Mario Carreno Abstract Prints

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

1960s Francis Bacon lithograph from Derrière le miroir: Well-suited for matting & framing, this original 1960's print is derived from Bacon's ...

Glenn Ligon Lincoln Center Festival (Hand signed, inscribed and dated), 2004 Offset lithograph on wove paper LARGE: 41 1/2 inches (vertical) × 32 inches (horizontal) (Ships in a tube...

FACE TO FACE is an original hand drawn stone lithograph by the American abstract painter Knox Martin. Printed by hand from a lithography stone in rich black ink on archival Arches pr...

MERRY COMPANY IV is an original hand drawn stone lithograph by the American abstract painter Knox Martin. Hand printed from a lithography stone in rich b...

This piece is from my private collection and is a limited edition numbered and signed by the artist. This artist is also very much known for sculpture, he followed the teachings of A...

MERRY COMPANY III is an original hand drawn stone lithograph by the American abstract painter Knox Martin. MERRY COMPANY III was hand printed from a lith...

This piece is from my private collection of early to mid 20th Century artists. It is in very good condition and is a limited edition signed by the artist.

Portfolio with complete text, 5 drypoint prints with etching and aquatint and numerous illustrations on Rives BFK. The sheets are loose as issued and in superb condition. One from a ...

Suite $20,000. Individual Quartets $6,000. First Quartet 35 in. x 35 in. Second Quartet 35 in. x 45 in. Third Quartet 45 in. x 35 in. Fourth Quartet 45 in. x 45 in. Signed and ...

STONE AND SCRIPT by the Israeli artist Moshe Castel (1909-1991) is a limited edition lithograph printed in 12 colors using traditional lithographic techniques on archival Somerset paper 100% acid free. In Stone and Script, a three dimensional relief effect is visible in the black writings and stone tablet achieved by using shades of gray and black with predominate colors of warm golden yellow and turquoise blue. Castel creates a very aesthetically appealing and captivating contemporary arrangement of ancient...

Rare collectors' item: Anish Kapoor Venice Biennale: XLIV Esposizione Internazionale D'arte Biennale Di Venezia (Hand signed and inscribed by Anish Kapoor), 1990 HISTORIC signed poster published on the occasion of Kapoor representing Great Britain at the Venice Biennale Offset lithograph poster (Hand signed, inscribed to Nadine and dated 2016) Boldly signed, inscribed and dated by Anish Kapoor on the lower right front 33 × 23 inches Unframed Boldly signed and inscribed by Anish Kapoor on the lower right front for the present owner, Nadine, so provenance is direct. Accompanied by gallery issued Certificate of Guarantee This offset lithograph poster was published on the occasion of Anish Kapoor's exhibition "XLIV Esposizione Internazionale D'Arte" at the Biennale Di Venezia from May 27 to September 30, 1990. Hand signed posters by Kapoor are quite elusive. The poster is two sided as it was published on the occasion of the artist's participation in the 1990 Venice Biennale (the verso has his lengthy biography), and it bears the original folds as issued. British-Indian sculptor Anish Kapoor was chosen to represent Britain at the first Biennale of the 1990s. He had been exhibiting since 1980 but it was this show that brought him widespread recognition on the international stage. Sixteen huge sandstone blocks dominated the Pavilion’s main room; they were so heavy that the floor had to be reinforced with supports. Kapoor had started working in stone in the late 1980s and each block in Void Field (1989) has a hole filled with another motif in his work, the powdered blue pigment used in Indian religious ceremonies. The same vibrant tones, which was also inspired also by Yves Klein’s statement bold blue colour, were used in his low-lying slate sculpture, A Wing at the Heart of Things (1990), in the back gallery of the Pavilion; this work is now part of Tate’s collection. “Venice is an interchange of East and West, reflecting the way Kapoor borrows from both cultures” said Henry Meyric Hughes, British Council. Kapoor’s exhibition also wove together references to spiritualism and eroticism, with the red slit in the Pavilion's wall, entitled The Healing of St. Thomas (1989), alluding to the saint that doubted Jesus’ resurrection...