Modern Abstract Prints

This exquisite lithograph after Henri Matisse (1869–1954), titled La danse (The Dance), from the album Douze Contemporains (Twelve Contemporaries), originates from the 1959 edition p...

This exquisite lithograph by Pierre Soulages (1919–2022), titled Lithographie No 9 (Lithograph No 9), from the album XXe Siecle, Nouvelle serie, XXIe Annee, No. 13, Noel 1959, origin...

Pablo Picasso (after) "Portrait de Marie Therese" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 274/500 lower left From the estate of Pablo Picasso with an embossed blindstamp in the lower right side of the piece. After Pablo Picasso's death in 1973, his granddaughter Marina authorized the printing of these original lithographs, which have come to be known as the Picasso Estate Collection. The lithographs were meticulously created after the original works (Oil Paintings, Watercolors, Pastels, Charcoal Drawings, etc.) by Master Chromist Marcel Salinas, who worked closely with Picasso in his lifetime. They are printed in an edition of 500 on Arches paper. Embossed with the estate and chromist's stamp seals, along with the legend on the reverse "Approved by the heirs of Pablo Picasso". Image: 19 1/2" x 15". Paper: 28" x 20 3/4". Pablo Ruiz Picasso (1881 – 1973) was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a dramatic portrayal of the bombing of Guernica by the German and Italian air forces during the Spanish Civil War...

This exquisite lithograph by Jean Dubuffet (1901–1985), titled Le Guerrier (The Warrior), from the album XXe Siecle, Nouvelle serie, XXe Annee, No. 10 (double), Mars 1958, originates...

This exquisite lithograph by Wifredo Lam (1902–1982), titled Les Oiseaux Voiles (The Veiled Birds), from the folio Derriere le miroir, No. 55-56, originates from the 1953 edition pub...

This exquisite lithograph by Henry Moore (1898–1986), titled Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, originates from the 1977 edition published by Societe Internationale d'Art XXe siecle, Paris, and printed by Curwen Prints Ltd, London, 1977. Reclining Figure Interior Setting I reflects Moore’s masterful synthesis of form and space, capturing his lifelong exploration of the reclining human figure as a symbol of harmony between nature, body, and landscape. Executed as a lithograph on velin paper, this work measures 9.75 x 12.5 inches (24.77 x 31.75 cm). Unsigned and unnumbered, as issued. The edition exemplifies the superb craftsmanship of Curwen Prints Ltd, London. Artwork Details: Artist: Henry Moore (1898–1986) Title: Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977 Medium: Lithograph on velin paper Dimensions: 9.75 x 12.5 inches (24.77 x 31.75 cm) Inscription: Unsigned and unnumbered, as issued Date: 1977 Publisher: Societe Internationale d'Art XXe siecle, Paris Printer: Curwen Prints Ltd, London Catalogue raisonne reference: Moore, Henry, et al. Henry Moore, Catalogue of Graphic Work. Gerald Cramer, 1986, illustration 458 Condition: Well preserved, consistent with age and medium Provenance: From the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, published by Societe Internationale d'Art XXe siecle, Paris About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris and London, including Mourlot, Arte, and Curwen, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Henry Moore (1898–1986) was a British sculptor, draftsman, and modernist pioneer whose monumental bronzes and organic abstractions revolutionized 20th-century sculpture and made him one of the most influential artists of his time. Renowned for his reclining figures, mother-and-child compositions, and pierced biomorphic forms inspired by nature, Moore transformed traditional carving into a universal language of rhythm, balance, and humanity. Born in Castleford, Yorkshire, he studied at the Leeds School of Art and the Royal College of Art in London, absorbing the influences of classical sculpture, African and Pre-Columbian art, and the radical innovations of the European avant-garde. Inspired by Pablo Picasso’s Cubist fragmentation of form, Joan Miro’s lyrical biomorphism, Wassily Kandinsky’s spiritual abstraction, and Constantin Brancusi’s purity of shape, Moore developed a style rooted in the harmony between mass and void, structure and space. During the interwar years, he became part of an international circle that included Alexander Calder, Alberto Giacometti, Salvador Dali, Marcel Duchamp, and Man Ray—artists who, like Moore, expanded art’s boundaries through abstraction, surrealism, and conceptual experimentation. Like Calder, Moore explored balance and movement; like Giacometti, he sought the spiritual essence of humanity; and like Dali and Duchamp, he challenged perception and redefined modern form. His sculptures, carved in stone or cast in bronze, evoke both ancient and modern sensibilities—forms that appear to breathe with natural vitality while engaging directly with their surrounding landscapes. Moore’s “Shelter Drawings” (1940–41), created during the London Blitz, revealed his deep empathy for the human condition, marking a pivotal moment in his exploration of resilience and vulnerability. By the mid-20th century, Moore’s monumental bronzes had become landmarks around the world, from the Lincoln Center in New York to the UNESCO headquarters in Paris, embodying timeless symbols of endurance, renewal, and unity. His synthesis of organic abstraction and humanism influenced generations of sculptors including Barbara Hepworth, Isamu Noguchi, Eduardo Paolozzi, Antony Gormley, Anish Kapoor, and Rachel Whiteread. Like Kandinsky and Miro, he believed abstraction could transcend culture and time, while like Duchamp and Man Ray, he embraced experimentation as a pathway to new truths. Moore’s works, housed in major collections including the Museum of Modern Art in New York, the Tate in London, the Guggenheim Museum, and the Art Institute of Chicago, continue to define the landscape of modern sculpture for their elegance, power, and emotional depth. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Henry Moore remains a cornerstone of modern art—a sculptor whose vision united nature, form, and spirit into a universal language of beauty and meaning. His highest auction record was achieved by Reclining Figure: Festival (1951), which sold for $33.1 million USD at Christie’s, London, on June 30, 2016, reaffirming Henry Moore’s enduring legacy as one of the most visionary, influential, and collectible sculptors in the history of modern art. Henry Moore Reclining Figure...

This exquisite lithograph by Wifredo Lam (1902–1982), titled Personnage (Figure), from the album XXe siecle, Nouvelle serie, XXXVIe Annee, No. 42, originat...

A poster belonging to Erik Nitsche's third series for General Dynamics, promoting its Convair Company. Founded 1952, General Dynamics hired Nitsche a...

Alexander Calder The original Los Angeles County Museum of Art poster, 1965 Limited Edition vintage Offset Lithograph 32 × 24 3/4 inches 81.3 × 62.9 cm Edition of 300 This is the OR...

Saul Steinberg Sam's Art, from The New York International Portfolio), 1966 Lithograph on wove paper with blind stamp Pencil signed and numbered 12/225 on the front Published by Tanglewood Press, Knickerbocker Machine and Foundry, Inc., New York Printed by Irwin Hollander with blind stamp Unframed This Steinberg lithograph is titled Sam's Art, which of course refers to Uncle Sam, the nickname for the United States government. It features his version of the motto seen on our dollar bills, "Annuit Coeptis", which is one of the mottoes found on the Great Seal of the United States. It is directly underneath the "Eye of Providence" and is translated by the US Treasury and State Department as "God (or Providence) favors our undertakings". American President Abraham Lincoln, sitting in front of an easel, is also depicted as an artist in this telling 1960s work. Commentary: "In Saul Steinberg’s lithograph ‘Sam’s Art’, Abraham Lincoln, in stove-pipe hat, poses as the artist in front of his canvas. While his attention looks fixed on rendering the slightly wobbly pyramid with an eye, the Masonic motif from the back of the one dollar bill, the line from his brush has floated off the canvas to become a cubist-futurist cloud in the sky. The American Eagle looks on, perched on a civil war cannon...

Salvador Dalí Un entré fracassant aux U.S.A (A shattering entrance to the U.S.A) from After 50 Years of Surrealism Original etching with hand coloring, hand signed in pencil 1974 Im...

Lithograph on papier vélin teinté, fait a la main paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Illuminations, 1949. Published by...

The Spanish Modern and Surrealist artist Joan Miro was one of the great masters of the 20th century. His bold linework and childlike technique set him apart from his contemporaries a...

Miro a l’Encre II Joan Miro, Spanish (1893–1983) Portfolio: Indelible Miro Date: 1972 Lithograph on Wove Paper Size: 14 x 10 in. (35.56 x 25.4 cm) Frame Size: 21.5 x 18 inches Printe...

This exquisite heliogravure after Pierre Soulages (1919–2022), titled Planche No. 6 (Plate No. 6), from the folio Pierre Soulages, Peintres d'aujourd'hui (Pierre Soulages, Painters o...

Pablo Picasso (after) "Pigeons" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 327/500 lower left From the estate of Pablo Picasso wit...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Sans titre (Untitled), from the album Douze Contemporains (Twelve Contemporaries), originates from the 1...

This exquisite lithograph by Karel Appel (1921–2006), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, XXIII Annee, No. 17, Noel 1961, originates from the 196...

This exquisite lithograph by Eduardo Chillida (1924–2002), titled Sans titre (Untitled), originates from the historic 1961 folio Derriere le Miroir, No. 124. Published by Maeght Edit...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by The Collector's Guild Ltd., New York in association with Th...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 148, 1964. Published by Aimé Maeght, Éditeur, Paris; pr...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Joan Miro und Katalonien Year: 1969 Medium: Lithograph on Arches, signed in the plate Size: 20 in. x 26 in. (50.8 cm x 66.04 cm) Frame...

This exquisite lithograph by Wifredo Lam (1902–1982), titled Personnages dans la nuit (Figures in the Night), from the album XXe Siecle, Nouvelle serie, XXVe Annee N°22, Noel 1963, o...

Sonia DELAUNAY Rythm and Dance Lithograph after a painting Printed signature in the plate Numbered /600 On vellum paper 40 x 30 cm (c. 15.7 x 11.8 in) ArtCurial edition, 1994 Exce...

This is an original poster designed by Jean Dubuffet for his 1968 exhibition Painted Sculptures at Pace Gallery, held from April 13th to May 18th. Created by the artist specifically ...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

This exquisite lithograph after Andre Derain (1880–1954), titled Route de Village (Village Road), from the folio Les Peintres mes amis (The Painters My Friends), originates from the ...

This exquisite lithograph by Akira Kito (1909–1995), titled Enfant (Child), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by th...

Alexander Calder Lithographic cover c. 1971 from Derrière le miroir: Lithographic cover in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of u...

This exquisite lithograph by Alexander Calder (1898–1976), titled Rouge et bleu sur jaune (Red and Blue on Yellow), originates from the historic 1973 folio Derriere le Miroir, No. 20...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie L, var. 6 (Series L, Variation 6), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Zwei Reiter vor Rot (Two Riders Against Red), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Dire...

Joan Miro is known for his abstract, expressive, and child-like Modern style. Original lithograph published in Miro Lithographe III Catalogue Raisonne. Nicely framed. Lithograph III...

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled Marine (Seascape), from the folio Vieira da Silva, Peintres d'aujour...

Martel Wiegand Untitled (Abstract, Modern, Beige, Brown, Linocut) Linoleum Cut on light paper 1996 19.48 x 25.36 inches (49.5 x 69.5 cm) Edition: Unique COA provided *Condition: Sto...

Eugenio Carmi is an Italian painter born in 1920 in Genoa. He studied in Turin in Felice Casorati’s studio. His experience as a graphic designer in the ‘50s, is decisive for his pict...

Irving Marantz, American (1912 - 1972) - An Aspect of Time, Medium: Lithograph on BFK Rives, signed, titled and numbered in pencil, Edition: 35/50, Image Size: 19.5 x 15 inches, S...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Allo! Paris!, 1926. Published by Éditions des ...

This exquisite lithograph after Wassily Kandinsky (1866–1944), titled Formulaire rouge (Red Form), from the folio Derriere le miroir, No. 179, originates from the 1969 edition publis...

This exquisite lithograph by Alberto Magnelli (1888–1971), titled Musique (Music), from the album XXe Siecle, Nouvelle serie, XXXIIIe Annee, No. 37, Decembre 1971, originates from th...

Edward Landon 'River View, color serigraph, 1942, edition 50, Ryan 159. Signed in pencil in the image, lower right. Titled, dated, and annotated '9 COLORS – 50 PRINTS' in the screen,...

Paris: Mourlot Press, 1964. Lithograph in colors on Velin d’Arches paper, 6 3/4 x 10 inches (170 x 253 mm), full margins. Published by Fernand Mourlot and Jean Adhemar, 1964. In ver...

The New Cable British Modern Mid 20th Century Vorticist European Vorticism Woman Sybil Andrews CPE (British/Canadian, 1898-1992) "The New Cable," 1931 12 x 16 1/2 inches Color linocut Signed, titled, inscribed 'Second State', and numbered 13/60 in pencil Framed: 19 x 24 inches Literature: Coppel Sa17 Illustrated on page 10 of the catalog The proposed edition of the first state of the Giant Cable was 50, but only 30 impressions were pulled. Andrews removed the blue background for the second state, which was published under the title The New Cable in an edition of 60. BIO Sybil Andrews was a printmaker, painter, graphic artist and educator who was born in Bury St. Edmonds, Suffolk, England. She moved to London (England) in 1922. In 1947, she emigrated to Campbell River (Vancouver Island) British Columbia, Canada, where she worked, taught and lived for the rest of her life. She died at a hospital in Victoria (B.C.) Her mediums were the colour linocut (1) (most famous), etching, posters, pastels, ink, watercolour, monoprint and oil. Her subjects were human activity (at work, sports, travel, etc.), figures, animals, genre, allegory, architecture and landscape. Her style was Art Deco (see AskART styles), Futurism, Cubism and Vorticism (2). Her work is identified by a simple format, clean lines, distortion, vivid colours, drama and rhythm. Quote: "The colour linocut was just the medium for me, being interested in dynamics and ideas and patterns... It is impossible to be fussy with lines, you have to simplify, you are forced to simplify your idea to its fundamentals." Andrews produced 76 linocuts in her life, of which 43 were made from 1929 to 1939, which is considered to be her best period. John Hassall's art correspondence course (1918) was the beginning of her formal art education. She went from there to Heatherley's School of Fine Art (London/1922) where she studied under Henry Massey (see AskART) and met artistic partner Cyril Power (see AskART). At the same time, she studied independently with sculptor Henri Glicenstein (see AskART) who taught her drypoint etching and to draw from life. She also attended the Grosvenor School of Modern Art (1925). Iain McNab (1890-1967) was Principal and Claude Flight (3) (see AskART) an instructor who had a great influence on her choice of linocut as a primary medium. Some of his other students and her associates were Edith Lawrence (1890-1973), Lill Tschudi (1911-2001), Eileen Mayo (see AskART) and William Greengrass (1896-1970). After emigrating to Canada she taught art continuously until a month before her death. She was elected a member of the Canadian Painters - Etchers Society (after 1976 the Print and Drawing Council of Canada) in 1951. She began exhibiting her work in 1921.In 1929 she was included in "The First Exhibition of British Linocuts...

This colorful lithograph after Pablo Picasso was printed by the Atelier Mourlot in Paris in 1964 and is unsigned*. This image is taken from a drawing in pencil and colored chalk enti...

Etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis B...

This exquisite lithograph by Roger Bissiere (1886–1964), titled Soleil (Sun), from the album XXe Siecle, Nouvelle serie, XXVIe Annee N°24, Decembre 1964, originates from the 1964 edi...

This exquisite lithograph by Pierre Soulages (1919–2022), titled Lithographie No 28 (Lithograph No 28), from the album XXe Siecle, XXXIIe Annee, Nouvelle serie No. 34, Juin 1970, ori...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. An impression of this work is held in the collection of the National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 166, 1967. Published by Aim...

Conrad Marca Relli - Composition I Date of creation: 1977 Medium: Etching and aquatint on Gvarro paper Edition: 75 + AP + HC Size: 56 x 76 cm Condition: In very good conditions and n...

Pablo Picasso (after) "Buste de Petite Fille" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 144/500 lower left From the estate of Pa...

This is an exclusive handprinted limited edition of a cyanotype. This beautiful triptych is called "Fresh California Pool patterns", which shows the semi-abstract movements of light reflecting in a California swimming pool. Details: + Edition Size: only 20 + Medium: Cyanotype Print on Watercolor Paper + Stamped and Certificate of Authenticity provided. + Measurements : 100x210 cm (40 x 84 in.) Each paper measures 100cm x 70cm (about 40 in. x 28 in.) each. , a standard frame size. + All cyanotype prints...

'The Orange Point', color serigraph, edition 54, c. 1940. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet wi...

This exquisite heliogravure after Pierre Soulages (1919–2022), titled Planche No. 8 (Plate No. 8), from the folio Pierre Soulages, Peintres d'aujourd'hui (Pierre Soulages, Painters o...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 130, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

This exquisite lithograph by Serge Poliakoff (1900–1969), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie, No. 7 (double), Juin 1956, originates from the 1956...

Intersections from Derriere Le Miroir by Alexander Calder, American (1898–1976) Date: 1968 Lithograph Size: 15 x 11 in. (38.1 x 27.94 cm) Frame Size: 21 x 17 inches Printer: Maeght, ...

Etching and aquatint in colours on Arches paper Signed by the artist in pencil, lower right on recto Image: 47.5 x 36.3 cm, Sheet: 67.5 x 52 cm, Framed: 87.9 x 71.7 cm Edition of 46 ...

This exquisite silkscreen after Paul Klee (1879–1940), titled Ein Genius serviert ein kleines Fruhstuck (A Guardian Angel Serves a Small Breakfast), from the album Paul Klee, Paintin...

Artist: Alexander Calder (after) (American, 1898-1976) Title: Skybird, Flying Colors for Braniff Airlines Year: 1974 Medium: Lithograph, signed in the plate Size: 20 in. x 26 in. (50...