Etching Abstract Prints

"Insignia" #1 Hand Made Paper Aquatint Abstract Tactile Abstract on handmade paper by David Dodsworth (English, b-1952) David’s work is typified by his...

Billiard is a contemporary artwork realized by the artist Fifo Stricker in 1989. Mixed colored aquatint and etching.  Hand signed and dated by the arti...

Namiko Prado Arai (Mexico, 1963) 'Untitled 7 (Bruñidor)', 1998 engraving on paper Guarro Biblos 250g. 21.1 x 24.5 in. (53.5 x 62 cm.) ID: PRA-309 Hand-signed by author Unframed

Knight and Horse is an original etching realized by Marino Marini in 1963. Good conditions. The artwork is depicted through strong strokes in a well-balanced composition.

Namiko Prado Arai (Mexico, 1963) 'Untitled 5 (Buril)', 1998 engraving on paper Guarro Biblos 250g. 20.9 x 24.5 in. (53 x 62 cm.) ID: PRA-307 Hand-signed by author Unframed

20th century figurative etching print by Polish artist Leszek Rozga. This piece is signed by the artist. LESZEK RÓZGA (1924-2015) He studied painting at Maria Skarbek-Kruszewska pri...

" Zodiaque " is an etching realized by Max Ernst in 1971. This print is hand signed and numbered. This is an edition of 100 prints. Reference: Catalogue Spies n. 144. Originally a ...

Mary Weatherford The Robot, 2018 Spit bite aquatint on gampi paper chine collé 35 1/4 x 28 1/2 in (89.5 x 72.4 cm) Edition of 25

Artist: Johnny Friedlaender – German/French (1912-1992) Title: Herbes Solaires (Solar Grass) Year: 1969 Medium: Aquatint etching with embossing Size: 30 x 22.25 inches. Signature: S...

Galloping Horse is an artwork realized by  Jean-Marie Guiny, 2000s.  Etching, Edition 145/160. 40 x 50 cm ; with frame.  Hand signed in the lower right part. Good condtions! J...

Robert Savoie, Canadian (1939 - ) - Montezuma, Year: 1975, Medium: Etching on BFK Rives, signed, numbered, titled and dated in pencil, Edition: 43/60, Image Size: 17.5 x 17.75 inch...

Murray Tinkelman, American (1933 - ) - Photogram, Year: 1969, Medium: Etching with embossing, signed, dated and numbered in pencil, Edition: 15, Image Size: 14 x 8 inches, Size: ...

Kumadori by Makoto Ouchi, Japanese etching 18 of 60 Kabuki contemporary orange wear shows on the paper Ouchi Makoto (大内マコト) was born in Kawasaki, Kanag...

Etching in colours, on wove paper Edition of 52/68 68.9 x 101.4 cm (27.1 x 39.9 in) (74.5 x 107 x 5 cm, 29.3 x 42.1 x 2 in) Signed on the front and numbered on the back Minute scratc...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Etching and embossing realized by Fausto Maria Franchi in 2002. Edition of 62/200. Hand signed and numbered in pencil. Excellent condition.

Louisa Chase, American (1951 - 2016) - Untitled - Hands (Primary), Year: 1990, Medium: Etching and Chine Colle, Signed and Numbered in Pencil, Edition: 30, Size: 35 x 48.5 in. (8...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

Damien Hirst (b. 1965) is one of the most divisive, high-profile, and arguably misunderstood artists of the contemporary era. (In)famous internationally for encapsulating a tiger sh...

Adan Paredes (Mexico, 1961) 'Untitled 5', 2020 collagraph on paper 42.6 x 29.2 in. (108 x 74 cm.) Edition of 40 ID: PAD-105 Unframed

29.88 x 22.36 ins (75.9 x 56.8 cms) Edition of 96 Signature:Signed "R. Motherwell" in pencil lower right Inscriptions:Numbered in pencil lower right; artist's chop mark lower right ...

Jack Zajac, American, born 1929 1964 Etching and aquatint hand printed on Fabriano paper, pencil signed and editioned. Edition Roman Numeral III Image: 12 9/16 x 8 5/8 in. (31.9 x 2...

Abstract composition is a color etching and aquatint on paper, realized in 1990 by the Italian graphic master Piero Dorazio (Rome, 1927 - Perugia, 2005). Signed and dated in pencil ...

Cheryl Warrick (American, b. 1956), "Peace Makes Plenty" Color etching, soft ground, white ground, drypoint, and chine colle, on Hahnemuhle Copperplate...

Signed, titled and numbered by the artist. Edition of 10. Abstract patterns implying air currents and topography. Rosalyn Richards has been a member of the Bucknell University art ...

15AV1G-2015 (Abstract print) Aquatinte on BFK Rives paper - Unframed. Clément's work fluctuates between painting and sculpture, a back and forth that both results from, and contrib...

Composition is an original black and white etching realized by Miodrag Djuric in 1980s. Hand Signed, dated and numbered. Edition 9/10. Good conditions. Image Dimensions: 68 x 53 cm...

Geometric limited edition etching, hand painted abstract of an orange and blue figure inside of a circle by Pierre Brisson (French, b, 1955). Signed "Brisson" lower right and "720/75...

Blue Ruthms (Agerup 188) after the 1966 painting, Peinture. Etching with aquatint, 1968 Signed, dated and numbered in pencil (see photos) Edition: 95 (74/95) Plate: 17 1/2 x 21 1/2" ...

edition 19/200 signed "Childs '55 (c)" at lower left paper size is 17 3/4 x 22 1/4 inches mat size is 20 x 24

ONE WEEK ONLY SALE AT 40% "Untitled III" is a work that displays James Hansen's intense colors and shapes of his abstract and surrealist style. This print made with etching and aquatints with hand-coloring on Arches paper pops with the illusion of three dimensions set against a muted background of esoteric shapes and symbols. The print is 32-3/4 x 25-3/4 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 20 as there are multiple prints in the possession of Collected Detroit. James Hansen was born in 1951 in New Haven, Connecticut and spent most of his artistic career in Provincetown, Massachusetts where he befriended and worked with Paul Bowen...

Carborundum Etching by James Coignard (French, 1925-2008) Signed and numbered 5/15. This might be a proof edition Includes insert by Michel Bohbot Frame: 22.5" X 18" Image: 16.75" X ...

Rising to prominence in the late 1970s and early 1980s, American artist Julian Schnabel is known for a multidisciplinary practice that spans painting, sculpture and film. During his ...

Georges Braque The bird Etching in colors (Crommelynck workshop) Signed in the plate with the monogram Edition of 250 copies not numbered On Arches vellum 38 x 28 cm (c. 15 x 11 in...

Beverly Pepper, American (1922 - 2020) - Untitled, Year: 1987, Medium: Etching, signed and numbered in pencil, Image Size: 22 x 16.25 inches, Size: 37 x 26.25 in. (93.98 x 66.68 cm)

Artist: Joan Miro Title: Plate I from Espriu-Miro Series: From the series Espriu-Miró, which contains 8 engravings printed on Gvarro paper with the publisher's stamp. Date: 1971 Med...

Stanley William Hayter Torero (de-accessioned from the Denver Art Museum), 1929-1933 Engraving on laid paper, third (final) state, on heavy BFK Rives...

Signed, titled and numbered, edition of 7. Rosalyn Richards has been a member of the Bucknell University art faculty since 1982. Images from particle physics, satellite photography...

Etching and aquatint Edition : 130/150 85.00 cm. x 70.00 cm. 33.46 in. x 27.56 in. (paper) 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (image) Handsigned by the artist in pencil L...

This artwork "Abstract Composition II." c.1970 in an original color etching and aquatint on Arches paper by noted Polish artist Johnny Friedlaender, 191...

Artist: Hirst, Damien Title: Liberty Series: In a Spin Volume 1 Date: 2002 Medium: Etching on 350gsm Hahnmuhle paper Unframed Dimensions: 35.875" x 28" Framed Dimensions: 43....

Willibrord Haas Arches and Stripes (Bögen und Streifen) (Post-war Abstraction, Joseph Beuys, German painter) Color Etching Year: 1986 Size: 15.4×19.3 on 25.4×31.3in Edition: 30 Si...

Etching, 1968 Handsigned by the artist in pencil and numbered 38/50 Publisher : Galerie Louise Leiris (Paris) Printer : Crommelynck (Paris) Catalog : [Baer 175B, p. 538 ; Bloch 1699]...

Abstract Composition is a mixed-colored screen print realized by Amintore Fanfani in 1972. Hand-signed and dated on the lower right. Numbered on the lower left. Edition 48/60.  Th...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

This artwork "Untitled" 1999, is an original color etching on wove paper by noted American artist Charles Eckart, b.1935. It is hand signed, dated and inscribed T.P in pencil by the ...

Juggler 1963 is an original contemporary artwork realized by Marino Marini. Color etching and aquatint depicting a juggler. Edition of 100 copies. On the back oh the artwork there ...

De trace de pas de trace de… Color etching with aquatint, 1966 From: Monsour and Matta, Les Damnations, 1966 (11 plates, this one of 7 hors text images) Edition: 85 portfolios in the...

Bodegon by Juan Manuel Gomez-Quiroz, Chilean (1939–2021) Date: 1979 Etching, signed, titled, numbered and dated in pencil Edition of 65 Image Size: 29.5 x 23.5 inches Size: 35.75 x 2...

Signed, titled, and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. They reflect ...

Etel Adnan Voyage Vers La Lune (Journey to the Moon), 2018 Etching in colours, on Arches wove Signed and numbered from the edition of 35 Plate: 30.5 × 24.7 (12 × 9.7 in) Sheet: 48....

Juris Putrāms graphics artists, works in book and advertising graphics, poster art, creates installations, organizes campaigns, decorates interiors and exhibitions. The artist's work...

Personages is print realized by Wifredo Lam (Sagua La Grande 1902 - Paris 1982) Colored etching on paper. Hand-signed and numbered, edition of XXI/XXV lower in pencil.

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...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Rene Marcel Carcan (Belgian 1923-1993) "Untitled" Edition LXXVI/CL, Abstract Etching/ Aquatint, 14 x 11 matted and paper, embossed plate image 4 x 5...

Signed, titled and numbered in pencil by the artist. Edition of 10. Rosalyn Richards has been a member of the Bucknell University art faculty since 1982. Images from particle physic...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

Danny Edwards Abstract Black & White Etching c.1989 Fine abstract etching by Danny Edwards. Pencil signed and numbered 2/2 by the artist. Plate dimensions 23.5 x 20. The frame mea...

The work of Blue Chip artist Frank Stella is in the collection of every Major Museum Worldwide. In 2019 a work of his sold at Christies for over 28 Million Dollars. This etching, screenprint, and relief on white TGL handmade paper by Frank Stella is from a very limited edition of only 25 works, there were also eight artists proofs. Titled, "Green Journal", Created in 1985, it is hand signed, dated, and numbered in pencil 13/25 F. Stella 85 in the lower right. The TGL Blind Stamp is located on the lower right from the publisher Tyler Graphics Ltd. Paper size is a large 66x51" and the framed size 76x62". Catalog Raisonne reference is Axsom 163. "Green Journal" is a first for Frank Stella, in that it is the first time a printed word occurs in a Stella print...