Florida - Abstract Prints

Robert Smith (United States, 1944) 'Last spring', 1972 engraving and etching on paper 21.7 x 29.6 in. (55 x 75 cm.) Edition of 75 Unframed ID: SMI1158-002-075 Hand-signed by author

printed by Pierre Chave, Vence, published by Bianchi Frères in Nice, France ink on watermarked chiffon de Mandeure paper, hand signed in pencil lower right, "PH Dureux," numbered 4/5...

"Flavio Garciandia (Cuba, 1954) 'Sin título IV', 2004 silkscreen on paper 39.4 x 27.6 in. (100 x 70 cm.) Edition of 106 ID: GAR1570-004-106"

Alexis Kcho Leiva (Cuba, 1970) "Embarcadero" (Pier), 2003 engraving on paper Guarro Super Alpha 250g. 28.8 x 21.3 in. (73 x 54 cm.) Edition of 50 Ref: KCH-110

Color Grid. Ziggurat form. Hand signed and numbered silkscreen. Tony Bechara, Artist born in Puerto Rico in 1942. Painter, printmaker. Bechara attended Georgetown University in Washi...

"AXO-CHARGA" BY VICTOR VASARELY (1906-1997) Serigraph on Black Paper ⚜ Signed ⚜ Numbered ⚜ Framed A VISIONARY MASTERWORK OF OP ART "Axo-Charga" is a striking original serigraph by V...

" CENTENARI CENTRE EXCURSIONISTA " Lithography CATALOGADO .MIRO LITOGRAFICO 6, PAG 10,REF 1085. 1976 82X63 CM Edition 100 Copies + HC on paper Guarro Numbered 50/100 Printed and edit...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. (similar to the Art Informel and Art Brut in France and the Brutalist artists) Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein, Julio Gero, Naum Knop...

David Welker Valley Grrl Anthropomorphized Anomalies Show Signed and numbered by the artist David Welker - "Valley Grrrl" print Title: "Valley Grrrl" Medium: screenprint Dimensions...

Artist: Roberto Matta Title: La Dulce Aqua Vita Medium: Carborundum etching on handmade paper Signed: Hand Signed Size: 41 x 48 Inches Framed: 51 x 58 Inches Edition: 23/125 Year: 20...

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...

Luis Feito (Spain, 1929-2021) 'Untitled VIII', 2017 lithograph on paper 27.6 x 39.4 in. (70 x 100 cm.) Edition of 35. Original 50, 35 of the regular edition and P/E: 4, B.A.T.: 1, P/...

Katherine Porter is an American artist born in Cedar Rapids, Iowa in 1941. She received her BA from Colorado College in 1963. Katherine Porter received an honorary doctorate from Colby College. She has shown twice in the Whitney Biennial and solo exhibitions at the Knoedler Gallery in London, the Nina Nielsen Gallery in Boston, and the Andre Emmerich and Salander-O'Reilly Galleries in New York. Her work is in the collections of the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Museum of Fine Arts in Boston, and the Tel Aviv Museum in Jerusalem. Her exhibitions include biennials in 1976 and 1981 at the Whitney Museum of American Art in New York City; 1980 at the San Francisco Museum of Fine Arts; 1981, Dartmouth College...

Luis Feito (Spain, 1929-2021) 'Untitled IX', 2017 lithograph on paper 27.6 x 39.4 in. (70 x 100 cm.) Edition of 35. Original 50, 35 of the regular edition and P/E: 4, B.A.T.: 1, P/A:...

Francisco Castro Leñero (Mexico, 1954) "Haz del Viento / Bco / Azul/" from serie "El exilio de los sentidos", 2004 Engraving, aquatint on paper...

ARTIST: Salvador Dali TITLE: La Venus aux Fourrures Lady Leaf MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: 34/145 MEASUREMENTS: 11" x 15" Framed: 17" x 20" YEAR: 1968 ...

Perla Krauze (Mexico, 1953) 'El exilio de los sentidos' (The exile of the senses), 2004 engraving and screenprint on paper 15 x 15 in. (38 x 38 cm.) Edition of 75 ID: KRA1662-001-075...

Carlos Gonzalez (Peru, 1936) 'Cinco fragmentos I', 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 ...

Leonardo Gotleyb (Argentina, 1958) 'Solo en la ciudad', 2005 woodcut on paper Rives BFK 300 g. 28.4 x 33.9 in. (72 x 86 cm.) Edition of 25 ID: GOT-311 Hand-signed by author

LIMITED EDITION PRINT 45 x 90inches - 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, inte...

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

Ushio Shinohara (born 1932, Tokyo), nicknamed “Gyu-chan”, is a Japanese Neo-Dadaist artist. His bright, large work has been exhibited internationally at institutions including the Hara Museum of Contemporary Art, Centre Georges Pompidou, the Guggenheim Museum SoHo, National Museum of Modern Art, Tokyo, Leo Castelli Gallery, New York, Museum of Contemporary Art, Los Angeles and The Metropolitan Museum of Art, Seoul and others. Shinohara and his wife, Noriko, are the subjects of a documentary film by Zachary Heinzerling called Cutie and the Boxer (2013). Shinohara's parents instilled in him a love for painters such as Paul Cézanne, Vincent Van Gogh and Paul Gauguin. His father was a tanka poet who was taught by Wakayama Bokusui. Shinohara’s mother was a painter who went to the Woman’s Art University (Joshibijutsu Daigaku) in Tokyo. In 1952 Shinohara entered the Tokyo Art University (later renamed to Tokyo University of the Arts), majoring in oil painting, however he left before graduation in 1957. In 1960 Shinohara participated in a group called "Neo-Dada Organizers". (Masunobu Yoshimura, Genpei Akasegawa, Shusaku Arakawa, Ushio Shinohara, Sho Kazakura, Tomio Miki, Tetsumi Kudo...

Leonardo Gotleyb (Argentina, 1958) 'Metropolis V', 2001 woodcut on paper Velin Arches 300 g. 28.4 x 33.9 in. (72 x 86 cm.) Edition of 25 ID: GOT-305 Hand-signed by author

"Alberto Castro Leñero (Mexico, 1951) 'Untitled III', 2020 woodcut on paper Velin Arches 300 g. 62.6 x 31 in. (159 x 78.5 cm.) Edition of 30 ID: ...

"Cocoon (1990)" by Suzanne Anker Suzanne Anker (born August 6, 1946) is an American visual artist and theorist. Considered a pioneer in Bio Art. She has been working at the relationship of art and the biological sciences for more than twenty five years. Her practice investigates the ways in which nature is being altered in the 21st century. Concerned with genetics, climate change, species extinction and toxic degradation, she calls attention to the beauty of life and the "necessity for enlightened thinking about nature’s 'tangled bank'.” Anker frequently works with "pre-defined and found materials"botanical specimens, medical museum artifacts, laboratory apparatus, microscopic images and geological specimens. Suzanne Anker was born in Brooklyn, New York on August 6, 1946. She earned a B.A. in Art from Brooklyn College of the City of New York and an M.F.A. from the University of Colorado in Boulder (1976). She also completed independent Studies with Ad Reinhardt (1966-1967) and studied at the Brooklyn Museum Art School (1968). She lives with the artist Frank Gillette in Manhattan and East Hampton, NY. During the mid 70s to the mid 80s, Anker worked almost exclusively on sculptural handmade paper reliefs. She started papermaking in 1974 on the basis of reading Dard Hunter's and Claire Romano's books. In 1975 she worked with Garner Tullis at the Institute of Experimental Printmaking in Santa Cruz, California. The paper reliefs produced at his institute were exhibited at the Martha Jackson Gallery in New York City in 1976.[ The same year, she participated in the North American Hand Papermaking exhibition organized by Richard Minsky at the Center for Book Arts in New York City. From a background as a printmaker, Anker initially worked with cast paper, made in latex molds. Subsequently, she incorporated limestone and fossils in her experiment with combinations of paper and stone. For her 1979 solo exhibition at the Walker Art Center, Anker installed large limestone planks that extended from the interior to the exterior of the gallery. The same year, she presented an installation of limestone and its residual chalk dust at P.S. 1’s "A Great Big Drawing Show" curated by Alanna Heiss with artists Vito Acconci, Alice Aycock, Frank Gillette, Sol LeWitt, Robert Morris, Bruce Nauman, Dennis Oppenheim, Richard Serra, and others. Suzanne Anker is considered "one of the pioneers in the broader field of art, science, and technology", particularly in the burgeoning field of Bio Art. In 1994, Suzanne Anker curated Gene Culture: Molecular Metaphor in Visual Art – one of the first art exhibitions on the subject of art and genetics – at Fordham University’s Lincoln Center Campus in New York. The exhibition investigated "the ways in which genetic imaging operates as aesthetic signs". From 2004 to 2006, Suzanne Anker hosted twenty episodes of the Bio-Blurb Show, a 30-minute-long internet radio program originally broadcast on WPS1 Art Radio, in collaboration with MoMA. The show focused on the intersection of art and the biological sciences, and the ethical and aesthetic dimensions therein. It is currently archived on Alanna Heiss’ Clocktower Productions. In 2006, Anker co-curated the exhibition Neuroculture: Visual Art and the Brain, at the Westport Arts Center with Giovanni Frazzetto. The exhibition presented an investigation of aspects of the human brain, and its attendant representations. Suzanne Anker is the Chair of the School of Visual Arts (SVA)'s BFA Fine Arts Department in New York City (2005-present). She previously chaired the SVA BFA Art History Department (2000-2005). In 2011, Anker founded the SVA Bio Art Lab, the first Bio Art laboratory in a Fine Arts Department in the United States. The SVA Bio Art Lab is located in Chelsea, New York City and has been conceived as a place where "scientific tools and techniques become methodologies in art practice". Anker has participated in lectures and symposia in prominent institutions around the world, including Harvard University, Boston; University of Cambridge, Cambridge, UK; Yale University, New Haven; Art-Sci UCLA, Los Angeles; Maryland Institute College of Art (MICA), Baltimore; Rensselaer Polytechnic Institute, New York; Museum of Arts and Design, New York; Nanyang Technological University, Singapore; London School of Economics, London; European Molecular Biology Laboratory- EMBL, Monterotondo, Italy; Max Planck Institute of Molecular Cell Biology and Genetics, Dresden; Leiden University, NL; Hamburger Bahnhof, Berlin; Dundee Contemporary Arts, Dundee; Courtauld Institute of Art, London; Banff Art Center, Alberta; The National Academies of Sciences, Engineering, and Medicine, Washington, D.C.; Berlin-Brandenburg Academy of Sciences and Humanities, Berlin;[ University of Amsterdam, NL; New York Academy of Sciences, Institute for the Humanities, New York University; DLD, Munich. Selected artworks Gene Pool Anker’s interests in the natural world extended her investigation into the microscopic domain of chromosomes and genes. Appropriating scientific images, she created Gene Pool in 1991, a body of work that includes suspended pigment on large vellum sheets and expansive sculptural arrays employing metallic fibers of stainless steel, copper, aluminum and bronze. Other works that reflect scientific representations of chromosomes include Chromosome Chart of Suzanne Anker –a presentation of her own DNA sequence as a self-portrait– and Cellular Script, in which she displays chromosome patterns as a kind of calligraphy. Biota (2011) is a sculptural installation by Suzanne Anker composed of porcelain sculptures and silver-leaf figurines. The porcelain objects are fabricated by immersing natural sea sponges into a mixture of kaolin, feldspar, and quartz. "The organic material of the sponge burns away in the process, leaving behind only the perfect replica of nature". Exhibitions Selected one-person exhibitions "The Biosphere Blues Mending an Unhinged Earth", O'NewWall, Seoul, Korea (2017). “Culturing Life”, Sam Francis Gallery...

Namiko Prado Arai (Mexico, 1963) 'Untitled 7 (Bruñidor)', 1998 engraving on paper Guarro Biblos 250g. 21.1 x 24.5 in. (53.5 x 62 cm.) ID: PRA-309 Hand-signed by author Unframed

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...

Nestor Arenas (Cuba, 1964) 'Yellow Structure I', 2021 etching, aquatint on paper 21.3 x 27.2 in. (54 x 69 cm.) Edition of 10 ID: ARN-101 Unframed

Recently graduated from Pasadena’s legendary Art Center College of Design, Tom Baldwin created the series of inkjet prints Japanese Gardens in 1996 on his computer, using then-nascent graphics technology to "paint" his images on the computer screen. Baldwin embraced this technology and its accompanying printing process not just for the speed and ease of their use, but because the artist could achieve the absolute flatness that the principles of modernism preached but ultimately--because of the limitations of their tools--never reached. These colorful, semi-abstracted views of Japanese temple landscapes subtly, but radically redefine picture space. Baldwin shifts fore and backgrounds, giving equal weight to skies and hillsides. Endowing a lowly bush with a vibrant purple or orange might cause it to pop out of proportion, but ultimately lends balance and stability to the work itself, in short, returning the composition to its original, harmonious whole in keeping with the subject matter. these original prints employ a color scheme that seems more reminiscent of 1980s Japanese pop art beer advertisements...

MAYA HAYUK Swamp Rare Hand-Finished Print from the Iconic Pictures on Walls Era An exceptional piece from Maya Hayuk's celebrated Swamp series, this silkscreen print hails from the ...

Ernesto Rios (Mexico, 1975) 'Untitled', N/A embossed on paper 19.7 x 14 in. (50 x 35.5 cm.) Edition of ID: RIS-101 Hand-signed by author

ANTONI TAPIES was the leader of Spanish abstract art of the 20th century. His works are represented in museums and foundations around the world. Graphic work of the Spanish teacher ...

"Boris Viskin (Mexico, 1960) 'Untitled 2', woodcut on paper Velin Arches 300 g. 13.2 x 52.8 in. (33.5 x 134 cm.) Edition of 30 ID: VIS-102"

Albert Rafols Casamada (Spain, 1923-2009) 'Xaloc', 1991 silkscreen, marble dust or sand on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 150 ID: CAS1205-003-150_3 Hand-signed by aut...

Joan Brossa (Spain, 1919-1998) 'Laberint Poema visual de Joan Brossa', 1996 engraving, silkscreen on paper 15.8 x 11.9 in. (40 x 30 cm.) Edition of 150 ID: BRO1205-005-150_3 Hand-sig...

José Niebla (Spain, 1945) 'Ana Mateix', 1991 silkscreen on paper 19.7 x 27.6 in. (50 x 70 cm.) Edition of 150 ID: NIE1205-003-150_1 Hand-signed by author

Sergio Hernández (Mexico, 1957) 'Untitled', 2011 woodcut on paper BAT(Bon A Tirer) 30 x 44.1 in. (76 x 112 cm.) ID: HER-158-1

Sergio Hernández (Mexico, 1957) 'Lluvia de estrellas II', 2011 woodcut on paper Guarro biblos 270 g. 30 x 44.1 in. (76 x 112 cm.) ID: HER-156

HARTUNG - original abstract lithograph- Limited editionsigned painting Hans Hartung is commonly presented as a standard-bearer for the "Ecole de Paris" and the "lyrical abstraction"...

Carlos Gonzalez (Peru, 1936) 'Cinco fragmentos 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.) serie...

Hand signed and numbered About Women Printed by Kenneth E. Tyler; published by Gemini G.E.L. John Altoon (1925 - 1969), an American artist, was born in Los Angeles to immigrant Arm...

John Altoon (1925-1969) UNTITLED, 1966, color lithograph, hand signed in pencil and inscribed trail proof II, sheet 29 ¾ x 41 ¼, printed by Gemini G.E.L., with their blind stamp low...

Charles Hinman On the Bowery, 1969 - 1971 silkscreen on Schoeller's Parole Paper, edition of 100 + 20 A.P. 25.5 x 25.5 inches, signed, numbered 21/100 Screenprint in color on wove p...

Last Book of Life. (Photos from a dinner of Richard Nixon’s with Chou En Lai’s various views of Chinese chopsticks) Photograph etchings Printed on Stonehedge black paper Hand signe...

Antoni Tapies (Spain, 1923-2012) 'Oval i blanc', 1982 etching, aquatint, carborundum on paper Guarro Biblos 250g. 22.1 x 30 in. (56 x 76 cm.) Edition of 99 Unframed ID: TAP1162-018 H...

Antoni Tapies (Spain, 1923-2012) 'Dentelle', 1977 lithograph on paper 28.6 x 39.6 in. (72.5 x 100.5 cm.) Edition of 99 Unframed ID: TAP1162-019 Hand-signed by author Catalog raisonné...

Rafael Canogar (Spain, 1935) 'Muro IV', 2019 lithograph on dibond 13 x 39.4 in. (33 x 100 cm.) Edition of 25. B.A.T.: 1, P/A: 3 Unframed ID: CAN1030-112 Hand-signed by author ______...

"Boris Viskin (Mexico, 1960) 'Untitled 1', 2015 woodcut on paper Velin Arches 300 g. 13.2 x 52.8 in. (33.5 x 134 cm.) Edition of 30 ID: VIS-101"

Artist: Kazuhide Yamazaki (Japanese-American, 1951-2023) Title: "Shirt" *Signed and dated by Yamazaki in pencil lower right Year: 1984 Medium: Original Monotype on unbranded wove pap...

Rafael Canogar (Spain, 1935) 'Estanque, 2019 lithograph on dibond 13 x 39.4 in. (33 x 100 cm.) Edition of 50. B.A.T.: 1 Unframed ID: CAN1030-113 Hand-signed by author ______________...

" El pi de Formentor, 1976 " original lithograph . framed Edition only in black. 1976 82x58 cm Edition 100 Copies + P.A. on paper Guarro signed in pencil and numbered P.A.. Printed a...

Lucio Muñoz Martinez (Spain, 1929-1998) 'Descubrimiento', 1983 engraving on hand-made paper Image size: 18.2 x 13 in. (46 x 33 cm.) Sheet size: 26...

Rafael Canogar (Spain, 1935) 'Semana Santa I', 2018 monotype on dibond 13 x 39.4 in. (33 x 100 cm.) 1st edition Unframed ID: CAN1030-107 Hand-signed by author _______________________...

Luis Feito (Spain, 1929-2021) '10 Feitos Portfolio', 2017 lithograph on paper Conqueror Connoisseur 300 g/m2 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition 40. Original 54, 40 of the regula...

Juan Rivero (Cuba, 1976) 'Inmersión (La Huella Múltiple)', 2002 engraving on paper 8.1 x 8.1 in. (20.5 x 20.5 cm.) Edition of 300 ID: HUE-252 Hand-signed by author

Mitsuo Miura (Japan, 1946) Hako IV, 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 ID...

The artists computer-generated paintings merge craftsmanship and technology, creating an eclectic and unique style. Through her art, she aims to illuminate the world. Tcherassi's wo...

"Irregular Arcs from Four Sides" colorful, geometric abstract etching with aquatint in colors on Somerset paper with full margins. Signed and numbered PP 2/3 in pencil on front lower...

ANTONI TAPIES was the maximum representative of Spanish abstract art of the 20th century. His works are represented in museums and foundations around the world. "ELS MESTRES DE CATAL...

Luis Feito (Spain, 1929-2021) 'Untitled I (Dypthic)', 2017 lithograph on paper 39.4 x 55.2 in. (100 x 140 cm.) Edition of 35. Original 50, 35 of the regular edition and P/E: 4, B.A.T...