Abstract Geometric Art

Joseph Grippi, American (1924 - 2001) - Colored Circles, Year: 1968, Medium: Screenprint, signed and numbered in pencil, Edition: 8/35, Image Size: 24 x 18 inches, Size: 28 x 20.25 i...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. 77.25 x 59 in. 79.75 x 62 in. (framed) Custom framed in a solid hardwood floater, with a matte white finish. Provenance Estate of the artist Hollis Taggart...

Artist: Arnold Weber, American (1931 - 2010) Title: Colorful Abstract Year: 1968 Medium: Oil on Canvas, Signed, titled and dated l.l. Size: 32 x 44 in. (81.28 x 111.76 cm)

Artist: Josef Albers (German-American, 1888-1976) Title: "Variant III" Portfolio: Ten Variants *Unsigned edition Year: 1967 Medium: Original Screenprint on Rives BFK paper Limited ed...

Jacques VILLON (1875-1963) The Cellist, 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...

Initialed lower right, 'M. W.' for Margaret Wentworth (American, 1914-1999) and dated 1959. Exhibited: Feingarten Galleries, Carmel, California, 1960, and titled on label, verso, 'Ro...

Michael Todd Welded Brushed Steel Sculpture - geometric abstraction, 1968 Welded Brushed Steel Hand signed and dated 1968 in marker on surface....

An early painting by Omar Rayo from 1955. An abstract geometric work with multi-colored shapes on a surrealist horizon. Artist: Omar Rayo, Colombian (1928 - ) Title: Mountains Year:...

Original San Fermin Pamplona running of the bulls, vintage poster. Archival linen backed in very fine condition ready to frame. Artist: Alonso Astarloa....

This graphic and flatwork was an Interior illustration for the Saturday Evening Post. George Giusti( Italian - American 1908-1990)- ''The Last Snapshot''- ink and acrylic on illust...

Executed in 1950 during the heyday of Abstract Expressionism and non-representational art, Feininger reduces a landscape to the bare minimums of lines and wash. Moeller Fine Art

Raoul DUFY (1877-1953) Self-portrait Lithograph (Mourlot workshop) Printed signature in the plate On vellum 30 x 24 cm (c. 11.8 x 9.4 in) INFORMATION : Lithograph created in tribu...

Original Air France - "Italy"; U. S. edition in English. Size 24.5" x 39.5" Professional acid-free archival linen backed, ready to frame. Excellent condition lithograph. The ...

Signed "Twitty" at lower right

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 7 (double) J...

An original abstract oil painting by American artist Martin Rosenthal signed by the artist and created in the late 1950's, early 1960's. This colorful dynamic work comes housed in a...

A dynamic and boldly imaginative work by celebrated mid-century Denver artist Edward Marecak, "Witches Entrance" is an original abstract painting dating to the 1960s. Rich in color a...

Arnaldo Pomodoro Untitled Mid-Century Modern Geometric Abstraction, 1968 Silkscreen with colors on rag paper with deckled edges Hand signed, numbered 44 from the edition of 80 and da...

Symbol #14 Jack Brusca, American (1939–1993) Date: 1969 Oil on Canvas, signed Size: 72 x 48 in. (182.88 x 121.92 cm)

Jean Baier (Swiss, 1932-1999) "Composition" 1960 An original enamel composition on metal wall mount art. This post war contemporary work features geometric abstract designs character...

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...

Lynn Leland Untitled Op Art painting, 1967-1968 Acrylic on Canvas (with Albright Knox Gallery Label, A. M Sachs Gallery Label, Atlantic Richfield Corporate Art Collection label and A...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Energia III Year: 1969 Medium: Serigraph, signed and numbered in pencil Edition: AP Image Size: 17 x 17 inches Size: 20 x 20 in. (5...

Abstract Composition is a color lithograph realized by the Japanese artist Kumi Sugai in 1960. Good conditions except for slight cutting and folding on the margins. Kumi Sugai (1919-1996) was a Japanese painter...

Jean LURCAT (1892-1966) The Archer, 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 cre...

Original poster: Linen-backed original poster "Tage Slawischer Kultur" done by the artist Rasch. The days of Slavic Culture. This would cover the countries knowns as Slavic language speaking people: Russia, the Ukraine, Belarus, Poland, Czech Republic, Slovakia, Bulgaria, Slovenia, Croatia, Serbia, Bosnia and Herzegovina, Macedona and Montenegro. A drama mask in white rests on a leaning abstract color panel that could be a scarf or material that blends the styles and colors inlocking together to form a cultural pattern. A dark blue background brings the image to the forefront of this vintage original poster. Every year on May 24th all Slavic countries commemorate Saints Cyril...

Original linen-backed Secret Ceremony vintage film poster. French, archival linen backed in fine condition, ready to frame. A woman and the girl s...

Ross Bleckner (American, b. 1949) Untitled (Geometric Abstraction) Acrylic on board 19 1/2 x 16 3/4 in. Signed lower right: Ross '66 Ross Bleckner grew up in Hewlett, Long Island, N...

Richard Andres (American, 1927-2013) Naval Occurrence, c. 1963 oil on canvas signed and titled verso 24 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Richard Andres (American, 1927-2013) Pieces Collage, c. 1965 collage on paper 14 x 18 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

An abstract geometric screenprint by Omar Rayo from 1966. Artist: Omar Rayo, Colombian (1928 - 2010) Title: Clandestine Game Year: 1966 Medium: Screenprint, signed and numbered in ...

Original vintage poster: BASEL (Switzerland). In ancient Basel, they beat the drums at night to drive the evil demons from the city. Fastnacht. Museum linen backed. Basel; the city on the Rhein and much more! Printer and illustator: Schaffner. This image features the drum that you beat all night long to drive the bad spirits from the city. A drama mask...

Geometric Tablet by Robert Tucker, American Date: circa 1970 Screenprint, signed and numbered in pencil Edition of 12/200 Image Size: 24 x 23.75 inches S...

Linocut, printed on yellow wove paper Unsigned as is usual From: XXe Siecle, Volume 13, 1959 Published by G. San Lazzaro for A. Maeght, Paris Printed by...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Megapolis II Year: circa 1970 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 17 x 17 inches Size: 20 x 2...

This painting is a great example of David Adickes' early work that embodies the abstract geometric style. Most likely originally sold at DuBose Gallery in Houston, Texas. Circa 1960s...

Edition 38/100 Josef Albers (b.1888, Germany ) built legacies as an artist, designer, and teacher, and may be familiar to any former student of art or design (even if for only one, ...

Eternity (ÉTERNITÉ), 1951 Lithograph in colors on heavy paper 24 x 20 inches Numbered in pencil 111/150; unsigned as issued AUGUSTE HERBIN (1882 1960) French artist Auguste Herbin ...

Original etching, aquaforte, aquatint engraving. Hand pencil signed and numbered. Published by Editions Denise René, Paris. Number: 10 from the folio edition of 120 which were on ...

Burton Wasserman Untitled Mid-Century Modern Geometric Abstraction, 1967 Color pencil on thin vellum paper Hand signed and dated by the artist on the front Frame Included: elegantly ...

Josef Zenk Untitled Concentric Squares (Mid Century Modern Geometric Abstraction), ca. 1960 Oil on canvas painting Boldly signed by Josef Zenk on the lower right front Frame included...

Madman (Fou) from Art of Today, Masters of Abstract Art, Album I, 1953 - Édition Art d'Aujourd'hui, Boulogne Screenprint in colors, 25.2" H x 19.2” W (64 x 49 cm), signed and dated ...

This rare lithographic poster was printed in 1957 at the Atelier Mourlot in Paris. It was created to promote an exhibition of artworks by Kandinsky, on loan from the Guggenheim Museu...

This screenprint was created by Welsh artist Gordon House (1932-2004). House was a designer and painter whose hard-edged abstract works reflected the dramatic tensions of his graphic...

Artist: Frank Roth, American (1936 - ) Title: The Cat's Pajamas Year: 1968 Medium: Oil on Canvas, signed, titled and dated verso Size: 66 x 72 in. (167.64 x 182.88 cm)

Artist: Michael Argov, Austrian/Israeli (1920 - 1982) Title: untitled 1 Year: 1969 Medium: Serigraph, signed and numbered in pencil Edition: 32 Size: 27.5 x 20 inches (69.85 x 50.8 cm)

Dynamic late 1960's mixed media abstract geometric collage, with mulberry paper cut into curved and angular shapes and adhered in layers, in a unique color palette of navy blue, dark...

Artist: (after) Josef Albers (German-American, 1888-1976) Title: "Rheinisches Landesmuseum Bonn (Shrine)" Year: 1968 Medium: Original Relief Print (Letterpress), Exhibition Poster on...

Structure is an interesting drawing in pen on paper realized by the artist Nicola Carrino in 1969. The state of preservation is very good. This original print presents a geometric a...

Alberto Magnelli (after) Untitled (Composition) Linoleum cut (after the original) on yellow wove paper 32 x 24 cm 1959 From XXe siècle (No. 13) Published in Paris by San Lazzaro, th...

M. Peter Piening was born on March 14, 1908 in Grabow, Germany. He began his education at a private school in Italy, studied at the Jesuit school of Kloster Ettal in Bavaria, and attended the German Stettin Gymnasium, where he graduated in 1926. Between 1926 and 1928 Piening studied design at the Bauhaus in Dessau, Germany. There he was taught by multiple famous twentieth-century artists, including Joseph Albers, Paul Klee and Mies van der Rohe. After receiving his master’s degree from the Bauhaus in 1929, Piening enrolled at the University of Berlin and obtained his PhD in philosophy in 1931. Piening spent his early career free-lancing as an illustrator and artist for various publishing companies, eventually settling in Paris to work for Condé-Nast’s French publication of Vogue. In 1934 he moved to the United States to work in Condé-Nast’s New York City office. For the next two decades, Piening worked for many important advertising agencies and magazine publishers, including the N. W. Ayer and J. Walker Thompson agencies and Life and Fortune magazines. As art director for Life in the 1930s and for Fortune in the 1940s, Piening completely redesigned the layout of each magazine. He also redesigned the layouts for thirty-four other major American magazines, including Town & Country and Cosmopolitan. Through his design work, Piening had a great impact on the American public, although the millions who encountered his work most likely never knew his name. Between 1934 and 1964, Piening designed over sixty logos and trademarks for internationally-known products and companies. His most widely-recognized logo may have been the three interlocking rings of Ballantine beer. Piening’s other trademark designs include the Lincoln Zephyr...

Mid-Century Modern geometric abstract print by American artist Toma Tovanovich (1931- 2016). Tovanovich's work is found in many public and p...

Artist: Omar Rayo, Colombian (1928 - 2010) Title: Nitibos Year: 1968 Medium: Screenprint, signed and numbered in pencil Edition: 75 Image Size: 17 x 17 inches Size: 24 x 20 i...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Conceptual Perspective III Year: 1964 Medium: Screenprint, signed and numbered in pencil Edition: 100 Image Size: 17 x 17 inches Si...

Original etching, aquaforte, aquatint engraving. Hand pencil signed and numbered. Published by Editions Denise René, Paris. Number: 10 from the folio edition of 120 which were on ...

Edition 38/100 Josef Albers (b.1888, Germany ) built legacies as an artist, designer, and teacher, and may be familiar to any former student of art or design (even if for only one, ...

This incredible work comes with a COA. The work is currently framed in a new acid free mat and the original 1969 silver metal frame, but new framing is available included in the pric...

M. Peter Piening was born on March 14, 1908 in Grabow, Germany. He began his education at a private school in Italy, studied at the Jesuit school of Kloster Ettal in Bavaria, and attended the German Stettin Gymnasium, where he graduated in 1926. Between 1926 and 1928 Piening studied design at the Bauhaus in Dessau, Germany. There he was taught by multiple famous twentieth-century artists, including Joseph Albers, Paul Klee and Mies van der Rohe. After receiving his master’s degree from the Bauhaus in 1929, Piening enrolled at the University of Berlin and obtained his PhD in philosophy in 1931. Piening spent his early career free-lancing as an illustrator and artist for various publishing companies, eventually settling in Paris to work for Condé-Nast’s French publication of Vogue. In 1934 he moved to the United States to work in Condé-Nast’s New York City office. For the next two decades, Piening worked for many important advertising agencies and magazine publishers, including the N. W. Ayer and J. Walker Thompson agencies and Life and Fortune magazines. As art director for Life in the 1930s and for Fortune in the 1940s, Piening completely redesigned the layout of each magazine. He also redesigned the layouts for thirty-four other major American magazines, including Town & Country and Cosmopolitan. Through his design work, Piening had a great impact on the American public, although the millions who encountered his work most likely never knew his name. Between 1934 and 1964, Piening designed over sixty logos and trademarks for internationally-known products and companies. His most widely-recognized logo may have been the three interlocking rings of Ballantine beer. Piening’s other trademark designs include the Lincoln Zephyr...

This screenprint was created by Welsh artist Gordon House (1932-2004). House was a designer and painter whose hard-edged abstract works reflected the dramatic tensions of his graphic...

Oil and acrylic on paper original work circa 1960 H 74,5 x 56 x 3 cm (framed)