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Late 20th Century Abstract Prints

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Period: Late 20th Century
Matisse, L'Avaleur de sabres, Jazz, Special Edition for MoMA (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 15 x 11.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Henri Matisse, Jazz, Special Edition for the Museu...
Category

Fauvist Late 20th Century Abstract Prints

Materials

Lithograph

Burning Bush, Screenprint by Clarence Holbrook Carter
Located in Long Island City, NY
Artist: Clarence Holbrook Carter, American (1904 - 2000) Title: Burning Bush Year: 1978 Medium: Silkscreen, signed and numbered in pencil Edition: 200, AP...
Category

Surrealist Late 20th Century Abstract Prints

Materials

Screen

Ramollissement de Mondrian, Derrière le miroir
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 250,...
Category

Pop Art Late 20th Century Abstract Prints

Materials

Lithograph

Matisse, Monsieur Loyal, Jazz, Special Edition for MoMA (after)
Located in Southampton, NY
Héliogravure on vélin paper. Paper Size: 15 x 11.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Henri Matisse, Jazz, Special Edition for the Museu...
Category

Fauvist Late 20th Century Abstract Prints

Materials

Lithograph

Victor Vasarely, Composition, hand-signed silkscreen print.
Located in Torino, IT
VICTOR VASARELY, Pecs 1908 - Paris 1997 Composition, 1982 Original hand-signed color silkscreen print. (mm.508x508). Bibliography: Marcel Joray, Vasarely Ed. du Griffon, Neuchâtel. P...
Category

Op Art Late 20th Century Abstract Prints

Materials

Screen

Blue Abstract Serigraph by Lloyd Fertig
Located in Long Island City, NY
Artist: Lloyd Fertig, American (1943 - 1995) Title: Untitled - Blue Abstract Year: 1970 Medium: Serigraph, Signed and Numbered in Pencil Edition: 100 Size: 22 in. x 22 in. (55.88 cm ...
Category

Abstract Late 20th Century Abstract Prints

Materials

Screen

Sixties, Geometric Abstract Screenprint by Takaaki Matsumoto
Located in Long Island City, NY
A geometric abstract print by Japanese artist Takaaki Matsumoto. Sixties Takaaki Matsumoto, Japanese (1954) Date: 1991 Screenprint Edition of 68 Size: 24 x 24 in. (60.96 x 60.96 cm)
Category

Op Art Late 20th Century Abstract Prints

Materials

Screen

Okta-2
Located in Miami, FL
Victor Vasarely "Okta-2" 1985 Lithograph 31 x 25 1/2 in Ed 192 of 250 Perfect Condition Frame included
Category

Kinetic Late 20th Century Abstract Prints

Materials

Lithograph

Spirale Nebula
Located in Miami, FL
Spirale Nebula, 1970 Lithograph in colors on wove paper Printed by Mourlot, Paris 29.5 x 43.3 inches Signed and numbered in pencil, edition of 100 copies Professionally framed Alex...
Category

Late 20th Century Abstract Prints

Materials

Lithograph

III from Plazas in Transition, Minimalist Aquatint Etching by Barry LeVa
By Barry LeVa
Located in Long Island City, NY
Artist: Barry Le Va, American (b. 1941) Title: III from Plazas in Transition: Foundations of Fragmented Perspectives Year: 1981 Medium: Etching with Aquatint on grey BFK Rives, si...
Category

Conceptual Late 20th Century Abstract Prints

Materials

Etching, Aquatint

Abstract Modernist Colorful Bold Monoprint Monotype Painting Print Pierre Obando
Located in Surfside, FL
Pierre Andre Obando creates process oriented abstract paintings. He was born in Belize City, Belize and grew up in the Caribbean, the U.S. Virgin Islands, Miami, Fl and Jackson, MS. Pierre Obando completed his MFA at Hunter College and completed his undergraduate studies at New World School of the Arts, Miami, Fl. His work was featured in the Queens International Biennial in 2004, and 2006 at the Queens Museum of Art. His work has been in group exhibitions at Angela Hanley Gallery, Los Angeles, CA; Rockland Center for the Arts, West Nyack, NY; Rush Arts Gallery, New York, NY; MACO Mexico Art Fair in Mexico City; Nina Freudenheim Gallery, Buffalo, NY; Royale Projects, Indian Wells, CA; The Painting Center, New York, NY; and Dean Project, New York, NY. In 2008, he had a solo exhibition at Heskin Contemporary, New York, NY and in 2009, at project space show at Rush Arts Gallery, New York, NY. He has participated in the Atlantic Center for the Arts Artists-in-Residence Program. In the fall of 2012, he participated in the group show Caribe Now, at the Nathan Cumming Foundation, which was organized by El Museo del Barrio, New York, NY. Contemporary Pattern and Decoration piece, The original movement was championed by the gallery owner Holly Solomon. The P&D movement wanted to revive an interest in minor forms such as patterning which at that point was equated with triviality. The prevailing negative view of decoration was one not generally shared by non-Western cultures, The Pattern and Decoration movement was influenced by sources outside of what was considered to be fine art. Blurring the line between art and design, many P&D works mimic patterns like those on wallpapers, printed fabrics, and quilts. There is a close connection between the Pattern and Decoration movement and the Feminist art movement. The P&D movement arose in opposition to the Minimalist and Conceptualist movements. Mary Grigoriadis, Valerie Jaudon, Joyce Kozloff, Miriam Schapiro, Robert Zakanitch were early proponents of this style. The artist lives and works in New York City. Education: 2001 MFA, Painting, Hunter College, New York, NY 2000 Study Abroad, Slade School, UCL, London, United Kingdom 1997 BFA, Painting, New World School of The Arts, Miami, FL Solo Exhibitions: 2015 ‘Like New’, Thierry Goldberg Gallery, New York, NY 2009 ‘Nowhere’, Rush Arts, New York, NY 2008 ‘Noise’, Heskin Contemporary, New York, NY Group Exhibitions: 2018 ‘Revival: Contemporary Pattern and Decoration’, El Museo at Hostos, Bronx, NY Including artists: Abelardo Cruz Santiago Pierre Obando Antonio Pulgarín Keisha Scarville Mickalene Thomas and others. 2017 Locust Projects Contemporary in Miami benefit auction including artists Dara Friedman, Trenton Doyle Hancock, Larry Bell, and more 2017 ‘Browsing Chamber’, Torch Gallery, Amsterdam, Netherlands 2015 ‘#BemisPainters, 1982-2015’, Bemis Center, Omaha, NE 2015 ‘Spat Spell’, Thierry Goldberg Gallery, New York, NY 2013 ‘Un-Natural Constellations’, Newman Popiashvili Gallery, New York, NY 2012 ‘Caribe Now’, Nathan Cummings Foundation/El Museo del Barrio, New York, NY 2012 ‘Lucid Fence’, Dean Project, New York, NY 2012 ‘Abstract Gambol’, Heskin Contemporary, New York, NY 2012 ‘Reenacting Sense’, Yace Gallery, Long Island City, NY 2010 ‘Continuing Color Abstraction’, The Painting Center, New York, NY 2009 ‘West/East’, Royale Projects, Indian Wells, CA 2009 ‘Alternative Abstraction’, Nina Freudenheim Gallery, Buffalo, NY Including works by Stephen Antonakos, Warren Isensee, Gary Lang, Melissa Meyer and Katherine Sehr...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Monoprint, Monotype

The Walled Grounds of Parade and Punishment from In the Realm of Carceral
Located in Long Island City, NY
Artist: Robert Morris, American (1931 - ) Title: The Walled Grounds of Parade and Punishments from In the Realm of Carceral Year: 1979 Medium: Etching with Aquatint, signed and numbe...
Category

Minimalist Late 20th Century Abstract Prints

Materials

Etching, Aquatint

Reverie, Colorful Geometric Screenprint by Barbara Lynch Zinkel
Located in Long Island City, NY
A colorful geometric screenprint by American artist Barbara Lynch Zinkel, signed and numbered in pencil. Date: 1992 Medium: Screenprint, signed, numbered, dated and titled in pencil...
Category

Abstract Geometric Late 20th Century Abstract Prints

Materials

Screen

Mike Kelley and Tony Oursler, Poetics Country - Screenprint on Road Sign, Signed
Located in Hamburg, DE
Poetics Country, a collaborative work by Mike Kelley and Tony Oursler, was published on the occasion of Documenta X in 1997. Mike Kelley (1954-2012) and Tony Oursler (b. 1957) Poeti...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Enamel

Abstract Expressionist Poster (Hand signed and inscribed by Helen Frankenthaler)
Located in New York, NY
Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...
Category

Abstract Late 20th Century Abstract Prints

Materials

Offset

Trespass, Op Art Screenprint by Julian Stanczak
Located in Long Island City, NY
A colorful OP Art silkscreen by Poland-born American OP Artist, Julian Stanczak. Artist: Julian Stanczak, American (1928 - 2017) Title: Trespass Year: 1981 Medium: Screenprint, si...
Category

Op Art Late 20th Century Abstract Prints

Materials

Screen

"Stabile with Red Sun Galerie Maeght" Lithograph Poster
Located in Milwaukee, WI
"Stabile with Red Sun Galerie Maught" is a color lithograph poster. The Stabile is a black topsy-turvy statue taking up most of the piece. A red sun sits to the right of the black st...
Category

Post-Modern Late 20th Century Abstract Prints

Materials

Lithograph

Jupiter 1925 - 1949, Minimalist Etching by Charles Ross
Located in Long Island City, NY
Artist: Charles Ross, American (1937 - ) Title: Jupiter 1925 - 1949 Year: 1979 Medium: Aquatint Etching, Signed and numbered in pencil Edition: 100, AP XX Size: 41 in. x 29 in. (104....
Category

Minimalist Late 20th Century Abstract Prints

Materials

Etching, Aquatint

Cremaster 5
Located in Brooklyn, NY
Cremaster 5 by Matthew Barney is a richly layered screen print and offset lithograph, executed in black, transparent black, and varnish with silver foil hot stamping and embossed emb...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Screen

"Pura Vida" original color woodcut print signed by Carol Summers
Located in Milwaukee, WI
"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Woodcut

Sky Bars, Pop Art Geometric Screenprint by Alan D'Arcangelo
Located in Long Island City, NY
Artist: Allan D'Arcangelo, American (1930 - 1998) Title: Sky Bars Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 150, T/P Image: 26.5 x 24 inches Paper Size: ...
Category

Abstract Geometric Late 20th Century Abstract Prints

Materials

Screen

Bridge in Merida, Aquatint Etching by Diana Gonzalez Gandolfi
Located in Long Island City, NY
An Etching with Hand Coloring on paper, signed, numbered and dated in pencil by Argentinian/American artist, Diana Gandolfi.
Category

Abstract Expressionist Late 20th Century Abstract Prints

Materials

Etching, Aquatint

Bicentennial Print
Located in Miami, FL
Numbered and signed rf Lichtenstein and dated '75 in pencil lower right by the artist. Blindstamp Styria Studio chop lower right. From the America: The Third Century Portfolio. Publi...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Lithograph, Screen

Dual Nature (Blue), Abstract Lithograph by Lynda Benglis
Located in Long Island City, NY
Artist: Lynda Benglis, American (b. 1941) Title: Dual Nature (Blue) Year: 1991 Medium: Lithograph with Gold Leaf on Hand Tinted Paper, signed and numbered verso Edition: 20, AP ...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Gold Leaf

Flute-Like Voices, Abstract Woodcut Print by Bruce Porter
Located in Long Island City, NY
Artist: Bruce Porter, American (1948 - ) Title: Flute-Like Voices Year: 1993 Medium: Woodcut on Wove paper, signed and numbered in pencil Edition: 11/20 Image Size: 33 x 23.5 inches
Category

Abstract Late 20th Century Abstract Prints

Materials

Woodcut

"Sailing at Night" Limited Edition Lithograph (161/225) Pencil-Signed by Artist
Located in Chesterfield, MI
"Sailing at Night" is a Limited Edition Lithograph (161/225) by Marcel Mouly. It is pencil-signed by the artist. The print's image measures approximately 27.5 x 22 inches and the ima...
Category

Late 20th Century Abstract Prints

Materials

Lithograph

Time American Clock
Located in Hollywood, FL
ARTIST: Salvador Dali TITLE: Time American Clock MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Levine & Levine, New York EDITION NUMBER: EA ME...
Category

Surrealist Late 20th Century Abstract Prints

Materials

Lithograph

Large Abstract Expressionist Silkscreen by Michael Steiner
Located in Long Island City, NY
Abstract expressionist print by American artist Michael Steiner, who is most commonly known for his large scale sculptures. Tit I Michael Steiner, American (1945) Date: 1979 Screen...
Category

Abstract Expressionist Late 20th Century Abstract Prints

Materials

Screen

Jean Miotte - Abstract Composition - Original Signed Lithograph
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Rare Original Signed Lithograph Title: Abstract Composition Dimensions: 76 x 56 cm Edition: 64/99 Signed and Numbered in pencil Jean Miotte, 1926 - 2016 Miotte came o...
Category

Abstract Expressionist Late 20th Century Abstract Prints

Materials

Aquatint

Man and Bird II, Colorful Surreal Abstract Lithograph by Dimitri Petrov
Located in Long Island City, NY
Untitled - Man and Bird I Dimitri Petrov, American (1919–1986) Date: circa 1975 Lithograph, signed and numbered in pencil Edition of 250 Image Size: 22 x 29.5 inches Size: 22 x 30 in...
Category

Abstract Expressionist Late 20th Century Abstract Prints

Materials

Lithograph

Spiro Flower, Floral Geometric Screenprint by Kyohei Inukai (aka Earle Goodenow)
Located in Long Island City, NY
Artist: Kyohei Inukai Title: Spiro Flower Year: circa 1978 Medium: Serigraph, Signed and numbered in pencil Edition: 200 Paper Size: 30 x 22 inches
Category

Abstract Late 20th Century Abstract Prints

Materials

Screen

El Santurio de Chimayo, Abstract Lithograph by Greogory Amenoff
Located in Long Island City, NY
Artist: Gregory Amenoff, American (1948 - ) Title: El Santurio de Chimayo Year: 1986 Medium: Lithograph, Signed and numbered in Pencil Edition: 40 Paper Size: 37 x 38 inches (93.98 x...
Category

Abstract Expressionist Late 20th Century Abstract Prints

Materials

Lithograph

Firebird -- Screen Print, Abstract, Op Art by Bridget RIley
Located in London, GB
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...
Category

Op Art Late 20th Century Abstract Prints

Materials

Screen

Green Mandala, Geometric Minimalist Screenprint by Clarence Holbrook Carter
Located in Long Island City, NY
Artist: Clarence Holbrook Carter, American (1904 - 2000) Title: Green Mandala Year: 1969 Medium: Screenprint on Scintilla paper, signed and numbered in pencil Edition: 75 Paper Size:...
Category

Abstract Late 20th Century Abstract Prints

Materials

Screen

City 360, Contemporary Geometric Abstract Screenprint by Risaburo Kimura
Located in Long Island City, NY
Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 360 Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: AP 35 Image Size: 25.5 x 20 inches Size: 29 ...
Category

Abstract Geometric Late 20th Century Abstract Prints

Materials

Screen

"Black Gouache" lithograph
Located in Henderson, NV
Medium: lithograph (after the gouache). Printed in 1992 by l'Imprimerie Karcher and published by Nouvelles Editions Seguier in an edition of 1000 for the Sol LeWitt "Black Gouaches" ...
Category

Abstract Late 20th Century Abstract Prints

Materials

Lithograph

APPEL Mask Face Personage. Lithograph.
Located in CORAL GABLES - MIAMI, FL
Mask Face Personage is an original limited edition lithograph by Dutch artist Karel Appel, printed using hand lithography techniques on 100% acid-free Arches archival paper. Edition ...
Category

Abstract Late 20th Century Abstract Prints

Materials

Lithograph

Space Sounds No. 2, Geometric Abstract Screenprint on Evelyn B. Johnson
Located in Long Island City, NY
Artist: Evelyn B. Johnson Title: Space Sounds No. 2 Year: circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 2/25 Image: 27 x 21 inches Paper Size: 30 x 22 inches
Category

Op Art Late 20th Century Abstract Prints

Materials

Screen

Sans titre, Hommage à Aimé et Marguerite Maeght, Derrière le miroir
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 250, Hommage à Aimé et Marguerit...
Category

Modern Late 20th Century Abstract Prints

Materials

Lithograph

Abstract Expressionist monotype (unique), signed and inscribed with heart Framed
Located in New York, NY
Robert Natkin monotype (unique) on paper signed in marker on the front Pencil signed, and inscribed with heart doodle: "For Dorothy and Arthur with my Love Natkin" Provenance: collec...
Category

Abstract Late 20th Century Abstract Prints

Materials

Monotype

Joan Miro - Original Abstract Lithograph
Located in Collonge Bellerive, Geneve, CH
Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe II Year: 1975 Edition: 5,000 Image Size: 10" x 1...
Category

Abstract Late 20th Century Abstract Prints

Materials

Lithograph

"Plum Crazy" Pink and Purple Abstract Modern Geometric Lithograph Edition 16/100
Located in Houston, TX
Pink and purple abstract modern lithograph edition 16 / 100. The work features colorful geometric shapes that have been detailed with a hatch texture. Signed, titled, and editioned b...
Category

Abstract Geometric Late 20th Century Abstract Prints

Materials

Lithograph

Motif, Gold Abstract African American Artist Viola Leak Woodcut Silkscreen Print
Located in Surfside, FL
Motif (Abstract) in orange, blue and gold abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Screen, Woodcut

Shadows I, Colorful Geometric Abstract Screenprint by Barbara Lynch Zinkel
Located in Long Island City, NY
A colorful geometric screenprint by American artist Barbara Lynch Zinkel. Date: 1991 Medium: Screenprint, estate stamped verso and numbered in pe...
Category

Abstract Geometric Late 20th Century Abstract Prints

Materials

Screen

Oscillation
Located in Fairlawn, OH
11 color screen print Signed, dated, titled and numberedin pencil Edition: 150 (9/150) Provenance: Estate of the Artist By Decent
Category

Op Art Late 20th Century Abstract Prints

Materials

Screen

Daylilies, Lincoln Center silkscreen (Hand Signed & Inscribed by Alex Katz)
Located in New York, NY
Alex Katz (after) Day Lilies (Hand Signed and Inscribed by Alex Katz), 1992 Large silkscreen poster on wove paper Boldly signed, inscribed and dated on the lower, right front in blac...
Category

Pop Art Late 20th Century Abstract Prints

Materials

Screen

Awakening
Located in Fairlawn, OH
Each print signed and numbered in pencil by the artist Total edition: 92: 75 with Arabic numerals; 10 Artist's proofs with Roman numerals; 7 Hors Commerce with Roman numerals Image...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Mezzotint

Abstraktes Bild
Located in New York, NY
This is a 6-color hybrid print by Gerhard Richter offered by CLAMP in New York City. 6-color hybrid print on 260g Rives Handmade paper (Edition of 500) Abstraktes Bild 1992/2023 A...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Ink, Handmade Paper

Kenny Scharf Tony Shafrazi gallery 1984 (Kenny Scharf 1984)
Located in NEW YORK, NY
Vintage 1984 Kenny Scharf Exhibition Poster: Original Kenny Scharf illustrated exhibition poster published by Tony Shafrazi Gallery in conjunction with the Fun Gallery, New York, NY 1984. Fun, cool, vibrant original 1980s pop art without breaking the bank. Medium: Offset Lithograph, 1984. Dimensions: 23 x 24.75 inches (folded open). Condition: Fold-lines as issued; good overall vintage condition. Muralist, painter, sculptor, and installation artist Kenny Scharf (American, b. 1958) is best known for his fantastical, large-scale paintings of anthropomorphic animals...
Category

Pop Art Late 20th Century Abstract Prints

Materials

Offset, Lithograph

De l'Origine des Espèces par Voie de Sélection Irrationelle: Visage
Located in New York, NY
A very good impression of this color lithograph. Artist's proof, aside from the edition of 180. Signed and inscribed "EA" in pencil. Printed by Mourlot, Paris. Published by Leon Amie...
Category

Surrealist Late 20th Century Abstract Prints

Materials

Color, Lithograph

Motif, Orange Blue, African American Artist Viola Leak Woodcut Silkscreen Print
Located in Surfside, FL
Motif (Abstract) in orange and blue abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...
Category

Contemporary Late 20th Century Abstract Prints

Materials

Screen, Woodcut

Untitled
Located in New York, NY
Very good impressions of these 4 color screenprints on white wove paper. Each signed, dated and numbered 15/25, 18/36, 15/39 or 6/40 in pencil.
Category

Modern Late 20th Century Abstract Prints

Materials

Color, Screen

Three Sheets (Brown), Serigraph by Lennart Nystrom
Located in Long Island City, NY
Artist: Lennart Nyström, Swedish (1944 - ) Title: Three Sheets (Brown) Year: circa 1975 Medium: Serigraph, signed and numbered in pencil Edition: 40/95 Siz...
Category

Minimalist Late 20th Century Abstract Prints

Materials

Screen

Rainbow I, Colorful Geometric Abstract Screenprint by Barbara Lynch Zinkel
Located in Long Island City, NY
A colorful geometric screenprint by American artist Barbara Lynch Zinkel, signed and numbered in pencil. Date: 1991 Medium: Screenprint, signed, numbered, dated and titled in pencil...
Category

Abstract Geometric Late 20th Century Abstract Prints

Materials

Screen

Alexandre Lolas Exhibition Poster. Made in Italy
Located in Chesterfield, MI
Poster. Made in Italy. Measures 32.75 x 19 inches and is unframed. The piece is in Good/Fair Condition-significant fading/discoloration primarily on the top portion of the print-cons...
Category

Late 20th Century Abstract Prints

Materials

Lithograph

Chrome Green
Located in New York, NY
A very good impression of this color screenprint on Arches. Signed, dated and numbered 125/150 in pencil by Gottlieb. Printed by Kelpra Studio, London, with the ink stamp verso. Publ...
Category

Abstract Expressionist Late 20th Century Abstract Prints

Materials

Color, Screen

Eleusis Proscinemi, Abstract Aquatint Etching by Joe Tilson
Located in Long Island City, NY
Artist: Joe Tilson, British (1928 - ) Title: Eleusis Proscinemi Year: 1980 Medium: Etching with Aquatint, signed and numbered in pencil Edition: AP 4/20 Size: 31.5 x 22.5 in. (80.01 ...
Category

Conceptual Late 20th Century Abstract Prints

Materials

ABS, Etching, Aquatint

Raymond Pettibon Black Flag 1981 (Raymond Pettibon punk art)
Located in NEW YORK, NY
Raymond Pettibon Black Flag, 1981: Rare early Raymond Pettibon Black Flag Punk Flyer - illustrated by Pettibon on the occasion of: Black Flag, Stains, Youth Gone Mad, Caustic Cause,...
Category

Pop Art Late 20th Century Abstract Prints

Materials

Paper, Offset

Joan Miró - Maravillas con variaciones n•20
Located in Saint Ouen, FR
Joan Miró - Maravillas con variaciones n-20 Lithography 35,7x49,6cm Signed in the plate 1975 Edition of 1500 copies on Guarro paper Publisher : Poligrafa Barcelona 890€
Category

Abstract Late 20th Century Abstract Prints

Materials

Paper

The Bridge at Etaples, 1987 - Abstract Print in Brown with Yellow and Green
Located in Kingsclere, GB
Alistair Grant was a printmaker, painter and illustrator. He was born in Kensington, London. His mother was from Etaples in Northern France: Grant retained the family home here and t...
Category

Late 20th Century Abstract Prints

Materials

Lithograph, Screen

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