Small Abstract Prints

Jimmy ERNST (1920-1984) Geometrical Totem, 1972 Original lithograph (Mourlot workshop) Signed in pencil Numbered / 75 On vellum 57 x 40 cm (c. 23 x 16 in) INFORMATION : Edited by G...

"Jazz 183" This unique mono print is from my Jazz series, where each individual image is composed from shapes of found objects. My process of printing is one of improvising, much lik...

" Jazz 184" This unique mono print is from my Jazz series, where each individual image is composed from shapes of found objects. My process of printing is one of improvising, much li...

"Original Lithograph III" is an original color lithograph by Joan Miro, published in "Miro Lithographs III, Maeght Publisher" in 1977. It depicts M...

Angel Otero is known for oil paintings of bleeding color fields that bunch and crease to create topographic textures. In this visually compelling edition, Untitled (SK-PH), the artist flattened one of his compositions into a digital print, turning his signature folds into trompe l’oeil. Here, they read as intricate line work atop a tumultuous sea of brushed pastels. Inspired by a visit to the Lincoln Center archives, Otero drew a connection between the dramatic flair captured in photographs of operas presented during the 1970s and works from his “Poussin” series. Discussing the characters depicted in Poussin’s paintings, Otero remarked, “they were painted with poses that seemed staged, like a play set...

Plate. No. 111 by Johanna Goodman Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundatio...

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 ...

This lithograph is part of my private collection since 1970's. It is pencil signed by the artist and numbered 198/220. Guilde del la Gravure .

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Serie II, bleu et rouge (Series II, Blue and Red), from the album Miro 1959–1960 (Miro 1959–1960), originates from the 1961 edition published by Pierre Matisse Gallery, New York, rendered by Daniel Jacomet, Paris, and printed by Daniel Jacomet et Cie, Paris, 1961. Serie II, bleu et rouge exemplifies Miro’s lyrical use of pure color and abstraction, expressing the vitality of his creative gesture through bold contrasts of blue and red. The composition resonates with balance and spontaneity, merging intuitive rhythm and formal harmony in a poetic dialogue of chromatic energy. Executed as a lithograph and pochoir on velin paper, this work measures 11.5 x 18.48 inches, with centerfold as issued. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship of Daniel Jacomet et Cie, Paris, one of France’s foremost studios specializing in pochoir and fine art printmaking. Artwork Details: Artist: After Joan Miro (1893–1983) Title: Serie II, bleu et rouge (Series II, Blue and Red), from the album Miro 1959–1960 (Miro 1959–1960), 1961 Medium: Lithograph and pochoir on velin paper Dimensions: 11.5 x 18.48 inches (29.2 x 46.9 cm), with centerfold as issued Inscription: Unsigned and unnumbered as issued Date: 1961 Publisher: Pierre Matisse Gallery, New York Renderer: Daniel Jacomet, Paris Printer: Daniel Jacomet et Cie, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne Des Livres Illustres. P. Cramer, 1989, illustration 69. Dupin, Jacques, and Joan Miro. Miro Engraver 1961–1973. Rizzoli, 1989, illustration 292. Miro, Joan. Joan Miro, Lithographe II, 1953–1963. Joan Miro, Lithographe, Maeght, 1975, illustration 286–294. Condition: Well preserved, consistent with age and medium Provenance: From the album Miro 1959–1960 (Miro 1959–1960), published by Pierre Matisse Gallery, New York; rendered by Daniel Jacomet, Paris; printed by Daniel Jacomet et Cie, Paris, 1961 Notes: Excerpted from the album (translated from French), It was taken from this album: XXVIII examples with II original lithographs and an etching and VI suites, numbered from I to XXV; LXXX examples with II original lithographs and an etching, numbered from XXVI to LXXV; MCC examples, numbered from I to MCC. This album was made and presented for the exhibition of the artist's works at the Gallery Pierre Matisse, New York, October 31 - November 25, 1961. About the Publication: Miro 1959–1960 (Miro 1959–1960), published in 1961 by Pierre Matisse Gallery, New York, with pochoirs rendered by Daniel Jacomet, Paris, accompanied the landmark exhibition of Miro’s paintings and graphic works held at the Pierre Matisse Gallery from October 31 to November 25, 1961. The album captures the spirit of Miro’s late 1950s and early 1960s output—a period characterized by liberated brushwork, symbolic abstraction, and radiant chromatic experimentation. Printed by Daniel Jacomet et Cie, Paris, in collaboration with Fernand Mourlot for the original lithographs, the volume reflects the exceptional precision and artistry of French printmaking at its height. Designed to evoke the immediacy of Miro’s painted surfaces, the pochoirs and lithographs maintain a tactile richness and vibrancy that honor the original works. This publication stands among Miro’s most celebrated printed albums, marking a pivotal moment in his continued dialogue between materiality, imagination, and cosmic lyricism. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the 20th century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro's inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro's work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for 23,561,250 GBP (approximately 37 million USD) at Sotheby's, London, on June 19, 2012. After Joan Miro Serie...

This exquisite lithograph by Joan Miro (1893–1983), titled L'Oiseau s'envole (The Bird Takes Flight), from the folio Derriere le miroir, No. 151–152, originates from the 1965 edition...

The root of Guedes's work is located in the MADÍ movement, of Argentine origin and little repercussion in Spain, which attaches great importance to the tensions that are established ...

This exquisite lithograph after Fernand Leger (1881–1955), titled Le Paravent (The Screen), from the folio Derriere le miroir, No. 107–108–109, originates from the 1958 edition publi...

Ayanna Presley, the first black woman elected to Congress from Massachusetts Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York St...

We Are Not The Resistance, The New York Times by Johanna Goodman Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council ...

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...

Esteve Casanoves (Spain, 1954) 'La silla' (Chair), 2008 silkscreen on paper Velin Arches 300 g. 23.1 x 15.4 in. (58.5 x 39 cm.) Edition of 50 ID: CAE-301 Unframed

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Maravillas con variaciones acrosticas en el Jardin de Miro (Marvels with Acrostic Var...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Wood engraving, 1966 Handsigned by the artist in pencil Publisher : Louis Broder (Paris) LCD3943

Varujan Boghosian (American, 1926-2020), "Profile", Woodblock Print on Paper, signed in pencil and numbered edition "4/40" lower center, giltwood frame. Image: 15.5" H x 8" W; frame:...

This piece titled "Tender (unframed)" is an original artwork by Roxana Azar made of a digital c print. The piece measures 20”h x 16”w. Roxana Azar’s work utilizes photography, digi...

This piece titled "Sensitive (framed)" is an original artwork by Roxana Azar made of a digital c print. The piece measures 21.5”h x 17.5”w framed. Roxana Azar’s work utilizes photo...

Kurason Lila, is part of the artist's "The Curacao Pictures" Series. This one-of-a- kind, archival pigment print is printed on Hahnemuhle Photo Rag bright paper with a deckled edge....

First Print: Banksy (after) "CUT AND RUN" Technique: Offset Lithograph Paper: Thick Stock Glossy Size: 16.5 X 23.4 Materials Thick glossy paper Size 23 2/...

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...

This exquisite lithograph by Panayiotis Vassilakis Takis (1925–2019), titled Champ magnetique (Magnetic Field), originates from the historic 1982 folio Derriere le Miroir, No. 250, H...

This exquisite lithograph after Bram van Velde (1895–1981), titled Composition, originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeg...

Please be aware that all prints are produced to order. Lead times expected between 15-20 days. Prices may change due to currency fluctuations. Giclée print on Archival Matte Paper ...

GIULIO TURCATO "Fragments" from Portfolio "Grafica '69" Year: 1969 Medium: Lithograph in three colors Edition: 100 Size: 17.6 x 23.6 in. Publisher: Il Torcoliere, Rome - Italy Signe...

Artist: Tom Marioni – American (1937- ) Title: Process Landscape 1998 Year: 1998 Medium: Color spit bite aquatint Image size: 15.75 x 10 inches. Paper size: 20 x 16 inches Framed size: 21.75 x 17.75 inches Signature: Signed, dated lower right Edition: 50. This one: 24/50. Published by: Crown Point Press Printed by: Paul Mullowney Condition: Excellent Frame: Framed in maple frame and plexiglas. Frame in fair to good condition with some small scratches. Tom Marioni was born in 1937 in Cincinnati, Ohio, attended the Cincinnati Art Academy, and in 1959 moved to San Francisco, where he still lives. His first sound work, One Second Sculpture, 1969, was celebrated in the 2005 Lyon Biennial as presaging the work of many artists today who use sound and duration as subjects. His first museum show was in 1970 at the Oakland Museum of California. Titled “The Act of Drinking Beer with Friends is the Highest Form of Art,” it was an early example of social art as a sculpture action. Over the years, Marioni was invited to repeat the work in various contexts around the world. In 1970 Marioni founded the Museum of Conceptual Art (MOCA), which he described at the time as “a large-scale social work of art.” Until the museum closed in 1984, he organized many groundbreaking shows, including “Sound Sculpture As” in 1970. MOCA has entered history as one of the first alternative art spaces. Marioni had one-person shows in several significant venues for early conceptual art, among them the Richard Demarco Gallery in Edinburgh in 1972 and Gallery Foksal in Warsaw in 1975. In 1977 he had a solo show, “The Sound of Flight,” at the de Young Museum in San Francisco. He has done installation/performance works at the Whitechapel Gallery in London (1972), the Institute of Contemporary Art in London (1973), the Centre Georges Pompidou in Paris (1980), and the Folkwang Museum in Essen, Germany (1982), among other museums. He has produced sound works for radio stations KPFA in Berkeley and WDR in Cologne, Germany. In 1996 he organized The Art Orchestra and the group performed at the Legion of Honor Museum in San Francisco. Marioni was included in “For Eyes and Ears” (1980) at the Academy of Fine Arts in Berlin, “Live to Air” (1982) at the Tate Gallery in London, and “From Sound to Image” (1985) at the Stuttgart Staatsgalerie in Germany. His work was shown in “Out of Actions: Between Performance and the Object” (1998) at the Museum of Contemporary Art in Los Angeles, and “The Third Mind: American Artists Contemplate Asia,” (2009) at the Guggenheim Museum in New York City. Drawing is central to Marioni’s art, and in 1999 he had a drawing retrospective, with a catalog, at the Mills College Art Museum in Oakland. In 2006 the Contemporary Art Center in Cincinnati presented a survey of his work and published a catalog. Marioni is the author of Beer, Art and Philosophy, 2003, a memoir, also Writings on Art 1969-1999, and Fabliaux Tom Marioni Fairy Tales. He was editor/designer of VISION magazine published by Crown Point Press, 1975-1981. Issues were titled “California,” “Eastern Europe,” “New York City,” “Word Of Mouth,” (phonograph records) and “Artist’s Photographs,” and published prints, since 1974. Tom Marioni received a Guggenheim Fellowship in 1981 and three grants from the National Endowment for the Arts during the 1970s. His work is in the collections of the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, the Stadtische Kunsthalle in Mannheim, Germany, the Pompidou Center in Paris, and other museums. He is represented by the Anglim Gilbert Gallery...

ABOUT THIS PIECE- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x17, edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, br...

Leff, Rita. (American 1905-1979). ABSTRACT LANDSCAPE. Color Woodcut, not dated, but likely 1940s. Edition size not stated. Titled and signed in pencil. 6 x 11 1/8 inches (image), 8 3...

Stephen Powers Everything is Shit Except You Love, ca. 2012 Silkscreen in colors on 254 GSM Coventry Rag Paper Hand signed and numbered 18/50 by the artist on the lower right front. ...

This piece titled "Ten Milkweed Pods" is an original artwork made from Plaster, acrylic paint pens, milk, relief on mulberry paper, and silverpoint, moun...

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...

Plate No. 155, The Women's March on Washington Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New ...

David Nash b. 1945 Cut Through Column, 2015 pastel, stencil 33 x 50.8 cm 13 x 20 in signed, dated, titled and numbered in pencil, edition of 30 David Nash (b. 1945) is a British scu...

Alistair Grant Jeremiah - 1968 Print - etching, with Aquatint   16'' x 24'' inches Edition: signed and numbered in pencil 17/50 Alistair Grant was a great and justly-revered experim...

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...

Plate No. 303 by Johanna Goodman Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation...

Plate No. 356 by Johanna Goodman Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation...

Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation for the Arts Fellowship grant for...

Artist: Kenny Scharf Title: Jungleyea Year: 2022 Medium: Archival print on 290 gsm Cotton Entrada Rag Paper with hand-deckled edge Sheet: 22 3/4 x 22 3/4 in (57.8 × 57.8 cm) Edition:...

Andrzej Zielinski Laptop Accessing Web Year: 2015 5 Color Lithograph Edition: 18 Paper: Somerset Antique Paper Size: 20 x 19.5 inches Image Size: Same Signed and numbered by hand COA provided Andrzej Zieliński (born 1976, Kansas City, Missouri, USA) is an American painter. Zieliński received his BFA from The School of the Art Institute of Chicago in 2002. In 2004 he earned his MFA from Yale University in New Haven, CT. Zieliński's main body of work reflects on electronic devices that saturate our lives: cell phones, ATMs, computers, and paper shredders...

Print. Limited edition 10. Signed by the author. Different sizes upon request.

The work of Ruth Leavitt (1944, Saint Paul, Minnesota) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming them across three ax...

Lyman Kipp Kipp, at Betty Parsons Gallery, 1968 Rare Minimalist silkscreen announcement poster 24 × 13 1/4 inches Unframed Extremely rare. If you're reading this listing, you know wh...

These exquisite lithographs by Joan Miro (1893–1983), titled Personnages (Figures), from the album Les Revolutions Sceniques du XXe Siecle, originate from the 1975 edition published ...

Alistair Grant Crying Eye - 1968 Print - etching, with Aquatint   16'' x 24'' inches Edition: signed and numbered in pencil 45/50 Alistair Grant was a great and justly-revered exp...

This piece titled "Greenhouse Composition Series 1 (unframed)" is an original artwork by Roxana Azar made of a digital print on polycarbonate. The piece measures 24”h x 16”w. Roxan...

This piece titled "Crush me (unframed)" is an original artwork by Roxana Azar made of a digital c print. The piece measures 24”h x 16”w. Roxana Azar’s wo...

Screen Print on canvas Jeremie Faivre is a French artist born in 1977 who lives and works in Paris, France. He is graduated from Massachussetts College of Art Design in Bosto...

Lithograph, 1952 Handsigned by the artist in pencil and numbered 6/75 Publisher : Maeght (Paris) Printer : Mourlot (Paris) Catalog : Saphire E 14 37.00 cm. x 55.50 cm. 14.57 in. x 2...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph VI, from the album Joan Miro Lithographs, Volume II, originates from the 1975 edition published by Leon Amiel, N...

This exquisite lithograph by Marino Marini (1901–1980), titled Guerrier (Warrior), from the album XXe Siecle, Nouvelle serie, XXXe Annee No. 30, Juin 1968, originates from the 1968 e...

Rare, historic collectors item: Roy Lichtenstein, Frank Stella, John Chamberlain New Work, Leo Castelli poster, 1967 Offset lithograph poster invit...

Abstract Composition is a woodcut print on paper realized by an Anonymous artist in the 1950s. Hand-signed, illegible, and numbered, edition of 50/100 prints. Good conditions. The...

Color etching entitled "La Dernière Porte or the Last Door." Signed "MC Havel" in pencil lower right. Numbered 11/12 lower left. Displayed on a white mat with a golden border and fit...

This exquisite lithograph and pochoir by Jean Dubuffet (1901–1985), titled Le maitre de ceremonie et Sans titre (The Master of Ceremony and Untitled), from the album XXe Siecle, Nouv...

This abstract landscape limited edition print by Ken Elliott features a cool violet-blue palette, capturing an abstracted scene of a forest in the winter. The trees are depicted in s...