Alexandre Arrechea Abstract Prints

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

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

Etching, aquatint and drypoint in colours, 1987, on Magnani paper, signed and dated in pencil, numbered from the edition of 71 (there were also 8 artist’s proofs), published by 2RC E...

Francesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...

Artist: Pablo Picasso Title: Le Grenouille (The Frog), from Buffon's l'Histoire Naturelle Medium: Original etching with sugar-lift aquatint and drypoint on Vidalon paper with Vollard...

An original etching, aquatint, dry-point and carborundum by Joan Miro, 1969. It is hand signed and numbered H.C. aside the edition of 75 copies on Arches, plus some H.C. copies. The...

"Holiday" is a work that displays Richard Jacobs early Balinese influence. This abstract work made with drypoint etching manifests a layer of depth and contrast that is achieved through an Indonesian technique of drawing the lines of the resist or printing it with a copper stamp that allows an artisan to selectively color the work through the soaking process. "Holiday" is exemplary of this earlier aquatint process before Jacobs would go on to apply a diversity of colors to his work. The print is 39 x 29 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 17 as there are multiple prints in the possession of Collected Detroit...

Robert Indiana American Dream (EAT / DIE / HUG / ERR) (Sheehan, 136), 1986 Hard and soft-ground etching, aquatint, drypoint and stencil on white Arches paper 37 inches × 21 inches ...

Artist: Louisa Chase, American (1951 - 2016) Title: Portfolio of Six Etchings Year: 1984 Medium: Six Drypoint Etchings with Aquatint, Signed and Numbered in Pencil Edition: 30 Paper...

A moody, evocative black and white abstract etching by pioneer Bruce Nauman. Bruce Nauman (born December 6, 1941) is an American artist. His practice spans a broad range of media inc...

"Love" Vintage San Francisco Drypoint Print Abstract print featuring a stylized version of the Japanese kanji for love, 愛, by S.T. Chang (American, 20th century.) The kanji is outli...