Antoni Tàpies Art

Zao Wou-ki - Moments - Original Aquatint Edition of 130 Dimensions: 34.2 x 30.5 cm Vellum paper BFK Rives 1996 Bibliography: Jørgen Ågerup, Zao Wou-Ki: The Graphic Work, A Catalogue ...

In excellent condition from an edition of 50, this piece is beautifully framed in museum-quality materials. Al Held is best remembered for his large-scale paintings of bright, hard-e...

Baby, Baby Etching & aquatint printed in colors, 1991 Signed, dated, titled & numbered in pencil (see photos) Edition: 35 (4/35) plus 10 AP Condition: Excellent, colors fresh Image/...

Robert Savoie, Canadian (1939 - ) - Movement, Year: 1978, Medium: Etching and Aquatint on Arches, signed, dated and numbered in pencil, Edition: 15/50, Image Size: 22 x 27.5 inches, ...

Untitled is an original artwork realized in 1989 by Sam Francis. Etching, Aquatint and monotype in colors on BFK Rives Edition including 18 color variations, this one is signed and...

Jean Miotte - Rare Original Signed Lithograph Title: Abstract Composition Dimensions: 76 x 56 cm Edition: 64/99 Signed and Numbered in pencil Jean Miotte, 1926 - 2016 Miotte came o...

Pablo Picasso 1881–1973 "Peintre et modèle avec un noeud dans les cheveux" 1964 etching and aquatint on BFK Rives image: 10¾ h × 15 w in (27 × 38 cm)...

Artist: Robert Motherwell (American, 1915-1991) Title: "Signs on Copper" *Monogram signed and numbered by Motherwell in pencil lower right Year: 1981 Medium: Original Lift-Ground Etc...

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

Caviar20 is excited to be offering this evocative print by the inimitable Louise Nevelson - one of the most revered and unique sculptors of the 20th century. Nevelson is renowned for her mysterious and complex artworks. She was an active printmaker, experimenting with different techniques and approaches while working with some of the best print-making studios in the United States and Italy. Many of the leading, ground-breaking American abstract artists experienced success in post-war Europe. Nevelson was notably well-embraced in Italy arguably because of parallels to Arte Povera in her work. She had an important and enduring connection to Italy, beginning with representing America at the Venice Biennale in 1962. Nevelson would then exhibit at the legendary Studio Marconi in Milan during the succeeding decades. This fruitful relationship led Nevelson to start working with Italian printmakers during the 1970s. This impressive aquatint is a paradigm of both the era and Nevelson's later printmaking, notable for its use of metallic elements, color, and collage. This work features unexpected shades of magenta, lime green, and rust, which punctuate her signature monochromatic black forms that sweep the surface of the page creating an intriguing architectural form. This work is an example from Nevelson's 1973 portfolio, "Aquatints Portfolio (B. 116)" which comprised six aquatints with metallic elements. Click here to see another example from this body of work. Over the last few years, there has been tremendous momentum in both interest and appreciation of Nevelson's work. In May of 2021, a new auction record of $1.35 million was established for one of Nevelson's signature white construction sculptures...

Stanley WIlliam (Bill) Hayter Meduse, 1958 High Viscosity Etching & Engraving Pencil signed, titled and numbered from the edition of 50 (10/50) on th...

Robert Savoie, Canadian (1939 - ) - Graffiti, Year: 1977, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, titled on verso, Edition: 39/50, Image Size: 2...