Contemporary Abstract Prints

Inspired by East Asian Sumi ink drawings, George McLeod wanted to find a photographic way of producing intricately detailed images. As with Sumi ink draw...

Monotype 47 x 34 inches framed

Richard Meier Kabbalah, 2011 Silkscreen collage with hand-coloring and photography sheet size: 30" x 30" signed numbered dated in pencil by the artist edition of 50 Richard M...

Deconstructed and cropped images of a turntable, a cassette tape, and a mid century modern chair are represented on 12 x 12 inch Red River photo paper in v...

Monotype 44 x 30.5 inches unframed 47 x 34 inches framed

Painting on paper with woodcut Roberto Juarez has been an important figure in the American art scene since his first solo exhibition at Robert Miller Gallery in 1981. He was known f...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Color lithograph with pearlescent and metallic powder, Edition 15. Barbara Takenaga is a painter who made her first lithograph at Shark’s in the summer of 2002. Her abstract works...

Glitch Tapestry 1, 2012 Jacquard woven tapestry made of dyed cotton thread. 60 x 80 inches The Digital Tapestry Project continues my exploration of notions of materiality, craft, a...

Styroglyph 1999 Signed, titled, and numbered in pencil, recto Iris print (Edition of 100) 22 x 30 inches (55.9 x 76.2 cm), sheet 11.75 x 14 inches (29.8 x 35.6 cm), image This wo...

Patrick Lichty Techspressionist Still Life 1 2021 Archival pigment print paper size 24 x 24 inches image size 20 x 20 inches Signed and numbered edition of 10 with certificate of au...

"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. 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. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) 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 its 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 for 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 that would have a 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...

Titled lower left: "Neadson II"; signed and dated lower right: "John Thompson 2014". A fine impression in fine condition.

Heidi Spector is a geometric artist best known for her exploration of minimalism as studied through lines, repetition, color and reflection. Spector’s work has been the subject of nu...

The artist describes this project: My lithographs In Between Days and A Question of Time are based on a series of monotypes I have created over the past couple years. In the monotypes I layer color fields, forms, patterns, and arrays of dots or other shapes onto dozens of sheets of paper in a process somewhat like sketching. I collect found objects to use as stencils to physically print from or to photocopy. A few objects used in the making of these prints are perforated metal sheets, wooden wine crate...

This work is an archival giclée print sold unframed. Edition of 24. An edition of this work is currently exhibited at The Beverly Hills Hotel (9641 Sunset Blvd, Beverly Hills, CA 90...

The Empresses: Nūr Jahān (H10-2 ) Laminated Giclée print on aluminum composite, screen printed with glitter. Limited Edition: Edition Number 157/3041 Artwork dimensions: 100 x 100 cm...

Signed, titled, and numbered from the edition of 25. There are seven related images in this series, all the same size. Tachibana’s prints take their inspiration from nature, a medit...

Patty deGrandpre’s “Scorched (with Adirondack chair) ” is an 11 x 8.875 inch unique inkjet monoprint represented on 16.5 x 11 inch Awagami Bamboo paper embracing both digital printma...

This work is a collaboration between two artists, Joe Doyle and Diane Rosenblum. The surface of the canvas is completely flat but a remarkable three dimensional illusion is created....

Signed encaustic monoprint, #1 in a series of 4 pieces. The Calving series is meant as maps illustrating the retreat of glaciers due to climate change and global warming. Elise Wagn...

This work is a collaboration between two artists, Joe Doyle and Diane Rosenblum. The surface of the canvas is completely flat but a remarkable three dimensional illusion is created. ...

Title: Path of Water III Edition: 3 of 16 image size: 73 x 41 cm / 28,7 x 16,1 “ Paper size: 106 x 78 cm / 41,7 x 30,7 “ Medium: Origina...

Color aquatint, spitbite aquatint and sugarlift aquatint.

Richard Meier Bagan, 2011 Silkscreen collage with hand-coloring and photography sheet size: 30" x 30" signed numbered dated in pencil by the artist edition of 50 Richard Meie...

Carroll Dunham (b. 1949) is a contemporary American artist best known for his distinctive fusion of abstraction and figuration. He rose to prominence in the early 1980s in New York C...

Artist: Damien Hirst Title: 'FRUITFUL' (LARGE) H8-1 Year: 2020 Medium: Laminated Giclée print on aluminium composite panel Edition: 1928; digitally signed and numbered on publisher'...

Title: FORMS OF WATER III Edition: 1 of 8 image size: 73 x 41 cm / 28,7 x 16,1 “ Paper size: 106 x 78 cm / 41,7 x 30,7 “ Medium: Archival Pigment Prints Paper: Colppress Brig...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Carborundum and intaglio. Signed and numbered from the edition of 25. Tachibana’s prints take their inspiration from nature, a meditation on the forms and shapes of water, ferns an...

Title: FORMS OF WATER I Edition: 1 of 8 image size: 73 x 41 cm / 28,7 x 16,1 “ Paper size: 106 x 78 cm / 41,7 x 30,7 “ Medium: Etching ...

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

Color lithograph with pearlescent powder, Edition 15. Barbara Takenaga writes: “About the prints, they’re part of a series of recent Angel paintings — which were influenced by seeing a small painting fragment of angel’s wings by Fra Angelico. I liked the way the feather pattern is similar to the Asian motif of fish scales or waves of water. There is a reference to the natural world, as well as the heavenly, but in an abstract, decorative approach. With the scale change of smaller elements in the center and larger dots on the edge, there is the implication of folded space that moves from near to distant — with some sensation of being pulled toward a far off place. The metallic background is dusted with gold or pearlescent powder over deep orange, which gives the surface some shimmer and color change. The title, Angel (Little Egypt), comes from the colors that are reminiscent of ancient Egyptian collars...

Jasper Johns Ventriloquist, 1990 Lithograph 39 3/4 x 27 inches Edition 39 of 70 Signed The work is signed ’85 (and numbered in pencil), although it was printed in 1990. The original...

Claes Oldenburg and Coosje van Bruggen "School Bus Yellow, Adirondack Green, A Film by Coosje van Bruggen", 1982 Poster 33 x 23 inches Signed Poster by Cla...

Francis, Sam. Exhibition Poster for Metaphysique de vide- Michael Waldberg Ca 1980. Serigraph, Painter and printmaker who was prominent among the group of painters known as the ...

"Cabin I" is a Bauhaus-inspired monotype and collage (work on paper) reminiscent of the aesthetic of Le Corbusier. It is part of Bouton’s "Habitat and Urban Matter" series, which is inspired by the straight lines of modernist architecture and hard-edged geometrical forms of the urban environment. Bouton, a French printmaker from Paris who has also lived in London, Myanmar, Ivory Coast, Senegal, and Turkey, creates work that responds to her experiences during her travels and the cultures she encountered. Since settling in the Philadelphia area, she has been inspired by the urbanism of the city, whether a sleek, new apartment block, an abandoned warehouse, or a half-demolished home. Her latest works are interpretations of these buildings, with both broad street views and focused details from single structures –- the pattern of the skyline, a patchwork of broken windows, an industrial color palette. She is drawn to the history of the spaces and lives lived within these buildings, as well as their intrinsic beauty of the structures, whether that beauty emerges from design or degradation, or some combination of the two. Signed and dated. Bouton is a French artist living and working in the Philadelphia area whose boundary-pushing printmaking and paper works exhibit influence from living and working in international cities across the globe. Bouton earned her BFA in Painting and Printmaking and her MFA in Arts and Textile Design from the prestigious ESSAA Duperré in Paris, France. Since leaving Paris 15 years ago, Bouton has lived and exhibited her work internationally in Paris (France), London (UK), Philadelphia (USA), Rangoon (Burma/Myanmar), Abidjan (Ivory Coast), Dakar (Senegal) and Istanbul (Turkey). She has presented solo exhibitions at the Biennale de l’Art Africain...

Julian Trevelyan (English, 1910-1988), "Piazza Signoria", Etching and Aquatint, signed in pencil lower right, titled lower center, and numbered "64 /100" lower left, inscribed and st...

Color lithograph with collage, Ed. 25 “My work has often been described as belonging to a category of ‘reductive, geometric abstraction’. In the last decade however, I have been intentionally, slowly reshaping what constitutes my working model to incorporate more surprise and imaginative play. While my work remains what some would call ‘abstract’, image and representation have become more apparent. The two lithographs produced with Shark’s Ink...

Justin Pollmann "Between Two Chairs" 2021 Inkjet Transfer Collage, Monotype 36" x 33.5" Inches The inkjet transfer images are made by collaging transfers of inkjet prints to the p...

Justin Pollmann "For Best Results, Cut Along The Belief Bias" 2023 Inkjet Transfer Collage, Monotype 17"x15" Inches The inkjet transfer images are made by collaging transfers of i...

Patty deGrandpre’s “Clines Corners” is a 8 x 8 inch unique mixed media abstract landscape represented on 12 x 12 inch drafting film combining ink and pastel with digital printmaking ...

Justin Pollmann "Vessel Kratered" 2022 Inkjet Transfer Collage, Monotype 42"x27" Inches The inkjet transfer images are made by collaging transfers of inkjet prints to the paper’s ...

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.

Color lithograph, Edition 30. The artist describes this project: “I’m interested in the experience of translating digital imagery into material, substantive objects via traditional...

The paintings of Robin Morris are her observations of life, stylized, playful, and yet challenging to the viewer. Her emotions are hidden beneath layers of color and pattern. Stepping into the public eye in 1982, with the publication of her first lithograph, "The Couple". The fifty editions that followed, firmly established her in the artistic community and enhanced her broad-based collector appeal. This print on canvas is a particularly rare image. It is numbered 11 of 295 images, but only 3 were ever created of this 40x40" image on canvas. One print went to the artist Robin Morris, One went to us at ARDT gallery...

Oil Monotype Chine Collé on white BFK Rives Printmaking Paper Hand pulled By Artist on Etching Press 13 x 25 inches framed This piece is featured in Bruckner’s 2024 solo exhibition ...

Oil Monotype and Chine Collé on white BFK Rives Printmaking Paper Hand pulled by Artist on Etching Press 23.5 x 33 inches framed This piece is featured in Bruckner’s 2024 solo exhib...

Lithograph on paper. Sheet size 19 x 12 inches. Hand signed, dated and numbered by the artist. Edition of 300. Certificate of Authenticity Included. Artwork in Excellent Conditi...

An etching/aquatint by American artist James Rosenquist. This is #69 from the edition of 78. Signed lower right. Titled and numbered lower right. 17 3/4" x 35 3/4" art 29" x 46 1/4"...

Oil Monotype Chine Collé on white BFK Rives Printmaking Paper Hand pulled By Artist on Etching Press 13.5 x 21 inches framed This piece is featured in Bruckner’s 2024 solo exhibiti...

This colorful poster was produced for a 1981 exhibition at the Lincoln Center for the Arts in Milwaukee, celebrating glass art. The image is dominated by the exhibition title 'GLASS ...

C-print on metallic Fuji Crystal Archive paper (Edition of 5 + 1 AP) Signed and numbered, verso $5000.00 + framing This artwork is offered by ClampArt, located in New York City. A...

Photogram on Polaroid Type 809 (Unique) Signed, titled, and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Brian Buckley’s work has alway...

Patty deGrandpre’s “This is Not a Dress Rehearsal” is a 12 x 12 inch mixed media unique inkjet print of a collection of “snapshots” that have been deconstructed then reconstructed di...

Patty deGrandpre’s “Satellite” is an abstract 8 x 8 inch monoprint on 12 x 12 inch paper incorporating layers of white delicate circles and sinuous lines on a black hued background w...

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...

Collage multiple on cream wove paper. Signed, dated and numbered in pencil by the artist, from an edition of 57. With the artist's work number in pencil on verso.

Color lithograph with hand coloring, Edition 20 Her most recent prints are "Lines of Force (Fire Red) State II" and "Lines of Force (TBR) State II." Vibrant hand-colored lithograp...

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