Manhattan - Abstract Prints

From his body of "Illustrated Set" work, this print by Terry Winters takes the printmaking process itself as subject. Winters became inspired by how his prints appeared before press,...

In celebration of Lincoln Center's ultimate New York festival, Summer for the City, the Brooklyn based artist Rico Gatson created a dynamic image of bold colors radiating positive energy. Gatson's concentric circle motif and projecting lines draw inspiration from the giant disco ball shining above Lincoln Center's iconic Revson Fountain, a welcoming beacon at the heart of Josie Robertson Plaza. This colorful, archival pigment print is printed on Hahnemühle paper and is signed, dated and numbered in pencil by the artist. It is in excellent condition and comes directly from Lincoln Center Editions...

Kyohei Inukai (aka Earle Goodenow), American (1913 - 1985), "Untitled" Edition 7/75, Abstract / 3D/ Modern Serigraph signed and numbered in pencil, 23.25 x 34.50, Late 20th Century ...

A moody, evocative black and white abstract etching by pioneer Bruce Nauman. Bruce Nauman (born December 6, 1941) is an American artist. His practice spans a broad range of media inc...

Christopher Wool The Show is Over Poster (Hand Signed by Christopher Wool), 2013- Offset lithograph poster Hand signed and dated 2017 on lower front. This work was uniquely signed i...

An inverted car, gleaming in chrome, speeds through sumptuous layers of pink, translucent yellow, and a veil of lacy, flower-like shapes. Across the top, the artist’s name is splashe...

KENNY SCHARF In the Beginning, 2019 6 color lithograph printed with Marinoni lithographic press, hand cut on 300 g. BFK Rives paper Hand signed and numbered from the edition of 99 on...

Nancy Graves Nancy Graves: A Survey 1969/1980 (Hand signed and inscribed to Dick Polich of Tallix), 1980 Offset lithograph poster (hand signed, dated and inscribed) signed, dated and...

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

Ross Bleckner FLOATING RED Year: 2019 Medium: Archival pigment print on Innova Etching Cotton Rag 315 gsm fine art paper Size: 42 x 70 inches (107 x 178 cm) Edition: 30 Price: $7,000 Also sold as a set with Floating Red Glowing and contemplative, Ross Bleckner’s work blends abstraction with recognizable symbols to create meditations on perception, transcendence and loss. Ross Bleckner was born in 1949 in New York and grew up in the prosperous town of Hewlett Harbor on Long Island. The first art exhibition he saw—The Responsive Eye, a show of Op art on view at the Museum of Modern Art in New York in 1965—had a strong impact on him. He decided to become an artist when he was in college, studying with Sol LeWitt and Chuck Close at New York University, where he earned a BA in 1971. Two years later, he completed an MFA at the California Institute of the Arts in Valencia, where he met David Salle. After moving back to New York, Bleckner purchased and moved into a Tribeca loft building in 1974. Painter Julian Schnabel rented three floors of the building, and the Mudd Club, a nightclub frequented by musicians and artists, occupied space there from 1977 to 1983. Bleckner sold the building in 2004. His first solo exhibition was held in 1975 at Cunningham Ward Gallery in New York. In 1979 he began his long association with Mary Boone Gallery in New York, which championed several of the so-called art stars of the 1980s. In 1981 Bleckner met Thomas Ammann, an important Swiss art dealer who went on to collect his work. Bleckner’s early 1980s Stripe...

Alexander Calder’s ‘Jeune Fillette et sa Suite’ lithograph reflects his signature style of playful abstraction while offering a whimsical portrayal of human figures through simplifie...

Robert Indiana FALCO Dance Company (Hand Signed/Dedicated), 1968 Silkscreen on metallic and wove paper Hand signed by Robert Indiana with personal inscription on the front Unframed T...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

ABOUT THIS PIECE: A 1 inch white border is included in the listed image size (W x H) as per the artist's request. Inspired by the warm light, open vistas, and saturated colors of he...

Emily Mason Untitled (For Douglas), 1990 Carborundum etching and monotype on paper Pencil signed, dated and inscribed "For Douglas" Vintage wood frame included This work was created ...

Louise August (American) "Seated Figure", Abstract Figurative Lithograph signed and Titled in both Ink and Pencil, 20 x 25.50 (Image: 18 x 13.50), Mid-20...

In the artist's Art on Design print series, Be the Dance, 2023 by a.muse is a colorful one-of-a-kind art on paper. The work is an invitation to freedom of self-expression and invites...

Emilio Sanchez (1921-1999) created this color lithograph entitled “LA BANDERA DE CUBA” in 1980. This impression is signed, titled, and inscribed “Seis” [six] in pencil. The printed ...

Bridget Riley: Reconnaissance (hand signed and inscribed by Bridget Riley), 2001 Hardback monograph (book) with no dust jacket as issued (hand signed and...

Donald Baechler, Ice Cream Cone, 1999: A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Soft-ground etching an...

Christo and Jeanne-Claude, Christo, Javacheff Christo Wrapped Trees, Switzerland (Hand Signed by Christo and Jeanne-Claude), 1998 Offset lithograph poster (Hand Signed) Signed Christ...

Vintage 1960s Antoni Tàpies Lithograph Portfolio: Derriere Le Miroir. Published by: Galerie Maeght/Aime Maeght, Paris 1967. Lithograph in colors; 1967. 15 x 22 inches. Center fold...

ABOUT THIS PIECE: Inspired by the warm light, open vistas, and saturated colors of her birthplace (Southern California), Julianna Goodman’s collages often distill memories of nature...

ABOUT THIS PIECE: I based Little Nell on the spectrum of colors found in nature at different times of the day and the four seasons in Aspen, Colorado. Little Nell is a reflection of ...

Robert Indiana Vintage Stable Gallery exhibition poster (hand signed), 1962 Silkscreen on wove paper Signed in the artist's shorthand signature with a love doodle on the back Unnumbe...

Kenny Scharf Untitled from the environmental portfolio "Columbus: In Search of a New Tomorrow", 1992 Color silkscreen on Fabriano paper with blind stamp, held in the original portfol...

Glenn Ligon Lincoln Center Festival (Hand signed, inscribed and dated), 2004 Offset lithograph on wove paper LARGE: 41 1/2 inches (vertical) × 32 inches (horizontal) (Ships in a tube...

Alexander Calder 'La Grenouille et Cie' Vintage original 1971 poster for the exhibition Pace Columbus (Ohio) featuring a printed Calder signature. Medium: Offset lithograph Dimensions: 25 x 32 inches An original 1st printing in very good vintage condition. Plate signed on the lower right from an edition of unknown. This is an original 1970s poster and not a recent reproduction of any kind. Related Categories Calder prints. Calder Mid Century Modern. 60s. Alexander Calder and Contemporary Art. Calder figurative. Vintage Calder.

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 30 1/4 × 40 1/2 inches Unframed Commissioned by the Mr. and Mrs. Albert A. List Graphic Fund for The Jewish Museum, New York Signed, numbered and dated in graphite pencil on the front; bears publishers' blind stamp front left corner. Commissioned by the Mr. and Mrs. Albert A. List New Year's Graphic Fund for The Jewish Museum, New York. During the 1980s, various artists were commissioned to create a print celebrating the Jewish New Year. This is the silkscreen renowned sculptor Nancy Graves created to celebrate the year 5745 of the Jewish Calendar, beginning in September 1984 (Rosh Hashanah). This work was published in a limited edition of 90. The number 90 has special significance in Jewish gamatria (numerology) for several reasons, including the fact that it equals five times life - or Chai. The number for Chai, meaning "Life " s 18, and 18 x 5 = 90. This is a magical number in Judaism. All of the works were published in editions that were multiples of 18, or the Life. In her lifetime, Nancy Graves did not receive the renown or acknowledgement that her ex-husband and former Yale School of Art classmate Richard Serra did, but she is finally getting the recognition she richly deserves. Biography: Nancy Graves (1939 – 1995) is an American artist of international renown. A prolific cross-disciplinary artist, Graves developed a sustained body of sculptures, paintings, drawings, watercolors, and prints. She also produced five avant-garde films and created innovative set designs. Born in Pittsfield Massachusetts, Graves graduated from Vassar College in 1961. She then earned an MFA in painting at Yale University in 1964, where her classmates included Robert Mangold, Rackstraw Downes, Brice Marden, Chuck Close, as well as Richard Serra with whom she was married from 1964 to 1970. Five years after graduating, her career was launched in 1969 when she was the youngest artist — and only the fifth woman — to be selected for a solo presentation at the Whitney Museum of Art. Graves’ work was subsequently featured in hundreds of museum and gallery exhibitions worldwide, including several solo museum exhibitions. She was awarded commissions for large-scale site-specific sculptures and her work is in the permanent collections of major art museums. A frequent lecturer and guest artist, her work was widely documented during her lifetime. In 1991 she married veterinarian Dr. Avery Smith. Graves travelled extensively and was fully engaged with the cultural and intellectual issues of her times. Her brilliant career and life were cut short by her untimely death from cancer at age 54. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps, commingling scientific exactitude with abstraction. Resuming sculpture in the late 1970s, Graves was among the first contemporary artists to experiment with bronze casting. She re-invigorated the traditional lost wax technique by assembling cast found objects into unique improbably balanced sculptures, with bright polychrome surfaces and distinctive patinas. Throughout the 1980s Graves became widely recognized for her increasingly large and graceful open-form sculpture commissions. At the same time, she also expanded her drawing, painting, and printmaking practice and made large gestural watercolors. Then, in the late 1980s she created wall-mounted works that combined her explorations of sculpture, painting, form and color. In these large-scale pieces, she mounted high relief polychrome sculptural elements to the surfaces and edges of painted shaped canvases so that patterned shadows were cast onto the paintings and surrounding wall. By the 1990s Graves was casting in glass, resin, paper, aluminum, and bronze, combining these varied materials and colors into daring sculptures with moving parts. As she proceeded in all the media she mastered, Graves increasingly re interpreted and transmuted forms sourced from her own earlier artwork — rather than from outside research — creating elaborate compositions that form a layered a-temporal archaeology of her own visual production. Nancy Graves’ pioneering art...

Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art...

LeWitt has been the subject of hundreds of solo exhibitions in museums and galleries worldwide since 1965. A leading figure of the Conceptual and Minimalist movements, his prolific ...

Robert Petersen Eight of Hearts, 1989 Mixed media silkscreen with hand applied acrylic on paper with deckled edges Hand signed, numbered 6/21, dated, and inscribed on the front Uniqu...

A Feminine Thought (portfolio), 1971 Plate 11.6 x 9.6 in. / 29.5 x 24.5 cm Paper 27.2 x 20.9 in. / 69 x 53 cm 2 prints in portfolio with label, intaglio printing (drypoint) in dark g...

Abstract black and white hand painted print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary space...

Christo Wrapped Paris Review (Deluxe hand signed edition), 1982 Lithograph and offset lithograph Hand signed and numbered 244/250 by Christo on th...

Rare vintage Keith Haring exhibition poster published on the occasion of: ‘Paradise Garage: Keith Haring and Music, December 14, 2000-February 10, 2001, Deitch Projects, 18 Wooster ...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

The New Cable British Modern Mid 20th Century Vorticist European Vorticism Woman Sybil Andrews CPE (British/Canadian, 1898-1992) "The New Cable," 1931 12 x 16 1/2 inches Color linocut Signed, titled, inscribed 'Second State', and numbered 13/60 in pencil Framed: 19 x 24 inches Literature: Coppel Sa17 Illustrated on page 10 of the catalog The proposed edition of the first state of the Giant Cable was 50, but only 30 impressions were pulled. Andrews removed the blue background for the second state, which was published under the title The New Cable in an edition of 60. BIO Sybil Andrews was a printmaker, painter, graphic artist and educator who was born in Bury St. Edmonds, Suffolk, England. She moved to London (England) in 1922. In 1947, she emigrated to Campbell River (Vancouver Island) British Columbia, Canada, where she worked, taught and lived for the rest of her life. She died at a hospital in Victoria (B.C.) Her mediums were the colour linocut (1) (most famous), etching, posters, pastels, ink, watercolour, monoprint and oil. Her subjects were human activity (at work, sports, travel, etc.), figures, animals, genre, allegory, architecture and landscape. Her style was Art Deco (see AskART styles), Futurism, Cubism and Vorticism (2). Her work is identified by a simple format, clean lines, distortion, vivid colours, drama and rhythm. Quote: "The colour linocut was just the medium for me, being interested in dynamics and ideas and patterns... It is impossible to be fussy with lines, you have to simplify, you are forced to simplify your idea to its fundamentals." Andrews produced 76 linocuts in her life, of which 43 were made from 1929 to 1939, which is considered to be her best period. John Hassall's art correspondence course (1918) was the beginning of her formal art education. She went from there to Heatherley's School of Fine Art (London/1922) where she studied under Henry Massey (see AskART) and met artistic partner Cyril Power (see AskART). At the same time, she studied independently with sculptor Henri Glicenstein (see AskART) who taught her drypoint etching and to draw from life. She also attended the Grosvenor School of Modern Art (1925). Iain McNab (1890-1967) was Principal and Claude Flight (3) (see AskART) an instructor who had a great influence on her choice of linocut as a primary medium. Some of his other students and her associates were Edith Lawrence (1890-1973), Lill Tschudi (1911-2001), Eileen Mayo (see AskART) and William Greengrass (1896-1970). After emigrating to Canada she taught art continuously until a month before her death. She was elected a member of the Canadian Painters - Etchers Society (after 1976 the Print and Drawing Council of Canada) in 1951. She began exhibiting her work in 1921.In 1929 she was included in "The First Exhibition of British Linocuts...

George Stauch (American b. 1900), " The Wedding" Edition 270/300, Abstract Color Lithograph signed in pencil, 20 x 24, Late 20th Century Colors: Blue, White, Red, Brown, Y...

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

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

Francis Bacon Francis Bacon (hand signed and warmly inscribed by Francis Bacon), 1975 Softcover catalogue with stiff wraps (hand signed and warmly inscribed by Francis Bacon) hand si...

Centre Noeuds (Centre Knots) Portfolio, 1974 Hand-Signed Etching, aquatint in colors/Arches paper, with title page, colophon and poem by Antonin Artaud. In-portfolio 14 x 10 1/2 in E...

MILTON GLASER Untitled Abstract Landscape, 1965 Monotype with Mixed Media 11 × 13 inches Signed and dated 1965 on the lower right recto Unique Frame included: held in original vinta...

Alexander Calder Lithograph c. 1967 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition; well-preserved. Unsigned from an edition of u...

ABOUT THIS ARTIST: Rubeena Ratcliffe was born and raised in Edmonton, Canada and later educated as an architect in Canada, Holland, and the US. Ratcliffe became enthralled with paint...

Georgi Daskaloff (Bulgarian b. 1923), "Untitled" 45/100, Abstract Lithograph numbered and signed in pencil, 30 x 22.25, Late 20th Century Colors: Blue, White, Black

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

David Hockney David Hockney at Castelli Graphics, 1981 Offset Lithograph poster 20 × 16 inches Unframed Rare 1981 poster published on the occasion of the r...

Kurt Schwitters 50 Collages by Schwitters, 1962 Lithograph and Silkscreen 22 × 17 inches Unframed Extremely rare and desirable lithographed exhibition poster published on the occasio...

Sam Francis Untitled Abstract Expressionist print for the 1984 Olympics, 1982 Offset Lithograph on Parsons Diploma Parchment paper, hand signed with COA from publisher for Olympic Co...

Niki de Saint Phalle Niki de St Phalle Bespoke LOVE Shopping Bag, ca. 1982 Silkscreen on paper bag 9.5 x 8 inches Unframed The edition is unknown but we h...

Original 1967 Milton Glaser Fold Out Poster for Bob Dylan's Greatest Hits. Offset lithograph printed in colors 33 x 22 in (83.82 x 55.88 cm) Fold lines as issued; very good vinta...

ABOUT THIS PIECE: “Liquid Mirrors” is an ongoing project— started in late 2012— where I use mylar to photograph the reflections of my subjects. I am mimicking the medium of oil paint...

Kenneth Noland Ojai Festival print (Deluxe signed limited edition), 1986 Lithograph with offset lettering Hand signed and numbered 6/100 by Kenneth Noland on lower front Frame inclu...

ABOUT THIS PIECE: I based Cloud 9 on the spectrum of colors found in nature at different times of the day and four seasons in Aspen, Colorado. Little Nell is a reflection of the cool...

One screen print on wove paper titled, Alice Tully Hall by Guillermo Kuitca, 2009. It is hand signed in pencil, dated and numbered from the edition of 117 (total edition includes 18 artist's proofs) The sheet size is 22 1/4 by 20 inches, with the blindstamp of the printer, Brand X Editions, New York. Published by Lincoln Center for the Performing Arts, Inc., New York. This impression has a rich, bold red color on bright white paper. Guillermo Kuitca, whose paintings and prints are often inspired by seating arrangements in theater interiors, recreates the seating chart...

Robert Motherwell Return, from the Octavio Paz Suite, 1988 Lithograph and chine appliqué on watermarked Japanese Gampi hand made paper applied on Arches paper Hand-signed by artist, ...

Dennis Oppenheim A Device for Converting a Chilling Underground Wind into Memory, 1986 Lithograph Hand signed, numbered 3/100 and dated on lower front 38 1/5 × 50 inches Unframed P...

Richard Anuszkiewicz Soft Lime, 1976 8 Color silkscreen on Lenox 100% Cotton paper 38 × 46 inches Pencil signed and numbered 41/75 on the front; bears printers blind stamp from NYIT (New York Institute of Technology) Unframed We have not seen another example of this gorgeous mid century silkscreen...