England - Abstract Prints

A work about the phenomena of urbanisation. :: Digital :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Sign...

CHU TEH-CHUN 1920-2014 (ZHU DEQUN) Xiao County, China 1920 – 2014 Paris (French / Chinese) Title: Appeasement Apaisement, 1997 Technique: Original Hand Signed and Numbered Lithogr...

One Down, 1981-82 Howard Hodgkin Lithograph printed in classic black, transparent brown/black and violet black, with hand-colouring in gouache (three different greys), on buff Velin...

Lithograph on St. Armand Special Etching paper, 1997, signed and numbered in pencil, an artist’s proof aside from the edition of 97, published by Brooke Alexander Editions, New York,...

Adytum S III, 1974 signed, dated, titled and numbered 13/75 in pencil screenprint in colours on wove 31 1/8 x 23 1/4 in 79 x 59 cm

Carnival, 2000 Bridget Riley Sscreenprint in colours, on wove paper Signed, dated, titled and numbered from the edition of 75 (plus 10 artist's proof) Printed and published by Artiz...

This original etching and aquatint in colours is hand signed in white pencil by the artist "Miró" in the lower right image. It is also hand numbered in white pencil from the edition ...

Anyone who has stopped to engage with an oil spill will be familiar with the rainbow colours and the myriad of shapes that appear to the keen observer. The iridescence and depth is a...

Untitled, from September Suite by Stephen Buckley, 1977 Additional information: Medium: etching 50 x 65 cm 19 3/4 x 25 5/8 in signed, dated and inscribed 'Artist's Proof 4/10' in pe...

Richard Smith Chocolate Box II (blue / pink) 1977 Lithograph, Edition of 70 70 x 70 cms (27 1/2 x 27 1/2 ins) RSE067

UNDER AND ABOVE, NEW YORK CITY, 2021 Unique Silver Gelatin Print, Selenium toned; This is a mixed process print using luminogram, photogram and other darkroom techniques – all cameraless, two unique prints mounted on Aluminium Dibond. Currently, this piece is mounted only but will be framed further with hardwood black frame and finish with antireflective UV protective art glass - please see further images for referrals regarding the framing. 2 x Prints as One work of Art: 80 x 50 cm Framed 82 x 52 cm approx./ 32 x 20.5 inches approx. Unique Work Series: New York City Signed by the Artist on verso and provided with signed and stamped Certificate of Authenticity © Michael G Jackson...

Edition of 150 104.1 x 71.7 cms (41 x 28 1/4 ins)

A striking piece by Moore also presented in the Tate collection. Lithograph in colours, on Rives paper. A Printer’s Proof outside of a limited edition of 50, initialed in pencil. Ye...

One Two Three (Red and Blue) by Robert Goodnough, 1968 Additional information: Medium: screenprint 56 x 76 cm 22 1/8 x 29 7/8 in signed, dated and numbered in pencil Robert Goodnou...

Untitled by Mark Lancaster, 1967 Additional information: Medium: lithograph 73 x 63.5 cm 28 3/4 x 25 in signed Mark Lancaster was born Christopher Ronald Mark Lancaster, but early in life he decided that "Mark" was his favorite of the three names. Educated at Holme Valley Grammar School, 1949–52, and Bootham School, York, from 1952 to 55, after which he worked in a family textile business and studied textile technology for six years, painting in his own time, before going to King's College, Newcastle in 1961 to study Fine Art. From 1961 to 1965 Mark Lancaster studied under Richard Hamilton at the University of Newcastle upon Tyne, where he also taught from 1965–66, and then at the Bath Academy of Art, Corsham, Wiltshire, 1966–68, while living in London. He first visited New York City in 1964, where he worked briefly as an assistant to Andy Warhol, appeared in several Warhol movies, and met Jasper Johns, Ray Johnson, Ellsworth Kelly, Roy Lichtenstein, Frank Stella, James Rosenquist, Larry Rivers, Frank O'Hara, Robert Motherwell, Helen Frankenthaler, Norman Mailer and many others. In New York he photographed extensively, and started a series of paintings related to the imagery of the Howard Johnson...

Screenprint in colours with collage on brushed aluminium card, 2009, on Somerset Satin paper, signed in pencil and dated, from edition of 60 (including eight artist's proofs), publis...

Flow / silvered is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. Work can be supplied unmounted and ready to frame if you’d prefer. The work is individually signed and numbered verso, with both a unique catalogue raisonné number and the edition number for guaranteed authenticity. From an edition of 12 Image size ⋅ 88cm H x 124cm W . Drawing Flow was a breakthrough moment for me. It was the first piece that spoke directly to the idea of drawing glass, using translucent glazes, and layers of transparencies, that in some way capture the excitement of seeing a great piece of studio glass, or contemporary stained glass...

Spring, from The Four Seasons by Richard Lin, 1966 Additional information: Medium: screenprint on TH Saunders paper 68.5 x 91 cm 27 x 35 7/8 in inscribed 'Proof' in pencil Born in ...

This striking artwork is part of the new series on the symbolism of water. Water is a representation of wisdom, peace, and purity. The spiritual meaning of water lies in its reflect...

Universe III by Mark Francis, 2015 Additional information: Medium: archival inkjet 106 x 88 cm 41 3/4 x 34 5/8 in signed, titled, dated and numbered in pencil

The original studies from the 'Africa Suite' were a group of ten works selected from a series of ink-on-paper drawings from the same year. The large autom...

JUNE MELODY, 2017 Printed on museum glass, hand finished with White Gold and Silver leaf 61 x 61 cm (including frame), 45 x 45 cm (glass size) Edition of 5 (Each individually hand gi...

The Clifford Suite VI by Peter Stroud, 1972 Additional information: Medium: screenprint 38 x 42.5 cm 15 x 16 3/4 in signed, dated and numbered in pencil

Untitled (Abstract), Aquatint Painting by Johnny Friedlaender, 1960 Additional information: Medium: 76.2 x 57.1 cm 30 x 22 1/2 in Signed and numbered 92/95 in pencil

This original art is inspired by the Neolithic monuments and standing stones of Avebury, in Wiltshire, southwest England. These stones have a magical and sinister beauty. The abstraction further highlights the sense of mystery of these ancient objects...

This work is hand signed in pencil by the artist "L. Fontana" in the lower right image. It is also hand numbered in pencil from the edition of 80, in the lower left image. It was pr...

Rav 4 by Brian Fielding, 1982 circa Additional information: Medium: lithograph 76.5 x 58 cm 30 1/8 x 22 7/8 in signed, titled and inscribed AP in penci...

Evol / deep base is a metallic Lambda photographic print, optionally mounted to Plexiglass and Dibond, and fitted with a hidden subframe, ready to install. Work can be supplied unmo...

The circle is considered a symbol of unity, also the symbol of infinity, without beginning or end, perfect, the ultimate geometric symbol. A circle is an object of nature, an idealiz...

Stephen Buckley b. 1944 Untitled (Small Etching B), 1979 etching and aquatint 28 x 24.2 cm 11 x 9 1/2 in signed and dated verso, edition of 40 Stephen Buckley is a British abstract ...

ATO>MIC #15, 2020 Unique Gelatin Silver Print/ Luminogram and Photogram technique, Hand Printed on tea infused fibre based paper, Custom Framed: museum mount-board with antireflective UV protective art glass in dark brown lacquered hardwood frame, /hand made in UK/ 18 x 23 cm 40.5 x 36 cm (Framed) Unique Series: ATO>MIC Signed and dated in pencil on verso Provided with the Certificate of Authenticity Instead of using carving...

Still life with a Jug, by George Hooper 1989 Additional information: Medium: watercolour over screenprint 58 x 74 cm 22 7/8 x 29 1/8 in signed with initials and numbered 73/84 in pe...

Abstract Form by John Mclean, 1995 Additional information: Medium: screenprint 56 x 75 cm 22 x 29 1/2 in signed and dated in pencil British abstract painter, born in Liverpool to S...

Untitled (Coloured Squares) by Stephen Buckley, 1999 Additional information: Medium: etching with aquatint 70 x 49.5 cm 27 1/2 x 19 1/2 in signed, dated and numbered in pnecil Stephen Buckley is a British abstract artist. Buckley was born in Leicester. He studied Fine Art under Richard Hamilton at Kings College, Durham University (1962-1967), where he was involved in the reconstruction of Marcel Duchamp's "Large Glass", and then at the University of Reading (1967-1979) under Terry Frost and Claude Rodgers. A group of notable commissions in the early 1970s, from clients including Leith's Restaurant, gave Buckley a strong start to his career. These were followed by a solo exhibtion in Milan in 1973 and another at Kettle's Yard the following year. Solo shows were subsequently held at the Museum of Modern Art, Oxford (1975), Waddington Galleries (1976), Arnolfini Gallery, Bristol (1977), and Arts Council of Northern Ireland (1985) among many others. His teaching career began at Canterbury College of Art (1969-70), before heading to Leeds, The Royal College of Art, and nine years at the Chelsea School of Art (1971-80). He was Artist in Residence at Kings College, Cambridge from 1972-74. In 1994, Buckley was appointed Professor of Fine Art at the University of Reading and Professor Emeritus in 2009. A monograph on Buckley was published in 1989, written by Marco Livingstone. His work has been compared to that of Richard Smith. The work of Buckley is part of public collections and museums worldwide, including the British Council, Government Art, Kettle's Yard, Aberdeen Gallery, Berwick-upon-Tweed Borough Museum and Art Gallery, BUPA House, City Art Gallery, Bristol, City Art Gallery, Huddersfield, Derby Museum and Art Gallery, Leicester Museum, National Art Gallery of Wales, Cardiff, Reading Museum, Southampton City Art Gallery, Swindon Museum and Art Gallery, Tate Britain, London, Victoria and Albert Museum, London, Walker Art Gallery, Liverpool, Whitworth Art Gallery, Manchester. His work is also part of international collections including The Metropolitan Museum of Art, New York, Miami Art Museum, Miami, Florida, Yale Center for British Art, New Haven, Connecticut; Museo de la Solidaridad Salvador Allende...

Stephen Buckley b. 1944 Untitled (Small Etching J), 1979 etching and aquatint 28 x 24.2 cm 11 x 9 1/2 in signed, and dated verso, edition of 40 Stephen Buckley is a British abstrac...

V, from Thomas Suite by Robyn Denny, 1975 Additional information: Medium: screenprint 90 x 64 cm 35 3/8 x 25 1/4 in signed, dated and numbered in pencil Robyn Denny was one of a gr...

Shaded Grey by Kim Lim, 1993 Additional information: Medium: lithograph 52.5 x 56 cm 20 5/8 x 22 1/8 in signed, dated and numbered 20/20 in pencil Kim Lim was born in Singapore and spent much of her early childhood in Penang and Malacca. After her schooling in Singapore, Lim knew that she wanted to become an artist, and at eighteen, she enrolled at St. Martin's in London, where she spent two years concentrating mainly on wood carving. She then transferred to the Slade, where taught by the etcher Anthony Gross and lithographer Stanley Jones, she developed a strong commitment to print making. On journeys back to Singapore she stopped off in Europe and India, soaking up the art 'like a sponge'. These were the experiences that confirmed in her a lifelong predilection for things archaic, and for the flow and rhythm of Indian and South East Asian sculpture: " I found that I always responded to things that were done in earlier civilizations that seemed to have less elaboration and more strength." In Greece she was entranced by Cycladic sculpture. Of Chinese art she was moved most by early Shang bronzes, Han sculpture, Sung pottery...

Untitled (blue squares) by Stephen Buckley, 1977 Additional information: Medium: etching with aquatint 65 x 49.5 cm 25 5/8 x 19 1/2 in signed, titled, dated and numbered 7/50 in pen...

This work is hand signed in pencil by the artist "L. Fontana" in the lower right image. It is also hand numbered in pencil from the edition of 80, in the lower left image. It was pr...

II, from Thomas Suite by Robyn Denny, 1975 Additional information: Medium: screenprint 90 x 64 cm 35 3/8 x 25 1/4 in signed, dated and numbered in pencil Robyn Denny was one of a g...

Untitled (Bits and Pieces No.5) by Wendy Pasmore, 1988 Additional information: Medium: screenprint on heavy paper 18 1/4 x 19 1/8 in 46.2 x 48.5 cm signed with initials, dated and n...

Inspired by East Asian Sumi ink drawings, George McLeod wanted to find a photographic way of producing intricately detailed images. As with Sumi ink draw...

Lithograph and chine colle 73.9 x 56.9 cms (29.1 x 22.4 ins) Edition of 19

Laminated Giclée print on aluminium composite, screen printed with glitter Hirst’s art is wide-ranging, including installation, sculpture, painting and drawing. In his relentlessly enterprising, unapologetically commercial approach to art, Hirst’s career is closely aligned with that of Andy Warhol and Jeff Koons, the latter of whom has cited him as an influence Stunning bright red collectable print...

Aquatint in colours, 1972, on Guarro paper, signed and inscribed in pencil aside from the edition of 75, published by Editorial Gustavo Gili, Barcelona, 75.7 x 100.5 cm. (29.8 x 39.6...

“Far from being an exercise in nostalgia, this analogue technique offers Jackson, as it does other artists at the cutting edge of this art movement, a path to the future.” – The Financial Times “Mike...

PIERO DORAZIO 1927-2005 Rome 1927 - 2005 Perugia (Italian) Title: Sapsikos ΣΑΠΣΙΚΟΣ, 1976 Technique: Original Hand Signed and Numbered Lithograph in Colours on Wove Paper Pap...

Heathrow by Julian Trevelyan, 1973 Additional information: Medium: etching and aquatint 58.4 x 78.1 cm 23 x 30 3/4 in signed in pencil Julian Trevelyan was an important British art...

Mariposa Nocturna by Alan Reynolds, 1967 Additional information: Medium: etching and aquatint 57 x 45 cm 22 1/2 x 17 3/4 in signed, dated, numbered and ...

Edition of 49 plus 12 artist's proofs 158.4 x 101.6 cms (62.4 x 40 ins) Published by Tyler Graphics Ltd., Bedford Village, New York

Grey Centre by Breon O'Casey, 1998 Additional information: Medium: linocut 64 x 44 cm 25 1/4 x 17 3/8 in signed, dated, titled and inscribed AP/1 in pencil Born in London 1928, Bre...

Indian View G by Howard Hodgkin, 1971 Additional information: Medium: screenprint in colours on J Green, printed to the edges 22 7/8 x 30 1/2 in 58 x 77.5 cm signed, dated and numbered 46/75 in pencil Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1995–96 Hodgkin had an exhibition at the Metropolitan Museum of Art, New York, which travelled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group. His black stone and white marble mural...

Florentine 2 by Richard Smith, 1973 Additional information: Medium: lithograph on heavy wove paper, with carbon tracing paper and plastic strings 19 3/4 x 27 1/2 in 50 x 70 cm signed, dated and numbered 46/75 in pencil Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

IV, from Thomas Suite by Robyn Denny, 1975 Additional information: Medium: screenprint 90 x 64 cm 35 3/8 x 25 1/4 in signed, dated and numbered in pencil Robyn Denny was one of a g...

Untitled III, from Waddington Suite by Robyn Denny, 1968-9 Additional information: Medium: screenprint 61 x 53.4 cm 24 1/8 x 21 1/8 in signed and numbered 71/75 in pencil Robyn Den...

Untitled I, from Waddington Suite by Robyn Denny, 1968-9 Additional information: Medium: screenprint 61 x 53.4 cm 24 1/8 x 21 1/8 in signed and numbered 71/75 in pencil Robyn Denny...

To see our other Modern British Art and works by Henry Cliffe, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Henry Cliffe (1919 - 1983) Festival Gallery Bath Poster Lithograph 51 x 38 cm Henry Cliffe was born in Scarborough, Yorkshire in 1919. After studying at the Bath Academy...

JACQUES VILLON 1875-1963 (Gaston Duchamp) Damville 1875-1963 Paris (French) Title: The Small Mechanical Workshop Le petit atelier de mécanique, 1914 ...

Aquatint, lift-ground etching and aquatint on Auvergne a la Main Richard de Bas handmade paper 57.8 x 63.8 cms (22.75 x 25.1 ins) Edition of 34 Signed "Motherwell" in pencil ...

Lyric SV / tangerine dream is a ten colour archival pigment print on 305gsm, 100% cotton, Hahnemühle fine art paper. The work can be supplied unframed, or framed and ready to hang. I tend to use fairly minimal glazed and painted tulipwood frames, and set the work ‘straight in’ under the fillets, without a window mount. If you’d like to discuss other framing choices to suit your space please do get in touch. Individually signed and numbered From an edition of 24 prints, plus 2 APs Image size ⋅ 88cm H x 72.2cm W Sheet size ⋅ 100cm H x 82.2cm W . Lyric SV is a systematic variation of the original Lyric geometry, using a new process led idea to create a more liquid treatment, that breaks up the linework with a far more painterly style of abstraction, hopefully without losing too much of the original rhythm that flows through the piece. The blue edition takes its palette from Hokusai’s wave...