Surrealist Abstract Prints

From the Series “Métamorphoses”, one of the most important graphic works of the founder of the “Metafisica” Movement. Original colour etching numbered and signed by the artist, reali...

For Alberti, For Spain!  is a contemporary artwork realized by Joan Mirò in 1975. Mixed colored etching. Hand signed and numbered on the lower margin. Edition of XXVIII/LX. There ...

Vintage Poster Exhibition Galerie Maeght is a vintage Lithograph and Offset poster realized after Joan Mirò (1893-1983) in 1978. Good conditions. Joan Miró i Ferrà (20 April 1893 –...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 193-194. Published by Aimé Maeght, Éditeur,...

numbered 64/180. Published by Atlantis Art Verlag Freiburg

This captivating lithograph by Salvador Dalí ( Spanish, 1904 -1989) , titled The Immaculate Conception, is an original limited-edition piece,...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 151-152. Published by Aimé Maeght, Éditeur, Paris; printed by Édit...

"The Waiting" - 1977 Surrealist Lithograph on Paper Surrealist lithograph titled "The Waiting" by Jim Crabb (American, b. 1947-). Black and white surrealist figures take up the pape...

Salvador Dali - The Atomic Era - Original Lithograph Joseph FORET, Paris, 1957 PRINTER : Atelier Mourlot. SIGNATURE : printed in the image LIMITED : 19...

Artist: Salvador Dali Title: The Cavaliers of King Arthur Portfolio: Tristan and Iseult Medium: Color engraving Year: 1970 Edition: XII/XXV Frame Size: 25 1/4" x 20 3/4" Sheet Size: ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good Condition, with centerfold, as issued. Notes: From folio, Miró 1959-1960, 1961. Published by Pierre M...

L'oiseau bleu is a print realized by Johnny Friedlaender (Plonia, 1912 - Paris, 1992). Etching on paper. Hand-Signed lower right, edition lower left. Numbered, edition of 5/20 prin...

Joseph Cornell Hotel du Nord (Little Durer), 1972 Silkscreen in five colors with varnish and stencil additions printed on Buff Arches Paper Pencil signed and annotated Artists Proof ...

Dali Inaguracion Teatro Museo Figueras Espana Septiember 1974 is a rare plate signed vintage poster celebrating the opening of the Salvad...

This lithograph Les baigneuses ( The bathers) by Andre Marchand is part of my private collection since the 1970's. It is in very good condition, artist pencil signed in the lower lef...

"Miró Lithographe II - Plate I" is a lithograph realized by Joan Miró in 1975. Perfect conditions. It comes from the set of 11 lithographs realized for the catalog "Miró Lithograph ...

"Miró Lithographe II - Plate VIII" is an original lithograph realized by Joan Miró in 1975. Perfect conditions. It comes from the set of 11 lithographs realized for the catalogue "M...

"Miró Lithographe I - Plate VII" is a vintage lithograph realized by Joan Miró in 1972. Perfect conditions. It comes from the set of 11 lithographs realized for the catalogue "Mi...

ARTIST: Salvador Dali TITLE: La Femme Visible MEDIUM: original Heliogravure - Etching in the book titled "La Femme Visible" SIGNED: Hand Signed by Salvador Dali on the frontispie...

This was just a man is a colored lithograph from the gouache original on heavy rag paper from Salvador Dali’s five volume Biblia Sacra Suite published in Rome by Rizzoli , 1965-...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Cahiers d'art, Surrealist Composition 1 Pochoir, 1934 Unsigned as issued in Cahier's edition Published in Cahier's d'art, 1934 Unsigned Edition of 1200 There was also a pencil signed...

ARTIST: Salvador Dali TITLE: Conquest of Cosmos The Last Comer of The Last Planet MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: EA MEASUREMENTS: 27.5" x 39.5" YEAR: 1974...

Artist: Mihail Chemiakin Title: Equestrian Medium: Lithograph, signed and numbered in pencil
 Edition: 178/225 Size: 30 x 21 Inches Mihail Chemiakin is a renowned Russian-born paint...

Lithograph on Guarro vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: Published by Gráfica Contemporánea, Milan; printed by La Polígrafa, Barcelon...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From volume, Joan Miro by Jacques Prévert and Georges R...

Surreal Nude, part of my "Pictopoetry" series. Printed on Hahnemuhle art photo paper with white borders This particular one is signed and numbered 2 of 20 (edition of 20). Has been...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Published by Aimé Maeght, Éditeu...

Untitled is a contemporary artwork realized by Marcello Avenali in the mid-20th Century. Mixed colored lithograph on paper. Includes frame: 38 x 3 x 43 cm Hand signed and numbered...

Hand Signed. Edition of 60 prints.

Mirò - Sculptures is a vintage lithographic poster realized after Joan Mirò in occasion of one of his exhibitions at Galerie Maeght. Off...

Etching and aquatint on Japan paper, realized in 1972 and published by Georges Visat, Paris. Edition of 100. Hand signed and numbered in pencil. Sheet a little browned, except for...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

Artist: Joan Miro (1893-1983) Title: Le Lézard Aux Plumes D'or: Plate I (Mourlot 803; Cramer 148) Year: 1971 Edition: H.C.; 195, plus proofs Inscription: Signed and inscribed ‘H.C.’ ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Joan Miró Lithographs, Volume II, 1975. Published by Leon Amiel pu...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 193-194. Published by Aimé Maeght, Éditeur,...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Published by Aimé Maeght, Éditeu...

For Alberti, For Spain!  is a contemporary artwork realized by Joan Mirò in 1975. Mixed colored etching. Hand signed and numbered on the lower margin. Edition of XXVIII/LX. There ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with bifold, as issued. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Publishe...

UNDER THE SKIN 5 Surreal Nude, part of my "Under the Skin" series. Printed on Hahnemuhle art photo paper with white borders, size is 20x16in. In mat overall size 28x20in. This par...

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...

Robert Vale Faro, 'Bullfight', wood engraving, 1945, edition 15. Signed, dated, titled, and numbered '105' (the artist's inventory number) and '13/15' in pencil. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/16 to 2 3/8 inches), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/16 x 4 1/16 inches (129 x 103 mm); sheet size 8 9/16 x 6 5/16 inches (217 x 160 mm). An impression of this work is included in the museum collection of the National Gallery of Art. 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...

UNDER THE SKIN 5 Surreal Nude, part of my "Under the Skin" series. Printed on Hahnemuhle art photo paper with white borders, size is 20x16in. In mat overall size 28x20in. This par...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with bifold, as issued. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Publishe...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Joan Miró Lithographs, Volume IV 1981. Published by Maeght Éditeur...

Joan Miro Terres Grand de Feu (one plate from Artigas) Medium: Original lithograph Size: 14.1875 x 19.625 in Year: 1956 Edition: 1,500 Unsigned Printed text on verso as issued Portf...

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...

Vintage Poster Modern Art Museum is a vintage Lithograph and Offset poster realized after Joan Mirò (1893-1983) in 1977. Good conditions. Joan Miró (20 April 1893 – 25 December 198...

"just another..." - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "just another..." by Jim Crabb (American, b. 1947). Small lithographic relief, fea...

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...

For Alberti, For Spain! is an artwork realized by Joan Mirò in 1975. Etching and aquatint, 90 x 66 cm. Hand signed. Edition 64/90. Reference: Dupin 926. Printed on Fabriano paper, ...

Joan Miro was a Spanish Surrealist artist, world-renowned for his unique art style that blended surrealist fantasy and modern life. This lithograph is part of the series "Lithographs...

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...

"cocoons?" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "cocoons?" by Jim Crabb (American, b. 1947). This piece features a variety of lines and f...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good Condition. Notes: From folio, Miró 1959-1960, 1961. Published by Pierre Matisse Gallery, New York; pr...

Joan Miró La Mélodie Acide - 11 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9...

Horst Antes (German, 1936) Zwi Fusse (Two feet) Signed ‘Antes’ (lower right) and inscribed ‘profe’ (lower right) Executed in 1966 – 1968 Lithograph 22.3/4 x 28 in. (57.8 x 71.2 cm.) ...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

A very good, richly-inked impression of this Drypoint and aquatint printed in gray and black on cream wove paper. Signed, dated and numbered 20/150 by Dali. Printed by Robbe, Paris. ...

"Galerie Maeght Miro" is an original color lithograph poster with art by Joan Miro. It was printed by Maeght Editeur Imprimeur in 1970. The poster showcase...

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...

An original French Surrealist lithograph in colors by Jean Cocteau (1889-1963), titled "Tete un Profil", 1950. This wonderful original lithograph by Jean Cocteau depicts a beautiful ...

Grey Oval is a lithograph realized by Marcello Avenali between the 1960s and 1970s. It is a composition with female legs and shoes and some abstract figures instead of the body.  Ha...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buq...

Trojan Horse Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Joan Miró Lithographs, Volume III, 1977. Published by Maeght Édite...

This etching by Lucien Coutard is part of my private collection since the 1970's. It is signed. Lucien Courtard created surrealist depictions of sexuality, he called it Eroticism and...

Grey Oval is a lithograph realized by Marcello Avenali between the 1960s and 1970s. It is a composition with female legs and shoes and some abstract figures instead of the body.  Ha...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

Lithograph on vélin d’Arches paper. Inscription: Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the folio, Maravillas con variaciones acrósticas en el Jar...

"Rabbit" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Rabbit" by Jim Crabb (American, b. 1947). This piece resembles a surreal landscape, with b...

Title: Paysage avec Squelette (Landscape Skeleton) Year: 1975 Medium: Engraving with pochoir on Japon paper Edition: E.A.;300, plus proofs Size: 26.75 x 20 inches Condition: Good Ins...

Joan Miró La Mélodie Acide - 5 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9 ...