USA - Abstract Prints

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...

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

"Sexual Spring-like Winter" is a large painterly work, created with layers of pink and resin by the art and film world's favorite enfant terrible, Julian Schnabel. The artist and dir...

Mario Yrisarry Stern - 1967 Print 29½" x 23½" inches Edition: signed and numbered in pencil 3/100 Biography Birth place: Manila, Philippines Addresses: NYC Profession: Painter ...

Eduardo Chillida (Spain, 1924-2002) 'Munich', 1994 etching, aquatint on paper gray Eskulan 31.5 x 23.9 in. (80 x 60.5 cm.) Edition of 119 (of which 98 correspond to the Arabic numbered edition). P/A: XX (20) Unframed ID: CHI1038-009 Hand-signed by author It appears reviewed in the catalog raisonné “Eduardo Chillida – Opus P.III. 1986-1996”, Chorus – Verlag. Page 278, cat. 94015. ____________________________________________________ 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...

From a series of large scale abstract photographs of muted color monochromatic water surface color clouds and horizon SEASCAPE IV by Frank Schott an homage to Mark Rothko 60" x 48" / 152cm x 122cm signed edition of 7 75 x 58 inches / 190cm x 147cm signed edition of 7 archival quality fine art pigment print limited art edition published by Edition EKTAlux...

Delicate and layered collotype on heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of this piece is a collotype, whereas the lace, strings, and shadows are ...

Artist: Pablo Picasso (1881-1973) Title: Femme Accoudee au Fauteuil Year: 1982 Medium: Lithograph on Arches paper Size: 28.5 x 21.5 inches Edition: 1000, plus proofs Condition: Good ...

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...

Artist: Donald Baechler Title: Thistle Medium: Lithograph Year: 1999 Edition: 67/75 Sheet Size: 45 1/2" x 22" Signed: Hand signed and numbered in pencil

This is one-of-a-kind, unframed colored pencil & collage on archival pigment print. See image gallery for example of framing possibilities. These pieces work particularly well as a s...

Untitled (for the journal, XXe Siécle) Color lithograph on wove paper, 1973 Unsigned (as issued) From: XXe Siecle,, December 1973, No. 41 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, Paris Edition 3000 (There was also a signed edition of 75 on larger paper) Catalogue raisonné: Subsequent to Schmücking Condition: Excellent Image/Sheet size: 12 1/4 x 9 1/2 inches "Hans Hartung B. 1904, LEIPZIG, GERMANY; D. 1989, ANTIBES, FRANCE Hans Hartung was born on September 21, 1904, in Leipzig, Germany. He cultivated interests in philosophy, astronomy, music, and religion at a young age before he turned to painting. Early in his career he found inspiration in the works of Rembrandt van Rijn and Francisco de Goya, and later influences included Lovis Corinth, Oskar Kokoschka, Emil Nolde, and Max Slevogt. At just 17, Hartung began to experiment with abstraction, synthesizing the graphic techniques of his artistic models while completely eliminating figurative elements. Hartung entered the Universität Leipzig in 1924 to study philosophy and art history but left to concentrate on painting at the Kunstakademie, Leipzig. While Hartung was advised to pursue further training at the Bauhaus, he opted to study at the Kunstakademie, Dresden. In 1926 Hartung saw an exhibition of international art in Dresden, which exposed him to Cubism and other modern styles that had emerged in France. His encounters with works by Georges Braque, Juan Gris, Henri Matisse, and Pablo Picasso, along with various travels abroad, encouraged him to move to Paris in 1926, where he spent the majority of his time until 1932, although he passed the summer of 1928 in Munich studying under artist and theorist Max Dörner. In 1929 Hartung married the Norwegian painter Anna-Eva Bergman. After several years abroad, they tried to reestablish themselves in Berlin in 1935 but were soon forced into exile by the National Socialist regime. In the years leading up to World War II, Hartung's work reflected his attempts to reconcile chance and control, combining expressive graphic elements with patches of black and color to produce a sense of spontaneity. After the outbreak of the war, Hartung served in the Foreign Legion (1939–40), and later in the Free French (1943–44). He was gravely wounded at the German Front, and one of his legs was amputated. In 1945 he returned to Paris and resumed painting and the following year earned French citizenship. Hartung was a major figure in Art Informel and Tachisme (from the French tache, meaning blot or stain). While Hartung's postwar paintings are generally described as exhibiting a calligraphic quality, his work moved through a series of phases, becoming less spontaneous and more formally aggressive than his work from the late 1930s. In many works of the late 1940s and early 1950s, such as T-50 Painting 8 (T-50 peinture 8, 1950), he applied large areas of color to the canvas on which he painted a combination of bold black brushstrokes and thinner frenetic linear strokes. Hartung received several international awards, including the 1956 award for the Europe-Africa section at the Guggenheim International Award and the International Grand Prize for painting at the 1960 Venice Biennale. His first major group show was organized by curator and critic Christian Zervos at the Jeu de Paume, Paris (1937). After settling permanently in Paris, he exhibited regularly at the Salon des Surindépendants (1935, 1937, 1945). His first solo show took place at Galerie Lydia...

Sean Scully Hand Signed print Geometric Abstraction Minimalist, 1989 Offset lithograph poster Boldly signed in black marker on the front by Sean Scully 29 3/4 x 20 inches Unframed Th...

PAUL LANDACRE (1893 – 1963) DECORATION (Design for Green Mansions) 1932-3 (Wien 125), Wood engraving. RARE. Only four titled and signed impressions, ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 179, 1969. Published by Aim...

Views of Hotel Well I, from Moving Focus series (T. 280; DH. 67). Lithograph printed in colors on TGL handmade paper. Hand signed, dated and numbered by the artist. original Artist's...

Shepard Fairey Screen-prints: collection of 60 works: 2009-2022: A rare assemblage of 60 hand-signed Shepard Fairey screen-prints; collected over a near 15 year period (2009-2022). Notable imagery includes: Bob Marley, Keith Haring, Ruth Bader Ginsburg, Kurt Cobain, as well as a series of vivid anti-war pieces defining the artist's practice (title list found further below). Each very well-preserved. Medium: Screen-prints on heavy paper. 2009-2022 (see below for a list of titles & years). Dimensions ranging from: 19.5 x 16 inches to 24x36 inches. Each work is hand-signed; works are either numbered from their respective main editions or notated 'AP' (see last listing image); a few or several works are signed, but not numbered. Excellent overall condition with the exception of perhaps some minor signs of handling on a few examples. Provenance: Private collection New York via Shepard Fairey. Listing images beginning with image 2 represent the actual works. These works will be shipped flat using protective materials. Please feel free to contact us with any additional questions. Titles & Years: OCEAN TODAY...

Artist: Robert Rauschenberg (1925-2008) Title: International Very Special Arts Festival Year: 1989 Medium: Lithograph on wove paper Edition: 190/275, plus proofs Size: 35.5 x 26.5 in...

Frank Stella Sharpesville, from Multicolored Squares I (Axsom 79), 1972 Lithograph on J. Green mould-made paper Signed in graphite pencil, dated and numbered 31/100 (there were also ...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Very large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles. Striking print to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is more painterly, expressionist, and abstract. Paper 45 x 55 in. / 114.3 x 139.7 cm. Souvenir by Howard Hodgkin. Screenprint on Arches aquarelle mould-made paper. Signed by the artist with initials and dated 80 in pencil lower center, numbered in pencil lower left. This bold Howard Hodgkin print layers five shades of black, with a wide variety of marks including some from the artist’s fingerprints and hand. Scribbles and lines of grey loosely define what could be an interior space with furniture. As is typical of his prints, there is a sense of space, and of the passage of time, expressed through shapes that seem to recede through the picture, deep black shades and, unusually for Hodgkin’s work, the white of the paper showing through. The last photograph displays these rich surface textures on the sheet at an angle. Catalogue reference: Elizabeth Knowles...

Jimmy Ernst  Plate IV - 1970 Print - Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 125/125 Jimmy Ernst’s artwork was influenced by a number of powerful talents and vital currents in the art of his time. Son of Max Ernst, Jimmy drew upon the biomorphic and surreal compositions of his father, as well as Arp, Klee, André Breton, and Lyonel Feininger. His mature oil paintings, which emerged in the 1950s and 1960s, reflect the Atomic Age aesthetic of the period. Often, they resemble crystals or webs; many look like vast labyrinths and are interpreted as symbols of the unconscious mind. Ernst was always interested in spirituality and drew inspiration from indigenous American art...

Kate Shepherd Eve #02, 2022 Unique screenprint on Coventry Rag paper 38 3/4 x 23 5/8 in (98.4 x 60 cm)

Artist: Richard Anuszkiewicz, American (1930 - ) Title: Untitled Blue II Year: 1991 Medium: Silkscreen on Panel mounted to Silkscreened Paper, signed and numbered in pencil Edition: ...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by The Collector's Guild Ltd., New York in association with Th...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

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 ...

This artwork titled "Fiesta" 1982 is a color serigraph on Wove paper by noted American artist Roy Ahlgren, 1927-2011 It is hand signed, titled, dated and numbered 66/130 in pencil by...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Maravillas con Variaciones Acrosticas en el Jardin de Miro (Number 20) Year: 1975 Medium: Lithograph, signed in the plate Edition: 150...

Artist: Gene Davis (1920-1985) Title: Yellow Jack Year: 1979 Medium: Silkscreen on Arches paper Edition: 241/250, plus proofs Size: 22.5 x 25 inches Condition: Excellent Inscription:...

This piece titled "the same mysterious animacy" is an original piece by Cassie Normandy White and is made from collaged monoprints, microscopic scans, ...

This is an original, framed mixed media work (hand painting on top of a photogravure print)) by artist Nazanin Moghbeli. The abstracted calligraphy text in her "Words from My Mother...

HOPI EAGLE DANCE is an original hand drawn, limited edition lithograph by the prominent Native American artist Dan Namingha, a member of the Hopi tribe. H...

This is a fourteen (14) color screen print on Reeves textured rag paper, hand signed and numbered in graphite from an edition of 118. There are an additional 18 Artist Proofs. The pr...

Artist: Pablo Picasso (1881-1973) Title: Composition avec Minotaur Year: 1979 Medium: Lithograph on Arches paper Size: 22 x 29.25 inches Edition: 77/500;500, plus proofs Condition: G...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 48-49, 1952. Published by Aimé Maeght, Éditeur, Paris; ...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

Artist: John Hoyland – British (1934-2011) Title: Red Block on Pink Series: New York Suite Year: 1971 Medium: serigraph Image size: 36 x 26 inches Shee...

Richard Serra, Equal, 2015 (Hand Signed) Offset lithograph poster (hand signed by Richard Serra) Boldly signed in black marker on the front Published by David Zwirner; Designed by McCall Associates 24 × 36 inches Unframed Acquired from David Zwirner Gallery Very good condition other than gentle handling near the edges Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery Richard Serra Biography: Richard Serra was born in 1938 in San Francisco and lives and works in New York and the North Fork of Long Island. His first significant solo exhibition was held at the Leo Castelli Warehouse, New York, in 1969. His first solo museum exhibition took place at the Pasadena Art Museum in 1970. Serra has since participated in numerous international exhibitions, including documenta (1972, 1977, 1982, and 1987) in Kassel, Germany; the Venice Biennales of 1980, 1984, 2001, and 2013; and the Whitney Museum of American Art’s Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006. Solo exhibitions of Serra’s sculptural work have been held at numerous public institutions worldwide, including, among others, the Museum Boijmans Van Beuningen, Rotterdam, 1980; Musée National d’Art Moderne, Paris, 1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986; Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, 1987; Städtische Galerie im Lenbachhaus, Munich, 1987; Stedelijk Van Abbemuseum, Eindhoven, 1988; Kunsthaus Zürich, 1990; CAPC Musée d’Art Contemporain, Bordeaux, 1990; Museo Nacional Centro de Arte Reina Sofía, Madrid, 1992; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; Trajan’s Market, Rome, 2000; Pulitzer Foundation for the Arts, St. Louis, 2003; and Museo Archeologico Nazionale di Napoli, Naples, 2004. In 2005, The Matter of Time, a series of eight large-scale works by Serra from 1994 to 2005, was installed permanently at the Guggenheim Museum Bilbao, and in 2007, The Museum of Modern Art, New York, presented the retrospective Richard Serra Sculpture: Forty Years. Promenade, a major site-specific installation, was shown at the Grand Palais, Paris, for MONUMENTA 2008. In 2011, the artist’s large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. In 2014, the Qatar Museum Authority presented a two-venue retrospective survey of Serra’s work at the QMA Gallery and the Al Riwaq exhibition space, Doha, and East-West/West-East, 2014, was permanently installed in the Brouq Nature Reserve in the Zekreet Desert, Qatar. In June 2020, a new major sculpture by Serra was installed on the West Quad of Kenyon College, in Gambier, Ohio. In June 2022, the Glenstone Museum in Potomac, Maryland, will inaugurate a new building specially conceived to house a recent large-scale forged steel sculpture by Serra. Museum exhibitions that have focused on the artist’s drawings include Richard Serra: Tekeningen/Drawings 1971–1977, Stedelijk Museum, Amsterdam, The Netherlands, 1977; Richard Serra: Zeichnungen 1971–1977, Kunsthalle Tübingen, Germany, 1978; Richard Serra: Drawings, Louisiana Museum, Humlebaek, Denmark, 1986; Richard Serra: Tekeningen/Drawings, Bonnefantemuseum, Maastricht, The Netherlands, 1990; Richard Serra: Drawings, Serpentine Gallery, London, 1992; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka, Japan, 1994; Richard Serra: Rio Rounds, Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; and Richard Serra: Drawings: Work Comes Out of Work, Kunsthaus Bregenz, Austria, 2008. A major traveling retrospective dedicated to the artist’s drawings was presented at The Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and The Menil Collection, Houston (which was the organizing venue), in 2011–2012. The Courtauld Gallery, London, presented Richard Serra: Drawings for The Courtauld in 2013, and Richard Serra: desenhos na casa da Gávea was on view at Instituto Moreira Salles, Rio de Janeiro, in 2014. Richard Serra: Drawings 2015–2017, a significant overview of the artist’s recent works on paper, was on view at the Museum Boijmans Van Beuningen, Rotterdam, in 2017. Serra/Seurat. Drawings, an exhibition pairing a selection of Serra’s recent drawings alongside those by Georges Seurat, was presented at the Guggenheim Bilbao in 2022. Four Rounds: Equal Weight, Unequal Measure, Serra’s monumental sculpture which debuted at David Zwirner in 2017, is now on long-term view at Glenstone Museum, Potomac, Maryland, in a new building that was designed by Thomas Phifer in collaboration with the artist. Serra has been the recipient of many notable prizes and awards, including a J. Paul Getty Medal (2018) awarded in honor of extraordinary contributions to the practice, understanding, and support of the arts; the Chevalier de l’Ordre national de la Légion d’honneur, Republic of France (2015); Orden de las Artes y las Letras de España, Spain (2008); Orden pour le Mérite...

Roy Lichtenstein Moonscape Silkscreen from Banner, 1969 Silkscreen on fold out card. WIth additional (removable) sleeve with greeting and text from the Roy Lichtenstein Foundation 9 ...

Donald Sultan Serious Fun! at Lincoln Center (Hand Signed, dated and inscribed by Donald Sultan), 1993 Lithographic Poster on heavy wove paper. (hand signed, dated & inscribed) 36 × 24 1/4 in 91.4 × 61.6 cm Signed, dated 2016 and inscribed on lower right front. Inscription reads as follows: For Kevin New York 2016 Published by Vera List Program, Lincoln Center This large, striking limited edition lithographic poster on heavy wove (lithographic) paper was printed in 1993 by the Vera List print program to raise funds for Lincoln Center. The edition is typically unsigned; however, this work is, exceptionally, boldly signed and inscribed in black marker by Donald Sultan in 2016 for the present owner. The inscription reads as follows: For Kevin New York 2016 Donald Sultan signed...

Artist: Peter Max Title: Vase of Flowers Medium: Lithograph on Somerset paper Date: 1978 Edition: 327/350 Sheet Size: 29 7/8" x 22" Signature: Signed in the plate Price includes framing

Jesus Scourged, 1967 is a colored lithograph from the original gouache on heavy rag paper from Salvador Dali’s five volume Biblia Sacra Suite published in Rome by Rizzoli , 1...

"Insignia" #1 Hand Made Paper Aquatint Abstract Tactile Abstract on handmade paper by David Dodsworth (English, b-1952) David’s work is typified by his...

This black and white portrait drawing is one of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist and numbered 8/25 lower right in pencil. This print features a pair of sketches...

Alexander Calder Lithograph c. 1973 from Derrière le miroir: Lithograph in colors; 15 x 22 inches. Very good overall vintage condition; contains center fold-line as originally issue...

Carborundum Etching, artist signed edition 10/30, 60"h x 40" framed under plexiglass. Pierre Marie Brisson French b. 1955 - one of the most talented contemporary artists. Brisson...

Lithograph, linocut, and screenprint in colors with hand-coloring and collage, on wove paper, 1984, signed and dated in pencil, from the numbered edition of 60 (there were also 10 ar...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n°9, 1957. Published and printed under the direction of Gualti...

Four color process print on vélin paper. Paper size: 10.75 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, George Condo, Drawing Paintings, 201...

John Pasche Rolling Stones American Tour, original 1972 poster, 1972 Original vintage offset lithograph poster (this is the original poster, not a reprint 35 1/2 × 25 inches Unframed...

Stunning horizontal abstracted mesh and gold-leaf lithograph on heavy bond paper with artist's protocol notes (for future projects) by Patricia A. Pearce (American, b. 1948). Unsigne...

Gorgeous abstract landscape lithograph of an outdoor picnic scene with kite by Katherine Chang Liu, (American, 20th century). Hand signed lower right. N...

A very good impression of this color soft-ground etching, etching and aquatint on White Rives BFK paper. Signed, dated and numbered 55/60 in pencil, lower margin. Printed and publish...

This large, abstract image celebrates the 13th Annual Community Holiday Festival, 1983 at Lincoln Center. It is signed and numbered by the artist from the edition of 144 (plus 18 APs) and was printed at Fine Creations, NY. This print comes directly from the publisher, Lincoln Center Editions...

Marina Abramović & Ulay Sun and the Moon (Hand Signed print), 1987 Offset Lithograph Poster Uniquely isgned in ink pen on the front) by Marina Abramovic Historic collectors item 25....

Shades of Pale (Wallscape) by Frank Schott from a series of photographic observances capturing urban textures and wallscape color palettes 48 x 66 inches / 122cm x 168cm edition o...

Artist: Gene Davis Title: Zebra Portfolio: Series II Medium: Screenprint on canvas laminated to board Date: 1969 Edition: 110/150 Frame Size: 30 1/2" x 36 1/2" Sheet Size: 24" x 30 1...