Oversized Abstract Prints

Justine Smith artist, painter and sculptor art is available to buy online and in our art gallery. Jusitne Smith was born in Somerset , Justine Smith moved to London to study at The C...

Tom Alan Lieber, (American, born 1949), GTW #11 -7, 1986, Oil and mixed media on paper, 30.25 x 44 inches, Hand signed and dated lower right Provenance: Garner Tullis Workshop, ...

Artist/Designer; Manufacturer: Roy Lichtenstein (American, 1923-1997) Marking(s); notes: signed, blind stamp, marking(s); PP 1/2 aside from the edition of 60; 1989 Materials: lithogr...

Double Poppies Pink 2025 
Color silkscreen with enamel inks, flocking and sand on Rising 4-ply museum board 
Sheet size: 52.5 x 30 inches (133 x 76 cm)
 Image size: 48.5 x 26 inches ...

From an important Dallas Texas estate. This artwork is an assemblage of countless hand cut and painted paper triangles arranged to create a captivating geometric depth of field. Th...

This serigraph was created by German Op artist Herbert Aach. Aach's prints play with geometry and form, and trick the viewer's eyes by juxtaposing bright neon colors. This print is s...

Frank Stella's work references many of the key developments or movements in post-war American art; Op Art, hard-edge abstraction, conceptual art, and Minimalism. His iconic concentri...

Moderna Museet ( the Red Model ) Oct -Nov ’67 is an original poster for an exhibit of works by renowned surrealist painter, Rene Magritte ( 1898 – 1967 ). It was held at the Moder...

Twin Mirrors (C.102) is a screenprint on paper created for the Guggenheim Museum in 1970, 35 x 21 inches image size, signed and dated 'rf Lichtenstein '70' lower right and numbered 94/250 lower left (from the edition of 250 plus an unknown number of artist proofs). Framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.118, #102. About Lichtenstein’s Mirror...

ETERNAL CITY JERUSALEM is a unique, rare Trial Proof from a limited edition etching by the Israeli artist Moshe Castel (1909-1991), hand printed using traditional intaglio printmaking techniques on archival Arches paper 100% acid free. ETERNAL CITY JERUSALEM presents a deep red and orange brown ochre colored stone tablet...

This original etching and aquatint is hand signed in white pencil by the artist "Miró" in the lower right image. It is also hand numbered in pencil from the edition of 50, at the low...

Dan Christensen, American (1942 - 2007) - Latuka, Year: 1981, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 131/140, Image Size: 20 x 38 inches, Size: 29....

Artist: Norio Azuma Title: Day Year: circa 1970 Medium: Serigraph on Canvas, signed l.r. Edition: 50 Size: 42 x 42 inches Frame: 44 x 44 inches

Baumberger, Otto. PKZ 1923, Color lithograph, On Linen 50 1/2 x 35 1/2” Baumberger was one of the most prolific Swiss poster artists, with well over 200 designs to his credit. Beginning in 1917, he regularly worked for PKZ. This poster is not only the best he produced for the company but is also an icon in poster history. The tweed coat is rendered in near-photographic perfection to the point where you can practically feel the fabric. Baumberger took a totally new approach to advertising by ingeniously incorporating the poster's text into the image in the form of the label in the coat. With this poster Baumberger cemented his role as master of the "Object Poster," (a title he earned four years earlier with a classic image of a top hat), and began the trend of "New Objectivity" within the Swiss school of Graphic Design. A sensation from the day it was issued, this image remains compelling and proves to be one of the finest of the PKZ posters...

Artist: Nancy Genn, American (1929 - ) Title: Saratoga Year: circa 1978 Medium: Monoprint on hand-made paper, signed l.l. Size: 40 x 54 inches (101 x 137 cm)

Lithograph from four aluminium plates using tusche and washes, printed in transparent red, orange and a red to orange blend, with hand colouring in ivory black watercolour and blue and green gouache. On two sheets of buff BFK Rives mould-made paper (300 gsm) Hand-signed by artist, Signed with initials and dated 1980 in pencil, in the lower left on the left-hand sheet. Numbered in pencil in the lower right, verso Published by Bernard Jacobson Ltd. Exhibition History: 'Howard Hodgkin: Views. An Exhibition of Early Prints', Bernard Jacobson Gallery, London, 02 March - 02 April 2013; 'Howard Hodgkin Recollections’, Bernard Jacobson Gallery, London, 21 April - 14 May 2022 Literature: Pat Gilmour, 'Howard Hodgkin', The Print Collector's Newsletter, vol. 12, no. 1, March-April 1981, p. 5 (ill. front cover); Deborah Phillips, 'New Editions: Howard Hodgkin', ARTnews, vol. 80, no. 7, September 1981, p. 161; 'Prints by Six British Painters: Stephen Buckley...

Richard Anuszkiewicz, American (1930 - 2020) - New York City Center of Music and Drama, Year: 1968, Medium: Screenprint, signed, dated and numbered in pencil, Edition: 6/144, Image S...

Temporal Perception 361 (Diptych) (Abstract photography) Archival C-Print — Unframed. Edition: 1/12 Available in 2 weeks turnaround. Sold as a diptych. Each element size is: 45 x 30...

The minimalist's dream, the large-scale iconic contemporary pop art Horizontal 'Spots' with multi-color dots by Damien Hirst is one of fifty-five limited edition woodcut prints on So...

Screen Print in colors on Museum Board, # 12 from Edition of 100 Signed and Dated, lower right Published by International Images, Inc. Putney, Vermont Provenance: Private Collection...

Walter Darby Bannard (born 1934 in New Haven, CT) Mandragora Silkscreen Litho print on BFK Rives art Paper. Hand signed in pencil, numbered and titled. Walter Darby Barnard is a Pr...

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

A print by Robert Rauschenberg. "Prime Pump from ROCI USA" is a color screenprint on paper and Lexan print from the Wax Fire Works Series. "Prime Pump from ...

Silkscreen Black and White Lantern Flowers with Flocking

Artist: Judy Pfaff, American (1946 - ) Title: When the Moon is Full Year: 2002 Medium: Photo-etching, signed, titled and numbered in pencil Edition: 26/30 Image Size: 22 x 87 inches ...

Spring is my favorite time of year. My garden is filled with flowers and colours I'm so inspired to observe it daily! So much beauty in this season, birds singing, leaf dancing with...

Skylight XXX Evelyn B. Johnson Date: circa 1980 Screenprint, signed, numbered, and titled in pencil Edition of 14/30 Image Size: 38 x 28.5 inches Size: 41.5 x 29.5 in. (105.41 x 74.9...

hand signed 2024 Art education: 2018 Sorbonne University, Paris 2014 – MA Fine Art at the Academy of Fine Arts of Rome; 2012 – Academy of Fine Arts of Rome; 2005 – Moscow Acade...

The 50th Anniversary of the League of Women Voters Screenprint Poster from 1970, designed by Richard Anuszkiewicz (1930 - 2020) printed in 1969,...

Artist: Al Held, American (1928 - 2005) Title: Scholes I Year: 1991 Medium: Screenprint, signed and numbered in pencil Edition: 80 Image Size: 23 x 29 inches Size: 29 x 34 in. (73.66...

Rising to prominence in the late 1970s and early 1980s, American artist Julian Schnabel is known for a multidisciplinary practice that spans painting, sculpture and film. During his ...

Artist: Donald Sultan Title: Mimosa with Green, Jan 25, 2023 Year: 2023 Medium: Archival pigment ink print on 315 gsm fine art paper Edition: 100; signed, titled, dated and numbered ...

Artist: Lynda Benglis, American (b. 1941) Title: Dual Nature (Blue) Year: 1991 Medium: Lithograph with Gold Leaf on Hand Tinted Paper, signed and numbered verso Edition: 20, AP ...

The work of Luis Gordillo spans more than five decades. He began his career by developing a new pictorial language that became a point of reference for an entire generation of artist...

Sergio Hernández (Mexico, 1957) 'Lluvia Espesa', 2011 woodcut on paper Velin Arches 300 g. 46.5 x 82.7 in. (118 x 210 cm.) Edition of 10 Unframed

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

Doric Game XX Evelyn B. Johnson Date: circa 1980 Screenprint, signed, numbered and titled in pencil Edition of 7/25 Image Size: 38 x 28.5 inches Size: 41.5 x 29.5 in. (105.41 x 74.93...

Temporal Perception 111 (Diptych) (Abstract photography) Archival C-Print — Unframed. Edition: 1/12 Available in 2 weeks turnaround. Sold as a diptych. Each element size is: 45 x 30...

Cloud Study I - 21st Century Contemporary Photographic Print Framed Cloud Study I, like many of Pia’s works, evokes quiet contemplation – in this instance, through a cloud study. Fo...

Artist: Barry Le Va, American (b. 1941) Title: III from Plazas in Transition: Foundations of Fragmented Perspectives Year: 1981 Medium: Etching with Aquatint on grey BFK Rives, si...

Sheila Maki , the artist, is Canadian and died in Toronto, Ontario. She enjoyed the challenge of creating original prints through varied processes such as etching and silk-screening...

Karel Appel Blue Mask 1971 Lithograph - 43" x 29" inches Edition: signed in pencil and marked 1/100 Description Karel Appel is one of the founding members of the CoBrA movement in ...

Temporal Perception 4 (Diptych) (Abstract photography) Archival C-Print — Unframed. Edition: 1/12 Available in 2 weeks turnaround. Sold as a diptych. Each element size is: 45 x 30" ...

Evelyn B. Johnson was an American Optical artist. Her work specialized in striking geometric abstract forms in bright colors whose shading mimics the effects of neon lighting. These ...

Artist: Raymond Parker, American (1922 - 1990) Title: Untitled 17 Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 75 Size: 35 x 45 inches

Large lithograph, signed lower right, number: 43/50 André Lanskoy He was born in Moscow. After 1905, the family moved to St. Petersburg, the capital in 1909. In 1918, he moved to Kie...

A poster belonging to Erik Nitsche's third series for General Dynamics, promoting the reactor Triga of its General Atomic division. Founded 1952, General Dynamics hired Nitsche as A...

Abstract Expressionist monoprint by American artist Robert Kuszek (b.1959). This print is on thick paper, and the images are textured and embossed. The piece is signed in the lower r...

An original hand-signed and numbered minimalist silkscreen from the Werkubersicht/Work-Overview Portfolio. Leon Polk Smith is credited with the founding of the hard-edge art movement...

"Abstract II" is a Framed and Matted Mixed Media Print with Gold-Leaf. The artist signature is illegible. It measures 40.5 x 34.5 inches. The date of creation is unknown but is belie...

Proofed and editioned by Peter Kosowicz at Thumbprint Editions Ltd, London, published by Paragon Press. Edition 2/115 The large-scale pop-art 'Grey Spots' Etching with Aquatint is a...

Artist/Designer; Manufacturer: Mel Bochner (American, 1940-2025) Marking(s); notes: signed; ed. 15/100; 1990 Materials: screenprint on heavy wove paper Dimensions (H, W, D): 48"h, 48...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Cobalt Vectors Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 150 Size: 41.25 in. x 29.75 in. (104.78 c...

Artist: Elen Sevy, American Title: Extended Life Line I Year: 1980 Medium: Embossed Color Etching, signed and numbered in pencil Edition: 300 Image Size: 7 x 36.5 inches Paper Size...

Gordon House was born in 1932 in Pontardawe, South Wales. Early exposure to art on trips to the Glynn Vivian Art Gallery as a young boy inspired House towards creative endeavors and ...

Dan Flavin (American, 1933-1996) Untitled (Triptych), 1996-98 Medium: Set of three aquatints on handmade rag paper Dimensions: each 50 x 40 cm (19.75 x 15.75 in) Edition of 60: Each ...

"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...

Color aquatint and sugarlift aquatint.

Original Swiss Exhibition poster by Hermann Eidenbenz (lithograph, printed by Art. Institut Grafica in Basel) advertising a show of the Basel section ...

NV15 [2016] Relief Print Edition number Unique Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:76 cm x W:111 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look. NV15 is an original minimalist print...