Wood Abstract Prints

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Robert Rauschenberg - OVERDRIVE Date of creation: 2017 Medium: Digital print on Canadian maple wood Edition: 300 Size: 80 x 20 cm (each skate) Condition: In mint conditions and never...

Richard Anuszkiewicz Annual Edition, 1970 Silkscreen on Masonite Signed and dated in graphite pencil lower right recto. Edition of 100 8 × 5 1/10 × 1/5 inches Unframed Signed and dat...

SHEPARD FAIREY Bureau of Public Works (on Wood), 2004 Silkscreen on wood panel. Hand signed and annotated on both the recto and verso. In original handmade artist's frame. 24 × 18 in...

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* The "FORTH OF JULY" series is making history in the a...

Yayoi Kusama & Yoshitomo Nara MoMa Skateboard Decks (2 works): A set of 2 MoMa published skateboard decks featuring Kusama's Dots Obsession imagery & Nara’s ‘Solid Fist’ girl. Make...

Yayoi Kusama With All My Flowering Heart (Triptych), 2014 Set of Three (3) Separate Limited Edition numbered skate decks on 7-ply Canadian maple wood 31 × 8 × 2/5 inches (each) Hand ...

Yayoi Kusama Skateboard Deck: This Kusama skateboard deck features Kusama's Dots Obsession imagery and makes for standout Kusama wall art that ...

Damien Hirst H12-4: Beautiful, Everlasting, Inexhaustibly Interesting, Self-Revelatory Gyration Painting, 2023 Mixed Media Giclée print on poly-cotton artist canvas mounted on a birc...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Unique variant from an edition of 473 100 x 100 cm (39.4 x 39.4 in) Signed on the front Mint. Sold in...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Unique variant from an edition of 473 100 x 100 cm (39.4 x 39.4 in) Signed on the front Mint. Sold in...

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)...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Unique variant from an edition of 606 70 cm (27.5 in) (diameter) Signed on the front Mint. Sold in th...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Edition of 224 70 x 70 cm (27.6 x 27.6 in) Signed on the front Mint Sold in the original HENI packaging

An abstract, black and white lithograph contained in an interesting shape enclosed by clean negative space. Signed L. Siekman, titled Jupiter Four and numbered 9/10. It is part of a ...

Hand-painted acrylic on wood three-dimensional multiple, 1990, signed and numbered from the edition of 175 in ink, 52.7 x 61 x 7.9 cm. (20 3/4 x 24 x 3 1/8 in.)

Christopher Wool Skate Deck, 2008 (Hand Signed and Dated 2017) Silkscreen on Maplewood (Hand Signed by Christopher Wool, with a dateline of New York, 2017) 31 × 8 × 3/10 inches Boldly signed and dated 2017 with the dateline "NYC" in black marker This skateboard was created in 2008 by Supreme, Inc. and is signed on the deck...

Saul "Happy Face" 1998 Woodcut on paper edition 2/2 12"x9" white wood frame floating between glass 15.25"x12" Signed, dated lower right

Lorna Simpson (b. 1960) III (Wish #1, Wish #2, Wish #3), 1994 Medium: Complete set of three ceramic, rubber and bronze wishbones within molded felt printed with waterless lithography...

Vintage Keith Haring Skateboard Deck featuring the artist's most recognized & iconic image, the Crawling Baby. This work originated circa 2013 as a result of the collaboration betwee...

“Colour gives me a new way of working - in complete darkness. It seems contradictory that to produce colour you need to work in the dark. You blindly feel your way around the paper w...

Ai Weiwei Crabs, 2010-11 Limited Edition, hand numbered Silkscreen on 100% Canadian 2-Ply Maplewood Skateboard. Signed on the deck 31 × 1 × 3/10 inches Edition 126/150 Signed on the ...

“Feathers are more than pretty; they contain a whole host of spiritual and cultural meanings.... It symbolises trust, honour, strength, wisdom, power, and freedom” Naturally shed feathers, none of them were dyed, all natural colours. Birds’ feathers included in this artwork: Blue Jay Pheasant Woodcock Blue Mallard Homing Pigeon Teal Duck Partridge Han Mallard Magpie Red Kite Blue & Gold Maccaw Red and Green Maccaw Peacock Guinea Fowl Parrot Leopard Spotted Argus Pheasant Lady Amherst Pheasant Ringneck Pheasant Golden Reeves Pheasant Tragopan Pheasant Oriental Bay Owl Scarlet Ibis Feathers, 2022 Series: Detritus Archival Pigment Print, Mounted on Dibond in custom made Frame; with Black Stained Oak and antireflective UV protective museum standard Art Glass Print 100 x 100 cm / Framed: 102 x 102 cm/ 40 x 40 inches approx. Edition of 5 + 2AP About the Artist George McLeod...

"The bottomless depths of a private koi pond in a Sussex garden. Dancing light, rhythmic flow and a coloured whirl of so many flashing fins, all help to convey the dark mystery of a life below the surface" ETERNAL FLAME III, 2017 Printed on museum glass, hand finished with White Gold and Silver leaf 30 x 30 cm image glass size/ 31 x 31 cm/ 12.2 x 12.2 inches (Framed) From edition of 5 Series: Southern Song Each piece is individually hand finished by the artist with White Gold and Silver leaf giving the piece its own unique style. Larger dimensions available from limited edition of 5 also available and made upon order. The beauty of the pieces printed on glass are truly revealed when seen in the flesh, which shimmer in the daylight and change constantly as different light sources are reflected off the print. "I am primarily driven by an exploration of colour and form. My objective is to bring an emotional element and aesthetic balance to my work. I try to depict the subtleties of the landscape and am happiest making images from the smallest, most insignificant detail - the challenge being to portray the essence of what is about my subject matter that has taken my eye." - Valda Bailey...

ATO>MIC #3, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 23 x 18 cm (image print) 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity “The ATO>MIC work started as an attempt to replicate the idea behind still life painting - where you are trying to reproduce the image of solid looking things, things that could be on a shelf. So, I wanted to try doing that with just using light instead of paints - however I soon started to see the similarities with Harold Edgerton’s famous atomic explosion photos and how the scale of my work could be switched between small items on a shelf to enormous atomic explosions. That is the reason behind the strange title ATO>MIC - where the “>” is a kind of link between larger and smaller scales, between the two influencing ideas.” – Mike G Jackson The images (from the ATO>MIC series) may be reminiscent of the first milliseconds of atomic bomb explosions captured by Harold Edgerton's Rapatronic camera in the early 1950s but also visualise the thought of Maholy-Nagy’s bold visions in the Bauhaus’s movement toward the idea of the Gesamtkunstwerk, or “total work of art.” The 3D concepts that were first expanded in the same art movement by El Lissitzky a hundred years ago, are also explored here by Jackson’s drowned thin line within the third of the image. In his vision, the line reflects a shelf with the object on top, by adding the weight to it, the gravity pushing them down. Or maybe the thin line is just the horizon, where the enormous atomic blast took place…? Beyond these flat forms of two dimensional ‘lumino-graphic’ works on paper, the purest form of photography (‘light drawing’) lays a visible path to three-dimensional imaginary world, realised in precise composition, rhythm and warm earthy tones of these works. It’s up to the viewer to decide what they prefer to see and take with them. As Wassily Kandinsky once said; “Imagination is what allows your mind to discover.” About the Artist: Michael G Jackson...

A member of the so-called Mission School, Barry McGee got his start as a graffiti artist in late 1980s San Francisco, where he tagged under the moniker Twi...

An abstract Expressionist piece titled "Metamorphosis of Zan Biell" Numbered "20/20", and signed by artist Keisuke Serizawa. Woodcut on Rice Paper. Designer, painter, illustrator, d...

Richard Smith Seven from Logo Suite (Pink Blue), 1971 Silkscreen on 3-D Molded Plastic Over Wood Pencil signed, dated and numbered 65 from the edition of 75 on the front 23 1/2 × 19 ...

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...

'Abstraction 1' Enamel on copper plate by Irwin Whitaker, Walnut frame , 1960s Oklahoma-born artist who was prolific in California, Taos and Austin. We have a number of his works ava...

This minimalist patterned collage calls to mind West African indigo textiles, Japanese Shibori fabric or perhaps the work of Ellsworth Kelley. The pattern mounted on wood panel was ...

This striped collage in all shades of indigo calls to mind Indonesian or Guatemalan woven textiles. The pattern mounted on wood panel was made by hand-printing, then then slicing int...

Style: Contemporary, Modern, Conceptual Small study for the series “Rare Earth"

PROPOSITION is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in white matte wood with spacers under glass to maintain the de...

CYCLOPS is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in black matte wood with spacers under glass to maintain the deckle edge of paper. The print floats on museum board using archival Hayaku Japanese Hinging Paper. Like Wortsman's sculptures, the abstract components here seem to possess both organic and geometric forms. Note the four corners of black, bracing the center serpentine shape of copper and black speckled white – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the indigenous art of Africa, the Middle East, India and Asia, his forms are organic and geometric abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. CYCLOPS was exhibited at Harold Wortsman...

Acrylic paint on masonite. The frame was painted by the artist.

Anyone who has stopped to engage with an oil spill will be familiar with the rainbow colours and the myriad of shapes that appear to the keen observer. The iridescence and depth is a...

Michael Wallner Little London: Houses of Parliament Limited Edition Print Edition of 30 Image Size: H 11cm x W 18cm Framed Size: H 18cm x W 25cm x D 5cm Sold Framed in a White Box F...

Anyone who has stopped to engage with an oil spill will be familiar with the rainbow colours and the myriad of shapes that appear to the keen observer. The iridescence and depth is a...

Ana Rosa de Ycaza’s’s Copper Etching III is a black and white engraving copper minimalist abstract mixed media with a french oak frame measuring 14 x 14 priced at $1000. Ana Rosa de Ycaza an artist born in 1915 was affiliated with Atelier 17 a studio that attracted the likes of Mark Rothko, Joan Míro, William de Kooning...

JUNE MELODY, 2017 Printed on museum glass, hand finished with White Gold and Silver leaf 61 x 61 cm (including frame), 45 x 45 cm (glass size) Edition of 5 (Each individually hand gi...

Anyone who has stopped to engage with an oil spill will be familiar with the rainbow colours and the myriad of shapes that appear to the keen observer. The iridescence and depth is a...

Truth, 2017 Print on Museum Glass, Hand gilded with Lemon and Moon Gold 31 x 31 cm/ 12.2 x 12.2 in (custom framed) Edition of 5 This print is from a series of images made from a collection of honesty seeds gathered at the end of baking hot summer... The papery enclosures are like parchment through which the light filters with a pale gold delicacy." The beauty of the pieces printed on glass are truly revealed when seen in the flesh, which shimmer in the daylight and change constantly as different light sources are reflected off the print. "My fascination with colour goes back a long way. One of my earliest creative recollections has me sitting at a table endlessly mixing paints in a valiant but ultimately futile attempt to 'invent a new colour'. It was an imperative that kept me occupied for some time as I recall. The result was always the same - and unedifying fudge of pale peach and silver." - Valda Bailey...

Pink Dark Sun is an abstract limited edition fine art color print by photographer and graphic artist Susan Daboll. This minimal square print is framed in a thin black wood frame and ...

Acrylic paint on masonite.

An abstract colors print titled "Passage" by the photograph artist Patricia Wilder. The photograph made from original slide transparency and printed in...

This multiple is hand signed by the artist “J. Arp” in blue ballpoint pen on a label, verso. It is also hand numbered in blue ballpoint pen, from the edition of 100 on a label, verso...

Spring (In Bloom) is a contemporary print by NY artist Rachel Olivia Berg. It features abstract geometric elements on a circular birch panel. Edition of 10 24" Diameter $800 Editio...

UNDER AND ABOVE, NEW YORK CITY, 2021 Unique Silver Gelatin Print, Selenium toned; This is a mixed process print using luminogram, photogram and other darkroom techniques – all cameraless, two unique prints mounted on Aluminium Dibond. Currently, this piece is mounted only but will be framed further with hardwood black frame and finish with antireflective UV protective art glass - please see further images for referrals regarding the framing. 2 x Prints as One work of Art: 80 x 50 cm Framed 82 x 52 cm approx./ 32 x 20.5 inches approx. Unique Work Series: New York City Signed by the Artist on verso and provided with signed and stamped Certificate of Authenticity © Michael G Jackson...

"The play of water and light has fascinated me for years. From childhood I have found sunlight underwater mesmerising - be it a Cornish rock pool or The Red Sea, the movement and diffraction of light excites me. Add to that the thrill of schools of fish - specifically Akule, which are found in seas off Hawaii. I spent some time wanting to make a series of prints that captured the play of light on these fast moving fish - creating flowing abstract forms and textures." - Mike G Jackson The goal isn't to replicate the real world - it is to show where the real world and the process meet - sometimes pushing towards the real world, sometimes pushing towards the process - but never completely at either extreme. - Michael G Jackson Michael Jackson (b.1966) is an experimental photographer based in North Dorset, England. He studied art at West Dean College in Sussex, then apprenticed under landscape painter Christopher W Baker and later discovered his passion for photography. He moved away from working with traditional camera techniques in 2015 and is currently progressing the Luminogram process into new directions in which he has become regarded as a leading practitioner. His work has been exhibited internationally and is part of various private and museum collections including The National Art Gallery in Washington, USA. Selected Press: “Mike Jackson...

This is an Archival Pigment Print on Ply. Ply Size: 30 in x 30 in Artwork comes unframed. About the Artwork:   This is a direct to ply print, router cut at 30 in. It is circular floral piece with vivid colors. About the Artist: Rin Lack...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Edition of 657 40 cm (15.8 in) Diameter Signed on the front Mint Sold in the original HENI packaging

Basquiat Gold Griot Skateboard Deck c. 2019: Maple wood. Dimensions: 31 x 8 inches. Housed in original shrink wrapping. Excellent overall condition. Published from a limited seri...