Joan Miró

Le lézard aux plumes d'or

1971

Lithograph, 1960 Unsigned lithograph from the book "Drawings for the Bible" composed of 24 color lithographs Publisher : Verve (Paris) Printer : Mourlot (Paris) Catalog : Mourlot 242...

Lithograph Handsigned by the artist in pencil and numbered XVIII/XX Publisher : Galerie Im Erker St. Gallen LCD4681

Lithograph, 1972 Handsigned by the artist in pencil annotated "Epreuve artiste" Edition : 200 ex. Publisher : Olympia 72, Munich Printer : Mourlot, Paris Catalog : [BNF77] 104.00 cm...

Lithograph, 1972 Handsigned by the artist in pencil and numbered 17/150 Publisher : Municipalité de Passy Plateau d'Assy Printer : Arte Adrien Maeght, Paris Catalog : [Maeght n°870 p...

Lithograph, 1959 Handsigned by the artist in pencil and numbered 30/350 48.00 cm. x 64.50 cm. | 18.9 in. x 25.39 in. (paper) 36.00 cm. x 49.00 cm. | 14.17 in. x 19.29 in. (image) Th...

Lithograph, 1970 Handsigned by the artist in pencil and numbered 163/300 Catalog : Rivière 438 LCD4442

An abstract, black and white lithograph contained in an interesting shape enclosed by clean negative space. Signed L. Siekman, titled Jupiter Four and numbered 9/10. It is part of a ...

Printmaker Ann Aspinwall made this etching in 1999, while living in Venice. During those years she did several etchings that adhered to a certain principle. She drew a freehand line, as straight as possible; and beneath that line drew another, following as closely as possible the one above. Each successive line followed the line directly above, imitating all the curves and shakes. These imperfections, or deviations from the original line, became more and more prominent, each line being an interpretation of what came before it. Around that time, Aspinwall discovered the writing of John Dewey on the subject of rhythm in his Art as Experience (1934): Rhythm, writes Dewey, is an “ordered variation of changes.” There is no rhythm “when there is a uniformly even flow, with no variations of intensity or speed,” when “variations of pulse and rest do not occur.” “Variations of intensity are relative to the subject matter directly experienced. Each beat, in differentiating a part within the whole, adds to the force of what went before while creating a suspense that is a demand for something to come. It is not a variation in a single feature but a modulation of the entire pervasive and unifying qualitative substratum.” Ten years later Aspinwall returned to this plate. Looking at it again after a long time she perceived the strong influence of Venice; the texture calls to mind water and fabric. The artist was unable to decide on one color for an edition, so after printing many color proofs, she chose ten combinations of colored lines on colored Japanese papers. The prints evoke the light and surfaces of Venice. The title of the series, Tessuto Veneziano, means Venetian textile...

Artist: Joe Tilson, British (1928 - ) Title: Eleusis Proscinemi Year: 1980 Medium: Etching with Aquatint, signed and numbered in pencil Edition: AP 4/20 Size: 31.5 x 22.5 in. (80.01 ...

Robert Motherwell American - La France Variation VIII Lithograph in colors from five aluminum plates with collage in Arches, 1984 Arches collaged on Oatmeal Australian Bemboka hand...

Robert Motherwell Untitled (from Portfolio 9), 1967 Lithograph, 1967 22.25 x 17.25 in. (56.52 x 43.82 cm.) Signed; lower left with artist's trademark initials; numbered, Publisher...

James Rosenquist (1933-2017) Star Thief Color lithograph on white wove paper, 1978-1986 Image size: 31.75” x 32”, full margins. Impression 8 of edition of 25 Signed, titled, da...