Abstract Geometric Art

Ralston Crawford is best known for his Precisionist abstract paintings suggestive of urban landscapes and industrial spaces. SS De Grasse by Ralston Crawford, American (1906–1978) ...

This "Homage to the Square" print was created by Albers for the occasion of an exhibition at Grippi Gallery in Manhattan in 1973. It is in an excellent white contemporary frame. Art...

Title: White And Blue World Medium: Oil on canvas Size: 22 x 26 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2...

Frank Stella Sharpesville, from Multicolored Squares I (Axsom 79), 1972 Lithograph on J. Green mould-made paper Signed in graphite pencil, dated and numbered 31/100 (there were also ...

Sean Scully Munich 1996 (Hand Signed), 2001 Offset Lithograph print Hand signed and dated by Sean Scully in 2018 Boldly signed in black marker on the recto. Hand signed by Sean Scull...

Peter Halley Peter Halley, Imago Galleries, Palm Desert, CA (Hand Signed), 2006 Offset lithograph poster (hand signed by Peter Halley) 25 1/2 × 18 1/4 inches Provenance; Acquired directly from the artist Unframed Alpha 137 Gallery is honored to offer this offset lithograph, published on the occasion of legendary American artist Peter Halley's 2006 one-man exhibition at Imago Galleries, Palm Desert, California which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective "Andy Warhol - from A to B and Back Again" at the Whitney. PETER HALLEY BIOGRAPHY Peter Halley, born 1953, New York City, is an American artist who came to prominence as a central figure of the Neo-Conceptualist movement of the 1980s. His paintings redeploy the language of geometric abstraction to explore the organization of social space in the digital era. Since the 1980s, Halley’s lexicon has included three elements: “prisons” and “cells,” connected by “conduits,” which are used in his paintings to explore the technologically determined space and pathways that regulate daily life. Using fluorescent color and Roll-a-Tex, a commercial paint additive that provides readymade texture, Halley embraces materials that are anti-naturalistic and commercially manufactured. In the mid 1990s Halley pioneered the use of wall-sized digital prints in his site-specific installations. He has executed installations at Museo Nivola, Orani, Sardinia (2021); Greene Naftali, New York (2019); Venice Biennale (2019); Lever House, New York (2018); Schirn Kunsthalle, Frankfurt (2016); Disjecta, Portland (2012); the Gallatin School, New York University, (2008, 2017); the Museum of Modern Art, New York (1997); and the Dallas Museum of Art (1995). In 2005, Halley was also commissioned to create a monumental painting for Terminal D at the Dallas/Fort Worth International Airport, Texas. Halley served as professor and director of the MFA painting program at the Yale School of Art from 2002 to 2011. From 1996 to 2005, Halley published INDEX Magazine, which featured interviews with figures working in a variety of creative fields. Halley is also known for his essays on art and culture, written in the 1980s and 1990s, in which he explores themes from French critical theory and the impact of burgeoning digital technology. His Selected Essays, 1981 – 2001, was published by Edgewise Press, New York, in 2013.Halley’s writings have been translated into Spanish, French, and Italian. A catalogue raisonné, PETER HALLEY: Paintings of the 1980s, was published in 2018 by JRP Ringier. Halley’s work can be found in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Broad Art Foundation, Los Angeles; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Boston Museum of Fine Arts; Dallas Museum of Art; Albright-Knox Art Gallery, Buffalo; Tate Modern, London; Stedelijk Museum, Amsterdam; Sammlung Marx, Berlin; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum of Contemporary Art, Tokyo; Seoul Museum of Art, among others. More about Peter Halley Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

A large minimal abstract painting on paper by Yasmin Brandolini. Artist: Yasmin Brandolini d'Adda, South African/Italian (1929 - ) Title: 17 Year: 1986 Medium: 40 x 60 in. (101.6 ...

This print was created by Albers for the occasion of an exhibition at Goethe House in Manhattan in 1973. It is in an excellent white contemporary frame. Artist: Josef Albers, German...

Dorothy Dehner, American (1901 - 1994) - Navaho, Year: 1970, Medium: Screenprint, signed and numbered in pencil, Edition: 77/150, Image Size: 17 x 22 inches, Size: 20 x 26 in. ...

Artist: Murray Zucker, American (1920 - ) Title: Bouncing Ball Year: circa 1970 Medium: Screenprint, signed, titled and numbered in pencil Edition: 9/20 Image: 18 x 24 inches Paper ...

Artist: Omar Rayo, Colombian (1928 - 2010) Title: Nitibos Year: 1968 Medium: Screenprint, signed and numbered in pencil Edition: 75 Image Size: 17 x 17 inches Size: 24 x 20 i...

"Homage to the Square - Portfolio 2, Folder 13, Image 1 " from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origi...

LUDWIG SANDER Untitled geometric abstraction Artists Proof, aside from the regular edition of 90 Hand signed and annotated AP on the front Elegantly matted and framed in white wood m...

Note: This is a unique text variant which Albers titled in pencil "Blue Reminder" instead of "Blue Reminding". The authenticity of this work has been kindly confirmed by Brenda Danil...

Artist: Eric Newton, British (1893 - 1965) Title: Untitled - Abstract with Red and Yellow Year: circa 1955 Medium: Linocut Print, signed and numbered in pencil Edition: EA Image Size...

"Homage to the Square - Portfolio 2, Folder 19, Image 1" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origin...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

Artist: Arthur Boden, American Title: T Series (Yellow) Year: circa 1970 Medium: Serigraph, signed and numbered in pencil Edition: 100 Size: 29 in. x 23 i...

Artist: John Urbain, Belgian/American (1920 - 2009) Title: CM Year: circa 1975 Medium: Silkscreen with Collage, signed and numbered in pencil Edition: 20 Image Size: 28 x 34 inches S...

Anthony Falcetta niké, 2025 acrylic, gypsum compound & spray paint on canvas 40 x 30 in. (fal013)

"Homage to the Square - Portfolio 2, Folder 5, Image 1" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origina...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Artist: Al Held, American (1928 - 2005) Title: Scholes II Year: 1991 Medium: Silkscreen, signed and numbered in pencil Edition: 80 Image Size: 23 x 29 inches Size: 29 x 34 in. (73.66...

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...

Agnes Martin Recent Paintings, 1977 Offset Lithograph invitation on Vellum 12 × 12 inches Edition of 2000 Unframed This early print is an exhibition invitation to the Pace Gallery's 1977 Agnes Martin show in New York. The image is a reproduction of a painting from the show, approved by Martin to be used on the invitation to the show. It is printed on a fragile, almost transparent vellum that captures the delicate power of the art. Less than 2000...

A large minimal abstract painting on paper by Yasmin Brandolini. Artist: Yasmin Brandolini d'Adda, South African/Italian (1929 - ) Title: B Year: 1984 Medium: Tempera on Paper, sig...

In 1963, Calder settled into a new workshop, overlooking the valley of the Lower Chevrière to Saché in Indre-et-Loire (France). It wasn’t long before tapestry became a new way for Al...

Artist: Arnold Hoffman, Jr., American (1915 - 1991) Title: Intermesh Year: circa 1970 Medium: Screenprint, signed and numbered in pencil Edition: 90 Ima...

An original screenprint by Frank Stella from X + X (Ten Works by Ten Painters) published in 1964 by Wadsworth Atheneum, CT. The print was printed by Ives-Sillman, CT and referenced i...

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...

Another example of this iconic Frank Stella print can be found at the Poster House Museum in Manhattan. For inspiration only are photographs from their display. "The concentric squ...

Carmen Louis Cicero, American (1926 - ) - Untitled 11, Year: circa 1971, Medium: Screenprint, signed and numbered in pencil, Edition: 27/76, Image Size: 18 x 20 inches, Size: 23 x ...

Robert Petrick's "The Plan" is a fusion of meticulous geometry and bold abstract expression. From the artist's Chromatic Collisions series, this piece...

Sol LeWitt Limited Edition Geometric Abstraction Silk Scarf, ca. 1987 Limited Edition Silkscreen on 100% Italian silk scarf/shawl Signed on the fabric with artist's printed signature...

Sol LeWitt Unique Geometric Abstraction on Postcard, 1982 Original drawing done on postcard from the Van Gogh Museum (Amsterdam), mailed, stamped and postmarked (franked) from Spolet...

Robert Petrick's "Misty Morning" is a compelling abstract oil painting that masterfully captures the essence of a tranquil and elusive early morning atmosphere through geometric prec...

Piero Dorazio Abstract Composition (Bank of New York Corporate Collection), 1971 Lithograph on wove paper Pencil signed, numbered 73/75 and dated on the front. The back bears a label...

Artist: Josef Albers, German (1888 - 1976) Title: In the Water - P1, F2, I1 Year: 1972 Edition size: 1000 Medium: Screenprint on Mohawk Superfine Bristol paper Image Size: 13 x 15 in...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

Artist: Josef Albers Title: Homage to the Square (double) from the Portfolio: Formulation: Articulation (Double Portfolio) Year: 1972 Medium: Screenprint on Mohawk Superfine Bristol ...

Artist: Murray Zucker, American (1920 - ) Title: Laser II Year: circa 1970 Medium: Screenprint, signed, titled and numbered in pencil Edition: 30/175 Image: 24 x 23.5 inches Paper S...

Purple Composition Larry Zox, American (1937–2006) Date: 1971 Linocut on Arches, signed and numbered in pencil Edition of 16/50 Image Size: 15 x 26 inches Size: 22 x 30 in. (55.88 x ...

Martha Lloyd (American, 1927-2018) Thaw, 1997 Oil and wax (encaustic) on canvas 20 x 20 in. Framed: 21 1/4 x 21 1/4 x 1 3/4 in. Inscribed verso Provenance: Carrie Haddad Gallery, Hudson, NY Martha Anne Lloyd...

14th New York Film Festival Allan D’Arcangelo, American (1930–1998) Date: 1976 Screenprint, signed and numbered in pencil Edition of 107/144 Size: 40 x 59 in. (101.6 x 149.86 cm)

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

Larry Bell, American (1939 - ) - Barcelona, Year: 1989, Medium: Lithograph, signed and numbered in pencil, Edition: 62/75, Size: 30 x 22 in. (76.2 x 55.88 cm)

KIMBER SMITH Untitled Abstract Expressionist Geometric Abstraction, 1967 Lithograph on Rives paper 25 × 19 3/5 inches Signed in silver...

Francis Almeida Luzzatto (American, 1935-1999) Untitled, 1959 Oil on canvas 40 x 48 1/2 in. Signed and dated lower right: Luzzatto 59 Partial label verso: The Art Rental Gallery, Wa...

"Homage to the Square - Portfolio 2, Folder 4, Image 2" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origina...

Arnaldo Pomodoro di Auguri, 1992-1993 Etching on art paper Hand signed, numbered 69 from an edition of 100 and dated by the artist on the front Frame Included This uncommon limited e...

Artist: Jean-Marie Haessle, American (1939 - ) Title: To and Fro Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 295 Paper Size: 23 in. x 29 in. (58.42 cm x 73...

Nicely painted large geometric abstract painting. Oil on canvas. Framed. Image size, 48 by 36 inches.

An oil painting by Leo Bates from 1976. A prolific artist who operated predominately in secrecy until his death in 2013, Leo Bates produced a number of works never before seen until ...

"Homage to the Square - Portfolio 2, Folder 24, Image 2" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origin...

Alan Shields Lonely Night, 1969 Screenprint and Pochoir with collage on perforated paper Pencil signed, numbered and dated from the limited edition of 100 Unframed Mixed media colla...

Serra’s (Italian, b. 1946) revival of archaic painting techniques is founded on his intimate understanding of these older materials and deep respect for “Old Master” paintings from t...

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...

Paul Pagk Untitled Geometric Abstraction, 1989 Gouache and watercolor on paper Signed, dated and inscribed "A Jacqueline". Frame included Excellent unique work on paper by contempora...

William Fredericksen Untitled mid century modern geometric abstraction, 1958-1959 Watercolor and Gouache on Board Hand signed and dated on the front 12 4/5 × 11 7/10 inches Unframed ...

This piece Owen depicts an abstract composition with the use of mixed media and bold patterns producing work which is visually textured and rich with layers and is a part of the artist's "Elements" series which creates intricate geometric minimalistic compositions. This work has a rustic and heavily textured quality, but the final result is intended to appear quiet to reflect a more minimal outlook on life and art. Creating pieces that allow us to escape the technological realm, contemplate modern living and nature and then communicate how each domain influences another. Her pieces aim to engage the viewer with an emotional and environmental disposition that evokes a sense of balance and tranquility in the modern world. This is a unique work is on baltic birch panel, and signed and titled by the artist on verso. Art measures 8 × 8 inches A native New Yorker, Christie Owen...