Abstract Abstract Prints

Matt Kleberg Untitled, 2024 Oil stick monotype on paper 41 1/2 x 32 3/4 in (105.4 x 83.2 cm) JPHB 6181

Note: This is a unique text variant which Albers titled in pencil "Blue Reminder" instead of "Blue Reminding". The authenticity of this work has been kindly confirmed by Brenda Danil...

Lithograph Optical Pop Art Attrib. Victor Vasarely, 1970s with frame

Pablo PICASSO (1881-1973)(after) The dance, 1946 Lithograph and stencil Signed in the plate On vellum 48 x 33 cm (c. 18.9 x 13 inches) INFORMATION: Edited by Albert Carman in 1946 ...

Raoul DUFY (1877-1953) Orchestra : Intermission Lithograph (Mourlot workshop) Printed signature in the plate On vellum 30 x 24 cm (c. 11.8 x 9.4 in) Excellent condition

This abstract landscape limited edition print by Elwood Howell features a high horizon line, and a light blue palette. The foreground portion of the composition beneath the horizon ...

Joan Miró Lithographie Originale (Cover) Color Lithograph Year: 1981 Size: 15.6 × 12.75 inches Catalogue Raisonné: Cramer 177, Der Lithograph IV, 1969-1972, Ref.: 1255, p.178 Publisher: Maeght Editeur, Paris, France With coverfold, recto - as issued Recto, right: Typographically annotated: 'Lithographie Originale' Unsigned, Unknown Edition Size COA provided --------------------------------------- Joan Miró i Ferrà was a Spanish painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981 Surrealism, Fauvism, Cubism, Abstract expressionism, Naive art, Expressionism, Suprematism Pablo Picasso, André Breton, Hans Arp, André Masson, Hieronymus Bosch, Tristan Tzara, Modest Urgell

The limited edition was printed at Fine Creations Inc. and has the printer's blind stamp on the bottom right. It was published by Lincoln Center for the Performing Arts. The availab...

Marc Chagall (1887-1985) - Opera Lithograph from 1965. Dimensions of work: 32 x 23.5 cm. Publisher: André Sauret, Monte Carlo. The work is in Excellent condition.

This stunning Artist's Proof is an one-off, oil hand-painted by the artist , signed at front and on the back label too; each proof is 80% hand painted by Shizico Yi, because the natu...

This Limited Edition abstract print, "Lollipops #2," by Sofie Swann measures 36" x 45" and is an edition of 95. Printed on canvas, this giclee ships framed...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Limited Edition edition of 3433 12 1/2 × 16 3.5 inches Unframed Accompanied by gallery issued Certificate of Guarantee Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Artist: John Chamberlain (1927-2011) Title: Flashback VIII Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 120/175, plus proofs Size: 28 x 20 inches Inscription: Signe...

Derek Boshier Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges Hand signed, numbered 38/50 and dated on lower front with printer's and publishe...

Damien Hirst - STUDLAND BAY Date of creation: 2023 Medium: Laminated Giclée print on aluminium composite panel Edition: 601 Size: 120 x 90 cm Condition: Brand new and never framed T...

Joan Miro, Spanish (1893 - 1983) - Sculptures (M. 950), Year: 1974, Medium: Lithograph on BFK Rives, signed in the plate, Image Size: 16.25 x 24 inches, Size: 20.5 x 29 in. (52.0...

Frank Stella Large Limited Edition Hand Signed Whitney Museum Print, 1985 Offset Lithograph Hand signed, dated and numbered 93 from the edition of 100, lower left front 75 7/10 × 52 ...

Peter Halley Peter Halley, Imago Galleries, Palm Desert, CA (Hand Signed), 2006 Offset lithograph poster (hand signed by Peter Halley) 25 1/2 × 18 1/4 inches Provenance; Acquired directly from the artist Unframed Alpha 137 Gallery is honored to offer this offset lithograph, published on the occasion of legendary American artist Peter Halley's 2006 one-man exhibition at Imago Galleries, Palm Desert, California which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective "Andy Warhol - from A to B and Back Again" at the Whitney. PETER HALLEY BIOGRAPHY Peter Halley, born 1953, New York City, is an American artist who came to prominence as a central figure of the Neo-Conceptualist movement of the 1980s. His paintings redeploy the language of geometric abstraction to explore the organization of social space in the digital era. Since the 1980s, Halley’s lexicon has included three elements: “prisons” and “cells,” connected by “conduits,” which are used in his paintings to explore the technologically determined space and pathways that regulate daily life. Using fluorescent color and Roll-a-Tex, a commercial paint additive that provides readymade texture, Halley embraces materials that are anti-naturalistic and commercially manufactured. In the mid 1990s Halley pioneered the use of wall-sized digital prints in his site-specific installations. He has executed installations at Museo Nivola, Orani, Sardinia (2021); Greene Naftali, New York (2019); Venice Biennale (2019); Lever House, New York (2018); Schirn Kunsthalle, Frankfurt (2016); Disjecta, Portland (2012); the Gallatin School, New York University, (2008, 2017); the Museum of Modern Art, New York (1997); and the Dallas Museum of Art (1995). In 2005, Halley was also commissioned to create a monumental painting for Terminal D at the Dallas/Fort Worth International Airport, Texas. Halley served as professor and director of the MFA painting program at the Yale School of Art from 2002 to 2011. From 1996 to 2005, Halley published INDEX Magazine, which featured interviews with figures working in a variety of creative fields. Halley is also known for his essays on art and culture, written in the 1980s and 1990s, in which he explores themes from French critical theory and the impact of burgeoning digital technology. His Selected Essays, 1981 – 2001, was published by Edgewise Press, New York, in 2013.Halley’s writings have been translated into Spanish, French, and Italian. A catalogue raisonné, PETER HALLEY: Paintings of the 1980s, was published in 2018 by JRP Ringier. Halley’s work can be found in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Broad Art Foundation, Los Angeles; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Boston Museum of Fine Arts; Dallas Museum of Art; Albright-Knox Art Gallery, Buffalo; Tate Modern, London; Stedelijk Museum, Amsterdam; Sammlung Marx, Berlin; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum of Contemporary Art, Tokyo; Seoul Museum of Art, among others. More about Peter Halley Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

BASKET DRAWING, by Dale Chihuly(American b.1941) renowned glass sculpture artist depicts one of his signature abstract basket forms. This unique, limited edition lithograph was print...

Nick Thomm 'After Dark' (Green) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #104 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NE...

Nick Thomm 'GHOSTS' (Blue) 69cm x 92cm (27"×36″) Limited Edition of 199 Hand Signed and Numbered #113 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW. Wo...

Damien Hirst Opium, 2000 Lambda C-Type print on Gloss Fuji Archive paper. Signed by the artist, lower right on recto Numbered on verso 48 x 43.7 cm 52 x 48 cm (framed) Edition 391 of...

Victor Rosado (Puerto Rican/ American, 1938 - ), "Growing Wild " Edition 45/ 200, Abstract Screen Print Serigraph, 17.38 x 13, Late 20th Centu...

"Superficie 324" is a 1988 screen print (serigraph) of a 1959 painting by Capogrossi. This is one of his famous "comb" or "fork" works that he perfected in the 1950s and continued to create for the remainder of his life. The blocks of primary red and yellow colors give a bright, joyful feel and contrast to the strong bold black that was Capogrossi's consistent color for the "combs". With no allegorical, psychological, or symbolic meanings, these structural elements could be assembled and connected in countless variations. Intricate and insistent, Capogrossi's signs determined the construction of the pictorial surface. This piece is identified along one side: Giuseppe Capogrossi By SIAE 1988 Silvio Zamorani Editor Via Saccarelli, 9 10144 Torino Italy Tel. (39)(11) 4730554 Progetto Grafico (Graphic Project): Studio Walter Benjamin. Serigrafia (Screen Print): BISI Torino. Capogrossi was born in Rome. After obtaining a degree in law in 1923–1924, he decided to study painting with Felice Carena at Accademia di Belle Arti di Roma. In 1927 Capogrossi embarked on a formative trip to Paris together with fellow artists and acquaintances Fausto Pirandello, Corrado Cagli and Emanuele Cavalli...

Lithograph, 1957 Handsigned by the artist in pencil and numbered 2/100 Publisher : Hedwig Marbach, Berne Printer : Jean Pons, Paris Catalog : RMM 98 65.50 cm. x 50.00 cm. 25.79 in. ...

Hothead, 2016 Giclée print on 330gsm Somerset Velvet cotton rag paper with an embossed publisher stamp 82 x 78 cm - Framed 80 x 75 cm - Sheet Edition of 250 It comes with COA from t...

Nick Thomm 'The Dreaming' (OPAL) 69cm x 92cm (27"×36″). Limited Edition of 99. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Sold Unframed

Pierre SOULAGES Lithograph n°9 Original stone lithograph (3 colors- atelier Mourlot) Unsigned On vellum 12 x 10" (31 x 24 cm) REFERENCES : Catalogue raisonné BNF #53 Created in 19...

Joan Miró Lithographie Originale I Color Lithograph Year: 1981 Size: 12.5 × 9.6 inches Catalogue Raisonné: Cramer 177, Der Lithograph IV, 1969-1972 Publisher: Maeght Editeur, Paris, ...

Artist: Yaacov Agam Title: The Blessing Medium: Screenprint in colors on Arches Year: 1990 Edition: 28/54 Sheet Size: 30" x 42" Image Size: 27 1/8" x 33 1/2" Signed: Hand signed and ...

Piero Dorazio Abstract Composition (Bank of New York Corporate Collection), 1971 Lithograph on wove paper Pencil signed, numbered 73/75 and dated on the front. The back bears a label...

Limited edition of 150 pieces, hand signed and numbered. Excellent conditions.

Lithograph, 1979 Handsigned by the artist in pencil and annotated HC VIII/XIII Publisher : Maeght Éditeur (Paris) Printer : Arte Adrien Maeght (Paris) Catalog : [Mourlot 1180 p. 10...

Delicate layered collotype on heavy bond paper by Patricia A. Pearce (American, b. 1948). This piece is unsigned, but was acquired with a collection of other Pearce work. No frame. I...

This colorful lithograph is part of my private collection. It is a limited edition , 1 print available, signed and numbered 25/150. It is in very good condition. Vibrant and colorful.

This is a one-off hand painted Limited Edition, on offer here is the No 1 of the only Five Editions. 60% of the painting is hand painted with original paint on Giclee print on alumin...

For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject matter in favor of seemingly limitless variations in ...

JACKSON POLLOCK (American, 1912-1956) Untitled, CR1093 (after painting Number 9, CR340), 1951–printed 1964 Screenprint, on Strathmore wove paper, numbered in pencil lower left, and with the Estate of Jackson Pollock 1964 blindstamp lower left(?) From the second posthumous printing of 50 authorized by his widow, Lee Krasner in 1964 (there was also a lifetime edition of 25) Published by Bernard Steffen...

Composition is a contemporary artwork realized by Luigi Spacal (Trieste, 1907 - Trieste, 2000) in the 1970s. Original Colored woodcut print on cardboard. Image Dimensions: 18 x 14 cm Good conditions. Lojze Spacal...

Joan Miro (Spain, 1893-1983) 'Joan Miró. Fotoscop', 1974 lithograph on paper 12.9 x 20.5 in. (32.7 x 52 cm.). The size of the stamp paper has been slightly modified. Its original dim...

Larry Zox (1937-2006) Three Square Composition, 1978 Print, Silkscreen, on Arches archival paper - 1978 52 " x 25 " inches Signed in pencil and marked VIII/LV Unframed.  Larry Zox i...

Roger Muhl (1929-2008) Provence #7, 1986. Signed and numbered in pencil by the artist, lower margins. Artwork is in excellent condition with no damage or conservation. Frame shows ...

"Homage to the Square - Portfolio 2,Folder 17,Image 2" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original...

Alexander Calder McGovern for McGovernment (Signed by BOTH Alexander Calder and George McGovern), 1972 Lithograph on wove paper with deckled edges. Hand signed and Numbered by Calder, and inscribed and signed by George McGovern. Publisher's blind stamp. Pencil signed and numbered 184/200 Published by Styria Studio, New York (with blind stamp) Bibliography: George McGovern & the Democratic Insurgents: The Best Campaign and Political Posters of the Last Fifty Years (University of Nebraska Press), Hal Elliot Wert Frame included Framed in a mus...

This is an unique one-off Artist Proof, in a rare Extra-Large square format. A special Proof that only 3 have been made with hand gilded Gold Leaf. The outstanding hand-painted qua...

"Homage to the Square - Portfolio 2, Folder 13, Image 1 " from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origi...

LUDWIG SANDER Untitled geometric abstraction Artists Proof, aside from the regular edition of 90 Hand signed and annotated AP on the front Elegantly matted and framed in white wood m...

Lithograph, 1970 Handsigned by the artist in pencil and numbered 42/50 Publisher : Galerie Alexandre Iolas Printer : Clot, Bramsen et Georges (Paris) Catalog : [Ulm 17, p. 80] 88.50 ...

Discover a stunning vintage original lithograph by renowned Colorado Springs artist Mary Chenoweth. This striking abstract composition features bold geometric shapes set against a vi...

This Limited Edition abstract print, "A Summer Day in Nantucket," by Sofie Swann measures 60" x 48" and is an edition of 95. Printed on canvas, this print ships rolled with natural c...

Abstract Composition is a beautiful colored serigraph on cream-colored paper, realized in the 1970's by the Italian artist, Luigi Montanarini (1906-1998) and published by La Nuova Fo...

Joan Mitchell Untitled Abstract Expressionist Print for the Carnegie Museum of Art, 1972 Lithograph on wove paper 15 × 22 inches Limited Edition of 1000 (unnumbered) Printer: Maeght...

Dorothy Dehner Untitled from Lunar Series, 1971 Rare Lithograph on white Arches paper 22 × 27 inches Pencil signed, dated and numbered; with inscription including unique series numbe...

Lithograph, 1969 Handsigned by the artist in pencil and numbered 26/80 Publisher : Galerie Im Erker (Saint-Gallen) Printer : Erker-Press (Saint-Gallen) Catalog : [Schneider 76] 87....

Nick Thomm ARCHANGEL (XL SIZE 36" x 48"). Limited Edition #22 of 25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Unopened in...

This 28" x 32" lithograph was produced by Harold Stevenson in 1988. This print features a skeletal figure and horse. The skeleton, with elongated and angular features, is centrally p...

Artist: Henry Moore (British, 1898-1986) Title: Les Poetes, La Poesie, Front Page Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches Paper...

Lithograph, 1990 Handsigned by the artist in pencil and numbered 30/150 Catalog : [Sorlier 524] 76.00 cm. x 58.00 cm. 29.92 in. x 22.83 in. (paper) 67.00 cm. x 50.00 cm. 26.38 in. ...

Nick Thomm 'After Dark' (Pink) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #84 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW....

Willem de Kooning de Kooning in East Hampton (Hand Signed), from Estate of Alan York, 1978 Offset lithograph poster (Hand signed by de Kooning) Boldly signed in green marker on the f...