Abstract Abstract Prints

This Limited-Edition abstract print, by Sofie Swann is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame wired and ready to hang. Other floater f...

Unknown/ Unidentified, " Untitled: Yellow, Orange, Green, Blue & Purple Abstract Print " (Edition 21/200), Abstract/ Abstract Geometric Serigraph...

One-color etching on Hahnemühle copperplate paper (Edition of 75 + 15 APs) Signed, dated, and numbered in pencil, recto 30 x 22 inches, sheet 17.5 x 12 inches, image This artwork i...

Aquatint Handsigned by the artist in pencil Edition : 65/135 65.00 cm. x 49.00 cm. 25.59 in. x 19.29 in. (paper) 44.50 cm. x 41.50 cm. 17.52 in. x 16.34 in. (image) This engraving...

Untitled Color lithograph, 1963 Unsigned (as issued) From:Derriere le Miroir, Volume 141 Large unsigned edition Printed by Mourlot, Paris Published by Aime Maeght, Paris Condition: C...

This artwork titled "Sombre" 1973 in an original color etching with aquatint on Arches paper by noted Polish artist Johnny Friedlaender, 1912-1992. It is hand signed and inscribed E.A. (Epreuve d'Artiste) in pencil by the artist. The image and paper size is is 38.5 x 28 inches, framed size is 48.25 x 38 inches. Custom framed in a wooden gold with dark brown patina frame, with off white matting. The artwork is in excellent condition, the frame is in very good condition, it has very minor restorations, practically invisible. This artwork is one of the largest work on paper ever created by the artist. About the artist: Johnny Friedlaender (26 December 1912 – 18 June 1992) was a leading 20th century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Johnny Gotthard...

Marc Chagall (1887 Peskowatik - 1985 Saint-Paul-de-Vence), Bible Verve, 1956. Color lithograph from Verve ‘Bilder zur Bibel’, Editions de la Revue Verve, No. 33-34, Teriade Paris, 19...

Sam Francis Untitled (from Fresh Air School), 1972 Lithograph on wove paper, for the Carnegie Museum of Art 15 × 22 inches Limited Edition of 6,000 (unsigned edition; there is a sepa...

Bold abstract aquatint by Johnny Friedlaender (Polish-French, 1912-1992). Comprised of two main sections, this piece is full of detail and texture. The upper layer is a reddish tan, whereas the bottom layer is a rich brown. Geometrical shapes are arranged such that they almost form mirror images of each other, but vary enough to create interest and a sense of movement. Signed in the lower right corner. Numbered 56/350 in the lower left corner. Includes original certificate of authenticity. Presented in a new cream mat with foamcore backing. Mat size: 42"H x 32"W Paper size: 33.75"H x 24.5"W Johnny Friedlaender was a leading 20th century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Johnny Gotthard Friedlaender was born in Pless (Silesia) and his early studies were in Breslau under Otto Mueller. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L 'Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947, he produced the work Reves Cosmiques, and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Stael and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951, and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968, Friedlaender was travelling to Puerto Rico, New York and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain, Rene Carcan...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tradition a few decades old alread...

Lithograph, 1963 Handsigned by the artist in pencil and annotated "EA" Artist proof Edition : 125 Publisher : XXe Siècle (Paris) Printer : Mourlot (Paris) Catalog : Maeght 309 LCD5019

Original lithograph , artist signed and numbered. Very good condition. Paul Charlot French, act painter, landscape painter, abstract , and water color art...

James Siena Untitled geometric abstraction (The Christmas Print), 2006 3-Color etching on paper with deckled edges Signed, dated and numbered 8/54 in graphite pencil on the front Fra...

Composition is a lithograph, realized by Rafael Alberti in 1972. Hand-signed, dated, numbered on the lower margin. Edition of 99. The artwork represents a brilliant composition th...

Lithograph on vélin d’Arches paper. Paper Size: 28 x 20 inches. Inscription: Hand signed and numbered, 88/175, as issued. Notes: Published by London Arts, Inc., Detroit; printed by T...

A black, grey, beige, and white silkscreen by Josef Albers from, "Articulation : Formulation," published by Harry N. Abrams, 1972, and printed by Ives - Stillman. The individual imag...

’Discrete’ By Harvey Daniels Medium - Lithograph Signed - Yes Edition - 4/70 Size - 890mm x 670mm Condition - 10 Colour of print may not be accurate when viewed on a monitor. Harve...

Silksreen, 1993 Handsigned by the artist in pencil Edition : 500 ex. Catalog : [Prestel 43] 100.00 cm. x 70.00 cm. 39.37 in. x 27.56 in. (paper) 100.00 cm. x 70.00 cm. 39.37 in. x...

Lithograph, 1957 Handsigned by the artist in pencil and annotated HC Publisher : Galerie de France (Paris) Printer : Mourlot (Paris) 48.00 cm. x 38.00 cm. 18.9 in. x 14.96 in. (pape...

Robert Motherwell Pull Out All Flags (Engberg, Banach 263), 1980 Aquatint and etching in colors, on German Etching paper, with full margins Hand-signed by artist, Pencil signed and n...

Silksreen, 1970 Handsigned by the artist in pencil and numbered 15/115 Publisher : Édition Esselier (Paris) Printer : Michel Caza (Paris) Catalog : [Chenivesse 56, p. 61] 56.00 cm...

Unknown/ Unidentified Artist, "Untitled", Abstract Lithograph, 25.75 x 19.75, Late 20th Century Color: Green

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 11.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

Fine Art Print. Limited edition of 15, signed by the author.

Lithograph on papier Kitakata à la main, mounted on papier Cartiere Enrico Magnani à la main paper, as issued. Paper Size: 23.5 x 19 inches. Inscription: Unsigned and unnumbered, as ...

This work is hand signed in pencil by the artist "L. Fontana" in the lower right image. It is also hand numbered in pencil from the edition of 170, in the lower left image. There we...

Lithograph, 1970 Handsigned by the artist in pencil and numbered 36/50 Publisher : Galerie Alexandre Iolas (Paris) Printer : Clot, Bramsen et Georges (Paris) Catalog : [Ulm 5, p. 32]...

Jill Moser, Ariadne, 2021 Woodcut print on Khadi 100 % cotton paper Signed and numbered by the artist on recto Paper size: 8.25 x 8 in Edition of 18 Published by Eminence Grise Editions, New York Printed by Andrew Mockler...

Etching and aquatint, 1972 Handsigned by the artist in pencil and annotated "HC" Edition : /50 + H.C. Publisher : Maeght, Paris Printer : Morsang, Paris Catalog : [Dupin 555, p. 19...

Klint / reDux / kbrk is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper. The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch. Individually signed and numbered From an edition of 48 prints, plus 4 APs Image size ⋅ 50.8cm H x 66cm W Sheet size ⋅ 65cm H x 80cm W . Le Klint Studio is an inspiration to anyone who loves paper folding, contemporary design, and light. So, of course, I couldn’t resist making a series of origami like geometries for a new set of works on paper in 2015. Le Klint Studio, to my mind, are particularly well known for their folded paper pendant shades, contemporary designs which are as beautiful as they are ubiquitous. The image I made is not an identikit line work, more an homage based around some of the origami like folds they use, with the addition of colour glazes and offset transparencies. I've also added a grid like structure of darkly shaded lines and accents, that brings the geometry to life. The first piece I drew, ACDH (acid house...

Lithograph, 2005 Handsigned by the artist in pencil and numbered 122/150 Printer : Frédéric Possot, Paris Certificate of authenticity Excellent condition LCD6447

Silksreen, 1988 Handsigned by the artist in pencil and annotated EA Edition : 275 ex. Publisher : Association AIDES 61.50 cm. x 50.00 cm. 24.21 in. x 19.69 in. (paper) 41.00 cm. x 2...

Silksreen, 1969 Handsigned by the artist in pencil Annoted "EA" Edition : 75 ex. Publisher : Niki de Saint Phalle Printer : Albin Uldry (Bern) Catalog : [Ulm 42, p. 54] 50.00 cm. x 5...

Joan Miró La Mélodie Acide - 2 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9 ...

Archival ink print on paper, edition of 9 Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Science in International...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, In Memory of M...

Minna Citron, 'Flight to Tomorrow', aquatint and engraving, edition unknown but small, 1948. Signed, titled, dated, and annotated 'engr & aqua' in pencil. A superb, richly-inked impression with selectively wiped plate tone, on heavy cream wove paper, the full sheet with margins (1 3/4 to 3 1/2 inches), in excellent condition. Image size 6 7/8 x 8 7/16 inches (175 x 214 mm); sheet size 11 1/8 x 14 7/8 inches (283 x 378 mm). Matted to museum standards, unframed. Literature: The Women of Atelier 17, Modernist Printmaking in MidCentury New York, Christina Weyl, Yale University Press, 2019, p. 186. Collections: Davis Museum (Wellesley), Five Colleges and Historic Deerfield Museum Consortium, Harvard Art Museums, Museum of Fine Arts, Boston, Palmer Museum of Art (Penn State...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Eduardo Chillida (Spain, 1924-2002) 'Korapillo I', 1982 chine colle, dry point on japanese paper 25.6 x 19.7 in. (65 x 50 cm.) Edition of 50. Original 62 of which 50 belong to the regular edition. P/A: 7, H.C.: 5 Unframed ID: CHI1038-012 Hand-signed by author It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P. II 1973-1985. Chorus – Verlag, pp 288 – 289. Nr 82002. ____________________________________________________ He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements. Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes. Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own. His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production. The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999). Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...

Alexander Calder McGovern for McGovernment, 1972 Lithograph on wove paper Pencil signed and numbered 194/200 on the front Frame included In 1972, Alexander Calder was commissioned by...

Juan Valladares (Peru, b. 1938) "Divinite de l'Enfance" (épreuve d'artiste), Abstract Etching/Aquatint signed and titled in Pencil, Late 20th Century, 1977 Colors: Black, Brown, Gre...

Robert Natkin (1930 - 2010) Untitled, 1979 From the Intimate Light series Color lithograph on wove paper Edition 12/75 Signed and numbered to lower left margin Published and printed...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

Antoni Tapies (Spain, 1923-2012) 'Variations I: Chaise de profil', ca. 1970-1975 Serie: Variations sur Chaise lithograph on paper 41.4 x 29.6 in. (105 x 75 cm.) Edition of 90 Unframe...

The painting is being offered with a work and authenticity certificate

Hand signed and dated. Artist's proof. Image Dimensions: 28x20 cm

This contemporary limited edition print by Teodora Guererra features a colorful palette with white, muted orange, green, and varying blue tones layered in light, vertical strokes tog...

Etching with lead and lined collage on cotton paper

Zao WOU-KI Abstract composition, 1996 Original etching and aquatint Unsigned as issued On vellum 34 x 30 cm (c. 14 x 12") Excellent condition REFERENCES : Agerup #380/86 This etch...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, In Memory of My Feelings,...

There is a natural and raw understanding in Mukesh Sharma’s prints that depict, and are influenced by, the Rajastani communities of his home town in rura...

Abstract Composition is an original etching and aquatint realized in the 1960s Century by Marcel Fiorini (1922-2008). Good Conditions. The artwork is depicted through soft strokes ...

Artist: Deborah Remington, American (1930-2010) Title: Quadra Date: 1989 Medium: Color Lithograph on ivory wove German etching paper Sheet size: 27 3⁄8 x 20 5⁄8 in. (69.5 x 52.3 cm) ...

Alexandre Arrechea´s work remains caught in an endless uphill climb towards a new representational framework. The pieces he produces serve as a warning of our own limits and how pret...

’Labyrinth’ By William Crozier Medium - Carborundum printmaking, collagraph process Edition - 47/80 Signed - Yes Size - 509mm x 407mm Date - 2007 Condition - Excellent. 10 out of 10....

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

Gfeller + Hellsgård - Untitled 67 Screen-print on paper - signed & numbered - 2016 This is a rare A.P (artist proof) from the Untitled 67 print run. It's handprinted 5 colours as split-fountain. Size 80 x 60 cm, with a 5 cm white border, the condition is good, it will be shipped rolled in a hard tube. Artist info: Gfeller + Hellsgård is an artist duo working in Berlin. They've created an unique painterly screen-print-style which includes colour overlaps, smudges, bleeding, glitches and transparencies. In 1995 while studying at Ecole Supérieur des Arts Décoratifs de Strasbourg, Christian Gfeller (born 1973, Alsace) started publishing screen-printed graph'zines and artists' books under the moniker Bongoût (good taste). Bongoût found it's roots in the french D.I.Y art punk scene and, together with an handful of people, also organised concerts, party's and performances in an old warehouse named Lactina in Kehl, across the Rhine from France. The location became cult with its first techno parties, noise concerts and art performances, as well as exhibitions. Christian's first screen-print studio was located in Lactina and beside zine and book making, he designed and printed posters for the events as well as record covers for the cult garage trash punk label Yakisakana Rcds. In 2000, FLTMSTPC in Paris published a polaroid book by Christian, where this vivid time at Lactina was well documented. During this period Christian also played in several local bands: Pitfall, Elcamino and The Cheeraks. Christian Gfeller met Anna Hellsgård (born 1980, Stockholm) at a concert in Berlin on September 11th 2001. After Anna's short art study at Konstskolan in Stockholm, she was eager to develop her photographic interest and become an assistant to a commercial photographer for 2 years. In the meantine Anna also was Dj-ing in several clubs and bars in Stockholm. A vague memory from 1991 of her first Berlin visit and her music interest draw her to move to Berlin in 2001. There she continued with her B/W photographs and shot hundreds of pictures during her first time in Berlin. When she met Christian, she got immediately drawn to the french underground scene and its subversive graphic art content. Whenever she visited Christian in Strasbourg she would help him with his printing at the Lactina studio. In 2002 the couple moved to Bordeaux and built up a screen-print studio there. This is where they started to work full time together as an artist-duo, publishing their own zines, artist's books as well as designing gig posters and record covers. The year and a half in Bordeaux was very prolific and they grounded together a strong artistic direction and a unique style. Bongoût editions continued to grow there as well.The artist-duo produced over 40 screen-printed books in collaboration with other artists during this time. In 2004 they decided to move back to Berlin, and relocated their studio to the Friedrichshain neighbourhood. Over the years, the duo released over 200 screen-printed zines and artists' books, some by themselves and others in collaboration with artists from around the world: David Sandlin...

John Grillo Untitled Op Art Mid Century Modern, 1969 Color silkscreen on art paper with deckled edges Signed and dated lower right; numbered 6/9 lower left Limited Edition of only 9...

Francis Tailleux was French born in Paris 1913-1981. He created his own style . He was influence by Gruber, Marchand and Tal-Coat. He ha many solo exhibitions in France, London and t...

Ross Bleckner "PS III" 1997 Screenprint 42 x 33 inches Edition of 75 unframed