Umberto Mastroianni Prints and Multiples

This geometric, minimalist print glows in rainbow shades. Vibrant raspberry pink, magenta, yellow, lime green, and sky-blue lines take on the organic quality of handmade paper, resul...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró I Date of creation: 1975 Medium: Lithograph Media: Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: I...

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...

Lithograph, 1973 Handsigned by the artist in pencil and numbered 131/300 Publisher : Jacques Putman - Editions Prisunic Printer : Pierre Badey (Paris) Catalog : [Mason Putman 109] 49...

Untitled (for the journal, XXe Siécle) Color lithograph on wove paper, 1973 Unsigned (as issued) From: XXe Siecle,, December 1973, No. 41 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, Paris Edition 3000 (There was also a signed edition of 75 on larger paper) Catalogue raisonné: Subsequent to Schmücking Condition: Excellent Image/Sheet size: 12 1/4 x 9 1/2 inches "Hans Hartung B. 1904, LEIPZIG, GERMANY; D. 1989, ANTIBES, FRANCE Hans Hartung was born on September 21, 1904, in Leipzig, Germany. He cultivated interests in philosophy, astronomy, music, and religion at a young age before he turned to painting. Early in his career he found inspiration in the works of Rembrandt van Rijn and Francisco de Goya, and later influences included Lovis Corinth, Oskar Kokoschka, Emil Nolde, and Max Slevogt. At just 17, Hartung began to experiment with abstraction, synthesizing the graphic techniques of his artistic models while completely eliminating figurative elements. Hartung entered the Universität Leipzig in 1924 to study philosophy and art history but left to concentrate on painting at the Kunstakademie, Leipzig. While Hartung was advised to pursue further training at the Bauhaus, he opted to study at the Kunstakademie, Dresden. In 1926 Hartung saw an exhibition of international art in Dresden, which exposed him to Cubism and other modern styles that had emerged in France. His encounters with works by Georges Braque, Juan Gris, Henri Matisse, and Pablo Picasso, along with various travels abroad, encouraged him to move to Paris in 1926, where he spent the majority of his time until 1932, although he passed the summer of 1928 in Munich studying under artist and theorist Max Dörner. In 1929 Hartung married the Norwegian painter Anna-Eva Bergman. After several years abroad, they tried to reestablish themselves in Berlin in 1935 but were soon forced into exile by the National Socialist regime. In the years leading up to World War II, Hartung's work reflected his attempts to reconcile chance and control, combining expressive graphic elements with patches of black and color to produce a sense of spontaneity. After the outbreak of the war, Hartung served in the Foreign Legion (1939–40), and later in the Free French (1943–44). He was gravely wounded at the German Front, and one of his legs was amputated. In 1945 he returned to Paris and resumed painting and the following year earned French citizenship. Hartung was a major figure in Art Informel and Tachisme (from the French tache, meaning blot or stain). While Hartung's postwar paintings are generally described as exhibiting a calligraphic quality, his work moved through a series of phases, becoming less spontaneous and more formally aggressive than his work from the late 1930s. In many works of the late 1940s and early 1950s, such as T-50 Painting 8 (T-50 peinture 8, 1950), he applied large areas of color to the canvas on which he painted a combination of bold black brushstrokes and thinner frenetic linear strokes. Hartung received several international awards, including the 1956 award for the Europe-Africa section at the Guggenheim International Award and the International Grand Prize for painting at the 1960 Venice Biennale. His first major group show was organized by curator and critic Christian Zervos at the Jeu de Paume, Paris (1937). After settling permanently in Paris, he exhibited regularly at the Salon des Surindépendants (1935, 1937, 1945). His first solo show took place at Galerie Lydia...

Large, scarce limited edition color aquatint by Alexander Calder, from a limited edition of 90. Signed by Calder and numbered in pencil. Printed and published by 2RC Edizioni d'Art...

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

Thomas Nozkowski Untitled #2, 2008 Color etching with aquatint on Hahnemühle paper Signed and numbered 5/35 in graphite on the back. Die cut window flap on the back of the frame reve...

Jack Sonenberg (Canadian/American, 1925-2012), "Dimensions VI (I)", Serigraph in Colors, titled and numbered edition "11/50" lower left, signed in pencil lower right, silver-tone fra...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró VIII Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: In...

Lithograph, 1997 Handsigned by the artist in pencil and numbered XXXI/L Corneille, a Belgian-born artist who belonged to the CoBrA group, presents a panorama of his imagination in th...

L'Oiseau Bleu is an artwork realized by Johnny Friedlander in 1963. Etching, Edition 5/20. Image Dimension cm . 47,5x31; Sheet Dimension cm 55x36. Handsigned in the lower right ...