Earthenware Abstract Prints

Les Revolutions Sceniques du XXe Siecle - I (Cramer 207) Joan Miro, Spanish (1893–1983) Date: 1975 Lithograph Image Size: 12 x 10 inches Size: 14.5 in. x 10 in. (36.83 cm x 25.4 cm) ...

Vintage 1960s Alexander Calder Lithograph double page part of portfolio "Derriere le Miroir". Published by: Galerie Maeght, Paris, 1966. No. 156. Text on verso. Unsigned, from an unknown edition. Presented in black mat with red core. Mat size: 20"H x 24"W. Image size: 15"H x 22"W. American artist Alexander Calder changed the course of modern art by developing an innovative method of sculpting, bending, and twisting wire to create three-dimensional “drawings in space.” Resonating with the Futurists and Constructivists, as well as the language of early nonobjective painting, Calder’s mobiles (a term coined by Marcel Duchamp in 1931 to describe his work) consist of abstract shapes made of industrial materials––often poetic and gracefully formed and at times boldly colored––that hang in an uncanny, perfect balance. His complex assemblage Cirque Calder (1926–31), which allowed for the artist’s manipulation of its various characters presented before an audience, predated Performance Art by some 40 years. Later in his career, Calder devoted himself to making outdoor monumental sculptures...

Vintage 1960s Alexander Calder Lithograph double page part of portfolio "Derriere le Miroir". Published by: Galerie Maeght, Paris, 1966. No. 156. Text on verso. Unsigned from an unknown edition. Presented in black mat with red core. Mat size: 20"H x 24"W. Image size: 15"H x 22"W. American artist Alexander Calder changed the course of modern art by developing an innovative method of sculpting, bending, and twisting wire to create three-dimensional “drawings in space.” Resonating with the Futurists and Constructivists, as well as the language of early nonobjective painting, Calder’s mobiles (a term coined by Marcel Duchamp in 1931 to describe his work) consist of abstract shapes made of industrial materials––often poetic and gracefully formed and at times boldly colored––that hang in an uncanny, perfect balance. His complex assemblage Cirque Calder (1926–31), which allowed for the artist’s manipulation of its various characters presented before an audience, predated Performance Art by some 40 years. Later in his career, Calder devoted himself to making outdoor monumental sculptures...

L'Oiseau Bleu is an artwork realized by Johnny Friedlander in 1963. Etching, Edition 5/20. Image Dimension cm . 47,5x31; Sheet Dimension cm 55x36. Handsigned in the lower right ...

Decorative Rosenthal ceramic plate produced in collaboration with artists Otto Piene from 1973. A modern design in Piene's abstract modernist style. Porcelain plate with box and sign...

Original Swiss Exhibition poster by Hermann Eidenbenz (lithograph, printed by Art. Institut Grafica in Basel) advertising a show of the Basel section ...

Hommage by Johnny Friedlaenderm German (1912–1992) Date: circa 1965 Aquatint, signed in pencil Edition of EA Size: 30 in. x 22 in. (76.2 cm x 55.88 cm) Frame Size: 36 x 28.5 inches

Paris: Mourlot Press, 1964. Lithograph in colors on Velin d’Arches paper, 6 3/4 x 10 inches (170 x 253 mm), full margins. Published by Fernand Mourlot and Jean Adhemar, 1964. In ver...

Les Revolutions Sceniques du XXe Siecle - II (Cramer 207) Joan Miro, Spanish (1893–1983) Date: 1975 Lithograph Image Size: 12 x 9.5 inches Size: 14.5 in. x 10 in. (36.83 cm x 25.4 cm...

Artist/Designer; Manufacturer: Robert Motherwell (American, 1915-1991) Marking(s); notes: signed; ed. 84/150; 1971 Materials: screenprint on J.B. Green mould-made Double Elephant pap...

Composition Original carborundum engraving, c. 1970 Signed: Mastroianni in pencil lower right (see photo) Edition: 100 (76/100) (see photo) Printed on a heavy laid paper Condition:...

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...