Horizontal Abstract Prints

Screenprint in colours with metallic silver on wove paper Edition of 150 (85 x 104.14 x 5.3 cm / 33.5 x 41 x 2 in) Signed and numbered on the front Condition on request Framed with a...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern minimalist shapes. "The Lake District" it's made by layering paper cutouts an...

James Rosenquist (1933 - 2017) Swing Screen, 1979 Etching and aquatint (two state) Sight: 17 1/2 x 35 1/2 in. (image) Framed: 30 1/2 x 59 1/2 x 1 1/2 in. Edition 21/78 Inscribed, signed, numbered bottom James Rosenquist was born in 1933 at Grand Forks, North Dakota. His family moved to Minneapolis in 1944. In 1948, he began his studies of art at the Minneapolis Art Institute. In 1953, he continued his studies of painting at the University of Minnesota. In 1955 he had a scholarship to go to the Art Students' League, New York, where he met Robert Indiana. During this period, he painted small format abstract paintings and worked part-time as a driver. In 1957 he met Jasper Johns and Robert Rauschenberg. In 1959 he was at the same drawing class as Claes Oldenburg and was made "head painter" by the Artcraft Strauss Corporation. He married the textile designer Mary Lou Adams. During the election he produced the picture President Elect in which John F. Kennedy's face is combined in a kind of collage with sex and automobile imagery. His first one-man exhibition in the Green Gallery, in 1962, was sold out. In 1963 he worked on several sculptures, had a number of exhibitions at the Galerie Ileana Sonnabend, showed his work at the Dwan Gallery...

20th century figurative etching print by Polish artist Leszek Rozga. This piece is signed by the artist. Iscription on the piece could be translated into '[This is a] jackdaw' writt...

SALVADOR DALÍ I DOMÉNECH (Figueras, Gerona, 1904 – 1989). Litografía papel. Ejemplar E.A. 26/60 Firmada y numerada a lápiz Medidas de la litografía: 36 x 50 cm. Aunque en las fot...

Limited edition of 99 prints, numbered and hand signed. Fair conditions.

Joan Miro - L'Issue Dérobée - Original Aquatint 1974 Dimensions: 36 x 54 cm Edition: 220 Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (C. books 187) Biography Joa...

Judy Pfaff, American (1946 - ) - Year of the Dog #5, Year: 2008, Medium: Hand Colored Woodblock and Collage, signed, dated and numbered in pencil, Edition: varied edition of 20/20...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Derrière le miro...

MV. 20 By Gerhard Richter 2011 Signed Black/white lacquer on Color photography 10 x 15 cm Unique Catalogue Raissonae ref: MV-20-15712

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 148, 1964. Published by Aim...

Screenprint on heavy, white wove paper , edited in 1965 Limited edition of 280 copies signed in pencil by artist in lower right corner and numbered 243/280 paper size: : 58,4 x 73,6 ...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper - Artist Authorized reproduction Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Dieter Roth Goodbye Sharpie, 1972 44.5 x 54.3 / 113 x 138 cm Planographic printing from zinc, white on dyed grey card Edition of 30, this copy marked "Artist's Copy" and annotated II/IV Dieter Roth was a printmaker from childhood: his first etching at the age of 16 was scratched into a soda can, and despite the failure of the can to print anything but a shadow of ink, he continued his study and by 20 was a serious apprentice in lithography to a well-known commercial artist, Eugen Jordi. Later he would continue to print and publish much of his own work. From the 1960s onward, his collaborations with Petersburg Press brought him international recognition and produced some of his most celebrated work: Six Piccadillies (1970), and Containers (1972). Interested in chance and spontaneity, Roth was drawn to make prints using unorthodox means: according to mathematical principles, using equations, or by randomly rearranging blocks before they were run through the press. The artist often printed plates repeatedly in different colors, producing many variations from just a few images. He used the printing press and materials to interrogate the creative process rather than just as tools to achieve an edition of identical prints: for example, overprinting or under-inking, or running objects through the press (in 1968, a box of chocolates). Roth was not just interested in the chance of making pictures but the unpredictability of decay: allowing the grease from slices of meat to slowly contaminate paper, immersing a print in vegetable juice, clamping metal to paper to produce rust, and pouring chocolate over a finished work. Roth would make hundreds of print editions and books over his career and blurred the line between genres and mediums, embarking on prodigious collaborations and experimentation with music, poetry...

Joan Miro Surrealist Birds (Sculptures), 1974 Original lithograph Printed signature in the plate On heavy paper 28 x 57 cm (c. 11 x 23 inch) REFERENCE : catalog raisonne Mourlot / ...

Artist: Joan Miro Title: Joan Miro (Plate 2) Portfolio: Joan Miro Medium: Lithograph Date: 1956 Edition: Unnumbered Frame Size: 17" x 24" Sheet Size: 9" x 15" Signature: Unsigned Ref...

Robert Natkin Intimate Lighting, 1974 Silkscreen on Arches paper 27 × 38 inches Pencil signed, dated and numbered from the limited edition of 150 on the front Published by Chromacomp...

Artist/Designer; Manufacturer: Robert Motherwell (American, 1915-1991) Marking(s); notes: signed; ed. 84/150; 1971 Materials: screenprint on J.B. Green mould-made Double Elephant pap...

Lithograph on vélin d’Arches paper. Inscription: Signed in the plate, embossed with the official Braniff Flying Colors Collection seal, and unnumbered, as issued. Good condition. Not...

This 30 color screen print was created at Brand X Editions to commemorate the terrorist attacks of September 11, 2001 in New York City. This print comes directly from the publisher, Lincoln Center Editions...

Alex Katz (after) Day Lilies (Hand Signed and Inscribed by Alex Katz), 1992 Large silkscreen poster on wove paper Boldly signed, inscribed and dated on the lower, right front in blac...

Artist: Jimmy Ernst  Title: Plate III Year: 1970 Print: Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 1 /125 Jimmy Ernst’s artwork was inf...

This is a site specific artwork of Ettore Spalletti in Pop Art style of Andy Warhol and following Ed Ruscha , especially made for the exhibition at the Triennale of Milano (Italy) in 2013. This "post...

"Poles" Minimalist Abstract Lithograph on Paper Bold abstracted lithograph by Arnold Mesches (American, 1923-2016). Negative space is filled in wi...

Charles Quest, 'Underwater', 1948, chiaroscuro wood engraving, edition 12. Signed, titled, dated and numbered '3/12' in pencil. A fine, richly-inked impression, in dark brown and warm black, on off-white wove paper, with full margins (5/8 to 1 1/2 inch), in excellent condition. Scarce. 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...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacre a Pierr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 85-86, 1956. Published by A...

Drypoint etching by famous Taos Artist Gene Kloss (1903-1996). Edition of 75. Titled: Christmas Eve - Taos Pueblo. Image measures: 12" H x 15" W. Unframed. Archivally matted. Created...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 5 x 13.75 inches Inscription: Signed in the plate an...

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...

Marino Marini (Italian, 1901-1980) "Chevaux et Cavaliers" Artist proof pencil signed circa 1970 Fantastic 1970 lithograph by noted Italian artist Marino Marini. This is a rare Art...

Artist: Sam Francis (1923-1994) Title: Demeter (L. L.146) Year: 1972 Medium: Lithograph in colors on Rives BFK paper Edition: A.P. III; 34, plus proofs Size: 18 x 24 inches Condition...

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...

This is a unique mixed media edition of 50. on handmade paper with fabric, gold and other elements. Raised and educated in New York, Pat Hammerman is an ...

This lithograph is part of my private collection since 1970's. It is pencil signed by the artist and numbered 198/220. Guilde del la Gravure .

This is an exclusive handprinted limited edition cyanotype. "Miami Art Deco Pool" shows the movements of water over a tiled swimming pool floor. Details: + Title: Miami Art Deco Poo...

Rare exhibition poster by Puerto Rican artist Eduardo Vera Cortes (1926-2006). Exposicion de Pinturas de Antonio Maldonado, 1965. Screen print on p...

Joan Miro (Spain, 1893-1983) 'Joan Miró. Fotoscop', 1974 lithograph on paper 12.9 x 20.5 in. (32.7 x 52 cm.). The size of the stamp paper has been slightly modified. Its original dim...

Views of Hotel Well I, from Moving Focus series (T. 280; DH. 67). Lithograph printed in colors on TGL handmade paper. Hand signed, dated and numbered by the artist. original Artist's...

Screenprint, from the posthumous edition of 50 printed in 1964 (first edition of 25 printed in 1951) With the blindstamp of the estate: “Estate of J. Pollock 1964” and “Strathmore us...

Surrealist abstract print of four figures that are in a bullring with other onlookers. In the image, there are paper airplanes flying around the scene. The first two terrorists are i...

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minimalist, contemporary and modern living spaces. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring on Stoneridge mould-made etching paper. This print is one of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), Those…Plants). The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, marigold orange contrasts beautifully with rich black ink. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Howard Hodgkin was introduced to the etching technique used in Artist and Model 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. Catalogue reference: Elizabeth Knowles...

A frenzy of lines and color, this pair of Dieter Roth lithographs could have been produced in 2022. The contemporary popularity of semi-abstract imagery featuring color gradients, za...

Relief print from letterpress plate on Italian mould-made Revere paper Edition 16 of 40 38 x 50.8 cm (15 x 20 in) Signed and numbered on the front Artwork in excellent condition....

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Jean Hélion was a French painter (1904 - 1987) whose abstract work of the 1930's established him as a leading modernist. His mid-career rejection of abstraction was followed by nearl...

Lithograph on vélin papier d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Georges Braque le solitaire, 1959. Published by Editions XXe Si...

Artist: Alexander Calder Title: Le Bateau Lavoir (The Laundry Boat) Year: 1969 Medium: Lithograph Edition: 73/75 Numbered 73/75 in pencil, lower margin ...

Tracey Emin I Can Still Love, 2012 Home made Inkjet Print 11 7/10 × 16 1/2 inches Limited Edition Rare Edition of approx. 150 (unnumbered) Hand signed and dated 2012 with the red Em...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 115, 1959. Published by Aim...

Exhibition poster produced in 2004. Referencing Pollock's 1950 original. Exemplifies his "drip technique" which was accomplished by hovering over a piece of canvas stretched out on ...

Richard Hunt Paper piece V, Terracotta Voyage, 1978 Artwork made exclusively from colored paper pulps, formed, handmade Twinrocker paper made by hand utilizing stencils to apply the wet colored paper pulp to the wet backing layer of pulp for the main image, in order to keep it consistent. The colored washes of pulp vary slightly with each print - similar to ones that are hand colored with watercolor washes. Signed and numbered 12/50 in graphite front; bears Lakeside Studio blind stamp 18 31/50 × 23 1/2 × 1/5 inches Unframed Formed, handmade Twinrocker paper Signed and numbered 12/50 on the front Published and printed by Lakeside studio, Lakeside, Michigan with blind stamp Also accompanied by gallery issued Certificate of Guarantee Richard Howard Hunt...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Artist: Larry Zox (1937-2006) Title: Three Square Composition Year: 1978 Edition: VII/LX; 200 Arabic Numeral, 60 Roman Numeral, plus proofs Medium: Silkscreen on Arches paper Size: 2...

2 Unique monotype on one sheet done as a diptych, signed and numbered 1/1. Artist Robert Roach lived in Santa Fe, New Mexico. His one-of-a-kind, abstract monoprints were inspired b...

Artist: Arthur Secunda Title: Night Bird Year: 1974 Paper Size: 26 x 23 inches Edition: Signed in pencil and marked 151/250 Arthur Secunda (b. 1927 – d. 2022) was an American painte...

Signed, lower right, 'Estève' for Maurice Estève (French, 1904-2001) and inscribed, lower left 'E d'A' for Epreuve d'Artiste. Provenance: Collection of Ann and Norman Bikales, Pebble Beach, California. Maurice Estève was born May 2, 1904 in Culan in the Cher where he spent his childhood with his grandparents. In 1913, he joined them in Paris, where he discovered the Louvre Museum and was particularly impressed by Uccello's Battle of San Romano...

Untitled Double Page Illustration for DLM Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), calle...