Large Abstract Prints

Serigraph on paper. Hand signed and numbered by the artist. Sheet size 39 x 30 inches. Image size 24.25 x 24.25 inches. Custom framed as pictured. From the edition of 250. Additio...

This abstract limited edition print by Sofie Swann features a square pattern composition in a deep red color, with abstracted, thin black line drawings of roses within each square. T...

Artist: Babe Shapiro, American (1937 - 2016) Title: Purple v. 1 Year: 1972 Medium: Silkscreen, signed and numbered in pencil Edition: 75 Image Size: 28 x 28 inches Size: 35 x 3...

This abstract figural limited edition print by Ned Martin features a warm palette. Two women stand together, one with her eyes covered by a white cloth and holding a small gold plate...

Artist: Babe Shapiro, American (1937 - 2016) Title: Red v. 2 Year: 1972 Medium: Silkscreen, signed and numbered in pencil Edition: 99 Image Size: 25 x 25 inches Size: 35 x 35 in. (88...

Artist: Chryssa, Greek (1933 - 2013) Title: Times Square Fragment #2 Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 300; AP 35 Paper Size: 39 in. x 25 in. (99...

Artist: Karel Appel Title: Resting Cat Portfolio: 1978 Cats Medium: Lithograph in colors on Japon paper Date: 1978 Edition: XV/LXV Sheet Size: 24 3/4" x 32 1/4" Signature: Hand signe...

Artist: Marcel Mouly – French (1918 - 2008) Title: Petit Luberon II (Little Luberon II) Year: 2003 Medium: Lithograph Image Size: 27.5 x 19.25 inches Sheet Size: 30.5 x 22.25 inches ...

"Pink Skull Large" Print 38 x 40 inch Edition of 300 by Steven Tyler Limited edition of 300 Plate signed by Steven Tyler ABOUT: As the lead singer of Aerosmith, Steven Tyler is con...

Artist: Chryssa, Greek (1933 - 2013) Title: Times Square Fragment #10 Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 300; AP 35 Paper Size: 40 x 25 inches

Poster. Made in Italy. Measures 32.75 x 19 inches and is unframed. The piece is in Good/Fair Condition-significant fading/discoloration primarily on the top portion of the print-cons...

This limited edition print is an abstract landscape by Elwood Howell. Below a high horizon line, a blend of earth colors are layered together with specks of colorful shapes throughou...

Artist: Chryssa, Greek (1933 - 2013) Title: Series 3 Year: circa 1979 Medium: Silkscreen on Arches, Signed and Numbered in Pencil Edition: AP 11/20 Size: 34 x 31.5 inches

Screenprint in colors with glitter on heavy wove paper. Hand signed in pencil verso, numbered from the edition of 150 verso with artists copyright inkstamp. Published by Other Crite...

80 x 94 cms (31.5 x 37 ins) Edition of 100

III, 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 ...

Lithograph, signed lower right, Number: 24/75 Alechinsky was born in Schaerbeek. In 1944 he attended the l'École nationale supérieure d'Architecture et des Arts décoratifs de La Cam...

Günther Förg (German, 1952-2013) Hora, 1999 Medium: Etching on rag paper Dimensions: 82 x 63 cm (32 x 24.75 in) Edition of 99 + 12 AP: Hand-signed and numbered Condition: Mint

Lithograph on vélin de Rives paper. Paper size: 21.75 x 33 inches. Inscription: Hand signed and numbered, E.A., as issued. Notes: Published by Éditions Atelier Clot, Paris; printed b...

"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Lithograph, 1963 Handsigned by the artist in pencil and annotated EdA Artist proof Edition : /75 + 6 EA Publisher : Galerie im Erker, St. Gallen Printer : Erker-Presse, St. Gallen ...

Donald Baechler, Szechuan Garden, 2003: Medium: Aquatint and soft-ground etching. Sheet size: 27 x 34 inches. Edition of 35 (30 + 5 artists proofs). Hand-signed, dated and numbered on bottom of sheet. Printed on Hanhnemuhle paper. Unframed. Acquired directly from publisher. Artist Biography: Donald Baechler, a member of the East Village art scene in 1980s New York, is known for his painting-collage-drawing works depicting of childhood imagery and nostalgic ephemera like grammar school primers, old maps, and children’s drawings...

In the style of Joan Miró (artist is unknown). Measures 36 x 27.25 inches with frame and matting. Print is in Good Condition. Frame shows significant signs of wear due to age and han...

"Elizabeth Stein Gallery A/P" is a color lithograph poster by Ilya Bolotowsky. This piece features an abstract and geometric design in yellow. 40" x 26" Born in Russia in 1907, Ilya Bolotowsky left his native country in his early childhood. The family was forced to emigrate as a result of his parent’s anti-Communist sentiments. They traveled first to Constantinople, then settled in New York City in 1923. Bolotowsky enrolled at the National Academy of Design in 1924. He tried out many styles in this period, ranging from the representational and classical to the abstract and expressionistic. In the early 1930s he became a designer of textiles. In 1932 Bolotowsky spent ten months in Europe. Although he was already familiar with prevailing modernist movements, the opportunity to study a wide range of these works and to meet some of the artists who had made them affected Bolotowsky profoundly. As a result of this trip, Bolotowsky began to synthesize aspects of Cubism with the abstract Surrealism of artists like Miro and Arp. These softer, floating forms gave way to a rectilinear geometry as he became more influenced by the Constructivists and Mondrian. Upon his return to the United States, Bolotowsky married his fellow painter Esphyr Slobodkina...

Salvador Dalí, LES DAMES DE LA RENAISSANCE, 1971 Hand signed and numbered. Etching on Japanese paper. Signed "Dalí" lower right and numbered "21/120" left. Dimensions are with fra...

David Hockney Paintings and Drawings for Parade - Metropolitan Museum (Hand Signed by David Hockney), 1981 Offset Lithograph. Hand signed by David Hockney...

In E'stelle II color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. The softness o...

Psyche D / EvH is a metallic Lambda photographic print, optionally mounted to Plexiglass, laser cut to shape, and fitted with a hidden subframe, ready to install. Work can be suppli...

Figurative lithograph of a man in red riding through the air on a horn. The viewer looked out through a window with the view of the Dome of Cathedral of Santa Maria del Fiore...

This proof is one of just a few printed in this color combination: the edition of 110 is printed with an orange background, while this copy is a muted yellow with the central, scribb...

Ed Ruscha EE-NUF! (hand signed by Ed Ruscha), 2020 Color lithographic poster on wove paper (hand signed by Ed Ruscha) Boldly signed by Ed Ruscha in black marker on the front 32 1/4 × 23 inches Unframed This iconic image was plastered on billboards declaring "Enough of Trump" throughout the United States. (see attached photos) - and it was even prominently featured in a segment on MSNBC's Rachel Maddow Show about artists against Trump. (see also attached screengrab). Here, Ed Ruscha has had EE-NUF of Trumpism and he decries White Supremacy, anti-Democracy, Fascism, pollution and the overturning of Roe vs. Wade. There's no subtlety in this imagery of a tattered and burned American flag...

Joan Miro Plate IV from Espriu. Year: 1975 Handsigned in pencil Edition: HC (Hors Commerce) aside from the edition of 50. On watermarked Sala Gaspar Publisher : Sala Gaspar, Barcelo...

Louise Nevelson is one of the most revered and unique sculptors of the 20th century. Her work has had an undeniable influence on a host of significant artists ranging from Tony Crag...

Striking watercolor, gouache and charcoal on heavy white wove paper by important female Czech-American Abstract Expressionist artist and sculptor, Ruth Francken...

Jim Dine Complete Graphics poster (hand signed by Jim Dine), 1970 Offset lithograph poster (hand signed by Jim Dine) 39 1/2 × 26 inches Frame included: held in the original vintage m...

Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved figures in the Color-Field ...

This beautiful serigraphy is full of color, emblematic from the Vasarely work.

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Alexander Calder ( 1898 - 1976 ) - Spirale millepiedi - hand-signed lithography, 1972 Additional information: Material: color lithography on paper Edited in 1972 Limited edition in ...

Günther Förg (Germany, 1952-2013) 'Erker-Gallery', 1995 Original poster from exhibition of 1995 lithograph on paper 36.5 x 22.6 in. (92.7 x 57.4 cm.) Unframed Ref: FOR100-201 Günthe...

Sarah Morris November 2021, 2021 Lithograph on wove paper Accompanied by a certificate of authenticity - hand signed by Sarah Morris (the artist) as well as the head of ICA Editions...

Etching in colours, on wove paper Edition of 52/68 68.9 x 101.4 cm (27.1 x 39.9 in) (74.5 x 107 x 5 cm, 29.3 x 42.1 x 2 in) Signed on the front and numbered on the back New, as issue...

SOL LEWITT (1928 – 2007) "Grids and Color Plate #42" Silkscreen in colors on Arches 88 paper, c. 1979 Impression 8 of an edition of 10 w...

Vinyl print on Wooden panel Edition of 12 Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Science in Internation...

Fleuve Rouge - 90 x 62 cm - Lithography - ed. 13 - paper BJK - 2019 - 900€

Color softground etching with aquatint. Edition of 50

Robert Rauschenberg Earth Day, 1970 Offset Lithograph Plate signed and dated on the front Publisher: Castelli Graphics 33 1/2 × 22 1/4 inches Unframed and affixed to thin board (must...

Artist: Gene Davis Title: Bullet Proof Portfolio: Series I Medium: Screenprint on canvas laminated to board Date: 1969 Edition: AP (one of 25 artist's proofs, aside from the edition ...

ROBERT COTTINGHAM Art, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Artist: Brooks, James Title: Concord Date: 1976 Medium: Silkscreen Unframed Dimensions: 30 x 22 Framed Dimensions: 38" x 30" Signature: Pencil Sig...

Artist: Neal Doty (American, born 1941) Title: Mother and Child Year: 1979 Medium: Color serigraph Edition: Numbered 70/300 Paper: Wove Size of image: 32.5 x 24 inches Size of paper:...

Lithograph on vélin paper. Paper size: 23 x 33.75 inches. Inscription: Hand signed and numbered, E.A., as issued. Notes: Published by Maeght Éditeur, Paris; printed by l'Imprimerie A...

The present unique collagraph is an excellent example of Joseph Rozman's pictographic style. The composition is organized like a tiled floor, each square containing an abstracted ima...

"From Head to Toe" belongs to the late graphic series that represent the high point of his graphic work. He impressively demonstrates his talent in dealing with colour and impressive...

Lithograph, silkscreen and acrylic on Saunders Waterford, St Cuthberts Mill paper. Paper size: 37 x 25 inches. Inscription: Hand signed and numbered, 86/100, as issued. Notes: Publis...

Harold Town Untitled, 1973 Silkscreen and Lithograph. Pencil Signed. Dated. Numbered. Hand signed, dated and numbered by the artist on the front 39 1/4 × 27 1/2 inches Unframed Pencil signed and numbered from the limited edition of 55. De-accessioned from the Sears, Robuck & Co. art collection Harold Town (1924-1990) has been dubbed the "Picasso of Canada" for his ever-changing aesthetic and perennial creativity, and he exhibited widely throughout Canada. He is best known as a founding member of the Painters Eleven, having coined the term for this artistic group himself. The name refers to the eleven Abstract Expressionist artists who banded together in Toronto between 1953 and 1960: Tom Hodgson, Jack Bush, William Ronald, Alexandra Luke, Oscar Cahén, Jock MacDonald, Ray Mead...

A dynamic and textured screenprint by American Abstract Expressionist, Larry Poons. This series of prints resemble canvases that have been splashed violently with paint. This piece i...