Early 2000s Abstract Prints

2007 One-color etching Sheet: 20 x 26 1/4 in. Edition of 60 Signed and numbered on verso Unframed, mint condition

Gary Hume Here's Flowers 2006 Eight color linocuts with hand additions in graphite Portfolio of prints presented in a special wooden buckram-covered box designed by the artist Each...

Engraving, 2002 Edition : 20/50 76.00 cm. x 56.00 cm. 29.92 in. x 22.05 in. (paper) 76.00 cm. x 56.00 cm. 29.92 in. x 22.05 in. (image) Handsigned by the artist in pencil Ref : LCD...

2006 1-color lithograph Sheet: 12 x 6 3/4 in. (30.5 x 17.2 cm) Edition of 100 Signed and numbered in pencil

Serpentine with Orchids, 2005 Four-color screenprint on Rives BFK. Edition: 50 + 7 artist’s proofs 28 x 22 (paper size) framed by Bark Frameworks. Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grimes of The New York Times as "a restlessly inventive printmaker, painter, and sculptor." Born and raised in New York City, Mazur attended the Horace Mann School. He received a bachelor's degree from Amherst College in 1958, then studied art at Yale. Mazur first gained notice for his series of lithographs and etchings of inmates in a mental asylum, which resulted in two publications, "Closed Ward" and "Locked Ward." Over the years, he worked in printmaking and painting. His series of large-scale prints for Dante's Inferno won critical acclaim, and were the subject of a traveling exhibition organized by the University of Iowa in 1994. Later he concentrated on creating large, lyrical paintings which make use of his free, gestural brushwork and a varied palette. Some of these paintings were seen in an exhibition of 2002 at Boston University, "Looking East: Brice Marden, Michael Mazur, and Pat Steir." (See also Susan Danly, "Branching: The Art of Michael Mazur," 1997). The Museum of Fine Arts, Boston, has acquired a definMichael Mazur received a B.A. from Amherst College in 1957, studying in his senior year at the Accademia di Belle Arti in Florence, Italy. He went on to earn both a B.F.A. and an M.F.A. from the Yale School of Art and Architecture in 1961. Mazur's first teaching job was at the Rhode Island School of Design from 1961 to 1964. He was awarded a Guggenheim Foundation fellowship for 1964–65. From 1965 to 1976, he taught at Brandeis University, and from 1976 to 1978 at Harvard University. As an artist, teacher, and writer, Mazur has been active in reviving the monotype process. He contributed an essay to the pioneering exhibition catalogue The Painterly Print, published by the Metropolitan Museum of Art in 1980. Mazur recently chaired the New Provincetown...

4-color lithograph Sheet: 24 7/8 x 88 3/4 in. (63.2 x 225.4 cm) Edition of 45 Signed and numbered in pencil Published by Gemini G.E.L., Los Angeles Framed

8-color screenprint Sheet: 23 3/8 x 19 in. (59.4 x 48.3 cm) Edition of 300 Signed, dated and numbered in pencil on lower margin Published by Gemini G.E.L., Los Angeles

The set of six linocuts printed in colours. Each signed in pencil, numbered from the edition of 50. Printed on Somerset Velvet Radiant White paper by Hidemi Nomura and Tsutomu Kjimo...

Screenprint on paper with 24 karat gold leaf, collage and tape on board (Edition of 24) Signed, titled, dated, and numbered, verso This artwork is offered by ClampArt, located in Ne...

Signed in pencil verso, numbered from the edition of 16. Printed on wove paper by Stoneman Graphics, Cornwall. Published by The Paragon Press, London. (Kemp 201).

Monotype Signed, dated, and inscribed "II" in pencil, recto This artwork is offered by ClampArt, located in New York City. Born in Okinawa, Japan, and raised in Knoxville, Tennesse...

Digital C-print on Endura metallic paper (Edition of 3) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Begun in 2003, the series of works...

Untitled Etching Paper size: 14 x 14" Image size: 12 x 12" Edition of 23 Year: 2004 Signed by artist and labeled 6/23 Tara Donovan (born 1969 in Flushing...

Sugar-lift aquatint, spit-bite aquatint, photogravure and drypoint with embossing on Rives BFK paper Image: 28.5 x 19.5 in. (72.39 x 49.53 cm.) Sheet: 29 x 20 in. (73.66 x 50.8 cm.) ...

Peter Max Heart and Profile c. 2005 Serigraph with Acrylic Paint Hand Signed by the Artist Image Size: approx. 14 x 12.5 Frames Size: approx. 27 x 24.5 inches

ROBERT COTTINGHAM Art, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and...

ROBERT COTTINGHAM M, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and n...

ROBERT COTTINGHAM Rialto, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' ...

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...