Muriel Guepin Gallery Abstract Prints

Artist: Robert Motherwell, American (1915 - 1991) Title: No. 6 from Three Poems, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 750 I...

Peter Halley New Works, The Butler Institute of American Art (Hand Signed), 1999 Offset lithograph poster (signed by Peter Halley) 38 × 21 1/2 inches Boldly signed in black marker by...

Shipping on request This impressive offset lithograph by Serge Poliakoff, a significant figure in abstract art, captures the powerful dynamism of his work. The skillful interplay of red and blue in this harmonious artwork from 1972, part of the Munich Olympic Games Art Series, creates a fascinating visual tension and bestows upon the space an aura of refinement and elegance. Poliakoff's mastery in abstraction is evident in a composition that is both energetic and balanced. Signed in stone by the artist, this vintage piece encapsulates the essence of its time and is a valuable addition to any art collection. Serge Poliakoff, born on January 8, 1900, in Moscow, Russia, was a prominent figure in 20th-century abstract art. After relocating to Paris in 1923 and briefly pursuing a career as a cabaret guitarist, he found his calling in painting. By 1935, he increasingly embraced abstraction, utilizing color without representational references. Poliakoff developed a unique form of abstract painting, juxtaposing colored fields. In the 1940s, he predominantly worked with shades of gray and brown before expanding his palette to include vibrant, contrasting colors from 1950 onwards. His later works were characterized by a reduction in color intensity to earthy tones and a tendency towards monochromatic compositions. This evolution reflected his artistic maturity and pursuit of expressive depth. Serge Poliakoff's works are renowned for their powerful abstraction and subtle mastery of color. He passed away on October 12...

Helen Frankenthaler Frankenthaler, Works on Paper 1949-1984 (Hand signed and inscribed to Dick Polich, Founder of Tallix Foundry), 1986 Softcover monograph (book), hand signed and da...

Damien Hirst Butterfly Heart (Small) H7-4, 2020 Laminated Giclée print on aluminium composite panel in original publisher's packaging Signed by Damien Hirst & numbered 1483/3510 on t...

Artist: Keisuke Serizawa, Japanese (1895-1984) Title: Metamorphosis of Zan Biell Year: circa 1970 Medium: Woodcut on Rice Paper, signed and numbered in pencil Edition: AP Size: 29 x...

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 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...

Artist: Paul Klee, After, Swiss (1879 - 1940) Title: Bauchredner und Rufer im Moor (Ventiloque criant dans le marais) Year: 1964 after 1920 Drawing Medium: Pochoir on Rice Paper, Sig...

Artist: Robert Motherwell, American (1915 - 1991) Title: No. 2 from Three Poems, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 750 ...

In E'stelle II color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. The softness o...

Artist: Robert Motherwell, American (1915 - 1991) Title: No. 2 from Three Poems, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 750 ...

Helen Frankenthaler Frankenthaler (Hand signed and inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...