New Arrivals: Abstract Prints

Suggestive of the misty cool colors and contours of the Pacific Northwest, this scenic framed lithograph is numbered #5 of 40. Let it inspire a restful palette for the bedroom. Sign...

Blue- original litograph abstract limited edition painting Original graphic work by CASAMADA. Limited edition engraving. 50 copies Signed and numbered in pencil. framed RÀFOLS CASAM...

Original artwork realized by Jacques Hérold in 1974. Colored lithograph. Not signed, as issued. Printed by Mourlot , France. Excellent condition.  This lithograph was realized  b...

Larry Rivers "The Music Festival of the Hamptons / July 18-27 1997" poster, Not hand signed. [Dimensions: 24" H x 18" W] Larry Rivers (born Yitzroch Loiza Grossberg) (1923 – 200...

Medium : Archival pigment print on Archival Photographic paper 300Gsm. Artist : Fabien Granet Subject : Shift Scape II (Title) This contemporary artwork by Fabien Granet features a d...

Medium : Archival pigment print on Archival Photographic paper 300Gsm. Artist : Fabien Granet Subject : Shift Scape (Title) This contemporary artwork by Fabien Granet features a deli...

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...

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. 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...

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...

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...

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. 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...

-Pedro Friedeberg signed print featuring a fantastical architectural scene inspired by “Mickey”. Includes whimsical figures, optical art elements, and surreal details. framed in a ha...

Gregory Amenoff (Contemporary American abstract painter, b. 1948), Title: Haven, STATE II Lithograph, 1986 Edition 4/4 Printer Proof Image Size 21.5 x 30.75" Gregory Amenoff is a...

ESTRUCTURES 2 Date of creation: 2006 Medium: Lithograph on paper Edition: 75 Size: 41 x 31 cm Observations: Lithograph on paper signed by the artist and numbered edition of 75. Alber...

Abstract geometric color composition Artist: Eve Sonneman Lithograph, 1999 Image Size 25 x 22" Hand signed, dated,and numbered from limited edition. This is from a show at Sidney J...

Maravillas con variaciones acrósticas en el jardín de Miró IV Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: In very good con...

Josep Guinovart - IMATGES I TERRA II Date of creation: 1991 Medium: Hand colored etching on paper Edition: 50 + 10 H.C. Size: 76 x 57 cm Condition: In very good conditions and never ...

Leff, Rita. (American 1905-1979). ABSTRACT LANDSCAPE. Color Woodcut, not dated, but likely 1940s. Edition size not stated. Titled and signed in pencil. 6 x 11 1/8 inches (image), 8 3...

As a reflection on the value we give to objects, this series exposes examples of objects that we use daily and for different reasons ended up gaining very high prices. By redrawing t...

Magnelli, Alberto (Italian 1888-1971) UNTITLED. Woodcut, not dated. Numbered 18 H.C., and hors de commerce prrof aside from an edition of unknown size. Signed in pencil,lower right. ...

Conrad Marca Relli - Composition XIII Date of creation: 1977 Medium: Etching and aquatint on Gvarro paper Edition: 75 + AP + HC Size: 56 x 76 cm Condition: In very good conditions an...

Antoni Clavé - GUERRERO (WARRIOR) Date of creation: 1966 Medium: Etching on paper Edition number: 17/50 Size: 78 x 56,5 cm Condition: In very good conditions and never framed Observa...

Color lithograph on paper, edited 1963 Limited edition of 150 copies, numbered as 78/150 in lower left corner. Signed in pencil by artist in lower right corner. Paper size: 75 x 51 ...

“Dream and Refuge, 2020” by Michael Armitage (Kenyan, b. 1984) Rendered in richly layered hues - dominated by a saturated red ground that pulses with intensity - this work reveals a...

Lithograph, 2001 Edition : 200 ex. Publisher : T.A.T. Arts, Paris 61.00 cm. x 90.00 cm. 24.02 in. x 35.43 in. (paper) Not signed Certificate of authenticity BFK Rives paper A few s...

This exquisite lithograph by Joan Miro (1893–1983), titled L’Oiseau s’envole sur la zone poussée d’or sur les collines ensoleillées (The Bird Flies Over the Golden Zone on the Sunlit...

Cat, 2023 By Christopher Mudgett Rendered in Mudgett’s unmistakably powerful style, this striking black-and-white linocut distills the essence of a cat into a bold, abstracted form....

This exquisite silkscreen by Jasper Johns (born 1930), titled Untitled, from the album Jasper Johns, Screenprints, 1977, originates from the 1977 edition published by Brooke Alexande...

A striking modernist etching with aquatint. Inscribed 'E.A.' meaning 'épreuve d'artiste' or artist's proof. Dated and indistinctly signed in graphite to the lower right. Smartly pres...

Large scale photograph of elegant interior view of the French revolutionary hidden door in the Villa Napoleone in Elba, Tuscany. Napoleon Bonaparte I - not at home ( ELBA ) by Frank...

Etching and aquatint on paper Edited in 1978 Limited edition of 90, numbered 65/90 Signed in pencil by artist in lower right corner 
Paper size: 97 x 97 cm Very good conditions Regu...

Aquatint etching on paper, edited in 1978 Limited edition of 90, numbered 65/90
 Signed in pencil by artist in lower right corner 
Paper size: 97 x 97 cm Very good conditions The re...

Finished with gouache. Unsigned. On Japanese paper. Image size: 46 x 70cm.

A limited edition screen print by Dutch artist Henk Lassche. Modernist composition in cobalt blue and golden yellow. Signed in pencil to the lower margin. Numbered 15/150. Mounted in...

Vera Nilsson (1888-1979) Hands II, Lithograph in colour. Pencil signed to the lower margin and numbered 234/260. Image size: 68.5 x 55cm.

An eye-catchingly modernist print. Inscribed 'E.A.' meaning 'épreuve d'artiste' or artist's proof. Dated and indistinctly signed in graphite to the lower right. Smartly presented in ...

An eye-catchingly colourful modernist print. Inscribed 'E.A.' meaning 'épreuve d'artiste' or artist's proof. Dated and indistinctly signed in graphite to the lower right. Smartly pre...

An eye-catchingly colourful modernist print. Inscribed 'E.A.' meaning 'épreuve d'artiste' or artist's proof. Dated and indistinctly signed in graphite to the lower right. Smartly pre...

An eye-catchingly colourful modernist print. Inscribed 'E.A.' meaning 'épreuve d'artiste' or artist's proof. Dated and indistinctly signed in graphite to the lower right. Smartly pre...

Lithograph Edition : 28/75 Publisher : Jacques Damase (Paris) 75.50 cm. x 56.00 cm. 29.72 in. x 22.05 in. (paper) 48.00 cm. x 46.00 cm. 18.9 in. x 18.11 in. (image) Handsigned by t...

Lithograph, 1992 Edition : 58/80 Printer : Art Estampe (Paris) 56.00 cm. x 76.00 cm. 22.05 in. x 29.92 in. (paper) 56.00 cm. x 76.00 cm. 22.05 in. x 29.92 in. (image) Handsigned by...

Lithograph, 1962 Edition : 125 ex. Publisher : André Sauret (Monte-Carlo) Printer : Mourlot (Paris) Catalog : [Vallier 188, p. 284] 33.00 cm. x 52.00 cm. 12.99 in. x 20.47 in. (pape...

Created by Surrealist Fanny Brennan from 1993-96, Deardorff is an original lithograph in colors on wove paper, hand-monogrammed by the artist in pencil and numbered from the edition ...

Etching and aquatint Edition : ESSAI 66.00 cm. x 50.00 cm. 25.98 in. x 19.69 in. (paper) 40.00 cm. x 31.50 cm. 15.75 in. x 12.4 in. (image) Handsigned by the artist in pencil Certi...

Lithograph, 1969 Edition : 19/115 Publisher : Galerie im Erker, St. Gallen Printer : Erker-Presse, St. Gallen Catalog : [Schneider n°78] 38.00 cm. x 56.00 cm. 14.96 in. x 22.05 in. ...

Lithograph, 1957 Edition : 180 ex. Publisher : Hedwig Marbach, Berne Printer : Jean Pons, Paris Catalog : [RMM 99] 66.00 cm. x 50.00 cm. 25.98 in. x 19.69 in. (paper) 50.20 cm. x 31...

Lithograph, 1970 Edition : 54/75 Publisher : Ediciones Poligrafa (Barcelone) Printer : Atelier Poligrafa (Barcelone) Catalog : [RMM 308] 52.00 cm. x 89.00 cm. 20.47 in. x 35.04 in. ...

Silkscreen, 1969 Edition : 142/150 49.00 cm. x 61.00 cm. 19.29 in. x 24.02 in. (paper) Handsigned by the artist in pencil Certificate of authenticity Dear Diana reads like an expa...

I Refuse To Have A Bath Until I See The Trees is a limited edition drypoint etching by Kate Boxer. Kate Boxer's combination of imagery and text in I Refuse To Have A Bath Until I See...

Colour screen printing Limited edition of 200 copies, numbered as 78/200 in lower left corner. Signed in pencil by artist in lower right corner. Paper size: 69,7 x 49 cm Very good c...

Alexander Calder Lithograph c. 1971 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition; well-preseved. Unsigned from an edition of un...

Jean-Michel Basquiat, Annina Nosei Gallery, New York, 1982: Rare Basquiat announcement card published by Annina Nosei Gallery to advertise the release of ‘Basquiat Anatomy’ (a suite ...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celle...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Formulaire rouge (Red Form), originates from the 2012 publication Revue Cahiers d'Art, 2012, no. 1, Ellsworth Kelly. ...

This exquisite lithograph by Joan Miro (1893–1983), titled Femme et oiseau en tourment (Woman and Bird in Torment), originates from the 1967 folio Derriere le miroir, L'oiseau solair...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celle...

Tea Time Bloom is a rare hand-painted Artist's Proof by contemporary artist Shizico Yi, created on a deluxe matte-finish giclée aluminium panel. Each edition is 90% hand-painted with...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1967 folio Derriere le miroir, L'oiseau solaire, l'oiseau lunaire, etin-celles (...

This exquisite offset lithograph after Jasper Johns (born 1930), titled Untitled, originates from the publication Art in America, May 2014. Published by Art in America, LLC, New York, and Sharon Coplan Hurowitz, New York; sponsored by Christies Inc., New York; and printed by Universal Limited Art Editions (ULAE), Bay Shore, at Official Offset Corporation, Amityville, 2013, this work reflects Johns ongoing investigation into symbol, perception, and repetition. In Untitled, Johns extends his celebrated exploration of marks, motifs, and coded visual language through a composition that merges conceptual clarity with painterly nuance, embodying the subtle rigor that defines his mature graphic work. Executed as an offset lithograph on velin Giama Natural paper, this work measures 15.125 x 10.875 inches (38.42 x 27.62 cm), with centerfold as issued. Signed in the plate and unnumbered as issued. Printed by Universal Limited Art Editions (ULAE), Bay Shore, at Official Offset Corporation, Amityville, one of the most respected collaborative printmaking ateliers in the United States. Artwork Details: Artist: After Jasper Johns (born 1930) Title: Untitled, from Art in America, May 2014 Medium: Offset lithograph on velin Giama Natural paper Dimensions: 15.125 x 10.875 inches (38.42 x 27.62 cm), with centerfold as issued Inscription: Signed in the plate and unnumbered as issued Date: 2013 Publisher: Art in America, LLC, New York; Sharon Coplan Hurowitz, New York Sponsor: Christies Inc., New York Printer: Universal Limited Art Editions (ULAE), Bay Shore, at Official Offset Corporation, Amityville Catalogue raisonne reference: Carlos Basualdo, Scott Rothkopf, Jasper Johns Mind/Mirror, Whitney Museum of American Art, 2021, No. 27; The Prints of Jasper Johns: A Catalogue Raisonne, ULAE, New York (forthcoming), No. 324. Condition: Well preserved, consistent with age and medium Provenance: From the May 2014 publication Art in America, published by Art in America, LLC, New York About the Publication: This special Art in America project was conceived as a contemporary homage to Jasper Johns’ long and distinguished history of printmaking innovation. Commissioned in collaboration with Sharon Coplan Hurowitz and sponsored by Christies Inc., the project brought together Art in America and Universal Limited Art Editions (ULAE) to create an original print that would bridge the worlds of fine art publishing, contemporary criticism, and Johns experimental graphic language. Printed at the renowned ULAE in Bay Shore and completed at Official Offset Corporation, the work reaffirms ULAEs foundational role in the evolution of Johns printmaking practice, which began at the atelier in 1960. For this publication, Johns developed a composition that synthesizes decades of explorations into mark-making, coded systems, repetition, and perceptual inquiry, extending the intellectual rigor and visual subtlety that have defined his contribution to American art since the 1950s. Distributed within the May 2014 issue, the project functioned as both a democratic expansion of Johns audience and a continuation of his long-standing interest in the intersection between mass media, printmaking processes, and the shifting boundaries between high art and printed dissemination. Today, this project is recognized as one of the most significant print-related collaborations between a major art periodical and an American master, embodying Johns lifelong dialogue between image, idea, and the materiality of print. About the Artist: Jasper Johns (born 1930) is widely regarded as one of the most influential and transformative American artists of the postwar era, a painter and printmaker whose groundbreaking fusion of abstraction, symbolism, and conceptual inquiry placed him in direct dialogue with towering modernists such as Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray while establishing a new visual and intellectual foundation for contemporary art; emerging in the mid 1950s with his revolutionary paintings of flags, targets, numbers, alphabets, and other everyday symbols, Johns rejected the emotional volatility of Abstract Expressionism and instead introduced a cool, analytical approach grounded in the semiotic play between object and image, employing encaustic, collage, graphite, and sculptural relief to create layered works that examine how meaning is constructed and perceived; his dialogues with Duchamps conceptualism, Picassos structural inventiveness, Miro and Kandinskys color logic, Giacomettis existential figuration, and Man Rays experimental attitude helped shape a singular aesthetic that directly influenced and helped catalyze Pop Art, Minimalism, and Conceptual Art, inspiring contemporaries and successors including Robert Rauschenberg, Cy Twombly, Andy Warhol, Roy Lichtenstein, Frank Stella, Donald Judd, Bruce Nauman, Glenn Ligon, Christopher Wool, Mark Bradford, Mark Grotjahn, and Wade Guyton; celebrated for more than seven decades, Johns work is held in the worlds most prestigious museums—including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the National Gallery of Art, the Art Institute of Chicago, the Tate Modern, the Centre Pompidou, and the Moderna Museet—and he is recognized as one of the most intellectually rigorous and technically inventive artists of the 20th and 21st centuries; his market remains exceptionally strong, with his highest auction record achieved on November 11, 2014, when Flag (1983) sold for 36000000 USD at Sothebys New York. Jasper Johns lithograph...

This exquisite lithograph by Jasper Johns (born 1930), titled Summer Green, State II, originates from the 1991 publication Jasper Johns, The Se...