Miniature Abstract Prints

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...

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...

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...

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

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper - Artist Authorized reproduction Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

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...

Medium: original lithograph. Executed for XXe Siecle (issue No. 25), printed in Paris by Mourlot and published in 1965 by San Lazzaro. Sheet size 12 1/4 x 9 1/2 inches (310 x 240 mm)...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

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...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 8.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (201...

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...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition. Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Syracuse University Art Museum. ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

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...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 10.25 x 14 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, La Comédie Humaine, Suite d...

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, Nouvelle série N°4 (double) ...

"Denmark" abstract lithograph from "Escultor" suite of seven by Joan Miró. Plate-signed Miró on front. Unframed/never framed. Miro Escultor Denmark 1975 hand-written in pencil on back.

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 98, 1957. Published by Aimé Maeg...

Paul Herrmann Form on Black Background (Abstract, Modern, Mid-Century) Linocut 1970 Signed, titled and dated in stone on verso (along lower margin) Edition: 100 (not individually num...

Antoni Tapies (Spain, 1923-2012) 'Las segovias', 1996 silkscreen on paper 14.2 x 10.2 in. (36 x 26 cm.) Edition of 150 Ref: TAP1205-005-150 Hand-signed by author ____________________...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Prints from the Mourlot Press, 1964. Published by Fernand Mourlot, Par...

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

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 paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Soulages: Eaux-Fortes, Lithographies, 1952-...

John Baldessari, Sonnabend Gallery New York 1981: Rare early 1980s John Baldessari exhibition announcement published on the occasion of: "Shape Derived from Subject (Snake): Used as ...

Lithograph, 1959 Handsigned by the artist in pencil and numbered 234/275 Publisher : Maeght (Paris) Catalog : [Maeght 1036] 20.00 cm. x 30.50 cm. 7.87 in. x 12.01 in. (paper) 10.00 ...

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...

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...

Unique India Ink drawing, signed on reverse. RENAUD ALLIRAND was born in 1970, and currently lives and works in Paris. He has exhibited regularly since 1995 and has won numerous pri...

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,...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 8.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (201...

Double Personage Color lithograph, 1975 (?) Unsigned (as issued) Edition: Large Edition Limited, (estimated to be approximately 2000) Published in: XXe Siecle, No. 52, Juin 1979 Published: G. di San Lazzaro Printer: Mourlot Imprimeur, Paris, France Reference: Lam-Tonneau-Ryckelynck L7513 Condition: Excellent, fresh colors Traces of glue residue along margin edge where it was bound in the book Image/sheet size: 12 1/4 x 9 1/4 inches Wilfredo Lam (1902-1982) Biography Wifredo Lam was born in Sagua la Grande, Cuba, on December 8, 1902. He was the eighth child born to Lam-Yam―born in Canton around 1820, an immigrant to the Americas in 1860―and to Ana Serafina Catilla―born in 1862 in Cuba of mixed African and Spanish ancestry. The luxuriant nature of Sagua la Grande had a strong impact on Lam from early childhood. One night in 1907, he was startled by the strange shadows cast on the wall of his bedroom of a bat in flight. He often recounted the incident as his first magnificent awakening to another dimension to existence. In 1916, Lam and part of his family settled in Havana. He was enrolled in the Escuela Profesional de Pintura y Escultura, Academia de San Alejandro, where he remained a student until 1923. This period, with exhibitions at the Salón de Bellas artes, was determinant in his choice to become a painter. In 1923, the municipality of Sagua la Grande awarded him a grant to study in Europe and by the autumn of that year, at the age of twenty-one, he left the country for Spain. His time in Spain―initially intended as a short stay on his way to Paris―lasted 14 years. In Madrid, he was exposed to the ideas and movements of modern art. He spent long hours at the Archeological Museum and the Prado. He studied the great masters of Spanish painting, Velázquez and Goya, but felt particularly drawn to the works of Bosch and Bruegel the Elder. In 1931, his first wife, Eva (Sébastiana Piriz) and their son Wilfredo Victor died of tuberculosis. The terrible suffering he endured led to numerous paintings of mother and child. Lam found solace in the company of his Spanish friends and made contact with several political organizations. In 1936, with the help of his friend Faustino Cordón, he joined the Republican forces in their fight against Franco. He designed anti-Fascist posters and took part in the struggle by working in a munitions factory. The violence of the struggle inspired his painting La Guerra Civil. In 1938, Lam left Spain for Paris. Shortly before leaving, he met Helena Holzer, who would become his wife in 1944. His meeting Picasso in his studio on the Rue des Grands Augustins proved decisive. Picasso introduced his new “cousin” to his painter, poet and art critic friends, Braque, Matisse, Miró, Léger, Eluard, Leiris, Tzara, Kahnweiler, Zervos. Lam also met Pierre Loeb, the owner of the Galerie Pierre in Paris, which hosted Lam’s first solo exhibition in 1939. Shortly before the Germans arrived, Lam left Paris for Bordeaux and then Marseille, where many of his friends, for the most part surrealists, had gathered around André Breton in the Villa Air Bel: Pierre Mabille, René Char, Max Ernst, Victor Brauner, Oscar Domínguez, André Masson, Benjamin Péret. In the Villa Air Bel, a meeting place for creativity and experimentation, Lam worked and produced, most notably, a series of ink drawings that set the tone for what would become his signature style of hybrid figures, a vocabulary he would develop more fully during his years in Cuba from 1941 to 1947. In January and February 1941, Lam illustrated Breton’s poem Fata Morgana which was censored by the Vichy government. On March 25, Lam and Helena Holzer embarked on the “Capitaine Paul Lemerle” headed for Martinique, in the company of some 300 other artists and intellectuals―André Breton and Claude Lévi-Strauss among them. Upon arrival, the passengers were interred at Trois Îles. It was during this forced passage in Martinique and before leaving for Cuba that Lam and Aimé Césaire met for the first time to become life-long friends. Newly settled in his native land after almost twenty years, Lam delved deeper into his artistic investigations, finding nourishment for his ideas in the surroundings of his childhood and youth. His sister Eloisa, whom he was closest to, explained to him in much detail the workings of Afro-Cuban rituals and he began attending ritual ceremonies with some of his friends. This contact with Afro-Cuban culture brought new impetus to his art. He painted over one hundred canvases, most notably La Jungla, making the year 1942 his most productive of this period. Over the next few years, a number of exhibitions followed in the United States, at the Institute of Modern Art of Boston, at the MoMA of New York, at the Galerie Pierre Matisse, where La Jungla was presented and created a scandal. In 1946, Lam and Helena travel to Haiti and attend voodoo ceremonies in the company of Pierre Mabille and André Breton. Talking about his experience in Haiti, Lam said, “It is often assumed that my work took its final form in Haiti, but my stay there, like the trips I made to Venezuela, Colombia or to the Brazilian Mato Grosso only broadened its scope. I could have been a good painter from the School of Paris, but I felt like a snail out of its shell. What really broadened my painting is the presence of African poetry.” Picasso_Lam_Vallauris_1954_vignette Wifredo Lam et Pablo Picasso, Vallauris, 1954 Lam then went on to New York where he renewed contact with Marcel Duchamp and made new acquaintances: Jeanne Reynal, James Johnson Sweeney, Arshile Gorky, John Cage, Roger Wilcox, Mercedes Matter, Ian Hugo, Jesse Fernández, John Cage, Sonia Sekula and Yves Tanguy. By the end of the 1940s, Lam divided his time between Europe, Havana and New York, where they stayed with Pierre and Teeny Matisse...

Héliogravure on vélin paper. Paper Size: 10.83 x 13.78 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Vieira da Silva, Peintres d'aujourd'...

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Dupin, Jacques, et al. ...

Etching, cuivre rayé après tirage on vélin paper. Paper Size: 15 x 11 inches; image size: 12.2 x 2.17 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, ...

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

Corita Kent Yes to You, 1979 Color silkscreen Hand signed, numbered and uniquely inscribed with a heart doodle by the artist on the front. Artists Proof (aside from the regular editi...

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 ...

Eduardo Paolozzi, British (1924 - 2005) - Part One, Frozen Terror...Part Two, Fangs of Death, Portfolio: General Dynamic F.U.N. Portfolio, Year: 1970, Medium: Photolithograph, stamp ...

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...

Joan MIRO Composition with red and yellow circles, 1961 Original lithograph (Printed in Arte / Maeght Workshop). On wove paper 31 x 24 cm (c. 12 x 10 in) Edition San Lazarro, 1961 ...

Arnulf Rainer (Austrian, born 1929) Büste im Nebel, 1977 Medium: Drypoint etching on BFK Rives wove paper Dimensions: 29.8 × 20.8 cm (11 7/10 × 8 1/5 in) Edition of 50: Hand-signed a...

Untitled is an artwork realized by BRAM VAN VELDE (1895-1981) Lithograph , cm 31x20 Signed in pencil on the front. Very good condition.

Aquatint and etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and print...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

Woodcut on vélin de Montval-Maillol paper. Paper Size: 17.3 x 12.6 inches; image size: 11.4 x 8.7 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné referenc...

Lithograph 38.00 cm. x 27.00 cm. 14.96 in. x 10.63 in. (image) Handsigned by the artist in pencil Ref : LCD1506

Alexander Calder Lithographic cover c. 1968 from Derrière le miroir: Lithograph in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of unknown with crisp bright colors. Published by: Galerie Maeght, Paris, c. 1968. Unsigned from an edition of unknown. Looks fantastic framed. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. Related Categories: Mid century modern. Alexander Calder prints. Calder orange. Calder red...

XIV Winter Olympics games is a vintage poster realized by the artist Yozo Hamaguchi, in occasion of the XIV Winter Olympics games in Sarajevo, in 1984.

Edward Landon 'Salient in February', color serigraph, 1945, edition 40, Ryan 166. Signed in pencil. Titled, dated, and annotated 'ED. 40' in pencil. A fine impression, with fresh col...

Alex Calinescu (b.1967) Untitled 2003 Silkscreen Print 1/25 30.3 x 15.2 cm 50.5 x 34.8 cm Alex Calinescu was born in Cambridge, England in 1967. She moved to London in 1986 to stud...

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...

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...

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...

Untitled (Plate 1) DLM Color lithograph, 1963 Unsigned and unnumbered (as usual) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Image/sheet size: 14 7/8 x 11 inches...

Lithograph on vélin paper. Paper Size: 12.5 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Calder. Published and printed by Musée National d'A...

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...

Lithograph, stencil on vélin paper. Paper Size: 11.5 x 9.24 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Jo...

Pierre SOULAGES (1919-2022) Etching IV, 1957 Original etching (Lacourière workshop) Signed in pencil Numbered / 100 On BFK Rives vellum, 32.5 x 25 (c 13 x 10 in) Presented in woodfr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 155, 1965. Published by Aimé Maeght, Éditeu...