Unknown Abstract Prints

Abstract composition - Lithograph signed Deplhos and numbered 62/100, bright colors Memphis style

Image dimensions: 15 x 9.5 cm. Drapery is an original color serigraph on paper, realized around the 1970's by a German artist, whose signature is hard to read. Signed in pencil on ...

Abstract composition is an original modern artwork realized by Artist of the mid-20th century. Mixed colored drawing on paper. Hand signed on the lower margin. Includes frame.

Decorative, abstract lithograph, signed and numbered, 67/90 MANRIQUE Dimensions with frame.

Echos, Monoprint by Lizzie Wheeler B. 1996, 2023 Additional information: Medium: Monoprint Dimensions: 41 x 82 cm 16 1/8 x 32 1/4 in Signed, titled, and numbered in pencil Lizzie s...

Signed, titled and numbered '14/40'. On paper.

Sheila Maki , the artist, is Canadian and died in Toronto, Ontario. She enjoyed the challenge of creating original prints through varied processes such as etching and silk-screening...

MacDonald of the Isles and Slate (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a she...

MacDonald of Glengarry (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of desc...

At the crossroad between aesthetics, data, design, and computing, this hypnotic set of artworks represent visual interpretations of Google Quantum AI's research data exploring the po...

This semi-abstract lithograph numbered x/y, and entitled “Whispers of Eternity”, invites us to immerse in a scene where the boundaries between the tangible and the ethereal blend unt...

#5-2957 Engraving of three dancing Abstract Putti in a forest scene signed E Andrews 30/100 Image size 10 H x 5.5 W

This is a cast metal sculpture of a woman and child, mother and baby in a rocking chair. It has a patina on a white metal. Not sure if it is steel or aluminum. It is and older vintage piece and has wear to patina where it sits and rocks on table. It is not signed or numbered and there is no foundry mark. Hence it is being sold as being after or in the manner of Henry Moore. Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history...

Two fabulous quality aquatint etchings Shahid Kabir, (Bangladesh, 1949- ) Untitled (Circus), c1980’s 2 x aquatint etchings, each sheet size, 53cm x 5...

Printing on metal foil Title "Silver Profile"

Territorial Identity Documents - Poster is an original poster print realized in 1978. The artwork was realized on the occasion of the photographic exhibition at the Rondanini galler...

The Clan Colquhoun (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descript...

The Clan of Fraser (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descript...

The Clan of Macalister (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of desc...

The Jacobite Tartan Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive text.

The Clan of MacDougal Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive te...

Stewart - Prince Charles Edward. Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of de...

MacIntosh - Chief (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descripti...

Unsigned. On laid paper.

The Clan of Skene (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descripti...

The Clan Lamond Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive text.

The Rob Roy Tartan Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive text.

The Clan of Macauley (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descri...

The Clan of MacLaren Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descriptive text.

The Clan of Robertson (Tartan) Chromolithograph. 1886. From 'The Tartans of the Clans of Scotland', by James Grant, 1886. 365mm by 265mm (sheet). Accompanied by a sheet of descr...

Calder Exhibition Print is a lithographed poster realized by Alexander Calder for the Exhibition "From Mobiles to Critters" at Rondanini Gallery in Rome, which took place in 1976. ...

At the crossroad between aesthetics, data, design, and computing, this hypnotic set of artworks represent visual interpretations of Google Quantum AI's research data exploring the po...

Signed in graphite and numbered 4/75. On laid paper.

Signed in graphite to the lower right and inscribed with the print number 3/75. On Japanese paper.

A striking abstract lithograph depicting three women and a cat in a series of geometric shapes. 497/500. Titled and dated. Part of a pair of prints by the same artist. Presented in a...

TWO FACES Sheet size: 50 x 37 cm Image size: 37.5 x 30 cm Lithograph on paper A mid century limited edition (7/23) etching, signed to the lower edge and dated 1973. It is signed, d...

Genre: Israeli Batia Adith Subject: Biblical Medium: Print Surface: Paper Dimensions w/Frame: 30 1/2" x 21 1/2"

COLOUR COMPOSITION Sheet size: 38 x 30 cm Image size: 31 x 23.5 cm Lithograph on paper A 20th century limited edition (111/230) coloured lithograph by Mary Anne Rose. It is signed ...

Bit of a mystery here. Really well done colored Linocut A very expressionistic style of a landscape with trees. I’m pretty sure it’s signed in Hebrew but cannot translate. A very low...

This etching is in very good condition, it is signed and numbered by the artist but I was unable to identify the artist. It is a piece from my private collection of artists from the ...

Vintage Poster Modern Art Museum is a vintage Lithograph and Offset poster realized after Joan Mirò (1893-1983) in 1977. Good conditions. Joan Miró (20 April 1893 – 25 December 198...

In this mesmerizing surrealist image, the artist delves into the realms of the subconscious and the juxtaposition of unexpected elements. A colossal eye gazes upon the towering prese...

KINETIC SHAPES Size: 52 x 42 cm (including frame) Lithograph on paper A very well presented mid century limited edition (1/211) colour lithograph, signed and numbered in pencil by S...

Image dimensions: 5.5 x 18 cm. Abstrahierte Landschaft is a black and white etching on paper realized the 1970's by an artist whose signature is not completely readable. Signed "Y...

Abstract composition in green and red is an original lithograph on white paper realized by an Anonymous artist the 1980s. In very good conditions. The artwork is created beautiful...

Vintage Poster Iluminacia is an offset realized in 1973. Edition of 5.000. Good condition.

Poster of 4 festival Music Mtodziezowej is original lithography print realized in 1973. Signed on the plate along the right margin: Khuczykouski 73. Good conditions with aged lower...

Original collage from the house of Star Barbara Rush offered by artist Red Heller. Signed on the back titled Barbara Rush in 1927 is an American actress. In 1954, Rush won the Golden...

Mark Tobey And Sam Francis- Exhibition Poster is an offset print on paper realized in 1977 for the Exhibition held in Weber Gallery in Geneve. Good conditions with slight folding.

Monochromatic abstract figurative lithograph of the Seven Archangels. Framed and matted in a beautiful ornate gold frame. Unsigned. Dimensions With Frame: H 6.13 in. x W 8 in.

Presented in a contemporary white frame. Signed indistinctly in graphite and inscribed indistinctly in graphite. On paper.

Gateway and Figures is a lithograph on paper realized by an Anonymous artist in the 1970s. Hand-signed, illegible, and numbered, edition of 100 prints. Good conditions. The artwork is realized graphically through black and white and perfect consideration of the value: the mass of bodies and lines...

Don Quixote is a lithograph print on paper realized in the 1970s by an Unknown artist. Hand-signed on the lower in pencil, illegible. Artist's proof. Good conditions. The artwork...

Abstract Composition is a woodcut print on paper realized by an Anonymous artist in the 1950s. Hand-signed, illegible, and numbered, edition of 50/100 prints. Good conditions. The...

Optic Maze is a screen print on paper realized by an unknown artist in the 1970s. Hand-signed, illegible, and numbered, edition of 160 prints. Good conditions.

Figure in Yellow is a screen print on paper realized by an unknown artist in the 1970s. Hand-signed, illegible, and numbered, edition of 100 prints. Good conditions.

Vintage Poster Exhibition Galerie Maeght is a vintage Lithograph and Offset poster realized after Joan Mirò (1893-1983) in 1978. Good conditions. Joan Miró i Ferrà (20 April 1893 –...

Abstract Composition is a screenprint on paper realized by an unknown artist in 1965. Hand-signed, illegible, and numbered, edition of 24/160 prints. Good conditions. The artwork ...