Miniature Abstract Prints

Edward Landon 'Exhortation (Priest)', color serigraph, 1957, edition 28, Ryan 72. Signed, titled, and numbered '21/28' in pencil. A superb, richly-inked impression, with strong color...

Composition is an original contemporary artwork realized by Luigi Spacal (Trieste, 1907 - Trieste, 2000) in the 1970s. Original Colored woodcut on cardboard. Good conditions. Image Dimensions: 14 x 12.5 cm Lojze Spacal, also known as Luigi Spacal, was born on the Trieste Karst, at the time of the Austro-Hungarian Empire, from a family of Slovenian nationality.In 1930 he was arrested on charges of anti-fascism and confined for some time to Accettura, in Basilicata. Here he discovered his artistic vocation. In 1934 he graduated in Venice. He began to exhibit his first works in 1937. In 1942 he was again sent to confinement, this time in Abruzzo and, later, assigned to a special working battalion in Forte dei Marmi. Nevertheless, he managed to continue to exhibit his works so much that, in 1944, he set up his first solo show. In 1948 he participated for the first time in the Venice biennial. In 1958 he won the International Grand Prix "for a draftsman and engraver" at the Venice Biennale. In 1959 he received the 2nd prize at the International Biennial of Graphic Art in Ljubljana. In 1974 he was awarded the Prešeren prize, the highest Slovenian artistic recognition, and the “San Giusto d'Oro” in 1977. In 1998 a museum was dedicated to him in the castle of San Daniele...

Lithograph on vélin d’Arches paper. Paper Size: 12 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Matisse, Henri, et al. Henri Matisse...

Edward Landon 'Chinoiserie', color serigraph, 1947, edition 50, Ryan 36. Signed in pencil in the image, lower right. Titled, dated, and annotated '4 COLORS – EDITION 50' in the scree...

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...

White Hand is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, reprod...

Screen print realized by Antonio Vangelli in the mid-20th Century. Edition of 17/30, hand signed and numbered in pencil. Includes a blue wooden frame cm. 74x53.5 Very good condition.

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...

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...

Charles Quest, 'Still Life', 1947, wood engraving, edition 8. Signed, dated, and numbered '3/8' in pencil. Titled and annotated 'wood engraving' in the bottom left margin. A fine impression, on off-white wove paper, with full margins (1 to 2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

PABLO PICASSO (1881-1973) Pichet Visage (A.R. 611), 09.01.1969 Ed. 280/500 pcs Earthenware clay, decoration in engobes engraved by knife under partial brushed glaze Stamped, annotate...

Lithograph, stencil on vélin d’Arches paper. Paper Size: 15.75 x 11.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et ...

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...

Joan Miró is one of the greatest artists of the 20th century. He is renowned internationally as a painter, sculptor, printmaker, and ceramicist. Miró’s works, which were at the int...

“Plate I,” from “Oda à Joan Miró,” by Joan Brossa Lithograph in colors, 1973 Signed in pencil and inscribed “H.C.” (presumably one of 10; the total edition was 525) Published by La...

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...

Medium: original lithograph. Printed by Mourlot in 1962 for the art revue XXe Siecle (issue No. 18). Size: 12 1/4 x 9 1/2 inches (313 x 242 mm). Not signed. Condition: there is cre...

Raymond Pettibon 1982: Rare original punk flyer featuring artwork by Pettibon for a gig by Hari-Kari, Wasted Youth at Dancing Waters, in downtown San Pe...

Medium: original lithograph. Printed in 1974 for the art revue XXe Siecle (issue number 43, devoted to Surrealism) and published in Paris by San Lazzaro. Sheet size: 12 1/4 x 9 3/8 i...

Piège is an original contemporary artwork realized by Guillaume Corneille in 1956. Original Lithograph on vélin paper Hand signed and dated in pencil on the lower margin. Guillau...

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

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...

Sonia DELAUNAY Flamenco : Spanish Dancer, 1972 Original lithograph (Printed in Mourlot workshop) Unsigned On heavy paper 31 x 24 cm (c. 12 x 10 inch) Edited by San Lazzaro in 1972 ...

Created as a one-off limited edition; exact number unknown, but scarce collectible: David Hockney The Rake's Progress, 2019-2020 Fine Bone China finished with platinum gilding in ele...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Axsom, Richard H., and Ellsworth Kelly. The Pri...

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 ...

Into the Space is an original screen print and embossing on paper and metal realized by Carlo Scarpa. The artwork is in good condition, on a grey cardboard. Limited edition of 90 s...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe V Year: 1972 E...

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...

Andre MASSON Water Nymph, 1964 Original lithograph (Mourlot workshop) Printed monogram of the artist in the plate On vellum 32 x 24 cm (c. 13 x 10 in) RE...

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.

Composition is an interesting b/w lithograph realized by the Italian artist Pietro Annigoni in 1973. Hand-signed and numbered.Edition,77/100. Good Co...

Composition is a splendid lithograph realized by Raoul Ubac in 1965. The artwork is from Derriere Le Miroir. Fondation Maeght - Inauguration., n.155. Printed by Ateliers de Maeght, Paris, 1965 Special issue of the magazine, published on the occasion of the inauguration of the Marguerite et Aimé Maeght Foundation...

Lithograph on vélin des papeteries d'Arches paper. Paper Size: 16.93 x 12.99 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Kahnweiler, Daniel...

Lithograph on vélin papier Vergé fin blanc des papeteries de Bellerive paper. Paper size: 11.02 x 8.66 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio,...

Abstract 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...

Collotype on vélin d’Arches paper. Paper size: 16.5 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo ...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe II Year: 1975 Edition: 5,000 Image Size: 10" x 1...

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 ...

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 papier vélin teinté, fait a la main paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Illuminations, 1949. Published by...

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

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...

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...

Artist/Designer; Manufacturer: KAWS aka Brian Donnelly (American, b. 1974) Marking(s); notes: signed; 11/250; 2020 Materials: screenprint on Saunders Waterford 425gm HP hi-white Dime...

Lithograph on vélin paper. Paper Size: 12.5 x 9.625 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Joan Miró,...

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...

A superb impression of this color aquatint. From an unnumbered edition of 280. Printed by Lacouriere, Paris. Published by Vollard, Paris. From "Cirque de l'Étoile Filante." Catalogu...

Lithographie originale pour XXe Siecle, No. 20 Color lithograph, 1962 Unsigned (as issued) From: XXe Siecle, No. 20, Christmas Publisher: G. di San Lazzaro, Paris. Printer: Mourlot? Large edition: c. 1500? Condition: Excellent/Mint usual glue on reverse from binding in book Image/Sheet size: 12 3/16 x 9 1/2 inches New series of XXe Siecle Back in Paris in 1949, Gualtieri di San Lazzaro resumed 20TH century publishing in 1951. It hosts many of the most important writers and art critics of the 1950s and 1960s, including Alain Bosquet , Genevieve Bonnefoi, Camille Bourniquel , Georges Borgeaud, Marcel Brion , Georges Boudaille, Jacques Brosse , Michel Butor , Jean Cassou , Denys Chevalier, Pierre Courthion, Hubert Damisch , Pierre Descargues, Bernard Dorival , Jacques Dupin , Mircea Eliade , Jean-Louis Ferrier , Pierre Francastel , André Frenaud , Roger Van Gindertael...

Joan Miro Danse Barbare (from Artigas) Original Color Lithograph Year: 1963 Size: 14.5x10.5in Edition: 1,500 Portfolio: DLM 139-140 Publisher: Maeght Editeur, Paris 1963 Catalogue ...

Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Paper Size: 12 x 9.25 inches; image size: 9.45 x 6.3 inches. Inscription: Signed in the plate and unnumber...

Sigismond Kolos-Vari, 'Nets', color etching with soft-ground and aquatint, edition 200 (1 of 60 artist's proofs), 1952. Signed and dated in pencil. Numbered L/LX in pencil. A superb, richly-inked impression, on heavy, off-white, Arches wove paper; the full sheet with margins (1 3/8 to 3 1/2 inches), in excellent condition. Published by the Guide de la Gravure, Switzerland, with their blindstamp in the bottom left sheet corner. Matted to museum standards, unframed. Image size 11 3/4 x 15 5/8 inches (298 x 397 mm); sheet size 15 x 22 1/4 inches (381 x 565 mm). ABOUT THE ARTIST Sigismund Kolos-Vari was born in Hungary and attended the School of Applied Arts in Budapest from 1915 to 1918 and then the School of Decorative Arts until 1925. The artist settled in Paris, and his first one-person show in 1928 at Galerie Miromesnil, which was highly successful, led to numerous subsequent exhibitions, including with the prestigious Galerie Bonaparte in 1929 and Galerie Povolosky in 1930. Kolos-Vari’s early success was abruptly interrupted by the outbreak of WWII when he was arrested by the Gestapo and imprisoned in the Gurs internment camp. During this period, he created a sketchbook for a little girl, which is now preserved at the Centre de Documentation Juive Contemporaine at the Mémorial de la Shoah in Paris. He managed to escape after two years, crossing the border into Switzerland. After the war, he returned to Paris with a renewed dedication to his painting, producing increasingly powerful compositions. His work was highly acclaimed when shown at an important 1946 exhibition at the Musée National d’Art Moderne de Paris, organized by Jean Cassou. The artist was then approached by the eminent art dealer Jean Bucher, who gave Kolos-Vary a major one-person show at his gallery in 1948. During this post-war period, Kolos-Vary participated in the radical Salon de Mai, 1949-1958, the Salon des Réalités Nouvelles, 1956-1961, and the Salon des Comparaisons, 1960-1962. Supported by his association with Stanley William Hayter and the landmark printmaking workshop Atelier 17...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 164-165, 1967. Published by Aimé Maeght, Éd...

Keith Haring Rain Dance 1985: RARE original 1980s Keith Haring illustrated poster announcement for a legendary Keith Haring UNICEF benefit party at Larry Levan’s Paradise Garage in 1985. An event organized & curated by Keith Haring; with cohosts including Jean-Michel Basquiat, Andy Warhol, Roy Lichtenstein & more. A event organized by Haring on behalf of UNICEF’s African Emergency Relief Fund. Beautifully combines Haring’s trademark kinetic figures set amidst a standout blue and black color-way. Rare. Medium: Offset lithograph in colors on smooth wove paper. 1985. Dimensions: 8.5 x 11 inches (folded open). Fair overall vintage condition. Minor wear to center fold-line; minor separation to the mid far-left edge; surface loss lower left. Otherwise well-preserved. Printed signature, ‘Keith Haring 1985’ on lower right from a scarce edition of unknown. Looks fantastic framed. More on Keith Haring Rain Dance: Curated and organized by Keith Haring, Rain Dance was a 1985 benefit for UNICEF’s African Emergency Relief Fund. Participating artists famously included: Jean-Michel Basquiat, Larry Levan, Fred Brathwaite, Christo, Francesco Clemente, George Condo, Crash, Futura 2000, Jenny Holzer, John Lennon, Roy Lichtenstein, Robert Mapplethorpe, Brice Marden, Robert Morris, Yoko Ono, Lee Quiñones, Robert Rauschenberg, Kenny Scharf, Julian Schnabel, Richard Serra, Cindy Sherman, Tseng Kwong Chi, and Andy Warhol. _ Keith Haring (American, 1958–1990), a Neo-Pop and Graffiti artist, had a short but prolific career centered on a vision to unite “high art,” urban aesthetics, and public spaces using humorous, irreverent, and poignant works. Born in Pennsylvania, Haring attended the Ivy School of Art in Pittsburgh for two years, planning to become a commercial artist. He found this path unsatisfying, and instead chose to study at the School of Visual Arts in New York, where he met fellow artists Jean Michel Basquiat and Kenny Scharf. Haring immersed himself in the culture of the city’s streets and clubs, and, in 1980, began covering the blank billboards on subway station walls with his Subway drawings in chalk. Haring’s bold public art attracted the attention of several galleries, and, by the early 1980s, he was painting Neo-Pop works and large murals full time. In an effort to make his art widely accessible, Haring opened the Pop Shop in 1986 in downtown New York, selling commercial items adorned with his signature, cartoonish imagery. Haring combined graffiti, hip-hop, and urban aesthetics, frequently depicting animals, figures, commercial icons, sexual imagery, and childlike motifs in pieces that were both playful and concerned with social issues. His work became increasingly confrontational following his 1987 diagnosis of AIDS. Haring resolved to work harder than ever in his remaining years, creating pieces with a fervent speed and devoting his art to social action in addition to his personal expression. In 1989, he established the Keith Haring Foundation, whose goal is to promote art programs and public spaces for children, and to raise awareness about AIDS. Haring died on February 16, 1990 in New York at the age of 31. In addition to hundreds of exhibitions held during his lifetime, Haring has been the subject of numerous retrospectives in New York, San Francisco, Paris, Tokyo, Los Angeles and Berlin since his death. Related Categories: Keith Haring posters. Keith Haring activist poster. Keith Haring Dancers. Street art. Graffiti. 1980s. Keith Haring Larry Levan. Keith Haring Paradise Garage...

BURTON VAN DEUSEN Untitled (from the Artsounds Collection), 1986 color offset print, ed. 200 12 x 12 cm. 30.5 x 30.5 cm. Edition 49/100 signed and numbered in pencil by the artist...

Group contains "Untitled #2," "Untitled #4", "Untitled #5" and "Untitled #6." Each printed on Hahnemühle German etching paper. One initialed, dated and numbered 37/42 in pencil and t...

Lithograph, stencil on vélin d'Arches paper. Paper Size: 7.25 x 9.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Georges Braque, Le Solitaire, 19...

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...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Chroniques du jour, 13 rue V...

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...