Abstract Prints

Monoprint with oil based ink

David Collins earned a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions in New York, and has exhi...

ABOUT THIS PIECE: "This particular series is a an homage to photographs taken with film. They are the result of an aberration of light passing through a locked shutter and the camera...

Lithograph from four aluminium plates using tusche and washes, printed in transparent red, orange and a red to orange blend, with hand colouring in ivory black watercolour and blue and green gouache. On two sheets of buff BFK Rives mould-made paper (300 gsm) Hand-signed by artist, Signed with initials and dated 1980 in pencil, in the lower left on the left-hand sheet. Numbered in pencil in the lower right, verso Published by Bernard Jacobson Ltd. Exhibition History: 'Howard Hodgkin: Views. An Exhibition of Early Prints', Bernard Jacobson Gallery, London, 02 March - 02 April 2013; 'Howard Hodgkin Recollections’, Bernard Jacobson Gallery, London, 21 April - 14 May 2022 Literature: Pat Gilmour, 'Howard Hodgkin', The Print Collector's Newsletter, vol. 12, no. 1, March-April 1981, p. 5 (ill. front cover); Deborah Phillips, 'New Editions: Howard Hodgkin', ARTnews, vol. 80, no. 7, September 1981, p. 161; 'Prints by Six British Painters: Stephen Buckley...

Suite $20,000. Individual Quartets $6,000. First Quartet 35 in. x 35 in. Second Quartet 35 in. x 45 in. Third Quartet 45 in. x 35 in. Fourth Quartet 45 in. x 45 in. Mel ...

Etching in two colors Signed, dated, titled in pencil by the artist Sheet size: 19 5/8 x 25 3/4"

David Collins earned a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions in New York, and has exhi...

David Collins was raised in Dallas, received a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions i...

Monotype on white BFK Rives Printmaking Paper. Could pair with "OrangeBlast(R)" Approx image size: 16" x 16" Paper: 22.5" x 22.5" At the core of the dialogue between the artist and...

Tony Caramanico, famed Montauk-based surfer, created a life around surfing since the first day he picked up a board in 1963- a day he fondly recalls. Though his surfing has taken him...

Tony Caramanico, famed Montauk-based surfer, created a life around surfing since the first day he picked up a board in 1963- a day he fondly recalls. Though his surfing has taken him...

17-color silkscreen

Un Documento Storico Eccezionale (eng. An exceptional historical document). Original color silkscreen and collage, unknown year. Edition of 20 signed and numbered impressions on Arch...

Jim Dine (born June 16, 1935) is an American artist. Dine’s work includes painting, drawing, printmaking (in many forms including lithographs, etchings, gravure, intaglio, woodcuts, ...

A colorful OP Art silkscreen by Poland-born American OP Artist, Julian Stanczak. Artist: Julian Stanczak, American (1928 - 2017) Title: Compounded Red Year: 1981 Medium: Screenpri...

Brazilian artist, Beatriz Milhazes brings richness of color to Pink Sunshine, a color lithograph that is both hand-signed and numbered in pencil, measuring 18 x 22 ¾ in (45.7 x 58 cm...

Aquatint, 1966 Handsigned by the artist in pencil and numbered 47/75 Publisher : XXe siècle, Paris Printer : J. David, Paris Catalog : Schneider XXX 47.50 cm. x 64.50 cm. | 18.7 in. ...

Study/Falling Man (Series I), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped on Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927-...

Study/Falling Man (Series II), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927...

Man RAY (Emmanuel Radnitsky, aka) Oneiric Landscape, 1971 Original lithograph Handsigned in pencil Numbered / 180 On Arches vellum, 51 x 36 cm (c. 20 x 14,1 inch) REFERENCE : Cata...

Don’t touch Me by Salvador Dali from Biblia Sacra is a colored lithograph from the gouache original on heavy rag paper from Salvador Dali’s five volume Biblia Sacra Suite publi...

Dionisios Fragias is a New York -based artist born on the Greek island of Kefalonia and raised in New York City. He is the protege of the artist Jeff Koons whose years-long mentorshi...

Aquatint and burin on copper, 1964 Handsigned by the artist in pencil and numbered 66/75 Publisher : XXe siècle (Paris) Printer : S. Esmeraldo (Paris) Catalog : Schneider XV 75.00 cm...

Lithograph, 1978 Handsigned by the artist in pencil Edition : 200 Publisher : Editions Regards Printer : Atelier Bellini 43.50 cm. x 33.00 cm. 17.13 in. x 12.99 in. (paper) Part of the collection of six elegies by Léopold Sédar Senghor entitled "Les Élégies majeures Unnumbered lithograph from one of the 35 first copies of "Élégie pour Georges Pompidou...

Lithograph, 1959 Handsigned by the artist in pencil Edition : /200 ex. Publisher : Berggruen, Paris Printer : Mourlot, Paris Catalog : [Schneider 24] 63.00 cm. x 49.00 cm. 24.8 in....

Rufino Tamayo Figura Hieratica, 1979 etching in color, edition of XV 29 5/8 x 22 in. / 75.2 x 55.9 cm

BLANCHE LAZZELL (1878 – 1956) STAR PHLOX 1930 Color Woodcut in the single block Provincetown method. Signed and titled and with an annotation “Wood Block Print “Star Phlox” 280 no...

Lithograph, 1957 Handsigned by the artist in pencil / Artist proof Edition : 150 Publisher : L'Oeuvre Gravée (Zurich) Printer : Pons (Paris) Catalog : Schneider 14 50.00 cm. x 65.00 ...

Josef Albers Homage to the Square: R-I D-5 (from "Albers") Screenprint in brilliant Colors on strong wove paper double folded, 1971 Image 6.25 x 6.25 inches Sheet: 9 x 7.625 inches U...

Mark Francis Untitled 5, 2004 etching and aquatint, ed. of 30 29 7/8 x 22 in. (76 x 56 cm)

Mark Francis Untitled 2, 2004 etching and aquatint, ed. of 30 29 7/8 x 22 in. (76 x 56 cm)

A superb impression of this very scarce color relief print on Somerset white wove paper. One of 10 numbered artist's proofs, aside from the edition of 100. Signed, inscribed "A.P." a...

Intaglio print with carborundum from three aluminium plates printed in green, green and yellow (mixed), ultramarine blue and white (mixed), with hand colouring in vermillion red egg ...

Abstract (Edition 24/75) By Bram van Velde (1895-1981) Signed and Numbered Bottom Center Without Frame: 37" x 24" With Frame: 37.75" x 24.75" Bram (Abraham Gerardus) van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme*, and Lyrical Abstraction*. He is often seen as member of the School of Paris* but his work resides somewhere between expressionism* and surrealism*, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du...

lithograph edition of 100

C.O.R.E. 1965 Lithograph Signed and numbered edition of 200 36 X 24 inches Robert Rauschenberg’s work reflects a methodology between the approaches of structuralism and post-...

This abstract landscape limited edition print by Elwood Howell features a cool neutral palette. The piece features the artists's signature high horizon line, with layered shapes and ...

Engraving, 1966 Handsigned by the artist in pencil and numbered 69/75 Publisher : XXe siècle, Paris Printer : S. Esmeraldo, Paris Catalog : Schneider XXIX 56.50 cm. x 76.00 cm. 22.2...

This large monotype print effectively portrays Bert Long’s iconic style. Furnished with his notorious abstracted eye and gestural style, this work demonstrat...

This large monoprint demonstrates Bert Long’s affection for introspection. Referring to the paint as both an action and an object underscores the fluidity of...

Gerhard Richter (born 1932 in Dresden) Bagdad (P10), 2014 Medium: Diasec mounted chromogenic print Dimensions: 19 7/10 × 15 7/10 in (50 × 40 cm) Edition of 500: numbered verso Condit...

Christian Bozon was born in Lons-le-Saunier, France in 1969. He was trained at the Art School of Besancon and then began his career as a printmaker. In 1993 he fulfilled a long-held ...

This work is a continuation of Badillo’s ‘Linguistic Period,’ in which he is exploring the relationship between language, geometry and cryptanalysis. This piece in particular, is in ...

A very good impression of this color aquatint. One of 15 numbered hors commerce impressions. Signed and numbered "HC 5/15" in black crayon by Tamayo. Printed and published by Edicion...

Lithograph, 1973 Handsigned by the artist in pencil and annoted "EA" Edition : 60 ex. Printer : Mourlot, Paris Catalog : [Prudhomme 70 p.98] 57.00 cm. x 74.00 cm. 22.44 in. x 29.13...

Etching, 1957 Handsigned by the artist in pencil and numbered 21/100 Publisher : Le Musée de Poche, Paris Printer : Jean Signovert, Paris Catalog : [Sch...

This work represents a new body of work involving ideas of language and linguistics in Badillo’s work. “Homage to Kepler,” is a conceptual piece, involving G...

Badillo, an artist of Ashkenazi Jewish heritage, made this work recently this year, as part of Holocaust Remembrance Day. The Hebrew inscription “Ein S...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil paint and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Abstract lithograph piece by artist Jim Boutwell Measures 29 in x 22 in Piece is in good/fair condition

Abstract modern print depicting a city scene with cars. Signed "R MacMillan" in the bottom right. Dimensions Without Frame: H 11 in. x W 8.5 in.

Francis Bacon Grand Palais, 1972: Vintage 1970s Francis Bacon exhibition poster published on the occasion of: Francis Bacon at the Gran...

Technical Information: Josef Albers I-S LXXI b 1971 Screenprint 23 x 23 in. Edition of 125 Initialed in pencil, dated, numbered, and titled Accompanied with COA by Gregg Shienbaum ...

Signed, titled and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. They reflect t...

Annunciation is an original print, hand-signed by Shu Takahashi. This is an edition of 100 prints. Its technique is chalcography and serigraphy. This beautiful print shows an abstr...

The Greek American artist, Theodoros Stamos, was born in 1922 in New York City into a family of Greek immigrants. He was a member of The Irascibles group which consisted of the first...

The Greek American artist, Theodoros Stamos, was born in 1922 in New York City into a family of Greek immigrants. He was a member of The Irascibles group which consisted of the first...