Miniature Abstract Prints

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" ...

MacDonald of the Isles and Slate (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a she...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 128, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

'Arabian - Arabe - Arabisch' 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 d’Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Allo! Paris!, 1926. Published by Éditions des ...

Leonard Edmondson, 'Winter Garden', color etching, edition 50, 1957. Signed, titled, dated, and numbered '50/50' in pencil. A superb, richly-inked impre...

'Middle Ages - Moyen-Age - Mittel Alter' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' ...

Joan Miró Derriere le Miroir Original color lithograph 1971 Published by Maeght Editeur, Paris Hand signed and dedicated on the verso in pencil Custom framed to museum standards Imag...

This piece titled "Curios" is an original artwork made from found object plates printed in relief and intaglio on Somerset by Katie VanVliet. This piece is shipped in the pictured wh...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°16, 1961. Published and printed under the direction ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 101-102-103, 1957. Published by Aimé Maeght, Éditeur, P...

Makes a fantastic gift! Robert Indiana Monograph: Robert Indiana and the Star of Hope (hand signed by the artist as well as both writers), 2009 Hardback monograph with dust jacket (h...

Lithograph on vélin d’Arches paper. Signed in the plate, as issued. Good condition. Notes: From the folio, La mélodie acide, 14 lithographies originales de Joan Miró, 1980. Published...

Joan Miró La Mélodie Acide - 10 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

Abstract Composition is an Original Litograph realized by Michel Cadoret in 1976. Good condition on a white cardboard, inside a package that presents t...

Lithograph on vélin de Rives paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Poêmes insoumis, 1963. Published by Marc Barbezat, Paris; ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Published by Aimé Maeght, Éditeu...

Charles Lapicque - Composition - Original Lithograph Published in the deluxe art review, XXe Siecle 1951 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unnumbered...

Minna Citron, 'Flight to Tomorrow', aquatint and engraving, edition unknown but small, 1948. Signed, titled, dated, and annotated 'engr & aqua' in pencil. A superb, richly-inked impression with selectively wiped plate tone, on heavy cream wove paper, the full sheet with margins (1 3/4 to 3 1/2 inches), in excellent condition. Image size 6 7/8 x 8 7/16 inches (175 x 214 mm); sheet size 11 1/8 x 14 7/8 inches (283 x 378 mm). Matted to museum standards, unframed. Literature: The Women of Atelier 17, Modernist Printmaking in MidCentury New York, Christina Weyl, Yale University Press, 2019, p. 186. Collections: Davis Museum (Wellesley), Five Colleges and Historic Deerfield Museum Consortium, Harvard Art Museums, Museum of Fine Arts, Boston, Palmer Museum of Art (Penn State...

Paul Kelpe, Untitled (Abstract Composition), lithograph, 1937, edition unknown but small. Signed and dated in pencil. A fine, richly-inked impression, with all the nuanced texture an...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 131, 1962. Published by Aimé Maeght, Éditeur, Paris; pr...

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...

'Middle Ages - Moyen-Age - Mittel Alter' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' ...

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...

12 copper mezzotints printed on Hahnemulle paper in an edition of 12. This is impression #5 The 12 complementary mezzotints are included in boxed portfolio Graduated from the Natio...

This piece titled "Por Ahí Voy IV, Knife Drawing" is an original piece by Lucha Rodríguez and is made from manipulated giclée print on metallic paper. This piece measure 12"h x 12"w ...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Joan Miró La Mélodie Acide - 14 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9...

Woodcut on vélin d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Jean Arp, Dreams and Projects, 1951-1952. Published by Curt V...

Katherine S. Dreier, 'Variation 5, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

A superb, richly-inked impression of this etching. Edition of 150. Signed in pencil, lower left.

Loie Hollowell Cascade, for Coalition for the Homeless, 2020 Fine bone china in red gift box 10 3/4 in diameter Edition of 175 Signed in plate, Artists ...

These wonderful lithographs from the imagination of the Glasgow artist Robert Colquhoun are full of colour and dynamism. Robert Colquhoun (1914-1962) Poems of Sleep and dream Three ...

'Japanese - Japonais - Japonesisch' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' Ornem...

Alexander Calder Composition in Red, Yellow and Blue, 1972 Original Lithograph (4 color stones) Printed in Mourlot workshop On vellum 31 x 24 cm (c. 12,2 x 9,5 in) Edited by San Laz...

Johnny Friedlander Automne 1977 Etching on Arches teinte’ paper Visible: 10 x 7.25 inches Framed: 16.375 x 13.5 x 1 inches Edition: 135 Signed and numbered in pencil along lower edge...

GRAY AND BLACK ABSTRACT by the American painter and printmaker Will Barnet is an original hand drawn lithograph, printed using hand lithography on archival printmaking paper 100% aci...

JAMES CHAPIN (1887 – 1975) COMPOSITION c. 1940 Lithograph signed in pencil, Image 11 7/8 x 7 ¾ inches, sheet 13 5/8 x 10 5/8 inches. Just a hint of mat line in the margins and on the verso. Some remnants of old tape prImarily at the left & right sheet edges. Rather scarce print but possibly published by Associated American Artists. WONDERFUL PORTRAYAL OF AN UP AND COMING ARTIST...

'Middle Ages - Moyen-Age - Mittel Alter' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' ...

Bernard Sanders (1906-1967) was a master of minimalist prints. In several I've posted the subject is really atmosphere and tension. This could be r...

Signed, titled and numbered by the artist. Edition of 10. Rosalyn Richards has been a member of the Bucknell University art faculty since 1982. Images from particle physics, satelli...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 252, 1982. Published by Aimé Maeght, Éditeur, Paris; pr...

Medium: intaglio Year: 2015 Signed Artist Proof from the edition of 25 Image Size: 7.5 x 6 inches Paper Size: 15 x 11 inches Signed and numbered by the artist. Seiko Tachibana's...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 129, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

Raymond MORETTI (1931-2005) Surrealist landscape Original Lithograph Stamp of the signature of the artist On vellum 36 x 27.5 cm (c. 14 x 11 inch) Excellent condition

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, N° 40, 1973. Published and printed under the direction...

Robert Vale Faro, 'Kindergarten', color lithograph, 1945, edition 12. Signed, dated, titled, and numbered '99' and '5/12' in pen. A fine, richly-inked impression, with fresh colors, on heavy, coated off-white wove paper; the full sheet with margins (1/2 to 1 1/2 inch), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 13 1/2 x 7 9/16 inches (343 x 192 mm); sheet size 17 x 12 1/4 inches (432 x 311 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine Felsenthal of Chicago. The Brooklyn Museum mounted a show of Vanguard artists' work in 1946, which subsequently toured several other institutions in the United States. Faro's visionary graphics from the 1940s are a sophisticated blend of Abstract Expressionism, Surrealism, and Indian Space...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 124, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, XXe San Lazzaro et ses Amis, San Lazzaro et ses amis, hommage au fondat...

Abstract portrait of a Woman Finely Detailed Collotype on paper Finely detailed abstract collotype of a woman by Heather Speck a San Francisco. Californi...

Woman is a vintage Lithograph realized by Claude Garache in the 1975. Maeght Editor, France on the rear. Good condition.

Richard Deacon Kind of Blue (Hand Signed and Dated card), 2005 Offset lithograph postcard Boldly signed and dated 9-01-05 by the artit above the image of the sculpture 5 4/5 × 4 1/...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Delicate Abstract Lithograph in Pale Blues and Greys by American Beat artist Will Peterson (1928-1994.) This lithograph features a soft warm grey background overlayed with light blue shading and line work. In the bottom center of the piece is a spiky white shape. The colors and shapes are subtle and feel reminiscent of ice. Lithograph is printed on wove paper which is fixed to a larger piece of handmade paper containing the artists signature and a small embossing found on his other pieces from this time period. This paper is displayed on top of a linen covered board with sturdy wood edges and a plexiglass over over the entire piece. Will Peterson was born in Chicago in 1928 to German immigrant parents. He contracted Polio when he was in High School and thus spent much of his early years ill. During this time he started working as a cartoonist for his high school’s paper. He started his official art studies at Wilber Wright College in Chicago and later earned a BA and a MA at Michigan State University. Here he studied print making and lithography under John S. deMartelly. He began enjoying artistic success while still in graduate school, exhibiting at the Detroit Art Institute, the Terry Art Institute, the National Print Exhibition, and the Boston Printmakers. Peterson was drafted into the army in 1952 and thus spent time in Korea and Japan. His time as an educational specialist in Hokkaido was a formative experience for him and his interest in Japanese calligraphy and other arts influenced his later work. Upon returning to the United States, he moved to Oakland, California. He became involved with the beat movement and after founding the Bay Printmakers Society with fellow artist Mel Strawn...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 127, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Une Étoile de Craie, seize lithographies originales par An...

Printed in sepia. Signed and titled in pencil. An Oregon native, Dorothy Dolph Jensen attended at Portland Art School. The Portland Art Museum has...