The "Mz 386 Hopf (Merzzeichnung)" is a framed abstract artwork in a cubist-constructivist style, showcasing a composition of black and brown geometric shapes on a textured background. The piece is signed with "M. Schwitters" in the bottom right corner and dated "1921." A natural oak frame beautifully complements the print.
The "Mz 386 Hopf (Merzzeichnung)" framed art print in shades of brown and black showcases assorted geometric shapes, layered and textured in a cubist-constructivist style. A signature, likely belonging to the artist, is visible at the bottom right corner along with the date '1942', all encased in a sleek black oak frame.
A framed abstract piece of artwork, titled "Mz 386 Hopf (Merzzeichnung)," showcasing a print of brown and black rectangular shapes with varied textures. The cubist-constructivist style composition is signed "H. Steinhen," dated "1942," and labeled with "hsp" at the bottom, featuring a white oak frame.
A framed modern abstract painting titled "Mz 386 Hopf (Merzzeichnung)" in a cubist-constructivist style featuring a collage-like design of geometric shapes in shades of brown, black, and beige. Signed and dated 1942 at the bottom right, this piece closely resembles a paper collage. The simple frame is finished in Walnut Oak.
The "Mz 386 Hopf (Merzzeichnung)" is a framed abstract artwork in a cubist-constructivist style, showcasing a composition of black and brown geometric shapes on a textured background. The piece is signed with "M. Schwitters" in the bottom right corner and dated "1921." A natural oak frame beautifully complements the print.
The "Mz 386 Hopf (Merzzeichnung)" framed art print in shades of brown and black showcases assorted geometric shapes, layered and textured in a cubist-constructivist style. A signature, likely belonging to the artist, is visible at the bottom right corner along with the date '1942', all encased in a sleek black oak frame.
A framed abstract piece of artwork, titled "Mz 386 Hopf (Merzzeichnung)," showcasing a print of brown and black rectangular shapes with varied textures. The cubist-constructivist style composition is signed "H. Steinhen," dated "1942," and labeled with "hsp" at the bottom, featuring a white oak frame.
A framed modern abstract painting titled "Mz 386 Hopf (Merzzeichnung)" in a cubist-constructivist style featuring a collage-like design of geometric shapes in shades of brown, black, and beige. Signed and dated 1942 at the bottom right, this piece closely resembles a paper collage. The simple frame is finished in Walnut Oak.

Mz 386 Hopf (Merzzeichnung)

$79.00 Sale • Save
Size 16x20
Frame Natural Oak

A print of a paper collage rendered in the cubist-constructivist style.

Our Prints: Our archival-quality giclée prints come on a bright-white cold press 300 gsm 100% cotton fine-art paper.

Our Frames: Our oak frames are made from 100% natural Pennsylvania oak wood sourced from the sustainably-managed ​​Allegheny National Forest.

Each pre-assembled frame has a sleek 1.4x1.6 cm profile and shatter-resistant plexiglass.

Learn More: FAQ's

We select the best shipping carrier for your order based on your order details and location.

Production takes 2-3 business days, including all printing, framing, and packaging. You will receive a tracking number once your order has shipped. Shipping within the U.S. takes 2-4 days.

Artist: Kurt Schwitters

Note: This print is based on an original image and may have been modified from its original state. Adjustments may include cleaning up of imperfections, color grading, or resizing and cropping for framing purposes.

Ready to Hang

When purchasing art prints with a frame, your print will arrive framed and ready to hang.

Museum Quality

All art prints are made with advanced, giclée printing on Hahnemühle German Etching paper.

Sustainably Sourced

Our prints are sourced from sustainably-managed forests and printed at an ISO-9001 certified facility.

From the founder

I was ten when I inherited my great uncle's sketchbook. It was filled with brown-ink drawings of his various observations: women's figures, the terrain of New Mexico, the tops of his feet. What possessed me most was the line. It was so sure of itself, excelling in some places yet slow and methodical in others.

I love images and objects that bind the air around them—ones that breathe, even when you're not looking. Achellier is an extension and expression of this adoration, and I welcome you to its collection of works that, for me, hold power, mystique, and timeless beauty. 

— RPL

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