Vertical Abstract Prints

Alexander Calder Balloons and Color Mosaic, 1971 Original Lithograph (4 color stones) Printed in Mourlot workshop On vellum 31 x 24 cm (c. 12,2 x 9,5 in) Edited by San Lazzaro in 1...

This artwork titled "Genesis 5th Day" 1962 is a n original colors etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numb...

Sophie Taeuber-Arp (after) Composition, 1956 Lithograph and stencil (Jacomet workshop) On wove paper 31.5 x 24 cm (c. 12.4 x 9.4 in) Edited by San Lazaro in 1956 Excellent condition

Texte Mouchetè II is an original lithograph on watermarked paper "Arc". Abstract composition by the French artist Jean Dubuffet. From the album of "Cites et Chaussees" (1953-1959). ...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró, 1972. Published by Sala Ga...

Hand signed and numbered. Edition of 36 prints. Image Dimensions: 12,5x15 cm. Good conditions.

Alexander Calder (American, 1898-1976) “Seascape”, 1974 Lithograph in Colors on Wove Paper Signed: Calder (Lower, Right) Sheet Size: 39 3/5 × 28 in Marked “EA”, apart from an editio...

Union III Yaacov Agam, Israeli (1928) Date: 1976 Screenprint, signed in pen lower right Image Size: 27 x 22.75 inches Size: 33 x 28.75 in. (83.82 x 73.03 cm)

VI, from Thomas Suite by Robyn Denny, 1975 Additional information: Medium: screenprint 90 x 64 cm 35 3/8 x 25 1/4 in signed, dated and numbered in pencil Robyn Denny was one of a g...

Robert Savoie, Canadian (1939 - ) - Bois Nocturne, Year: 1964, Medium: Etching and Aquatint, signed, dated, numbered and titled in pencil, Edition: 48/50, Image Size: 15 x 13.25 inch...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Femme Assise Pres d'Une Fenetre (Marie-Therese Walter)". The original painting was completed ...

Silksreen Handsigned by the artist in pencil and 143/300 Catalog : Benavides 1168 58.00 cm. x 50.00 cm. 22.83 in. x 19.69 in. (paper) 40.00 cm. x 40.00 cm. 15.75 in. x 15.75 in. (i...

1980s Milton Glaser Poster Art: San Diego Jazz Festival: Vintage original Milton Glaser poster c.1983. Designed by Milton Glaser on the occasion of the San Diego Jazz Festival, a Pacific Coast event depicted with a suit-and-sandal clad bear at dusk. Several favorite Glaserisms show up here: the swirling contours, the loose cross-hatching and the saxophone. Offset lithograph poster in colors. 24x36 inches. Very good overall vintage condition with the exception of perhaps some minor signs of handling. A suit-and-sandal bear heralds this Pacific Coast event with a serenade with a beautiful sunset. Several favorite Glaserisms show up here: the swirling contours, the loose cross-hatching and the sax. Literature: Milton Glaser Posters Legendary graphic designer, illustrator, and art director Milton Glaser created some of the most recognizable iconography in America today —including the iconic I ♥ N Y logo —and countless posters and ad campaigns. Glaser changed the face of commercial art in the 1960s and ’70s, breaking with the conventions of modernism and drawing inspiration from a wide variety of art-historical and pop-cultural sources, from Art Nouveau to comic illustration...

Visual Poetry is an original screen print realized by Ennio Pouchard in 1970s. In very good conditions on a cream colored cardboard. Includes frame. H...

Artist: Larry Zox Title: Crow Slab II Year: 1979 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Size: 42 x 30 in. (106.68 x 76.2 cm)

One-color etching on Hahnemühle copperplate paper (Edition of 75 + 15 APs) Signed, dated, and numbered in pencil, recto 30 x 22 inches, sheet 17.5 x 12 inches, image This artwork i...

Rupprecht Geiger (German, 1908-2009) Orange on Yellow (from "Colour in the Round"), 1969 Medium: Silkscreen in colours, on thin cardboard Dimensions: 28 × 26 in (71 × 66 cm) Edition ...

OWL ROCK is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is currently unframed. Like Wortsman's own sculptures, the abstract components here mix the organic with roughly-hewn geometric forms. Note the dialogue between the colors umber, green and white, with the 3 perforations tying it all in – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the indigenous art of Africa, the Middle East, India and Asia, his forms are organic and geometric abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. OWL ROCK was exhibited at Tabla Rasa Gallery, Brooklyn, New York in 2013. And at Made In Brooklyn, Hanson Gallery, Honesdale, Pennsylvania, 2015. From Harold Wortsman – "I was introduced to printmaking in the 1990s by legendary printmaker, the late Sheila Marbain. Printer to the masters of Pop Art, like Oldenberg, Lichtenstein and Warhol, she tired of conventional silkscreen and developed her own silkscreen monotype technique. Several years of work with Marbain led to etching and hand-tooled aluminum intaglio with the great printer Sheila Goloborotko. I currently work with master printer Kathy Caraccio. While working together on a difficult project, Caraccio exclaimed: “This is not a print; it’s a painting.” Printmaking is now an integral part of the work I do." From Jonathan Goodman, Art Critic – "There are certain kinds of art that endure beyond the novel effect, demonstrating an awareness of time-honored methods and even historically potent imagistic biases, and Wortsman's work belongs to this ongoing vision." – Fronterra D, October 2016. Harold Wortsman is a sculptor and printmaker based in Brooklyn, NY. He “creates forms that bring to mind archaic cult objects and exude a quiet concentrated strength.” (Argauer Zeitung, Switzerland). His work, an edgy mix of freedom and clarity, can be found in public and private collections in the US, including The Library of Congress, Yale University, The New York Public Library Print Collection, The New York Historical Society, Smith College, Indiana University’s Lilly Library, Brandeis University, The Newark Public Library Special Collections Division, and the Jane Voorhees Zimmerli Art Museum Print Archive. Also in private and public collections in Europe, including the Municipal Collection of the City of Brugg, Switzerland. Harold studied at the New York Studio School of Drawing, Painting and Sculpture, with sculptor George Spaventa...

A very good impression of this color aquatint on Richard de Bas cream wove paper. Signed and numbered 23/96 in pencil by Tobey. Published by Edition de Beauclair, Frankfurt am Main.

Hand signed and numbered. Etching and aquatint. Edition of 60 prints. From the graphic collection: "Il Surrealismo tra le due guerre" Bibliography: L'Oeuvre gravée de Matta, Sonet ...

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...

Rendered in a deep black wash, Tighe O'Donoghue's vertical composition features a series of motifs in faded blue and red that accentuate the deep contrast of the work overall. Dial...

Nicolas DE STAEL, Oeuvre gravé, Bibliotheque Nationale Exhibition, 1979 Original print poster, size is framed Excellent condition

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...

Untitled is an original Contemporary Artwork realized by Hans Richter (Berlin, 1888 - Minusio, 1976) in 1971. Hand-signed and dated in pencil on the lower right corner: Richter 71....

Hand signed, numbered and dated. Edition of 99 prints plus 20 Artist's Proofs in Roman Numerals. Very good conditions.

Artist: Karl Fred Dahmen (German, 1917-1981) Title: Fin Ph. O. Year: circa 1979 Medium: Aquatint Etching, signed, numbered, dated, and titled in pencil Edition: 75 Image Size: 16 x...

This is a Hand-painted Limited Canvas Edition, only 10 published; it is offered as an alternative to its original piece. 90% of the canvas edition is hand painted with original pain...

Letter T is a beautiful original black and white lithograph on heavy paper, realized by the Spanish poet Rafael Alberti (Puerto de Santa Maria,1902 – 1999) in 1972. From "Il Lirismo...

Tar and Feather Paul Arthur Jansen, American (1945) Date: circa 1979 Screenprint, signed and numbered in pencil Edition of 225, AP 40 Image Size: 25 x 23 inches Size: 30 in. x 26 in....

Artist: Larry Zox Title: Grey Sweep II Year: 1979 Medium: Serigraph, Signed and numbered in Pencil Edition: 160 Size: 41.5 x 30 inches

Hand signed and numbered. Edition of 125 prints. Perfect conditions. Fabio Mauri (Rome, 1926 – Rome, 2009) was an Italian artist, writer and dramatist. He was one of the main Italian...

Fine piece of Florida abstract Landscape art. With a French Art Deco feel to it.

Hand Signed. Edition of 100 pieces. Excellent conditions.

Circus is an original Contemporary artwork realized in 1994 by the italian artist Leo Guida (1992 - 2017). Original Screen Print. Frame is included (72.5 x 3 x 52.5 cm). Hand-sign...

Abstract limited edition lithograph by artist Ed Moses. Excellent piece for art collectors or NEW art collectors. It is hand signed by the artist. Note: It will require a slight...

Alexander Calder Lithographic cover c. 1971 from Derrière le miroir: Lithographic cover in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of u...

This abstract black and white Roth print is full of movement, wildly diverse mark making, visceral, three-dimensional shapes and dynamic sketched lines. It is a single print from the...

Artist: Gabor Peterdi, Hungarian (1915 - 2001) Title: Mauna Loa II Year: 1969 Medium: Color Etching on BFK Rives paper, signed and numbered in pencil Edition...

Artist: Francis Bacon (1909-1992) Title: Portrait Isabel Rawsthorne Year: 2003 Medium: Offset Lithograph on premium paper Size: 39.25 x 27.5 inches Condition: Excellent Notes: Publis...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Galerie Maeght" Year: 1958 Medium: Original Lithograph, Exhibition Poster on light wove paper Limited edition: Unknown Printer: ...

Dreamy is an original modern artwork realized in the mid-20th Century by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original woodcut on paper. Very good conditions...

Alistair Grant was a familiar feature of the London art scene. Best known as a printmaker, his entire teaching career was spent in the printmaking department at the Royal College of Art, where he was to become Professor. Over the years he taught printmaking to many who were to become leading UK artists. Grant was at the top of his profession and a groundbreaker in his explorations of mixed media techniques. Grant was also a wonderful painter. In the early 1980s his imagery had turned to an open expressionist style, with sweeping brush marks and the introduction of new vibrant colour. Inspired by the Normandy coastline around Etaples and Le Touquet. Grant would create cyphers from the shapes and forms in the landscape, which he would offset against curtains of colour. They evoke bright or misty days, blazing skies or sunsets, beaches or harbours. The paintings and prints are descriptions of places he loved and constantly returned to. One could describe him as a French reflection of the St. Ives School where painters explored the landscape in similar fashion, as they still do. There is a wonderful sense of freedom in these images, and a great joie de vivre. Grant was a supreme colourist. He also co-authored an important book on the life and works of fellow English artist Henry Moore, whom his abstract figurative style resembles. This print is from the late 1960s and show the strong influence of figurative abstraction and surrealist elements in his work. Although best known as a printmaker, Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA. He showed with Julian Trevelyan. Grant showed at the Royal Academy, Artists International Association, and New English Art Club, and was a prize-winner at the Krakow Print Biennale in 1972. The TATE, The Victoria & Albert Museum, British provincial and many overseas galleries hold Grant’s work. His work is amongst the finest of modern British printmaking alongside richard smith, joe tilson, peter blake, patrick caulfield, alan davie, terry frost, david hockney and howard hodgkin. Select Group Exhibits 1951 New Editions Group,Auckland,New Zealand 1952-54,78 Redfern Gallery, London 80,83,84,86 1956 Nutida Engelsk Grofik, Stockholm 1957 National Arts Council of Southern Rhodesia 'Looking at People', South London Art gallery 1959 Tel Aviv Museum, Israel Arte Britonico Maderno Figurotiro, Galeria,Buchloz, Bogota The London Group 1960 Graven Image, Whitechopel Gallery, London Sixteen Pointers, A I.A. Gallery, London 1961 Museo de Arte, Barcelona Senfelder Group, Arts Council, London 1962 Towards Art Gulbenkian,R.C.A .London Contemporary British Pointers, Birmingham 1964-66 Curwen Gallery 1966 Crabowski Gallery, London 1967 A.A.A. Gallery, New York Schuman Gallery, New York 1968 Camden Arts Centre, London 1969 Pratt Centre, New York Art for lndustry, Arts Council, London 1970 University of South Florida, Miami 1971 Portland Museum,Oregon 1972 Art Gallery of Ontario, Toronto, Canada 1976 R.C.A.Printmakers,Waddington Gallery,London 1988 'Exhibition Road',R.C.A,London 1989 Berkeley Square Gallery, London 1989,90 Austin Desmond Gallery, london 1990 Scottish Gallery, London 1991 Big Little Picture-Show,W.Jackson,London 1992 'Winter Seen III',W.Jackson Gallery,London 1993 1 st Egyptian Print Triennale, Giza, Egypt 1994 Art '94, london, with Art First La Galerie du Touquet (with Alain Morcot) 1995 Art...

Lithograph, 1964 Handsigned by the artist in pencil and numbered 16/100 76.00 cm. x 56.00 cm. 29.92 in. x 22.05 in. (paper) 65.00 cm. x 48.00 cm. 25.59 in. x 18.9 in. (image) LCD5064

Artist: Terry Winters, American (1949 - ) Title: untitled 6 from Album Year: 1988 Medium: Etching with Aquatint, signed and numbered in pencil Edition: HC 2/2 Image: 20 x 16 inches S...

Vincent Longo, American (1923 - 2017) - Imprint, Year: 1982, Medium: Aquatint Etching, signed and numbered in pencil, Edition: 11/200, Image Size: 23 x 17.5 inches, Size: 30 x 22 in....

Ecce Homo VII Woodcut, 1921 Signed, titled, and dated in pencil by the artist One of only three known impressions Created while the artist was studying at the Bauhaus in Weimar, Germany. Extreme rarity-One of three know impressions Note: In 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Condition: Excellent Missing small voids in the upper margin from removal of the original hinges. Image size: 9 7/8 x 8 3/16 inches Reference: Rose 30 Provenance: From the estate of Drewes's teacher at the Bauhaus. During the pasot WW2 the professor lived in East Germany. WERNER DREWES 1899-1985 Werner Drewes initially studied architecture before enrolling, in 1921-22, at the Bauhaus in Weimar under Klee, Kandinsky, Itten and Feininger. For four years - 1923 to 1927 - he travelled the world with his bride, before completing his Bauhaus training in Dessau in 1929. He immigrated to the United States in 1930, documenting that move to New York through series of woodcuts. In 1936/37 he was an active founder of the American Abstract Artists and participated in the Federal Arts Project in New York before moving on to a teaching career at Washington University in St. Louis. As an artist for over sixty five years, he employed various media from drawing and watercolor, through woodcut and etching, to painting and collage. Translating an early interest in subjective cubistic forms, his work evolved into nonobjective abstraction. He was creative until the day of his death. Courtesy: Toby C. Moss Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...

Hand of Fire is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, repr...

Graffiti is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, reproduc...

This abstract monotype is by Sarah Smelser (1971-). It measures 8.5 x 8.5 inches the plate and 16.5 x 15.25 inches framed. It is titled in the lower left, “Attempting the Other” and signed and dated in the lower right, “Sarah Smelser 1997.” It is matted with an acid-free mat and framed in brushed metal. The print, mat and frame are in very good condition. Sarah Smelser received her BA from University of California at Santa Cruz, her MA and MFA from the University of Iowa. She has been an artist in residence at the Vermont Studio Center; The Franz Masereel Center in Kasterlee, Belgium; Artica in Bilbao, Spain; Kala Art Institute in Emeryville, CA; Jentel Artist Residency in Banner, WY; and Skopelos Foundation for the Arts in Skopelos, Greece, Anchor Graphics in Chicago; and the Ballinglen Arts Foundation in Ballycastle, Ireland. Her work is in such collections the Readers' Digest Association, the New York Public Library, the Library of Congress, the Jane Vorhees Zimmerli Art Museum at Rutgers University, the Spencer Museum at University of Kansas, Hallmark Corporate Collection, and the Elizabeth Foundation for the Arts. Smelser has had solo exhibitions at Bridgewater/Lustberg & Blumenfeld in New York City, Kathryn Markel Fine Arts in New York City, Urban Institute for Contemporary Art in Grand Rapids, MI, Carnegie Mellon University, Bradley University, University of Wyoming, Diablo Valley College, Luther College and Spencer College. Her work has been included in many invitational and juried shows, and been shown at numerous art fairs including Art Frankfurt, Estampa (in Madrid), the Affordable Art Fair in New York, Art Miami, Red Dot Art Fair in New York and Miami, Art Santa Fe, Art Chicago, EDITION Chicago, Boston Print Fair, Baltimore Contemporary Print Fair, Editions/Artists’ Book Fair, and the Los Angeles Art Show. Smelser's work has been reviewed in Art on Paper: The Journal of Prints, Drawings and Photography, as well as Abstract Art Online, and has been reproduced in New American Paintings. Most recently Smelser was the featured interview in Monotype, Monoprint, & Strappo Ezine. Smelser is a Professor of Art at Illinois State University and a co-founder of Manneken Press...

Four color process print on vélin paper. Paper size: 10.75 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, George Condo, Drawing Paintings, 201...

Artist: Joan Miro Title: Plate 4 Portfolio: Peintures sur Cartons Medium: Lithograph Date: 1965 Edition: Unnumbered Frame Size: 21 1/4” x 17 1/4” Sheet Size: 15” x 11” Image Size: 15...

Released as part of a portfolio in a limited edition of 400 on the occasion of George Condo's exhibition "Drawing Paintings" at Skarsketdt Gallery in 2011. Unsigned and unnumbered S...

Lithograph, 1970 Handsigned by the artist in pencil and annotated EA - Artist Proof Edition : 300 Printer : Clot, Bramsen et Georges (Paris) Catalog : [Mason Putman 58] 65.50 cm. x 4...

13-color silkscreen. Edition 114/250.

THE BIRTH OF A NEW MYTH BY PICHIAVO Edition of /100 + 20 AP Eleven-colour lithograph on paper Printed on a Marinoni press at Idem Studio, Paris Signed and numbered by the artists BF...

Artist: Salvador Dali Title: The Three Bad Barons Portfolio: Tristan and Iseult Medium: Color engraving Year: 1970 Edition: XII/XXV Frame Size: 25 1/4" x 20 3/4" Sheet Size: 17 3/4" ...

Street Musicians by Ira Moskowitz shows four musicians playing various horn instruments including trumpets and trombones. Behind them some childre...