Abstract Geometric Art

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

Artist: Josef Albers, German (1888 - 1976) Title: K - P1, F4, I1 Year: 1972 Edition size: 1000 Medium: Screenprint on Mohawk Superfine Bristol paper Image Size: 12 x 14 inches Size: ...

Artist: Hiroshi Murata Title: Circles Year: circa 1970's Medium: Serigraph, signed and numbered in pencil Paper Size: 19.5 x 27 inches Framed Size: 24.5 x 32

Richard Mock, American (1944 - 2006) - Mechanics, Year: 1986, Medium: Linocut on thin wove paper, signed, dated and numbered in pencil, Edition: 16/34, Image Size: 38 x 35 inches...

Artist: Yaacov Agam, Israeli (1928 - ) Title: Menorah Series 4 Year: circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 200 Size: 52 in. x 1...

Artist: Arthur Boden, American Title: Untitled 5 Portfolio: Seasons Year: 1974 Medium: Screenprint, signed and numbered in pencil Edition: 75 Size: 25 in. x 24 in. (63.5 cm x 60.96 cm)

Unknown Artist - CSP 1882, Year: 1991, Medium: Colored Acrylic Sculpture, signature, date and title inscribed bottom left, Size: 24 x 18.5 x 3 in. (60.96 x 46.99 x 7.62 cm)

Susan Kiefer Obsidian (Geometric, Abstract, Gestural, Vibrant) Oil on Canvas 2017 Size: 20 x 20 x 1.25 in (50.8 x 50.8 x 3.17 cm) Signed, dated and inscribed COA provided *On stret...

Jacqueline De Butler, French (1928 - ) - Moon Cycle, Year: circa 1968, Medium: Etching with Aquatint and blind relief on Arches, signed and numbered in pencil, Edition: 20/120, Si...

Artist: Arthur Boden, American Title: T Series (Purple) Year: circa 1970 Medium: Screenprint, signed and numbered in pencil Edition: 100 Size: 29 in. x 23...

Pierre Clerk, American (1928 - ) - Plate IV, Year: 1973, Medium: Screenprint, signed and numbered in pencil, Edition: 43/100, Image Size: 32 x 28 inches, Size: 36 x 32 in. (91.4...

Oil on canvas, signed lower right.

This diptych contains Pink Coastal Reflections alongside Coastal Reflections II. This diptych contains a sophisticated colour palette and considered use of negative space in her comp...

Ilya Bolotowsky's Red/Blue/Black Diamond from around 1970, immediately shows the deep influence of Piet Mondrian's New-Plasticism. Bolotowsky first saw Mondrian's paintings in the 19...

This is a diptych of Dusk and Endless Fields. Endless Fields is a contemporary artwork by emerging artist and painter Fleur Park. Fleur Park's art is influenced by the push and pull...

This modular work features hues of red and blue. Two separate pieces hang together to create one piece. Nancy is inspired by the works of Carmen Herrera, Deborah Zlotzky and Grazia ...

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

This angular print by William Schwedler is indicative of his geometric, abstract manner of composing forms and shapes in his compositions. Come to the Light ]Artist: William Schwe...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original screenprints that are a definitive survey of the artis...

Aster da Fonseca Stormy Weather I Acrylic on Wood 2019 10.5 x 9.25 inches Signed on verso, lower right COA provided #abstract #geometric # minimal #acrylic # nature #painting #wood ...

Artist: Rafael Bogarin Title: Jupiter 5 Year: 1981 Medium: Serigraph, signed and titled in pencil Edition: 295 Paper Size: 29 x 23 inches

Artist: Leo Bates (1944 - ) Title: Gradation I Year: 1978 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP Paper Size: 30 x 22.5 inches

4 carrés (Abstract Painting) Pigmented cement on foam panels. Structural and hanging frame on the back. Auville works with construction cement. Applying techniques used in the cons...

Artist: Max Hein Title: Cube Year: 1974 Medium: Acrylic with Collage on Paper, signed and dated in pencil Size: 23 x 29 in. (58.42 x 73.66 cm)

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

Artist: Robert Mangold (1937) Title: Untitled (Mangold 1977.02; Parasol RM12), from Multiple Panel Paintings suite Year: 1992 Edition: 300, plus proofs ...

Charles Battaglini was a professional artist/teacher in printmaking. He exhibited for more than 55 years in juried and gallery exhibits, including the Associated Artists...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

"My paintings emerge from an inner landscape where images follow their own logic. Influenced by abstract expressionism, I value freedom of expression and the alchemy of color as cent...

An original hand-signed and numbered minimalist silkscreen from the Werkubersicht/Work-Overview Portfolio. Leon Polk Smith is credited with the founding of the hard-edge art movement...

"Four Is More #1" Acrylic on canvas 40 x 30 x .5 inches 2023 Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see...

Portrait/ abstract geometric by Paul-Louis Bolot (French 1918-2003) signed original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a fe...

Nicolas Dubreuille is a multi-faceted abstract artist who likes to multiply mediums - sculpture, painting, drawing, photography - to explore form and colour. Nicolas Dubreuille's wo...

Artist: Warren Wolf, American (1924 - 2003) Title: Yashal & 'Aniyah #2 Year: 1996 Medium: Oil and Marble Dust on Shaped Masonite, signed, titled and dated verso Size: 32 in. x 34 in....

Printed on heavy Strathmore paper. Paul Levy (American, b. 1944) An established designer and illustrator, Paul M. Levy was born in Brooklyn, New York, in 1944. He received his B.S. i...

Clark Nicol Barcode for a Clean Ocean Original Abstract Seascape Painting Acrylic Paint and Seaweed on Canvas Framed Size: H 100cm x W 100cm x D 4cm Sold F...

Yvaral Lithograph Structure géométrique 1 Signed in pencil Numbered 209/225 Circa 1974 59x64 cms 950 euros

Circles (1986) is a refined and contemplative oil on canvas by Mark Lancaster (British, 1938–2021). Measuring 9¾ x 20 inches (24.8 x 50.5 cm), the work is signed with the artist’s mo...

A colorful geometric screenprint by American artist Barbara Lynch Zinkel. Date: 1991 Medium: Screenprint, estate stamped verso and numbered in pe...

Cups "D" - is an one-of-a-kind, hand-crafted, abstract wall sculpture of fine brass wire, employed gesturally, like pencil lines, covered with a soft Japanese paper, creating translu...

A detailed abstract geometric print by David Shapiro featuring a blend of aquatint and etching methods on Sekishu, a type of handmade Japanese paper. One half of the composition feat...

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

An original hand-signed and numbered minimalist silkscreen from the Werkubersicht/Work-Overview Portfolio. Leon Polk Smith is credited with the founding of the hard-edge art movement...

Stainless Steel TIG Welding Rod, Aluminum, Fishing Accessories, Wire, Paint Jeremy Bullis after David L. Bullis

Confetti is a perfect painting to mark the New Year and welcome 2026. Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. S...

Stacked is a unique work on paper that is vibrant and dynamic in form and color. It is custom framed and an ideal size for a small-medium wall. Artist Bio: Carole Eisner was born ...

Artist: Arthur Boden, American Title: T Series Year: circa 1970 Medium: Six Screenprints, each signed and numbered in pencil Edition: 100 Size: 29 in. x 23 in...

Post Dogmatist Painting #653 paper and acrylic on panel signed verso Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, published poet and ...

A unique wall-hanging steel sculpture by Preston Abernathy (American XXth). The work is a solid panel of brushed, polished and etched stainless steel in a geometric pattern with gre...

Contemporary British, 21st century oil on board, framed size: 21 x 10 inches board: 19.5 x 9.5 inches provenance: private collection, Surrey, England condition: The painting is in ...

An original hand-signed and numbered minimalist silkscreen from the Werkubersicht/Work-Overview Portfolio. Leon Polk Smith is credited with the founding of the hard-edge art movement...

Yona FRIEDMAN (1923-2019) Pictograms of Genesis (Blue), 1975 Original screenprint (Silium workshop) Signed in pencil Numbered / 100 copies On Arches vel...

Erin Parish draws on patterns found in nature for the subject matter of her tactile, bold, and brilliant abstract paintings created with oil and resin on wood and canvas. Inspired by...

Erin Parish draws on patterns found in nature for the subject matter of her tactile, bold, and brilliant abstract paintings created with oil and resin on wood and canvas. Inspired by...

An original hand-signed and numbered minimalist silkscreen from the Werkubersicht/Work-Overview Portfolio. Leon Polk Smith is credited with the founding of the hard-edge art movement...

Robert Petrick's paintings create a link between the street culture of the East Village, where he has lived for 31 years, and the power of language, which he has worked with his enti...

Classic abstract artwork from the 1990s East Village scene. Robert Petrick Strip Series #14 57 x 41 inches Acrylic on Canvas New York geometric ges...

Rotor IV Todd Boppel, American (1934–2000) Date: 1990 Oil on Canvas, signed verso Size: 60 x 44 in. (152.4 x 111.76 cm) Frame Size: 61 x 45 inches

Artist: Clarence Holbrook Carter, American (1904 - 2000) Title: Untitled - Faces in a Grid (Red) Year: 1971 Medium: Screenprint on Scintilla paper, Signed and numbered in pencil Edit...

Finding space #14 [2018] original Oil on canvas Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:60 cm x W:60 cm x D:2cm Sold Unframed Please note that insitu images ...