Contemporary Abstract Prints

This piece titled "who's there?" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece measures 30"...

Four color process print on vélin paper. Paper size: 10.75 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, George Condo, Drawing Paintings, 201...

Limited Edution 2/6, signed by artist. Anna Ładecka is a Paris-based polish illustrator and painter. Graduated from Warsaw Academy of Fine Arts, Master ...

This piece titled "Screen Time" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 9.5"h x 7.25"w. Born in Mexico City...

This abstract landscape limited edition print captures a forest in cool blue tones accented by warm yellow-greens and reds. It is an edition size of 100. Printed on canvas, this gicl...

This piece titled "Portal to Bermuda" is a digital print by Danielle Clough. This piece measures 43.5" x 43.5" and is an edition of 22. The threads that link the ancient and the mod...

Osteria del Tempo Perso is an artwork realized by Bruno Canova,1973.  Etching, Artist Proof.  75 x 95 cm. Handsigned and dated lower right. Good condition

Alexis Kcho Leiva (Cuba, 1970) "Embarcadero" (Pier), 2003 engraving on paper Guarro Super Alpha 250g. 28.8 x 21.3 in. (73 x 54 cm.) Edition of 50 Ref: KCH-110

This piece titled "This Must Be the Place VE 3/7" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 ...

** Larger prints are available for purchase. Please feel free to contact us if you're interested. Enchanted by the intricate symphony of nature's rhythms, the alluring dance of urba...

La Rosée is an excellent Contemporary artwork realized by Renée Lubarow (b.1923) in 1978. Original colored etching on paper. Hand-signed in pencil on the lower right corner: Lubar...

Letter J, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Letter E, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Letter E, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

James Bettison Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges. Hand signed. Numbered 38/50. Dated. Printer's and Publisher's Blind Stamp. 20...

Composition is an original Contemporary artwork realized in the 1978 by an Italian artist. Original B/W Lithograph on paper. Image Dimensions: 32 x 50 cm Hand-signed in pencil on t...

Letter Q, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Artist Proof Good conditions. The art...

This piece titled "Philly Street III" is an original piece by Alexis Nutini and is made from a woodcut and found object stencil monoprint. This piece mea...

Letter R, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

This piece titled "transfigured from longing" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece...

This piece titled "held like a dream" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece measure...

CALM is an original hand drawn lithograph(not a photo reproduction or digital print)by the artist Frank Licsko printed using traditional hand lithography techniques on archival Arche...

This piece titled "when darkness yields" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece meas...

This piece titled "learning to see" is an original piece by Cassie Normandy White and is made from collaged monoprints, microscopic scans, watercolor. ...

Artist: Robert Kushner - American (1949- ) Title: Trellis Date: 1981 Media: Lithograph Dimensions: Diptych – Each sheet and image: 28 x 20 inches (56 x 20 inches total) Publisher: Barbara Gladstone...

Robert Smith (United States, 1944) 'Last spring', 1972 engraving and etching on paper 21.7 x 29.6 in. (55 x 75 cm.) Edition of 75 Unframed ID: SMI1158-002-075 Hand-signed by author

Vintage poster realized after Piero Dorazio in occasion of the Winter Olympic Games in Sarajevo in 1984. Offset print. Good condition.

This abstract limited edition print by Roger Mudre is inspired by his recent trip to the Northern Italian city. In it, Mudre weaves his exploration of the circle together with a geom...

This abstract limited edition print by Roger Mudre is inspired by his recent trip to the Northern Italian city. In it, Mudre weaves his exploration of the circle together with a geom...

This piece titled "Blox" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 9.5"w and ships unframed. Born in...

This piece titled "Orientarse o Perderse V, Knife Drawing" is an original piece by Lucha Rodríguez and is made from hand scoring giclée print on metallic paper. This piece measure 17...

This piece titled "Buscando un Tesoro II, Knife Drawing" is an original piece by Lucha Rodríguez and is made from manipulated giclée print on metallic paper. This piece measure 20"h ...

This piece titled "Waves" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 9.5"w. As a woodcut printmaker, ...

Friedrich Geiler Concrete Composition (Konkrete Kunst, Constructivsm, Geometric Abstraction) Colour Silkscreen on PVC Year: 1991 Signed, numbered and ...

Airplanes and biplanes are featured in 'Centennial Flight' on a grey and silver grid with heavy hand coloring. Monotype ev is 32 x 32 inches. Kim Frohsin spend 12 years working on mo...

Theatre Wielki W Warszawie - Poster is a vintage offset print realized in the 1970s. Good conditions.

This piece titled "Viaje" is an original piece by Alexis Nutini and is made from a woodcut and found found object stencil monoprint mounted on panel. This piece measures 14.5"h x 9.5...

This piece titled "Refugio o Trampa IV, Knife Drawing" is an original piece by Lucha Rodríguez and is made from hand scoring giclée print on metallic paper. This piece measure 7"h x ...

This piece titled "Espectáculo de Proximidad II, Knife Drawing" is an original piece by Lucha Rodríguez and is made from hand-scoring on metallic paper. This piece measure 5.5"h x 5....

Untitled, from the suite Olympic Games Beijing 2008, is a colored lithograph realized by Sandro Chia in 2008. Hand-Signed in pencil on the lower right margin. Hand-numbered in penc...

This piece titled "Waves is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 9.5"w....

DREAMFIELDS I is a hand drawn original lithograph by the artist Sybil Kleinrock (spouse of the renowned jewelry designer David Yurman.) DREAMFIELDS I was printed in seven colors usin...

This piece titled "Streets Of" is an original piece by Alexis Nutini and is made from woodcut and and found object stencil monoprint mounted on panel . This piece measures 19"h x 14....

This piece titled "Philly Street IX" is an original piece by Alexis Nutini and is made from a woodcut and found object stencil monoprint. This piece meas...

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 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...

White Finger Ball is an abstract silk-screen and copperplate engraving print on heavy paper, realized in 1973 by the Japanese artist Shu Takahashi. Unsigned, and not numbered, this ...

linocut, edition of 15 The artwork is shipped unframed and measures 36in x 24in. Please message us directly if you are interested in custom framing for your print. Bio // Jesse Sha...

This piece titled "Hey Billy-Mae" is a digital print by Danielle Clough. This piece measures 43.5" x 43.5" and is an edition of 22. The threads that link the ancient and the modern ...

This piece titled "Mercury in Retrogradient" is a digital print by Danielle Clough. This piece measures 43.5" x 43.5" and is an edition of 22. The threads that link the ancient and ...

MAYA HAYUK Swamp Rare Hand-Finished Print from the Iconic Pictures on Walls Era An exceptional piece from Maya Hayuk's celebrated Swamp series, this silkscreen print hails from the ...

This piece titled "Greenhouse Composition Series 5 (framed)" is an original artwork by Roxana Azar made of a digital print on polycarbonate. The piece measures 25.5”h x 17.5”w framed...

Memories of Padstow by Lisa Takahashi [2018] Limited Edition Linocut Edition of 70 Image size: H:32 cm x W:60 cm Complete Size of Unframed Work: H:40 cm...

Ancient Images, color lithograph by Dan Namingha, Hopi Kachinas, katsina, blue Ancient Images , lithograph , by Dan Namingha, Hopi, Kachinas, katsina, blue

Hope For A Better Tomorrow - Lucky Charms By Yinka Ilori Yinka Ilori is a British-Nigerian artist and designer celebrated for his vibrant, colorful works that blend African and We...

Sweet Thames, Mychael Barratt Unframed Limited Edition Etching Etching on Paper Image Size: H 50cm x W 100cm Paper Size: H 53cm x W 103cm Signed and titled Sweet Thames is a limited edition etching by Mychael Barratt. An anecdotal and historical map The title Sweet Thames is from the epic poem Prothalimion by Edmund Spencer...

Maritime Palio is an original artwork realized by Osvaldo Peruzzi in 1989. Mixed colored lithograph. Hand-signed by the artist on the lower right. Numbered on the lower left margin. 8/125 Good conditions. Osvaldo Peruzzi (Milan, 1907 - Livorno, 2004) was an Italian painter, attracted by the artistic researches of Prampolini, Fillia and Munari. In 1933 he participated in the exhibition "Futurist homage to Umberto Boccioni...

Hilliard Dean, '#9', color lithograph, 1970, edition 7. Signed, titled, and annotated 'Ed 7' in pencil. A fine impression, with fresh colors, on Arches, ...

Albert Irvin Angel 2003 Screenprint signed and numbered by the artist Edition size: 125 Image size: 28.5 x 36cm Paper size: 45 x 54cm Framed size: 51 x 60 cm Albert Irvin (1922–2015...

Ed Ruscha 20th LA Film Fest (Hand Signed), 2014 Limited Edition Offset Lithograph. Hand signed by Ed Ruscha, with the artist's copyright 36 × 24 inches Boldly signed on the front in...

Leonardo Gotleyb (Argentina, 1958) 'Solo en la ciudad', 2005 woodcut on paper Rives BFK 300 g. 28.4 x 33.9 in. (72 x 86 cm.) Edition of 25 ID: GOT-311 Hand-signed by author