Vertical Abstract Prints

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limite...

Artist: Hirst, Damien Title: Liberty Series: In a Spin Volume 1 Date: 2002 Medium: Etching on 350gsm Hahnmuhle paper Unframed Dimensions: 35.875" x 28" Framed Dimensions: 43....

Rare vintage Keith Haring exhibition poster published on the occasion of: ‘Paradise Garage: Keith Haring and Music, December 14, 2000-February 10, 2001, Deitch Projects, 18 Wooster ...

Robert Indiana Vintage Stable Gallery exhibition poster (hand signed), 1962 Silkscreen on wove paper Signed in the artist's shorthand signature with a love doodle on the back Unnumbe...

Artist/Designer; Manufacturer: KAWS aka Brian Donnelly (American, b. 1974) Marking(s); notes: signed; 11/250; 2020 Materials: screenprint on Saunders Waterford 425gm HP hi-white Dime...

SALE ONE WEEK ONLY "I. Traces grotesques" is an Artist’s Proof Lithograph. “Proofs” are either pulled or printed, and the artist has the option to work out the color and quality issues as they come out of the process. The only real difference between the two is the restricted quantity of prints bearing the AP designation and not the quality of the print. This lithograph is signed and titled by the artist, Jean Dubuffet, which indicates his complete satisfaction with the print. It is from 1958 and a perfect example of his style, “Art Brut.” His idealistic approach to aesthetics embraced what is called “low art”, art by non-academically trained artists. It is sometimes referred to as “outsider art.” He did study briefly at the Academie Julian, Paris, but eventually followed his own aesthetics which eschewed traditional standard of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. This lithograph expresses the beauty he found in the meandering spontaneous black line. Jean Dubuffet began painting at the age of seventeen and studied briefly at the Academie Julian, Paris. He painted off and on for the next 20 years. It was not until 1942 in the midst of WWII in France that he began the work which has distinguished him as an outstanding innovator in postwar Europe. It is said of his work that “he looked to the margins of the everyday – the art of prisoners, psychics, the uneducated, and the institutionalized – to liberate his own creativity and coining the term ‘Art Brut’.” Art Brut is a French term that translates as ‘raw art’, to describe art such as graffiti or naïve art which is made outside the academic tradition of fine art. His paintings from the early forties in brightly colored oils were soon followed by works in which he employed such unorthodox materials as cement, plaster, tar and asphalt-scraped, craved and cut and drawn upon with a rudimentary, spontaneous line. Dubuffet worked in France and exhibited from the early forties on. He was included in the 1946 Pierre Matisse...

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...

An expressive, moody abstract composition in tan and brown, with Mark Tobey’s soft, calligraphy-inspired mark-making reminiscent of earth, loam, or even flowing water. Mark Tobey, F...

Print, limited edition of 15. Signed by the author.

"Blade" Black & White Photography 24" x 18" inch Edition 1/20 by Ben Cope Not framed. Ships in a tube. BLANC series by Ben Cope: Ben Cope is a Los Angeles based portrait artist w...

Fritz Scholder (American, 1937-2005) 'Mask of the artist', 1982 Engraving, aquatint and resin 30 x 22.1 in. (76 x 56 cm.) ID: SCH1341-005 Unframed

Lithograph Handsigned by the artist in pencil and annoted EA VII/XV 65.00 cm. x 48.00 cm. 25.59 in. x 18.9 in. (paper) 39.00 cm. x 39.00 cm. 15.35 in. x 15.35 in. (image) Annoted "...

John Urbain, Belgian/American (1920 - 2009) - Pendulum, Medium: Lithograph, signed and numbered in pencil, Edition: AP, Image Size: 22.5 x 17.25 inches, Size: 23 x 17.5 in. (58.4...

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

A biologically accurate heard inscribed with patterns by Esther Ramsay (20th Century). The central pattern is a triskele, a three-armed spiral. Emanating from the arteries are tree b...

Etching in colors on vélin de Lana Royal paper. Paper Size: 11.93 x 9.81 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Heart of Darkness, 1992. Publ...

Max Epstein, Canadian (1932 - 2002) - Resurrection, Exhibition of Paintings, Collages & Sculpture, Year: 1972, Medium: Screenprint Poster, signed in pencil, Size: 30 in. x 20 in. ...

This Japanese woodblock print is by the noted sosaku hanga artist Hiroyuki Tajima (1911-1984). It measures 24 x 18 inches, (25 x 19.5 inches the sheet, 33.25 x 26.25 inches framed). ...

This is a truly historic limited edition hand signed museum print from the 1960s - of the first North American building the legendary artists Christo ever wrapped: Christo Wrap In Wr...

Andre Lanskoy (French / Russian 1902-1976) Untitled from the portfolio La Genese, 1966 Color lithograph on wove paper Signed 'Lanskoy' lower right Edition 11 of 30. Numbered lower ri...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing...

This original etching and aquatint in colours is hand signed by the artist in pencil "Sam Francis" at the lower right margin. It is also hand inscribed in pencil “CTP” [Colour Trial...

Nahum Tschacbasov Mid Century Modern Clown, 1956 Lithograph Signed, dated and numbered 144/250 in graphite on the front 34 x 27.5 inches Unframed, affixed to matting Published by American Color Slide Co, Ltd., New York Terrific uncommon vintage signed, numbered and dated mid Century modern lithograph from this interesting and distinctive -and undervalued Russian American artist. Highly collectible clown...

ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Johan Van Oeckel. In search for new compositions he always starts from small sketches based on fra...

Luis Feito (Spain, 1929-2021) 'Guadarrama IV', 2004 intaglio monotype on paper 55.2 x 39.4 in. (140 x 100 cm.) Edition of 76 Unframed ID: FEI1051-062 Hand-signed by author

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 195, 1971. Published by Aimé Maeght, Éditeur, Paris; pr...

This striking Art Deco lithograph poster, entitled "Pianos Daude," was created by the talented French artist Andre Daude around 1926. The poster is...

**Annual Summer Sale Until August 31st** **This Offer Won't Be Repeated Again This Year - Tale Advantage of it** **IMPORTANT: This is a limited edition of onl...

Printed by Mourlot for an Maurice Esteve exhibition held at the Neue Galerie. Esteve is well-known for his rich colors similar to the fauvist mouvement of the early 20th century. The...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Artist: Larry Zox Title: Green Card Sound II Year: 1980 Medium: Silkscreen, Signed in Pencil l.r. Edition: 185 Size: 40 x 30 in. (101.6 x 76.2 cm)

From the Peace Portfolio I. Color litho on Rives BFK. Signed, numbered (50/175), dated in pencil in lower right corner. Blind stamp lower right. Printed by Solomon and Company, New ...

RAZA Sayed Haider Bindu, 2008 Original lithograph Hand signed in pencil Numbered / 150 On vellum 43 x 22" (110 x 55 cm) Authenticated with the Editor stamp on the backside Excellen...

Derek Boshier ONE - 1967 Print - Silkscreen  22½'' x 31'' in. Edition: Signed in pencil, titled, dated and marked 36/70 Small creases and cracked ink in silkscreen. Otherwise very g...

Modern Twentieth Century Signed Miro Lithograph Le Lezard aux Plumes D'Or - Signed on the Plate and authenticated by the Mourlot family. This Lithograph by Miro was originally for G...

Artist: Donald Baechler Title: Thistle Medium: Lithograph Year: 1999 Edition: 67/75 Sheet Size: 45 1/2" x 22" Signed: Hand signed and numbered in pencil

Andre Lanskoy (French / Russian 1902-1976) Untitled from the portfolio La Genese, 1966 Color lithograph on wove paper Signed 'Lanskoy' lower right Edition 11 of 30. Numbered lower ri...

Robert Vale Faro, 'Kaf With', color lithograph, 1945, edition 15. Signed, dated, titled and numbered '84' and '6/15' in pen, recto. Titled, numbered '#84' and '6/15' and dated '7/22/...

Brian Wall Untitled Hard Edge Minimalist Etching (Geometric Abstraction) from the 1960s, 1969 Etching on wove paper with deckled edges Hand signed and numbered 22/75 by the artist in...

Françoise Gilot Window on Another Dimension, 1981 Lithograph on Arches mould made Johannot paper Signed and numbered in graphite pencil; also bears artist's monogram with date, edition of 60 Unframed 27.25 inches by 19.75 inches Francoise Gilot was not just Picasso's muse; she was an accomplished artist in her own right, and at age 100, the New York Times dubbed her the art world's latest "It Girl".! Signed and numbered in graphite pencil; also bears artist's personal monograph with date. Held in original vintage frame under plexiglass. Charmingly, there is a sticker label on the back of the frame, from the "Picasso Gallery Custom Framing" in D.C. This silkscreen is based upon Gilot's eponymous painting, also done in 1981 Excerpt from Alan Riding's 2023 New York Times obituary on Gilot: " Françoise Gilot, an accomplished painter whose art was eclipsed by her long and stormy romantic relationship with a much older Pablo Picasso, and who alone among his many mistresses walked out on him, died on Tuesday at a hospital in Manhattan. She was 101...But unlike his two wives and other mistresses, Ms. Gilot rebuilt her life after she ended the relationship, in 1953, almost a decade after it had begun despite an age difference of 40 years. She continued painting and exhibiting her work and wrote books. In 1970, she married Jonas Salk, the American medical researcher who developed the first safe polio vaccine, and lived part of the time in California. Still, it was for her romance with Picasso that the public knew her best, particularly after her memoir, “Life with Picasso,” written with Carlton Lake, was published in 1964. It became an international best seller, and so infuriated Picasso that he broke off all contact with Ms. Gilot and their two children, Claude and Paloma Picasso. Ms. Gilot’s frank and often-sympathetic account of their relationship — she dedicated the book “to Pablo” — provided much of the material for the 1996 Merchant-Ivory movie, “Surviving Picasso,” in which she was played by Natascha McElhone, with Anthony Hopkins as Picasso. If Ms. Gilot’s book sold well, so has her art. With her work in more than a dozen museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Centre Pompidou in Paris, her paintings fetched increasingly higher prices well into her later years. As recently as June 2021, her painting “Paloma à la Guitare” (1965), a blue-toned portrait of her daughter, sold for $1.3 million in an online auction by Sotheby’s. That surpassed her previous record price, $695,000, paid for “Étude bleue,” a 1953 portrait of a seated woman, at a Sotheby’s auction in 2014.. And in November 2021, her abstract 1977 canvas “Living Forest” sold for $1.3 million as part of a retrospective of her work at Christie’s in Hong Kong. Lisa Stevenson, the head of curated sales for Sotheby’s in London, told ARTnews after the 2021 auction, “It isn’t commonly known that Gilot’s commitment to art was present long before her relationship with Pablo Picasso, and she was sadly often left in his shadow.”.. Marie Françoise Gilot was born into a prosperous family on Nov. 26, 1921, in Neuilly-sur-Seine, a suburb of Paris, the only child of Emile Gilot, an agronomist and chemical manufacturer, and Madeleine Renoult-Gilot. Her 19th-century ancestors had owned a couturier house of fashion whose clientele included Eugenia, the wife of Emperor Napoleon III. Marie Françoise was drawn to art from an early age, tutored by her mother, who had studied art history, ceramics and watercolor painting. Her father, however — recalled by Ms. Gilot as an authoritarian who had forced her to write with her right hand, though she was left-handed — had other ideas. Envisioning a career in science or the law for his daughter, he persuaded her to enroll at the University of Paris, where she received her bachelor’s degree in 1938 at age 17. She went on to study at the Sorbonne and the British Institute in Paris and receive a degree in English literature from Cambridge University. As war crept closer to France in 1939, her father sent her to the city of Rennes, northwest of Paris, to enroll in law school. All the while she continued working on her paintings. Then came the German occupation of Paris, in June 1940, and she joined other students in an anti-German protest march at the Arc de Triomphe. In a clash with the French and German authorities, Ms. Gilot was arrested, briefly detained and put under watch. “From day one, we were not the kind of people who would become collaborators,” she said of her family. She continued her law studies at the University of Paris, but after taking her second-year examinations, in June 1941, she lost interest and abandoned the field, deciding to devote herself to art. She began private lessons with a fugitive Hungarian Jewish painter, Endre Rozsda...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Prints from the Mourlot Press, 1964. Published by Fernand Mourlot, Par...

from a series of large scale photographs capturing a mesmerizing color palette of classic blue and sky tones SEASCAPE VIII by Frank Schott 60 x 48 inches / 152cm x 122cm edition o...

Kenny Scharf Untitled from the environmental portfolio "Columbus: In Search of a New Tomorrow", 1992 Color silkscreen on Fabriano paper with blind stamp, held in the original portfol...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Silkscreen by Washington Color School artist Howard Mehring (1931-1978). Work is printed on thick wove paper circa 1970. Work was originally acquired from artists estate and is uns...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Tracey Emin Tate Gallery poster, 2004 Offset lithograph 27 1/2 × 19 1/2 inches unframed This offset lithograph poster was published by the Tate Gal...

Edward Landon, 'Time Silhouette', color serigraph, 1969, edition 30, Ryan 201. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on cream wo...

Arnulf RAINER (1929) Eiffel Tower and Informal Composition, 1990 Original vintage lithographic poster (Edited by Maeght-Long) Printed signature in the plate On paper 77 x 56 cm (c. ...

ABOUT THIS ARTIST: Kimmie B is a designer and artist based in New York City. She creates bold and graphic shapes with organic lines and inspirational colors. Kimmie makes each form f...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with bifold, as issued. Notes: From volume, Derrière le miroir, N° 125-126, 1961. Publishe...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

For Alberti, For Spain! it's an artwork realized by Joan Mirò in 1975. Etching,  90 x 66 cm.  Hand signed. Edition 62/90. Reference: Dupin 926 Printed on Fabriano paper, Printed ...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

8 Colour Screenprint on Somerset Satin White 410gsm Paper 78 x 61 cm hand-signed and numbered by the Artist Eelus is a contemporary British artist known for his striking use of colo...

Joan Miro Lithographier Originale (Les Peintures Sur Carton De Miro) Original Color Lithograph Year: 1965 Size: 14.5x10.5in Edition: 150 Portfolio: DLM 151-152 Publisher: Maeght Ed...

Medium: original lithograph. Printed in 1974 for the art revue XXe Siecle (issue number 43, devoted to Surrealism) and published in Paris by San Lazzaro. Sheet size: 12 1/4 x 9 3/8 i...

Lithograph, 1967 Handsigned by the artist in pencil and numbered 56/100 Publisher : Galerie Im Erker St. Gallen 22.50 cm. x 17.50 cm. 8.86 in. x 6.89 in. (paper) 22.50 cm. x 17.50...