Plate (folio 12) from One Day
Eduard Flor · 1971
Soft ground etching and aquatint from a portfolio of seven soft ground etchings and screenprinted reproductions with texts
Plate (folio 6) from One Day
Eduard Flor · 1971
Soft ground etching and aquatint from a portfolio of seven soft ground etchings and screenprinted reproductions with texts
Plate (folio 14) from One Day
Eduard Flor · 1971
Soft ground etching and aquatint from a portfolio of seven soft ground etchings and screenprinted reproductions with texts
Plate (folio 8) from One Day
Eduard Flor · 1971
Soft ground etching and aquatint from a portfolio of seven soft ground etchings and screenprinted reproductions with texts
Plate (folio 4) from One Day
Eduard Flor · 1971
Soft ground etching and aquatint from a portfolio of seven soft ground etchings and screenprinted reproductions with texts
Plate (folio 10) from One Day
Eduard Flor · 1971
Soft ground etching and aquatint from a portfolio of seven soft ground etchings and screenprinted reproductions with texts
Plate (folio 2) from One Day
Eduard Flor · 1971
Soft ground etching and aquatint from a portfolio of seven soft ground etchings and screenprinted reproductions with texts
One Day
Eduard Flor · 1971
Portfolio of seven soft ground etchings and screenprinted reproductions with texts
Composition from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I
Theo van Doesburg · 1953 (original executed in 1924)
One from a portfolio of sixteen screenprint reproductions
Composition from Art of Today, Masters of Abstract Art (Art d'aujourd'hui, maîtres de l'art abstrait), Album I
Piet Mondrian · 1953 (original executed in 1921)
One from a portfolio of sixteen screenprint reproductions
Iacy from Maria 1946
Maria Martins · 1946
Etching and drypoint from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Without Echo (Sans-écho) from Maria 1946
Maria Martins · 1946
Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Explanation III (Explication III) from Maria 1946
Maria Martins · 1946
Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Implacable Place (Place à l'implacable) from Maria 1946
Maria Martins · 1946
Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Like a Vine (Comme une liane) from Maria 1946
Maria Martins · 1946
Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Explanation I (Explication I) from Maria 1946
Maria Martins · 1946
Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Explanation IV (Explication IV) from Maria 1946
Maria Martins · 1946
Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Wrapper front from Maria 1946
Maria Martins · 1946
Engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Impossible from Maria 1946
Maria Martins · 1946
Etching, aquatint, and engraving from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Maria 1946
Maria Martins · 1946
Portfolio with nine etchings (four with aquatint and engraving and one with drypoint), one engraving; and supplementary suite of nineteen collotype reproductions of sculptures
Explanation II (Explication II) from Maria 1946
Maria Martins · 1946
Etching from a portfolio with nine etchings (four with aquatint and engraving and one with drypoint) and one engraving
Plate (folio 10) from 10 Origin
César Domela-Nieuwenhuis · 1942
Lithograph from a portfolio of six linoleum cuts, three woodcuts, and one lithograph
