Handmade Paper Abstract Prints

A striking original lithograph from Hockney's popular The Moving Focus series with Cubist influences. Hockney depicts his studio interior with varying perspectives, shadows, views an...

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...

Abstraktes Bild, 1992 By Gerhard Richter 2023 6-color hybrid print on 260g Rives handmade paper 70 x 70 cm sheet 63.5 cm x 64 cm image Edition of 500. Unsigned, published by ...

Artist: Serge Helenon (French, 1934-) Title: "Mon Jardin Zoologique" *Signed by Helenon in pencil lower right Year: 1989 Medium: Original Carborundum Engraving on Moulin de Larroque ...

Etching with aquatint in colors on white wove paper with a deckle edge, 17 1/2 x 23 1/2 inches (317 x 598 mm); sheet 22 1/2 x 30 inches (571 x 762 mm), full margins. Signed and numbe...

Artist: Joan Mitchell (American, 1925-1992) Title: "Fields I" Portfolio: Fields *Signed and numbered by Mitchell in pencil (on second sheet) lower right Year: 1992 Medium: Original E...

A Op Art abstract color screenprint, "Planetary Folklore" 1968, by Victor Vasarely (1906-1997). This very striking work by Vasarely is comprised of various colorful geometric shapes, the work is signed lower right "Vasarely" and numbered lower left "2/250. This is an early and crisp impression in excellent condition and housed under glass in a gilt & silvered hardwood frame. This very eye-catching work by one of the 20th century's leading Op artists is ready to hang on your wall. 14" x 14.50" at sight without frame Numered 2/250 A Franco-Hungarian painter, Victor Vasarely (1906-1997) first studied medicine before turning to art. In Budapest, he frequented artists from the Hungarian Bauhaus...

Artist: James Coignard (French, 1925-2008) Title: "Les Voiles (The Sails)" *Signed by Coignard in pencil lower right Year: 1984 Medium: Original Hand-Embellis...

23 x 22 inch. Handmade Paper, Textured Lithograph. Signed in Pencil: Bottom Right. Numbered in Pencil: Bottom Left "111/150" A meditative and serene, abstract piece made of a combin...

Andy Goldsworthy Presentation print for Royal Mail Christmas Stamp Series, 2003 Color photogravure on handmade rag paper with deckled edges 15 × 20 1/4 inches hand signed lower right...

Martel Wiegand Untitled (Architectural Abstract, Modern, Beige, Brown, Linocut) Color Linoleum Cut on light Japanese Washi Paper with Centerfold 1990 24.01 x 35.43 inches (61 x 90 cm...

Alan Shields Treasure Rute I, 1979 Relief, stamping, linocut, collage on handmade paper Titled, numbered, signed, and dated Treasure Rute I 1/11 Alan Shields 1979 on the bottom front...

Friedel Dzubas Untitled, 1981 Hand-painted monotype on pulp paper 30 1/4 x 24 3/4 inches A noted figure in the New York School, Friedel Dzubas was associated with the Color Field p...

Cloudy Evening is a handmade monotype that channels the serene minimalism of Desert Modernism. With fluid, organic silhouettes layered in deep cerulean and soft sky tones, the compos...

This is a 6-color hybrid print by Gerhard Richter offered by CLAMP in New York City. 6-color hybrid print on 260g Rives Handmade paper (Edition of 500) Abstraktes Bild 1992/2023 A...

Artist: Paul Klee, After, Swiss (1879 - 1940) Title: Bauchredner und Rufer im Moor (Ventiloque criant dans le marais) Year: 1964 after 1920 Drawing Medium: Pochoir on Rice Paper, Sig...

"Verbindunden-Verletzungen" ("Injuries-Connections") is an original screen print on hand-made Japanese paper from 1998 by internationally acclaimed German ZERO group artist Günther U...

David Hockney is a pioneering figure of the 1960s British art movement and one of the most celebrated and prolific artists of the 20th and 21st centuries. Known for his versatility, ...

This proof is one of just a few printed in this color combination: the edition of 110 is printed with an orange background, while this copy is a muted yellow with the central, scribb...

“Sirocco” by Helen Frankenthaler . Mixographia embossed engraving on handmade paper. Unique color from the regular numbered edition. 51/52. Hand signed by artist, dated 1989. Pri...

Artist: Nancy Genn, American (1929 - ) Title: Saratoga Year: circa 1978 Medium: Monoprint on hand-made paper, signed l.l. Size: 40 x 54 inches (101 x 137 cm)

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

"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...

Artist: Joe Tilson, British (1928 - ) Title: Water Year: 1972 Medium: Silkscreen and Collage on Rice Paper, signed and numbered in pencil Edition: 26/70 Size: 38 in. x 26.5 in. (96.5...

Donald Baechler (American, 1956-2022), "Untitled (from Flower Quad A)", Stenciled Pigmented Handmade Linen Paper, 2011, one from a set of four, signed in pencil and dated lower right...

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: IV from La Magnanerie de la Ferrage Year: 1971 Medium: Linocut on Japon, signed in pencil Edition: Pour Leon Amiel Image Size: ...

Screenprint on handmade Napalese paper. Edition of 3000. Printed by Universität für angewandte Kunst, Vienna. Published by MAK Galerie, Österreichisches Museum für angewandte Kunst, ...

Artist: Robert Motherwell, American (1915 - 1991) Title: Three Poems: Nocturne II, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 75...

Compelling pop art silkscreen of hot lips and target after Andy Warhol titled "Casualty" by David Mar (20th Century). Edition 2/3. Signed and dated "Mar 1991" below lower edge. Image...

This framed work is one-of-a-kind colored pencil & collage on archival pigment print. The work itself is 20" x 16", and it is framed to 26" x 20" in a contemporary, simple white wood...

A very good impression of this color lithograph on TGL handmade paper. Initialed and numbered 6/40 in pencil. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the bli...

Face of a Woman, Figurative Abstract Pop Art Woodcut Portrait on Handmade Paper Bold pop art woodcut print on handmade paper of a woman's face in black and red, repeated in 4 vertical registers like a film strip, by Monterey Bay artist Paula Walzer...

TECHNICAL INFORMATION: Red Samurai, from Octavio Paz suite 1987-88 Lithograph and linoleum cut in colors with chine appliqué on handmade Japanese Masa Dos...

Terry Winters Monoprint with engraving and embossment on Twinrocker handmade paper Signed, dated and inscribed to lower edge ‘TW 2004 8’ Provenance: Matthew Marks Gallery with label...

This handmade monotype cyanotype presents a serene composition of layered blue forms that evoke distant mountain ridges dissolving into atmosphere. Built through subtle tonal transit...

Artist: Robert Motherwell, American (1915 - 1991) Title: No. 3 from Three Poems, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 750 I...

Artist: Robert Motherwell, American (1915 - 1991) Title: Three Poems: Nocturne V, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 750...

Shore Sentry, is an original color, limited edition lithograph on handmade German black etching paper; printed by Topaz Editions in 1977. Artist proofs 10. Edition size 100. Provenance:: A Sarasota, Florida collector Signed: Artist signed lower left with edition size Image size: 22 by 30 inches Sheet size: 30 by 38 inches Edition 38/100 Condition: Excellent Overall framed size: 30.25 by 38.25 inches Framed under plexiglass in chrome colored metal gallery frame SYD SOLOMON BIOGRAPHY Written by Dr. Lisa Peters/Berry Campbell Gallery “Here, in simple English, is what Syd Solomon does: He meditates. He connects his hand and paintbrush to the deeper, quieter, more mysterious parts of his mind- and he paints pictures of what he sees and feels down there.” --Kurt Vonnegut Jr. from Palm Sunday, 1981 Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd. There, Solomon met and befriended many of the artists of the New York School, including Jackson Pollock, Franz Kline, Willem de Kooning, James Brooks, Alfonso Ossorio, and Conrad Marca-Relli. By 1959, and for the next thirty-five years, the Solomons split the year between Sarasota (in the winter and spring) and the Hamptons (in the summer and fall). In 1959, Solomon began showing regularly in New York City at the Saidenberg Gallery with collector Joseph Hirshhorn buying three paintings from Solomon’s first show. At the same time, his works entered the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Wadsworth Athenaeum in Hartford, Connecticut, among others. Solomon also began showing at Signa Gallery in East Hampton and at the James David Gallery in Miami run by the renowned art dealer, Dorothy Blau. In 1961, the Guggenheim Museum’s H. H. Arnason bestowed to him the Silvermine Award at the 13th New England Annual. Additionally, Thomas Hess of ARTnews magazine chose Solomon as one of the ten outstanding painters of the year. At the suggestion of Alfred H. Barr, Jr., the Museum of Modern Art’s Director, the John and Mable Ringling Museum in Sarasota began its contemporary collection by purchasing Solomon’s painting, Silent World, 1961. Solomon became influential in the Hamptons and in Florida during the 1960s. In late 1964, he created the Institute of Fine Art at the New College in Sarasota. He is credited with bringing many nationally known artists to Florida to teach, including Larry Rivers, Philip Guston, James Brooks, and Conrad Marca-Relli. Later Jimmy Ernst, John Chamberlain, James Rosenquist, and Robert Rauschenberg settled near Solomon in Florida. In East Hampton, the Solomon home was the epicenter of artists and writers who spent time in the Hamptons, including Alfred Leslie, Jim Dine, Ibram Lassaw, Saul Bellow...

Hand signed, numbered and dated in yellow felt pen. Mixed media with handmade paper, bamboo and fabric mounted on black board and framed. Published by Gemini G.E.L., Los Angeles. Cer...

This unique cyanotype monotype diptych features fluid, interlocking shapes that drift across luminous fields of blue, creating a rhythmic balance between movement and stillness. Hand...

A very good impression of this color lithograph on Italia handmade paper. Signed, titled, dated and numbered 35/41 in pencil by Rosenquist. Printed and published by ULAE, West Islip,...

This unique cyanotype monotype diptych features fluid, interlocking shapes that drift across luminous fields of blue, creating a rhythmic balance between movement and stillness. Hand...

Artist: Anne Youkeles, Austrian/American (1920 - ) Title: Script Year: circa 1980 Medium: 3-D Hand-Cast Paper Pulp Collage, signed, titled and numbered in pencil Edition: 7/25 Siz...

A superb, richly-inked impression of this color etching and carborundum with hand-coloring in alizarin red egg tempera on TH Saunders handmade paper. Initialed, dated and numbered 41...

2021 Screenprint in colors, embossed and textured UV printing Sheet: 20 7/8 x 25 3/5 in. (53 x 65 cm) Edition of 175 Signed, titled, dated, and numbered in pencil, lower margin Frame...

2006 Print (casting with handmade paper), hand-coloring with acrylic Sheet: 29 7/8 x 21 7/8 in. (76 x 55.5 cm) Edition of 99 Signed, titled, dated, and numbered in pencil, lower marg...

1976 Colored and pressed paper pulp Sheet: 32 1/4 x 31 1/4 in. (81.9 x 79.4 cm) Edition of 24 Signed and numbered in pencil, lower margin

Flowers don't tell they show, 2021 Signed and numbered by the artist Hand embellished print on museum-grade cotton rag paper 31 x 31 in 78.7 x 7...

Jacquelyn Strycker One Day Tomorrow Will be Yesterday, 2024 collage of risographs and screenprints on Japanese and handmade fibers papers with sewing and acrylic gouache 57 x 76 in. ...

Flowers are like friends; They bring colour to your world, 2021 Signed and numbered by the artist Hand embellished lithograph on museum-grade rag paper 31 x 31 in 78.7 x 78.7 cm Edit...

Artist: Serge Helenon (French, 1934-) Title/Portfolio: "Présence" *Each work is signed by Helenon in pencil lower left or lower right Year: 1985 Medium: The Complete Portfolio of Thr...

Blue Floating Mobile I is a unique handmade cyanotype on watercolor paper, presented as a striking abstract triptych. The artist layers fluid, organic shapes in luminous shades of bl...

In this contemporary relief print on archival handmade paper, a circular, botanical mandala shape with petal-like edges in dark grey is dramatic and eye-catching against the brillian...

Michael Heizer III-8 (two pages), 1983 Monoprint on two individual sheets of white handmade TGL paper, hand colored with colored pencils, paint sticks, and liquid and spray acrylic p...

Abstract Color Field Lithograph in Pale Blue and Brown by American Beat artist Will Peterson (1928-1994.) This lithograph blends the linework and movement of abstract impressionism with a color field-esque composition. A long copper-brown rectangle shines through from the bottom layer of the colors. It is then crossed in multiple places by black linework and hatching. Around this shape a pale cornflower blue acts as a frame and crosses the brown shape in the center. The addition of the cool black and blue tones creates a sense of warmth in the underlying shape. Lithograph is printed on wove paper which is fixed to a larger piece of handmade paper containing the artists signature and a small embossing found on his other pieces from this time period. This paper is displayed on top of a linen covered board with sturdy wood edges and a plexiglass over over the entire piece. Will Peterson was born in Chicago in 1928 to German immigrant parents. He contracted Polio when he was in High School and thus spent much of his early years ill. During this time he started working as a cartoonist for his high school’s paper. He started his official art studies at Wilber Wright College in Chicago and later earned a BA and a MA at Michigan State University. Here he studied print making and lithography under John S. deMartelly. He began enjoying artistic success while still in graduate school, exhibiting at the Detroit Art Institute, the Terry Art Institute, the National Print Exhibition, and the Boston Printmakers. Peterson was drafted into the army in 1952 and thus spent time in Korea and Japan. His time as an educational specialist in Hokkaido was a formative experience for him and his interest in Japanese calligraphy and other arts influenced his later work. Upon returning to the United States, he moved to Oakland, California. He became involved with the beat movement and after founding the Bay Printmakers Society with fellow artist Mel Strawn...

Jasper Johns Sun on Six, 2000 Color linoleum cut on Gampi Torinoko paper Pencil signed, dated and numbered 4/26 on the front Published by Z Press, Calais, Vermont Frame included: ele...

Lithograph and chine appliqué 64.5 x 54 cms (25 3/8 x 21 1/4 ins) Edition of 50 Paper: Arches paper; Japanese Gampi handmade paper Other Collaborators: Image transferred from Mylar...

Friedel Dzubas Untitled, 1982 Monotype on handmade paper 33 1/4 x 33 inches A noted figure in the New York School, Friedel Dzubas was associated with the Color Field painting movem...

David Hockney Blue Hang Cliff (MCA Tokyo 335), 1993 Signed, dated, and numbered in pencil Lithograph and screenprint in colours on Arches wove paper 58.2 x 76.1 cm 23 x 30 inches Edi...

Richard Hunt Paper piece V, Terracotta Voyage, 1978 Artwork made exclusively from colored paper pulps, formed, handmade Twinrocker paper made by hand utilizing stencils to apply the ...