Lithograph Abstract Prints

Blue Rings (Abstract Composition), Serigraph By Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 8/270 Lower Left Unframed: 21" x 21.5" Framed: 31" ...

Abstract Purple, Blue, Greens (Serigraph) By Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 4/30 Lower Left Unframed: 14" x 33" Framed: 21" x 41" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Lithograph, 1972 Handsigned by the artist in pencil annotated "Epreuve artiste" Edition : 200 ex. Publisher : Olympia 72, Munich Printer : Mourlot, Paris Catalog : [BNF77] 104.00 cm...

Lithograph, 1957 Handsigned by the artist in pencil / Artist proof Edition : 150 Publisher : L'Oeuvre Gravée (Zurich) Printer : Pons (Paris) Catalog : Schneider 14 50.00 cm. x 65.00 ...

Lithograph, 1966 Handsigned by the artist in pencil and annotated EA Artist proof Edition : 75 Publisher : Galerie im Erker (St. Gallen) Printer : Erker-Presse (St. Gallen) Catalog :...

"Observador de Pajaros" 1950 By. Rufino Tamayo (Mexican, 1899-1991) Edition 83/210 Lower Right Signed Lower Left Unframed: 15.5" x 22.5" Framed: 21.75" x 28.25" Rufino Tamayo (August 26, 1899- June 24, 1991) A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria...

Abstract (Edition 95/100) By Bram Van Velde (1895-1981) Numbered Lower Left Signed Lower Center Unframed: 37" x 24" Framed: 37.5" x 25.25" Bram (Abraham Gerardus) van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme*, and Lyrical Abstraction*. He is often seen as member of the School of Paris* but his work resides somewhere between expressionism* and surrealism*, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du...

Abstract (Edition 75/100) By Bram Van Velde (1895-1981) Numbered Lower Left Signed Lower Center Unframed: 25" x 28" Framed: 31.5" x 34.5" Bram (Abraham Gerardus) van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme*, and Lyrical Abstraction*. He is often seen as member of the School of Paris* but his work resides somewhere between expressionism* and surrealism*, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du...

Abstract (Edition 48/100) By Bram van Velde (1895-1981) Without Frame: 37" x 24" With Frame: 37.75" x 24.75" Signed and Numbered Bottom Left Bram (Abraham Gerardus) van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme*, and Lyrical Abstraction*. He is often seen as member of the School of Paris* but his work resides somewhere between expressionism* and surrealism*, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du...

Abstract (Edition 24/75) By Bram van Velde (1895-1981) Signed and Numbered Bottom Center Without Frame: 37" x 24" With Frame: 37.75" x 24.75" Bram (Abraham Gerardus) van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme*, and Lyrical Abstraction*. He is often seen as member of the School of Paris* but his work resides somewhere between expressionism* and surrealism*, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du...

Lithograph, 1962 Handsigned by the artist in pencil and annotated EdA Artist Proof Publisher : Serge Poliakoff Printer : Pons, Paris Catalog : Schneider 37 30.00 cm. x 22.20 cm. 11....

From a portfolio of six individual lithographs, each created as Robert Motherwell’s visualization of six poems by Marcelin Pleynet, Beau Geste I was printed in 1989 by Teluride Press...

Color lithgraph by Antonio Saura "El patito feo", 1997 65 x 50 cm Copy 186/250 Edition of 285 Antonio Saura (Huesca, Spain 1930–1998 Cuenca) found his...

Created by Ellsworth Kelly in 1983 as a color lithograph, Ellsworth Kelly's Untitled is hand-signed and numbered in pencil. Measuring 29 x 41 in. (73.7 x 104 cm), unframed, this art...

America-La France Variations I 1983-4. Lithograph in colors with collage on Tyler Graphics Ltd. handmade paper. Signed in pencil Numbered 46/70 (there were also XVIII artist’s proofs...

This beautiful original six-color lithograph, printed on Arches Cover White paper in 1982, was created by Richard Diebenkorn and is monogrammed by the artist in pencil, dated and num...

TECHNICAL INFORMATION: Red Samurai, from Octavio Paz suite 1987-88 Lithograph and linoleum cut in colors with chine appliqué on handmade Japanese Masa Dos...

"Cali" is a typical motif by Maurice Estève. The lithograph in colours was published in an edition of 100. 49,6 x 65 cm. Signed and numbered.

TECHNICAL INFORMATION Alexander Calder Acier du Constructeur, 1965 Lithograph 21 7/16 × 29 3/8 in 54.5 × 74.6 cm Edition of 75 Condition: This work is in excellent condition

Signed in pencil, numbered from the edition of 150. Printed by Atelier Maeght, Levallois. Published by Maeght, Paris. (Koelen 60002).

Signed in pencil, numbered from the edition of 75. Printed by Mourlot on wove paper. Published by Louis Broder, Paris. (Mourlot 658).

Robert Rauschenberg "Untitled" 1973 Medium: Screenprint and collage in colors Printed and Published by Styria Studios, New York and with their blindstamp Signed and Numbered 71/100 Images Size: approx. 28 x 20 inches Framed Size: approx. 34 x 26 inches Born with the name Milton Rauschenberg in Port Arthur, Texas, Robert Rauschenberg became one of the major artists of his generation and is credited along with Jasper Johns of breaking the stronghold of Abstract Expressionism*. Rauschenberg was known for assemblage*, conceptualist methods, printmaking, and willingness to experiment with non-artistic materials--all innovations that anticipated later movements such as Pop Art*, Conceptualism*, and Minimalism*. In May, 1999, ARTNews magazine featured him as one of the top twenty-five influential western artists, stating: "His irreverent notions of what an artwork could be gained him the status of an enfant terrible. . .Rauschenberg pushed the viewer to accept the unexpected." He has said that he believes painting should relate to both life and art and that he wants is artwork to be the intermediary between the two. He received much formal art education beginning with the Kansas City Art Institute in 1947 and 1948. He studied briefly in Paris at the Academie Julian*, and from 1948 to 1949 was at Black Mountain College* in North Carolina with Josef and Anni Albers. This period was followed by several years attendance at the Art Students League* in New York City with Morris Kantor and Vaclav Vytlacil. In 1951, he exhibited all white and black paintings incorporating viewer participation through the shadows they cast on the works. At Black Mountain College, he had met composer, John Cage, and dancer- choreographer, Merce Cunningham, for whom he worked in his company as a designer, manager, and performer. Frequently he scoured the area in which they were performing for 'unusual' objects such as tires, old radios...

Lithograph on Rives BFK paper Frame: 44 x 35.75 in. Signed and numbered in pencil Image drawn with water tusche directly on plates Lembark 271

Victor Vasarely "Sphere and Cube" c. 1970 Serigraph Signed and Numbered Ed. 250 Framed Size: 42 x 31 inches Image Size: 28 x 21 inches

Victor Vasarely "Red and Green Bubbles" c. 1970 Color Serigraph Signed and Numbered Ed. 125 Framed Size: 34 x 29.5 inches Image: approx 18 x 18 inches

Victor Vasarely "Ferde" c. 1970 Serigraph Signed and Numbered Ed. 250

Victor Vasarely "Abstract" c. 1970 Serigraph Ed. 275 Signed and Numbered Image Size: 23.5 x 23.5 Framed: approx 34 x 34.5 inches

Artist: Joan Miro (Spanish, 1893-1983) Title: Maravillas Con Variations Acrosticas en el Jardin de Miro Year: 1975 Medium: Color lithograph Edition: Unu...

Original color lithograph designed by Robert Motherwell for the 94th Season, Powell Symphony Hall, St. Louis Symphony Orchestra From the limited edition of 120 + A.P.s on Arches Cove...

Color Lithograph Ed. 15/100 Signed and Numbered