Fred Sandback Art

Artist: Karl Fred Dahmen Title: Bastion Year: 1976 Medium: Aquatint Etching, Signed, numbered, dated, and titled in pencil Edition: 49/75 Size: 35 in. x 27.5 in. (88.9 cm x 69.85 cm)

Artist: Jack Sonenberg, American/Canadian (1925 - ) Title: Castle No. 1 Year: circa 1965 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 13/60 Size: 30 in. x 22...

Joel Shapiro For the Archives, 2008 Epson inkjet print on cotton etching paper Hand-signed by artist, Hand signed and numbered 171/175 by Joel Shapiro on the front Bears label from T...

Title: Doughlah G.E.P., 1968-71 Year made: 2023 Material: Giclée print on 330gsm Somerset Velvet cotton rag paper with an embossed publisher stamp Edition of 250 It comes with COA f...

Gottfried Honegger Concrete Geometric Abstract Composition with Blue 3D-construction, Screenprint on Hahnemuhle Velvet 2015 Size: 20.9 × 21.1 on 24.2 × 23.8 inches Edition: E.A. of 5...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Galerie Maeght" Year: 1958 Medium: Original Lithograph, Exhibition Poster on light wove paper Limited edition: Unknown Printer: ...

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minim...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, and hand painting in grey, to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Early Evening in the Museum of Modern Art, by Howard Hodgkin. Signed by the artist, numbered, and dated 79 lower center in red crayon. Soft-ground etching printed from the same plate as 'Late Afternoon in the Museum of Modern Art', with hand coloring in black gouache on Grey BFK Rives mould-made paper. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Wide areas of deep black pigment contrast urgent swipes of ink. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each impression in the edition unique. Part of a series of four prints reflecting on a visit to...

Chryssa Chinatown Portfolio II, Plate Three, ca. 1978 Silkscreen on thick wove paper 40 × 30 1/2 inches (Ships rolled in a tube measuring 35 x 5 x 5) Pencil signed and numbered 36/150 on the front; bears printers stamp on the back Unframed from the Chinatown Portfolio Printed by Atelier Arco in Paris (with stamp on the back of the print) from the Chinatown Portfolio Renowned Greek-American artist Chryssa was preoccupied with the concept of Chinese letters as art forms, which she explores in her Chinatown silkscreen series. Her deliberate experimentations yield an elegant and compelling result. Chryssa Biography Chryssa Vardea...

"Poles" Minimalist Abstract Lithograph on Paper Bold abstracted lithograph by Arnold Mesches (American, 1923-2016). Negative space is filled in wi...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...