Abstract Prints

Artist: Beatriz Milhazes Title: Pink Sunshine Year: 2021 Medium: Lithograph on Fabriano Disegno 5 paper Sheet: 18 3/4 × 23 in (47.6 × 58.42 cm) Edition: 100; signed and numbered in pencil (verso) Condition: Mint. Certificate of Authenticity included Beatriz Milhazes is a Brazilian artist whose brilliant paintings and prints draw from local tradition. Brazilian Baroque...

Charles Quest, 'Still Life', 1947, wood engraving, edition 8. Signed, dated, and numbered '3/8' in pencil. Titled and annotated 'wood engraving' in the bottom left margin. A fine impression, on off-white wove paper, with full margins (1 to 2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe V Year: 1981 E...

A composition resembling a collage, created by American Pop Artist Robert Rauschenberg. Multiple images of noteworthy American figures, such as the Kennedy family, are overlaid above...

Colour lithograph, 1890. 210mm by 285mm (sheet). From W Peck's 'A Handbook and Atlas of Astronomy', 1890. Sir William Peck FRSE FRAS (1862 – 1925) was a Scottish astronomer and scien...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Dupin, J...

Lithograph on vélin d’Arches paper. Paper Size: 12 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Matisse, Henri, et al. Henri Matisse...

Rare vintage original poster published by the famous Paris Gallery Claude Bernard pour an historic exhibition of Jean Dubuffet in the sixties (1964) a...

ICARUS 2 is an original hand drawn lithograph created in 1986 by the French American artist Marius Sznajderman, printed using traditional lithography techniques on archival Arches pa...

Shusaku Arakawa Double Point Blank, 1979 Lithograph on paper with deckled edges Hand signed, numbered 13/45 and titled with publisher's and printer's blind stamp on lower front and p...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Title: Doughlah G.E.P., 1968-71 Year made: 2023 Material: Giclée print on 330gsm Somerset Velvet cotton rag paper with an embossed publisher stamp Edition of 250 It comes with COA f...

This is a large, hand-painted oil and hand gilded with gold leaf Artist’s Proof on giclée on paper; it is a one-off piece, the only hand painted proof of this image, Unit of one. It...

Kenny Scharf Absolut Scharf for Absolut Vodka, 1987 Lithograph with offset lettering in colors on wove paper Hand signed and dated by artist on lower right front Limited Edition of 2...

Artist: Josef Albers (German-American, 1888-1976) Title: "Variant II" Portfolio: Ten Variants *Unsigned edition Year: 1967 Medium: Original Screenprint on Rives BFK paper Limited edi...

Artist: Alexander Calder (1898-1976) Title: Sky Swirl, Braniff International Airways Flying Colors Collection Year: 1975 Medium: Lithograph on vélin d’Arches paper Size: 26 x 20 inch...

Lithograph in colours on wove paper Edition 24 of 100 56 x 65 cm (22 x 25.6 in) Signed, numbered and dated on the front Mint Framed under Perspex in a silver painted dark wooden frame

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* The "FORTH OF JULY" series is making history in the a...

Future Garden is an original manifesto realized by Leo Guida in 1976. Edition 6/50. Dated, numbered and signed. Leo Guida (1992 - 2017). Sensitive to current issues, artistic mov...

Jasper Johns 50th Anniversary of the Whitney Museum of American Art in New York City, 1979 Original lithograph on heavy wove paper 46 × 30 inches Limited Edition of 5000 (unnumbered) Stamped with copyright mark and publisher's blindstamp Published by Stony Johns, Inc. and Gemini G.E.L. Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery Unframed This stunning, impressive, large vintage lithograph...

Silkscreen realized by Alberto Burri in 1986. Artist proof out of an edition of 50. Image dimension 60x60 cm. Hand signed and dedicated. Excellent condition.

Lithograph, 1964 Handsigned by the artist in pencil Edition : /500 Publisher : Les Peintres Témoins de leur Temps, Paris Printer : Charles Sorlier, Paris Catalog : 206 72.50 cm....

Superb color work by American Abstract Expressionist master Richard Diebenkorn, from a limited edition of 60. Signed by Diebenkorn and numbered in pencil. Published by Crown Point ...

A Hahnemuehle Fine Art Print, attributed to Roy Lichtenstein. Editioned of 25.

Print, 1988 Edition : X/XX 49.50 cm. x 70.00 cm. 19.49 in. x 27.56 in. (paper) 33.00 cm. x 42.00 cm. 12.99 in. x 16.54 in. (image) Handsigned by the artist in pencil Ref : LCD2878

Screenprint on Rives paper, Edited in 1969 Limited Edition of 250 copies Signed and dated in pencil by artist in lower rith corner , numbered as 88/250 in lower left corner Paper siz...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXVIe Année N°24, Décem...

Mark Tobey, American (1890 - 1976) - Liberation, Year: 1973, Medium: Color Etching on Richard de Bas, Image Size: 10.75 x 9.25 inches, Size: 26.25 x 20 in. (66.68 x 50.8 cm)

Josef Albers (1888-1976) is affiliated with numerous definitional movements in 20th century art. Art Historians credit Albers for fusing elements of American and European abstraction...

The Offs (first pressing), 1984 Vinyl Record and Offset Lithograph Album Cover 12 1/4 × 12 3/25 inches Unframed CD Presents, Ltd. – CD 025 Provenance Plastic Fantastic Records, Bryn ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, Derrière le miroir, N° 164-165, 1967. ...

Etching, 1974 Handsigned by the artist in pencil and numbered 44/75 Publisher : Yves Rivières (Paris) Printer : Lacourière-Frélaut (Paris) Catalog : [BNF 30] 56.50 cm. x 38.00 cm. 2...

Lithograph, 1974 Handsigned by the artist in pencil and numbered 70/75 75.50 cm. x 65.50 cm. 29.72 in. x 25.79 in. (paper) 60.00 cm. x 42.50 cm. 23.62 in. x 16.73 in. (image) Our ...

Artist: Salvador Dali (1904-1989) Title: Jardin biologique (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Organic garden, Imaginations and Objects of the ...

Artist: Pablo Picasso (1881-1973) Title: Composition avec Minotaur Year: 1979 Medium: Lithograph on Arches paper Size: 22 x 29.25 inches Edition: 77/500;500, plus proofs Condition: G...

Artist: Salvador Dali (1904-1989) Title: Baignoire à tornade liquide (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Liquid tornado bathtub, Imaginations a...

Pablo Picasso (after) "Femme assise dans un fauteuil" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 424/500 lower left From the estat...

Negative - Positive is an original print realized by Bruno Munari in 1993. Mixed colored lithograph Hand-signed and numbered in pencil on the lower margin. Edition VII/XXX Printed...

“Plate I,” from “Oda à Joan Miró,” by Joan Brossa Lithograph in colors, 1973 Signed in pencil and inscribed “H.C.” (presumably one of 10; the total edition was 525) Published by La...

large scale photograph of sunny cactus landscape, from a series of highly detailed large format nature observations, an homage to the photo realistic ...

A very good impression of this lithograph with embossing on Arches. One of 4 numbered printer's proofs, aside from the edition of 30. Signed and dated in pencil, lower right, and ins...

"Galerie Maeght Miro" is an original color lithograph poster with art by Joan Miro. It was printed by Maeght Editeur Imprimeur in 1970. The poster showcase...

"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...

PABLO PICASSO (1881-1973) Pichet Visage (A.R. 611), 09.01.1969 Ed. 280/500 pcs Earthenware clay, decoration in engobes engraved by knife under partial brushed glaze Stamped, annotate...

Kenny Scharf Bluester, 2023 15-colour screen print on Mohawk Superfine UltraWhite, 160 lb cover paper. Signed by the artist, numbered and stamped by the publishers, JRP Editions. 61...

Lithograph, stencil on vélin d’Arches paper. Paper Size: 15.75 x 11.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et ...

Valentine Love (number 10 white) R By Agent X [2021] limited_edition Mixed Media Edition number 100 Image size: H:55 cm x W:55 cm Complete Size of Unframed Work: H:55 cm x W:55 c...

An original etching, aquatint, dry-point and carborundum by Joan Miro, 1969. It is hand signed and numbered H.C. aside the edition of 75 copies on Arches, plus some H.C. copies. The...

Artist: After Francis Bacon (1909-1992) Title: Le Boeuf, exhibition poster Year: 1986 Medium: Offset Lithograph on premium paper Size: 30.75 x 18 inches Condition: Excellent Notes: Published by Foundation Maeght FRANCIS BACON (1909-1992) Francis Bacon has a distinctive style as a figure painter. In his mature style, developed in the 1950s, the paintings include images of either friends or lovers, or images of people found in movie stills...

Medium: original lithograph. Printed by Mourlot in 1962 for the art revue XXe Siecle (issue No. 18). Size: 12 1/4 x 9 1/2 inches (313 x 242 mm). Not signed. Condition: there is cre...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Colored Composition is an original screen print realized by Umberto Maria Casotti in 1971. Hand-signed and dated on the lower right. Numbered on the lower left. Edition of 27/80 pri...

Alvar Sunol Pencil Signed Lithograph C.1970s Three women around a table Dimensions 21.5" wide x 12.5" high The frame measures 32.75" wide x...

Alexander Calder Lithograph c. 1971 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition. Unsigned from an edition of unknown. From: Derrière le miroir Published Paris c. 1971. Printed in France. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. Alexander Calder was an American artist best known for his invention of the kinetic sculptures known as mobiles. Calder also produced a variety of two-dimensional artworks including lithographs, paintings, and tapestries as seen in his Butterfly (1970). “My whole theory about art is the disparity that exists between form, masses, and movement,” the artist once said. Born on August 22, 1898 in Lawnton, PA, Calder turned to art in the 1920s, studying drawing and painting under George Luks and Boardman Robinson at the Art Students League in New York. Calder moved to Paris to continue his studies in 1926, where he was introduced to the European avant-garde through performances of his Cirque Calder (1926–1931). “I was very fond of the spatial relations,” he said of his interest in the circus. “The whole thing of the—the vast space—I’ve always loved it.” With these performances, along with his wire sculptures, Calder attracted the attention of such notable figures as Marcel Duchamp, Jean Arp, and Fernand Léger. Notably, it was his friend Duchamp that coined the term mobile—a pun in French meaning both “motion” and “motive”—during a visit to Calder’s Paris studio in 1931. His earliest mobiles moved by motors, but Calder soon abandoned these mechanics and designed pieces that moved by air currents or human interaction. Over the course of seven decades, along with his mobiles, he also produced paintings, monumental outdoor sculptures, works on paper, domestic objects, and jewelry. The artist lived in both Roxbury, CT, and Saché, France, before his death on November 11, 1976 in New York, NY. Today, his works are held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London. Related Categories Calder prints. Mid Century Modern. 1970s. Alexander Calder and Contemporary Art. Mid Century Modern. Calder clowns.

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

Kurt Schwitters 50 Collages by Schwitters, 1962 Lithograph and Silkscreen 22 × 17 inches Unframed Extremely rare and desirable lithographed exhibition poster published on the occasio...

Giovanni Pintori Olivetti (Fully Automatic Printing Calculator), 1951 Offset lithograph poster Framed: held in original vintage metal frame Evocati...

Artist: Sewell Sillman (American, 1924-1992) Title: "I-S #1" *Signed and dated by Sillman in pencil lower right Year: 1968 Medium: Original Screenprint on unbranded heavy white wove ...

This Limited Edition abstract print, "A Summer Day in Nantucket," by Sofie Swann measures 60" x 48" and is an edition of 95. Printed on canvas, this print ships rolled with natural c...

Artist: Robert Rauschenberg Title: Architecture Year: 1994 Medium: Lithograph with vegetable dye water transfer on Arches Infinity paper Edition: 50; signed, dated and numbered in pe...