Oversized Abstract Prints

This limited edition abstract giclee print by Sofie Swann is an edition of 95. It features thin, imperfect vertical rectangular shapes which are half white and half deep red, and are...

This limited edition abstract giclee print by Kelly Rossetti features layers of light, loose strokes of pale creme and pink over top of a range of blues, with pops of a unique green...

Each made with only two colors, the prints are masterful marriages of vibrant autumn leaves and crystalline sky. Titled Eklat (German for éclat) these works are a stunning display of...

Museum quality fine-art print; limited edition (18 signed and numbered prints + two artist proofs) from a multi-award winning artist/designer. This image is from Marvin Berk...

This large-scale abstract limited edition giclee print by Ned Martin features birds in flight. Five white birds with dark feathers on the tips of their wings fly in a formation throu...

This abstract limited edition print by Ned Martin features a large hummingbird as the central focus. The hummingbird is varying shades of blue and warm orange tones, while an abstrac...

This abstract limited edition giclee print by Ned Martin features birds in flight. Five white birds with dark feathers on the tips of their wings fly in a formation through a primari...

This abstract limited edition print by artist Ned Martin features a blue heron in profile. The background is composed of blue, silver, and black squares tiled and layered over top of...

"This our Court infected by their Manners" Print 48×40in Ed. 1/10 by Kate Garner Signed and numbered by the artist. Not framed. Ships in a tube. Kate Garner is an English photographer, fine artist, and singer. Garner has photographed a wide range of musicians and celebrities, including Dr. Dre, Leigh Bowery, JT LeRoy, Angelina Jolie, Cate Blanchett, Anne Hathaway, David Bowie, Cameron Diaz, PJ Harvey, John Galliano, Björk, and Kate Moss. Her work has appeared in the American and British versions of Vogue and Harper’s Bazaar as well as W magazine, Interview, GQ, Vanity Fair, Elle, and The Sunday Times. Kate Garner was expelled from high school at the age of 16 and became a runaway who joined The Children Of God. To escape the grasp of the cult she hitchhiked from London through Eastern Europe to India in 1970, where she lived for a year as a traveler before being located by her parents. She attended art school at Blackpool in the North of England and later moved to London, where she began to both photograph and model for up-and-coming magazines such as The Face and i-D. Kate Garner first came widely into the public eye as one-third of the 1980s avant-garde, new wave pop project Haysi Fantayzee, along with other members Jeremy Healy and Paul Caplin. Emanating from street art scenes such as the Blitz Kids that were cropping up in London in the early 1980s, Haysi’s music combined reggae, country, and electro with political and sociological lyrics couched as nursery rhymes. Catapulted to stardom by their visual sensibilities, Haysi Fantayzee combined their extreme clothes sense – described as combining white Rasta, tribal chieftain, and Dickensian styles – with a quirky musical sound comparable to other new wave musical pop acts of the era, such as Bow Wow Wow...

This unframed, signed, limited edition pigment print by world renown artist Ricardo Mazal exists in an edition of 30. Paper size is 35 inches h x 47 inches w with an image size of 32 inches h x 44 inches w. Born in Mexico City in 1950, Ricardo Mazal moved to Barcelona Spain in 1986, and since 1990 has lived and worked in New York City, as well as Santa Fe New Mexico. Mazal’s work explores the process of visual perception as it takes form in the human consciousness. His paintings depict the passage of time, not by illustrating events but by leaving their residue to dissipate in space like a still photograph of a speeding object blurred to abstraction. In the last decade he has been honored with ten individual museum exhibitions, including a retrospective at the Museo de Arte Moderno in Mexico City and the Museo de Arte Contemporaneo (MARCO) in Monterrey. He has also shown at the Museo Nacional de Anthropologia, Mexico City and the Scottsdale Museum of Contemporary Art. KORA follows the direction begun by La Tumba de La Reina Roja (The tomb of the Red Queen...

Caviar20 is excited to be offering this evocative print by the inimitable Louise Nevelson - one of the most revered and unique sculptors of the 20th century. Nevelson is renowned for her mysterious and complex artworks. She was an active printmaker, experimenting with different techniques and approaches while working with some of the best print-making studios in the United States. Nevelson, whether working in sculpture or in two dimensions typically had a strict palette; almost exclusively black. While there are iconic works in white, gold, or raw wood, Nevelson almost entirely avoids color. However, during the last decade of her life, her palette expands notably with her printmaking. "Reflections I" is an example from her 1983 portfolio, "Reflections I-V" consisting of six large-scale prints. These prints contain signature elements found throughout Nevelson's prints; ripped or collage-like forms as well as the use of fabric, lace, and toile in the printing process. However one of the strongest characteristics of the "Reflections" series is her new uninhibited use of color. Here it is used to maximum effect. This work features unexpected elements of crimson and translucent rose and Prussian blue that punctuate her signature layered collage-like composition. Nevelson's late prints are truly some of her best. Over the last few years, there has been tremendous momentum in both interest and appreciation of Nevelson's work. In May of 2021, a new auction record of $1.35 million was established for one of Nevelson's signature white construction sculptures...

This abstract landscape limited edition print by Elwood Howell features a high horizon line, and a light blue palette. The foreground portion of the composition beneath the horizon ...

This abstract landscape limited edition print by Elwood Howell features a high horizon line, separating a pale, nearly grey foreground and a blue gradient sky. Along the horizon line...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater frame options are available in silver, black, gold, and walnut. For additional sizes and alternate frame options or rolled, 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's signature and edition number will be added to the giclee electronically when created. Each print comes with a Certificate of Authenticity containing all information and retail price. Also, this framed giclee ships for free. This print by Sofie Swann features dark shapes, each composed of two parts, that emerge from either side of the canvas and nearly meet in the middle, leaving a somewhat jagged space white space between them. Small and mid-sized, colorful outlines of perfect circles fill the dark shapes. The piece is titled, "Coup de Foudre...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

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...

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...

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...

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...

One, 2014 Unique Jacquard-Woven Tapestry 60 x 80 inches

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

This Limited Edition abstract print, "Sand and Sea," by Sofie Swann is an edition of 95. Printed on canvas, this print ships rolled with natural canvas edges and can be stretched upo...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater frame options are available in silver, black, gold, and walnut. For additional sizes and alternate frame options or rolled, 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's signature and edition number will be added to the giclee electronically when created. Each print comes with a Certificate of Authenticity containing all information and retail price. Also, this framed giclee ships for free. This print by Sofie Swann features dark shapes, each composed of two parts, that emerge from either side of the canvas and nearly meet in the middle, leaving a somewhat jagged space white space between them. Small and mid-sized, colorful outlines of perfect circles fill the dark shapes. The piece is titled, "Coup de Foudre...

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

This limited edition print is an abstract landscape by Elwood Howell. It features a high horizon line - deep yellow orange with muted red, green, and yellow organic shapes are beneat...

A very good, richly-inked impression of this large, scarce print. Hand-painted carborundum relief (hand-painted in Permanent Maroon and Prussian Blue Hue, then printed in Titanium Wh...

This Limited Edition abstract print, "Neighbors," by Sofie Swann measures 48" x 60" and is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wire...

This image -- looking at the side of the king protea -- is a composite of 100 different images, each with a slightly different focal length, run through Zerene Stacker software, to c...

This image -- looking at the side of the king protea -- is a composite of 100 different images, each with a slightly different focal length, run through Zerene Stacker software, to c...

Vintage Typographical Exhibition poster for the Kunstgewerbemuseum Sept 1979, Zurich, Switzerland. Fritz Gottschalk is a leading exponent and proponent of Swiss graphic design...

Artist/Designer; Manufacturer: Jasper Johns (American, b. 1930) Marking(s); notes: signed and dated in pencil, label; ed. 42/63; 1972 Materials: Angoumois a la Main paper Dimensions ...

Joana Vasconcelos, Filament II Filament II, Contemporary, 21st Century, Pigment Print, Limited Edition, Edition Pigment Print Edition of 25 111.8 x 85.3 cm (44 x 33.5 in) Signed and ...

Color woodcut/lithograph, Edition 30. In this print Morinoue creates an evocative sense of place. He captures the reflections on a pond’s surface and the play of light on the ston...

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 ...

Breather / turquoise aegis is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. Work can be supplied unmounted and ready to frame if you’d prefer. The work is individually signed and numbered verso, with both a unique catalogue raisonné number and the edition number for guaranteed authenticity. From an edition of 8 Image size ⋅ 84cm H x 200cm W . Back in the shoegazing years, when I was studying at the old Hornsey School of Art, there was a beautiful surge of guitar fuelled wall of noise bands on the scene, one of whom, Chapterhouse, released a track entitled Breather. It’s a piece that’s stuck with me ever since. Breather was drawn a little while after Eight...

Unframed pigment ink print on canvas Image size: 44"H 36"W unstretched Edition: 50 Signed and numbered Dirk De Bruycker is originally from Belgium but spent over 30 years in Sant...

“Far from being an exercise in nostalgia, this analogue technique offers Jackson, as it does other artists at the cutting edge of this art movement, a path to the future.” – The Financial Times “Mike...

117 x 76 cms (46 x 30 ins) Edition of 50

This unframed, signed, limited edition pigment print by world renown artist Ricardo Mazal exists in an edition of 30. The image is printed at full bleed to the edge of the paper. Bo...

Elemental / white crest is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. Work can be suppli...

This unframed, signed, limited edition pigment print by artist Gary Mankus exists in an edition of 40. Paper size is 24"h x 48"w with an image size of 18.5"h x 41"w. Gary Mankus was...

Resin coated and mounted to layers of plywood, these digital/mixed media ‘picture objects’ represent interpretations of contemporary visual culture charmed by minimalism, modernism, ...

Fractal hybridisation of mathmatical patterns for a drop in the water and a conc shell

Fractal hybridisation of formulas for crystal and conc shell

Fractal generated image

C-Print mounted on acrylic board

Daniel Buren (French, born 1938) Untitled (Leporello), 2009 Medium: 10-part leporello, digital pigment print on 188 g Hahnemühle Photo Rag paper Dimensions: 250 x 32 cm (98½ x 12½ in...

This is a beautiful new etching - a whimsical, imaginative, exquisitely detailed piece. Other photos illustrate exhibited other works. Inquire. Framing options available in Los Angeles, London, New York. The etching is by a Japanese etching...

"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...

Bill, Max. Dada in Zurich, 1980, Offset Max Bill, (born December 22, 1908, Winterthur, Switzerland—died December 9, 1994, Berlin, Germany), Swiss graphic artist, industrial designer...

Bill, Max. Um 1930 in Zurich, 1977 Offset, 50 1/4 x 35 1/4". Max Bill was an important Swiss artist, designer and architect whose work drew inspiration from Bauhaus, De Stijl, an...

Archival pigment ink print on cnavas Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Science in International Fas...

Gudmundur Gudmundsson, aka Erró (Icelandic, b. 1932) Are you ready, 2016 Medium: Pigment print Dimensions: 115 x 111 cm Edition of 60 + 35 EA: Hand-signed and numbered Condition: Exc...

Publisher GKM. Edition of 15 ex. Signed/numbered. Carborundum engraving. Moulin de Larroque handmade paper. Free shipment worldwide. “With just a few strokes of his brush he conjure...

Published by edition GKM. Unframed. Edition: 40 ex. Signed by the artist. Free shipment worldwide. “With just a few strokes of his brush he conjures up an entire world. James Coignard extends the boundaries between concrete and abstract. He knows how to create chromatic melodies that shift in timbre from cobalt blue to blood red. His pictures are an artistic epicentre where lines, letters and numbers meld with vigorous swashes of colour.” That is how the writer Johan Persson has described the artist’s paintings. With this exhibition we honour James Coignard, showing some of his last carborundum engravings and paintings as well as presenting the book “L’œuvre gravé de James Coignard” volume VI. In this edition, we have gathered together all the engravings that James Coignard produced between June 2005 and his decease, on 7 March 2008. Behind him he left many fond memories and a life’s work as a great artist. James Coignard’s principal modes of expression were oil on canvas and gravure au carborundum, but also in bronze and glass sculptures as well as in ceramics. His work has been shown on more than 400 exhibitions, primarily in Central Europe and Scandinavia, but also in Canada and the USA. His first Swedish exhibition was at Malmö Museum in 1956. The early 1970s saw the start of a long-term liaison with Galleri Östermalm in Stockholm, owned by Editions Sonet. They came to represent him in Scandinavia and edited several volumes of his graphic works. It was not until 2003 that we at Galleri GKM Siwert Bergström...

Archival ink print on canvas, limited edition of 20 - artwork can be shipped in a tube or framed in a crate

Archival print on canvas, limited edition of 20 - artwork can be shipped in a tube or framed in a crate