USA - Abstract Prints

Black and Moorehead 198, edition of 50. Signed, titled, and numbered, in pencil. Made shortly after Stanley William Hayter returned to his Paris Atelier 17 from New York, Trois Perso...

Artist: David Roth, American (1942 - ) Title: Untitled 3 Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 150 Image Size: 23 x 23 inches Size: 29 in. x 29 in. (...

ABOUT THIS PIECE: Briggs Edward Solomon's artwork is known for its balance and juxtaposition. It is a collaboration of simplistic and contemporar...

Rio de Janeiro is a colorful, bold, graphic, and visually compelling offset-lithograph by blue chip, pop artist Robert Rauschenberg. ​​​​​​​​​​​​​​​​In 1991, he was involved with th...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Formulaire rouge (Red Form), originates from the historic 1958 folio Derriere le Miroir, No. 110. Published by Maeght...

Jean Albert Gorin (French, 1899-1981), 1970, silkscreen printed in colors, pencil-signed and numbered 22/175, Image 23.75 x 23.75 inches, Published ...

Anne Youkeles Gemini, ca. 1969 Three-dimensional mixed media silkscreen on folded sheets of thin card Hand-signed by artist in pencil, titled and annotated Artist's Proof I from the ...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

A large, pastel colored monotype print on cast paper pulp by American Abstract artist, Friedel Dzubas. It is signed and dated lower right. Friedel Dzubas, German/American (1915–1994...

Artist: Stanley Hayter, British (1901 - 1988) Title: Allegro from the Peace Portfolio Year: 1970 Medium: Screenprint, signed and numbered in pencil Edition Size: 175 Image Size: 17.2...

This exquisite lithograph by Andre Derain (1880–1954), titled Au Jardin d'Allah (In the Garden of Allah), from Verve, Revue Artistique et Litteraire, Vol. I, No. 4, originates from t...

Damien Hirst - Forever - Contemporary Art Artists Hirst, Damien Edition Details Year: 2020 Class: Art Print Status: Official Released: 09/15/20 Run: 2,573 Technique: Giclee Paper: Aluminum Composite Panel Size: 15.35 X 15.35 Markings: Signed & Numbered Artwork is digitally signed & numbered About Artist: Damien Hirst, a poster boy for the Young British Artists who rose to prominence in late 1980s London, is one of the most notorious artists of his generation. He has pushed the limits of fine art and good taste with sculptures that comprise dead animals...

"Trees in Ranchitos II" is a striking 1975 color lithograph by acclaimed modernist artist Andrew Michael Dasburg (1887–1979). This collectible artwork, initialed in the lower right, beautifully captures the serene landscapes of New Mexico, reflecting Dasburg’s signature fusion of Post-Impressionism and Cubist influences. The composition conveys the tranquil rhythm of trees and desert terrain, combining geometric abstraction with lyrical naturalism. The lithograph is presented in a custom frame measuring 30 ½ x 36 ¼ inches, with an image size of 16 ½ x 23 ¼ inches, making it a sophisticated and visually compelling addition to any collection of Taos Modernist art, American modernism, or Southwestern landscape prints. About Andrew Michael Dasburg (1887–1979): Born in Paris, France, Dasburg immigrated to New York City in 1892, where his early talent was recognized. He trained at the Art Students League of New York under notable instructors including Robert Henri, Kenyon Cox, and Birge Harrison. In 1908, he returned to Paris and encountered the works of Henri Matisse and Paul Cézanne, experiences that ignited his lifelong commitment to modernism. After settling in Woodstock, NY, Dasburg immersed himself in the avant-garde scene, collaborating with Morgan Russell...

This exquisite lithograph after Amedeo Modigliani (1884–1920), titled Portrait (Portrait), from the album Douze Contemporains (Twelve Contemporaries), originates from the 1959 editio...

This original lithographic poster was created for Max Bill's 1974 exhibition at Marlborough Galerie Zürich. A leading figure in the Concrete Art movement, Bill's work is celebrated f...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

Artist: James Rosenquist (1933-2017) Title: Gravity Feed, State II (Glenn 147-A) Year: 1978 Medium: Etching, aquatint, stencil on Pescia Italia paper Edition: 12/78 Size: 22.75 x 40 ...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les folles de Sache (The Madwomen of Sache), originates from the historic 1975 folio Derriere le Miroir, No. 212. Pu...

Over the past 20 years, Michelle Oppenheimer has become well known for composing paintings that capture the imaginative and organic possibilities of abstract watercolor and acrylic. ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Published by Aimé Maeght, Éditeu...

Screenprint in colors on wove paper. Signed by the artist in pencil and also numbered 96/126 in pencil. Published by Lincoln Center List Poster and Print Program, New York. Second ...

Harmony Korine Killa Klan 2, 2011 Archival inkjet print in colours, on stretched canvas Signed and numbered 25/50 in black marker on the back 20 1/5 × 16 1/5 × 1 1/5 inches Published...

SALE ONE WEEK ONLY Soft pastel colors in floating smudges lay between and around lyrical abstract geometric and organic forms giving a diaphanous color and shape harmony to the work...

This exquisite lithograph and pochoir by Joan Miro (1893–1983), titled Personnages (Figures), from the album XXe Siecle, Nouvelle serie, No. 8 (double), Janvier 1957, originates from...

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...

Roy Lichtenstein at Modern Art Pavilion, Seattle Art Museum Limited Edition poster, 1976 Offset lithograph Limited Edition of 1000 22 1/2 × 28 inches Unframed, unsigned Publisher Se...

Original 1967 Milton Glaser Fold Out Poster for Bob Dylan's Greatest Hits. Offset lithograph printed in colors 33 x 22 in (83.82 x 55.88 cm) Fold lines as issued; very good vinta...

Artist: Margo Margolis (American, 1947-) Title: X Year: 1988 Medium: Monotype, signed in pencil Image Size: 24 x 18 inches Size: 30 x 22 in. (76.2 x 55.88 cm)

THÉO TOBIASSE – "CANTATE 51 DE BACH POUR LES JOURS DE LUMIÈRE" ⚜ Lithograph on paper ⚜ Hand signed and numbered ⚜ Conservation framed SYMPHONIC FIGURATION FROM TOBIASSE’S FEMME SERI...

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...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie O, var. 7 (Series O, Variation 7), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This is a cast metal sculpture of a woman and child, mother and baby in a rocking chair. It has a patina on a white metal. Not sure if it is steel or aluminum. It is and older vintage piece and has wear to patina where it sits and rocks on table. It is not signed or numbered and there is no foundry mark. Hence it is being sold as being after or in the manner of Henry Moore. Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history...

Tribal Sign, 1987 Signed and dated in pencil with publisher's blindstamp Eleven color lithograph on mauve TGL handmade paper Sheet: 24 x 18.5 inches Frame: 33 x 27 inches Edition 25 ...

Joan Miró (1893-1983) "Equinox" (Dupin 428), 1967 Etching and aquatint in colors with carborundum on Mandeure rag paper, signed in pencil and numbered 36/75, published/printed by Maeght, Paris, the full sheet, framed. sheet 41 1/4 x 28 3/4in (104.8 x 73cm) Joan Miró (1893–1983)was a Spanish painter, sculptor, and ceramicist born in Barcelona, who became one of the foremost figures in the Surrealist movement. Renowned for his whimsical abstract art...

Lithograph, 1948. Signed by the artist and dated in pencil, lower right. Numbered 4/12 in pencil, lower left.

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

This exquisite lithograph by Willem de Kooning (1904–1997), titled Untitled, from the folio Poems, originates from the 1988 edition published by The Limited Editions Club, New York, ...

Josef Albers, 'Interlinear K50', zinc plate lithograph offset to stone printing, 1962, edition 20, Danilowitz 151. Signed, titled, dated, and numbered '14/20' in pencil. A superb, ri...

Artist: Peter Alexander (1939) Title: San Blas II Year: 1988 Edition: 75, plus proofs Medium: Lithograph on Guarro paper Size: 22 x 30 inches Condition: Excellent Inscription: Signed...

André Masson Figures in Landscape Lithograph in colors on Arches paper Hand signed in pencil, numbered 51/150

This exquisite lithograph by Joan Miro (1893–1983), titled La Femme Arborescente (The Tree-Like Woman), from the folio Derriere le miroir, No. 151–152, originates from the 1965 editi...

This exquisite linocut by Joan Miro (1893–1983), titled Femme (Woman), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Edgar Allan Poe (Edgar Allan Poe), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), origin...

Antoni Clavé Untitled, from the Album International 2 Portfolio, 1977 Mixed media: Lithograph in relief 29 1/4 × 19 3/4 inches Edition 1/50 Signed and number on front Unframed This ...

This exquisite lithograph by Joan Miro (1893–1983), titled Personnages et oiseaux (Figures and Birds), from the folio Derriere le miroir, No. 151–152, originates from the 1965 editio...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

Poetry by J.D. REED Artwork by Richard Merkin screenprint in color, 1969, edition 22/50 Published by Bizzaro, Providence, R.I. Richard Marshall Merkin (1938-2009) was an American p...

This exquisite silkscreen by Robert Motherwell (1915–1991), titled Untitled, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Ath...

Carlos Cruz Diez Physichromie Panam 87, 2012 Chronographic on Aluminum and Plastic EDA 2 of 2 19 x 19 in Provenance: Private Collection, Miami.

KENNY SCHARF In the Beginning, 2019 6 color lithograph printed with Marinoni lithographic press, hand cut on 300 g. BFK Rives paper Hand signed and numbered from the edition of 99 on...

Artist: Gene Davis (1920-1985) Title: Lilac Year: 1980 Medium: Silkscreen on Arches paper Edition: 247/250, plus proofs Size: 22.5 x 28.5 inches Condition: Good Inscription: Signed a...

This abstract landscape limited edition print by Elwood Howell features a cool, green and pale blue palette. The artist's signature high horizon line forms a very slight valley at th...

This exquisite lithograph by Joan Miro (1893–1983), titled Bouquet de reves pour Leila, Poemes d'Yvan Goll (Bouquet of Dreams for Leila, Poems by Yvan Goll), from the album XXe siecl...

Edward Landon 'Astral Comic', color serigraph, 1978, edition 25, Ryan 12. Signed, titled, and annotated 'Edition 25' in pencil. A superb, painterly impression, with fresh colors, on ...

This captivating lithograph by Salvador Dalí ( Spanish, 1904 -1989) , titled The Immaculate Conception, is an original limited-edition piece,...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary 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, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, 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. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon 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...

This exquisite lithograph by Alberto Giacometti (1901–1966), titled Georges Braque le 31 aout 1963 (Georges Braque, August 31, 1963), originates from the 1964 folio Derriere le Miroi...

Over the past 20 years, Michelle Oppenheimer has become well known for composing paintings that capture the imaginative and organic possibilities of abstract watercolor and acrylic. ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Serge Prokofieff (Serge Prokofieff), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), orig...

Indian View C, 1971 Screenprint in colors 22 4/5 × 30 7/10 in 58 × 78 cm Edition 1/75 + 1AP Howard Hodgkin became a prominent figure in British art in the 1970s for painting on wood...