Oversized Abstract Prints

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

Artist: Sam Francis (American, 1923-1994) Title: "Generated (SF-275)" *Signed by Francis in pencil (on second sheet) lower right Year: 1983 Medium: Original Lithograph on two sheets ...

Artist: Yaakov Agam (1928) Title: Double Metamorphosis V Year: 1979 Medium: Silkscreen on Arches paper Edition: 69/180, plus proofs Size: 36 x 50 inches Condition: Good Inscription: ...

Artist: Yaakov Agam (1928) Title: Double Metamorphosis IV Year: 1979 Medium: Silkscreen on Arches paper Edition: 62/180, plus proofs Size: 36 x 50 inches Condition: Good Inscription:...

Edward Giobbi, American (1926 - ) - Layered Bricks, Year: 1965, Medium: Screenprint, signed, dated, dedicated and numbered in pencil, Edition: 7/30, Image Size: 40.25 x 22.5 inches...

This abstracted print of a dog by artist Russell Miyaki features a light neutral palette with colorful accents and expressive, playful elements to create an energetic composition of a dog, with spiral linework over its left eye. This Limited Edition giclee print by Russell Miyaki is an edition size of 195. Printed on canvas, this giclee ships framed in a warm silver floater frame wired and ready to hang. Other floater frame options are available in white, black, gold, dark walnut, oak, and white oak. For additional sizes and frame options, please contact us. Limited Edition prints are printed with pigment ink on a Premium Fine Art Matte Canvas and designed to meet museum longevity requirements and ensure consistency. The artist has granted permission to Sorelle Gallery to produce limited edition prints of their work. Each print comes with a Certificate of Authenticity, and ships for free. Please note that all prints are made-to-order based on desired preferences, allowing for personal customization and less waste. Please also allow additional time for printing prior to shipping. Russell Miyaki is a contemporary artist and creative director in New York City. His studio is at Metro Art Studios in Bridgeport, CT, which is a renovated historic 1800s corset...

20J1G-2020 (Abstract print) Aquatinte on BFK Rives paper - Unframed. Edition of 30. Image size: 35.2 x 124.5 cm / 13.8 x 49 in Paper size: 46 x 135 cm / 18.1 x 53.1 in Clément's wo...

This abstract contemporary limited edition print by Roger Mudre features a cool-toned palette with subtle gold accents. Concentric circles of varying sizes overlap one another to cre...

**Annual Summer Sale Until August 31st** **This Offer Won't Be Repeated Again This Year - Tale Advantage of it** Celebrating the beloved QUEEN ELIZABETH II in...

A very good impression of this large color lithograph on Arches. Signed and numbered 94/100 in pencil by Calder. Printed and published by Mourlot, Paris.

The Delusion of Fashion - Yellow (from the series also known as 'Fashion Frenzy' or 'El delirio de la moda') is a lithograph on paper, image size 49.5 x 34", signed Miró lower right ...

Kindergarten Robes, 1983 Signed, dated, and numbered in pencil Woodcut 54 x 70 inches Edition 37 of 75 There are 10 artist's proofs, published by Pace Editions, New York. Catalogu...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Stunning, vivid non-objective abstract screen print titled "Barnabas' Voyage State 2" by Michael Gallagher (American, b. 1945). Signed and numbered lower left corner. Ink on paper using unique bleed screening process. #10/20. Unframed. Size 49"H x 37"W. Shipped in tube. Born 1945 in Los Angeles, California. In 1965 Gallagher attended UCLA and studied painting and drawing with David Hockney, Alfred Leslie, Jan Stussy, Sam Amato & Richard Diebenkorn. Michael has studied painting with Edgar Ewing and Keith Crown...

Antoni Tapies (Spain, 1923-2012) 'Variations I: Chaise de profil', ca. 1970-1975 Serie: Variations sur Chaise lithograph on paper 41.4 x 29.6 in. (105 x 75 cm.) Edition of 90 Unframe...

This abstract contemporary Limited Edition giclee print by Kelly Rossetti features a soft palette and blended, but expressive strokes. Cool blue greys are balanced by darker, near bl...

JIM DINE Singing and Printing XIII. Unique color woodblock relief print with hand coloring in oil, acrylic, and charcoal and mechanical abrasion on cream wove paper, 2001. 69 3/4 x ...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

This Limited Edition giclee abstracted coastal landscape print by Bri Custer is an edition size of 195. It features a blue palette with warm pink and orange accents throughout. Prin...

RAZA Sayed Haider Prakriti 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 ...

**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...

Antoni Tapies (Spain, 1923-2012) 'Cherubins (variations IV)', ca. 1970-1975 Serie: Variations sur Chaise lithograph on paper 41.4 x 29.6 in. (105 x 75 cm.) Edition of 90 Unframed ID:...

This abstract landscape limited edition print by Elwood Howell features a vibrant green palette. Colorful orange, blue, and violet accent the green area of the composition, which ext...

**Annual Summer Sale Until August 31st** **This Offer Won't Be Repeated Again This Year - Tale Advantage of it** Celebrating the beloved QUEEN ELIZABETH II in...

Monotype 44 x 30.5 inches unframed 47 x 34 inches framed

John Hoyland, British (1934 - 2011) - Dreaming, Year: 1990, Medium: Screenprint on Rag paper, signed, dated and numbered in pencil, Edition: 4/40, Size: 44 x 41 in. (111.76 x 104...

This abstracted print of a dog by artist Russell Miyaki features a light, colorful palette and loose, expressive, and playful elements to create an energetic composition of a dog lic...

Lithograph, 1956 Handsigned by the artist in pencil and numbered 26/95 Publisher : Maeght (Paris) Catalog : [Maeght n.1016 Vallier p.293] 55.00 cm. x 112.50 cm. 21.65 in. x 44.29 in...

This abstract portrait limited edition print by Ned Martin is part of the artist's Spirits Through Time series. It features a warm and earthy palette. It depicts a portrait of a woma...

From an edition of 250, this dynamic cubist nude print fractures details of the female form into matters of base anatomy. This piece is signed and numbered in pencil by the artist. ...

This Limited Edition abstract print, "A Summer Day in Nantucket," by Sofie Swann measures 50" x 40" and is an edition of 95. Printed on canvas, this print ships rolled with natural c...

Large format photograph of Brutalist architecture in south of Italy ( Sicily ) Modica (2020) by Frank Schott 60 x 40 inches / 152 cm x 101cm signed edition of 1 40 x 27 inches /...

Pen, ink and pastels. These limited-edition Giclee prints are created on Epson archival paper using the finest Epson inks available and which Nora has determined most closely capture the look of her original drawings. Fine art prints are custom made to order by a Chico, California professional printmaker. Prints are shipped unframed as we prefer you make this selection with your framer of choice. Each print is signed by Nora and professional packaged for shipping. Prints are shipped from Nora Pineda...

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Damien Hirst H13-2 Kingsdown Beach, 2023 Laminated Giclée print on aluminium composite panel. Hand-signed on the label and numbered. This artwork can be hung any way up. 120 × 90 cm ...

This abstracted print of a dog by artist Russell Miyaki features a light neutral palette with colorful accents and expressive, playful elements to create an energetic composition of ...

This piece titled "Huipil III" is an original piece by Alexis Nutini and is made from a reductive woodcut print. This piece measure 46"h x 36"w frame...

Robert Motherwell (1915-1991), alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, made up the quartet of abstract painters that radically defined Modern painting in America and established New York City as the new center of the art world. Motherwell was a tremendously gifted communicator and so fell in to being the unofficial spokesman of the New York School; writing, editing a journal, and lecturing on behalf of the movement and the merits of abstraction. While his contribution to the art historical canon as a painter is undisputed, Motherwell's role as a printmaker is equally important. One of the most experimental and courageous printmakers of the 20th century, he was always searching for new techniques to express or expand his ideas and aesthetics. This lithograph is visually bold. Framed by opaque black bands, and set among a striking blue flat, sits a grey impression. Etched with subtle lines and reminiscent of Motherwell's Open paintings, the central grey rectangle and its surrounding composition come together in a paradigm of Motherwell's oeuvre. His use of grey paper is clever, as the exposed sheet on the left mingles with the applied compositional elements. This combined with the textured application throughout, force the viewer to reckon with which greys are applied, and which are the substrate showing through. "The Aberdeen Stone" is one of three visually similar "Stone" prints that refer to Motherwell's Scottish heritage, and is a particularly meaningful impression for the artist. Aberdeen is both a town in northeastern Scotland, and the birthplace of Motherwell (b. 1959, Aberdeen, Washington). Motherwell assigned titles to each of the prints that inscribe site references onto the stones used: Celtic, Douglas, and Aberdeen. While visually different, the three works were printed using the same litho stone...

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* Limited edition of 30 museum quality Giclee prints ...

Russell’s Way by Al Held, American (1928–2005) Date: 1969 Aquatint on Somerset paper, signed, dated, and numbered in pencil verso Edition of 37/50 Image Size: 35.5 x 44.5 inches Size...

Artist: Larry Rivers (1923-2002) Title: Golden Tales Year: 1990 Medium: Lithograph with hand coloring on wove paper Edition: H.C. VI/VIII; 35, plus proofs...

large scale photography of mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from the body of works titled 'Flow' Flow I by Ch...

Artist: Roberto Matta Title: La Dulce Aqua Vita Medium: Carborundum etching on handmade paper Signed: Hand Signed Size: 41 x 48 Inches Framed: 51 x 58 Inches Edition: 23/125 Year: 20...

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* Limited edition of 30 museum quality Giclee prints ...

Artist: Henri Matisse (after) Title: La Piscine II Portfolio: The Last Works of Henri Matisse Medium: Lithograph Date: 1958 Edition: 2000 Sheet Size: 14" x 42" Signature: No Referenc...

Artist: David Diao, Chinese-American (1943-) Title: Barnett Newman: The Paintings (Yellow) Year: 1992 Medium: Screenprint, signed and numbered in pencil Image: 15 x 39 inches Size: 3...

This Limited Edition giclee landscape print by Molly Doe Wensberg is an edition size of 195. It features a cool blue, green, and yellow palette and captures a landscape scene with lu...

This abstract contemporary limited edition print by Teodora Guererra features broad, expressive strokes in grey, warm sepia tones, and white. This Limited Edition giclee print by Te...

This colorful abstract landscape piece is a Limited-Edition giclee print by Ken Elliott with an edition of 195. Printed on canvas, this giclee ships framed in a gold floater frame wi...

Blue Flame by Abi Polinsky. REP by Tuleste Factory 2022 L 45" x H 50" 114.3 cm x 127 cm Unframed. Edition 1 of 1. Blue Flame plays with a number of preconceived notions. It loo...

This abstract limited edition print by artist Ned Martin features his signature rectangular pattern in a cool palette. A warm under-layer is just visible, which lightly contrasts the...

TECHNICAL INFORMATION: Jasper Johns Device 1971 - 72 Lithograph 39 1/2 x 29 in. Edition of 62 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art. Condition: This work is in excellent condition. Frame: This work is framed in an aluminum frame. ABOUT THIS WORK: Device is an important work from Japser Johns’ gray...

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 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...

This Limited Edition giclee landscape print by Bri Custer is an edition size of 195. It features a vibrant blue and yellow palette. It captures an abstracted view of a shoreline. Pri...

This square woodcut print on paper is composed of an abstract pattern of clustered silver blue shapes over a navy blue background that complements that subtle metallic sheen of the s...

*End Of The Year Sale - This Price Is The Lowest - Take Advantage of It* *This Price Won't Be Repeated Again This Year* >>The PRINT will look like as the FIRST/PRIMA...

Large scale abstract photographic sections of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Japan's famous Arashiyama Bamboo Grove Bamboo Forest by Erik Pawassar 48 x 175 inches (122 x 444cm) six prints of 48 x 29 inches signed edition of 7 The work is also available as a single panoramic photograph: 42 x 118 inches (107 x 300cm) signed edition of 7 archival quality fine art pigment print limited art edition published by Edition EKTAlux artist signed + numbered certificate of authenticity ________________________ About the artist: Erik Pawassar's work focuses on the beauty of the disregarded or mundane object. The subjects for his striking and captivating visuals are typically set in the most ordinary environments, drawing the viewer into a charged but serene experience based on composition, palette and formal lines. Saturated in color, the nominal subjects gather a haunting and mesmerizing quality, creating a poignant pretext for the making of a formal color photograph. Decisively capturing the traces left by humanity, Pawassar's images are filled with a sense of universal nostalgia and pay homage to the passage of time and the extinguished moment, referencing documentary and street photographers like Henri Cartier-Bresson, Sebastian Salgado, Raghubir Singh...

Flux # 202301 (Abstract photography) Chromogenic Print Face-mounted 3mm Matte Plexiglas, backed with extruded polystyrene, concrete, acrylic, enamel and pigments. Edition: 1/3. Snel...

27-color silkscreen

This abstract limited edition print by Roger Mudre is inspired by his recent trip to the Northern Italian city. In it, Mudre weaves his exploration of the circle together with a geom...