Abstract Expressionist Abstract Prints

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art...

From the rare, fully signed edition of One Cent Life - only 100 examples were hand signed by the artists. Exceptional provenance from Robert Indiana's estate. Sam Francis, Karel App...

Sam Francis Blue-Violet (Lembark, L, 32), exhibited at Stanford University Art Museum, 1963 Color lithograph on Rives BFK paper with deckled edges Lithograph in blue-violet on Rives ...

Helen Frankenthaler (after) A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned & U...

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

"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 ...

Robert Motherwell (1915-1991), alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, made up the quartet of American abstract painters that radically defined Modern paintin...

Karel Appel Sitting in a Landscape Animals and monsters series Year 1979 Print - Lithograph 22.0'' x 30'' inches Edition: signed in pencil and marked 160/160 Karel Appel is one of t...

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 ...

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,...

This exquisite offset lithograph after Jasper Johns (born 1930), titled Untitled, originates from the publication Art in America, May 2014. Published by Art in America, LLC, New York, and Sharon Coplan Hurowitz, New York; sponsored by Christies Inc., New York; and printed by Universal Limited Art Editions (ULAE), Bay Shore, at Official Offset Corporation, Amityville, 2013, this work reflects Johns ongoing investigation into symbol, perception, and repetition. In Untitled, Johns extends his celebrated exploration of marks, motifs, and coded visual language through a composition that merges conceptual clarity with painterly nuance, embodying the subtle rigor that defines his mature graphic work. Executed as an offset lithograph on velin Giama Natural paper, this work measures 15.125 x 10.875 inches (38.42 x 27.62 cm), with centerfold as issued. Signed in the plate and unnumbered as issued. Printed by Universal Limited Art Editions (ULAE), Bay Shore, at Official Offset Corporation, Amityville, one of the most respected collaborative printmaking ateliers in the United States. Artwork Details: Artist: After Jasper Johns (born 1930) Title: Untitled, from Art in America, May 2014 Medium: Offset lithograph on velin Giama Natural paper Dimensions: 15.125 x 10.875 inches (38.42 x 27.62 cm), with centerfold as issued Inscription: Signed in the plate and unnumbered as issued Date: 2013 Publisher: Art in America, LLC, New York; Sharon Coplan Hurowitz, New York Sponsor: Christies Inc., New York Printer: Universal Limited Art Editions (ULAE), Bay Shore, at Official Offset Corporation, Amityville Catalogue raisonne reference: Carlos Basualdo, Scott Rothkopf, Jasper Johns Mind/Mirror, Whitney Museum of American Art, 2021, No. 27; The Prints of Jasper Johns: A Catalogue Raisonne, ULAE, New York (forthcoming), No. 324. Condition: Well preserved, consistent with age and medium Provenance: From the May 2014 publication Art in America, published by Art in America, LLC, New York About the Publication: This special Art in America project was conceived as a contemporary homage to Jasper Johns’ long and distinguished history of printmaking innovation. Commissioned in collaboration with Sharon Coplan Hurowitz and sponsored by Christies Inc., the project brought together Art in America and Universal Limited Art Editions (ULAE) to create an original print that would bridge the worlds of fine art publishing, contemporary criticism, and Johns experimental graphic language. Printed at the renowned ULAE in Bay Shore and completed at Official Offset Corporation, the work reaffirms ULAEs foundational role in the evolution of Johns printmaking practice, which began at the atelier in 1960. For this publication, Johns developed a composition that synthesizes decades of explorations into mark-making, coded systems, repetition, and perceptual inquiry, extending the intellectual rigor and visual subtlety that have defined his contribution to American art since the 1950s. Distributed within the May 2014 issue, the project functioned as both a democratic expansion of Johns audience and a continuation of his long-standing interest in the intersection between mass media, printmaking processes, and the shifting boundaries between high art and printed dissemination. Today, this project is recognized as one of the most significant print-related collaborations between a major art periodical and an American master, embodying Johns lifelong dialogue between image, idea, and the materiality of print. About the Artist: Jasper Johns (born 1930) is widely regarded as one of the most influential and transformative American artists of the postwar era, a painter and printmaker whose groundbreaking fusion of abstraction, symbolism, and conceptual inquiry placed him in direct dialogue with towering modernists such as Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray while establishing a new visual and intellectual foundation for contemporary art; emerging in the mid 1950s with his revolutionary paintings of flags, targets, numbers, alphabets, and other everyday symbols, Johns rejected the emotional volatility of Abstract Expressionism and instead introduced a cool, analytical approach grounded in the semiotic play between object and image, employing encaustic, collage, graphite, and sculptural relief to create layered works that examine how meaning is constructed and perceived; his dialogues with Duchamps conceptualism, Picassos structural inventiveness, Miro and Kandinskys color logic, Giacomettis existential figuration, and Man Rays experimental attitude helped shape a singular aesthetic that directly influenced and helped catalyze Pop Art, Minimalism, and Conceptual Art, inspiring contemporaries and successors including Robert Rauschenberg, Cy Twombly, Andy Warhol, Roy Lichtenstein, Frank Stella, Donald Judd, Bruce Nauman, Glenn Ligon, Christopher Wool, Mark Bradford, Mark Grotjahn, and Wade Guyton; celebrated for more than seven decades, Johns work is held in the worlds most prestigious museums—including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the National Gallery of Art, the Art Institute of Chicago, the Tate Modern, the Centre Pompidou, and the Moderna Museet—and he is recognized as one of the most intellectually rigorous and technically inventive artists of the 20th and 21st centuries; his market remains exceptionally strong, with his highest auction record achieved on November 11, 2014, when Flag (1983) sold for 36000000 USD at Sothebys New York. Jasper Johns lithograph...

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

Dan Christensen, American (1942 - 2007) - Shanidar, Year: circa 1980, Medium: Screenprint, Signed and numbered in Pencil, Edition: 175, Size: 29.5 x 43 in. (74.93 x 109.22 cm)

Artist: Sam Francis (American, 1923-1994) Title: "Untitled (SF-348) (Fresh Air School)" Portfolio: Fresh Air School *Unsigned edition Year: 1972 Medium: Original Lithograph on white ...

Dan Christensen, American (1942 - 2007) - Edo, Year: circa 1981, Medium: Screenprint, signed, titled and numbered in pencil, Edition: HC, Image Size: 38.5 x 27 inches, Size: 42 ...

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...

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...

Robert Natkin, American (1930 - 2010) - Intimate Lighting: Blue, Year: 1974, Medium: Screenprint on Arches, signed, numbered and dated in pencil lower left, Edition: 59/100, Image...

Tom Alan Lieber, (American, born 1949), Untitled Monotype oil painting on paper 1984 Hand signed TL and dated '84 in the lower margin. Measurements: 47 X 63 inches This was probab...

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

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

This exquisite silkscreen by Robert Motherwell (1915–1991), titled Untitled, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Ath...

CORITA KENT (Sister Mary Corita) 1918–1986 WORKING ON IT INCESSANTLY, ca. 1970 Color serigraph. Signed and numbered in ink 200/. In generally good condition. Image 22 3/8 x 11 1/2, sheet 23 x 12 1/4 inches. Provenance: Marjorie Kauffman Graphics on original period label. Sister Corita is highly important in the development of modern use of serigraphy with highly charged social and political content expressed in strong colors and dynamic composition. She often made biblical and well as literary references as a major part of the composition. She taught printmaking at Immaculate Heart...

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...

"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...

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 ...

This stunning extra large hand painted Edition offers a grand scale visual treat to your space and enrich your daily life. Limited Edition only 3 are published, and it's surreal vs a...

This artwork "Untitled VII" is a monotype on paper by noted artist Tracey Adams, born 1954. It is hand signed in pencil at the lower right corner by the artist. The image size is 15....

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...

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...

This is a large hand painted Artist's Proof, (oil and gold leaf on Giclee), it's the only one proof of this image, 90 % of the proof is hand painted by the artist, Shizico Yi; its o...

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...

Joan Miró Litografia Original VIII (Abstract, Modern, Surrealism, Colorful, Iconic) Color Lithograph Year: 1975 Size: 13.25 x 20 inches (33.65 x 50.8 cm) Catalogue Raisonné: Queneau,...

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

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...

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...

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...

Three Poems: Mexico City Personages II Robert Motherwell, American (1915–1991) Portfolio: Octavio Paz Date: 1988 Lithograph on Japon with Chine Colle Edition of 750 Image Size: 13 x ...

Dan Christensen, American (1942 - 2007) - Latuka, Year: 1981, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 131/140, Image Size: 20 x 38 inches, Size: 29....

Artist: Raymond Parker, American (1922 - 1990) Title: Untitled Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 70 Size: 23 x 30 inches

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...

Stanley William Hayter, 'Green Shade', color etching and scraper, 1963, edition 50, (only 39 printed), B&M 278. Signed, titled, dated, and numbered '1/50' in pencil. A superb, richly-inked, luminous impression, with fresh, vivid colors, on Barcham Green textured cream wove paper; the full sheet with margins (2 3/16 to 3 1/4 inches), in excellent condition. Printed: intaglio black-green, contact lumogen yellow, soft roller phthalo green. Scarce. Image size 15 7/16 x 11 5/8 inches (392 x 295 mm); sheet size 21 1/8 x 16 inches (537 x 406 mm). Matted to museum standards (unframed). Collection: The British Museum ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17...

Untitled XXVI Piero Dorazio, Italian (1927–2005) Date: 1970 Screenprint, signed and numbered in pencil Edition of 37/80 Size: 28.5 x 38.5 in. (72.39 x 97.79 cm) Printer: Erker Presse...

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...

Mark Tobey, American (1890 -1976) - Leaves, Year: 1965, Medium: Lithograph, signed in pencil lower right, and numbered on cover page in ink, Edition: 372/380, Image Size: 6.25 x ...

Artist: Charles Christopher Hill, American (1948 - ) Title: Socony Year: 1980 Medium: Lithograph, signed and numbered in pencil Edition: 15/19 Size: 30.5 x 23 inches Frame Size: 33.2...

Artist: Raymond Parker, American (1922 - 1990) Title: Untitled 4 Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 20 Size: 22 x 30 in. (55.88 x 76.2 cm)

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...

Arthur Gibbons, American (1947 - ) - Wakoia, Year: 1982, Medium: Monotype Etching with Aquatint, signed, titled and dated in pencil, Image Size: 31.5 x 23.25 inches, Size: 39.5 x...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper - Artist Authorized reproduction Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed 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 1999 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...

A superb impression of this color screenprint on white wove paper. Signed and numbered XC/CCC in pencil by Soulages. Published by the Olympic Games Committee, Lausanne. From the "Off...

Willem de Kooning Annual Spring Invitational Art Exhibition (limited edition, hand signed & numbered by Willem de Kooning), 1979 Offset lithograph (hand signed and numbered) Sign...

Dan Christensen, American (1942 - 2007) - Micmac I, Year: circa 1981, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 43/100, Image Size: 38.25 x 27 inches, ...

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 ...

Christopher Wool (b. 1955) Untitled, 2006 Screenprint in colors on Rives BFK paper 30 x 22 inches (unframed) P.P. 2/4 (A printer's proof aside from an edition of 40) Signed, numbered...

This exquisite lithograph by Willem de Kooning (1904–1997), titled Untitled, from the folio Poems, originates from the 1988 edition published by The Limited Editions Club, New York, ...

This one of one unique Artist's proof is 80% hand painted by artist Shizico Yi on Giclee made on Aluminium, the original paints are hand mixed by the artist. It is the only hand pai...

Stanley William Hayter, 'Feu sous L'eau (Fire Under Water)', color engraving, soft-ground etching and scorper with yellow silkscreen, 1955, edition 50 plus 10 artist proofs, Black & Moorhead 221. Signed, titled 'Fire Under Water', dated and annotated 'Essai' in pencil. Dedicated in the artist’s hand 'for Adja & Dove WH Bill 17–5–55' in the top margin. A superb, richly inked impression with fresh colors, on heavy, cream wove paper; wide margins (2 1/2 to 3 7/8 inches), in excellent condition. One of 10 artist’s proofs. Image size 10 3/16 x 7 inches; sheet size 18 1/8 x 12 1/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK In 1950 Hayter returned to Paris and reopened Atelier 17. Works such as 'Fire Under Water' reveal newfound influences, such as that of the Ardèche area of southern France, where he acquired a house in 1951 and frequently visited. Hayter took great interest in the flowing Escoutay River, an experience that parallels the artist and co-director of Atelier 17 Krishna Reddy’s interest in depicting water. While some forms in this print evoke the natural world, the palette of contrasting tones of purple, yellow, black, and white reflects Hayter’s belief in using color intuitively to express emotions and evoke feelings. The sharp white relief lines from the paper and the textural effects realized through soft-ground etching operate in tandem with the sweeping curves and bold colors to give the composition a sense of vitality and dynamism. —edited from the Metropolitan Museum of Art Published by 'La Jeune Gravure Contemporaine', Paris. Impressions of this work are in the following collections: British Museum, Metropolitan Museum of Art, National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

Abstract expressionist print by American artist Michael Steiner, who is most commonly known for his large scale sculptures. Oxos II Michael Steiner, American (1945) Date: 1979 Scre...