Framed Abstract Prints

Julian Stanczak Blue Op Art Screen Print screenprint Pencil signed (lower right) edition numbered 20/165, measures 28" x 28". Black frame under Plexiglas. Julian Stanczak American/Polish, 1928-2017. Julian Stanczak explores the visual, psychological, and emotional resonance of color in his Op art paintings, through which he aims to induce a “color meltdown,” as he describes: “I want to fuse many colorants and their gradations into a single color experience.” Influenced by Josef Albers and Russian Suprematism...

This abstract landscape limited edition print by Elwood Howell features the artist's signature high horizon line. Lush, green abstracted land extends the width of the composition, wi...

Elephants. 1979 edition 2/20 Hand signed and dated Framed 24.5 X 28. Sheet 23 X 26 This is from a series of prints Boxer produced at Tyler Graphics between 1975 and 1979. Over thi...

A green and gray composition that features a more dimensional rendition of Albers’ famous “Homage to the Square” series. The exterior ring of dark green flanks a window of gray befor...

This framed work is one-of-a-kind colored pencil & collage on archival pigment print. The work itself is 20" x 16", and it is framed to 26" x 20" in a contemporary, simple white wood...

"Tapiz of Tarragona" 1970 Lithography. virtual frame 76x56 Cm. 200 Copies Edition Exemplary HC Papel Guarro with Water Filigree of the Sala Gaspar Signed in Monogramada and numbered ...

Fleur d'Helice, 1969 Lithograph in colors on Chiffon de Mandeure paper Maeght Editeur, Paris 29.5 x 43.3 inches Signed and numbered in pencil, edition 62 of 75 Professionally framed...

Firmado a lápiz por el artista en la parte inferior y con el tiraje, este en concreto es un E/A (epreuve d'artiste) Se presenta enmarcado con su marco original de la época (he puest...

This striking vintage original serigraph, created by renowned Aspen artist Thomas Whelan Benton, features a bold composition of a white snowflake set against a dramatic black field, ...

"L'Etoile" geometric abstract lithograph of the sun by Alexander Calder. Hand-lettered EA on lower left front. Hand-signed Calder on lower right front. From an edition of 75. Beautif...

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

Vin - From the 12 plate Portfolio, 1959 Published by Denise Rene, Paris Lithograph in colors on heavy paper 20 x 26 inches Numbered in pencil, edition of 126/150 AUGUSTE HERBIN (18...

Mel Ramos Batman and Robin (Hand signed Postcard), ca. 1991 Offset Lithograph on Card Hand signed by the artist on the lower front Held in original v...

engraved with plastic collage and polychrome stamping abstract pàinting. Aguatinta. Arches 63x90 Ed galeria Maeght, Barceloa. Imp. J. Barbara, Barcelona Catalogue razonne 1973/1978,...

BASF Luran mounted on aluminum. Hand signed lower front by Victor Vasarely; Signed, titled, dated and numbered on label to verso. From the edition of 8. Additional images availa...

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 Ameri...

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...

Bridget Riley Bagatelle 1, 2015 Screenprint on wove paper, framed Signed by the artist in pencil, lower right on recto Sheet: 52.8 × 82 cm Framed: 56 x 88 cm Edition 45 of 75 The Ba...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

The root of Guedes's work is located in the MADÍ movement, of Argentine origin and little repercussion in Spain, which attaches great importance to the tensions that are established ...

Richard Anuszkiewicz Annual Edition, 1987-1988 Limited edition silkscreen on masonite Signed and dated by the artist lower right in pencil Frame Included (floated within a box frame)...

This artwork titled "Curvy Brushstrokes" 1997 is a colors etching with sugar lift aquatint on Somerset textured white paper by renown artist Sol (Solomon) LeWitt, 1928-2007. It is hand signed and numbered 1/15 in pencil by the artist. The image size is 29.90 x 39.90 inches, paper sheet size is 40.5 x 49.80 inches, framed size is 43.75 x 53 inches. Published by Crown Point Press, San Francisco, printed by Dana Sywulak, assisted by Dena Schneleit, Mary Andrews and Case Hudson at Crown Press, San Francisco. Referenced and pictured in the artist's catalogue raisonne, plate #1997.07. Custom framed in a wooden black frame, floated on white backing, with white spacer. It is in excellent condition, the frame has minor very small restorations, practically invisible. About the artist: Known for his modular white cube sculpture, geometric drawings and abstract design paintings including many wall paintings that took teams of people to execute, Sol LeWitt was a major promoter of dominant post World War II Conceptualism and Minimalism. He used geometric shapes and lines to challenge his viewers, and sometimes they seemed logical and other times they seemed to have no basis in either reason or reality. Although he was highly active in New York City, he shied away from any semblance of art celebrity life style and spent much of his later life working from his home and studio in Chester, Connecticut. At the beginning of his career when he was gaining notoriety, conservative critics panned him fiercely. Seeking to get away from the frenetic activity of the New York art scene, he went to Spoleto, Italy in the 1980s and remained there for many years. The influence of Italian culture seemed to lend a new opulent quality to his work, and also the launching of his wall paintings, which he called drawings even though they were done with acrylic paint. "He began making colored flagstone patterns, spiky sculptural blobs and ribbons of color, like streamers on New Year's Eve, often as enormous decorations for buildings around the world. It was if he had devised a latter-day kind of Abstract Expressionism . . ." (Kimmelman) Of his personal modesty it was written: "He tried to suppress all interest in him as opposed to his work; he turned down awards and was camera-shy and reluctant to grant interviews. He particularly disliked the prospect of having his photograph in the newspaper." (Kimmelman) Sol LeWitt was born in Hartford, Connecticut to Russian immigrant parents. His father, a doctor, died when Sol was age six, and he and his mother then went to live with an aunt in New Britain, Connecticut. His mother encouraged his art talent, and enrolled him in classes at the Wadsworth Atheneum. LeWitt's subsequent residence in Chester, after he was a well-known artist, was near the Atheneum, and he became a strong supporter of that institution including the securing of a long time loan to it of a highly prestigious private collection of modern art. LeWitt earned a B.F.A. degree from Syracuse University in 1949, and then was drafted in the Korean War. His special assignment was making posters for the Special Services. From 1955 to 1956, he worked as a graphic designer for architect I.M. Pei, who was beginning his career. He also did pasteups for Seventeen magazine...

Etching and aquatint in colours on Arches paper Signed by the artist in pencil, lower right on recto 68 x 52 cm, 71.8 x 56.8 cm (framed) Edition 98 of 100 Michel Leiris (1901-1990) ...

Artist: after Ed Ruscha Title: America: Her Best Product (Made in USA) from the Kent Bicentennial Portfolio Year: 1975 Medium: Offset Lithograph (unsigned as is...

mestres de Catalunya. original lithograph abstract painting ANTONI TAPIES was the maximum representative of Spanish abstract art of the 20th century. His works are represented in mus...

Josef Levi, American (1938 - ) - Karen, Year: 1972, Medium: Screenprint, signed and numbered in pencil, Edition: 18/135, Size: 16.5 x 16.25 in. (41.91 x 41.28 cm), Frame Size: 18.75 ...

This contemporary abstract limited edition print by Sofie Swann features a light, coastal palette, with blue organic shapes patterned and stacked next to one another on the white bac...

"Rolled Wrongly - Portfolio 1, Folder 18, Image 2 " from the portfolio “Formulation: Articulation” created by Josef Albers in 1972 and was previously titled "Falsch Gerickelt". This ...

Wearing a green apron, the woman in this Pablo Picasso print is rendered entirely of angular shapes outlined in white and black lines. A lithograph from the Marina Picasso Estate Col...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Hand signed and dated with artist's copyright in pencil on the back; also with the blind stamp/chop mark lower...

Roger Muhl (1929-2008) Provence #7, 1986. Signed and numbered in pencil by the artist, lower margins. Artwork is in excellent condition with no damage or conservation. Frame shows ...

Anne Youkeles Gemini, ca. 1969 Three-dimensional silkscreen on folded sheets of thin card Hand-signed by artist in pencil, titled and annotated Artist's Proof I from the edition of 1...

Kiki Smith Untitled (Infinity Hands), 2003 Monoprint with hand applied watercolor on watermarked Losin Prague paper with deckled edges Signed and dated in graphite pencil on the fron...

Terry Winters Models for Synthetic Pictures, 1994 Intaglio with aquatint on Gampi laid down on Lana Gravure paper 19 3/8 x 22 1/4 inches Edition of 35

This contemporary abstract landscape limited edition print by Ken Elliott features a cool blue and violet palette, capturing rolling hills underneath thick, hazy clouds, with contras...

Françoise Gilot Window on Another Dimension, 1981 Lithograph on Arches mould made Johannot paper Signed and numbered in graphite pencil; also bears artist's monogram with date, edition of 60 Frame included: floated in the original vintage frame Measurements: Framed 30 inches vertical by 22 inches horizontal by .75 inches depth Artwork: 27.25 inches by 19.75 inches Francoise Gilot was not just Picasso's muse; she was an accomplished artist in her own right, and at age 100, the New York Times dubbed her the art world's latest "It Girl".! Signed and numbered in graphite pencil; also bears artist's personal monograph with date. Held in original vintage frame under plexiglass. Charmingly, there is a sticker label on the back of the frame, from the "Picasso Gallery Custom Framing" in D.C. This silkscreen is based upon Gilot's eponymous painting, also done in 1981 Excerpt from Alan Riding's 2023 New York Times obituary on Gilot: " Françoise Gilot, an accomplished painter whose art was eclipsed by her long and stormy romantic relationship with a much older Pablo Picasso, and who alone among his many mistresses walked out on him, died on Tuesday at a hospital in Manhattan. She was 101...But unlike his two wives and other mistresses, Ms. Gilot rebuilt her life after she ended the relationship, in 1953, almost a decade after it had begun despite an age difference of 40 years. She continued painting and exhibiting her work and wrote books. In 1970, she married Jonas Salk, the American medical researcher who developed the first safe polio vaccine, and lived part of the time in California. Still, it was for her romance with Picasso that the public knew her best, particularly after her memoir, “Life with Picasso,” written with Carlton Lake, was published in 1964. It became an international best seller, and so infuriated Picasso that he broke off all contact with Ms. Gilot and their two children, Claude and Paloma Picasso. Ms. Gilot’s frank and often-sympathetic account of their relationship — she dedicated the book “to Pablo” — provided much of the material for the 1996 Merchant-Ivory movie, “Surviving Picasso,” in which she was played by Natascha McElhone, with Anthony Hopkins as Picasso. If Ms. Gilot’s book sold well, so has her art. With her work in more than a dozen museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Centre Pompidou in Paris, her paintings fetched increasingly higher prices well into her later years. As recently as June 2021, her painting “Paloma à la Guitare” (1965), a blue-toned portrait of her daughter, sold for $1.3 million in an online auction by Sotheby’s. That surpassed her previous record price, $695,000, paid for “Étude bleue,” a 1953 portrait of a seated woman, at a Sotheby’s auction in 2014.. And in November 2021, her abstract 1977 canvas “Living Forest” sold for $1.3 million as part of a retrospective of her work at Christie’s in Hong Kong. Lisa Stevenson, the head of curated sales for Sotheby’s in London, told ARTnews after the 2021 auction, “It isn’t commonly known that Gilot’s commitment to art was present long before her relationship with Pablo Picasso, and she was sadly often left in his shadow.”.. Marie Françoise Gilot was born into a prosperous family on Nov. 26, 1921, in Neuilly-sur-Seine, a suburb of Paris, the only child of Emile Gilot, an agronomist and chemical manufacturer, and Madeleine Renoult-Gilot. Her 19th-century ancestors had owned a couturier house of fashion whose clientele included Eugenia, the wife of Emperor Napoleon III. Marie Françoise was drawn to art from an early age, tutored by her mother, who had studied art history, ceramics and watercolor painting. Her father, however — recalled by Ms. Gilot as an authoritarian who had forced her to write with her right hand, though she was left-handed — had other ideas. Envisioning a career in science or the law for his daughter, he persuaded her to enroll at the University of Paris, where she received her bachelor’s degree in 1938 at age 17. She went on to study at the Sorbonne and the British Institute in Paris and receive a degree in English literature from Cambridge University. As war crept closer to France in 1939, her father sent her to the city of Rennes, northwest of Paris, to enroll in law school. All the while she continued working on her paintings. Then came the German occupation of Paris, in June 1940, and she joined other students in an anti-German protest march at the Arc de Triomphe. In a clash with the French and German authorities, Ms. Gilot was arrested, briefly detained and put under watch. “From day one, we were not the kind of people who would become collaborators,” she said of her family. She continued her law studies at the University of Paris, but after taking her second-year examinations, in June 1941, she lost interest and abandoned the field, deciding to devote herself to art. She began private lessons with a fugitive Hungarian Jewish painter, Endre Rozsda, and attended classes at the Académie Julian, which numbered Matisse...

Colorful abstract expressionist lithograph celebrating the 1976 Olympics in Montreal Canada by American artist LeRoy Neiman. The work f...

Framed "Flying Colors" lithograph by Alexander Calder. Signed Calder in lower right corner. Edition 11 of 100.

This vertical abstract monotype layers asymmetrical shapes against a soft, gradient background. Shades of dark brown and bright red complement lighter coral and a sky blue hue that t...

Christian Furr How My Heart Sings- Jouissance Green - Blue Glissando Speculo I, 2022 Hand-finished monoprint, Acrylic paint with diamond dust on canvas Signed verso Dated 10 Jan 2023...

Screenprint on paper. Hand signed and numbered by the artist. Edition 19/30 (there were also ten artist’s proofs). From the portfolio Master American Contemporaries, Inaugural Print Invitational. Published by Museu de Arte Contemporânea, São Paulo, printed by American Image, Katonah, NY, and labeled with the museum’s printed anniversary mark in the lower right corner. Custom framed as pictured...

This limited edition print by Ned Martin is a contemporary abstract portrait. Part of his Spirits Through Time series, it features a woman in profile - her face and hair are rendered...

utting a new spin on one of his favorite subjects, Léger here depicts tree trunks and logs as objects in space rather than related to the ground. The gnarled branches form an abstract still-life composition, twisting and turning in unanticipated directions. The earthy browns, greens, and yellows contrast with the bold black outlines. The logs appear as though arranged on a platter, presented to the viewer for contemplation. An intriguing aspect of this piece is the tiny box...

With Nine Pointed Stars, the most complex of the “Pointed Star” series executed in 1996, Lewitt employs his trademark systematic use of grids, geometric shapes, and precise mathemati...

Cécile Reims (French, 1927–2020) Cécile Reims’s work is distinguished by its masterful technique, intricate detail, and deep engagement with themes of transformation and the natural ...

Alfred Jensen Untitled (Deluxe Artists & Collaborators Edition of the One Cent Life portfolio), 1964 Color lithograph on two pages wove paper (from the Artists & Collaborators hand s...

ARTIST: Salvador Dali TITLE: Alchimie des Philosophes The Angel of Alchemy MEDIUM: Etching on parchment paper SIGNED: Hand Signed PUBLISH...

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....

"Homage to the Square - Portfolio 2, Folder 5, Image 1" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origina...

Yaacov Agam (b. 1928) Magic Rainbow II, late 20th century Screenprint in colors on wove paper LXIII/XC (edition 63/90) Signed and numbered in pencil along lower edge 13 x 15...

Hand signed and numbered lithograph in colors on Arches paper. Mourlot 1025. Published by Maeght Éditeur, Paris. Edition of 27/30. Artwork size 91.375 x 47.875 inches. Custom framed ...

LeWitt has been the subject of hundreds of solo exhibitions in museums and galleries worldwide since 1965. A leading figure of the Conceptual and Minimalist movements, his prolific ...

Artist: Alexander Calder (American, 1898-1976) Title: "Flying Colors '76 (Stars and Stripes)" Portfolio: Flying Colors *Issued unsigned, though signed by Calder in the plate (printed signature) lower right Year: 1976 Medium: Original Lithograph on unbranded white wove paper Limited edition: approx. 1,000, (there was also a signed and numbered edition of 100 on larger Arches paper) Printer: possibly Atelier Fernand Mourlot, Paris, France Publisher: possibly Atelier Fernand Mourlot, Paris, France for Braniff International Airlines, Dallas, TX Framing: Recently framed in a white maple wood moulding Framed size: 12.25" x 15.25" Sheet size: 11.07" x 14" Condition: Faint crease down center of sheet. Light undulation to far left side. In otherwise very good condition with strong colors and clean paper Notes: Provenance: private collection - South Kingstown, RI; private collection - life-long Braniff Airways travel agent who acquired it directly from their employer/the publisher Braniff International Airlines, Dallas, TX. Printed in two colors: red and blue. Comes from Calder's 1974-1976 "The Flying Colors Collection" of various works. The image featured on this print is a design representing the stars and stripes of the Nation's flag which Calder hand-painted on the cover of a Braniff Airways plane's right-side engine. In conclusion to Alexander Calder and Braniff International Airline's collaborative marketing campaign in conjunction with the American bicentennial...

The Agamograph is Agam’s unique contribution to the OP Art movement. The object is a print behind a lenticular surface that fools the eye to show movement and ...

"Three Movements," an original silkscreen by Yaacov Agam, is a piece for the true collector. Agam is considered the father of Kinetic art. His iconic style is recognizable across the...

LeWitt has been the subject of hundreds of solo exhibitions in museums and galleries worldwide since 1965. A leading figure of the Conceptual and Minimalist movements, his prolific ...

This Limited Edition giclee landscape print by Molly Doe Wensberg is an edition size of 195. It features a cool green palette and captures a landsca...