Contemporary Abstract Prints

Lake Walk and Luna Diptych by Simon Tozer [2021] limited_edition Screenprint Edition number 25 Image size: H:36 cm x W:45 cm Complete Size of Unframed Wor...

Kenny Scharf 2004: A rare mixed media piece by the legendary Los Angeles based artist. Hand-signed, dated and numbered by Scharf. Medium: mixed media mono-print. Dimensions: 22½ ...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, w...

Monotype with chine collé on white BFK Rives Printmaking Paper. Approx image size: 20" x 15.75" Paper: 30" x 22" At the core of the dialogue between the artist and the work is an ...

Lux Tuymans (Belgian, b. 1958) Superstition, 2005 Medium: Screenprint in 5 colors on Somerset paper Dimensions: 40 x 32 cm Edition of 100 + 5 A.P.: Hand-signed and numbered in pencil...

Joel Mesler (American, b. 1974) Thank You, 2021 Medium: 5 color silkscreen print on Rives BFK, 270 gsm Dimensions: 30 × 25 inches (76 x 63.5 cm) Edition of 50: Hand-signed and number...

While Rachelle Krieger hints at elements of landscape across her canvases spherical shapes for rocks and boulders, dynamic lines climbing up and across the canvas for trees—she is re...

Justin Pollmann "More Door" 2022 Inkjet Transfer Collage, Monotype 31"x32" inches The inkjet transfer images are made by collaging transfers of inkjet prints to the paper’s surfac...

This abstract contemporary painting by Roger Mudre features a cool-toned palette with an iridescent quality. Circles with light outlines overlap one another in varying blue, green, w...

This abstract portrait limited edition print by Ned Martin is part of the artist's Spirits Through Time series. It features a warm and earthy palette. It depicts a portrait of a woma...

Color lithograph, Edition 30. Barbara Takenaga is a painter who made her first lithograph at Shark’s in the summer of 2002. Her abstract works are full of repeated, obsessive mark...

Monoprint with water based ink and graphite

Alexander Calder Lithographic cover c. 1968 from Derrière le miroir: Lithographic cover; 11 x 15 inches (folding out to 15x22 inches). Very good overall vintage condition. Unsigned from an edition of unknown. Published Paris, c. 1968. Looks fantastic framed. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. Related Categories: Mid century modern. Alexander Calder prints. Calder orange...

Monotype

Artist: Kazuhide Yamazaki (Japanese-American, 1951-2023) Title: "House with Fence" *Signed and dated by Yamazaki in pencil lower right Year: 1983 Medium: Original Monotype on Arches ...

Exposition Swatch , La Collection Blum 1994 Troxker's posters are represented in the most renowned design collections worldwide, including the Museum of Modern Art in New York City...

Lithography oil inks on white BFK Rives Printmaking Paper. Unframed. 11" x 8.5" At the core of the dialogue between the artist and the work is an attempt to push the medium to its l...

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

Harry Bunce September The Happy Year Limited Edition Print Edition of 365 (one for each day of the year) Image Size: H 31.5cm x W 28cm Signed Sold Unframed Please note that in situ ...

Jonathan Moss NV14 Bright Contemporary Art Unique Relief Print printed on Somerset, 300gsm, paper. Sheet Size: H 76cm x W 96cm x D 0.1cm Sold unframed Pl...

Theodora (H10-3) from The Empresses, 2022 From an edition of 3315 (1749 NFTs, 1566 physical prints) Laminated Giclée print on aluminium composite panel, screen printed with glitter 3...

Antoni Tàpies Lithograph 1969 Published by: Sala Gaspar as part of the 1969 Tàpies catalog. Lithograph in colors. 9x7 inches. Very good overall vintage condition. Printed signature from an edition of unknown. Antoni Tàpies: In his wide-ranging practice, Antoni Tàpies combined rich conceptual concerns with material experimentation and monumental scales. His work was variously informed by early modernists including Paul Klee and Joan Miró and by Art Informel artists, such as Jean Dubuffet, who were his contemporaries. Throughout his paintings, prints, sculptures, and works on paper, Tàpies built a visual language full of thick, impastoed gestural marks and a cosmology of symbols and scripts. His materials ranged from trash and earth to dust and stone, which created a sense of solidity and physicality throughout his oeuvre. Tàpies participated in the Venice Biennale four times and exhibited in cities including Paris, London, Barcelona, Brussels, Berlin, Tokyo, Zürich, and New York. His work has sold for seven figures at auction and belongs in the collections of the Centre Pompidou, Moderna Museet, the Kunstmuseum Basel, the Fondation Beyeler, the Museum of Modern Art, and the Tate. Related Categories Spanish painters. Mid Century Modern. 1960s. Contemporary Art. Abstract art. Tàpies prints.

Clare Halifax V is for Viper Limited Edition 4 colour screen print Edition of 100 Sheet Size: H 38cm x W 37cm x 0.1cm Sold Unframed Hand printed by the artist onto somerset satin pap...

Mary Knowland Poppy 17 Unique Mono Print Paper size: H 28cm x W 22cm Mount Size: H 45cm x W 37cm Sold Unframed Please note that insitu images are purely an indication of how a piece ...

The Pattern of Denial print is an examination of image versus reality. The image is inspired by the sleek and idealized mid-century architecture of both deluxe homes and deluxe facto...

Vantage point by Chris Keegan. This Five colour handmade screen print depicts a multi-layered dynamic set of landscapes all floating above and below each ...

Color silkscreen with enamel inks and tar-like texture on Rising 2-ply museum board Portfolio of 8: $16,000

Gert & Uwe Tobias (German, b. 1973) Untitled, 2008 Medium: Opaque white, gouache and pastel crayon over drypoint on wove paper (and artist’s book) Dimensions: 36 x 26.4 cm Unique edi...

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...

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...

Artist: Judith Bernstein, American (1942 - ) Title: Big Horizontal Year: 1976 Medium: Lithograph, signed and numbered in pencil Edition: 40 Size: 29.5 x 41.5 in. (74.93 x 105.41 cm)

Edition of 150: 4 color risograph printed in Turquoise, Flo Pink, Sunflower, & Midnight inks, on 110lb index/200gsm paper. Printed at Chute Studio in Berkeley CA...

"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...

Color silkscreen with enamel inks and tar-like texture on Rising 2-ply museum board Portfolio of 8: $16,000

Set of three aquatints on Twinrocker handmade paper. Each initialed, titled and dated in pencil, left margin, and numbered 17/53 in pencil. Printed by I.M.E. Studios, New York. Publi...

Antoni Tàpies Lithograph 1969: Lithograph in colors. 9x7 inches. Very good overall vintage condition. Published by: Sala Gaspar - lithographi...

Acrylic on canvas - artwork can be shipped in a tube or framed in a crate

Letter X  from Alphabet series is a lithograph, realized by Rafael Alberti in 1972. Numbered, edition 40/99. Hand-signed.  The state of preservation is very good. The artwork rep...

Artist: Deborah Kass (American, 19452-) Title: Sense and Sensibility Year: 1987 Medium: Two Silkscreens (diptych), signed and numbered in penc...

Color aquatint and softground etching.

Lithograph realized by Antonio Rizzo in 1970 ca.  Hand Signed. Edition of 75 pieces.

Lithograph realized by Giuseppe Gallo in 2008 in occasion of the Olympic Games in Beijing. Limited edition of 260. Hand signed and numbered in pencil. Excellent condition. This artwo...

> Monotype, ink, varnish on red Ingres paper > signed and dated lower right Barbara Szüts was born in Bad Bleiberg in Carinthia (AUSTRIA) in 1952. She studied painting with Carl Ung...

The Empresses: Wu Zetian (H10-1 ) Laminated Giclée print on aluminum composite, screen printed with glitter. Limited Edition: Edition Number 154/2853 Artwork dimensions: 100 x 100 cm...

Photography, silver print. signedAndré Naggar est né le 21 juin 1922 à Alexandrie en Egypte. En 1965 il expose des peintures à la Galerie Berggruen à Paris. Cette même année, en vaca...

Alexander Calder Lithographic cover from Derrière le miroir: Lithographic cover; 1976. 11 x 15 inches (folding open to 15x22 inches). Scattered surface and age related wear; in otherwise good overall vintage condition. Unsigned from an edition of unknown. Published by: Galerie Maeght, Paris, c. 1976. Unsigned from an edition of unknown. Looks fantastic framed. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. Related Categories: Mid century modern. Alexander Calder prints. Calder orange. Calder red...

A pair of original laser cut powder coated steel sculptures titled "Ozon". These works can live outside or inside and are meant to be hung three inches off the wall to create intera...

Signed, titled and numbered recto Edition: Unique (1/1) Image: 2 11/16 x 4 3/16"

Lithograph realized by Giuseppe Gallo in 2008 in occasion of the Olympic Games in Beijing. Limited edition of 260. Hand signed and numbered in pencil. Excellent condition. This artwo...

Abstract Composition is an Etching realized by Amintore Fanfani in 1972. Hand-signed and dated on the lower right. Numbered on the lower left. Edition 11/80.  The state of preserv...

John Thompson, American (b.1950), Neadson I, circa 2014. Titled lower left: "Neadson I"; signed and dated lower right: "John Thompson 2014". A fine impression in fine condition. Dime...

Dana Schutz (American, born 1976) Back Surgery in Bed, 2014 Medium: Woodcut on wove paper Dimensions: 71.8 x 53 cm Edition of 50: Hand-signed, numbered and dated in pencil Condition....

Lithograph realized by Antonio Rizzo in 1970s ca.  Hand Signed. Edition of 75 pieces.

David Morris Hannibal Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: 9248...

PTE Singularities - 005 (abstract, minimalism) Year: 2023 Archival Inkjet Print on Semi-Gloss Hahnemühle Baryta Photo Rag Size: 16x20in Framed: 17x21x1.5in (simple white frame made f...

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

Untitled, Olympic Games Beijing 2008 is a colored lithograph realized by Sandro Chia in occasion of the Olympic Games held in Beijing in 2008.  It is a part of the portfolio The Uni...

Lithograph realized in 2008. Hand signed and numbered. Edition of 260 prints. Belongs to the Suite "Olympc Games Beijing 2008". Excellent condition. Francesco Clemente's oeuvre s...

Composition  is a lithograph and embossing artwork on paper realized by  Lucio del Pezzo. It belongs to the series "Decalogue". Edition of 34/75. The artwork represents a geometri...

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.