United Kingdom - Abstract Prints

Ian Tyson 4 x screenprints from the Schema Series with matching edition numbers Each print is 58 x 58 cm - sheet size Edition 11 of 30 hand-signed and dated on the front and numbered...

Dragonfly [2021] Please note that insitu images are purely an indication of how a piece may look This handmade screenprint depicts a Dragonfly inset with a set of geometric shapes in Six colours including Metallic Gold ink. The artwork was created using procedurally generated patterns that overlap creating complex layered geometric shapes. The Metallic ink layer gives the print an extra brilliance and shines showing off the multi-layered liquid patterns on the surface. Limited edition of 50. Its 40 x 40 cm. Artwork printed...

This original screenprint in colours is hand signed in pencil by the artist “Vasarely” in the lower right margin. It is also hand numbered in pencil from the edition of 138, at the l...

The artworks capture a feather balanced amidst a starry void, inviting contemplation and reflection. A feather down drifts softly, suspended in a mysterious, dream-like expanse of bl...

Caught on a Breeze #1 – Green by Charlie Davies [2021] limited_edition Soft ground etching Edition number 100 Image size: H:22 cm x W:30 cm Complete Size of Unframed Work: H:36 cm x...

Repairs in the Sky, 1999 Louise Bourgeois Letterpress and lithograph in colours, on two sheets of smooth wove paper Signed and numbered “Inscribed ‘AP’ and numbered ‘12’, one of 14 ...

Marc Quinn Green Herbarium, 2024 Hand-pulled 4-Layer Screen Print on Mohawk Superfine 352gsm paper Embossed, signed and numbered on the front 60 x 45 cm Edition of 45 Marc Quinn is ...

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...

A simple side view of a Flower head in full bloom. A combination of solid, sweeping brushstrokes with subtle botanical elements in six layers including Silver and Metallic Gold. The ...

Etel Adnan Totem, 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: 48.1 × 38 cm (19 × 15 in)

Fine Art Giclée print on Hahnemühle German Etching 21 x 29. 7 cm Edition of 100 Accompanying certificate of authenticity with the artist's digital signature Patrick Hughes is a ren...

Chris Keegan Sphere Limited Edition Silkscreen Print Edition of 50 Size: H 40cm x W 40cm x D 0.1cm Sold Unframed (Please note that in situ images are purely an indication of how a pi...

"Inspired by the idea of nature leaving its mark on the man-made object, Kenny started cutting up bottles to create his works. Working without a camera, Kenny creates small plates or...

Twentieth Century Untitled Abstract Limited Edition Stone Lithograph Joan Miro Originally in a catalogue and consequently there is slight evidence of a fold in the centre. We have h...

Horst Antes (German, 1936) Engel der Gershichte #5 (Angel of History) Signed ‘Antes’ (lower right) and inscribed ‘profe’ (lower right) Executed in 1966 – 1968 Lithograph 22.3/4 x 28 ...

Billy Childish, Swan and Fish, 2023 edition of 50, 26 x 21.5 cm hand-signed and numbered by the artist. Billy Childish is a prolific British artist, musician, and writer known for...

This limited edition is an exciting new collaborative project between Sir Elton John, world-renowned photographer Terry O’Neill, and innovative artist David Studwell. In the lead-up ...

This original screenprint in colours is hand signed in pencil by the artist "Barbara Hepworth" in the lower right image. It is also hand numbered in pencil 44 from the edition of 150, at the lower right image, below the signature. It was printed by Rose and Chris Prater of Kelpra Studios, London and co-published by Lund Humphries, London and Praeger Publishers, New York in 1971. This screenprint was included in the 1971 catalogue raisonné of Barbara Hepworth’s sculptures...

Katie Edwards Taj Mahal Limited Edition Silkscreen Print Edition of 50 Size: H 51cm x W 40.5cm x D 0.5cm Sold Unframed Please note that insitu images are purely an indication of how ...

Joanna Padfield Tree Fern Limited Edition Linocut Print on paper Edition of 50 Image size: 40x30cm Paper Size: 53x38cm Sold Unframed Please note that insitu ...

Robyn Denny (1930-2014) Portrait Series A (4) Screenprint 80 x 58 cm Signed to the bottom right and blind stamped Numbered 27/30 ​‘No painting should reveal all it has to say ...

Patrick Heron was a painter, textile designer and writer on art. He was born in January 1920 in Leeds, the son of T.M. Heron, founder of Cresta Silks and a Christian sociologist. ...

An abstract exploration of light's nuanced play through dynamic curves... Soft hues revolve on a dark canvas, creating an abstract interplay of light and shadow... "I am surrounded b...

This original etching and aquatint on arches. It is hand signed in pencil by the artist "Miró" in the lower right image. It is also hand numbered in pencil with Roman numerals XIII o...

Bechtold Original vintage 1975 Oversize size gallery exhibitions poster. 35.1 x 50.1 cm Sold as seen rolled - excellent condition. Exhibition detailed : Galería Carl van der Voo...

Cities 20 – Evening, Radcliffe Camera Oxford by Susan Brown. A limited edition giclée print. The print edition is 150 The image size is 40 x 40 cm, o...

Untitled 1996, 1996-2000 Jochen Klein Laser print in colours With the artist's estate ink stamp verso Dated and numbered from the edition of 100 Published by Cubitt, London Sheet: 2...

Untitled, 2002 Robert Mangold Digital print in colours, on wove paper Signed and numbered from the edition of 50 in pencil Published by Domberger KG, Fiderstadt Sheet: 50 × 40 cm (1...

Cloudburst by Chris Keegan [2021] This Four colour screen print illustrates a burst of sunlight casting through interweaving clouds in the sky. The bursts of sunlight and mark-making create an overlapping positive and negative space. Finally, the Gold Metallic layer enhances the interplay between the...

The Hour Is Devoted to Revenge, 1999 Louise Bourgeois Letterpress and lithograph in colours, on two sheets of smooth wove Arches Signed with initials, inscribed ‘AP’ and numbered 15...

December The Happy Year Harry Bunce Limited Edition Print Published 2017 as an edition of 365 worldwide (one for each day of the year) + 31 unique hand-embellished pieces. 31.5 x 28...

Howard Hodgkin Tropical Fruit, 1981 Colour screenprint on Velin Arches paper, signed with initials, dated and numbered 69/100 in pencil 78.5 x 93.8 cm - Sheet 91.4 x 106.3 cm - Frame...

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 ...

Our Garden of Thought, 2025 Jadé Fadojutimi Unique archival pigment print with hand colouring in oil pastel On Hahnemuhle German Etching 310 g/m paper Signed, dated and numbered fro...

Victor Vasarely (Franco / Hungarian 1908 - 1997 Kaldor lithograph 38.3/8 x 37.3/8 in. (97.7 x 95.2) Numbered ‘180 / 250’ and signed (lower left and right respectively

Graham Vivian Sutherland (British, 1903 – 1980) ‘Sheet of studies, heads’ Coloured lithograph Limited Edition 49/70 Signed ‘Sutherland’ (lower right) 25.1/2 x 19.1/4 in. (64.5 x 49 ...

Robyn Denny (1930-2014) Portrait Series A (1) Screenprint 80 x 58 cm Signed to the bottom right and blind stamped Numbered 23/30 ​‘No painting should reveal all it has to say ...

Christian Furr How My Heart Sings- Jouissance Green - Blue Glissando Speculo I, 2022 Hand-finished monoprint, Acrylic paint with diamond dust on canvas Signed verso Dated 10 Jan 2023...

This is a Five colour screen print Including a metallic Silver layer. This print is then finished off by drawing over the print with multi-coloured paint including Gold, Yellow and G...

Aquatint and lift-ground etching on Georges Duchêne Hawthorne of Larroque handmade paper, Edition of 70 1983 90.2 x 46.4 cms (35 1/2 x 18 1/4 ins)

Stephen Buckley b. 1944 Untitled (Small Etching J), 1979 etching and aquatint 28 x 24.2 cm 11 x 9 1/2 in signed, and dated verso, edition of 40 Stephen Buckley is a British abstrac...

Harriet Hoult Walking The Loop Limited Edition Giclee Print Edition of 250 Sheet Size: 91cm, x 63cm Signed by the artsit Sold Unframed Free Shipping Walking the Loop is a limited ed...

Katie Edwards Best Mates Original Silkscreen print with hand painted layers Mounted Size: H 40.5cm x W 50.8cm Free Shipping Please note that in situ images are purely an indication o...

This original lithograph in colours is hand signed in pencil by the artist ''Miró'' at the lower right margin. It is also hand numbered 21 in pencil from the edition of 50, at the lo...

Horst Antes (German, 1936) Zwi Fusse (Two feet) Signed ‘Antes’ (lower right) and inscribed ‘profe’ (lower right) Executed in 1966 – 1968 Lithograph 22.3/4 x 28 in. (57.8 x 71.2 cm.) ...

Artwork details: Jamie Williams, Nightlies, image 30cm x 30cm, sheet size 26.5cm x 26.5cm, on Hahnemuhle Photo Rag Paper Signed with Edition 3/20 verso, 2022 Jamie Williams is an e...

Artwork details: Jamie Williams, Nightlies, image 30cm x 30cm, sheet size 26.5cm x 26.5cm, on Hahnemuhle Photo Rag Paper Signed with Edition 3/20 verso, 2022 Jamie Williams is an e...

This original home-made xerox is hand signed in pencil by the artist "David Hockney" at the lower right margin. It is dated in pencil “90” [1990] next to the signature. It is also h...

Howard Hodgkin Still Life, 1980 Colour screenprint on Velin Arches paper, signed with initials, dated and numbered 77/100 in pencil. 79 x 73 cm published by Bernard Jacobson Ltd, Lon...

Close Finish is an original linocut print on paper by John Scott Martin. Having cut a series of lino blocks, I prepare collage backgrounds. I handprint onto the collages, which are m...

Florentine 2 by Richard Smith, 1973 Additional information: Medium: lithograph on heavy wove paper, with carbon tracing paper and plastic strings 19 3/4 x 27 1/2 in 50 x 70 cm signed, dated and numbered 46/75 in pencil Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Image by Victor Pasmore, 1974 Additional information: Medium: etching, aquatint and screenprint 92 x 65 cm 36 1/4 x 25 5/8 in signed with initials Victor Pasmore was a British pain...

NV18 is an original minimalist print by Jonathan Moss.The N.V series of unique, one-off, relief prints find their origin in my videos of flas...

A dynamic and vibrant abstract silk screen full of colour and movement. The artist has signed, dated, inscribed and numbered (7/16) to the lower edge. On wobve.

Monochromatic #02 is part of a series of photographs entitled Monochromatic by Cristian Stefanescu. This black and white abstract geometry series is presenting a dialogue with the elements of perceptions and space. Seeing is unconscious using our senses, our intellect and our emotions in order to interpret the world around us according to our own personality, frame of reference or system of beliefs. I like to use as starting point the elements already created in our reality, fragments of nature or made by human hand. I like to restructure the images I am taking, by altering the angles and relative lengths, joining structures or spatial symbols into a combined representation of matter, just as I like to reorganise my thoughts, in order to be able to change my interpretation, or better say my perception and while doing so I add new forms or perspectives to each thought. Cristian Stefanescu, artist, is available for sale online and in our art gallery at Wychwood Art. Oxford based artist Cristian Stefanescu was born in 1968 in Bucharest. He obtained an MSc degree in 1992 at the Technical University of Construction Bucharest, specialisation in Water and Wastewater Treatment followed by the second MSc in 1994 obtained at University of Liège, specialisation in Groundwater Engineering. After having spent more than a decade of his life teaching at the Technical University of Construction Bucharest, Cristian moved from academia to photography working in fashion industry. The passion for photography developed in the early years of college and became a constant element of his life. After long and constant collaborations with fashion brands in Romania, in 2018 Stefanescu moved to London to open his own studio. Photography was born black and white and he chose to continue this tradition, while working on evolving the visual aesthetics of this raw art form rendering his believes. Cristian Stefanescu’s distinctive monochrome photographs are an exploration into the psychological and metaphysical. He captures nature or buildings in specific moments in time – through highly visual heartbreakingly dark images often overlapped with low-contrast minimal landscapes – to create works that stretch the idea of a hypothetical time. His photo installations exist in dialogue with the elements and perceptions of space and time. “Seeing is unconscious using our senses, our intellect and our emotions in order to interpret the world around us according to our own personality, frame of reference or system of beliefs.” he has said. “I like to use as starting point the elements already created in our reality, fragments of nature or made by human hand. I like to restructure the images I am taking, by altering the angles and relative lengths, joining structures or spatial symbols into a combined representation of matter, just as I like to reorganise my thoughts, in order to be able to change my interpretation, or better say my perception and while doing so I add new forms or perspectives to each thought. This is perhaps why I love photography, because it is simply a visual capture of something already created in the world and is always changing through our interpretation, it is more like a reflexion of our thoughts.” Always preferring to focus on the space rather than its subjects Stefanescu is obsessive about the contrast of his photography, in order to channel the intensity of light and texture of the storied buildings or nature elements. He documents concrete buildings, using the subject as representative for its physical referents, while considering metaphorically the world as the concrete representation of our emotions. Concrete thinking requires facts and representation about everyday life, palpable objects in a tree dimensional world. Stefanescu uses his photographs to deconstruct and alter reality in order to obtain abstract images, since by definition the abstract thinking involves a mental process and an abstract object does not exist in time or space, but rather exists as a thought, as an idea. “I use art in a reversed process of creation. I believe thought forms what our eyes can see, so I take what was already created by the thought of another and I try to place it back into what is known forever in the mind” he has said. Cristian Stefanescu believes in the energy of every being, of each object or nature element. He upholds that photography renders the ineffable combination of the object’s energy and the photographer’s one while taking a picture. And what is the energy of a photograph? Is it the energy of the space that is framed in the viewfinder, is it the energy of the photographer? I think it is an ineffable combination of the photographer’s energy when he pressed the shutter button and everything that forms the energy of the photographed space...

Rural Resistance Series - Home Guard Rural Resistance field commander  Rural Resistance Ground Force by Harry Bunce displaying a triptych of the Rural Resistance series. The works i...

Lisa Takahashi Echelon Limited Edition Linocut Print Edition of 100 Image Size: H 41cm x W 56.5cm Sheet Size: H 50cm x W 71.2cm x D 0.1cm Sold Unframed ...

Agent X Untitiled 1982 Limited Edition of 40 Mixed Media on Paper Sold Unframed Paper Size: 101 cm x 88 cm x 1cm Please note that in situ images are purely an indication of how a pie...

The first crop to ripen is usually the barley. Hares can be seen running through it as it gives good cover for them. You need a keen eye to see these fast creatures, but a glance at ...

ADDITIONAL INFORMATION: Fei Alexeli No Bad Days Limited edition of 20 70 H x 70 W x 0.1 D cm (27.56 x 27.56 x 0.04 in) Giclée print on Hahnemühle paper signed in front by the artist...