Screen Abstract Prints

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:...

Double Poppies Black 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...

Abstract Composition is an original artwork realized by Luigi Montanarini in the 1970s. Original colored serigraph on paper. Hand signed by the artist on the lower left. Numbered on...

’Concentration’ By Harvey Daniels Medium - Screen print Signed - Yes Edition - 16/30 Size - 890mm x 670mm Condition - 10 Colour of print may not be accurate when viewed on a monitor...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 89 Year: 1969 Medium: Screenprint, signed in pencil Edition: AP Size: 25 x 19 in. (63.5 x 48.26 cm)

A dazzling visionary art print with psychedelic patterned imagery in metallic silver, blue, and yellow by Ian McNeil Cooke (British, b.1937), 1985. Th...

Michael Challenger C2 - 1979 Screen Print Paper Size 18'' x 25'' Edition: Signed in pencil, titled, dated and marked 299/300 Michael Challenger's work is a powerful interplay of o...

Robert Indiana 3, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included This classic 1960s silks...

Edward Landon, 'Forms in White', color serigraph, 1950, edition 30, Ryan 85. Signed in pencil. Dated, titled, annotated 'ED. 30' and '5 COLORS' in the screen, bottom center sheet edg...

Gary Hume Grey Leaves 2004 Screen print in 4 colours with one glaze, printed on 400gsm Somerset Tub Sheet: 28 x 23 inches; 71 x 59 cm Frame: 30 3/8 x 25 1/...

Victor Vasarely (Hungarian-French, 1906-1997) Untitled, ca. 1966 Medium: Screen print on card Dimensions: 27 3/5 × 27 3/5 in (70 × 70 cm) Edition of 100: Hand-signed in pencil, not n...

Acrylic and silkscreen ink on triple primed canvas. Hand signed, dated, titled and numbered "P/P" on verso by Robert Indiana. Printer's Proof edition. Total of 4 panels. Each pan...

Artist: Ai Weiwei Title: Middle Finger in Red Year: 2023 Medium: 2 colour silkscreen print on 410gsm Somerset Tub Sized Satin White paper Edition: 1285; signed in pencil Sheet: ...

MIMOSA, SEPT 29, 2021 2021 Silkscreen with enamel inks and flocking on Rising 4-ply museum board 42 x 42 inches (107 x 107 cm) Edition of 40 Signed and numbered DONALD SULTAN (b. 1...

Trey Anastasio Band – Philadelphia, PA – May 25th Artwork by David Welker Signed & Hand-numbered Artist Edition 40/40 This striking screen print by acc...

This 'Composition V' is a 20" x 27" screen print by artist, David Mladjovic, depicts an abstract composition of dynamic fields of color in blue and red ...

Richard Pettibone The Appropriation Print: Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 (Andy Warhol's Electric Chair, Frank Stella's Empress of India and Roy Lichtenstein's Spray) Silkscreen in colors on smooth wove paper Pencil signed and dated 1971 on the front Frame included: Elegantly floated and framed in a white wood frame under UV plexiglass in accordance with museum conservation standards Measurements: frame: 15 7/8 x 19 3/4 x 1 3/4 inches sheet: 12 1/4 x 16 inches This is one of Richard Pettibone's most iconic, popular and desirable prints done in 1970 - during the most influential era of the Pop Art movement. This homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. Pencil signed and dated recto. It was created in limited edition - though the exact number is not known. More about RIchard Pettibone: As a young painter, Richard Pettibone began replicating on a miniature scale works by newly famous artists, and later also modernist masters, signing the original artist’s name as well as his own. His versions of Andy Warhol’s soup...

Dondi White NYC 1987: A rare, highly collectible Dondi White illustrated exhibition announcement published on the occasion of: 'Matter of Facts, New Drawings by Dondi White'. 56 Blee...

Artist: Larry Zox Title: Niagara Series No. 5 Year: circa 1980 Medium: Screenprint, signed and numbered in pencil Edition: 175 Image Size: 34 x 13 inches Paper Size: 39 in. x 20.5 i...

This artwork titled "Tuxedo Black" is an original color serigraph on black paper by American artist Fermin Landin Hernandez, 1949-2015. It is hand signed, titled and numbered 1/65 in...

Artist: Peter Max Title: Flowering Angel Medium: Screen print in colors Date: 1976 Edition: 27/100 Sheet Size: 30" x 23" Frame Size: 37" x 30" Signature: Hand signed in pencil Price ...

"This work was created with two separate entities that play against each other, in real and illusionary space, thus combining two separate realms that come together and play with one...

Artist: Hugo Dietz, Swiss (1930 - 1973) Title: Diamond Composition Year: 1973 Medium: Screenprint, signed and numbered in pencil Edition: 25/50 Size: 22 x 22 inches Frame: 31.5 x 31....

TECHNICAL INFORMATION: Julian Stanczak Dedicated, from Twelve Progressions 1971 26 1/8 x 31 3/4 in. Edition of 90 Pencil Signed and Numbered Accompanied with COA by Gregg Shienbaum...

R.B. Kitaj (British American 1932-2007) Hand signed and numbered Screenprint This is from the Robert Creeley daybook. They were done in a variety of mixed media including serigraph, ...

Robert Indiana 9, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included: Elegantly matted and fra...

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 ...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Derek Boshier ONE - 1967 Print - Silkscreen  22½'' x 31'' in. Edition: Signed in pencil, titled, dated and marked 36/70 Small creases and cracked ink in silkscreen. Otherwise very g...

Gottfried Honegger (Swiss, 1917 - ) - Kites in Sky, Year: circa 2013, Medium: Screenprint and Collage on Arches, signed and numbered in pencil, Edition: 30, Image Size: 25 x 19 inc...

Untitled screenprint published in 1972 in an edition of 42. This is example number 4.

Artist: Robert Goodnough Title: Autumn Leaves Always Year: 1992 Medium: Screenprint, signed and numbered in pencil Edition: 150, A/P Image: 23 x 31.5 inches Size: 27.5 x 39.5 in. (6...

Composition is an Original Screen Print realized in the 1980s by Andrea Ratto. Good conditions.Hand-signed. Numbered. Edition,17/120 The artwork is depicted through soft strokes ...

Sister Mary Corita Kent (American, 1918-1986) He Repeated the Letters of the Alphabet... Color Screenprint 22.5 x 38.75 inches Signed Lower Right Sister Mary Corita Kent, once the n...

Plate I Jimmy Ernst, American (1920–1984) Date: 1970 Screenprint, signed and numbered in pencil Edition of 71/125 Image Size: 33 x 22.5 inches Size: 37 x 28 in. (93.98 x 71.12 cm)

The Seven Days of Bardo Thodol 4 is an original litograph and screen print realized by Michele Canzoneri (1977). The artwork is part of a collection...

This original signed poster, titled Expo de Gravures de la Guilde Graphique, was created by French Canadian artist Julien Lacroix for an exhibition. The poster, published in 1973, is...

Rare exhibition poster by Puerto Rican artist Eduardo Vera Cortes (1926-2006). Exposicion de Pinturas de Antonio Maldonado, 1965. Screen print on p...

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...

Robert Indiana 1, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame included: Elegantly matted and fra...

Hand signed and numbered from edition of 90 Jakob Weder, (Switzerland, 1906-1990) Swiss color/music kinetic artist. known for his oil and tempera painting ...

R.B. Kitaj (British American 1932-2007) Hand signed and numbered Screenprint This is from the Robert Creeley daybook. They were done in a variety of mixed media including serigraph, ...

"Homage to the Square - Portfolio 2, Folder 24, Image 1" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origin...

Max Epstein, Canadian (1932 - 2002) - Resurrection, Exhibition of Paintings, Collages & Sculpture, Year: 1972, Medium: Screenprint Poster, signed in pencil, Size: 30 in. x 20 in. ...

Untitled is a beautiful serigraph on aluminum plate applied on paper, realized around 1970 by Giuseppe Salvatori (Rome 1955). Hand-signed in pencil on lower right margin. Hand-numbe...

Artist: George Chemeche – Iraqi/American (1934-2022) Title: Dancing Ducks in Red, Green, Blue, Purple Year: circa 1980 Medium: Screen Print Image size: 19 x 27 inches. Sheet size: 22 x 29 inches. Signature: Signed lower right Edition: 260 This one: 77/260 Condition: Very good Unframed This exceptional geometric abstract serigraph is by the noted Iraqi/American artist George Chemeche (1934-2022 ). He is a master of serigraph printing, but this print has more than technical excellence. It is a wonderful, rhythmic abstract composition. I believe Chemeche might have been a proponent of and/or influenced by the Pattern and Decoration Movement which was happening in New York in the 1970s and 1980s. The print has never been framed and is in very good condition. I will ship the print rolled in a heavyweight tube. George Chemeche was born in 1934 and studied at the Avni Art School in Tel Aviv and the Ecole des Beaux Arts in Paris. The style with which he is intimately associated, pattern painting, The most serviceable definition is that pattern is the systematic repetition of a motif or motifs used to cover a surface uniformly. The spaces between motifs are either other motifs or are an integral part of the repeat. Usually, patterning intentionally acknowledges the decorative function of art, reconciling both the decorative and the meaningful. George Chemeche’s work hangs in the lobby of the Hotel Chelsea where many have admired it for years. Please search online for more biographical information by this fine artist. Selected Biography 1934 Born in Basra, Iraq 1947 Fled Iraq with his family 1947-49 Lives and attends school in Tehran 1949 Immigrates to Israel 1956-59 Studies art in Avni Art School, Tel-Aviv 1959 Gets American-Israeli Culture Foundation grant to study art in Paris 1959-1962 Studies at Ecole Supérieure des Beaux Arts, Paris 1961- Gets two years grant from Lady Francis Fergusson, Scotland 1962 Gets one year grant from Alex de Rothschild, Paris First man show at Gallery Transposition, Paris 1965-72 Exhibits his work in numerous art galleries in Israel including one man show at Haifa Museum 1972 Travels to New York, checks in the Hotel Chelsea 1977-- First one-man show in USA at Louis K. Meisel Gallery, New York, followed by other shows around the country and Europe. 1995 Travels to Iceland to publish the Aya Series book. Text by Donald Kuspit; Art Resourses & Technologies, New York, NY 2002 Publishes, Ibejis: “The Cult of Yoruba Twins” 5 Continents Edition, Milan, Italy 2003 Curates a show at Museum of African Art, NYC Ibejis: The Doubly Blessed Twins 2005 Reads his poems at the Bowery Poetry Club, New York 2010 Lectures about Ibeji art and cult at Iowa University 2011 Lectures about Ibeji Art and cult at Neuberger Museum 2011 Publishes, The Horse Rider in African Art” ACC, UK INDIVIDUAL EXHIBITIONS 1978 Goldman Art Gallery, Haifa, Israel 1977 Louis K. Meisel Gallery, New York 1977 Alexandra Monett Gallery, Brussels 1977 Givon Art GaJIery, Tel Aviv 1974 South Houston Gallery, New York 1974 Ray Landis Gallery, East Brunswick, New Jersey 1973 Gala Gallery, Key Biscayne, Florida 1973 Art Asia Gallery...

Screen print hand finished with acrylic paint. Hand signed and numbered on front, thumb print on verso Mr. Brainwash. Edition 26 of 30. Artwork size 35.5 x 35.5 inches. Frame si...

Artist: Karel Appel (1921-2006) Title: Nothing to Do Year: 1974 Medium: Silkscreen on Somerset paper Edition: H.C.;110, plus proofs Size: 27 x 39.25 inches Condition: Good Inscriptio...

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)...

Fleditwerk Serigraph, 1970 Signed, titled, dated and numbered in pencil by the artist. Publisher: Kunstverein Braunschweig blindstamp lower left Edition: 100 (66/100) Condition: Excellent Image: 22 x 22...

This artwork titled "Thunder Bay" 1986 is a color serigraph on Wove paper by noted American artist Roy Ahlgren, 1927-2011 It is hand signed, titled, dated and numbered 14/95 in penci...

This artwork titled "Landscape T.L.B." is an original color screen print with embossing by Japanese abstract expressionist artist Manabu Onogi (Onoki) 192...

Artist: Tom Wesselmann (1931 - 2004) Title: Olympische Spiele Muenchen (Foot) Year: 1972 Medium: Screenprint Poster mounted on linen Edition: 3000 Size: 40 in. x 25 in. (101.6 cm x 6...

Max Bill "Primary Colors" 1971 Silkscreen on paper edition of 2375 "Ein Domberger Siebdruck-Kalender" 11.75"x14" unframed Unsigned Born in Switzerland, Max Bill was an artist widely...

Leonardo Gotleyb (Argentina, 1958) 'Ave fenix', 2004 woodcut on paper Rives BFK 300 g. 27.6 x 39 in. (70 x 99 cm.) Edition of 15 ID: GOT-313 Hand-signed by author

Julio Le Parc Jeux Enquête - Choisissez vos Ennemis, 1970-2014 Screenprint on wove paper Hand signed, dated and numbered 46/50 in graphite by the artist on the front Published by Ser...

Dan Christensen, American (1942 - 2007) - Ring Taboo, Year: circa 1980, Medium: Screenprint, Signed and numbered in Pencil, Edition: 160, Size: 29.5 x 43 in. (74.93 x 109.22 cm)

New Nucleus Herbert Bayer, Austrian (1900–1985) Date: 1973 Screenprint, signed and numbered in pencil Edition of 7/50 Image Size: 29.75 x 29.75 inches Size: 32 in. x 32 in. (81.28 cm...

Firebird, 1971 Bridget Riley Screenprint in colours, on wove paper Signed, dated and numbered from the edition of 75 (plus 15 artist's proofs) Printed by Kelpra Studio, London Image...

Minimalist screenprint by American artist Barbara Lynch Zinkel, inspired by Josef Albers' iconic "Homage to the Square". Date: 1987 Medium: Scr...