Paper Abstract Prints

1994 Screenprint in colors, on wove paper 25 3/4 x 19 5/8 in. (65.4 x 49.8 cm) Edition: 95/120 Signed, titled (in Japanese), dated, and numbered in pencil, lower margin Authenticated...

Philip Guston Monograph: Philip Guston (Hand signed and inscribed to major collector by Philip Guston), 1980 Softback monograph (hand signed, inscribed and dated by Philip Guston to Mary Keesling) Warmly signed and inscribed by Philip Guston to Mary Keesling on the title page 10 1/4 × 9 × 3/4 inches If you're reading this description, then we hardly need to tell you, dear collector and Guston enthusiast, that autographed books...

Author: Baruj Salinas (Cuba, 1938) Title: 'Hiatus 2', 1986 Medium: Print. Technique: Mixed media on paper Size: 22.1 x 30 in. (56 x 76 cm.) Signature: Yes SKU: SAL1257-012-000 Signed...

Picture done occasionally, reminded me to Mark Rothko, limited to 5, signed. I can imagine it on a white wall with a wonderful frame.

Abstract monotype on paper featuring red, green, and blue rectangles on a gray background by Wilma Fiori (1929-2019). Presented in a custom frame with all archival materials measurin...

The cult of the curve developed by Jacinto Moros in his work enjoys, as a good production with solid foundations, a prismatic texture. From this, the interpretations and rich metapho...

Monotype, ink on paper, featuring an abstract red and beige composition by Wilma Fiori (1929-2019). Presented in a custom frame with all archival materials measuring 20 x 19 1⁄2 x 1 ...

This unframed, signed, limited edition pigment print by world renown artist Ricardo Mazal exists in an edition of 50. The paper size is 37 inches h x 35 inches w and an image size of...

Thomas Ranft (1945) Nacht der tausend Träume, 1986 • Coloured etching on three separate plates • Sheet ca. 55 x 42 cm • Titled, signed and dedicated Worldwide shipping for this ob...

This unframed, signed, limited edition pigment print by world renown artist Ricardo Mazal exists in an edition of 30. Paper size is 35 inches h x 30 inches w with an image size of 26...

Alan Shields Untitled mixed media geometric abstraction collage, ca. 1979 Etching and aquatint in colors with collage Pencil signed and numbered 15...

No. 1 from Three Poems (Red Wind) by Robert Motherwell, American (1915–1991) Portfolio: Three Poems - Octavio Paz Date: 1988 Lithograph on Masa Dosa paper, mounted to board Edition o...

Abstract monotype in blue, brown and black on paper by Wilma Fiori (1929-2019). Print is presented in a custom frame with all archival materials measuring 20 1⁄2 x 19 1⁄4 x 1 inches....

"Vegetable Forms No. 9" "1st State" is a beautiful linear design woodcut of an artichoke. What is intellectually interesting is the fractal beauty of nature found in the artichoke. A fractal is a kind of pattern that we observe often in nature and in art. Whenever you observe a series of patterns repeating over and over again, at many different scales, and where any small part resembles the whole, that’s a fractal. The Artichoke is the perfect example in that the shape of the leaves repeat themselves and they are the same shape as the fruit itself. Fractals are exciting, not only for their mathematical or conceptual representation, but also for the fact that you can visualise the math—and it’s beautiful! This print is rendered in an intense green with a light blue color to delineate the intriguing linear element of the artichoke's leaves. Joyce Tilley Nagel...

Unrtitled is an artwork realized by Gustave Singier (1909-1984). Lithograph , cm 32,5x25. Signed and numbered (copy 44/200) in pencil on the front. Very Good condition. Gust...

Composition noire, jaune et brune etching and aquatint on Rives paper , edited in 1962 Limited Edition of 75 copies Hand signed in pencil by artist lower right and numbered 34/75 low...

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...

"Earthcore" is an abstract of a familiar image ... a view of earth sliced in half usually as an explanation of the many layers of spaceship earth. This print is more than its title. It is rich in its depth of color and texture. Upon close inspection there is much activity on the surface which continually adds to its visual complexity. The name given to this print process is “Collagraph” It is made by glueing different materials to cardboard and creating a kind of collage. During the inking process the ink will rub off surfaces that are smooth or higher and stay on surfaces that hold more ink, at edge and at lower points thus creating the image. To protect the plate through the printing process it’s sealed with one or more layers of shellac. A collagraph plate is quite sensitive and will be deformed by the pressure of the printing press. Joyce Tilley Nagel...

Not Quite Green - Minimalist Transfer Monotype in Oil on Paper Original hand painted and transfer monotype painting by California artist Heather Speck (American, 20th C). A layer of...

"Dropout" is one of the monoprints that Joyce Nagel so enjoyed creating. This monoprint is a one-off abstract print. The arrangement of shapes and colors p...

Orange Deadpan - Monoprint EV on Paper Original transfer monotype painting by California artist Heather Speck (American, 20th C), heavily textured in hu...

Pink on Yellow - Textured Transfer Monotype in Oil on Paper Original hand painted and transfer monotype painting by California artist Heather Speck (American, 20th C). Pink textures...

Blue and Pink on Yellow - Textured Transfer Monotype in Oil on Paper Original hand painted and transfer monotype painting by California artist Heather Speck (American, 20th C). Pink...

Deadpan Pink - Monoprint EV on Paper Original transfer monotype painting by California artist Heather Speck (American, 20th C). Heavily textured in hues...

"Grid Melt" is one of the monoprints that Joyce Nagel so enjoyed creating. Being a monoprint makes this piece totally unique and unlike any of the other pi...

Finely Detailed Abstract W/Woman Carrying a Young Child Collotype on paper Finely detailed etching or collotype of a complicated fine line drawing o...

"Convolution" is a lithograph on paper by Herbert Bayer (1900-1985) from 1948 of an abstract kinetic movement shape. Presented framed in all archival materials, outer dimensions measure 23 x 26 ¾ x 1 ¼ inches. Image sight size is 17 x 22 inches. Print is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Herbert Bayer Born 1900, Haag am Hausruck, Ausstria Died 1985, Montecito, California Herbert Bayer enjoyed a versatile sixty-year career spanning Europe and America that included abstract and surrealist painting, sculpture, environmental art, industrial design, architecture, murals, graphic design, lithography, photography and tapestry. He was one of the few “total artists” of the twentieth century, producing works that “expressed the needs of an industrial age as well as mirroring the advanced tendencies of the avant-garde.” One of four children of a tax revenue officer growing up in a village in the Austrian Salzkammergut Lake region, Bayer developed a love of nature and a life-long attachment to the mountains. A devotee of the Vienna Secession and the Vienna Workshops (Wiener Werkstätte) whose style influenced Bauhaus craftsmen in the 1920s, his dream of studying at the Academy of Art in Vienna was dashed at age seventeen by his father’s premature death. In 1919 Bayer began an apprenticeship with architect and designer, Georg Schmidthamer, where he produced his first typographic works. Later that same year he moved to Darmstadt, Germany, to work at the Mathildenhöhe Artists’ Colony with architect Emanuel Josef Margold of the Viennese School. As his working apprentice, Bayer first learned about the design of packages – something entirely new at the time – as well as the design of interiors and graphics of a decorative expressionist style, all of which later figured in his professional career. While at Darmstadt, he came across Wassily Kandinsky’s book, Concerning the Spiritual in Art, and learned of the new art school, the Weimar Bauhaus, in which he enrolled in 1921. He initially attended Johannes Itten’s preliminary course, followed by Wassily Kandinsky’s workshop on mural painting. Bayer later recalled, “The early years at the Bauhaus in Weimar became the formative experience of my subsequent work.” Following graduation in 1925, he was appointed head of the newly-created workshop for print and advertising at the Dessau Bauhaus that also produced the school’s own print works. During this time he designed the “Universal” typeface emphasizing legibility by removing the ornaments from letterforms (serifs). Three years later he left the Bauhaus to focus more on his own artwork, moving to Berlin where he worked as a graphic designer in advertising and as an artistic director of the Dorland Studio advertising agency. (Forty years later he designed a vast traveling exhibition, catalog and poster -- 50 Jahre Bauhaus -- shown in Germany, South America, Japan, Canada and the United States.) In pre-World War II Berlin he also pursued the design of exhibitions, painting, photography and photomontage, and was art director of Vogue magazine in Paris. On account of his previous association with the Bauhaus, the German Nazis removed his paintings from German museums and included him among the artists in a large exhibition entitled Degenerate Art (Entartete Kunst) that toured German and Austrian museums in 1937. His inclusion in that exhibition and the worsening political conditions in Nazi Germany prompted him to travel to New York that year with Marcel Breuer, meeting with former Bauhaus colleagues, Walter Gropius and László Moholy-Nagy to explore the possibilities of employment after immigration to the United States. In 1938 Bayer permanently relocated to the United States, settling in New York where he had a long and distinguished career in practically every aspect of the graphic arts, working for drug companies, magazines, department stores, and industrial corporations. In 1938 he arranged the exhibition, “Bauhaus 1919-1928” at the Museum of Modern Art, followed later by “Road to Victory” (1942, directed by Edward Steichen), “Airways to Peace” (1943) and “Art in Progress” (1944). Bayer’s designs for “Modern Art in Advertising” (1945), an exhibition of the Container Corporation of America (CAA) at the Art Institute of Chicago, earned him the support and friendship of Walter Paepcke, the corporation’s president and chairman of the board. Paepcke, whose embrace of modern currents and design changed the look of American advertising and industry, hired him to move to Aspen, Colorado, in 1946 as a design consultant transforming the moribund mountain town into a ski resort and a cultural center. Over the next twenty-eight years he became an influential catalyst in the community as a painter, graphic designer, architect and landscape designer, also serving as a design consultant for the Aspen Cultural Center. In the summer of 1949 Bayer promoted through poster design and other design work Paepcke’s Goethe Bicentennial Convocation attended by 2,000 visitors to Aspen and highlighted by the participation of Albert Schweitzer, Arthur Rubenstein, Jose Ortega y Gasset and Thornton Wilder. The celebration, held in a tent designed by Finnish architect Eero Saarinen, led to the establishment that same year of the world-famous Aspen Music Festival and School regarded as one of the top classical music venues in the United States, and the Aspen Institute for Humanistic Studies in (now the Aspen Institute), promoting in Paepcke’s words “the cross fertilization of men’s minds.” In 1946 Bayer completed his first architecture design project in Aspen, the Sundeck Ski Restaurant, at an elevation of 11,300 feet on Ajax Mountain. Three years later he built his first studio on Red Mountain, followed by a home which he sold in 1953 to Robert O. Anderson, founder of the Atlantic Richfield Company who became very active in the Aspen Institute. Bayer later designed Anderson’s terrace home in Aspen (1962) and a private chapel for the Anderson family in Valley Hondo, New Mexico (1963). Transplanting German Bauhaus design to the Colorado Rockies, Bayer created along with associate architect, Fredric Benedict, a series of buildings for the modern Aspen Institute complex: Koch Seminar Building (1952), Aspen Meadows guest chalets and Center Building (both 1954), Health Center and Aspen Meadows Restaurant (Copper Kettle, both 1955). For the grounds of the Aspen Institute in 1955 Bayer executed the Marble Garden and conceived the Grass Mound, the first recorded “earthwork” environment In 1973-74 he completed Anderson Park for the Institute, a continuation of his fascination with environmental earth art. In 1961 he designed the Walter Paepcke Auditorium and Memorial Building, completing three years later his most ambitious and original design project – the Musical Festival Tent for the Music Associates of Aspen. (In 2000 the tent was replaced with a design by Harry Teague.) One of Bayer’s ambitious plans from the 1950s, unrealized due to Paepcke’s death in 1960, was an architectural village on the outskirts of the Aspen Institute, featuring seventeen of the world’s most notable architects – Walter Gropius, Marcel Breuer, I.M. Pei, Minoru Yamasaki, Edward Durrell Stone and Phillip Johnson – who accepted his offer to design and build houses. Concurrent with Bayer’s design and consultant work while based in Aspen for almost thirty years, he continued painting, printmaking, and mural work. Shortly after relocating to Colorado, he further developed his “Mountains and Convolutions” series begun in Vermont in 1944, exploring nature’s fury and repose. Seeing mountains as “simplified forms reduced to sculptural surface in motion,” he executed in 1948 a series of seven two-color lithographs (edition of 90) for the Colorado Springs Fine Arts Center. Colorado’s multi-planal typography similarly inspired Verdure, a large mural commissioned by Walter Gropius for the Harkness Commons Building at Harvard University (1950), and a large exterior sgraffito mural for the Koch Seminar Building at the Aspen Institute (1953). Having exhausted by that time the subject matter of “Mountains and Convulsions,” Bayer returned to geometric abstractions which he pursued over the next three decades. In 1954 he started the “Linear Structure” series containing a richly-colored balance format with bands of sticks of continuously modulated colors. That same year he did a small group of paintings, “Forces of Time,” expressionist abstractions exploring the temporal dimension of nature’s seasonal molting. He also debuted a “Moon and Structure” series in which constructed, architectural form served as the underpinning for the elaboration of color variations and transformations. Geometric abstraction likewise appeared his free-standing metal sculpture, Kaleidoscreen (1957), a large experimental project for ALCOA (Aluminum Corporation of America) installed as an outdoor space divider on the Aspen Meadows in the Aspen Institute complex. Composed of seven prefabricated, multi-colored and textured panels, they could be turned ninety degrees to intersect and form a continuous plane in which the panels recomposed like pieces of a jigsaw puzzle. He similarly used prefabricated elements for Articulated Wall, a very tall free-standing sculpture commissioned for the Olympic Games in Mexico...

Lithograph in colors on paper. Hand signed and numbered by Pierre Alechinsky. Edition of CCC. Artwork is in excellent condition. Certificate of Authenticity is included. All r...

"Justo Barboza (Argentina, 1938) 'Sin título (azul turquesa)', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-018-015 Hand-sig...

"Insignia #2" Abstract Mixed Media on Handmade Paper Tactile Abstract on handmade paper by David Dodsworth (English, b. 1952) - David’s work is typifi...

Justo Barboza (Argentina, 1938) 'Sin título (verde rosa)', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 15 Unframed ID: BAR1437-020-015 Hand-signed ...

Justo Barboza (Argentina, 1938) 'Señal rosa', 1995 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 50 Unframed ID: BAR1437-007-050 Hand-signed by author

untitled 2023 lithograph by Richard Hunt. Published by Procuniar Workshop, this stone lithograph is signed (lower right recto) and numbered (lower l...

Justo Barboza (Argentina, 1938) 'Estribo', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-004-030 Hand-signed by author

color lithography on paper, edited in 1985 limited edition in 99 copies signed and numbered 31/99 in pencil by artist in lower right corner, paper size: 88 x 64 cm excellent conditi...

Justo Barboza (Argentina, 1938) 'Sin título (rosa rojo)', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 15 Unframed ID: BAR1437-019-015 Hand-signed b...

Justo Barboza (Argentina, 1938) 'Triangular', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-001-030 Hand-signed by author

Abstract portrait of a Woman Finely Detailed Collotype on paper Finely detailed abstract collotype of a woman by Heather Speck a San Francisco. Californi...

Justo Barboza (Argentina, 1938) 'Flexibles', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-005-030 Hand-signed by author

Justo Barboza (Argentina, 1938) 'Paréntesis', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-006-030 Hand-signed by author

Justo Barboza (Argentina, 1938) 'Manojo', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-003-030 Hand-signed by author

Justo Barboza (Argentina, 1938) 'Precintos', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-002-030 Hand-signed by author

Anne Youkeles Gemini, ca. 1969 Three-dimensional silkscreen on folded sheets of thin card Hand-signed by artist in pencil, titled and annotated Artist's Proof I from the edition of 1...

Joan Miro Barcelona III (from Barcelona Suite) Etching and Aquatint and Carborundum in Colors on Guarro Wove paper Year: 1972 Edition: 50 Signed and ...

Justo Barboza (Argentina, 1938) 'Sin título II', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-014-030 Hand-signed by author

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

Justo Barboza (Argentina, 1938) 'Sin título III', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-015-030 Hand-signed by author

Justo Barboza (Argentina, 1938) 'Sin título I', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-013-030 Hand-signed by author

Striped Composition is an original lithograph realized by Raoul Ubac for the Art Magazine Derrière Le Miroir 142, in 1964 . Printed by Ateliers de Maeght, Paris, 1964. Good conditi...

The painting is being offered with a work and authenticity certificate

This wonderful abstract print is the second in an edition of ten, signed by the artist. The print works as an abstract, and landscape piece, with the background of soft yellow-green ...

Lavender Nebula - Transfer Monotype in Oil on Paper Original hand painted and transfer monotype painting by California artist Heather Speck (American, 20th C). Layers of blues, purp...

Artist: Robert Motherwell, American (1915 - 1991) Title: No. 10 from Three Poems, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 750 ...

Abstract W/Woman Carrying a Young Child Finely Detailed Collotype on paper Finely detailed etching or collotype of a complicated fine line drawing o...

Hannah Wilkinson is a New Zealand football player, musician, and visual artist. She had a notable collegiate career at the University of Tennessee in the United States and went on to play professionally in Sweden, Portugal, Germany, and Australia. Additionally, she represents the New Zealand Women's National Team, the Football Ferns, participated in three Olympic Games, and three FIFA Women’s World Cup. Art has always been a significant part of Wilkinson's life, even before she began her soccer journey. She explains: “Born and raised in Whangārei, New Zealand, I began drawing and creating before kicking a ball. My artistic pursuits offer a healthy balance off the pitch, allowing space to mentally offload pressures associated with being an elite athlete, while also enhancing the focus-flow state needed to perform both artistically and athletically.” Wilkinson's work spans various mediums, including drawing, digital illustrations, painting, and murals. Although sports is a dominant theme in her art, she frequently incorporates symbols related to philosophy, music, and New Zealand's cultural identity, landscapes, and wildlife. She is a proud member of the International Olympic Committee's Olympian Artists program and made significant contributions to the Olympic Agora exhibition held at Tokyo's Mitsokoshimae metro station before, during, and after the 2020 Games (held in 2021). Recently, she was also commissioned to create a mural at Auckland's Eden Park national stadium, celebrating the staging of the three women's World Cups (cricket, football, and rugby) in New Zealand in 2022 and 2023. This stadium will be the venue for the 2023 Women's World Cup, where Wilkinson will be competing. Hannah Wilkinson created two limited edition prints for the special occasion of the “In the Beginning, there was Football, " exhibition, coinciding with the 2023 Women's World Cup. Through powerful imagery and poetic language, Wilkinson explores the philosophy and emotion surrounding football in two limited edition prints. Her work reveals her deep emotional connection and proximity to the game. In Heart in the...

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...

Set of three original abstract artworks by Denver modernist, Wilma Fiori (1929-2019). The abstract compositions were created in colors of blue, gray, red and white and were created ...

Perla Krauze (Mexico, 1953) 'El exilio de los sentidos', 2004 engraving on paper 15 x 15 in. (38 x 38 cm.) Edition of 75 ID: KRA1662-001-075-4 Hand-signed by author