Unframed Abstract Prints

This exquisite lithograph by Joan Miro (1893–1983), titled Constellations d'une femme assise (Constellations of a Seated Woman), from the album XXe siecle, Chroniques du jour, 13 rue...

This stunning Artist's Proof is an one-off, oil hand-painted by the artist , signed at front and on the back label too; each proof is 80% hand painted by Shizico Yi, because the natu...

Artist: Kyohei Inukai, American (1913 - 1985) Title: Egg 2 (Purple) Year: circa 1970 Medium: Silkscreen, signed and numbered in pencil Edition: 45 Image Size: 20 x 26 inches Size: 2...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Zwei Reiter vor Rot (Two Riders Against Red), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Dire...

This exquisite lithograph by Henri Matisse (1869–1954), titled La Danse (The Dance), from Verve, Revue Artistique et Litteraire, Vol. I, No. 4, originates from the 1938 issue publish...

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 7 (double) J...

This unique monotype cyanotype, rendered in rich blue tones, draws inspiration from mid-century modern shapes to explore themes of balance and duality. Abstract forms echo harmony an...

Carlos Garcia De La Nuez (Cuba, 1959) 'Pausas', 2006 silkscreen on paper 19.7 x 23.7 in. (50 x 60 cm.) Edition of 99 Unframed ID: GAR1649-006-104 ____________________________________________ "Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico. He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...

6-Colour Screen Print on Archival Paper hand-signed and numbered by the artist 57.2 cm x 57.2 cm Edition 108 of 150 Artwork by Mr. Brainwash, (the pseudonym of French-born artist ...

Pierre SOULAGES Composition in Black and Blue, 1956 Lithograph and stencil (Jacomet workshop) Unsigned On wove paper 31 x 24 cm (c. 12.2 x 9.4 inches) Edited by San Lazaro in 1956 ...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Galerie Maeght" Year: 1958 Medium: Original Lithograph, Exhibition Poster on light wove paper Limited edition: Unknown Printer: ...

Created as a screenprint in colors by Jean Dubuffet in 1973, Epiphanor is from the Présences Fugaces series, is hand-monogrammed, dated and numbered in pencil and measures 29 ¾ x 21 ...

This exquisite heliogravure after Henri Matisse (1869–1954), titled Mademoiselle M.A. (Miss M.A.), from the album Portraits par Henri Matisse (Portraits by Henri Matisse), originates...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

This exquisite lithograph by Henri Matisse (1869–1954), titled Le Soleil (The Sun), from Verve, Revue Artistique et Litteraire, Vol. VI, No. 21–22, originates from the 1948 issue pub...

Dan Christensen, American (1942 - 2007) - Hyde Park I, Year: circa 1981, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 175/175, Image Size: 28 x 38 inches,...

Mid-Century Shapes XIII is a captivating cyanotype monotype that draws on the visual language of mid-century abstraction. Featuring fluid, interlocking forms rendered in rich Prussi...

Nick Thomm 'After Dark' (Blue) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #106 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW...

Artist: Salvador Dali (1904-1989) Title: Baignoire à tornade liquide (Michler/Löpsinger 822-831; Field 75-13), Imaginations et Objets du Futur (Liquid tornado bathtub, Imaginations a...

La melodie acide. original lithograph painting. signed on the stone and numbered 384/ 1500

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Future Garden is a screen print realized by Leo Guida in 1976. Hand signed and dated. Edition of 50. Excellent condition. Leo Guida  (1992 - 2017). Sensitive to current issues, a...

This exquisite lithograph by Henri Matisse (1869–1954), titled Icarus, from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the 1945 issue published by Editio...

Artist: Frank Roth, American (1936 - ) Title: Untitled - Four Green Shapes in Continuous Space Year: 1978 Medium: Screenprint, signed and numbered in pencil Edition: 125, AP 30 Image...

Alexander Calder Lithographic cover c. 1971 from Derrière le miroir: Lithographic cover in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of u...

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

Limited edition, 2/10. ANNA MIKKE (born in 1950) She graduated from the Academy of Fine Arts in Łódź in 1975. After graduation, she was engaged in graphic design, including designing...

Damien Hirst, Honesty, 2021 Laminated giclee print on aluminium composite panel 47 1/5 × 37 4/5 in 120 × 96 cm Edition of 728 hand-sgned by the artist on the back published by HENI...

Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation for the Arts Fellowship grant for...

Untitled is a Lithograph print in colors on Arches paper realized by by Antoni Tapiès in 1973. Hand-signed on the lower right. Numbered. Edition 80/100. Printed by Maeght, publish...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, New Séries, XXIIIth year, N°17 - Christ...

This piece is an original etching created by Henry Moore in 1967. This piece is hand signed in pencil and numbered from the edition of 50 on Japon paper. There are also two proofs on...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N°4 (double) ...

Joe Tilson Mnemonic Device, 1975 Silkscreen with hand coloring on Thin Bamboo Wood Sheet 21 1/4 × 19 1/2 inches Edition 96/100 Hand signed and numbered from an edition of 100 on rect...

Max Ernst (German, American, 1891-1976) Color lithograph Titled, "Poster For The Jewish Museum" 1966 Hand signed lower right Hand numbered HC I/XVII Dimensions: 34.75 x 28.5 sight 25 X 19.25 Max Ernst (German 1891 – 1976) was a German-born painter, sculptor, printmaker, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and surrealism in Europe. He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of frottage—a technique that uses pencil rubbings of textured objects and relief surfaces to create images—and grattage, an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. Max Ernst showed for the first time in 1912 at the Galerie Feldman in Cologne. At the Sonderbund exhibition of that year in Cologne he saw the work of Paul Cezanne, Edvard Munch, Pablo Picasso, Paul Gauguin and Vincent van Gogh. In 1913 he met Guillaume Apollinaire and Robert Delaunay and traveled to Paris. Ernst participated that same year in the Erste deutsche Herbstsalon. In 1914 he met Jean Arp in Cologne who was to become a lifelong friend. In 1921 Ernst exhibited at the Galerie au Sans Pareil in Paris. He was involved in Surrealist activities in the early 1920s with Paul Eluard and André Breton. His work was exhibited that year together with that of the Das Junge Rheinland group, at Galerie Feldman in Cologne, and then in several group exhibitions in 1913. In his paintings of this period, Ernst adopted an ironic style that juxtaposed grotesque elements alongside Cubist and Expressionist motifs. Ernst fought in world war I. Several German Expressionist painters died in action during the war, among them August Macke and Franz Marc. In 1918, Ernst was demobilised and returned to Cologne. He soon married art history student Luise Straus, of Jewish ancestry, whom he had met in 1914. In 1919, he visited Paul Klee in Munich and studied paintings by Giorgio de Chirico. In the same year, inspired by de Chirico and mail-order catalogues, teaching-aide manuals and similar sources, he produced his first collage works (notably Fiat modes, a portfolio of lithographs), a technique which later dominated his artistic pursuits. Also in 1919, Ernst, social activist Johannes Theodor Baargeld and several colleagues founded the Cologne Dada group. In 1919–20, Ernst and Baargeld published various short-lived magazines such as Der Strom, die Schammade and organised Dada exhibitions. Ernst and Luise's son Ulrich Jimmy Ernst was born on 24 June 1920; he later would also become a painter. In 1921, he met Paul Éluard, who became a lifelong friend. Éluard bought two of Ernst's paintings (Celebes and Oedipus Rex) and selected six collages to illustrate his poetry collection Répétitions. A year later the two collaborated on Les malheurs des immortels and then with André Breton, whom Ernst met in 1921, on the magazine Littérature. Ernst developed a fascination with birds which was prevalent in his work. His alter ego in paintings, which he called Loplop, was a bird. He suggested that this alter-ego was an extension of himself stemming from an early confusion of birds and humans. In 1927, he married Marie-Berthe Aurenche and it is thought his relationship with her may have inspired the erotic subject matter of The Kiss and other works of that year. He collaborated with Joan Miro on designs for Sergei Diaghilev Ballet that same year. The following year the artist collaborated with Salvador Dali and the Surrealist Luis Bunuel on the film L'Age d'or. His first American show was held at the Julien Levy Gallery, New York, in 1932. In 1936 Ernst was represented in Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York. Ernst began to sculpt in 1934 and spent time with Alberto Giacometti. In 1938, the American heiress and artistic patron Peggy Guggenheim acquired a number of Max Ernst's works, which she displayed in her new gallery in London. Ernst and Guggenheim were married from 1942 to 1946. In September 1939, the outbreak of World War II caused Ernst, being German, to be interned as an "undesirable foreigner" in Camp des Milles, near Aix-en-Provence, along with fellow surrealist, Hans Bellmer, who had recently emigrated to Paris. He had been living with his lover and fellow surrealist painter, Leonora Carrington who, not knowing whether he would return, saw no option but to sell their house to repay their debts and leave for Spain. Thanks to the intercession of Paul Éluard and other friends, including the journalist Varian Fry, he was released a few weeks later. Soon after the German occupation of France, he was arrested again, this time by the Gestapo, but managed to escape to America with the help of Fry and Peggy Guggenheim, a member of a wealthy American art collecting family. Ernst and Peggy Guggenheim arrived in the United States in 1941 and were married at the end of the year. Along with other artists and friends (Marcel Duchamp and Marc Chagall) who had fled from the war and lived in New York City, Ernst helped inspire the development of abstract expressionism. His marriage to Guggenheim did not last. In October 1946 he married American surrealist painter Dorothea Tanning in a double ceremony with Man Ray and Juliet P. Browner in Beverly Hills, California. The couple made their home in Sedona, Arizona from 1946 to 1953. He and Tanning hosted intellectuals and European artists such as Henri Cartier-Bresson and Yves Tanguy. Sedona proved an inspiration for the artists and for Ernst, who compiled his book Beyond Painting and completed his sculptural masterpiece Capricorn while living in Sedona. As a result of the book and its publicity, Ernst began to achieve financial success. From the 1950s he lived mainly in France. In 1954 he was awarded the Grand Prize for painting at the Venice Biennale. In 2005, "Max Ernst: A Retrospective" opened at the Metropolitan Museum of Art. Contemporary artist tapestries have had their true believers. He produced a tapestry for Gloria Ross...

Jean-Michel Basquiat, Annina Nosei Gallery, New York, 1982: Rare Basquiat announcement card published by Annina Nosei Gallery to advertise the release of ‘Basquiat Anatomy’ (a suite ...

Joseph Grippi, American (1924 - 2001) - Orange Sunset, Year: circa 1975, Medium: Screenprint Monoprint, signed in pencil, Image Size: 29.25 x 40 inches, Size: 31.5 x 42 in. (80.01 x ...

Woven Spiral is an exclusive handmade cyanotype diptych that features modern, abstract rocky shapes rendered in deep indigo tones. Each panel captures the raw texture and organic geo...

Joan Miró is one of the greatest artists of the 20th century. He is renowned internationally as a painter, sculptor, printmaker, and ceramicist. Miró’s works, which were at the int...

Lithograph 70.00 cm. x 50.00 cm. 27.56 in. x 19.69 in. (paper) 60.00 cm. x 41.00 cm. 23.62 in. x 16.14 in. (image) Annoted "EA" Handsigned by the artist in pencil Ref : LCD2873

Gerhard Richter Motorboot, 1965/2022 Medium: Hybrid raster dissolved digital art print on Rives 260 gsm paper Dimensions: 27 3/5 × 27 3/5 in 70 × 70 cm Edition of 500: Not signed, n...

Mixografia “Man in Black” by well-known Mexico artist Rufino Tamayo (1891-1991). Signed “R. Tamayo” in pencil lower right. Numbered in pencil “60/140" lower left. In excellent unfram...

This exquisite lithograph by Henri Matisse (1869–1954), titled Vence 1944–1948, from Verve, Revue Artistique et Litteraire, Vol. VI, No. 21–22, originates from the 1948 issue publish...

Artist: Eric Newton, British (1893 - 1965) Title: Untitled - Abstract with Red and Yellow Year: circa 1955 Medium: Linocut Print, signed and numbered in pencil Edition: EA Image Size...

This exquisite lithograph by Henry Moore (1898–1986), titled Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, originates from the 1977 edition published by Societe Internationale d'Art XXe siecle, Paris, and printed by Curwen Prints Ltd, London, 1977. Reclining Figure Interior Setting I reflects Moore’s masterful synthesis of form and space, capturing his lifelong exploration of the reclining human figure as a symbol of harmony between nature, body, and landscape. Executed as a lithograph on velin paper, this work measures 9.75 x 12.5 inches (24.77 x 31.75 cm). Unsigned and unnumbered, as issued. The edition exemplifies the superb craftsmanship of Curwen Prints Ltd, London. Artwork Details: Artist: Henry Moore (1898–1986) Title: Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977 Medium: Lithograph on velin paper Dimensions: 9.75 x 12.5 inches (24.77 x 31.75 cm) Inscription: Unsigned and unnumbered, as issued Date: 1977 Publisher: Societe Internationale d'Art XXe siecle, Paris Printer: Curwen Prints Ltd, London Catalogue raisonne reference: Moore, Henry, et al. Henry Moore, Catalogue of Graphic Work. Gerald Cramer, 1986, illustration 458 Condition: Well preserved, consistent with age and medium Provenance: From the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, published by Societe Internationale d'Art XXe siecle, Paris About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris and London, including Mourlot, Arte, and Curwen, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Henry Moore (1898–1986) was a British sculptor, draftsman, and modernist pioneer whose monumental bronzes and organic abstractions revolutionized 20th-century sculpture and made him one of the most influential artists of his time. Renowned for his reclining figures, mother-and-child compositions, and pierced biomorphic forms inspired by nature, Moore transformed traditional carving into a universal language of rhythm, balance, and humanity. Born in Castleford, Yorkshire, he studied at the Leeds School of Art and the Royal College of Art in London, absorbing the influences of classical sculpture, African and Pre-Columbian art, and the radical innovations of the European avant-garde. Inspired by Pablo Picasso’s Cubist fragmentation of form, Joan Miro’s lyrical biomorphism, Wassily Kandinsky’s spiritual abstraction, and Constantin Brancusi’s purity of shape, Moore developed a style rooted in the harmony between mass and void, structure and space. During the interwar years, he became part of an international circle that included Alexander Calder, Alberto Giacometti, Salvador Dali, Marcel Duchamp, and Man Ray—artists who, like Moore, expanded art’s boundaries through abstraction, surrealism, and conceptual experimentation. Like Calder, Moore explored balance and movement; like Giacometti, he sought the spiritual essence of humanity; and like Dali and Duchamp, he challenged perception and redefined modern form. His sculptures, carved in stone or cast in bronze, evoke both ancient and modern sensibilities—forms that appear to breathe with natural vitality while engaging directly with their surrounding landscapes. Moore’s “Shelter Drawings” (1940–41), created during the London Blitz, revealed his deep empathy for the human condition, marking a pivotal moment in his exploration of resilience and vulnerability. By the mid-20th century, Moore’s monumental bronzes had become landmarks around the world, from the Lincoln Center in New York to the UNESCO headquarters in Paris, embodying timeless symbols of endurance, renewal, and unity. His synthesis of organic abstraction and humanism influenced generations of sculptors including Barbara Hepworth, Isamu Noguchi, Eduardo Paolozzi, Antony Gormley, Anish Kapoor, and Rachel Whiteread. Like Kandinsky and Miro, he believed abstraction could transcend culture and time, while like Duchamp and Man Ray, he embraced experimentation as a pathway to new truths. Moore’s works, housed in major collections including the Museum of Modern Art in New York, the Tate in London, the Guggenheim Museum, and the Art Institute of Chicago, continue to define the landscape of modern sculpture for their elegance, power, and emotional depth. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Henry Moore remains a cornerstone of modern art—a sculptor whose vision united nature, form, and spirit into a universal language of beauty and meaning. His highest auction record was achieved by Reclining Figure: Festival (1951), which sold for $33.1 million USD at Christie’s, London, on June 30, 2016, reaffirming Henry Moore’s enduring legacy as one of the most visionary, influential, and collectible sculptors in the history of modern art. Henry Moore Reclining Figure...

The Eye and the Beard of God by Friedensreich Hundertwasser was originally created as a painting in 1962. Hundertwasser, known for his distinct, whimsical style, often combined bold ...

This exquisite lithograph by Henri Matisse (1869–1954), titled La Chute d’Icare (The Fall of Icarus), from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the...

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 7 (double) J...

Cecily Brown (British, b. 1969) The Tribulations of St. Anthony, 2010 Medium: Aquatint etching on pearlescent paper Dimensions: 40 x 30.5 cm Edition of 25: Hand-signed and numbered C...

This exquisite lithograph by Joan Miro (1893–1983), titled Bouquet de reves pour Leila, Poemes d'Yvan Goll (Bouquet of Dreams for Leila, Poems by Yvan Goll), from the album XXe siecl...

Barbara Keidel Untitled (XX) (Abstract, Red, Grey) Linocut 1996 Edition: 3 Numbered and dated by hand in pencil Size: 9 x 8.25 inches (22.86 x 20.95 cm) COA provided Tags: Abstr...

This exquisite lithograph by Henri Matisse (1869–1954), titled De la couleur (Of Color), from Verve, Revue Artistique et Litteraire, Vol. IV, No. 13, originates from the 1945 issue p...

Title Julie Curtiss Woman In High Heels Small Edition Of Only 10 - 17 X 11 Pristine Condition Year 2019 Classification Limited edition Medium Type Print ...

Plate No. 346 by Johanna Goodman Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation...

Yaron Vardimon - The Letter H, Portfolio: The Alphabet Portfolio, Year: 1994, Medium: Screenprint, Image Size: 33.75 x 22 inches, Size: 35 x 23 in. (88.9 x 58.42 cm), Publisher:...

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 6 (double) J...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Cheval Rouge (The Red Horse), from the album XXe Siecle, XXXIIe Annee, Nouvelle serie, No. 34, Juin 1970, originates ...

ABOUT THIS PIECE: Inspired by the warm light, open vistas, and saturated colors of her birthplace (Southern California), Julianna Goodman’s collages often distill memories of nature ...

Sybil Kleinrock’s work straddles the borders between expressionism and surrealism. Colorful and soft pastels play together to suggest a composition that can be interpreted as both a ...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Soulages, Pierre, et al. Soulages : L’oeuvr...