Small Abstract Prints

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Fine serigraphy on plexiglass 1973, hand signed and numbered (edition of 600), in good condition. After Arman's so-called "allures d'objets", in which objects are inked and stamped o...

Please be aware that all prints are produced to order. Lead times expected between 15-20 days. Prices may change due to currency fluctuations. Giclée print on Archival Matte Paper w...

Shepard Fairey Screen-prints: collection of 60 works: 2009-2022: A rare assemblage of 60 hand-signed Shepard Fairey screen-prints; collected over a near 15 year period (2009-2022). Notable imagery includes: Bob Marley, Keith Haring, Ruth Bader Ginsburg, Kurt Cobain, as well as a series of vivid anti-war pieces defining the artist's practice (title list found further below). Each very well-preserved. Medium: Screen-prints on heavy paper. 2009-2022 (see below for a list of titles & years). Dimensions ranging from: 19.5 x 16 inches to 24x36 inches. Each work is hand-signed; works are either numbered from their respective main editions or notated 'AP' (see last listing image); a few or several works are signed, but not numbered. Excellent overall condition with the exception of perhaps some minor signs of handling on a few examples. Provenance: Private collection New York via Shepard Fairey. Listing images beginning with image 2 represent the actual works. These works will be shipped flat using protective materials. Please feel free to contact us with any additional questions. Titles & Years: OCEAN TODAY...

"Yellow Skull Small" Print 18 x 20 inch Edition of 400 by Steven Tyler Limited edition of 400 Plate signed by Steven Tyler ABOUT: As the lead singer of Aerosmith, Steven Tyler is c...

This Limited Edition giclee landscape print by Bri Custer is an edition size of 195. It features a blue and green palette with vibrant yellow accents, and captures an abstracted land...

John Martini’s monoprints and drawings meditate on life, death, and the sins between. He presents vignettes of nightmarish visions seeped with religious r...

Lift ground and hard ground etching and engraving on Murillo white wove paper, 18 x 24 inches (455 x 608 mm), full margins. Signed, dated, titled and numbered 60/100 in pencil, lower margin. Printed and published by the artist. In very good condition with minor age tone and scattered light surface soiling on the verso. Framed handsomely in an original Kulicke welded aluminum frame with the embossed maker's mark. [Milton 61]. Milton revisited this image in 1974 during an experiment to explore collage and the process of contact printing a high resolution photo-transparency directly onto a copper plate. He printed a small detail transparency of Mornings with Judd onto the existing plate, alongside it's larger self, and broke through to a new photo-resist approach, which Milton described as "piquant and irresistible," in his essays appearing in Robert Flynn...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 171, 1968. Published by Aim...

Untitled is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1975. Signed o the plate on the lower. The print suite was realized i...

Agent X Rilater (Abstract, Round, Disc, Circle, Warm) Archival Pigment Print with Archival Inks on 240 gsm Hahnemühle Paper 2024 Size: 19x19in Edition: 75 Signed, dated and numbered...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original screenprints that are a definitive survey of the artis...

Raoul Ubac Title: Untitled Composition Medium: Color Lithograph Year: 1972 Size: 14.9 x 21.8 inches Notes: Centerfold and verso printed as published Publisher: Maeght, Paris Unsigned...

Lithograph, 1957 Handsigned by the artist in pencil and annoted "HC" Publisher : Galerie de France (Paris) Printer : Mourlot (Paris) 48.00 cm. x 38.00 cm. 18.9 in. x 14.96 in. (pap...

Artist: Jean Arp Title: Constellations Portfolio: XXe Siecle No. 4 Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19 3/4" x 16 3/4" Sheet Size: 12 5/8" x 9 5/8" Signature...

Manufacturer: Under Dogs, Portugal Edition Details: Year: 2020 Class: Art Print Status: Official Released: 10/14/20 Run: 50 Technique: Screen Print Paper: Keaykolour Pure White 300 g/m2 Size: 19.7 X 19.7 Markings: Signed & Numbered Effortlessly blending two seemingly-irreconcilable visual idioms, Add Fuel...

Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation for the Arts Fellowship grant for...

The Eye and the Beard of God by Friedensreich Hundertwasser was originally created as a painting in 1962. Hundertwasser, known for his distinct, whimsical style, often combined bold ...

Artist: Josef Albers Title: Variant from the Formulation: Articulation portfolio Portfolio 1, Folder 30, Image 1 Year: 1972 Medium: Screenprint on Mohawk Superfine Bristol paper Edit...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 144-145-146, 1964. Publishe...

David Morris Stratus Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: 92480...

Karel Appel "Paysage Humain", 1961 Color lithograph Hand signed by the artist and numbered 17/115 20 x 19.75 inches *unframed*

Abstract composition is an artwork realized by Victor Vasarely (1906 Pecs - 1997 Annet-sur-Marne) in 1980. Silkscreen on paper. Signed lower right, numbered lower. h 48 x 45 cm ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Publ...

Isidore ISOU (1925-2007) Lettrism: Mysterious Writing, c. 1980 Original etching Signed in pencil Numbered / 20 copies On Arches vellum, 53 x 38.5 cm (c. 21 x 15 in) Very good condi...

Lithograph on vélin paper. Paper Size: 19.3 x 12.4 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXXVIIIe Année N°46, Se...

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Guas...

Print, belongs to a collection "STRIPES". Limited edition of 10. Signed by the author.

Esteve Casanoves (Spain, 1954) 'La silla' (Chair), 2008 silkscreen on paper Velin Arches 300 g. 23.1 x 15.4 in. (58.5 x 39 cm.) Edition of 50 ID: CAE-301 Unframed

Lithograph on papier Kitakata à la main, mounted on papier Cartiere Enrico Magnani à la main paper, as issued. Paper Size: 23.5 x 19 inches. Inscription: Unsigned and unnumbered, as ...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacre aux Pap...

Abstract composition is a beautiful color serigraph and lithograph on paper, realized by the Italian artist Enzo Brunori (Perugia, 1924 - Rome, 1993). Hand-signed and numbered in pe...

Lithograph on vélin paper. Paper Size: 19.3 x 12.4 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Numéro spécial hors abonnement, Hommage...

Lithograph, 1965 Handsigned by the artist in pencil and numbered 33/50 LCD4402

Robert Indiana, American (1928 -2018) - The Beware Danger from the American Dream Portfolio, Year: 1963 (1997), Medium: Screenprint on wove paper (unsigned), Edition: 395, Image S...

Gottfried Honegger (1917-2016, Swiss) Title: Concrete Geometric Abstract Composition with Orange Medium: 3D-construction Year: 2015 Signed by hand and inscribed Size: 20.9 × 21.1 on ...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Peter Halley Cell with Explosions I, 1993 Line Engraving on Japanese Wahon Creme Kozo Paper with glazed surface Hand signed and numbered 49/50 by the artist on lower front Original frame included: matted and framed in a wood frame Rarely to market, this hand signed and numbered 1993 Peter Halley print is held in its original 1990s vintage frame. It's on elegant Japanese Wahon cream paper which is 100% Kozo paper with glazed surface. The specs on the paper are part of the design process. Measurements: Frame: 19 x 19 x 1 inches Visible: 12 1/4 x 12 1/4 inches Sheet: 15 7/8 x 15 1/4 inches Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

Rolf Steinhausen Gestural Abstraction (monochromatic, black and white) Lithograph Signed and numbered by hand Edition: 100 Size: 11.9 × 10.9 on 23.0 × 16.4 inches COA provided

David Morris Listen Here Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: 9...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she w...

Alistair Grant Crying Eye - 1968 Print - etching, with Aquatint   16'' x 24'' inches Edition: signed and numbered in pencil 45/50 Alistair Grant was a great and justly-revered exp...

Untitled is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1958. Signed o the plate on the lower. The print suite was realized i...

Robert Motherwell Roots of Abstract Art in America, from the VIP hand signed limited edition, 1966 Lithograph and offset lithograph Pencil signed and numbered 46/100 on the front Fra...

edition 19/200 signed "Childs '55 (c)" at lower left paper size is 17 3/4 x 22 1/4 inches mat size is 20 x 24

Lithograph on papier Kitakata à la main, mounted on papier Cartiere Enrico Magnani à la main paper, as issued. Paper Size: 23.5 x 19 inches. Inscription: Unsigned and unnumbered, as ...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

"Original Lithograph III" is an original color lithograph by Joan Miro, published in "Miro Lithographs III, Maeght Publisher" in 1977. It depicts M...

This piece titled "Lisa's Trip" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 19"w. Born in Mexico City,...

unframed black and white lithograph by Dan Namingha Kachina Katsina Katsinam faces

Cecile DE BRUIJN Woman with Bird, c. 1995 Original screen print Handsigned in pencil Numbered / 20 ex On vellum 76 x 56 cm (c. 30 x 22 inch) Excellent condition

Stephen Powers EVERYTHING IS SHIT Except You Love, 2014 Screenprint on 335 GSM Coventry Rag paper 24 × 24 inches Edition PP 3/3 Hand Signed and numbered in the artist's distinctive hand. One of only three rare Printer's Proofs Rare collectible! One of only three (3) printers proofs!! For offer here is an 11 Color lithograph on 335 GSM Coventry Rag paper featuring the incredibly popular message : "Everything is Shit Except you Love” by artist Stephen Powers, who recently exhibited at the Brooklyn Museum. The simple messaging with bold, playful lettering with purple background has resonated with so many, and the edition sold out almost immediately. This is one of only three rare Printers Proofs, aside from the regular edition, which is also long sold out. In excellent condition; never framed. Makes a terrific gift that says it all. Excellent provenance: Acquired directly from the printer. About Stephen Powers A Fulbright scholar who has been awarded many public commissions and exhibited in major institutions like the Brooklyn Museum.... Born and raised in Philadelphia’s Overbrook neighborhood, Stephen Powers (b. 1968, Philadelphia) moved to New York in 1994, where he gained attention as the publisher of On the Go magazine and the author of the graffiti history The Art of Getting Over. In 1997, Powers undertook an ambitious and far-reaching graffiti campaign of his own, using the official-sounding acronym ESPO (Exterior Surface Painting Outreach) to deflect attention from the illegality of his activities. By 1999, he had covered dozens of storefront grates with giant silver block lettering. Powers gave up street graffiti the following year to concentrate on studio-based projects. Powers’s work typically fuses word and image in paintings and graphics that evoke the bright look of a handmade bodega and fairground...

This original home-made xerox is hand signed in pencil by the artist "David Hockney" at the lower right margin. It is dated in pencil “90” [1990] next to the signature. It is also h...

Abstract Composition is an artwork realized by Salvatore Provino. Screen print on paper. Hand-signed on the lower right corner. Numbered on the lower left, edition of 75. Very go...

Artist: Tom Marioni – American (1937- ) Title: Process Landscape 1998 Year: 1998 Medium: Color spit bite aquatint Image size: 15.75 x 10 inches. Paper size: 20 x 16 inches Framed size: 21.75 x 17.75 inches Signature: Signed, dated lower right Edition: 50. This one: 24/50. Published by: Crown Point Press Printed by: Paul Mullowney Condition: Excellent Frame: Framed in maple frame and plexiglas. Frame in fair to good condition with some small scratches. Tom Marioni was born in 1937 in Cincinnati, Ohio, attended the Cincinnati Art Academy, and in 1959 moved to San Francisco, where he still lives. His first sound work, One Second Sculpture, 1969, was celebrated in the 2005 Lyon Biennial as presaging the work of many artists today who use sound and duration as subjects. His first museum show was in 1970 at the Oakland Museum of California. Titled “The Act of Drinking Beer with Friends is the Highest Form of Art,” it was an early example of social art as a sculpture action. Over the years, Marioni was invited to repeat the work in various contexts around the world. In 1970 Marioni founded the Museum of Conceptual Art (MOCA), which he described at the time as “a large-scale social work of art.” Until the museum closed in 1984, he organized many groundbreaking shows, including “Sound Sculpture As” in 1970. MOCA has entered history as one of the first alternative art spaces. Marioni had one-person shows in several significant venues for early conceptual art, among them the Richard Demarco Gallery in Edinburgh in 1972 and Gallery Foksal in Warsaw in 1975. In 1977 he had a solo show, “The Sound of Flight,” at the de Young Museum in San Francisco. He has done installation/performance works at the Whitechapel Gallery in London (1972), the Institute of Contemporary Art in London (1973), the Centre Georges Pompidou in Paris (1980), and the Folkwang Museum in Essen, Germany (1982), among other museums. He has produced sound works for radio stations KPFA in Berkeley and WDR in Cologne, Germany. In 1996 he organized The Art Orchestra and the group performed at the Legion of Honor Museum in San Francisco. Marioni was included in “For Eyes and Ears” (1980) at the Academy of Fine Arts in Berlin, “Live to Air” (1982) at the Tate Gallery in London, and “From Sound to Image” (1985) at the Stuttgart Staatsgalerie in Germany. His work was shown in “Out of Actions: Between Performance and the Object” (1998) at the Museum of Contemporary Art in Los Angeles, and “The Third Mind: American Artists Contemplate Asia,” (2009) at the Guggenheim Museum in New York City. Drawing is central to Marioni’s art, and in 1999 he had a drawing retrospective, with a catalog, at the Mills College Art Museum in Oakland. In 2006 the Contemporary Art Center in Cincinnati presented a survey of his work and published a catalog. Marioni is the author of Beer, Art and Philosophy, 2003, a memoir, also Writings on Art 1969-1999, and Fabliaux Tom Marioni Fairy Tales. He was editor/designer of VISION magazine published by Crown Point Press, 1975-1981. Issues were titled “California,” “Eastern Europe,” “New York City,” “Word Of Mouth,” (phonograph records) and “Artist’s Photographs,” and published prints, since 1974. Tom Marioni received a Guggenheim Fellowship in 1981 and three grants from the National Endowment for the Arts during the 1970s. His work is in the collections of the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, the Stadtische Kunsthalle in Mannheim, Germany, the Pompidou Center in Paris, and other museums. He is represented by the Anglim Gilbert Gallery...

Artist: Joan Miro Title: Plate I Portfolio: Lithographe I Medium: Lithograph Date: 1972 Edition: Unnumbered Frame Size: 18 1/2" x 16" Sheet Size: 12 1/2" x 10" Image Size: 12 1/2" x ...

Joan Miro Lithographie Originale V (Abstract, Modern, Surrealism, Colorful, Iconic) Color Lithograph Year: 1977 Size: 12.5 × 9.6 inches Framed: 18.25 x 15.5 x 1 inches Catalogue Rais...

Tracey Emin Beirut, 2006 Offset Lithograph printed in black 16 × 23 inches Edition 99/100 Pencil signed, dated and numbered on the front. Accompanied by a special card from Tracey Em...

ABOUT THIS PIECE- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x17, edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, br...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...