Sonia Delaunay Lithograph

Surely you’ll find the exact sonia delaunay lithograph you’re seeking on 1stDibs — we’ve got a vast assortment for sale. Find Modern versions now, or shop for Modern creations for a more modern example of these cherished works. Finding the perfect sonia delaunay lithograph may mean sifting through those created during different time periods — you can find an early version that dates to the 20th Century and a newer variation that were made as recently as the 21st Century. Adding a sonia delaunay lithograph to a room that is mostly decorated in warm neutral tones can yield a welcome change — find a piece on 1stDibs that incorporates elements of gray, beige, blue, purple and more. Finding an appealing sonia delaunay lithograph — no matter the origin — is easy, but Sonia Delaunay, (after) Sonia Delaunay and Hans (Jean) Arp each produced popular versions that are worth a look. Artworks like these — often created in lithograph, paper and archival paper — can elevate any room of your home.

The average selling price for a sonia delaunay lithograph we offer is $2,019, while they’re typically $222 on the low end and $20,587 for the highest priced.

Pioneering 20th-century abstract artist Sonia Delaunay was known for ignoring the distinction between fine art and applied design. Her body of work encompassed not only paintings and prints but also book illustrations, women’s and men’s fashions, costumes for theater and dance, film sets, wallpaper, furniture and interior decor. More than an expression of her prolific talent, this varied output was her way of erasing the boundary between life and art.

Born Sara Elievna Stern in 1885 to a working-class Jewish family in Ukraine (then part of the Russian Empire), she was adopted as a child by a wealthy maternal uncle in St. Petersburg, who saw to her well-rounded education. There, she picked up the nickname Sonia. 

At the age of 18, she left Russia for Germany to study painting, and in 1905, she landed in Paris, where she enrolled in art school. She soon dropped out but continued creating art, producing canvases strongly influenced by Fauvism. Following a brief marriage to gallery owner Wilhelm Uhde, she married fellow artist Robert Delaunay (1885–1941) in 1910. After the birth of her son, Charles, in 1911, she crafted a patchwork crib cover that she considered her first truly abstract piece.

No matter the medium, Delaunay’s passion was color. She and her husband were the main exponents of Orphism, a branch of Cubism defined by abstract compositions and bright shades. They saw their creations as experiments in Simultanéisme, or Simultanism, a color theory based on the work of scientist Michel Eugène Chevreul (1786–1889), who studied the ways in which a given hue can look different depending on the ones around it.

The Delaunays noted that certain pairings seemed to generate a vibration in the eye of the beholder. They felt that this movement captured the dynamism of modern urban life. The couple generally expressed the ideas underpinning Simultanism in their work with flat, overlapping panes of color. In fact, Sonia’s cradle cover melded their tenets with the traditions of Russian-peasant patchwork (also a big Constructivist inspiration).

Seeking to integrate Simultanism into all aspects of life, she designed other abstractly patterned furnishings for their home, which had become a gathering place for the avant-garde, and she worked the designs into their clothes, too, which she and Robert would wear throughout the city and to dance halls — behavior that today would likely be described as performance. In addition to performance, Sonia’s work presaged many other avant-garde movements, such as kinetic art and Op art.

After the upheavals of World War I and the 1917 Russian Revolution, Delaunay retooled herself and opened a business. Keeping her devotion to color juxtaposition front and center, she launched a fabric and fashion atelier where she created textiles, wearable pieces, interior decor and furniture, sometimes collaborating with cabinetmaker Adolphe Chanaux. 

Clients who may have found an abstract painting intimidating or inaccessible could enjoy the bright pattern on a cloche-and-scarf set Delaunay created or the striped handbag she designed. In this way, she brought her art into their everyday lives. Her colorful abstract design on a textile or rug could very well have been applied to one of her canvases and hung on a wall or vice versa.

While many women artists of the period were herded away from the fine arts and toward crafts (think Anni Albers), Delaunay was able to do it all. And what’s also so appealing about her oeuvre, to contemporary eyes, is the sense that Delaunay pursued everything — be it painting or fashion or costuming or furniture or graphic design — with equal vigor, without making distinctions between mediums. 

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Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

Find fine art prints for sale on 1stDibs today.