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Lithograph Abstract Prints

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Medium: Lithograph
Untitled #10, Minimalist lithograph on vellum transparency paper unsigned Framed
Located in New York, NY
Agnes Martin Untitled #10, 1990 Lithograph on vellum transparency paper Unsigned Limited Edition of 2500 Publisher: Nemela & Lenzen GmbH, Monchengladback & Stedelijk Museum, Amsterda...
Category

1990s Minimalist Lithograph Abstract Prints

Materials

Vellum, Lithograph

Matisse, Portrait de l´Artiste, Portraits par Henri Matisse (after)
Located in Southampton, NY
Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Paper Size: 12 x 9.25 inches; image size: 9.84 x 7.87 inches. Inscription: Signed in the plate and unnumbe...
Category

1950s Fauvist Lithograph Abstract Prints

Materials

Lithograph

The original limited edition 1965 Los Angeles County Museum of Art LACMA poster
Located in New York, NY
Alexander Calder The original Los Angeles County Museum of Art poster, 1965 Limited Edition vintage Offset Lithograph 32 × 24 3/4 inches 81.3 × 62.9 cm Edition of 300 This is the OR...
Category

1960s Modern Lithograph Abstract Prints

Materials

Lithograph, Offset

Diffraction (Transformation) - Original lithograph, Handsigned and numbered /100
Located in Paris, IDF
Julio LE PARC (1928-) Diffraction (Transformation), 1988 Original lithograph, airbrush and stencil Signed in ink Numbered / 100 copies On black wove paper, 56 x 38 cm (c. 22 x 15 in...
Category

1980s American Modern Lithograph Abstract Prints

Materials

Lithograph, Stencil

Thinking Pumpkin
Located in Bristol, GB
Screenprint Edition 16 of 120 75.8 x 62.3 cm (29.8 x 24.5 in) Signed, numbered, and dated on the front Condition Upon Request Publisher Okabe Tokuzo, Japan Kusama 182. 2
Category

1990s Contemporary Lithograph Abstract Prints

Materials

Lithograph

Art About Art, historic Whitney Museum of American Pop Art lithographic poster
Located in New York, NY
Roy Lichtenstein Art About Art Whitney Museum of American Art 1978 poster, 1978 Offset lithograph poster Frame included: held in the original vintage frame Provenance: from the colle...
Category

1970s Pop Art Lithograph Abstract Prints

Materials

Lithograph, Offset

Rare exhibition print (Hand Signed by Willem de Kooning), fine provenance Framed
Located in New York, NY
Willem de Kooning de Kooning in East Hampton (Hand Signed), from Estate of Alan York, 1978 Offset lithograph poster (Hand signed by de Kooning) Boldly signed in green marker on the f...
Category

1970s Abstract Expressionist Lithograph Abstract Prints

Materials

Permanent Marker, Lithograph, Offset

Star Chart. Antique Astronomy celestial print
Located in Melbourne, Victoria
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...
Category

Late 19th Century Victorian Lithograph Abstract Prints

Materials

Lithograph

Kandinsky at Galerie Karl Flinker - 1977 Exhibition Poster - in Ink on Paper
Located in Soquel, CA
Kandinsky at Galerie Karl Flinker - 1977 Exhibition Poster - in Ink on Paper Poster with a reproduction of "Merry Structure" by Vassily Kandinsky (Russian, 1866-1944). This posted i...
Category

1970s Abstract Geometric Lithograph Abstract Prints

Materials

Paper, Ink, Lithograph

Sans titre (Axsom Ia), Derrière le miroir
Located in Southampton, NY
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...
Category

1950s Hard-Edge Lithograph Abstract Prints

Materials

Lithograph

Fontana, Concetto Spaziale, San Lazzaro et ses Amis, XXe siècle (after)
Located in Southampton, NY
Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, San Lazzaro et ses Amis, Hommage au fondateu...
Category

1970s Modern Lithograph Abstract Prints

Materials

Lithograph

Nude, from Brushstroke Figures
Located in Washington, DC
Artist: Roy Lichtenstein Title: Nude, from Brushstroke Figures Medium: Lithograph, waxtype, woodcut, and screenprint on cold-pressed Saunders Waterford paper Date: 1989 Edition: 54/6...
Category

1980s Pop Art Lithograph Abstract Prints

Materials

Woodcut, Lithograph, Screen

Joan Miró - MARAVILLAS CON VARIACIONES... Lithograph Contemporary Art Abstract
Located in Madrid, Madrid
Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró XX Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: In v...
Category

1970s Abstract Lithograph Abstract Prints

Materials

Paper, Lithograph

Soulages, Sans titre, Pierre Soulages, Peintres d'aujourd'hui (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...
Category

1960s Modern Lithograph Abstract Prints

Materials

Lithograph

Flashback VI, Flashback Series, John Chamberlain
Located in Fairfield, CT
Artist: John Chamberlain (1927-2011) Title: Flashback VI Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 151/175, plus proofs Size: 28 x 20 inches Inscription: Signed ...
Category

1970s Abstract Expressionist Lithograph Abstract Prints

Materials

Lithograph

original lithograph
Located in Henderson, NV
Medium: original lithograph. Printed in 1980 for the art revue XXe Siecle and published in Paris by San Lazzaro. Size: 12 1/4 x 9 1/8 inches (310 x 232 mm). Not signed.
Category

1980s Lithograph Abstract Prints

Materials

Lithograph

Sky Bird, Braniff International Airways Flying Colors Collection
Located in Fairfield, CT
Artist: Alexander Calder (1898-1976) Title: Sky Bird, Braniff International Airways Flying Colors Collection Year: 1975 Medium: Lithograph on vélin d’Arches paper Size: 20 x 26 inche...
Category

1970s Surrealist Lithograph Abstract Prints

Materials

Lithograph

Concetto Spaziale, Société internationale d'art XXe siècle
Located in Southampton, NY
Lithograph 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, XXIe Année, N°12 Mal-Ju...
Category

1950s Modern Lithograph Abstract Prints

Materials

Lithograph

Swinging
Located in Manchester, GB
Wassily Kandinsky, Swinging, 1925 Giclee print on Monte Carlo 300gsm watercolour paper Framed in a sustainably sourced black frame gallery with UV protection acrylic glazing 60 x 80...
Category

2010s Lithograph Abstract Prints

Materials

Lithograph

Soulages, Sans titre, Pierre Soulages, Peintres d'aujourd'hui (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...
Category

1960s Modern Lithograph Abstract Prints

Materials

Lithograph

Matisse, Mademoiselle M.A., Portraits par Henri Matisse (after)
Located in Southampton, NY
Héliogravure on vélin paper, mounted on vélin paper backing sheet, as issued. Paper Size: 12 x 9.25 inches; image size: 9.05 x 6.3 inches. Inscription: Signed in the plate and unnumb...
Category

1950s Fauvist Lithograph Abstract Prints

Materials

Lithograph

de Staël, Ciel à Honfleur, Nicolas de Staël, Peintres d'aujourd'hui (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Nicolas de Staël, Peintres d'aujourd'hui, 1960. Published by Fernand Hazan, Éditeur, Paris; rendered by Bussière et Nouël, Paris; printed by l'Imprimerie Lecot, Paris, May 1960. Excerpted from the folio (translated from French), CCCLXXV examples of this album, numbered from I to CCCLXXV, are accompanied by an unpublished board illustrating a glued paper of the artist and shot on the presses of Daniel Jacomet, in Paris. The illustrations of this album, completed in May 1960, were shot by Bussière and Nouël and printed by the l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.l.A.P. according to the models of Marcel Jacno. Fernand Hazan Éditeur, 35-37, rue de Seine, Paris. 1960. Droits de reproduction réservés A.D.A.G.P. - Paris. NICOLAS DE STAEL (1914-1955) was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles. Known for his abstract landscapes and still lifes that uniquely blend colour, form and texture, Nicolas de Staël was fascinated by the world’s many spectacles and documented them through his art. De Staël was born in 1914 into an aristocratic family in Saint Petersburg, Russia. His father served as a cavalry general under Tsar Nicholas II and the family was forced to flee after the Russian Revolution. Both Nicolas’s parents died in the early 1920s, meaning he and his siblings were raised by a foster family in Brussels where he would begin his formal art education at the Académie Royale des Beaux-Arts. De Staël’s early work was influenced by the European avant-garde movements of the early 20th century, including Cubism and Fauvism. However, he soon developed his own distinctive style with thick impasto and a bold use of colour. His early paintings, often sombre in tone, gradually evolved into more vibrant and dynamic compositions, reflecting his growing interest in the emotional and expressive potential of colour and form. In 1938 de Staël had moved to France, where he became an integral part of the post-war Parisian art scene. Having worked initially in the atelier of Fernand Léger, de Staël’s circle of friends came to include Sonia Delaunay, Le Corbusier and Jean Arp, who encouraged his tendencies towards abstract work. His work during this period marked a significant departure from traditional representation, moving towards abstraction while maintaining a strong sense of structure and form. De Staël's paintings from this era showcase his ability to balance abstraction with figuration, using broad, gestural strokes and a vibrant palette to convey movement and energy. What truly set de Staël apart, though, was the step he took beyond abstraction. This came with his football paintings...
Category

1960s Modern Lithograph Abstract Prints

Materials

Lithograph

To Earl and Camilla Love Andy Warhol unique heart drawing in monograph Signed 2x
Located in New York, NY
Andy Warhol To Earl and Camilla, Love Andy Warhol, 1979 Original Heart Drawing held in book with unique dedication to Earl and Camilla McGrath (Signed Twice by Andy Warhol) This uniq...
Category

1970s Pop Art Lithograph Abstract Prints

Materials

Mixed Media, Permanent Marker, Lithograph, Offset

Hollywood Pool House Glow, Exclusive Handmade Cyanotype Print of Blue Patterns
Located in Barcelona, ES
This is an exclusive handprinted limited edition cyanotype. "Hollywood Pool House Glow" shows the shimmering reflections of a Hollywood, California swimming pool. Details: + Title: ...
Category

2010s Minimalist Lithograph Abstract Prints

Materials

Paper, Emulsion, Watercolor, Lithograph

Paris L' Opera Le Plafond Romeo and Juliet Place de la Concorde Lt Ed Lithograph
Located in New York, NY
Marc Chagall Paris L' Opera Le Plafond, Romeo and Juliet at Place de la Concorde and Arc de Triomphe, 1965 Original poster on wove paper Unsigned Limited Edition of 5000 24 3/4 × 38 ...
Category

1960s Modern Lithograph Abstract Prints

Materials

Lithograph

David Hockney, The Prisoner for Amnesty International, hand signed 17/100 Framed
Located in New York, NY
From the rare, Deluxe, hand signed edition of only 100: David Hockney The Prisoner, for Amnesty International, 1977 Color Offset Lithograph Hand signed, numbered 17/100 and inscribed...
Category

1970s Pop Art Lithograph Abstract Prints

Materials

Pencil, Graphite, Lithograph, Offset

Star Chart. Antique Astronomy celestial print
Located in Melbourne, Victoria
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...
Category

Late 19th Century Victorian Lithograph Abstract Prints

Materials

Lithograph

Magnelli, Sans titre, San Lazzaro et ses Amis, XXe siècle (after)
Located in Southampton, NY
Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, San Lazzaro et ses Amis, Hommage ...
Category

1970s Modern Lithograph Abstract Prints

Materials

Lithograph

Picasso, Femme se coiffant, Société internationale d'art XXe siècle (after)
Located in Southampton, NY
Lithograph, stencil 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° 7...
Category

1950s Cubist Lithograph Abstract Prints

Materials

Lithograph

Niagara Series I 1973 Signed Limited Edition Linocut Lithograph
Located in Rochester Hills, MI
Larry Zox Niagara Series I - 1973 Print - Linocut Paper Size 25½'' x 35'' inches Edition: Signed in pencil and marked 7/175 Unframed Larry Zox is one of the principal representativ...
Category

1970s Lithograph Abstract Prints

Materials

Lithograph

Picasso, Profil et tête de femme, Les Métamorphoses (after)
Located in Southampton, NY
Lithograph on vélin papier Vergé fin blanc des papeteries de Bellerive paper. Paper size: 11.02 x 8.66 inches; image size: 4.4 x 5.5 inches. Inscription: Unsigned and unnumbered, as ...
Category

1970s Cubist Lithograph Abstract Prints

Materials

Lithograph

Sans titre, Verve: Revue Artistique et Littéraire
Located in Southampton, NY
Lithograph, collage, relief 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: Rev...
Category

1950s Cubist Lithograph Abstract Prints

Materials

Lithograph

Sans titre (Axsom Ia), Derrière le miroir
Located in Southampton, NY
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...
Category

1950s Hard-Edge Lithograph Abstract Prints

Materials

Lithograph

Téléphone-homard cybernétique (Michler/Löpsinger 822-831; Field 75-13)
Located in Fairfield, CT
Artist: Salvador Dali (1904-1989) Title: Téléphone-homard cybernétique (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Cybernetic lobster phone, Imaginatio...
Category

1970s Surrealist Lithograph Abstract Prints

Materials

Mixed Media, Drypoint, Lithograph, Screen

Kandinsky, Fond Blanc, Derrière le miroir (after)
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Derrière le miro...
Category

1950s Modern Lithograph Abstract Prints

Materials

Lithograph

Rare Hiroshima Peace Celebration print, Hand Signed by Keith Haring + provenance
Located in New York, NY
Keith Haring Rare Hiroshima Peace Celebration poster (hand signed by Keith Haring), from the Patrick Eddington Collection, 1988 Framed Original offset lithograph (Hand signed by Keit...
Category

1980s Pop Art Lithograph Abstract Prints

Materials

Offset, Lithograph

Picasso, Sans titre, La Comédie Humaine, Verve: Revue Artistique (after)
Located in Southampton, NY
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...
Category

1950s Cubist Lithograph Abstract Prints

Materials

Lithograph

Livre du cœur d'amour épris, Verve: Revue Artistique et Littéraire
Located in Southampton, NY
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, Livre du cœur d'Amour épris...
Category

1940s Fauvist Lithograph Abstract Prints

Materials

Lithograph

Miró, Sans titre (Cramer 102; Mourlot 428-449), Derrière le miroir (after)
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered. Notes: From the folio, Derrière le miroir, N° 151-152, 1965. Published by Aimé Maeght, Éd...
Category

1960s Surrealist Lithograph Abstract Prints

Materials

Lithograph

Tracey Emin, It Didn't Stop I Didn't Stop print, SCARCE when Hand Signed, Framed
Located in New York, NY
Tracey Emin It - didnt stop - I didnt stop, 2019, from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional card (han...
Category

2010s Contemporary Lithograph Abstract Prints

Materials

Lithograph, Offset

Jacqueline à l'étamine (Cramer 115), Diurnes
Located in Southampton, NY
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 ...
Category

1960s Cubist Lithograph Abstract Prints

Materials

Lithograph, Stencil

Antiombrelle à atomiseurs de liquides (Michler/Löpsinger 822-831; Field 75-13)
Located in Fairfield, CT
Artist: Salvador Dali (1904-1989) Title: Antiombrelle à atomiseurs de liquides (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Liquid atomizer anti-shade, ...
Category

1970s Surrealist Lithograph Abstract Prints

Materials

Mixed Media, Drypoint, Lithograph, Screen

Jean Dubuffet Painted Sculptures at Pace Gallery-Lithograph-Vintage
Located in Brooklyn, NY
This is an original poster designed by Jean Dubuffet for his 1968 exhibition Painted Sculptures at Pace Gallery, held from April 13th to May 18th. Created by the artist specifically ...
Category

1960s Modern Lithograph Abstract Prints

Materials

Lithograph

Sans titre, Derrière le miroir
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 201, 1973. Published by Aimé Mae...
Category

1970s Modern Lithograph Abstract Prints

Materials

Lithograph

Sans titre, Derrière le miroir
Located in Southampton, NY
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...
Category

1960s Modern Lithograph Abstract Prints

Materials

Lithograph

Sculptures (M. 950), Modern Lithograph by Joan Miro 1974
Located in Long Island City, NY
Artist: Joan Miro, Spanish (1893 - 1983) Title: Sculptures (M. 950) Year: 1974 Medium: Lithograph, signed in the plate Image Size: 19 x 27 inches Size: 20.5 x 29 in. (52.07 x 73.66 ...
Category

1970s Modern Lithograph Abstract Prints

Materials

Lithograph

Every Bodies Been There (Signed twice with both printed AND rare hand signature)
Located in New York, NY
Tracey Emin Every Bodies Been There (signed twice), 1998 Lithograph on paper Underneath that existing plate signature, Tracey Emin has, exceptionally hand signed and dated the work f...
Category

1990s Contemporary Lithograph Abstract Prints

Materials

Lithograph

Frank Stella, Sharpesville from Multicolored Squares I (Axsom 79) Lithograph S/N
Located in New York, NY
Frank Stella Sharpesville, from Multicolored Squares I (Axsom 79), 1972 Lithograph on J. Green mould-made paper Signed in graphite pencil, dated and numbered 31/100 (there were also ...
Category

1970s Abstract Geometric Lithograph Abstract Prints

Materials

Lithograph

Sculptures (M. 950), Abstract Expressionist Lithograph by Joan Miro
Located in Long Island City, NY
Joan Miro, Spanish (1893 - 1983) - Sculptures (M. 950), Year: 1974, Medium: Lithograph on BFK Rives, signed in the plate, Image Size: 16.25 x 24 inches, Size: 20.5 x 29 in. (52.0...
Category

1970s Abstract Expressionist Lithograph Abstract Prints

Materials

Lithograph

Sans titre, Derrière le miroir
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 201, 1973. Published by Aimé Mae...
Category

1970s Modern Lithograph Abstract Prints

Materials

Lithograph

Picasso "Toros & Toreros" Photolithography
Located in Cuauhtemoc, Ciudad de México
This framed Picasso print, is an offset lithographic book plate from a captivating book, entitled Toros y Toreros (Bulls and Bullfighters), which features the iconic artwork of Pablo...
Category

Mid-20th Century Cubist Lithograph Abstract Prints

Materials

Lithograph

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number
Located in Santa Fe, NM
Tableau, Japanese, limited edition lithograph, black, white, red, signed, number 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...
Category

1990s Contemporary Lithograph Abstract Prints

Materials

Lithograph

Picasso, Sans titre, La Comédie Humaine, Verve: Revue Artistique (after)
Located in Southampton, NY
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...
Category

1950s Cubist Lithograph Abstract Prints

Materials

Lithograph

Sans titre (Axsom Ia), Derrière le miroir
Located in Southampton, NY
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...
Category

1950s Hard-Edge Lithograph Abstract Prints

Materials

Lithograph

Sans titre (Cramer 211; Mourlot 1051-1072)
Located in Southampton, NY
Lithograph on vélin d’Arches paper. Paper Size: 19.5 x 14.125 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and ...
Category

1970s Surrealist Lithograph Abstract Prints

Materials

Lithograph

Matisse, Madame F.H., Portraits par Henri Matisse (after)
Located in Southampton, NY
Lithograph on vélin paper, mounted on vélin paper backing sheet, as issued. Paper Size: 12 x 9.25 inches; image size: 10.63 x 6.69 inches. Inscription: Signed in the plate and unnumb...
Category

1950s Fauvist Lithograph Abstract Prints

Materials

Lithograph

Francis Bacon 'Three Studies for Self Portrait' Limited Edition Signed Print
Located in San Rafael, CA
Francis Bacon (British, 1909-1992) Three Studies for Self Portrait, c. 1981 Lithograph in colors on Arches wove paper Edition 81/150 with Arabic numbering. There were also 25 H.C. (...
Category

1980s Contemporary Lithograph Abstract Prints

Materials

Lithograph

Plate X, from Les Songes Drolatiques de Pantagruel
Located in Washington, DC
Artist: Salvador Dali Title: Plate X, from Les Songes Drolatiques de Pantagruel Medium: Lithograph in colors on Japon paper Year: 1973 Edition: 209/250 Sheet Size: 29 3/4" x 21" Imag...
Category

1970s Abstract Expressionist Lithograph Abstract Prints

Materials

Lithograph

Glaspalast Edition print, Munich Germany, SCARCE when Hand Signed by Sean Scully
Located in New York, NY
Sean Scully Munich 1996 (Hand Signed), 2001 Offset Lithograph print Hand signed and dated by Sean Scully in 2018 Boldly signed in black marker on the recto. Hand signed by Sean Scull...
Category

Early 2000s Abstract Geometric Lithograph Abstract Prints

Materials

Ink, Permanent Marker, Lithograph, Offset

Ossorio, Sans titre, Peintures initiatiques d'Alfonso Ossorio (after)
Located in Southampton, NY
Collotype on gloss vélin Johannot paper, hinged on black wove paper, as issued. Inscription: Unsigned and unnumbered, as issued. Paper Size: 10.83 x 8.86 inches. Notes: From the albu...
Category

1950s Abstract Expressionist Lithograph Abstract Prints

Materials

Lithograph

Lithograph abstract prints for sale on 1stDibs.

Find a wide variety of authentic Lithograph abstract prints available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add Abstract prints created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, red, purple and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Joan Miró, Rafael Alberti, Alexander Calder, and Jean Dubuffet. Frequently made by artists working in the Abstract, Contemporary, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Lithograph abstract prints, so small editions measuring 0.02 inches across are also available

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