Lithograph Abstract Prints

"Les Pyramides Grandes" framed geometric abstract lithograph of pyramids by Alexander Calder. Hand-lettered EA on lower left front. Hand-signed C...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Georges Braque, Derniers messages,...

This original lithograph in colours is hand signed in pencil by the artist "Miró" at the lower right corner. It is also hand numbered in pencil from the edition of 125, at the lower ...

Futurist composition is an original artwork realized in 1969 by Gerardo Dottori. Black and white lithograph is an original lithograph. Hand signed and dated on the lower right marg...

Keith Haring Tony Shafrazi 1982: set of 6 printed works: A set of six, individual, double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony Shafrazi ca...

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...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Moore, Henry, et al. Henry Moore: Catalogue...

Raymond Pettibon 1982: Rare original punk flyer featuring artwork by Pettibon for a gig by Hari-Kari, Wasted Youth at Dancing Waters, in downtown San Pe...

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...

Hommage à la Couleur is a contemporary artwork realized by Bram Van Velde. Mixed colored lithograph on paper. Hand signed on the lower right margin. Numebered on the lower left corner (10/300). Good condition. Bram van Velde (1895–1981) was a Dutch painter known for his abstraction artworks. In 1907, Van Velde apprenticed in the interior decorating company Schaijk & Kramers in The Hague. Arriving in Paris in 1924, his art was encourage by the French painter André Lhote as well as the playwright Samuel Beckett...

Antoni Clavé Untitled, from the Album International 2 Portfolio, 1977 Mixed media: Lithograph in relief 29 1/4 × 19 3/4 inches Edition 1/50 Signed and number on front Unframed This ...

Composition is a splendid lithograph realized by Raoul Ubac in 1965. The artwork is from Derriere Le Miroir. Fondation Maeght - Inauguration., n.155. Printed by Ateliers de Maeght, Paris, 1965 Special issue of the magazine, published on the occasion of the inauguration of the Marguerite et Aimé Maeght Foundation...

Sarah Morris November 2021, 2021 Lithograph on wove paper Accompanied by a certificate of authenticity - hand signed by Sarah Morris (the artist) as well as the head of ICA Editions...

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) ...

Artist: Robert Rauschenberg Title: Architecture Year: 1994 Medium: Lithograph with vegetable dye water transfer on Arches Infinity paper Edition: 50; signed, dated and numbered in pe...

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...

Sun Curtain by Richard Smith, 1971 Additional information: Medium: lithograph on two sheets 64 x 92 cm 25 1/4 x 36 1/4 in signed and dated in the plate Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Title: Mecklenburg Autumn Medium: Lithograph in colors Year: 1979 Edition: AP (artist's proof, aside from the edition of 175) Signature: Stamped signature Image Size: 22 1/4" x 17 1/...

Walter Becker was born in 1893 in Essen, Ruhr, Germany. Considered an important graphic artist of the "lost generation", Becker is well known for his depictions of figures and portraits in a style that combined elements of German Expressionism, Dada, and French modernism. He worked in a variety of print media, including color lincut, lithography, woodcut and etching. After a short military service, Becker studied under the German Sculptor Karl Albiker at the Dresden Academy of Fine Arts. He moved to southern France where he lived and worked from 1924-1935, and was in contact with George Braque, Thomas...

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 5.7 inches. Inscription: Unsigned and unnumbered, as ...

Poster of 4 festival Music Mtodziezowej is original lithography print realized in 1973. Signed on the plate along the right margin: Khuczykouski 73. Good conditions with aged lower...

Instant Nutriment #4, 1969 - Modern Pop Art Psychedelic Print A vintage psychedelic print, Instant Nutriment #4, 1969 by Peter Max (German, b. 1937). Unframed. Shipped Rolled in tube. Some edge wear to paper. Image: 36"H x 24"W One of the most famous of all living artist's, Peter Max is a pop culture icon. His bold colors, uplifting images and an uncommon artistic diversity have touched almost every phase of American culture and has inspired many generations. Peter Max has painted for six U.S. Presidents and his art is on display in Presidential Libraries and in U.S. Embassies. Max has painted our Lady Liberty annually since America's Bicentennial and in 2000 a collage of his Liberties adorned over 145 million Verizon phone books. Max has been named an official artist of the 2006 U.S. Olympic Team at the Winter Olympics in Turin, Italy. He has also been Official Artist of 5 Super Bowls, World Cup USA, The World Series, The U.S. Open, The Indy 500, The NYC Marathon...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 164-165, 1967. Published by Aimé Maeght, Éd...

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

Minuit - From the 12 plate Portfolio, 1959 Published by Denise Rene, Paris Lithograph in colors on heavy paper 20 x 26 inches Signed, dated and numbered in ink, edition of 150 copies...

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

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...

"La Comedie Humaine VIII" Lithograph in Color on Thick Wove Paper After The Original. The plates executed under the direct supervision of Pablo Picasso. First edition, 1954. Printed ...

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, Contes de Boccace, peinture...

color lithograph on Guarro paper , edited in 1974 Limited Edition of 75 copies plus 15 HC Hand signed, dated and numbered in pencil 37/75 in pencil (lower left) Paper size: 69,5 x 52...

JOAN MIRO (1893 – 1983) Maravillas con Variaciones Acrosticas en el Jardin de Miro Lithograph in colors on Arches paper c. 1975 Signed in pencil by artist, lower margin Impression...

Lithograph on vélin paper. Paper Size: 15 x 33 inches, with bifold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, Tendance, N...

Lithograph, 1967 Not signed Catalog : [Maeght 461 p. 135] 35.50 cm. x 50.00 cm. 13.98 in. x 19.69 in. (paper) 33.50 cm. x 48.00 cm. 13.19 in. x 18.9 in. (image) “Le Lézard aux ...

Georges Braque (French, 1882-1963). Affiche pour l'exposition Georges Braque-René Char à la Bibliothèque Jacques Doucet) (Vallier 185) Lithograph in colors on Japan nacre paper Sign...

PRAYER by the Israeli artist Moshe Castel (1909-1991) is a limited edition lithograph printed in 14 colors using traditional lithographic techniques on archival Somerset paper 100% a...

Lithograph, 1966 Handsigned by the artist in pencil and numbered 39/150 Catalog : Sorlier 66 80.00 cm. x 57.00 cm. 31.5 in. x 22.44 in. (paper) 65.00 cm. x 50.00 cm. 25.59 in. x 19...

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 N°3 (double) Juin 1952, ...

This framed Picasso print, is an offset lithographic book plate from a captivating book, entitled Toros y Toreros (Bulls and Bullfighters), which ...

Judy Rifka (American, b. 1945) 44/84 Lithograph on paper titled "Thou Shalt Not Bear False Witness against Thy Neighbor"; Depicting an abstract composition in blue, green, red and black tones with Hebrew script. Judaica interest. (I have seen this print described as a screenprint and as a lithograph) Hand signed in pencil and dated alongside an embossed pictorial blindstamp of a closed hand with one raised index finger. Solo Press. From The Ten Commandments Kenny Scharf; Joseph Nechvatal; Gretchen Bender; April Gornik; Robert Kushner; Nancy Spero; Vito Acconci; Jane Dickson; Judy Rifka; Richard Bosman and Lisa Liebmann. Judy Rifka (born 1945) is an American woman artist active since the 1970s as a painter and video artist. She works heavily in New York City's Tribeca and Lower East Side and has associated with movements coming out of the area in the 1970s and 1980s such as Colab and the East Village, Manhattan art scene. A video artist, book artist and abstract painter, Rifka is a multi-faceted artist who has worked in a variety of media in addition to her painting and printmaking. She was born in 1945 in New York City and studied art at Hunter College, the New York Studio School and the Skowhegan School of Painting and Sculpture in Maine. Rifka took part in the 1980 Times Square Show, (Organized by Collaborative Projects, Inc. in 1980 at what was once a massage parlor, with now-famous participants such as Jenny Holzer, Nan Goldin, Keith Haring, Kenny Scharf, Jean-Michel Basquiat, and Kiki Smith, the roster of the exhibition reads like a who’s who of the art world), two Whitney Museum Biennials (1975, 1983), Documenta 7, Just Another Asshole (1981), curated by Carlo McCormick and received the cover of Art in America in 1984 for her series, "Architecture," which employed the three-dimensional stretchers that she adopted in exhibitions dating to 1982; in a 1985 review in the New York Times, Vivien Raynor noted Rifka's shift to large paintings of the female nude, which also employed the three-dimensional stretchers. In a 1985 episode of Miami Vice, Bianca Jagger played a character attacked in front of Rifka's three-dimensional nude still-life, "Bacchanaal", which was on display at the Museum of Art Fort Lauderdale. Rene Ricard wrote about Rifka in his influential December 1987 Art Forum article about the iconic identity of artists from Van Gogh to Jean-Michel Basquiat and Keith Haring, The Radiant Child.The untitled acrylic painting on plywood, in the collection of the Honolulu Museum of Art, demonstrates the artist's use of plywood as a substrate for painting. Artist and writer Mark Bloch called her work "imaginative surfaces that support experimental laboratories for interferences in sensuous pigment." According to artist and curator Greg de la Haba, Judy Rifka's irregular polygons on plywood "are among the most important paintings of the decade". In 2013, Rifka's daily posts on Facebook garnered a large social media audience for her imaginative "selfies," erudite friendly comments, and widely attended solo and group exhibitions, Judy Rifka's pop art figuration is noted for its nervous line and frenetic pace. In the January 1998 issue of Art in America, Vincent Carducci echoed Masheck, “Rifka reworks the neo-classical and the pop, setting all sources in quotation for today’s art-world cognoscenti.” Rifka, along with artists like David Wojnarowicz, helped to take Pop sensibility into a milieu that incorporated politics and high art into Postmodernism; Robert Pincus-Witten stated in his 1988 essay, Corinthian Crackerjacks & Passing Go that "Rifka’s commitment to process and discovery, doctrine with Abstract Expressionist practice, is of paramount concern though there is nothing dogmatic or pious about Rifka’s use of method. Playful rapidity and delight in discovery is everywhere evident in her painting." In 2016, a large retrospective of Rifka's art was shown at the Jean-Paul Najar Foundation in Dubai. In 2017, Gregory de la Haba presented a Rifka retrospective at the Amstel Gallery in The Yard, a section of Manhattan described as "a labyrinth of small cubicles, conference rooms and small office spaces that are rented out to young entrepreneurs, professionals and hipsters". In 2019 her video Bubble Dancers New Space Ritual was selected for the International Istanbul Bienali. Alexandra Goldman Talks To Judy Rifka About Ionic Ironic: Mythos from the '80s at CORE:Club and the Inexistence of "Feminist Art" Whitehot Magazine of Contemporary Art. She was included in "50 Contemporary Women Artists", a book comprising a refined selection of current and impactful artists. The foreword is by Elizabeth Sackler of the Brooklyn Museum’s Sackler Center for Feminist Art. Additional names in the book include sculptor and carver Barbara Segal...

Joan Miró M.990 from " Les Pénaltiés de l'enfer ou les Nouvelles-Hébrides" 1974 Hand signed in white crayon From a rare signed edition of 15, annotated EA/15 Mourlot 990 from Miró L...

Alfred Pellan, Canadian, 1906-1988 Folies-Bergères, 1974 Serigraph 20.75 x 16 in ( image ) 52.7 x 40.6 cm signed, titled, dated 1974 and numbered (edition of 150) in the lower margi...

Lithograph on vélin papier Vergé fin blanc des papeteries de Bellerive paper. Paper size: 11.02 x 8.66 inches; image size: 7 x 5.7 inches. Inscription: Unsigned and unnumbered, as is...

The Soldier's Ballad is a contemporary artwork realized by Max Ernst in 1972. Mixed colored lithograph on Arches Paper. Edited by Manus Presse, Stuttgart 1972. Not signed and not ...

Lithograph on vélin papier Vergé fin blanc des papeteries de Bellerive paper. Paper size: 11.02 x 8.66 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio,...

Lithograph on vélin papier Vergé fin blanc des papeteries de Bellerive paper. Paper size: 11.02 x 8.66 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio,...

In this dynamic print, Pablo Picasso depicts a scene of bustling movement and overlapping subjects. The artist's use of perspective and use of layering deeply exaggerates the emotion...

Max Ernst, German (1891 - 1976) - Les Chiens Ont Soif V, Portfolio: Les Chiens Ont Soif, Year: 1964, Medium: Lithograph, Edition: 165/320, Size: 17 x 24.5 in. (43.18 x 62.23 cm)...

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...

Color lithograph, Edition 25. Emmi Whitehorse is a painter and printmaker. Using a private language of symbols and memories, Whitehorse makes 'personal diaries' of her life as an ...

This original limited-edition exhibition poster was created for the 1990 show at the prestigious Galerie Lelong in Paris, France. Known for showcasing the works of some of the most ...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

Jamie Nares When the Language was Young, 2010 Lithograph in red on polymer Pencil signed, dated and numbered 13/50 lower front Lithograph in red on acrylic Pencil signed, dated and ...

Galactic System, 1974 Signed and numbered Color lithograph on Arches paper, full sheet 20.375 x 28.25 inches Edition 75 of 100

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...

"Echecs (Chess)" is a Limited Edition Lithograph (107/150) by Marcel Mouly. The print is pencil-signed by the artist. It measures approximately 29.5 x 21 inches. The date of creation...

"Jusqu'a L'Abstraction" is a lithograph poster by Wassily Kandinsky. This poster depicts abstract forms in purple, pink, blue, and black and was created for the Maeght gallery in Par...

Figures in Landscape is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1967. The print suite was realized in 1985 in a limited edi...

Savage Beasts in the Desert  or Little Animal Kingdom ( Les Betes Sauvages sans Le Desert ) is an original signed lithograph (+ original etched remarque)  by Salvador Dali . L...

This original lithographic poster was created for Max Bill's 1974 exhibition at Marlborough Galerie Zürich. A leading figure in the Concrete Art movement, Bill's work is celebrated f...

"Original Lithograph X" is an original color lithograph by Joan Miro, published in "Miro Lithographs II, Maeght Publisher" in 1975. It depicts Miro's signature biomorphic abstract st...