. A fine, richly-inked impression, with fresh colors, on cream wove paper; the full sheet with margins (5/8 to 2 inches), in excellent condition. Very scarce. Matted to museum standards, unframed. Image size 17 1/2 x 12 1/4 inches; sheet size 19 7/8 x 14 7/8 inches. ABOUT THE ARTIST Tetsuo Ochikubo (1923–1975), also known as Bob Ochikubo, was a Japanese-American painter and printmaker who was born in Waipahu, Hawaii. After service in the US Army as an infantryman in Europe during World War II, Ochikubo studied painting and design at the School of the Art Institute of Chicago and the Art Students League in New York. He worked at the renowned lithography workshop Tamarind Institute in the 1960s and is best known for his non-objective paintings and lithographs. Ochikubo was a member of the Metcalf Chateau, a group of seven Asian-American artists with ties to Honolulu which included Satoru Abe...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, Hommage à Aimé et Marguerite M...

SAM FRANCIS: Limited Signed Deluxe Edition (Hand signed and numbered by Sam Francis), 1982 Deluxe limited edition hardback monograph with cloth boards, held in special slipcase of ts...

Ensamble armónico 1 (Harmonic Ensemble 1), 2022, (1/1) Monotype (linocut and chine collé on paper) Unframed dimensions: 10 x 10 inches Framed dimensions: 18 x 18 inches This monotype (one-of-a-kind artwork) comes framed using mahogany wood and is signed by the artist. Claudia Martínez Lanz (b. 1957, Mexico City) is a multi-disciplinary artist primarily focused on experimental techniques related to printmaking, painting and ceramics. Martínez Lanz finds her inspiration in nature, and more recently, she’s been exploring themes as diverse as art, music and mathematics from passages found in the Gödel, Escher, Bach book. Martínez Lanz often develops her own materials, incorporates found-objects in her work, and experiments with new techniques based on trial and error. Her work is continuously seeking a dialogue with the materials that she transforms. Beauty, order, form and color are her go-to elements to find a feeling or an emotion which is the main goal of her work. Trained as a graphic designer, Martínez Lanz eventually discovered her true passion and became an artist. She has studied several disciplines in the Escuela Nacional de Artes Plásticas, San Carlos and other institutions. She’s had several renowned teachers including Luis Nishizawa...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró...

Artist Commentary: This image is about place and the profound effect the built and natural environment has on how humans experience and relate to the world around them. Words that ...

This linocut in black ink is hand signed in pencil by the artist ‘Moholy-Nagy’ in the lower right margin. It was hand printed by the artist in 1922. Note: Another dedicated impressi...

Antoni Tàpies Lithograph 1969 Published by: Sala Gaspar as part of the 1969 Tàpies catalog. Lithograph in colors 9x14 inches Center fold-line as issued; light fading/yellowing; otherwise very good condition for its age. Unsigned from an edition of unknown. Antoni Tàpies Over the course of his career in painting, printmaking, and etching, Antoni Tàpies (Spanish 1923-2012) has created his own visual language of symbols and marks to help communicate the broad range of influences in his work including, most significantly, his Catalan roots, as well as his involvement with the Parisian intellectual scene of the 1950s, meeting exponents of Art informel like Jean Fautrier and Jean Dubuffet. Tàpies’s abstract paintings are made with expressive blends of impasto, gestural brush strokes, often backwards hand-written script, and common materials such as soil and marble dust. Related Categories Spanish painters. Mid Century Modern. 1960s. Contemporary Art. Abstract art. Tàpies prints.

Vintage French lithograph of a large abstract bird in flight over a small gathering of onlookers below by artist Paul Guiramand, 1965. Original a...

Pietro Consagra - Composition - Original Etching 1959 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and later studying at the Grosvenor ...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Medium: lithograph (after the gouache). Printed in 1992 by l'Imprimerie Karcher and published by Nouvelles Editions Seguier in an edition of 1000 for the Sol LeWitt "Black Gouaches" ...

Medium: lithograph (after the gouache). Printed in 1992 by l'Imprimerie Karcher and published by Nouvelles Editions Seguier in an edition of 1000 for the Sol LeWitt "Black Gouaches" ...

Clare Halifax K is for Koala Limited Edition 3 colour screen print Edition of 100 Sheet Size: H 38cm x W 37cm x 0.1cm Sold Unframed Hand printed by the artist onto somerset satin pap...

Four color process print on vélin paper. Paper size: 10.75 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, George Condo, Drawing Paintings, 201...

Clare Halifax C is for Camel Limited Edition 3 Colour Silkscreen Print Edition of 100 Image Size: H 35cm x W 35cm Sheet Size: H 37cm x W 38cm x D 0.1cm Sold Unframed (Please note tha...

Victor Vasarely "Vonal", 1971 from Portfolio de 8 sérigraphies en couleurs. Ed. Griffon Serigraph 11 x 11 in with frame: 21 x 21 in The other pieces from this edition are available ...

The Oliver which is in several museum collections and has won numerous awards) is being used to promote the show, Printed Ladies, opening March 1st at The Metropolitan Museum of Art, and will be reproduced on the cover of the upcoming revised second edition of Carol's book, The Mezzotint: History and Technique which is due out in early 2024 Thomas Oliver invented the first double-sided lateral top stroke machine. This was No. 9 introduced in 1916. With light focused on the machine it suggested the logo of the Bugs Bunny Looney Tunes series - giving off an anima-like aura. The print was issued in an edition of 75. Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithographic reproduction on GardaMatt Art 250 GSM paper with full margins (Artist Authorized) Not signed, edition of 3433 12 1...

Henri Michaux - Beach - Original Lithograph 1956 Dimensions: 32 x 25 cm Edition: G. di San Lazzaro. From the art review XXème siècle Unsigned and unumbered as issued

Preston Cribb (English, 1876-1937) "Canterbury Gate Cathedral", Etching titled and signed in Pencil, 13.63 x 9.50 Framed (Image: 9.50 x 5.25), Early to Mid 20th Century Colors: Bla...

Art, a tangible manifestation of the imaginary and the sensitive, is translated through works capable of captivating and communicating beyond words. Friedlaender's lithographs, loade...

Thomas Ruff (German, b. 1958) Untitled (Stars 17h 38m/-30°, 1990), 1990/2004 Medium: C-print, bookplate and artist’s book Dimensions: 40 × 30 cm (15 7/10 × 11 4/5 in) Edition of 30: ...

Francisco Toledo Venados (Deer), circa 1975-1985 Color etching and aquatint Plate: 8 13/16 x 11 11/16 inches Sheet: 15 x 20 7/16 inches Edition A/P (Artist Proof) This limited editi...

Joan Miro is known for his abstract, expressive, and child-like Modern style. Original lithograph published in Miro Lithographe IV Catalogue Raisonne. Nicely framed. Lithographs II ...

Work of the Spanish artist SALVADOR DALI. Engraving of the series LA VIDA ES SUEÑO. Printed signature and date, as issued Catalog. OFFICIAL CATALOG GRAPHYC WORKS BY ALBERT FIELD Page...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe III Year: 1977 Edit...

Max Krug, "Blue & Green, (Turquoise) Geometric Abstract" Edition 20/100, Op Art, Geometric Abstract Serigraph numbered and signed in Pencil, 14.75 x 17, Late 20th Century, eye catc...

Back Cover, from Joan Miro by Jacques Prevert and Georges Ribemont-Dessaignes Artist: Joan Miro Editor: Maeght Year: 1956 Dimensions: 23 x 20 cm Refere...

Green Cosmos - Orange is a lithograph realized by  Eleni Zerva  in 1971. Hand-signed and numbered on the back.  Edition of 120 prints.   Very good condition.