Abstract Interior Prints

Title: Doughlah G.E.P., 1968-71 Year made: 2023 Material: Giclée print on 330gsm Somerset Velvet cotton rag paper with an embossed publisher stamp Edition of 250 It comes with COA f...

Around each corner of the print, a brilliant stripe of green outlines the image field, as if the viewer were looking through an eye, or peering through a frame. The back of a figure’...

Marcel Mouly (French 1918 - 2008) Untitled lithograph on woven paper with deep saturated colors in excellent condition. Well framed under plexiglass with a double matt, signed lowe...

Louise Nevelson Bicentennial Dawn, 1976 Photolithograph, silkscreen and gold foil on white wove paper hand signed, dated and numbered 15/100 with incised signature on the front 35 × ...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, and hand painting in grey, to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Early Evening in the Museum of Modern Art, by Howard Hodgkin. Signed by the artist, numbered, and dated 79 lower center in red crayon. Soft-ground etching printed from the same plate as 'Late Afternoon in the Museum of Modern Art', with hand coloring in black gouache on Grey BFK Rives mould-made paper. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Wide areas of deep black pigment contrast urgent swipes of ink. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each impression in the edition unique. Part of a series of four prints reflecting on a visit to...

Harriet Hoult At-ha Limited Edition Giclee Print Edition of 50 Sheet Size: H 91cm x W 63cm x D 0.1cm Signed by the Artist This is a signed, Limited Edition Giclée print of the origi...

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

Philip Guston at David McKee Gallery (pencil signed by Philip Guston), 1974 Lithograph and offset lithograph poster Signed in graphite pencil under the image 24 1/2 × 20 inches Unframed, unnumbered Rare vintage lithographic poster of 1974 Guston exhibition at David McKee Gallery Signed under the image in graphite pencil by Philip Guston Another hand signed edition is in the permanent collection of Vassar College; otherwise we haven't seen another besides the present work; a true collectors item when hand signed by the artist. Philip Guston Biography Philip Guston (1913 – 1980) is one of the great luminaries of twentieth-century art. His commitment to producing work from genuine emotion and lived experience ensures its enduring impact. Guston’s legendary career spanned a half century, from 1930 to 1980. His paintings—particularly the liberated and instinctual forms of his late work—continue to exert a powerful influence on younger generations of contemporary painters. Born in Montreal, Canada, in 1913 to poor Russian Jewish émigrés, Guston moved with his family to California in 1919. Briefly attending the Otis Art Institute in Los Angeles in 1930, he was otherwise completely self-taught. Guston’s first precocious work, Mother and Child, was completed when he was only seventeen years of age. Influenced by the social and political landscape of the 1930s, his earliest works evoked the stylized forms of Giorgio de Chirico and Pablo Picasso, social realist motifs of the Mexican muralists, and classical properties of Italian Renaissance frescoes of Piero della Francesca and Masaccio that he had seen only in reproduction. Painted in Mexico with another young artist, the huge fresco The Struggle Against War and Fascism drew national attention in the US. Guston’s success continued in the WPA, a Depression-era government program that commissioned American artists to create murals in public buildings. While not widely known today, the young artist’s early experiences as a mural painter allowed a development of narrative and scale that he would draw upon in his late figurative work. In the early 1940s, as the WPA program was ending, Guston found work teaching at universities in the Midwestern United States. In his studio, he was working in oils on easel paintings that were more personal and smaller in scale, focusing on portraits and allegories, like Martial Memory and If This Be Not I. His first solo exhibition in Iowa was well received and, within a few years, he was offered his first solo show in New York City. Guston was awarded a Prix de Rome, allowing him to leave teaching and spend a year in Italy, studying firsthand the Italian masters he loved. By the time he had finished The Tormentors, Guston’s move to abstraction was all but complete. On his return from Italy, he continued dividing his time between the artists’ colony of Woodstock in Upstate New York and New York City, which was then emerging as the center of the postwar art world. He rented a studio on 10th Street, where abstract expressionists Jackson Pollock, Willem de Kooning and Mark Rothko also worked. For Guston, success was never what mattered most. He was already impatient with the language of pure abstraction and experimenting with larger forms, using a limited palette of grays, pinks and blacks. As his forms became still more reduced, he stopped painting altogether and embarked on a series of simplified abstract “pure drawings” in brush or charcoal. At this juncture, Guston removed himself from the art scene in New York, living and working in Woodstock for the remainder of his life. Guston’s move ­was hardly a withdrawal. Freed from the distractions and formal constraints of the art world and the opinions of critics, he was able to experiment with new forms and to engage more deeply with the issues that mattered to him. The 1960s was a period of great social upheaval in the United States, characterized by assassinations and violence, civil rights and anti-war protests. “When the 1960s came along I was feeling split, schizophrenic,” Guston later said. “The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines...

Frank Stella (after) Untitled, for the Very Special Arts Gallery (Hand Signed by Frank Stella), 1992 Photo lithograph and offset litho on thin board (hand signed) Frame included:: el...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Pablo Picasso L'Atelier (The Studio), 1948 Lithograph Hand signed by artist and numbered 45/50 from an edition of 50. Measures: 25.5 x 19.5 inches In the artist's catalogue "Picasso Lithographe II...

Rupprecht Geiger (German, 1908-2009) Yellow on Red, 1969 Medium: Screenprint on card stock Dimensions: 39 x 35 cm Edition of 60: Hand-signed and numbered Publisher: Edition Fürneisen...

One screen print on wove paper titled, Alice Tully Hall by Guillermo Kuitca, 2009. It is hand signed in pencil, dated and numbered from the edition of 117 (total edition includes 18 artist's proofs) The sheet size is 22 1/4 by 20 inches, with the blindstamp of the printer, Brand X Editions, New York. Published by Lincoln Center for the Performing Arts, Inc., New York. This impression has a rich, bold red color on bright white paper. Guillermo Kuitca, whose paintings and prints are often inspired by seating arrangements in theater interiors, recreates the seating chart...

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minimalist, contemporary and modern living spaces. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring on Stoneridge mould-made etching paper. This print is one of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), Those…Plants). The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, marigold orange contrasts beautifully with rich black ink. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Howard Hodgkin was introduced to the etching technique used in Artist and Model at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Catalogue reference: Elizabeth Knowles...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Paper: 30 x 40 in. / 76.2 x 101.5 cm. Thinking Aloud in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on yellowish grey Hodgkinson hand made paper. Signed by the artist, dated 70, and numbered 21/100 lower center in red crayon. Printed from the same plates as 'All Alone in the Museum of Modern Art'. While All Alone features dark pools of hand coloring, the lighter image field of Thinking Aloud reveals how Hodgkin used his entire hand to create lines and textures. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive brush marks and fingerprints in this print are an example of the artist’s movement in the late 70s towards pronounced gestures. Howard Hodgkin was introduced to the etching technique used in Thinking Aloud in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Artsist: Damien Hirst Title: 'H13-1 Deadman's Cove" Year: 2023 Medium: Laminated Giclee print on aluminium composite panel Size: 47.2 x 35.4 Inches Edition: 131/346 Numbered and hand...

Damien Hirst (British, born 1965) Savoy (H5-8), 2018 Medium: Diasec-mounted Giclée print on aluminum panel Dimensions: 88.9 × 88.9 cm (35 × 35 in) Edition of 100: Hand-signed and num...

Vintage poster for the exhibition "Paris-Moscou 1900-1930" at Centre Pompidou from 31 May - 5 November 1979 in Paris. Designed by Roman Cieslewicz (French/Polish, 1930 - 1996).

Known for addressing difficult issues, this lithograph by Sue Coe tackles the difficult subject of rape culture. It is numbered in the lower left corner and signed and dated in the l...

Very large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles. Striking print to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is more painterly, expressionist, and abstract. Paper 45 x 55 in. / 114.3 x 139.7 cm. Souvenir by Howard Hodgkin. Screenprint on Arches aquarelle mould-made paper. Signed by the artist with initials and dated 80 in pencil lower center, numbered in pencil lower left. This bold Howard Hodgkin print layers five shades of black, with a wide variety of marks including some from the artist’s fingerprints and hand. Scribbles and lines of grey loosely define what could be an interior space with furniture. As is typical of his prints, there is a sense of space, and of the passage of time, expressed through shapes that seem to recede through the picture, deep black shades and, unusually for Hodgkin’s work, the white of the paper showing through. The last photograph displays these rich surface textures on the sheet at an angle. Catalogue reference: Elizabeth Knowles...

Original 1972 exhibition poster: PICASSO, Galerie Louise Leiris Exhibition. Printer Moulot 1972. Henri Deschamps engraver. Translated, it is called: "The Painter & His Model" Fine condition. This was the last exhibition of Picasso's works before his death in 1973. The drawing of a young woman with an aging artist is typical of Picasso's concern with death towards the end of his life. This lithographic poster was designed to advertise an exhibition of 172 recent drawings by Pablo Picasso at the Galerie Louise Leiris in 1972. Lithography was authorized by Picasso and executed by French artist Henri Deschamps. Signed in the plate by Deschamps lower right. Printed by Mourlot in Paris, under Picasso's supervision, 1972. Catalogue Raisonne: Czwiklitzer 446; Rodrigo 241. Limited edition: 5,250. Sheet size: 28" x 19". Galerie Louise Leiris was a fine art gallery in Paris established by Daniel-Henry Kahnweiler in 1920. It was named after Kahnweiler's partner, André Simon. In 1940, the business was turned over to Louise Leiris, who was Kahnweiler's daughter. It was run under her name. Prominent among the artists who sold paintings...

Victor Vasarely (Hungarian-French, 1906-1997) Untitled, ca. 1966 Medium: Screen print on card Dimensions: 27 3/5 × 27 3/5 in (70 × 70 cm) Edition of 100: Hand-signed in pencil, not n...

Günther Uecker (German, born 1930) Prägedruck (from Nagelbuch-Portfolio), 1970-1971 Medium: Relief print on wove paper Dimensions: 34.6 x 34.5 cm Edition of 500: Hand signed in pencil

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Damien Hirst (British, born 1965) Fruitful, 2020 Medium: Laminated Giclee print on aluminium composite panel Dimensions: 39 x 39 cm Edition of 3308: Printed signature and edition num...

Bruce Nauman Bruce Nauman at Leo Castelli, 1978 Offset Lithograph Poster 18 1/4 × 36 inches Unframed This Bruce Nauman poster was created on the occasion of his exhibition at the Leo...

"Sum of the Parts" - Abstract Etching in Ink on Paper (#3/20) Dark abstract print by Doris Ann Warner (American, 1925-2010). This piece is dark and saturated, with three rows of three similarly shaped objects. They are somewhat rectangular, but with rounded corners, like stacked rocks...

Clare Halifax O is for Otter Limited Edition 3 colour screen print Edition of 100 Sheet Size: H 38cm x W 37cm x 0.1cm Sold Unframed Hand printed by the artist...

Fima (born Efraim Roeytenberg) (1914 – 2005) was an Israeli artist born in China. He spent most of his career in France. Ephraim (Yafim) Roeytenberg, known as "Fima" or "Pima", was b...

Artist: Alexander Calder Medium: Original lithograph Title: Damier Portfolio: Derriere le Miroir #156 Year: 1966 Edition: Unnumbered Framed Size: 21 1/4" x 17 1/4" Sheet Size: 15" x...

Günther Uecker (German, born 1930) Splitter, 1991 Medium: Lithograph on wove paper Dimensions: 30 x 42 cm Edition of 200: Hand-signed an numbered in pencil Condition: Excellent

John Baldessari (American, 1931-2020) Two Assemblages (with R, O, Y, G, B, V Transparent), 2003 Medium: Lithograph and screen print on vellum Dimensions: 61.6 x 91.5 cm Edition of 50...

Rupprecht Geiger (German, 1908-2009) Orange on Yellow (from "Colour in the Round"), 1969 Medium: Silkscreen in colours, on thin cardboard Dimensions: 28 × 26 in (71 × 66 cm) Edition ...

This original print based on the digital artwork of the contemporary Swiss Ukrainian artist Anatolii Kozakov. Expressive texture brush strokes and tender colors shows the mood of t...

Günther Uecker (German, born 1930) Lichtungen III, 1997/1998 Medium: Woodcut on wove paper Dimensions: 62.5 x 51.5 cm Edition of 100 + XX: Hand-signed and (Roman) numbered in pencil ...

"Die Segen" (Sins/Blessing) - 1986 Collograph On Paper Original 1986 Collograph on paper titled "Place Setting" ("Sins/Blessing") by Patricia Pearce (Am...

Dan Flavin Dan Flavin at Albright Knox Gallery (hand signed and inscribed to renowned curator) Offset Lithograph. Hand signed and inscribed by Dan Flavin 18 × 22 inches Provenance: Estate of artist and collector Rick Collar Unframed Uniquely inscribed and hand signed 1972 Dan Flavin exhibition poster from his Albright Knox exhibition. Dan Flavin hand signs and inscribes it to Paulus Hendrik Hefting, the curator of the Neue Nationalgalerie in Berlin. The inscription reads: "Best regards and best wishes to you especially in "diagrams and drawings". What Flavin is referring to is the important exhibition also in 1972, "Diagrams & Drawings" curated by Hefting, at the Rijksmuseum Kröller-Müller (Netherlands), which featured Carl Andre, Christo, Walter De Maria, Dan Flavin, Michael Heizer, Don Judd, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Richard Serra, Robert Smithson. An extremely rare signed poster with a unique inscription to a major European curator referencing an historic Minimalist exhibition in the early 1970s. We may not see the likes of something like this anytime soon! Dan Flavin Biography From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on the wall, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to establish and redefine space. Flavin’s first solo exhibitions were held at the Judson Gallery in 1961 and the Green Gallery in 1964, both in New York. His first European exhibition was in 1966 at Galerie Rudolf Zwirner in Cologne, Germany; and in 1969, the National Gallery of Canada, Ottawa, organized his first major museum retrospective. His work was included in a number of key early exhibitions of Minimal art in the 1960s, among them Black, White, and Gray (Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 1964); Primary Structures (The Jewish Museum, New York, 1966); and Minimal Art (Gemeentemuseum, The Hague, 1968). Flavin’s work would continue to be presented internationally over the course of the pursuant decades at venues including the St. Louis Art Museum, Missouri (1973); Kunsthalle Basel (1975); Museum Boymans-van Beuningen, Rotterdam (1975); Stedelijk Museum, Amsterdam (1986); and the Solomon R. Guggenheim Museum, New York (1992), among others. A major museum retrospective devoted to Flavin’s work was organized, in cooperation with the Estate of Dan Flavin, by the Dia Art Foundation in association with the National Gallery of Art, Washington, DC, where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris...

Günther Förg (German, 1952-2013) Hora, 1999 Medium: Etching on rag paper Dimensions: 82 x 63 cm (32 x 24.75 in) Edition of 99 + 12 AP: Hand-signed and numbered Condition: Mint

Gerhard Richter (German, b. 1932) Cage P19-3, 2020 Medium: Diasec-mounted Giclée print on aluminium composite panel Dimensions: 100 × 100 × 3 cm (39 2/5 × 39 2/5 × 1 1/5 in) Edition of 200: Numbered and labelled on verso; unsigned, as issued Publisher: HENI Editions, London Condition: Mint (shipped in original box) “One of a series of Giclée prints based on Gerhard Richter’s ‘Cage...

Christopher Wool (born 1955 in Chicago) Untitled, 2018 Medium: Archival pigment print on cotton vellum paper Dimensions: 40 x 32 cm Edition of 100: Hand-signed, numbered and dated Pu...

This vibrant abstract orange and green print is part of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), These…Plants) by Howard Hodgkin. The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, green watercolor contrasts beautifully with marigold orange, crimson, and terra cotta red. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring in a yellow watercolor wash and green gouache on Stoneridge mould-made etching paper. Edition 100. Howard Hodgkin was introduced to the etching technique used in Artist and Model (in green and yellow) at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Catalogue reference: Elizabeth Knowles...

Max Bill Geometric composition, 1975 Original lithograph Unsigned and unnumbered as usual Limited edition of 575 copies On Arches vellum, size 35 x 27 cm (c. 14 x 10 in) Excellent ...

Albert Oehlen (German, b. 1954) Meditation über Bürokratische Tendenzen bei TzK, 2020 Medium: Lithograph on paper Dimensions: 36.2 × 30.6 cm (14 3/10 × 12 in) Edition of 100: Hand-si...

Rupprecht Geiger (German, 1908-2009) Untitled (#4 from Zurückgehen, Weitergehen, Fortgehen), 1966 Medium: Screenprint on paper (with middle-fold, as issued) Dimensions: 35 x 57 cm (w...

Anish Kapoor Shooting into the Corner (hand signed and dated by Anish Kapoor), 2009 Offset lithograph poster (hand signed and dated 2016) Boldly signed and dated by Anish Kapoor on t...

Arnulf Rainer (Austrian, born 1929) Gelbes Meer, 1997 Medium: Etching on grey wove paper Dimensions: 50 x 65 cm Edition of 35: Hand-signed and numbered Condition: Excellent

"Night Moves" - Abstract Etching in Ink on Paper (Artist's Proof) Textural abstract print by Doris Ann Warner (American, 1925-2010). This piece is composed of overlapping fabric patt...

The first edition poster created by Jasper Johns for the exhibition at Leo Castelli's gallery, held from April 19 to May 17, 1969, is a notable piece of art history. This offset lith...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Duncan Grant (1885 - 1978) Interior (1973) Lithograph 36 x 30 cm (paper size 77 x 57 cm) Signed 'Grant' and numbered 9/90 in pencil; part of the Penwith Portfolio. Published by Penwith Galleries, St Ives in 1973 with works by Barbara Hepworth, Henry Moore, Peter Lanyon, Alan Davie, Merlyn Evans, John Piper, Ben Nicholson, Robert Adams, Bernard Leach, Michael Rothenstein, and F E McWilliam...

Jenny Holzer (American, b. 1950) Water Board 0000090, 2012 Medium: Template reservage technique, on 350 g/qm wove paper Dimensions: 90.5 × 70 cm (35 3/5 × 27 3/5 in) Edition: From th...

Abstracted print by Doris Ann Warner (American, 1925-2010). Nine panes are arranged in a three by three grid, each with a small abstracted scene. There are objects that look like flo...

On Arches French art paper. Fima (born Efraim Roeytenberg) (1914 – 2005) was an Israeli artist born in China. He spent most of his career in France. Ephraim (Yafim) Roeytenberg, know...

Fine Art Print, limited edition of 10, photographed in Slovakia, synagogue ceiling.

The item White Books could be also delivered framed. I like the color, the quietness of the situation when I took the picture. Edition of 15, signed by the...

23/100, 1974. Paper, lithograph, 43x65 cm

Rupprecht Geiger (German, 1908-2009) Untitled (#11 from Zurückgehen, Weitergehen, Fortgehen), 1966 Medium: Screenprint on paper Dimensions: 12 3/5 × 11 1/5 in 32 × 28.5 cm Edition o...

Ian Phillips Lighthouse Limited Edition Linocut Print on Paper Edition of 12 Image Size: H 56cm x W 76cm x D 0.01cm Sold Unframed Free Shipping Please not...

Archival pigment ink print on canvas, edition of 15 - artwork can be shipped in a tube or framed in a crate Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in N...