Abstract Abstract Prints

Artist: Tony Bechara, Puerto Rican (1942 - ) Title: Blue City Year: circa 1979 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 35 Size: 30 in. x 22.5 in. (76.2 cm ...

Artist: Bob Stanley, American (1932 - 1997) Title: Trash Year: 1970 Medium: Lithograph, Signed and numbered in Pencil Edition: 92 Size: 23 x 29 inches (58.42 x 73.66 cm)

Artist: Cris Cristofaro, American Title: Blue Rectangles Year: 1978 Medium: Silkscreen on Arches Paper, signed and numbered in pencil Edition: 50 Size: 22 x 30 in. (55.88 x 76.2 cm)

Artist: Nicholas Krushenick, American (1929 - 1999) Title: Tail Gate Year: 1978 Medium: Silkscreen, signed and numbered in pencil Edition: 200, AP 35 Paper Size: 34 x 26 inches [86...

iPad drawing on German Etching Matt Fine art- paper of archival standard. This mould-made etching paper features a distinct textured surface. Printed from the original digital file....

Artist: Charlie Hewitt, American (1946 - ) Title: Untitled - XX Year: circa 1995 Medium: Woodblock Monoprint, Signed in Pencil Edition: 1/1 Size: 20 x 24 in. (50.8 x 60.96 cm)

Artist: William Taggart, American (1936 - 2007) Title: Versatile No. 1 Year: 1978 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 30 Paper Size: 24 in. x 32 in. (60...

Artist: Kyohei Inukai Title: The Signal Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 40 Paper Size: 30 x 22.5 inches

Artist: Kyohei Inukai Title: Red Kite Year: 1978 Medium: Serigraph, Signed and numbered in pencil Edition: AP 30 Size: 26 x 34 inches

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 359 Year: circa 1972 Medium: Serigraph, signed and numbered in pencil Edition: 300 Image Size: 19 x 25.5 inches Size: 2...

Maurice Estève - Composition Original Lithograph 1964 Dimensions: 32 x 24 cm Revue Art de France French painter born in Culan, Cher. He went to Paris in 1919 in the face of opposi...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 368 Year: 1971 Medium: Serigraph, signed and numbered in pencil Edition: 300 Image Size: 25 x 20 inches Size: 29 in. x ...

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 ...

Artist: Tony Bechara, Puerto Rican (1942 - ) Title: Forking Paths Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 35 Image Size: 26 x 19 inches Size: 30 ...

David Collins has an ongoing interest in space and memory. Many of Collins’ memories relate to his family’s history in inventing Cold War era technology. Personal recollections of sp...

David Collins earned a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions in New York, and has exhi...

Artist: Cris Cristofaro, American Title: Untitled - Green and Blue Rectangles Year: 1978 Medium: Silkscreen on Arches Paper, signed and numbered in pencil Edition: 50 Size: 22 x...

Artist: Alfredo Volpi, Brazilian (1896 - 1988) Title: Bandeirinhas estruturadas Year: 1970 Medium: Silkscreen, signed in pencil Edition: PA Size: 19 in. x 26 in. (48.26 cm x 66....

Emily Joyce The Third of May, Blue, 2013 2 color screenprint on BFK Rives 25 x 18 inches edition of 10, signed and numbered (printed by Gray Area Print, Los Angeles) there ar...

Stunning figural abstract silkscreen titled "Rock" by Dean Snyder (American, b. 1953). Artist's Proof 1990. Titled, signed and dated lower edge. Presented in mat, unframed. Image Si...

iPad drawing printed on aluminum. From the "A Song for The Earth" series inspired by Mahler's DAS LIED VON DER ERDE. 12" x 12" Unframed Edition: #2 of 10 Sebastian Spreng, is a ...

iPad drawing on German Etching Matt Fine art- paper of archival standard. This mould-made etching paper features a distinct textured surface. Printed from the original digital file....

Composition jaune et bleue (eng. Yellow and blue composition). Original color lithograph, unknown year. Edition E.A. (artist’s proof) signed and numbered impressions on Arches paper....

Le tete (eng. The head). Original watercolor, cca.1980. Miodrag Dado Đurić was a famous figurative artist from Montenegro. He spent most of his life in France, painting, engraving, d...

Josef Albers Homage to the Square: Renewed Hope (from "Albers") Screenprint in brilliant Colors on strong wove paper double folded, 1977 (after original 1962 - Oil on Masonite) Image...

Horse Ride-Green, Violet, Brown. Original color lithograph, 1969. Edition of 75 signed and numbered impressions on Arches paper. Joan Miró was a famous Spanish Catalan surreal painter, sculptor and ceramicist, but he also created graphics, large installations and murals. His radical style for that time was a contribution to the early-20th-century avant-garde and complete abstraction later. Early fauvistic works showed the influence of Cézanne, in cubist compositions, but also a reference to the avant-garde interests of the painter. Few years later he started to change his artistic approach over the magic realism to surrealism. His surfaces become abstract and stayed like that until the rest of his career. Miró’s mature style evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life. The artworks are reflections of his subconscious mind, filled with pictorial signs, biomorphic forms, geometric shapes, and abstract and semi-abstract objects. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces. Miro’s composition...

From the 12-plate album published by Galerie Denise René in 1961, after orginal works executed by Herbin from 1951 through 1960, in an edition of 100 numbered coies. Only four of the...

Color etching with carborundum by Antoni Clavé "Ciel", 1971 76,4 x 57,2 cm Copy Artist's Proof Edition 95 copies Antoni Clavé (Barcelona 1913 - 2005 Sai...

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...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extra...

The Greek American artist, Theodoros Stamos, was born in 1922 in New York City into a family of Greek immigrants. He was a member of The Irascibles group which consisted of the first...

The Greek American artist, Theodoros Stamos, was born in 1922 in New York City into a family of Greek immigrants. He was a member of The Irascibles group which consisted of the first...

Sonia DELAUNAY Composition in Green, Blue and Red, 1969 Original lithograph (Printed in Mourlot workshop) Unsigned On heavy paper 31 x 24 cm (c. 12 x 10 inch) Edited by San Lazzaro...

It is an abstract print which shows 4 triangles in 4 rectangles. It is dominated by a dark turquoise, other parts are printed in its shades and black. The 4 triangles are done in a b...

Tiefeng Jiang Title: The Stone Forest Edition: 9/20 Super Low Edition! Medium: Serigraph on hand-made paper Measurement...

Three aquatints printed from two to three plates each on Twinrocker handmade rag paper Sheet: 19 3/4 x 15 3/4 in. (50 x 40 cm), each Edition of 60 Each print numbered and estate sign...

Etching on Zerkall rag paper Sheet: 38 3/4 x 27 1/2 in. (98 x 69.5 cm) Edition of 60 Signed and numbered in pencil on lower margin Published by Edition Schellmann, Munich and New York

Screenprint in colors, on wove paper Sheet: 16 3/4 x 13 5/8 in. (42.6 x 34.5 cm) Edition of 90 Signed and numbered in pencil on lower margin Published by 2RC, Rome

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

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculptors of our time. He is a living master whose work is considered to be both personal a...

Composition 4: Blue Modernist Abstract is an original hand drawn, color lithograph/linocut by the New York artist Bruce Porter, printed from hand carved linoleum blocks and hand draw...

Original lithograph printed in 6 colors (yellow, yellow-green, light blue, magenta, turquoise, dark blue) from 6 aluminum plates on BFK Rive wove paper Hand-signed in pencil lower r...

Original lithograph printed in five colors (yellow, red, green, ultramarine blue, thalo blue) on PTI #120 Waterleaf wove paper. Hand-signed in pencil lower left Sam Francis. A su...