Continental US - Abstract Prints

Christine Ravaux created Deux Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted w...

This Limited Edition abstract print, "Lollipops #2," by Sofie Swann measures 40" x 50" and is an edition of 95. Printed on canvas, this giclee ships framed in a white floater frame w...

Mask Collotype on Paper Bold lithograph of an abstracted mask by Patricia A. Pearce (American, b. 1948). Signed in the bottom right corner, "Patricia A. Pearce." Presented in a new ...

"Under the Mountain" - Modern Abstract Lithograph Bold abstract lithograph by Fran Ciscus (American, 20th Century). Signed "Fran Ciscus". The colors in this piece have a slight irid...

Gorgeous teal mesh and rods collagraph by Patricia A. Pearce (American, b. 1948). Unsigned. Purchased as part of larger collection. No frame. Image size: 23.75"H x 35.75"W Patricia ...

This contemporary abstract Limited Edition giclee print by Kelly Rossetti is made with acrylic paint on canvas. It features a light, warm, and neutral palette, with grey, white, and ...

Made for an exhibition of artist Pierre Soulages works at the Musee Des Arts Decoratifs (museum of decorative arts and design) at the Palais du Louvre in Paris, 1960. The original im...

Artist: Josef Albers Title: Portfolio 2, Folder 20, Image 1 from Formulation: Articulation Year: 1972 Medium: Screenprint on Mohawk Superfine Bristol paper Edition: 1000 Paper Size: ...

Ellsworth Kelly Color Squares 1 2011 Five color lithograph 21 x 77 inches; 53 x 196 cm Edition of 35 Signed and numbered in graphite (lower right recto) Frame available upon request...

Signed and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. He has decided against...

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...

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** **This Price Won't Be Repeated Again This Year - Take Advantage** Remember Cecil, the old lion killed in Africa by an Americ...

Stanton Macdonald-Wright Woodblock on Laid Paper 1966-67 Departing Spring Hesitates Appears to be an artist proof. The pencil text and signature a...

Signed, titled and numbered by the artist. Image size: 4.75 x 4.5 inches Medium: aquatint and drypoint Year: 2014 Edition size: 50 Abstract image invoking scenery of the Mediterrane...

This Limited Edition giclee landscape print by Molly Doe Wensberg is an edition size of 195. It features a cool blue and green palette and captures a landscape scene with lush foliag...

Marius Sznajderman was a painter, printmaker and scenic designer living and working in the United States. Born in Paris, France in 1926 his Jewish parents had migrated to France from Poland in 1923. In November 1942 the family fled Nazi-occupied France for Spain before settling in Caracas, Venezuela. He attended the School of Fine Arts in Caracas where his teachers included illustrator Ramon Martin Durban, scenic designer Charles Ventrillon-Horber and painter Rafael Monasterios. and immigrated to the United States in 1949, where he received a Bachelor of Fine Arts and Master of Fine Arts from Columbia University in New York. He settled in Hackensack, New Jersey, where he lived and had a studio for more than 50 years before moving to Amherst, Massachusetts in 2015. His work, which includes painting, prints and collages, as well as set designs, is in more than 45 museum and public institution collections in the United States, Latin America and Israel. He held more than 40 solo exhibitions at galleries and museums and participated in more than 75 group shows around the globe. He helped found the Taller Libre de Arte, an experimental workshop for the visual arts, sponsored by the Ministry of Education. The Taller Libre de Arte was a center for young artists to work and to meet with critics and intellectuals to discuss avant-garde ideas and artistic trends from Europe and Latin America. Among the notable artists who participated in the Taller Libre de Arte were Ramón Vásquez Brito, Carlos González Bogen, Luis Guevara Moreno, Mateo Manaure, Virgilio Trómpiz...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró...

Artist: Joan Miro Title: Sobreteixims Galerie Maeght Exhibition Poster Year: 1973 Printer: Arte Paris Publisher: Maeght Medium: Lithographic poster From a limited edition of 7000 Dim...

Abstract Print by Dan Christensen, American (1942–2007) Date: 1978 Poster on Board Size: 34 x 27.25 in. (86.36 x 69.22 cm)

This abstract landscape limited edition print by Elwood Howell features the artist's signature high horizon line. Lush, green abstracted land extends the width of the composition, wi...

Sam Francis, American (1923 - 1994) - Chicago International Art Exposition, Year: 1989, Medium: Poster, Size: 56.5 x 36.5 in. (143.51 x 92.71 cm), Printer: Black Box Collotype ...

Artist: Gilou Brillant (1935- ) Title: Untitled Year: 1975 Medium: Aquatint Etching with Carborundum, signed in pencil Size: 22 in. x 30 in. (55.88 cm x 76.2 cm) Frame Size: 29 x 3...

Christine Ravaux created Une Fois Rien which is signed by pencil. This impression is #12 of 30 Shades of blacks and grays on a fallen branch create a pleasing pattern contrasted wi...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré à Jean-Paul Riopelle, Derrière le mi...

Hewitt, Charlie. UNTITLED COMPOSITION. Woodcut, not dated, but circa 1995. Edition of 100. Signed and numbered in pencil. 20 x 24 inches. In excellent condition.

Artist: Larry Zox Title: Green Card Sound II Year: 1980 Medium: Silkscreen, Signed in Pencil l.r. Edition: 185 Size: 40 x 30 in. (101.6 x 76.2 cm)

Artist: leonardo Nierman (Mexican, born 1932) Title: Untitled Year: Circa 1970 Medium: Color lithograph with embossing Edition: Numbered 139/200 in pencil Image size: 22 x 1...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

A very good impression of this color aquatint, etching and carborundum. Signed and numbered 27/75 in pencil by Miro. Printed and published by Maeght, Paris. Catalogue reference: Du...

**Annual Summer Sale Until August 31st** **This Offer Won't Be Repeated Again This Year - Tale Advantage of it** A handful of artist 'masters' colorful dots but all or most are done by machines/printers. Oliveira dots were done and painted one by one and are the only ones 3D: 100s of rubber dots painted with dozens of color pallets. (For the original). For this limited edition print on canvas, the work will look like the PRIMARY PICTURE and the first 6 pictures...

"Untitled" abstract screenprint (Encrevé/Miessner Kat. N° 113) by artist Pierre Soulages from the "Kinderstern" portfolio published by Edition Domberger to raise money to house famil...

Celebrating the financial freedom by Mauro Oliveira. Limited edition of 30 museum quality Giclee prints on CANVAS, signed and numbered by the artist. Print lead time 1 week. A "Ce...

Sam Francis, American (1923 - 1994) - Centre National d'Art Contemporain, Year: 1969, Medium: Poster, Size: 41 x 26 in. (104.14 x 66.04 cm)

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with quadfold, as issued. Notes: From Derrière le miroir, N° 160, 1966. Published by Aimé ...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Screenprint on Museum Board, signed and numbered in pencil Edition: 150 I...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 168, 1967. Published by Aim...

Artist: Gabor Peterdi, Hungarian (1915 - 2001) Title: Maui Year: 1969 Medium: Color Etching on BFK Rives paper, signed and numbered in pencil Edition: 146/200 Image Size: 10 x 7 inch...

Myril Adler "Greenscape" c.1960s Intaglio etching collage, ink on paper 6"x3" site unframed Signed and titled in ink Myril Adler, was born on September 22, 1920 in Vitebsk, Russia (...

"Parts of a Kimono" Multi-Layer Collagraph in Ink on Paper Gorgeous purple mesh and rods collagraph by Patricia A. Pearce (American, b. 1948). Strips of fabric are draped over horiz...

This artwork titled "Genesis 3th Day" 1962 is a n original colors etching , with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and num...

This Limited Edition giclee landscape print by Molly Doe Wensberg is an edition size of 195. It features a cool green palette with warm yellow accents, and captures a landscape scene...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 157, 1966. Published by Aimé Maeght, Éditeur, Paris; pr...

Figurative abstract woodcut print titled "Serpientes Cafe" by Cecelia Sánchez Duarte. Pencil signed with "P/A" (Artist Proof), title, and signature bottom margin. Image, 31"H x 23.25"W. Sanchez Duarte is a visual artist and a cultural activist. Cecelia also teaches Art History at Escuela Profesional de Danza de Mazatlán, is the Fine Arts Coordinator at Centro Municipal de Artes, cofounder of the new Técnico en Artes Plásticas and founder of a painting workshop for children. She has had more than 300 collective exhibits internationally as well as 17 solo shows. Cecelia Sánchez Duarte lives in Mazatlán, Mexico. Cecilia Sánchez Duarte became the new director of the Art Museum of Mazatlan in 2017. Cecilia Sanchez Duarte works in printmaking at the Taller Experimental de Estampa Jose Guadalupe Posada...

Will Petersen, a painter, master printer and a poet, was born in Chicago. (Amer. 1928-1994) created this limited edition Etching on Arches paper at the Lakeside Studio. The LITHOGRAPH PRINT is from a limited edition of 25 (Roman Numerals), printed in black on Arches Cover White (archival paper). with chopmarks and blindstamps. published by The Lakeside Studio (chopmark lower right). THE LITHOGRAPH IS SIGNED TITLED AND ANNOTATED BY THE ARTIST in pencil EXCELLENT condition. Will's formal art education began with classes at the Chicago Academy of Fine Arts. As a student at the city's Steinmetz High School, Petersen succeeded Hugh Hefner (of Playboy magazine fame) as the HS newspaper cartoonist, the Steinmetz Star. During this time, Petersen recovered from polio. In 1947 Petersen enrolled at Chicago's Wilbur Wright College. While there, he painted with oils for the first time. Two years later he enrolled at Michigan State University where he developed a strong interest in literature and writing and began printmaking. By 1951 he had begun to exhibit paintings and prints nationally. A year later he completed his master's degree. Petersen served in the United States Army from 1952-54, spending one year as an education specialist in Japan. This encounter with the Japanese culture affected his entire life. He became interested in calligraphy and Noh, classical Japanese Buddhist performance that combines elements of drama, music and poetry. Upon completion of his military service in Japan in 1955, Will Petersen settled in Oakland, California, where he met some of the most active poets of the Beat Generation: Gary Snyder, Allen Ginsberg, Jack Kerouac, Phil Whalen, Mike McClure and others. Petersen was attracted to the group by their intelligence and belief in Zen Buddhism. In 1956 in his small studio in Oakland, he printed the poems of Jack Kerouac. He attended for the first time, the reading of Ginsberg's Howl at Six Gallery. His relationship with Gary Snyder had begun when both were in Kyoto, Japan; later Snyder wrote for the Plucked Chicken. Petersen returned to Japan in 1957, pursuing painting, printmaking and writing for eight years while living in Kyoto. In 1965 he accepted a faculty appointment at Ohio State University, teaching drawing, painting and printmaking. Four years later Petersen took his teaching skills to West Virginia University in Morgantown, where he concentrated on printmaking. He taught there until 1977 when he began publishing Plucked Chicken, a journal of art and poetry. In 1978 in Morgantown, Petersen and his wife, Cynthia Archer, established Plucked Chicken Press, which they later moved to Chicago and then Evanston. Petersen operated the Press until his death on April 1, 1994. From 1955-57 Petersen along with Mel Strawn founded the Bay Printmakers Society. He resumed exhibiting: International Color Lithography, Cincinnati Art Museum; Gravures Americaines d’aujourd’hui, Paris; & received an MFA on the GI Bill (with Nathan Oliveira) from the California College of Arts and Crafts where Richard Diebenkorn was on the faculty. Petersen meets Kerouac, Gary Snyder, Phil Whalen, Allen Ginsberg, McClure, and Rexroth. Petersen’s now famous “Stone Garden” essay is published in Evergreen Review. 1956 In storefront studio in Oakland, California, creates serigraphs and lithographs. Prints poems of Jack Kerouac. 1961 Back in Japan, acquires a lithography press and stones and resumes printing lithographs. Exhibits regularly with Kyoto Printmakers. 1969 Resident lithographer at the Lakeside Studio, Lakeside, Michigan. Prints for the first time Richard Hunt lithographs. 1978 Establishes Plucked Chicken Press in Morgantown, West Virginia. Resident lithographer at Lakeside Studio in Michigan. 1980 Plucked Chicken Press moves to Chicago. Publishes lithographs by Don Crouch and Art Kleinman. 1982 Publishes Blossom, a lithograph/collage by Tom Nakashima. 1983 Series I of Plucked Chicken Press is published with work by Archer, Duckworth, Godfrey, Heagstedt, Himmelfarb, Hoff, Hunt, Martyl, Miller, Nakashima and Petersen. 1984 Plucked Chicken Press moves to Evanston. Series II of Plucked Chicken Press is published with works by Croydon, Ho, Archer, Torn, Osver, Middaugh, Roseberry, Petersen, Spiess-Ferris and Hoppock. 1985 Series III of Plucked Chicken Press is published with works by Driesbach, Hunt, Trupp, Gregor, Pattison, Conger, Evans, Weygandt, Archer, Ho and Petersen. Prints Suite I, Northern Illinois University Collectors Series, with lithographs by Renie Adams, David Bower, David Driesbach, Carl Hayano and Ben Mahmoud...

Andy Warhol (After) Warhol Unlimited, 2015 Silkscreen on thin linen canvas backing 63 × 47 inches Unframed This large, stunning silkscreen poster was published on the occasion of the...

Myril Adler "Metaphor" c.1960s Collagraph ink on paper, A/P 1.75"x2.25 unframed Signed and dated in pencil Myril Adler, was born on September 22, 1920 in...

Derriere Le Miroir-No. 190-Page 14-15 Color lithograph, 1971 Unsigned (as issued) From: Derriere Le Miroir, No. 190, 1971 Publisher: Aime Maeght, Paris Printer: L’Imprimerie Arts, Pa...

SALE ONE WEEK ONLY "I. Traces grotesques" is an Artist’s Proof Lithograph. “Proofs” are either pulled or printed, and the artist has the option to work out the color and quality issues as they come out of the process. The only real difference between the two is the restricted quantity of prints bearing the AP designation and not the quality of the print. This lithograph is signed and titled by the artist, Jean Dubuffet, which indicates his complete satisfaction with the print. It is from 1958 and a perfect example of his style, “Art Brut.” His idealistic approach to aesthetics embraced what is called “low art”, art by non-academically trained artists. It is sometimes referred to as “outsider art.” He did study briefly at the Academie Julian, Paris, but eventually followed his own aesthetics which eschewed traditional standard of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. This lithograph expresses the beauty he found in the meandering spontaneous black line. Jean Dubuffet began painting at the age of seventeen and studied briefly at the Academie Julian, Paris. He painted off and on for the next 20 years. It was not until 1942 in the midst of WWII in France that he began the work which has distinguished him as an outstanding innovator in postwar Europe. It is said of his work that “he looked to the margins of the everyday – the art of prisoners, psychics, the uneducated, and the institutionalized – to liberate his own creativity and coining the term ‘Art Brut’.” Art Brut is a French term that translates as ‘raw art’, to describe art such as graffiti or naïve art which is made outside the academic tradition of fine art. His paintings from the early forties in brightly colored oils were soon followed by works in which he employed such unorthodox materials as cement, plaster, tar and asphalt-scraped, craved and cut and drawn upon with a rudimentary, spontaneous line. Dubuffet worked in France and exhibited from the early forties on. He was included in the 1946 Pierre Matisse...

Henri Van Moe (Dutch) "Untitled: Seated Woman with Black Cat" Edition 58/75, Abstract Lithograph signed and numbered in Pencil, 8.94 x 8.71 ( 15.75 x 15.75) , Mid to Late 20th Centur...

This image is from an edition of 50. The artist's subject matter was enigmatic: a recurring theme was that of anonymous packages tied with knots of rope; sometimes there are prison bars...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From volume, Joan Miro by Jacques Prévert and Georges Ribemont-Dessaignes, 1956. Pu...

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

This artwork titled "Cosmic Explosion" c.2000, is an original colors woodcut on thin rice paper paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, titled and ins...

This artwork titled "Notations Series" c.1980, is an original woodcut monoprint with embossing on thick Wove paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, n...

Christopher lithograph 2017: A rare original hand-signed lithograph by Christopher Wool, letter-pressed on fine, textured matte paper. This work was included as part of a ‘Merde 3/4’...

"Hombre Blanco" by Rufino Tamayo is a Figurative Abstraction mixografia in color limited edition measuring 30x22 in. The piece is framed beautifully with...

Neutral-toned abstract contemporary collage print on paper by Conrad Marca-Relli. The piece depicts two abstract shapes--the one on the left with a newspaper print. Edition 12 out of...

"The Weight" - 1975 Black and White Lithograph on Paper 1975 Black and white surrealist lithograph by Jim Crabb (American, b. 1947). Black linear figures are depicted over a white b...

This Limited Edition giclee landscape print by Bri Custer is an edition size of 195. It features a warm, earth-toned palette. Printed on canvas, this giclee ships framed in a warm si...

Deborah Kass (born 1952) Limited edition geometric abstract lithograph in colors on artist paper. Hand signed and dated in pencil to lower right. 1973. Edition: 102/120 to lower left. Dimensions: sight: 16-3/4" W x 21-1/4" H. Frame: 24-5/8" W x 28-7/8" H. Finding inspiration in pop culture, political realities, film, Yiddish, art historical styles, and prominent art world figures, Deborah Kass uses appropriation in her work to explore notions of identity, politics, and her own cultural interests. She received her BFA in painting at Carnegie Mellon University and studied at the Whitney Museum Independent Study Program and the Art Students League of New York. Deborah Kass (born 1952) is an American artist whose work explores the intersection of pop culture, art history, and the construction of self. Deborah Kass works in mixed media, and is most recognized for her paintings, prints, photography, sculptures and neon lighting installations. Kass's early work mimics and reworks signature styles of iconic male artists of the 20th century including Frank Stella, Andy Warhol, Jackson Pollock, and Ed Ruscha. Kass's technique of appropriation is a critical commentary on the intersection of social power relations, identity politics, and the historically dominant position of male artists in the art world. Deborah Kass was born in 1952 in San Antonio, Texas. Her grandparents were from Belarus and Ukraine, first generation Jewish immigrants to New York. Kass's parents were from the Bronx and Queens, New York. Her father did two years in the U.S. Air Force on base in San Antonio until the family returned to the suburbs of Long Island, New York, where Kass grew up. Kass’s mother was a substitute teacher at the Rockville Centre public schools and her father was a dentist and amateur jazz musician. At age 14, Kass began taking drawing classes at The Art Students League in New York City which she funded with money she made babysitting. In the afternoons, she would go to theater on and off Broadway, often sneaking for the second act. During her high school years, she would take her time in the city to visit the Museum of Modern Art, where she would be exposed to the works of post-war artists like Frank Stella and Willem De Kooning. At age 17, Stella’s retrospective exhibition inspired Kass to become an artist as she observed and understood the logic in his progression of works and the motivation behind his creative decisions. Kass received her BFA in Painting at Carnegie Mellon University (the alma mater of artist Andy Warhol), and studied at the Whitney Museum Independent Study Program Here, she created her first work of appropriation, Ophelia’s Death After Delacroix, a six by eight foot rendition of a small sketch by the French Romantic artist, Eugène Delacroix. At the same time Neo-Expressionism was being helmed by white men in the late Reagan years, women were just beginning to create a stake in the game for critical works. “The Photo Girls...