Miniature Abstract Prints

Small abstract expressionist style monotype in navy blue, green, light violet, and soft yellow 'Untitled 4' by Jenny Nelson Monotype, mad...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Miró: Cartones, 1959-1965, October - November 1965, 196...

Ralston Crawford, 'Third Avenue Elevated #1', lithograph, 1951, edition 55. Freeman L51.4. Signed, titled and numbered '48/55' in pencil. A fine, richly-inked impression, with rich ...

Artist: (after) Ellsworth Kelly (American, 1923-2015) Title: "Ellsworth Kelly: Ferus Gallery (Gate)" Year: 1966 Medium: Original Lithograph, Exhibition Poster on cream wove paper Lim...

This color lithograph is part of my private collection since the 1970's. Marie Raymond was a pioneer post WWII painter of her generation. She was a lyrical abstractionist of her time...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered. Notes: From the folio, Derrière le miroir, N° 151-152, 1965. Published by Aimé Maeght, Éd...

Colour lithograph, 1890. 210mm by 285mm (sheet). From W Peck's 'A Handbook and Atlas of Astronomy', 1890. Sir William Peck FRSE FRAS (1862 – 1925) was a Scottish astronomer and scien...

Ochre Composition is an original artwork realized by Luigi Montanarini in the 1970s. Original colored serigraph on paper. Hand signed by the artist on the lower left. Numbered on lo...

Robert Petersen Eight of Hearts, 1989 Mixed media silkscreen with hand applied acrylic on paper with deckled edges Hand signed, numbered 6/21, dated, and inscribed on the front Uniqu...

Paris: Mourlot Press, 1964. Lithograph in colors on Velin d’Arches paper, 6 3/4 x 10 inches (170 x 253 mm), full margins. Published by Fernand Mourlot and Jean Adhemar, 1964. In ver...

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

'The Orange Point', color serigraph, edition 54, c. 1940. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet wi...

Derriere Le Miroir-Page 9 Color lithograph, 1973 From: Derriere Le Miroir, No. 201, January 1973 Unsigned (as issued) Publisher: Maeght Editeur, Paris Printer: L’Imprimerie Arte, Adr...

Maggi Hambling Gainsborough's Gold, 2016 Original giclée print on paper Signed and numbered by the artist 33.8cm x 37.5cm 36.8 x 41.5 cm - Framed Edition of 250 Maggi Hambling is a ...

George Rogers, 'Sculpturegraph' (Black, Gray, and Silver), color sculpturegraph, edition 40, 1984. Signed, dated, titled, and numbered '25/40' in pencil. A superb, richly-inked, pain...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, In Memory of M...

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...

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...

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...

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...

Composition au verre a pied (Composition with stemmed glass) Lithograph (Ink drawing, pen and brush transferred to lithograph stone) , 1947 Unsigned Editi...

Santoro, "Untitled: Lavender, Blue & Pink Serigraph (Edition 303/350)" Mid-Century Modern Serigraph/ Abstract Geometric Screenprint, Signed in Graphite lower right, marked as an Edit...

Joni Mitchell “Green Flag Song,” Published by Lev Moross Gallery. Los Angeles, CA From an exhibition of 60 large photographic triptychs. When Mitchell’s television set broke, it b...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 43, 1952. Published by Aimé Maeg...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 162. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

Les Revolutions Sceniques du XXe Siecle - II (Cramer 207) Joan Miro, Spanish (1893–1983) Date: 1975 Lithograph Image Size: 12 x 9.5 inches Size: 14.5 in. x 10 in. (36.83 cm x 25.4 cm...

Paintings and Drawings, by Agnes Martin 1974-1990 (Stedelijk), 1991 Additional information: Medium: complete set of ten lithographs on transparent vellum paper each, 30 x 30 cm 11 3/4 x 11 3/4 in Agnes Martin was an American painter who was born in Macklin, Saskatchewan, Canada, in 1912, and became a US citizen in 1940. Martin is perhaps most recognised for her evocative paintings marked out in subtle pencil lines and pale colour washes. Although restrained, her style was underpinned by her deep conviction in the emotive and expressive power of art. Martin believed that spiritual inspiration and not intellect created great work. ‘Without awareness of beauty, innocence and happiness’ Martin wrote ‘one cannot make works of art’. In a career spanning five decades, Martin became known for her square canvasses, meticulously rendered grids and repeat stripes, though her lesser-known early works consist of experiments with mixed media and works on paper. Martin thought of her works as studies in the pursuit of perfection. Martin spent many years working in New York, where she was part of a contemporary of artists such as Sol LeWitt, Ann Truitt, Donald Judd and Ad Reinhardt – with whom she was close friends. In 1967, shortly after Reinhardt died and just as Martin’s art was gaining acclaim, she left the city and continued her investigations into Buddhism and meditation. She wished to experience true solitude and used this period of quiet reflection to produce some of her most significant writing, whilst situated in sparsely populated and remote areas of the United States and Canada. In 1968 Martin resettled in New Mexico and began building an adobe and log house in a remote mesa. She lived there alone and without modern conveniences for several years. In 1973 she began creating work again. Agnes Martin’s influence reaches globally and plays a hugely significant role in 20th Century art history. Whilst known as a pioneer of abstract painting, her work as well as her reclusive lifestyle have served as an inspiration to creative practitioners in diverse disciplines. Painters, photographers, writers – and many devotees from the words of fashion, architecture and graphic design revisit and rephrase her perspectival studies and fascination with geometry, the legacy of which can be seen in investigations into brevity of line and muted colour palettes. Artists such as Richard Tuttle, Ellen Gallagher...

A lithograph from the portfolio "Seeing Voices", a collection that also includes several poems. This abstract piece by Paul Jenkins is signed and numbered on the front of the print i...

Psychedelic silkscreen work by Noche Crist (1909- 2004). Self printed by the artist. Wonderful work and one of only two remaining from her estate. Image is from her "In the Sun" ser...

ARTIST: Salvador Dali TITLE: Shakespeare II Timon of Athens MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Transworld Art/Loinel Praeger/Berggruen EDITION NUMBER: 155/250 MEAS...

Pahlik Mana (Butterfly Maiden) Dan Namingha Hopi kachina katsina black and white unframed limited edition hand pulled lithograph at Tamarind Institue Glenn Green Galleries also pre...

André Masson, French (1896 -1987) - 3 Pink Figures, Medium: Aquatint, numbered in pencil, Edition: 1/3, Image Size: 8.25 x 6.5 inches, Size: 9.5 x 7.75 in. (24.13 x 19.69 cm), De...

This is a cast metal sculpture of a woman and child, mother and baby in a rocking chair. It has a patina on a white metal. Not sure if it is steel or aluminum. It is and older vintage piece and has wear to patina where it sits and rocks on table. It is not signed or numbered and there is no foundry mark. Hence it is being sold as being after or in the manner of Henry Moore. Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history...

Lithograph on vélin papier d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Georges Braque le solitaire, 1959. Published by Editions XXe Si...

Luis Gordillo (Spain, 1934) 'Sin título', 2000 engraving on paper 15 x 10.7 in. (38 x 27 cm.) Edition of 75 ID: GOR1205-013-000_2 Hand-signed by author

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered. Notes: From the folio, Derrière le miroir, N° 151-152, 1965. Published by Aimé Maeght, Éd...

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes  , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...

Mr Doodle Yellow Flower, 2019 Screenprint on paper Signed, dated and numbered Edition of 100 34 by 34 cm. 13⅜ by 13⅜ in framed Mr Doodle, born Sam Cox in 1994 in England, is a cont...

Stewart - Prince Charles Edward. Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of de...

Kornfeld 56. 50 published with the book Expressionismus Die Kunstwende, 1918, in addition to 54 earlier impressions. Signed and titled in pencil in bottom margin under image.

Artist: Jasper Johns (American, 1930-) Title: "Untitled (Cross Hatch)" Series: Jasper Johns Screenprints *Unsigned edition Year: 1977 Medium: Original Scre...

Summer Bloom series began in 2022, where Shizico Yi celebrating the season by painting en plein air in her garden. In 2024, she embarks on a fresh chapter with her new rose garden. T...

Individually framed: six lithographs "White Lines Squares," 1966, after Josef Albers, by Blair Litho (Lithograph in brilliant Colors on paper, 1966). Published to accompany an exhibi...

'Russian - Russe - Russisch' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' Ornement Pol...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 110, published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

Lyonel Feininger, 'Masken (Masks)' also 'Carnival Masks', woodcut, 1920, proofs only. Prasse W193. Signed and titled in pencil. Annotated '1973', the artist’s inventory number. A fin...

A Rosenthal decorative plate created in collaboration with German artist Gunter Fruhtrunk dating from 1974. A modern design in Fruhtrunk's c...

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...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró, 1972. Published by Sala Ga...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Miró: Cartones, 1959-1965, October - November 1965, 196...

Lithograph on vélin papier d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Georges Braque le solitaire, 1959. Published by Editions XXe Si...

Paul Charlot ( French, 1906- 1985) was a French painter and printmaker influenced by the intense use of colors in Fauvism and the whimsical biomorphic abs...

Damien Hirst Forever (Large), 2020 Laminated Giclée print on aluminium composite panel digitally signed by the artist on the back 39 x 39 cm Edition of 2573 The editions titled Fru...

George Condo at Cycladic (hand signed by George Condo), 2018 Limited Edition monograph with slipcase (hand signed by George Condo) 11 × 8 1/2 inches Published in a stated limited edi...

Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Une Aventure méthodique, 1950; published by Fernand Mourlot, Paris, a...

Alexander Calder Lithograph c. 1971 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition; well-preseved. Unsigned from an edition of un...

Artist: Josef Albers (German-American, 1888-1976) Title: "Variant I" Portfolio: Ten Variants *Unsigned edition Year: 1967 Medium: Original Screenprint on Rives BFK paper Limited edit...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Giacometti, Alberto, et al. Giacometti: The Com...