20th Century Abstract Prints

Gina Pellón (1926-2014) Cuban Artist "Untitled" 1978 Lithograph 25.5 x 20 in Free Shipping

Almir Mavignier Untitled (from 48 Serigraphien), 1961 Medium: 9 abstract screen prints on paper Dimensions: 15 7/10 × 11 7/10 in 39.8 × 29.7 cm Edition of 50: Each Hand-signed in pe...

Dan Flavin (American, 1933-1996) A Sketch of The Diagonal of May 25, 1963 in Fluorescent Light, 1974 Medium: Lithograph on wove paper Dimensions: 18.5 x 31.5 cm Edition of 45: Hand-s...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 69-70, published by Aimé Ma...

Woman is a vintage Lithograph realized by Claude Garache in the 1975. Maeght Editor, France on the rear. Good condition.

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. ...

Printer’s ink from rubber stamp on Cambersand paper, mounted on vélin paper, as issued. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stam...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Artist: (after) Lee Krasner (American, 1908-1984) Title: "Lee Krasner: A Retrospective - The Museum of Modern Art (Celebration)" *Signed and dated in the plate (printed signature) lo...

Larry Zox Two Screen Prints Edition: Signed in pencil and marked XXII/XXX Scissors Jack I Scissors Jack II 39'' x 29.5'' inches Larry Zox is one of the principal representatives...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, XXe San Lazzaro et ses Amis, San Lazzaro et ses amis, hommage au fondat...

Artist: Salvador Dali Medium: Heliogravure Title: Down the Rabbit Hole Portfolio: 1969 Alice in Wonderland Year: 1969 Edition: 2430/2500 Frame Size: 24 1/4" x 19 1/2" Sheet Size: 16 ...

Marc Chagall (After) and Charles Sorlier (his collaborator and printer) Carmen, Metropolitan Opera, New York City, 1966 Color Lithograph on Arches watermarked Paper with deckled edg...

Aquatint and etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and print...

Untitled, Sarayevo Winter Olympic Games 1984, is an etching with aquatint and lithograph in colors realized by Cy Twombly on the occasion of the Winter Olympics Games 1984 in Sarajev...

Georg Baselitz (German, born 1938) Abe, 1993 Medium: Lithograph on paper Dimensions: 50 x 34 cm Edition of 15: Hand-signed, numbered and dated

Lovely etching, framed, with fine art glass. Signed, E/A.

Gina Pellón (1926-2014) "Untitled" Lithograph 30 x 22 in Frame included

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...

"Water in swimming pools changes its look more than any other form. If the water surface is almost still and there is a strong sun, then dancing lines with the color of the spectrum appear everywhere." - - David Hockney David Hockney Offset Lithograph poster (Deluxe Hand Signed Limited Edition) on Parsons Diploma Parchment Paper, accompanied by COA from the Publisher and Olympic Committee 36 × 24 inches Pencil signed and unnumbered from the Edition of 750 (there was a separate, larger unsigned edition) Unframed Also accompanied by gallery issued Certificate of Guarantee One of the most coveted, historic and popular David Hockney limited editions created - beloved by American and international collectors alike: The official edition of this work is 750, but the publisher famously destroyed unsold editions after the Olympic Games and only about 200-250 are said to remain. This hand signed limited edition iconic Hockney work was printed as one of the fifteen Official Fine Art Olympic Posters for the 1984 Olympic Games in Los Angeles. (the XXIII'rd Olympiad). It depicts an aerial view of a swimmer under rippling water broken up into 12 squares. A statement released by the 1984 Olympic committee explains the set as follows - "The posters commissioned for the 1984 Olympics contain an enlightened selection of the best American artists with special emphasis on those who work in Southern California...As the Games develop, transpire and pass into memory, these fifteen posters contain the images, forms and symbols that will represent the 1984 Olympics in the museums, galleries, homes and the minds of people all over the world.” This work is NOT to be confused with the ubiquitous plate signed poster of the same image, which was printed on different paper in an open edition.) In 1982, the Olympic Committee commissioned 15 artists to create posters for the 1984 Games in Los Angeles. Hockney designed this offset lithograph depicting Olympic swimming. It was printed on Parsons Diploma Parchment paper in 1982, in an edition of 750, hand signed in pencil by the artist. Even though this print was published in an edition of 750, after the first marketing blitz, the publisher destroyed the remaining portfolios of signed prints - literally discarding hundreds of them in the dumpster. The Olympic Committee commissioned these portfolios to celebrate and promote the 1984 Olympics, and nobody expected the individual prints to have such enduring value. As the executives running the short-term promotional campaign were neither prophets nor curators, they saw no reason to hold on to these huge prints...

Limited edition of 150 pieces, hand signed and numbered. Excellent conditions.

Wayne Thiebaud Cake Slices, for the New SFMOMA (Hand signed by Wayne Thiebaud), 1996 Color Offset lithograph (hand signed by Wayne Thiebaud) B...

This lithograph is part of my private collection. It is original and pencil signed and numbered by the artist.

Plaza by Eduardo Paolozzi is an exemplar of early pop art dynamism. Printed in black and white and packed with geometric forms, the composition contains references to maps, machinery...

Lithograph on vélin papier d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Georges Braque le solitaire, 1959. Published by Editions XXe Si...

Etching on vélin d’Arches paper. Paper Size: 23.875 x 17.5 inches. Inscription: Hand signed and numbered, 38/125, as issued. Notes: From the folio, Centre Noeuds, 1974. Published by ...

An expressive, jubilant abstract composition in vibrant scarlet red, with Mark Tobey’s calligraphy-inspired mark-making creating a textured matrix of lines that seems to wave and swi...

Halim Jurdak, (1927-2020) Color etching and engraving Hand signed 'H. Jurdak' and numbered 3/15 and marked 'E. A.' in pencil on on lower margin. Frame, approx. 23 1/4" x 15 1/2". Plate size, approx. 10" x 8 1/2". This might be an aquatint or it might have hand applied watercolor painting. Halim Jurdak, Lebanese Artist. (1927-2020) Born in 1927 in Ain El Sindianeh, (Shoueir) Matn, North Lebanon, Halim Jurdak began his artistic training at the Lebanese Academy of Fine Art in 1953. He is the first Lebanese artist to work in the medium of etching and engraving on an equal footing with painting and drawing. His work has won many prizes, including the first prize for Engraving at the Annual Exhibition of the École Nationale Supérieure des Beaux-Arts, Paris. He has participated in numerous international and regional exhibitions and began teaching at the Institute of Fine Arts of the Lebanese University in Beirut in 1966. This work bears the influence of Stanley William Hayter and the Atelier 17 Jurdak began his artistic training at the Lebanese Academy of Fine Art in 1953 and went on to receive his Master’s Degree in Fine Arts from “Ecole Nationale Supérieure des Beaux-Arts” in Paris. He attended the Atelier Brianchon pour la peinture, et Atelier Cami et Bercier pour la gravure. He also frequented l’atelier of Surrealist Henri Bernard Goetz and l’atelier Yves Brayer at the Académie de la grande Chaumière. He also studied at L’Académie Andre Lhote. He travelled extensively, visiting Munich, Stuttgart, Basel, Dornoch, London, Bruges, Rome, Athens, Quebec, Montreal, Los Angles, Chicago, Milwaukee and New York. Made contacts with artists and galleries and showed regularly. He also began making abstract sculpture. Select Solo Exhibitions 1959: Alumni Club of the American University of Beirut. 1961: The hall of Rudolf Steiner House in Stuttgart – Germany. 1962: Gallery Maison des Beaux-Arts Rue des Beaux-Arts, Paris. 1963: «Gallery Triades Rue de la Grande Chaumière, Paris. 1963: «Gallery Michel Harmouche Starko Center, Beirut. 1970: House of Art and Literature (Dar El Fan Wal Adeb), Beirut. 1987: Gallery Janine Rubeiz, Beirut. 1991: The hall of Goethe Institute , Beirut. 2002: Studio – Gallery of the painter George Khayralla, El – Mtayn – Lebanon. 2009: Mar Mikhael, Bikfaya, Lebanon. Represented Lebanon at the following Art Festivals and Exhibitions: 1967: Exhibition of Peintres-Graveurs de l’Ecole de Paris organized by Brigitte Chehadeh, in honor of the late French painter George Cyr who lived in Beirut. The exhibition included works for the following artists: Antoni Clavé, Massimo Campigli, Marcel Fiorini, James Guitet, Aurelien Ortega, Pierre Louis Maurice Courtin, Marino Marini, Arthur Luiz Piza, Kumi Sugai, Johnny Friedlander, Ossip Zadkine and Amedeo Modigliani. 1974: Festival International de la Jeunesse Francophone in the city of Quebec - Canada. 1994: Exhibition of The love encounter of the Arab Plastic Artists in the city of Latakia under the patronage of the syrian Prime Minister Mahmoud El Zuoubi and Madame Najat El Attar Minister of culture. From each Arab Country, one artist was chosen for this encounter. Arabic Biennales and Exhibitions: 1967: Arab Art Exhibition organized by the British company for tobacco Eight paintings were chosen for eight artists belonging to each of the following arab countries: Lebanon, Syria, Jordan, Irak, Kuwait, Bahrain and Egypt. The exhibition took place successively in London, Paris, Rome, Cairo, Manameh, Amman, Kuwait, Baghdad, Damascus and Beirut. Jurdak’s style has evolved greatly over his long career, from academic realism to cubism, from figurative abstraction, to non-figurative abstraction, in which he focused on forms, patterns, colour and composition. His most recent works have centered on the elemental qualities of the human figure. Jurdak has written numerous artistic and literary articles and has written several books on art theory, including The Metamorphosis of Line and Colour in 1975 (dealing with the psychological reasons underlying modern and contemporary fine art movements) and The Eye of Contentment, published in 1995. His work is held in many private and public collections such as the Ministry of Culture and Fine Arts” - UNESCO Palace, Beirut; King Khaled collection of Islamic art, Riyadh, Saudi Arabia; Academie Libanaise des Beaux-Arts, Beirut; Institut du Monde Arabe, Paris and AUB, Beirut. He is included in Arab Print volume IV, Showcasing a variety of techniques such lithography, etching, engraving and photogravure, included are works by Shafic Abboud, Etel Adnan, Huguette Caland...

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...

Victor Vasarely (Hungarian-French, 1906-1997) Untitled, ca. 1966 Medium: Screen print on card Dimensions: 27 3/5 × 27 3/5 in (70 × 70 cm) Edition of 100: Hand-signed in pencil, not n...

Günther Uecker (German, born 1930) Untitled (from Nagelbuch Portfolio), 1970-1971 Medium: Etching on wove paper Dimensions: 34.6 x 34.5 cm Edition of 500: Hand-signed in pencil

Günther Uecker (German, born 1930) Splitter, 1991 Medium: Lithograph on wove paper Dimensions: 30 x 42 cm Edition of 200: Hand-signed an numbered in pencil Condition: Excellent

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 139-140, 1963. Published by Aimé Maeght, Éd...

Jim Dine 8 Hearts / Look, Off-set Lithograph with metallic paper collage overlay Galerie Thomas exhibition print, 1970 Color lithograph and offset lithograph on wove paper Plate sign...

Robert Cottingham Everybody's Bookshop, Everybody's Books, 1975 Color Lithograph 23 × 18 inches Signed and numbered from the edition of 200 in pencil on the front; Bears Artist's cop...

Vintage poster realized after Piero Dorazio in occasion of the Winter Olympic Games in Sarajevo in 1984. Offset print. Good condition.

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...

Frank Stella The Whale Watch Shawl (signed in indelible black marker), held in red silk presentation box; also with embossed COA hand signed by both Frank Stella and Kenneth Tyler, 1...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas spécialement filigrané pour cette édition paper. Inscription: signed in the plate and unnumbered, as issued. Good ...

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...

Artist: Joan Miro Title: Joan Miro Medium: Lithograph in colors Date: 1975 Edition: Unnumbered Frame Size: 15 1/8" x 22 3/4" Sheet Size: 7 7/8" x 15 1/2" Signature: Signed in the pla...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Joan Miro und Katalonien Year: 1969 Medium: Lithograph on Arches, signed in the plate Size: 20 in. x 26 in. (50.8 cm x 66.04 cm) Frame...

Helen Frankenthaler Variation II on Mauve Corner (Harrison, 17), 1969 Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published by ULAE, West Islip, NY, with their blind stamp Frame included Accompanied by gallery issued Certificate of Guarantee Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published and printed by ULAE, West Islip, NY, with their blind stamp Literature: Frankenthaler, A Catalogue Raisonné: Prints 1961-1994, Harrison, no. 17, ppg. 106-109 Accompanied by gallery issued Certificate of Guarantee Elegantly floated and framed in a museum quality wood frame under UV plexiglass Measurements: Framed: 23.75 (vertical) x 28.75 (horizontal) x 2 inches Artwork: 20 inches (vertical) x 25 inches (horizontal) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Richard Anuszkiewicz Annual Edition, 1970 Silkscreen on Masonite Signed and dated in graphite pencil lower right recto. Edition of 100 8 × 5 1/10 × 1/5 inches Unframed Signed and dat...

Günther Uecker (German, born 1930) Prägedruck (from Nagelbuch-Portfolio), 1970-1971 Medium: Relief print on wove paper Dimensions: 34.6 x 34.5 cm Edition of 500: Hand signed in pencil

Artist/Designer; Manufacturer: Howard Hodgkin (British, 1932-2017) Marking(s); notes: signed, blind stamp, #8972, 81-271; ed. 55/100; 1981 Materials: lithograph Dimensions (H, W, D):...

Gina Pellón (1926-2014) Cuban Artist "Untitled" Lithograph 24 x 19 in Free Shipping

Joan Miró (Spanish, 1893-1983) La Boite Alerte, 1959 Color lithograph Signed lower right, numbered 98/200 lower left 9.75 x 6.75 inches Joan Miró Ferra was born April 20, 1893, in B...

Lithograph, stencil on wove paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Douze Contemporains, 1959; published by Éditions d'Art du Lion, Paris;...

"...Blue has no dimensions, it is beyond dimensions, whereas the other colours are not.... All colours arouse specific associative ideas, psychologically material or tangible, while ...

Robert Indiana LOVE (the original), Sheehan, 39, 1967 Silkscreen on Buckeye Cover paper Artists copyright stamp on the back Edition of 2275 33 3/4 × 33 3/4 inches Unframed Artists co...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Donald Judd Untitled #82, 1974 from a portfolio of six works Etching on German etching paper with deckled edges Hand signed and numbered 7/35 by the artist on the front Catalogue Rai...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas spécialement filigrané pour cette édition paper. Inscription: signed in the plate and unnumbered, as issued. Good ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Joan Miró Lithographs, Volume I, 1972. Published by Tudor Publishi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Joan Miró Lithographs, Volume I, 1972. Published by Tudor Publishi...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

Richard Anuszkiewicz Sequential Prints: Sequential I - X 1972 Screenprint on paper, Edition of 200 71.1 x 53.3 cms (28 x 21 ins)

John Baldessari (American, 1931-2020) Zorro (Two Gestures and One Mark), 1998 Medium: Offset lithograph and screenprint on Arches paper, and flip book Dimensions: 25.4 x 20.3 cm (10 ...

Rupprecht Geiger (German, 1908-2009) Yellow on Red, 1969 Medium: Screenprint on card stock Dimensions: 39 x 35 cm Edition of 60: Hand-signed and numbered Publisher: Edition Fürneisen...

Arnulf Rainer (Austrian, born 1929) Gelbes Meer, 1997 Medium: Etching on grey wove paper Dimensions: 50 x 65 cm Edition of 35: Hand-signed and numbered Condition: Excellent

Theodore Waddell Osage Sheep State II Year: 1994 Color Lithograph Edition: 30 Papers: Arches Cover, Black Paper Size: 22.5 x 30 inches Image Size: Same Signed and numbered by hand CO...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. VII, N° 27-2...

Piero Dorazio Untitled Mid Century Modern Geometric Abstraction, 1967 Color Lithograph on Rives BFK wove paper Hand signed, numbered 68/80 and dated on the front 29 1/4 × 21 inches U...

Individually framed: six lithographs "White Lines Squares," 1966, after Josef Albers, by Blair Litho (Lithograph in brilliant Colors on paper, 1966). Published to accompany an exhibi...

Silkscreen on handmade Hahnemühle paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, The Poems, 1960. Published and printed by Tiber Press, New York un...

Picasso made prints throughout his career, creating around 2,400 works until his death in 1973. Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimension...

A Hahnemuehle Fine Art Print, attributed to Roy Lichtenstein. Editioned 25.

David Hockney Parade (Hand Signed and inscribed), 1981 Offset Lithograph Boldly signed by David Hockney in black ink on the front and inscribed to artist Tom Levine 38 × 24 inches ...

Date: 1965 Etching with relief on wove paper, signed and numbered in pencil Edition of 17/75 Size: 23 x 30.5 in. (58.42 x 77.47 cm) Frame Size: 26.5 x 34 inches Publisher: Maeght, Paris