Lithograph Abstract Prints

Artist: Joan Miro Title: Joan Miro (Plate 3) Portfolio: Joan Miro Medium: Original lithograph Year: 1956 Edition: Unnumbered Framed Size: 16 1/4" x 22 1/4" Sheet Size: 9" x 15" Signa...

VILLA NEUVE is an original limited edition lithograph printed using hand lithography techniques on archival printmaking paper 100% acid free. VILLA NEUVE is an imaginative modernist ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Madame Mary Hutchinson (Mrs. Mary Hutchinson), from the album Portraits par Henri Matisse (Portraits by Henri Mati...

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...

Artist: Peter Alexander (1939) Title: Sitka Year: 1988 Edition: 75, plus proofs Medium: Lithograph on Guarro paper Size: 22 x 30 inches Condition: Excellent Inscription: Signed and n...

Signed and numbered in pencil Color lithograph on wove paper Condition: In Excellent condition

Rio de Janeiro is a colorful, bold, graphic, and visually compelling offset-lithograph by blue chip, pop artist Robert Rauschenberg. ​​​​​​​​​​​​​​​​In 1991, he was involved with th...

This exquisite lithograph by Henri Matisse (1869–1954), titled La Chute d’Icare (The Fall of Icarus), from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the...

Artist: Robert Motherwell, American (1915 - 1991) Title: Lincoln Center Mostly Mozart, 25th Anniversary Year: 1991 Medium: Lithograph and Screenprint on ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Madame Dorothy Parley (Mrs. Dorothy Parley), from the album Portraits par Henri Matisse (Portraits by Henri Matiss...

Alexander Calder (American, 1898-1976) Signed: Calder (Lower, Right) Discs and Spirals, 1970 Lithograph in Colors on Wove Paper Sheet Size: 26” x 38” Numbered: Numbered from an editi...

This exquisite lithograph by Henri Matisse (1869–1954), titled De la couleur (Of Color), from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the 1945 issue p...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

Manfred Schwartz (American, b. Poland, 1909-1970), "Somber Planet", Lithograph on Paper, mid 20th century, numbered edition "13/90" lower left, signed in pencil lower right, with the...

Mary Bauermeister Pittsburgh International Carnegie Museum, 1967 Offset Lithograph Poster 20 × 37 inches Edition of 500 Unframed This is the original, historic poster designed by Mar...

Joan Miró (Spain, 1893-1983) 'Sala Gaspar, Metras and Belarte Gallery (avant la lettre)', 1964 Lithograph on Paper (Cahiers d'Art magazine Nº4-5) Original lithograph without signing ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Madame L.D. (Mrs. L.D.), from the album Portraits par Henri Matisse (Portraits by Hen...

Alan Sonfist, American (1946 - ) - Tree Trunk Series - Blue II, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Image Size: 20.5 x 20.5 inches, Size:...

Lithographie originale en 8 couleurs, édition en 99 exemplaires sur papier Arches, 26 épreuves sur papier Japon et 25 épreuves d'artistes. Epreuve signée et datée 98, numérotée 28/99...

'Russian - Russe - Russisch' Late 19th century interior design chromolithograph, from Racinet’s ‘L’Ornement Polychrome’, 1887. Published in Paris. Albert Racinet's 'L' Ornement Pol...

This exquisite lithograph after Henri Matisse (1869–1954), titled Mademoiselle Yvonne Landsberg (Miss Yvonne Landsberg), from the album Portraits par Henri Matisse (Portraits by Henr...

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...

Lithograph, 1974 Handsigned by the artist in pencil Edition : 25 ex. Publisher : Galerie Börjeson (Malmö) Printer : La Poligrafa, S.A. (Barcelone) Catalog : [Maeght 939 p. 76 ; Crame...

Stewart - Prince Charles Edward. Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of de...

Tracey Emin Svart katt / Black cat (2008), from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional print on card st...

Ed Ruscha Chicago International Art Exposition (Hand Signed by Ed Ruscha), 1983 Offset Lithograph. Pencil Signed and dated. Unframed. Signed and dated by Ed Ruscha in graphite pencil...

Lithograph, 1966 Handsigned by the artist in pencil and numbered 39/150 Catalog : Sorlier 66 80.00 cm. x 57.00 cm. 31.5 in. x 22.44 in. (paper) 65.00 cm. x 50.00 cm. 25.59 in. x 19...

This exquisite heliogravure after Henri Matisse (1869–1954), titled A la memoire d'Auguste Lumiere (In Memory of Auguste Lumiere), from Verve, Revue Artistique et Litteraire, Vol. IV...

Artist: Salvador Dali (1904-1989) Title: Baignoire à tornade liquide (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Hologram glasses and computers to see ...

Bold abstract monoprint by Roxanne Lu (20th Century). This piece is composed of botanical shapes laid across large patches of dark magenta, olive green, black, and pale blue. Extending below the majority of the piece are brushstrokes resembling roots. Signed, dated, titled and marked with the artist's chop in the lower right corner (Roxanne Lu Roots FA 98) Presented in an aluminum frame with an off white mat...

This exquisite lithograph by Serge Poliakoff (1900–1969), titled Composition rouge verte et bleue (Red Green and Blue Composition), from the album XXe Siecle, Nouvelle serie, XXIIIe ...

Tribal Sign, 1987 Signed and dated in pencil with publisher's blindstamp Eleven color lithograph on mauve TGL handmade paper Sheet: 24 x 18.5 inches Frame: 33 x 27 inches Edition 25 ...

This exquisite lithograph after Georges Braque (1882–1963), titled Bord de mer (Seaside), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed...

This exquisite lithograph after Serge Poliakoff (1900–1969), titled Composition rouge et bleue (Red and Blue Composition), from the album San Lazzaro et ses Amis, Hommage au fondateu...

Color Lithograph on Arches paper realized by Sonia Delaunay in 1972. Hand signed in pencil, dated 72 and numbered 43/90. Prov. Private Collection, Milan. Very good condition.

This exquisite lithograph by Eduardo Chillida (1924–2002), titled Sans titre (Untitled), originates from the historic 1982 folio Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght (Tribute to Aime and Marguerite Maeght). Published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Imprimerie Moderne du Lion, Paris, this composition embodies Chillida’s exploration of form, balance, and spatial tension. In Sans titre, the artist distills his sculptural sensibility into a two-dimensional plane, using the language of gesture and contrast to evoke mass, gravity, and void. The work exemplifies Chillida’s poetic approach to abstraction, where line and density coexist in perfect equilibrium. Executed on velin paper, this lithograph measures 15 x 11 inches (38.1 x 27.9 cm). As issued, it is signed in the plate and unnumbered, consistent with the authorized publication format. The edition captures Chillida’s mastery of minimal means to achieve monumental expression, extending the spatial dialogue that defines his sculpture into the medium of print. Artwork Details: Artist: Eduardo Chillida (1924–2002) Title: Sans titre (Untitled), from Derriere le Miroir, No. 250, Hommage a Aime et Marguerite Maeght (Tribute to Aime and Marguerite Maeght), 1982 Medium: Lithograph on velin paper Dimensions: 15 x 11 inches (38.1 x 27.9 cm) Inscription: Signed in the plate and unnumbered, as issued Date: 1982 Publisher: Maeght Editeur, Paris Printer: Imprimerie Moderne du Lion, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1982 folio Derriere le Miroir, No. 250, published by Maeght Editeur, Paris Notes: Excerpted from the folio (translated from French), This special issue of Derriere le Miroir was designed and defined by Aime Maeght in the fall of 1980. He envisioned its publication as a celebration with which artists and writers published since 1946 were to be associated. He also chose Francois Chapon, president of the Reverdy Committee, to write the presentation. This Derriere le Miroir number 250 took the form, after its disappearance on September 5, 1981, of a tribute to Aime Maeght and his wife Marguerite Maeght who died four years earlier. 24 artists agreed to create an original graphic work for this issue which includes the general table of all issues as well as excerpts from texts by 32 writers. Finished printing on June 2, 1982 on the presses of the l'Imprimerie moderne du Lion in Paris. CL examples were printed on velin d'Arches, numbered from I to CL, and some non-commercial examples constituting the original edition. About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Eduardo Chillida (1924–2002) was a Spanish Basque sculptor and printmaker internationally celebrated for his monumental abstract works that explore the interplay between form, space, and material. Renowned for his mastery of iron, steel, stone, and concrete, Chillida created sculptural compositions that evoke both architectural strength and poetic balance, reflecting his lifelong dialogue between the physical and the spiritual. Emerging in postwar Europe, his art stands alongside that of the great modern masters—Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray—whose revolutionary approaches to form and perception shaped 20th-century art. Chillida’s work embodies a profound sense of harmony, rooted in the landscapes and philosophies of his native Basque Country, while maintaining a universal resonance. Exhibited internationally and collected by major institutions including MoMA, the Guggenheim, the Tate, and the Centre Pompidou, his sculptures and works on paper continue to command global acclaim. The highest price ever paid for an Eduardo Chillida artwork is approximately $4.1 million USD, achieved in 2022 at Christie’s Paris for Buscando la Luz IV (2001). Eduardo Chillida Sans titre, Eduardo Chillida lithograph, Chillida Derriere le Miroir, Chillida Maeght...

Roger Muhl (1929-2008) Provence #7, 1986. Signed and numbered in pencil by the artist, lower margins. Artwork is in excellent condition with no damage or conservation. Frame shows ...

This exquisite lithograph by Serge Poliakoff (1900–1969), titled Composition rose, rouge et bleue (Pink, Red and Blue Composition), from the album XXe Siecle, Nouvelle serie, XXe Ann...

Peter Halley Core, 1991 Limited Edition Silkscreen with lithography on Coventry Rag paper. Pencil signed and numbered 13/50 on the front Publisher: Edition Schellmann Pace Edit...

This vibrant red, blue, orange and yellow lithograph is based on the 1961 Rosenquist oil painting Brighter than the Sun (private collection), with fragmented images from advertising,...

Original, for the 1972 Munich, Germany Olympics. Linen-backed Art Series poster done For the Olympische Spiele Munchen 1972. The contemporary abstrac...

Frank Stella (after) Untitled, for the Very Special Arts Gallery (Hand Signed by Frank Stella), 1992 Photo lithograph and offset litho on thin board (hand signed) Frame included:: el...

Artist: John Chamberlain (1927-2011) Title: Flashback III Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 119/175, plus proofs Size: 28 x 20 inches Inscription: Signed...

Title: The Lantern Medium: Lithograph in colors Year: 1979 Edition: AP (artist's proof, aside from the edition of 175) Signature: Stamped signature Image Size: 23 3/4" x 15 1/2" Shee...

Alexander Calder Lithograph c. 1973 from Derrière le miroir: Lithograph in colors; 15 x 22 inches. Very good overall vintage condition; contains center fold-line as originally issue...

Print, 1988 Edition : X/XX 49.50 cm. x 70.00 cm. 19.49 in. x 27.56 in. (paper) 33.00 cm. x 42.00 cm. 12.99 in. x 16.54 in. (image) Handsigned by the artist in pencil Ref : LCD2878

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie D, var. 1 (Series D, Variation 1), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

Marius Sznajderman was a painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz...

Pierre Soulages - Original Lithograph Published in the deluxe art review "XXe siècle" 1970 Unsigned as published Dimensions: 32 x 24 cm Pierre Soulages or the "painter of black" as ...

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,...

Christopher lithograph 2017: A rare original hand-signed lithograph by Christopher Wool, letter-pressed on fine, textured matte paper. This work was included as part of a ‘Merde 3/4’...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 121-122, published by Aimé Maeght, Éditeur, Paris; prin...

Sonia DELAUNAY Flamenco : Spanish Dancer, 1972 Original lithograph (Printed in Mourlot workshop) Unsigned On heavy paper 31 x 24 cm (c. 12 x 10 inch) Edited by San Lazzaro in 1972 ...

Eduardo Paolozzi, British (1924 - 2005) - Totems and Taboos of the Nine to Five Day, Portfolio: General Dynamic F.U.N. Portfolio, Year: 1970, Medium: Photolithograph, signed and numb...

This exquisite lithograph and pochoir by Jean Dubuffet (1901–1985), titled Le maitre de ceremonie (The Master of Ceremony), from the album XXe Siecle, Nouvelle serie, No. 6 (double),...

Sonia DELAUNAY Spain : Flamenco Dancer Lithograph after a painting Printed signature in the plate Numbered /600 On Arches vellum 40 x 30 cm (c. 15.7 x 11.8 in) ArtCurial edition, 1...

Early Summer is one of the six prints in Print Series No.4. Print series No.4 embodies Teh-Chun Chu’s signature style of lyrical abstraction. Through rich layers of color and spont...

Evening Singers, limited edition color lithograph, kachinas, katsina, Hopi, red signed, titled, and numbered by the artist at the bottom limited edition of 50 unframed The Galle...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 166, 1967. Published by Aimé Maeght, Éditeur, Paris; pr...

A superb, dark and evenly-printed impression of this very scarce lithograph by Camille Pissarro and George W. Thornley. Printed in light brown on Chine appliqué. The deluxe edition o...