Abstract Abstract Prints

Le Bas du Ciel is an excellent Contemporary artwork realized by Renée Lubarow (b.1923) in 1978. Original colored etching on paper. Image Dimensions: 17 x 17 cm Hand-signed in penci...

Fulton by Tom Holland, American (1936 - ) Date: 1971 Lithograph, embossing and collage on Rives, signed, titled, numbered and dated in pencil Edition: 25/50 Image Size: 18 x 23 inche...

Festival di Spoleto 1987 is an original lithograph on paper, realized by Emilio Vedova. The incredible action of the Italian artist is clear in the abstract composition. In excell...

**FALL SUPER SALE UNTIL OCTOBER 13TH** **IMPORTANT: This is a limited edition of only 30 prints on premium CANVAS> It will arrive rolled inside a tube** The RAINBOW RAIN Series is ...

Chryssa Chinatown - 1979 Print - Serigraph   38.5'' x 31'' inches Edition: Signed in pencil and marked 207/250 The bright lights and signage of Manhattan became an important source of inspiration for the Greek-born artist Chryssa Vardea...

Abstraction is a colored screen print realized by the contemporary artist Giulio Turcato in 1970s. Hand-signed in pencil on the lower right. Numbered on the lower left margin, edit...

Alexander CALDER Abstract Composition, 1971 Original vintage lithograph poster (Arte / Maeght workshop) Printed signature in the plate On thick paper 89 x 59 cm (c. 35 x 23,2 in) I...

Abstract Compositionis an original etching made by Eugenio Carmi (Genoa, 1920 - Lugano, 2016) in 1987. Good conditions. Hand signed and numbered. Edition, VIII/XXXV. Eugenio Carmi...

Bianchi e Neri II (Acetates) - Plate B is a print realized using different techniques, and hand-signed in pencil on the lower right margin by Alberto Burri . Hand-numbered in pencil on the lower left. Edition 17/90. The whole edition includes 90 prints plus 15 out of commerce Artist's Proofs in Roman Numerals. Very good condition. The work is part of the "Black and white" folder that Alberto Burri realised in 1969, using an elaborate mix of techniques, such as lithography, chalcography and acetate collage. This six etching portfolio...

Red One is a contemporary artwork realized by Lorenzo Indrimi in the 1970s. Mixed colored lithograph. Hand signed and dated on the lower margin. Edition of XXV/XXX

Perla Krauze (Mexico, 1953) 'El exilio de los sentidos' (The exile of the senses), 2004 engraving and screenprint on paper 15 x 15 in. (38 x 38 cm.) Edition of 75 ID: KRA1662-001 Han...

Zao Wou- Ki Title: XXIV Shakespeare's sonnets Technique: Etching and aquatint by Zao WOU -KI Dimensions: 35 x 28 cm Reference: Agerup No. 369 Information : Original print create...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Duncan Grant (1885 - 1978) Interior (1973) Lithograph 36 x 30 cm (paper size 77 x 57 cm) Signed 'Grant' and numbered 9/90 in pencil; part of the Penwith Portfolio. Published by Penwith Galleries, St Ives in 1973 with works by Barbara Hepworth, Henry Moore, Peter Lanyon, Alan Davie, Merlyn Evans, John Piper, Ben Nicholson, Robert Adams, Bernard Leach, Michael Rothenstein, and F E McWilliam...

"Composición", (in Yellow) Year: 1977 Color etching Signed, dated, numbered in pencil Edition of 75 Size: 14.6 × 24.6 on 22.0 × 30.0 inches COA provided Joan Hernández Pijuan’s lif...

Please be aware that all prints are produced to order. Lead times expected between 15-20 days. Prices may change due to currency fluctuations. Giclée print on Archival Matte Paper ...

Silkscreen, 1969 Handsigned by the artist in pencil and numbered 120/250 Publisher : Fondation Vasarely, Château de Gordes Printer : Arcay, Paris Catalog : Benavides 167 72.00 cm. x ...

Lithograph, 1952 Handsigned by the artist in pencil and numbered 6/75 Publisher : Maeght (Paris) Printer : Mourlot (Paris) Catalog : Saphire E 14 37.00 cm. x 55.50 cm. 14.57 in. x 2...

Jimmy Ernst  Plate I - 1970 Print - Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 112/125 Jimmy Ernst’s artwork was influenced by a number of powerful talents and vital currents in the art of his time. Son of Max Ernst, Jimmy drew upon the biomorphic and surreal compositions of his father, as well as Arp, Klee, André Breton, and Lyonel Feininger. His mature oil paintings, which emerged in the 1950s and 1960s, reflect the Atomic Age aesthetic of the period. Often, they resemble crystals or webs; many look like vast labyrinths and are interpreted as symbols of the unconscious mind. Ernst was always interested in spirituality and drew inspiration from indigenous American art...

**FALL SUPER SALE TIL OCT. 13TH - TAKE ADVANTAGE OF IT** **IMPORTANT** This a Limited edition of 30 museum quality prints on CANVAS, signed and numbered by the artist. It will arriv...

Wassily Kandinsky - Composition 1916 Lithograph in colors on Arches paper, 1990 Paper size 24" x 28" inches Image size 20" x 22" inches Stamped signature (16) Blindstamps of the Russ...

Max ERNST Composition with Blue Vase, 1958 Lithograph and stencil (Jacomet workshop) after a painting On wove paper 31 x 24 cm (c. 12 x 10 in) Edited by San Lazarro, 1958 Excellent...

Joan Miró La Mélodie Acide - 9 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9 ...

Print. Limited edition 10. Signed by the author. Different sizes upon request.

Icare- Icarus Linocut in colors, 1972 Unsigned Stamped in ink on verso: "Imprimerie Arnéra" Archives/ Non Signé Provenance: Arnéra Archive ...

This lithographic poster was printed in 1966 at the Atelier Mourlot in Paris to promote an exhibition of Leger's works at the Musée Cantini in Marseille in the summer of 1966. Leger ...

Bold abstract monoprint by Roxanne Lu (20th Century). This piece is composed of botanical shapes laid across large patches of pale magenta, olive green, grey, and pale blue. Signed, dated, and marked with the artist's chop in the lower right corner (Roxanne Lo...

Michael Challenger Not Yet - 1979 Print - Silkscreen   25'' x 25'' Edition: Signed in pencil, titled, dated and marked AP VIII Challenger's work is a powerful interplay of op-art an...

Joan MIRO Le Marteau sans Maitre XX, 1976 Original etching and aquatint From a limited edition of 175 copies (+ 25 Hors Commerce) On Arches vellum With the editor watermark "Au vent...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Enginee...

Anthony Baab (Droste Effect, Lithography, Toner Wash) Colin 2014 Medium: Archival Inkjet and 3 Color Hand Lithography Edition: 17 Paper: Somerset Enhanced Velvet Paper Size: 24.75″ x...

This lithograph is by Emerson Woelffer (1914-2003), a noted American abstract artist. The print is untitled, but it depicts a pair of lips, an image that Woellfer used in a number of...

Etching and aquatint on paper Edited in 1978 Limited edition of 90, numbered 65/90 Signed in pencil by artist in lower right corner 
Paper size: 97 x 97 cm Very good conditions Regu...

Artist: Jean Baier, Swiss (1932 - ) Title: Untitled - I Tear: Circa 1968 Medium: Screenprint on Foil Paper, Signed in Ink Edition: Epreuve d'Artiste Size: 23 in. x 33 in. (58.42 cm ...

Lithograph, 2006 Handsigned by the artist in pencil and numbered 2/20 56.00 cm. x 77.00 cm. 22.05 in. x 30.31 in. (paper) 50.00 cm. x 65.00 cm. 19.69 in. x 25.59 in. (image) On BFK...

Matt Magee Memorandum, 2022 Lithograph 65 x 49 in (165.1 x 124.5 cm) JPHB 5286

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

TULLE of 3 Images by Christian Stoll an epic scale photograph of mesmerizing texture details 3 x single Images of 64 x 48 inches / 163cm x 122cm editi...

Cama Roja original engraving painting. virtual framed paper Arches, 63x90 cm. ed. Galerie Maeght, Barcelona. IMpr. J. Barnara, Barcelona Catalogue razonne 1973-1978 pag 186 TÀPIES P...

Etching on fine art paper, E.A. 1/1 from the cycle " Botanical Dream Nr. 11", recently presented in the Danubiana Meulenstein Art Museum in Bratislava.

Justo Barboza (Argentina, 1938) 'Sin título IV', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-016-030 Hand-signed by author

Composition is a lithograph print realized after Alexander Calder in 1968. The artwork shows abstract shapes in vivid colors is typical of the artist's style. Good conditions with slight foxing and a very small cut on the lower. On the back of the artwork there is a description. Alexander Calder ( July 22, 1898 – November 11...

23/100, 1974. Paper, lithograph, 43x65 cm

Grey Compostion is an original contemporary artwork realized by Otto Hofmann in 1989. Mixed colored screen print. Hand signed on the lower right margin. Numbered on the lower left...

Image dimensions: 48.5 x 45.5 cm. Untitled is an original black and white etching realized by Miodrag Djuric in 1980. Hand Signed, dated and numbered. Edition 9/10. Good condition...

Original linen-backed 1974 Spoleto poster. Roman Polanski directed Alban Berg's opera LuLu at the Spoleto Festival, which was conducted by Christopher K...

Lithograph, 1954 Handsigned by the artist in pencil and numbered 59/75 Publisher : Galerie Louise Leiris (Paris) Printer : Mourlot (Paris) Catalog : Saphire 138 50.00 cm. x 65.00 cm....

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...

Screenprint, 1970, signed, dated and numbered an AP aside the edition of 200 (there were 15 AP in total), published by Gemini G. E. L., Los Angeles., sheet: 99.5 x 98 cm (39¼ x 38½ i...

Artist: Manuel Felguérez Barra, Mexican (1928 - ) Title: Untitled Year: circa 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 8/100 Image Size: 17.5 x 21.5 inches Siz...

Abstract Composition is a screen on aluminium print on paper realized in the 1970s by Salvatore. Hand-signed and numbered. Edition of 100 pieces.   Good conditions.

Artist: Scott Sandell, American (b. 1953) Title: Abstract with Red Year: 1980 Medium: Lithograph, signed and numbered in pencil Edition: AP Size: 20 x 28 in. (50.8 x 71.12 cm)

Joni Mitchell “Green Flag Song,” Published by Lev Moross Gallery. Los Angeles, CA From an exhibition of 60 large photographic triptychs. When Mitchell’s television set broke, it b...

Composition is an original screen print on white paper realized by Italian artist Tonino Maurizi. Hand-signed on the lower right. Numbered on the lowe...

This is a unique woodcut print of a forest and stream in dark eggplant purple offset by a minty light teal greenish blue and pale yellow background. The monotype brings to mind the t...

Untitled is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1984. Signed in the plate on the lower. The print suite was realized ...

Abstract Composition is an original folding leaflet, illiustrated with an original color serigraph on paper, realized by the French artist Jeanne Coppel (1896-1971) in the occasion o...

SUMMER COUPLE is a rarely seen, original limited edition lithograph by the Dutch artist Karel Appel printed using hand lithography techniques on Somerset paper, 100% acid free. SUMME...

Artist: Jay Rosenblum (Americam, 1933-1989) Title: "Grove #1" *Signed by Rosenblum in pencil lower right Year: 1979 Medium: Original Screenprint on white Stonehenge paper Limited edi...

Michael Challenger Heaven Forbid - 1979 Print - Silkscreen 17.5'' x 25'' Edition: Signed in pencil, titled, dated and marked 291/300 Challenger's w...

Artist: Gary L. Shaffer (American, 1936-2001) Title: In Between The Houses III Year: 1983 Medium: Collagraph on heavy paper Image size: 26 inches diameter Sheet size: 34 x 27.5 inch...