Abstract Expressionist Abstract Prints

Artist: John Chamberlain (1927-2011) Title: Flashback VI Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 151/175, plus proofs Size: 28 x 20 inches Inscription: Signed ...

Collotype on gloss vélin Johannot paper, hinged on black wove paper, as issued. Inscription: Unsigned and unnumbered, as issued. Paper Size: 10.83 x 8.86 inches. Notes: From the albu...

This is a large Artist's Proof with original oil and gesso paint highlighting; it is the No 1 of the only 3 Proofs; the colours of the painting and Shizico's expressive brushstrokes ...

IRIS 2 Date of creation: 2006 Medium: Etching on Paper Edition: 50 Size: 100 x 70 cm Condition: In very good conditions and never framed Observations: Etching on paper signed by the ...

Silkscreen on Patapar printing parchment paper. Paper Size: 10.125 x 10.125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Jasper Johns, Screenprints...

Artist: LeRoy Neiman Title: Nantucket Sailing Medium: Serigraph Year: 1980 Edition: 168/300 Frame Size: 30" x 35" Sheet Size: 25 5/8" x 30 7/8" Image Size: 20" x 24" Signed: Hand sig...

This stunning Artist's Proof is an one-off, oil hand-painted, signed at front and on the back label too; each proof is 80% hand painted by Shizico Yi, because the nature of hand mixe...

Artist: Salvador Dali Title: Plate X, from Les Songes Drolatiques de Pantagruel Medium: Lithograph in colors on Japon paper Year: 1973 Edition: 209/250 Sheet Size: 29 3/4" x 21" Imag...

Joan Miro, Spanish (1893 - 1983) - Sculptures (M. 950), Year: 1974, Medium: Lithograph on BFK Rives, signed in the plate, Image Size: 16.25 x 24 inches, Size: 20.5 x 29 in. (52.0...

This is an unique one-off Artist Proof in a stunning large square format and its hand-painted detail bringing still life to modernity; its outstanding hand-painted quality and rare...

Monoprint with screenprint, collage, acrylic, stitching and embossing in colors on handmade paper, 1994, signed, dated, titled, and numbered 10/40 (each unique) in black and silver i...

La melodie acide. original lithograph painting. signed on the stone and numbered 384/1500

Helen Frankenthaler Untitled, from the estate of Stephen Poleskie (Berggruen 11, Clark 12, Harrison and Boorsch 11), 1967 Color silkscreen on wove paper Unframed A unique unsigned pr...

Damien Hirst - KYNANCE COVE Date of creation: 2023 Medium: Laminated Giclée print on aluminium composite panel Edition: 411 Size: 120 x 90 cm Condition: Brand new and never framed T...

"Day For Night-Summer Night" captures a view from the east side of Shizico Yi's long garden, looking towards the west gate where the 130-year-old lime trees canopy frames her summer ...

Joan Miró Lithographie Originale (Cover) Color Lithograph Year: 1981 Size: 15.6 × 12.75 inches Catalogue Raisonné: Cramer 177, Der Lithograph IV, 1969-1972, Ref.: 1255, p.178 Publisher: Maeght Editeur, Paris, France With coverfold, recto - as issued Recto, right: Typographically annotated: 'Lithographie Originale' Unsigned, Unknown Edition Size COA provided --------------------------------------- Joan Miró i Ferrà was a Spanish painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981 Surrealism, Fauvism, Cubism, Abstract expressionism, Naive art, Expressionism, Suprematism Pablo Picasso, André Breton, Hans Arp, André Masson, Hieronymus Bosch, Tristan Tzara, Modest Urgell

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Limited Edition edition of 3433 12 1/2 × 16 3.5 inches Unframed Accompanied by gallery issued Certificate of Guarantee Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Sam Gilliam Cuatro, 1994 Monoprint with screenprint, collage, acrylic, stitching and embossing in colors on handmade paper Hand signed, dated, titled and annotated P/P by Sam Gilliam...

"Superficie 324" is a 1988 screen print (serigraph) of a 1959 painting by Capogrossi. This is one of his famous "comb" or "fork" works that he perfected in the 1950s and continued to create for the remainder of his life. The blocks of primary red and yellow colors give a bright, joyful feel and contrast to the strong bold black that was Capogrossi's consistent color for the "combs". With no allegorical, psychological, or symbolic meanings, these structural elements could be assembled and connected in countless variations. Intricate and insistent, Capogrossi's signs determined the construction of the pictorial surface. This piece is identified along one side: Giuseppe Capogrossi By SIAE 1988 Silvio Zamorani Editor Via Saccarelli, 9 10144 Torino Italy Tel. (39)(11) 4730554 Progetto Grafico (Graphic Project): Studio Walter Benjamin. Serigrafia (Screen Print): BISI Torino. Capogrossi was born in Rome. After obtaining a degree in law in 1923–1924, he decided to study painting with Felice Carena at Accademia di Belle Arti di Roma. In 1927 Capogrossi embarked on a formative trip to Paris together with fellow artists and acquaintances Fausto Pirandello, Corrado Cagli and Emanuele Cavalli...

The limited edition was printed at Fine Creations Inc. and has the printer's blind stamp on the bottom right. It was published by Lincoln Center for the Performing Arts. The availab...

Collotype on gloss vélin Johannot paper, hinged on black wove paper, as issued. Inscription: Unsigned and unnumbered, as issued. Paper Size: 10.83 x 8.86 inches. Notes: From the albu...

Frank Stella Large Limited Edition Hand Signed Whitney Museum Print, 1985 Offset Lithograph Hand signed, dated and numbered 93 from the edition of 100, lower left front 75 7/10 × 52 ...

Artist: (after) Lee Krasner (American, 1908-1984) Title: "Lee Krasner: A Retrospective - The Museum of Modern Art (Celebration)" *Signed and dated in the plate (printed signature) lo...

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,...

JACKSON POLLOCK (American, 1912-1956) Untitled, CR1093 (after painting Number 9, CR340), 1951–printed 1964 Screenprint, on Strathmore wove paper, numbered in pencil lower left, and with the Estate of Jackson Pollock 1964 blindstamp lower left(?) From the second posthumous printing of 50 authorized by his widow, Lee Krasner in 1964 (there was also a lifetime edition of 25) Published by Bernard Steffen...

Untitled, ca. 1960. Lithograph on paper, sheet measuring 18.5 x 26.5 inches Measuring 27 x 35 inches in original mid-century beveled oak frame. Signed and numbered in pencil by ...

Joan Mitchell Untitled Abstract Expressionist Print for the Carnegie Museum of Art, 1972 Lithograph on wove paper 15 × 22 inches Limited Edition of 1000 (unnumbered) Printer: Maeght...

This is a large, hand-painted oil and hand gilded gold leaf Artist’s Proof on giclée paper; it is a one-off piece, the only hand painted proof of this image, Unit of one. Its strikin...

Helen Frankenthaler Air Frame, from the New York Ten portfolio (Harrison 6), 1965 Color silkscreen on Arches double-weight watercolor paper Signed and annotated AP in graphite on the front; this is an Artist's Proof, aside from the regular edition of 200 “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler Pencil signed AP, one of 25 proofs aside from the regular edition of 200 Catalogue Raisonne: Harrison 6, Berggruen 7, Clark 6 Printed by Chiron Press, New York. Published by Tanglewood Press, New York. This work has been newly framed in a museum quality wood frame under UV plexiglass. The original label from the famed John Berggruen Gallery in California has been affixed to the back to preserve provenance. Other examples of this coveted 1965 work can be found in major institutional and museum collections worldwide. Measurements: Framed 29 inches vertical by 24 inches (horizontal) by 1.5 inches Artwork: 22 inches vertical x 17 inches horizontal This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. 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...

Walasse Ting 丁雄泉 Abstract Expressionist Flower, 1969 Color lithograph with publisher's blindstamp Pencil signed, dated, and numbered IV/XV by Walasse Ting on the front 23 × 30 inche...

Artist: Joan Mitchell (American, 1925-1992) Title: "Fields I" Portfolio: Fields *Signed and numbered by Mitchell in pencil (on second sheet) lower right Year: 1992 Medium: Original E...

Artist: After Helen Frankenthaler (1928-2011) Title: Mary Mary (Lincoln Center Honorary) Year: 1991 Medium: Offset lithograph poster on extra thick Somerset paper Edition: 2000 Size...

Artist: Louisa Chase, American (1951 - 2016) Title: Untitled (Spooks) Year: 1987 Medium: Lithograph, signed and numbered in pencil Edition: 30 Paper Size: 30 x 44.5 Inches (76.2 x 1...

Artist: (after) Helen Frankenthaler (American, 1928-2011) Title: "Rose Art Museum (Open Wall)" Year: 1981 Medium: Original Offset-Lithograph, Exhibition Poster on light wove paper Li...

Artist: Helen Frankenthaler (American, 1928-2011) Title: "Altitudes" *Signed, dated, and numbered by Frankenthaler in pencil lower right Year: 1978 Medium: Original Lithograph on light yellow-pink J.B. Green Hayle Mill Bodleian handmade paper Limited edition: 29/42 Printer: Bill Goldston and John A. Lund of Universal Limited Art Editions, West Islip, NY Publisher: Universal Limited Art Editions, West Islip, NY Reference: "Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison No. 72, page 264, 268-270; "ULAE" - Sparks No. 33, page 88, 323; Clark No. 67; Williams No. 67 Sheet size (irregular margins): 22.25" x 30.88" Condition: Remnants of previous mounting tape on verso. In excellent condition with strong colors Very rare Notes: Provenance: private collection - New York, NY; private collection - notable fashion illustrator Jay Hyde, Crawford, New York, NY; acquired from an art gallery in New York, NY; likely acquired directly from the publisher Universal Limited Art Editions, West Islip, NY. Lithograph drawn with tusche wash. Printed in two colors from two stones: red and green. Universal Limited Art Editions chop mark/blind stamp lower right. "Frankenthaler: A Catalogue Raisonné - Prints 1961-1994" - Harrison - "Frankenthaler carefully chose a European handmade paper that would add another color and texture to the print" ... "By contrast, in "Altitudes", the artist created a bleed image so that the sheet of paper is smaller than the stone's image and the large red tusche wash sweeps across the surface of the yellow-pink J.B. Green Hayle Mill Bodleian paper, becoming warmed and enhanced by its color and texture." "Universal Limited Art Editions - A History and Catalogue: The First Twenty-Five Years" - Sparks - "In "Bronze Smoke" (cat. no. 32), "Altitudes" (cat. no. 33), and "Door" (cat. no. 34), minimal compositions were replaced by fields of drifting, multilayered color, as rich and satisfying as her work on a much grander scale." Biography: Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

This lithograph was printed in 1965 at the Atelier Mourlot in Paris. It is signed, and numbered from an edition of 150. A major theme running through Lanskoy's work is the interactio...

Collotype on gloss vélin Johannot paper, hinged on black wove paper, as issued. Inscription: Unsigned and unnumbered, as issued. Paper Size: 10.83 x 8.86 inches. Notes: From the albu...

Damien Hirst - STUDLAND BAY Date of creation: 2023 Medium: Laminated Giclée print on aluminium composite panel Edition: 601 Size: 120 x 90 cm Condition: Brand new and never framed T...

Helen Frankenthaler Variation II on Mauve Corner (Harrison, 17), 1969 Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published by ULAE, West Islip, NY, with their blind stamp Frame included Accompanied by gallery issued Certificate of Guarantee Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published and printed by ULAE, West Islip, NY, with their blind stamp Literature: Frankenthaler, A Catalogue Raisonné: Prints 1961-1994, Harrison, no. 17, ppg. 106-109 Accompanied by gallery issued Certificate of Guarantee Elegantly floated and framed in a museum quality wood frame under UV plexiglass Measurements: Framed: 23.75 (vertical) x 28.75 (horizontal) x 2 inches Artwork: 20 inches (vertical) x 25 inches (horizontal) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. 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...

Artist: Joan Mitchell (American, 1925-1992) Title: "Untitled" (Page 92-93) Portfolio: One Cent Life *Unsigned edition Year: 1964 Medium: Original Lithograph on wove paper Limited edi...

This colorful lithograph is part of my private collection. It is a limited edition , 1 print available, signed and numbered 25/150. It is in very good condition. Vibrant and colorful.

Medium: Original Lithographic Poster, 1974 Classic Poster Paper - Perfect Condition A+ This original composition used exactly the same plates for the poster and for the Lithograph ...

Helen Frankenthaler (after) Frankenthaler: The Darker Palette (autographed and inscribed), 1998 Offset Lithograph print 42 × 35 in hand signed "Frankenthaler" lower left; inscribed a...

Artist: John Chamberlain (1927-2011) Title: Flashback VIII Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 120/175, plus proofs Size: 28 x 20 inches Inscription: Signe...

Beautiful exhibition poster by Puerto rican artist, Rafael Tufino (1922-2008). Augusto Marin, Exposicion de Pinturas, 1965. Screen print on paper, 20 x 3...

Artist: John Chamberlain (1927-2011) Title: Flashback VII Year: 1979 Medium: Lithograph on vélin d’Arches paper Edition: 119/175, plus proofs Size: 28 x 20 inches Inscription: Signed...

James Brooks James Brooks at Martha Jackson gallery (rare Abstract Expressionist poster), 1972 Offset Lithograph poster Unsigned, unnumbe...

Adolph Gottlieb Guild Hall is for Everyone, 1970 Rare Abstract Expressionist Offset Lithograph poster Vintage metal Frame included Rare vintage, limited edition, offset lithograph ...

Graham Fransella, Etching Head on Orange 176 x 148 4 separate Prints to make the one image

This is an unique one-off Artist Proof, in a rare Extra-Large square format. A special Proof that only 3 have been made with hand gilded Gold Leaf. The outstanding hand-painted qua...

This lithograph is part of my private collection. It is limited in edition ,artist signed lower right and is in very good condition. Walter Becker was a German artist. Another impres...

Artist: Charlie Hewitt, American (1946 - ) Title: Untitled - A Year: circa 1995 Medium: Woodblock, Signed and Numbered in Pencil Edition: 80 Image Size: 16 x 20 inches Size: 20 in. x...

This is a truly stunning work by contemporary great, Glenn Brown. This work is an Artist Proof, one of only 12 created. The frame is handmade by famous London framers, Darbyshire. I...

This artwork titled "Spring 69" 1969 is an original color lithograph by American artist Nancy Genn, b. 1929. It is hand signed, titled and inscribed Artist Proof in pencil by the artist. The size is 23.75 x 34.65 inches. It is in excellent condition, it has very small marks in the back due to tape removal from previous framing, not visible from the front. About the artist: Nancy Genn is an American artist living and working in Berkeley, California known for works in a variety of media, including paintings, bronze sculpture, printmaking, and handmade paper rooted in the Japanese washi paper making tradition Her work explores geometric abstraction, non-objective form, and calligraphic mark making, and features light, landscape, water, and architecture motifs. She is influenced by her extensive travels, and Asian craft, aesthetics and spiritual traditions. Genn's first noted solo exhibition was in 1955 at Gump's Gallery in San Francisco. She received international recognition through her inclusion in French art critic Michel Tapié’s seminal text Morphologie Autre (1960), which cited her as one of the most important exponents of post-war informal art. Her abstract expressionist paintings of this period, continuing through the mid-1970s, featured all-over compositions of colorful layers of gestural brushwork and calligraphic mark making resembling asemic writing. In 1961, Genn began creating bronze sculptures using the lost-wax casting method. Influenced by noted sculptor and family friend Claire Falkenstein, who used open-formed structures in her work, Genn cast forms woven from long grape vine cuttings, and produced vessels, fountains, fire screens, a menorah, a lectern, and, notably, the Cowell Fountain (1966) at UC Santa Cruz. In 1963 her sculptural work was exhibited with Berkeley artists Peter Voulkos and Harold Paris in the influential exhibition Creative Casting curated by Paul J. Smith at the Museum of Contemporary Crafts, New York. Genn was one of the first American artists to express herself through handmade paper, first receiving wide recognition via exhibitions at Susan Caldwell Gallery, New York, beginning in 1977, and in traveling exhibitions with Robert Rauschenberg and Sam Francis. In 1978-1979, supported by the National Endowment for the Arts and Japan Creative Arts Fellowship, she studied papermaking in Japan, visiting local paper craftspeople, working in Shikenjo studio in Saitama Prefecture,[5] and exhibiting her work in Tokyo. She also learned techniques from Donald Farnsworth...

Silkscreen on Mohawk Superfine Bristol paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Publishe...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Artist: Jasha Green, American (1923 - 2006) Title: Untitled 6 Year: circa 1979 Medium: Lithograph, signed and numbered in pencil Edition: 250 Size: 22 x 30 in. (55.88 x 76.2 cm)

Silkscreen on handmade Hahnemühle paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, The Poems, 1960. Published and printed by Tiber Press, New York un...

Sigismond Kolos-Vari, 'Nets', color etching with soft-ground and aquatint, edition 200 (1 of 60 artist's proofs), 1952. Signed and dated in pencil. Numbered L/LX in pencil. A superb, richly-inked impression, on heavy, off-white, Arches wove paper; the full sheet with margins (1 3/8 to 3 1/2 inches), in excellent condition. Published by the Guide de la Gravure, Switzerland, with their blindstamp in the bottom left sheet corner. Matted to museum standards, unframed. Image size 11 3/4 x 15 5/8 inches (298 x 397 mm); sheet size 15 x 22 1/4 inches (381 x 565 mm). ABOUT THE ARTIST Sigismund Kolos-Vari was born in Hungary and attended the School of Applied Arts in Budapest from 1915 to 1918 and then the School of Decorative Arts until 1925. The artist settled in Paris, and his first one-person show in 1928 at Galerie Miromesnil, which was highly successful, led to numerous subsequent exhibitions, including with the prestigious Galerie Bonaparte in 1929 and Galerie Povolosky in 1930. Kolos-Vari’s early success was abruptly interrupted by the outbreak of WWII when he was arrested by the Gestapo and imprisoned in the Gurs internment camp. During this period, he created a sketchbook for a little girl, which is now preserved at the Centre de Documentation Juive Contemporaine at the Mémorial de la Shoah in Paris. He managed to escape after two years, crossing the border into Switzerland. After the war, he returned to Paris with a renewed dedication to his painting, producing increasingly powerful compositions. His work was highly acclaimed when shown at an important 1946 exhibition at the Musée National d’Art Moderne de Paris, organized by Jean Cassou. The artist was then approached by the eminent art dealer Jean Bucher, who gave Kolos-Vary a major one-person show at his gallery in 1948. During this post-war period, Kolos-Vary participated in the radical Salon de Mai, 1949-1958, the Salon des Réalités Nouvelles, 1956-1961, and the Salon des Comparaisons, 1960-1962. Supported by his association with Stanley William Hayter and the landmark printmaking workshop Atelier 17...