Lithograph Abstract Prints

JAMES CHAPIN (1887 – 1975) COMPOSITION c. 1940 Lithograph signed in pencil, Image 11 7/8 x 7 ¾ inches, sheet 13 5/8 x 10 5/8 inches. Just a hint of mat line in the margins and on the verso. Some remnants of old tape prImarily at the left & right sheet edges. Rather scarce print but possibly published by Associated American Artists. WONDERFUL PORTRAYAL OF AN UP AND COMING ARTIST...

Robert Vale Faro, 'Kindergarten', color lithograph, 1945, edition 12. Signed, dated, titled, and numbered '99' and '5/12' in pen. A fine, richly-inked impression, with fresh colors, on heavy, coated off-white wove paper; the full sheet with margins (1/2 to 1 1/2 inch), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 13 1/2 x 7 9/16 inches (343 x 192 mm); sheet size 17 x 12 1/4 inches (432 x 311 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine Felsenthal of Chicago. The Brooklyn Museum mounted a show of Vanguard artists' work in 1946, which subsequently toured several other institutions in the United States. Faro's visionary graphics from the 1940s are a sophisticated blend of Abstract Expressionism, Surrealism, and Indian Space...

Robert Vale Faro, 'Hold that Tiger', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '91' and '15/16' in pen. A fine impression, with fresh colors, on heavy, coated, off-white wove paper; the full sheet with margins (13/16 to 1 1/2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 14 x 9 3/8 inches (356 x 239 mm); sheet size 17 x 11 1/4 inches (432 x 285 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine Felsenthal of Chicago. The Brooklyn Museum mounted a show of Vanguard artists' work in 1946, which subsequently toured several other institutions in the United States. Faro's visionary graphics from the 1940s are a sophisticated blend of Abstract Expressionism, Surrealism, and Indian Space...

Robert Vale Faro, 'Bird Dog', color lithograph with relief collagraph, 1946, edition 14. Signed, dated, titled, and numbered '123' (the artist's inventory number) and '12/14' in pen. A fine impression, with fresh colors, on heavy, cream, wove paper; the full sheet with margins(1 3/4 to 3 1/2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 10 1/8 x 6 7/8 inches (257 x 174 mm); sheet size 17 x 11 7/16 inches (432 x 291 mm). A collagraph is a relief print made from a collage of various materials adhered to a metal, plastic, hardboard, or other type of ground plate. In this work, the artist appears to have combined a lithograph with a collagraph to achieve the intricately textured image. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine Felsenthal of Chicago. The Brooklyn Museum mounted a show of Vanguard artists' work in 1946, which subsequently toured several other institutions in the United States. Faro's visionary graphics from the 1940s are a sophisticated blend of Abstract Expressionism, Surrealism, and Indian Space...

Pablo Picasso L'Atelier (The Studio), 1948 Lithograph Hand signed by artist and numbered 45/50 from an edition of 50. Measures: 25.5 x 19.5 inches In the artist's catalogue "Picasso Lithographe II...

A very good impression of this lithograph with strong colors. Second state (of 2). Signed and numbered 19/160 in pencil, lower left.

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

Lithograph, 1949 Handsigned by the artist in pencil and numbered II/XX Publisher : La Guilde de la Gravure (Paris-Genève) Catalog : Passeron, p.130 38.00 cm. x 56.00 cm. 14.96 in. x...

Artist: Henri Matisse (1869-1954) Title: Tête de Femme Year: 1948 Medium: Lithograph on Chine Appliqué (China paper mounted on wove paper) Size: 9.75 x 7.50 Condition: Excellent Insc...

Lithograph titled "Mining Town" by Otis Dozier (1904-1987) from 1940. Modernist scene of a mountain mining town with several buildings at the base of the mountain. Presented in a custom black frame, outer dimensions measure 25 ½ x 18 ⅜ x ¼ inches. Image sight size is 16 ¼ x 9 ½ inches. Print is clean and in very good condition - please contact us for a detailed condition report. Provenance: Private Collection, Denver, Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: Born in Forney, Texas, Otis Marion Dozier was raised on a farm in Mesquite, Texas. Dozier was a muralist, potter, lithographer, sculptor, and painter. Dozier was a member of a group of Texas regionalist artists known as the "Dallas Nine." His surroundings in Texas became the focus of much of his art. Dozier’s first artistic training took place in the early 1920’s when his family moved to Dallas. He studied under Vivian Aunspaugh, Cora Edge, and Frank Reaugh...

A very good impression of this lithograph, from an edition of 250. Signed in pencil by Covarrubias. Published by Associated American Artists, New York.

Konrad Cramer, 1888-1963 was a painter, photographer, printer, and illustrator. Based in the fertile Woodstock, New York, artistic community along with Yasuo Kuniyoshi and Russell Lee, Cramer was both educator and artist. He ran a summer school for miniature camera photography in the 1930s and later taught one of the first American college courses in photography at Bard College. Although he began as a painter of abstract, geometric forms in bold colors, Cramer is most known as a photographer. Konrad Cramer was born and raised in Wurzburg, Germany. Cramer studied to be an artist at the Karlsruhe Academy under Ludwig Schmidt-Reutte and Ernest Schurth. He became interested in the German avant-garde early in his schooling, he was a member of the Blaue Reiter, exposed and encouraged by the experimental works of Wassily Kandinsky and Franz Marc. An additional influence on Cramer's artistic development was the Cubist landscapes of Paul Cézanne. Florence Ballin Cramer opened a gallery on 57th Street in 1919, encouraged by the sculptor Elie Nadelman. Florence Gallery exhibited and sold the works of living artists. Although it only survived briefly, it was the first New York gallery to show works by Yasuo Kuniyoshi, Alexander Brook, Ernest Fiene, and Stefan Hirsch. Cramer then settled with his wife in Woodstock, New York, where Ballin had painted with the Art Students League each summer since 1906. Cramer established a reputation as one of Woodstock's most modern painters with an impressive series of abstract paintings exhibited at the MacDowell Club in 1913. In the 1920s Cramer developed a personal representational style which blended modern and regional influences. Cramer received a Rockefeller grant in 1920 to study educational methods for craftsmen in Germany and France. In 1922 he took a teaching position at the Woodstock School of Painting and helped establish the Woodstock Artists Association, where he served as a director. While teaching and painting, Cramer also applied his artistic talent to illustration and textile design. Konrad Cramer first exhibited at the Whitney Studio Club in 1924 and participated in the Whitney Museum of American Art's first and second biennials in 1933 and 1935. He was also included in the 1935 exhibition Abstract Painting in America at the Whitney. Cramer was later included in the Whitney Museum exhibition Pioneers of Modern Art in America in 1946. In the 1930s Cramer participated in many other museum invitationals, including: the Carnegie International (1929, 1933, 1937, 1938); the Pennsylvania Academy of the Fine Arts (1934, 1936), and the Corcoran Gallery of Art (1935, 1937). In 1934 Konrad Cramer and his wife travelled to Mexico where they produced many paintings and drawings. Back in Woodstock in 1935, Cramer briefly joined the (WPA) Federal Art Project, administering the regional program in Woodstock. In the mid-1930s Cramer took up photography to clarify aesthetic issues in his painting. Cramer had gotten to know Alfred Stieglitz upon his arrival in America in 1911 and wrote an essay about 291 Gallery for Stieglitz's magazine Camera Work in 1914. Through Stieglitz and then in the 1930s fellow Woodstockers like Russell Lee, Cramer became interested in the possibilities of photography and began working with it as an artistic medium. In the 1950s Cramer collaborated on a traveling exhibition and book of abstract photographs with Manuel Komroff...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

Robert Vale Faro, 'Sylvan Maze', color lithograph, 1946, edition 20. Signed, dated, titled and numbered '112' and '11/20' in pencil. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1 to 1 1/2 inch), in excellent condition. Image size 13 11/16 x 9 11/16 inches; sheet size 16 1/8 x 12 5/16 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

A superb, richly-inked impression of this extremely scarce, early lithograph. The deluxe edition of only 10 impressions hand-signed by Dubuffet. Signed and numbered 10/10 in pencil. ...

Mystery of Womanhood is an original 1947 pencil signed limited edition ( 31 / 100 ) lithograph by Emilio Pucci. It is from a set of six lithographs...

Robert Vale Faro, 'Going My Way?', lithograph, 1946, edition 14. Signed in pen, recto. Titled, numbered '#118 14/14' and dated '5/5/46' in pen, verso. A fine, richly-inked impression, on heavy, off-white wove paper, with full margins (1 5/8 to 2 15/16 inches), in excellent condition. Image size 13 1/8 x 7 3/8 inches; sheet size 17 x 12 3/8 inches. Scarce. Matted to museum standards, unframed. An impression of this work is in the permanent collection of the National Gallery of Art. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Marcel Gromaire (1892-1971) - The Painter. 1943, paper, lithograph, 56x46 cm

Little is known about the artist, Edward (Ed) Sacks, although this print may have been made at the Art Students League in NYC. it is a cross between, as the title suggests, a Seated ...

Unsigned Edition: a proof outside the edition of 50 printed on Japan Hodomura paper and the additional 50 impressions printed for the book Jaime Sabartes, "Dans l'atelier de Picasso...

Robert Vale Faro, 'Easter Sunday', color lithograph, 1946, edition 31. Signed, dated, titled and numbered '116' and '17/31' in pen. A fine impression, with fresh colors, on heavy, off-white wove paper; full margins (1 1/4 to 2 inches), in excellent condition. Image size 21 x 13 1/2 inches; sheet size 24 3/4 x 16 1/4 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

First book illustrated by Michaux. Edition of 296 copies including 12 lithographs by Michaux. One of the 250 copies on Pur Fil Johannot. Original slipcase on beige cardboard and insi...

Joan MIRO (after) Constellations : People with Stars Lithograph Unsigned Edited by Cahiers d'art in 1949 On vellum 24.5 x 32 cm (c. 10 x 13 inch) Excellent condition

Josef Albers, 'Interim' from the series 'Graphic Tectonics', zinc plate lithograph, 1942, edition 30, Danilowitz 101. Signed, titled, dated, and numbered '3/30' in pencil. A fine imp...

"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...

"Sculptural Objects" is an original color lithograph by Henry Moore. The artist signed the piece lower right. This is from an edition of 3,000. It features abstract, biomorphic figur...

Robert Vale Faro, 'Dialogue Erudite', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '98' and '4/16' in pen. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1/2 to 1 1/4 inch), in excellent condition. Image size 20 1/2 x 14 3/8 inches; sheet size 22 1/2 x 17 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

Unknown/Unidentified Artist, "Untitled: Woman with Plant", Abstract Figurative/ Portrait Lithograph signed in Pencil, 16 x 11.50 (Image: 12 x 9), Mid-20th Century, 1949 Colors: Blac...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

Robert Vale Faro, 'Petrouchka's Predicament', color lithograph, 1946, edition 20. Signed, dated, titled, and numbered '115' and '14/20' in pen. A fine, richly-inked impression, with fresh colors, on heavy, off-white wove paper; full margins (1 1/4 to 2 1/2 inches), in excellent condition. Image size 21 3/4 x 13 3/4 inches; sheet size 24 3/4 x 16 1/4 inches. Scarce. Matted to museum standards, unframed. 'Petrouchka', a ballet with music by the Russian composer Igor Stravinsky and choreography by Michel Fokine, is based on the legend of Russian folklore. 'Petrouchka', a puppet made of straw with a bag of sawdust as his body, comes to life and has the capacity to love, a story conceptually resembling that of Pinocchio. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Robert Vale Faro, 'Kaf With', color lithograph, 1945, edition 15. Signed, dated, titled and numbered '84' and '6/15' in pen, recto. Titled, numbered '#84' and '6/15' and dated '7/22/...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 ...

"From the Weather Bureau. February 1940. Lithograph printed in black and cream. Stuckey catalog 106. state i. Two stone printing. 10 1/8 x 17 (sheet 16 x 21 5/8). Edition 40 in this ...

A Rare and important collaboration by four of the leading artists of pre- and post-WWII French artists. Arp et al, Jean. JEAN ARP - SONIA DELAUNAY - ALBERTO MAGNELLI - SOPHIE TAEUBER...

Bright vibrant blue, yellow lithograph in color. This is signed in the plate and dated. Dufy's abstract drawing lithograph was drawn by the artist direct on to plastic plates newly developed by Cowell's of Ipswich, and proofed under his supervision. The original edition called for 3000. I do not know how many were actually printed. The sheer logistics of the operation, the costly effort of distribution to over 4000 schools, finally ended the great adventure of the School Prints...

Bright vibrant blue, orange, red, yellow, green lithograph in color. This is signed in the plate and dated. Leger's abstract drawing lithograph was drawn by the artist direct on to plastic plates newly developed by Cowell's of Ipswich, and proofed under his supervision. The original edition called for 3000. I do not know how many were actually printed. The sheer logistics of the operation, the costly effort of distribution to over 4000 schools, finally ended the great adventure of the School Prints scheme. The expensive endeavor peaked in 1949 with the magnificent European series, made possible by the plastic portable plates, which, in addition to Moore, featured Henri Matisse, Pablo Picasso, Fernand Leger, Raoul Dufy and Georges Braque. Joseph Fernand Henri Léger (French 1881 – 1955) was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art. Léger was born in Argentan, Orne, Lower Normandy, where his father raised cattle. Fernand Léger initially trained as an architect from 1897 to 1899, before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts after his application to the École des Beaux-Arts was rejected. He nevertheless attended the Beaux-Arts as a non-enrolled student, spending what he described as "three empty and useless years" studying with Gérôme and others, while also studying at the Académie Julian. He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother's Garden) of 1905, one of the few paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger's work after he saw the Cézanne retrospective at the Salon d'Automne in 1907. In 1909 he moved to Montparnasse and met Alexander Archipenko, Jacques Lipchitz, Marc Chagall, Joseph Csaky and Robert Delaunay. In 1910 he exhibited at the Salon d'Automne in the same room (salle VIII) as Jean Metzinger and Henri Le Fauconnier. In his major painting of this period, Nudes in the Forest, Léger displays a personal form of Cubism that his critics termed "Tubism" for its emphasis on cylindrical forms. In 1911 the hanging committee of the Salon des Indépendants placed together the painters identified as 'Cubists'. Metzinger, Albert Gleizes, Le Fauconnier, Delaunay and Léger were responsible for revealing Cubism to the general public for the first time as an organized group. The following year he again exhibited at the Salon d'Automne and Indépendants with the Cubists, and joined with several artists, including Le Fauconnier, Metzinger, Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to form the Puteaux Group—also called the Section d'Or (The Golden Section). Léger's paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed forms are laconically rendered in rough patches of primary colors plus green, black and white, as seen in the series of paintings with the title Contrasting Forms. Léger made no use of the collage technique pioneered by Georges Braque and Pablo Picasso.As an enthusiast of the modern, Léger was greatly attracted to cinema, and for a time he considered giving up painting for filmmaking. In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger produced and directed the iconic and Futurism-influenced film Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of images of a woman's lips and teeth, close-up shots of ordinary objects, and repeated images of human activities and machines in rhythmic movement. In collaboration with Amédée Ozenfant he established a free school where he taught from 1924, with Alexandra Exter and Marie Laurencin. He produced the first of his "mural paintings", influenced by Le Corbusier's theories. His varied projects included book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume designs. He was active as a teacher for many years, first at the Académie Vassilieff in Paris, then in 1931 at the Sorbonne, and then developing his own Académie Fernand Léger, which was in Paris, then at the Yale School of Art and Architecture (1938–1939), Mills College Art Gallery in Oakland, California during 1940–1945, before he returned to France. Among his many pupils were Hananiah Harari, Asger Jorn, Michael Loew, Beverly Pepper, Marcel Mouly, Louise Bourgeois, Tsuguharu Foujita, Sam Francis, Serge Gainsbourg, Hans Hartung, Florence Henri, Asger Jorn, William Klein, Maryan, Jules Olitski, Erik Olson...