Florida - Abstract Prints

Serigraph in colors on paper. Hand signed, numbered and dated by the artist. From the edition on 98. Artwork is in excellent condition. Certificate of Authenticity is included. A...

An original lithograph exhibition poster by Spanish artist Joan Miro (1893-1983) titled "Graphics: Philadelphia Museum of Art", 1966. Printed by Arte Adrien Maeght in Paris France an...

Untitled 1 Etching original painting number 22 of an edition of 28 engravings. Plate, Iron 51.5x36.5 cm Jaume Plensa Suñé (Barcelona, 1955) is a Spanish plastic artist, sculptor and ...

This is from the suite by Jean Paul Sartre and Andre Masson, Limited edition of 175. published by Fernand Mourlot, 1961. The portfolio is numbered #29/175 and hand signed by Andre Ma...

Silkscreen collage on paper. Hand signed, titled and numbered by Peter Blake. From the edition of 175. Image size 19 x 16 inches. Sheet size: 27 x 23 inches. Frame size approx 31....

Jesus Rafael Soto “Untitled” Lithograph Ed. 63 of 120 29 x 23 in

La melodie acide. original lithograph painting. signed on the stone and numbered 1 to 1500

Luis Feito red original engraving limited edition painting. framed In this abstract expressionist, engraving, Luis Feito's palette has been simplified to black, red and purple. The d...

Eduardo Chillida (Spain, 1924-2002) 'Estampa VI', 1998 It belongs to the folder "La indetenible quietud" that includes 6 etchings by Eduardo Chillida and 32 poems by Clara Janés. aqu...

Eduardo Chillida (Spain, 1924-2002) 'Bidegin', 1972 etching, chine colle on paper Velin Arches 250 g. Image size: 12.75 x 9.25 in. (32.5 x 23.5 cm.) Sheet size: 29.8 x 21.9 in. (75.5 x 55.5 cm.) Edition: 67. 50 numbered, 7 P/A (Artist Proofs), and 7 H.C. Unframed ID: CHI1038-011 Hand-signed by author It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P.I 1959-1972. Chorus – Verlag. pp 314 – 315. Nr 72015. ____________________________________________________ He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements. Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes. Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own. His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production. The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999). Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

Artist/Designer; Manufacturer: Keith Haring (American, 1958-1990) Marking(s); notes: signed; ed. 280/1000; 1988 Materials: lithograph Dimensions (H, W, D): 11.25"h, 8.5"w; 21.5"h, 17...

Jerome Kaplan (1920-1997). Malach (Angel), 1952. Lithograph on wove paper. Image measures 15 x 19 inches; 23 x 28 inches in custom shadowbox frame with custom beveled linen matting. ...

Antoni Tapies (Spain, 1923-2012) 'Toile pliée et chiffres', 1974 lithograph on paper 24.9 x 35.5 in. (63 x 90 cm.) Edition of 90 Unframed ID: TAP1162-026 Hand-signed by author Cat. r...

Moix, Santi (Spanish, b. 1960), Figural Abstraction, hybrid print with etching and aquatint, 23.5 x 16.75 inches, pencil signed and numbered 2/3. Santi Moix (Barcelona, 1960) lives ...

Limited edition (18 signed and numbered prints + two artist proofs) This image is from Marvin Berk’s “Flowing Geometry” series. Flawless original signed a...

"Justo Barboza (Argentina, 1938) 'Sin título (azul turquesa)', 1998 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 30 Unframed ID: BAR1437-018-015 Hand-sig...

Alfonso Fraile (Spain, 1944) 'A-III', 1986 Etching and aquatint on paper Image size: 7.08 x 4.92 in (18 x 12.5 cm.) Sheet size: 14.96 x 11.22 in. (38 x 28.5 cm.) series number: 5/25 ...

Lithograph and silkscreen in colors on paper. From Peace Portfolio. Hand signed and numbered by the artist. Artwork size 26 x 21 inches. Frame size approx 31 x 26 inches. Editio...

Sensations engraving surrealist limited edition painting Paper handmade of 600 grs. Edition of 100 copies Numbered in pencil and signed Born in Vic, Cataluña, in 1947, he resides ...

Gina Pellón (1926-2014) "Untitled" Lithograph 30 x 20 in Signed by the artist at the bottom right corner

Antoni Tapies (Spain, 1923-2012) 'Variations I: Chaise de profil', ca. 1970-1975 Serie: Variations sur Chaise lithograph on paper 41.4 x 29.6 in. (105 x 75 cm.) Edition of 90 Unframe...

Eduardo Chillida (Spain, 1924-2002) Clearing (Bilbao). Soccer World Cup. Spain '82, 1982 Original poster from 1982 lithograph on paper 37.5 x 23.7 in....

Esposicion de Retratos, Instututo de Cultura Puertorriquena San Juan, 1965. Screen Print on paper measiures 20 x 30 inches. Wear and creasing as depicted in detail photos. Beautifu...

Projects for private rites. London 1980, by Alvaro Herazo Fine prints Image size: 20 H x 30 W in. Frame size: 25 H x 37 W x 2 D in. LE 3/10 Wooden frame with plexiglass Herazo belo...

Bow Tie Hand signed and numbered, ,limited edition lithograph collage assemblage. Barbara Kohl-Spiro is a Milwaukee, Wisconsin-based artist whose work has spanned over five decades...

This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Moshe Tamir and Michael Gross. Yigal Tumarkin (also Igael Tumarkin...

Screen print square, inscribed 'Vasarely' at bottom, hung diagonally, sides of the square 23 1/2 x 23 1/2 (59.5 x 59.5); as hung, 33 x 33 (84 x 84). VICTOR VASARELY (1908-1997) In...

Artist: Dennis Oppenheim, American (1938 - 2011) Title: Information Lines, 1981. Medium: Lithograph, signed and numbered in pencil A/P 1/30. Artist's Proof. Size: 41.25 in. x 29.7...

2025 – A Vision of Renewal and Transformation This stunning giclée print is adorned with holographic and foil detailing, bringing its sculptural enhancements to life. Measuring 66.0...

Untitled, 1983, lithograph printed in sepia ink, Hand signed and dated lower right, with the artist's chop mark lower left, inscribed by artist. From a series of experimental abst...

Eduardo Chillida (Spain, 1924-2002) 'Korapillo I', 1982 chine colle, dry point on japanese paper 25.6 x 19.7 in. (65 x 50 cm.) Edition of 50. Original 62 of which 50 belong to the regular edition. P/A: 7, H.C.: 5 Unframed ID: CHI1038-012 Hand-signed by author It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P. II 1973-1985. Chorus – Verlag, pp 288 – 289. Nr 82002. ____________________________________________________ He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements. Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes. Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own. His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production. The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999). Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...

Luis Feito (Spain, 1929-2021) 'Peñalara I', 2000 etching on paper Rives BFK 300 g. 30 x 22.5 in. (76 x 57 cm.) Edition of 75 Unframed ID: FEI1051-069 Hand-signed by author

"Pierre Alechinsky (Belgium, 1927) 'Derriere le Miroir, Maeght Editeur', lithograph on paper 34.7 x 23.7 in. (88 x 60 cm.) Unframed Ref: ALE100-201 Pierre Alechinsky Born in the im...

Nelson Dominguez (Cuban, 1947) 'La mujer del tabaco', 2012 Wood printing and collagraph 124.5 x 84.5 cm. (49 x 33.3 in.) Edition of 10 Unframed

Maya Hayuk LCD 2018 Each print is signed, numbered, and hand-finished by Maya Hayuk With their symmetrical compositions, intricate patterns, and lush colors, Maya Hayuk’s paintings ...

Victor Guadalajara (Mexico, 1965) 'Luna Roja ', 2020 etching, aquatint, silkscreen on paper Intaglio 300 g. 37.8 x 56 in. (96 x 142 cm.) Edition of 10 Unframed ID: GUA-109 Hand-signe...

"Eduardo Chillida (Spain, 1924-2002) 'Museum of Art Carneige Institute Pittsburg', 1980 Original poster from 1980 lithograph on paper 12.6 x 25.6 in. (32 x 65 cm.) Unsigned Unframed ...

"Pierre Alechinsky (Belgium, 1927) 'Dribbling (Alicante)', 1982 Original poster from 1982 FIFA Soccer World Cup lithograph on paper 37.5 x 23.7 in. (9...

Eduardo Chillida (Spain, 1924-2002) 'Korapillo II', 1982 chine colle, dry point on japanese paper 25.6 x 19.7 in. (65 x 50 cm.) Edition of 50. Original 63 of which 50 belong to the regular edition. P/A: 8, H.C.: 5 Unframed ID: CHI1038-013 Hand-signed by author It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P. II 1973-1985. Chorus – Verlag, pp 290 – 291. Nr 82003. ____________________________________________________ He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements. Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes. Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own. His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production. The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999). Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...

Pablo Picasso (after) "Buste de Petite Fille" limited edition print on Arches paper, Hand signed by Marina Picasso lower right and numbered 144/500 lower left From the estate of Pa...

TECHNICAL INFORMATION: Victor Vasarely Cinetique 1973 Silkscreen in two parts; paper and mylar 12 3/4 x 10 1/2 x 1 1/4 in. Edition of 10, numbered in Roman numerals Signed in ink on...

Luis Rey Polo (Spain, 1924-2000) 'Rehén', N/A silkscreen on paper 17.8 x 17.4 in. (45 x 44 cm.) Edition of 300 ID: POL1362-001-300 Unframed Hand-signed by author

TECHNICAL INFORMATION: Julian Stanczak Diamonds Floating in Orange 1970 Silkscreen 28 1/4 x 28 1/4 in. Edition of 135 Pencil Signed and Numbered Accompanied with COA by Gregg Shien...

Raoul Dufy (1877-1953). Nude Figure on a Balcony. Etching, plate measuring 13 x 18 inches; frame measurement 22 x 28 inches. Edition authorized by Louvre Museum, Paris. Vinta...

Vintage gallery exhibition poster. Bright vivid red and bold yellow. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was...

Soft ground etching and aquatint in colors on Inveresk paper. Hand signed lower right by David Hockney. Hand numbered 121/200 lower right. Artwork size: 20.9 x 18 inches. Frame s...

Charles Garabedian’s “Cultural Escape - Samurai” (1988) is a compelling etching that masterfully combines abstract forms with cultural references, reflecting the artist’s deep engage...

Leonardo Gotleyb (Argentina, 1958) 'Sinfonia urbana I', 2005 woodcut on paper Rives BFK 300 g. 30 x 22.1 in. (76 x 56 cm.) ID: GOT-307 Hand-signed by author

Miguel Castro Leñero (Mexico, 1956) 'Fuera del Radar II', 2020 engraving on paper Intaglio 300 g. 63.6 x 39 in. (161.5 x 99 cm.) Edition of 30 Unframed ID: CAM-105 Hand-signed by author

Rafael Canogar (Spain, 1935) 'Semana Santa II', 2018 monotype on dibond 13 x 39.4 in. (33 x 100 cm.) 1st edition Unframed ID: CAN1030-108 Hand-signed by author ______________________...

Cleve Gray, American (1918-2004) Composition, (1976) serigraph or lithograph Hand signed lower right, and editioned 9/50 Dimensions: 19.25 X 23.75 inches sheet. unframed Cleve Gray (1918 – 2004) was an American Abstract expressionist painter, who was also associated with Color Field painting and Lyrical Abstraction. Gray was born Cleve Ginsberg, the family changed their name to Gray in 1936. Gray attended the Ethical Culture School in New York City (1924–1932). From the age of 11 until the age of 14 he had his first formal art training with Antonia Nell, who had been a student of George Bellows. From 15 to 18 he attended the Phillips Academy, in Andover, Massachusetts; where he studied painting with Bartlett Hayes and won the Samuel F. B. Morse Prize for most promising art student. In 1940 he graduated from Princeton University summa cum laude, with a degree in Art and Archeology. He was a member of Phi Beta Kappa. At Princeton he studied painting with James C. Davis and Far Eastern Art with George Rowley, under whose supervision he wrote his thesis on Yuan dynasty landscape painting. Best known for his calligraphic abstractions which melded elements of Abstract Expressionism, Color Field painting, and traditional Chinese scroll painting. After graduation in 1941 Gray moved to Tucson, Arizona. In Arizona he exhibited his modernist landscape paintings and still lifes at the Alfred Messer Studio Gallery in Tucson. In 1942 he returned to New York and joined the United States Army. During World War II, he served in the signal intelligence service in Britain, France and Germany, where he rose to the rank of sergeant. After the liberation of Paris he was the first American GI to greet Pablo Picasso and Gertrude Stein. He began informal art training with the French artists André Lhote and Jacques Villon, continuing his art studies in Paris after the war. Gray returned to the United States in 1946. In 1949 he moved to the house his parents had owned on a 94-acre property in Warren, Connecticut, and lived there for the rest of his life. In the 1960s he formed a close friendship with Barnett Newman. It was during this time that he experienced an artistic metamorphosis, dissolving his earlier cubist compositions in a sea of distilled color. This dramatic body of work marked the beginning of an artistic meditation that would last for over 40 years. The rigors of French modernism, the ethos of Abstract Expressionism and the meditative restraint of Chinese and Japanese scroll painting commingle with astounding affect. The atmospheric, subdued tones of his 1960s paintings gradually gave way to bright, monochromatic fields of color, hazily washed onto the canvas in stain like swathes. Much of his work from the last three decades of his career feature striking graphic brushwork that conjures the influence of Japanese and Chinese calligraphy. He married the noted author Francine du Plessix on April 23, 1957. They worked in separate studios in two outbuildings with a driveway in between. Gray was a veteran of scores of exhibitions throughout his career, as listed below, from the early days Tucson, through to postwar Paris and New York, and most recently in 2002 at the Berry-Hill Gallery in New York City. His paintings are held in the collections of numerous prominent museums and institutions. In 2009 the art critic Karen Wilkin curated a posthumous retrospective of his work at the Boca Raton Museum of Art, Florida, and other posthumous exhibitions have been held. Museum collections Addison Gallery of American Art, Phillips Academy, Andover, MA Albright-Knox Art Gallery, Buffalo, New York Boca Raton Museum of Art, Boca Raton, Florida The Brooklyn Museum, New York City Columbia University Art Gallery, New York City Columbus Museum of Art, Ohio The Corcoran Gallery of Art, Washington, D.C. Grey Art Gallery and Study Center, New York University, New York City Solomon R. Guggenheim Museum, New York City Honolulu Museum of Art, Honolulu, Hawaii The Jewish Museum, New York City The Metropolitan Museum of Art, New York City Museum of Art, Rhode Island School of Design, Providence Museum of Fine Arts, Boston Museum of Fine Arts, Houston Museum of Modern Art, New York City The Neuberger Museum, State University of New York at Purchase New Britain Museum of American Art, Connecticut The Newark Museum, New Jersey Norton Gallery of Art, West Palm Beach, Florida Oklahoma City Art Center, Oklahoma The Phillips Collection, Washington, D.C.[14] The Art Museum, Princeton University, New Jersey[6] Rose Art Museum, Brandeis University, Waltham, Massachusetts Sheldon Museum of Art, University of Nebraska, Lincoln Smithsonian American Art Museum, Washington, D.C. The Wadsworth Atheneum, Hartford, Connecticut Whitney Museum of American Art, New York City Yale University, New Haven, Connecticut Williams College Museum of Art, Williamstown, Massachusetts Yale University Art Gallery, New Haven, Connecticut He was included in the show 1977, Group Exhibition, Betty Parsons Gallery. Mino Argento...

Artist: Josef Albers (German-American, 1888-1976) Title: "MMA-3 Variant" Series: MMA (Metropolitan Museum of Art) *Unsigned edition Year...

Boris Viskin (Mexico, 1960) Untitled from 'El exilio de los sentidos', 2004 engraving on paper 15 x 15 in. (38 x 38 cm.) Edition of 75 ID: VIS1662-001 Han...

TECHNICAL INFORMATION: Victor Vasarely Pixis Screenprint 17 3/8 x 14 7/8 in. Edition of 50 annotated F.V. Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Ar...

ORIGINAL MIXED MEDIA ON ARTBOARD 40 x 40 inches - Original mixed media signed by the artist. Craig Alan is a Pop Surrealist, internationally recognized for his ingenious portraits o...

Reclining Cubist Nude Woman Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman. Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913. In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States. In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died."[8] As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show." The Cellist...

Vicente Rojo (Mexico, 1932-2021) 'Volcán Rojo', 2016 engraving, sugarlift, embossed on paper Guarro Biblos 250g. 17 x 13.8 in. (43 x 35 cm.) Edition of 40 Ref: ROJ-159

Eduardo Chillida (Spain, 1924-2002) 'Estampa V', 1998 It belongs to the folder "La indetenible quietud" that includes 6 etchings by Eduardo Chillida and 32 poems by Clara Janés. aqua...

Leonardo Gotleyb (Argentina, 1958) 'Ave fenix', 2004 woodcut on paper Rives BFK 300 g. 27.6 x 39 in. (70 x 99 cm.) Edition of 15 ID: GOT-313 Hand-signed by author