Abstract Prints and Multiples

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Mark TOBEY (1890-1976) Light Choreography, 1976 Original color screenprint Signed with the artist's stamp Numbered / 77 copies On Auvergne vellum 64.5 x 50.5 cm INFORMATION: Authen...

Edition of 50 66 x 57 cms (26 x 22 1/2 ins)

Medium: original lithograph. Printed in 1959 for the art revue Derriere le Miroir (issue number 116) and published in Paris by the Maeght atelier. Size: 15 x 22 inches (377 x 560 mm)...

Karel Appel Tibetan Bird Animals and monsters series Print - Lithograph 22.0'' x 30'' inches Year: 1979 Edition: signed in pencil and marked 134/175 Karel Appel is one of the foundi...

Artist: Arman (1929-2005) Title: Like a Dream Year: 1979 Edition: A.P., 150, plus proofs Medium: Silkscreen on Arches paper Size: 30 x 22.25 inches Condition: Good Inscription: Signe...

Françoise Gilot Painting-Malerei, hand signed and warmly inscribed to renowned actress, 2003 Hardback monograph, signed in ink with lengthy inscription to American actress Elizabeth ...

Arnaldo Pomodoro Untitled, 1970 Color Lithograph on Wove Paper Hand signed and numbered 15/15 Hand-signed by artist, pencil signed and dated lower right margin, limited edition noted...

Gravure pour 10 origine is an original modern artwork realized by Vasilij Kandinskij  Black and white woodcut Numbered on the lower margin. Edition of 10/75. This is the second e...

Warren Rosser Hinged Reflection Year: 2003 8 Color Lithograph Edition: 30 Paper: Rives BFK Paper Size: 30.25 x 82.5 inches (two sheets joined) Image Size: Same Signed and numbered by...

A folio sheet from the Album MA by Sándor Bortnyik. Signed in pencil by the artist bottom right, numbered in pencil bottom left, number 50 from the edition of 140. Presented in plain...

Vassily KANDINSKY Woodcut print Second edition for 'XXe Siecle' the first edition was done in 1938 Printed signature (monogram) in the plate On vellum 31 x 24 cm (c. 12.5 x 10 inc...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed in the image -- on the plate, as ...

Rudolf Stingel Art Production Fund Plate (Hand Signed), 2010 100% porcelain plate (uniquely hand signed by Rudolf Stingel) 10 1/2 in diameter Hand-signed by artist, signed in plate,...

Enamel screen printing, edited in 1988. Limited edition of 199 copies, numbered PA ( artist proof) Signed in pencil by artist in lower right corner. Very good conditions. Paper size...

George Dannatt (1915-2009) Line Drawing No.1 1996 Etching Editions available: 9/16 signed by George Dannatt Image measures: 12.5 x 16.5 cm Unframed George Dannatt’s long career as...

TECHNICAL INFORMATION Adolph Gottlieb Black Field 1972 Screenprint 36 x 28 in. Edition of 150 Pencil signed and numbered ABOUT THE WORK In the vertical "Bursts," the series relies...

Tom Alan Lieber, (American, born 1949), GTW #11 -7, 1986, Oil and mixed media on paper, 30.25 x 44 inches, Hand signed and dated lower right Provenance: Garner Tullis Workshop, ...

Lithograph, 1957 After Joan Miró Edition : 212/300 Publisher : Maeght (Paris) Catalog : [Maeght 1710] 51.00 cm. x 65.00 cm. 20.08 in. x 25.59 in. (paper) 40.00 cm. x 56.00 cm. 15.7...

Frank Stella Frank Stella The Circuit Prints (Hand Signed), 1988 Color offset lithograph poster (hand signed by Frank Stella) Signed and dated 88 in ink by Frank Stella directly unde...

Medium: offset lithograph (after the watercolor). Printed in 1966 on Johannot wove paper for the "Illuminations" poftfolio, and published in Paris by Club Francais du Livre. Image si...

Shadow of Her Former Self Photograph of Found Objects Printed in Cyanotype Panel is 10 x 8 inches, 12 x 10 inches framed Wire backing, ready to hang Signed, verso (lower right) Sok...

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Piero Dorazio Untitled Geometric Abstraction (deaccessioned from the Triton Museum, Santa Clara, CA), 1968 Lithograph on white BFK paper Hand signed, numbered (AP), dated on the fron...

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

Peter Halley New Works, The Butler Institute of American Art (Hand Signed), 1999 Offset lithograph poster (signed by Peter Halley) 38 × 21 1/2 inches Boldly signed in black marker by...

François MORELLET Op Art : Geometrical Abstraction Original etching with aquatint Unsigned as issued On vellum 46 x 46 cm (c. 18 x 18 in) Authenticated with the Chalcographie du Louvre...

Untitled is an original print realized by Antonio Calderara in 1973. Colored serigraph. Edited by La Nuova Foglio. Good conditions except for some...

Drypoint, etching. Limited edition, numbered as 169/250. Signed in pencil by artist. Paper size: 46.5 x 32 cm Framed size: 59.5 x 45.5 cm very good condition Bibliography: Dalì – C...

Artist Name: Jean-François Larrieu Title: Metamorphic Cityscape Year: 1998 Medium Type: Lithograph on Arches Archival Paper Size-Width Size-Height: 28.75'' x 29.5'' Signed Edition ...

Etching with aquatint on watercolour wash on paper 53 x 71 cms (21 x 28 ins) Edition of 35, Set of 24 Signed, dated, and numbered 3/35 Published by Bernard Jacobson Ltd., London Prin...

Wolfram Erber Untitled Geometric Abstraction Color silkscreen Year: 1977 Signed and dated by hand Size: 8.3×6.3in on 16.5×11.6in COA provided Ref.: 924802-1174 Wolfram Erber (1939-...

Medium: lithograph (after the watercolor). From the scarce "Trace sur l'eau" portfolio, beautifully printed in 1963 by the Maeght atelier on thin Marais onion skin paper in an editio...

Wavy Irregular Bands is an artwork realized by Sol Lewitt in 1996.  Etching and Aquatint on Arches 88 Paper. Edition of 35 + 8 AP + 8 T + 1 BAT + 1 NB. Edition 19/35. Signed and n...

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

A colorful geometric screenprint by American artist Barbara Lynch Zinkel. Date: 1994 Medium: Screenprint, estate stamped verso and numbered in pe...

A very good impression of this color lithograph on Rives. Signed and numbered 4/50 in pencil by Francis. Printed and published by The Litho Shop, Inc., Santa Monica, with the blind s...

Klaus Basset Reihenbilder Spieltafeln Offset Lithograph 1967 23.62 x 16.53 inches (60 x 42 cm) Unsigned as issued COA provided *Condition: Creasing along the edges. Folded. Otherwis...

Abstract Hebrew Prints on heavy mould made paper from small edition of 15. there is a facing page of text in Hungarian folded over. Hard edged geometric abstract prints in color base...

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Abstract composition is an original Contemporary artwork realized in 1970s by the italian Contemporary artist Leo Guida (1992 - 2017). Original mixed colored lithograph. Hand signe...

Edition of 20 pieces

Neuberg Osculating Circle is a complex integration of mathematical elements through collinear intersects completing a geometric picture with vivid colors.

Lithograph, 1951 Edition : 57/200 Publisher : Guilde internationale de la Gravure (Genève) Printer : Jean Bruller (Paris) Catalog : Sapphire E7 56.00 cm. x 38.00 cm. 22.05 in. x 14....

Luis Gordillo (Spain, 1934) 'Sin título', 2000 engraving on paper 15 x 10.7 in. (38 x 27 cm.) Edition of 75 ID: GOR1205-013-000_2 Hand-signed by author

Computer and biological networks and viruses are dominant themes found in the works of Dennis Ashbaugh. Known as one of the first artist to employ DNA marking patterns in his work, A...

This original lithograph poster was produced for the retrospective exhibition of Joan Miró's graphic work, held at the Pasadena Art Museum in California, U.S.A., in 1969. Published b...

Artist: Jimmy Ernst  Title: Plate III Year: 1970 Print: Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 1 /125 Jimmy Ernst’s artwork was inf...

JACEK SOWICKI (born in 1948) He studied at the Academy of Fine Arts in Cracow and graduated from the Academy Of Fine Arts in Warsaw in 1973. In 1984-89 he run the graphics atelier at...

Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Mark TOBEY (1890-1976) Spring Garden, 1976 Original color screenprint Signed with the artist's stamp Numbered / 77 copies On Auvergne vellum 64.5 x 50.5 cm INFORMATION: Authenticat...

Joni Mitchell “Green Flag Song,” Published by Lev Moross Gallery. Los Angeles, CA From an exhibition of 60 large photographic triptychs. When Mitchell’s television set broke, it b...

Marcel GROMAIRE (1892-1971) Nude Model, 1965 Original lithograph (Mourlot workshop) Printed signature in the plate On vellum 30 x 24 cm (c. 11.8 x 9.4 in) INFORMATION : Lithograph...

Antoni Tapies (Spain, 1923-2012) 'Cherubins (variations IV)', ca. 1970-1975 Serie: Variations sur Chaise lithograph on paper 41.4 x 29.6 in. (105 x 75 cm.) Edition of 90 Unframed ID:...

**FALL SUPER SALE UNTIL OCTOBER 13TH** Celebrating the universe with this colorful and beautiful piece by Mauro Oliveira Limited edition of 30 museum quality prints on CANVAS, sign...

JOHN S. de MARTELLY (1903 - 1979) HIEROGLYPHIC, 1954 Lithograph, signed, no. 20 and dated '54 in pencil by the artist. 12 x 16 inches, large sheet 17...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. (similar to the Art Informel and Art Brut in France and the Brutalist artists) Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein...

Conrad Marca Relli - Composition VIII Date of creation: 1977 Medium: Etching and aquatint on Gvarro paper Edition: 75 + AP + HC Size: 56 x 76 cm Condition: In very good conditions an...

Discover a striking piece of art history with this Joan Miró exhibition poster created for the Prèsencia de Joan Prats exhibition in Barcel...

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