Pencil Abstract Prints

VARIOUS ARTISTS AUFBRUCH AUS MOSKAU MOCKBA - PORTFOLIO OF TWENTY (20) ORIGINAL LIMITED EDITION SIGNED GRAPHICS, 1990 20 Limited edition, hand signe...

Man Ray Alphabet Pour Adultes (Alphabet For Adults), 1970 Silkscreen in colors and lithograph on paper mounted on wood veneer mounted on card stock. Hand Signed. Numbered. Dated. Ha...

ROY DE FOREST Untitled, 1981 Lithograph on Arches paper with four deckled edges. 22 1/2 × 30 inches Hand signed and annotated Trial Proof, aside from the regular edition of 60 Unfra...

Tracey Emin Hello Willow, from the Estate of Andy Warhol curator Tim Hunt and his widow, bestselling author Tama Janowitz, 1997 Monotype on paper. Created expressly for Willow, the d...

Andy Warhol Deluxe Collectors' Edition of Exposures (Hand Signed and Numbered), 1979 Hardcover Monograph in leather with gilt edge and stamped in gilt. Hand signed by Andy Warhol on...

Jennifer Hilton Interstate 2 (Reader's Digest Association Art Collection), 1988 Monotype on paper Signed and titled in pencil by the artist on lower right front. Reader's Digest Association (RDA) corporate art collection label with inventory number on the back This is a unique work Frame Included - original wood frame with plexiglass Jennifer Hilton is a master printmaker, lithographer and longtime art professor at various museums and universities including: Assistant Professor, Montserrat College of Art Faculty, Danforth Museum of Art Faculty, Worcester Art Museum Department of Visual and Performing Art Clark University This impressive, monotype features overlapping geometric shapes of varying opacity, creating a beautiful depth and intrigue of pictorial elements. An excellent work to have for any collector of geometric abstraction. This work was de-accessioned from the prestigious Reader's Digest Art Collection, who originally acquired it from the Bess Cutler...

Arnaldo Pomodoro Untitled, 1970 Color Lithograph on Wove Paper Hand signed and numbered 15/15 Hand-signed by artist, pencil signed and dated lower right margin, limited edition noted...

Keith Sonnier Untitled sculptural lithograph, 1981 Lithograph on watermarked paper Signed, numbered 159/200 and dated in graphite pencil on the front Published by Waterstreet Press ...

Robert Rauschenberg Human Rights Award, 1981 Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Pencil signed and numbered 73/100 on the front Silkscreen an...

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff & Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Joe Goode Floating Cards, 1969 Lithograph on Arches paper with two deckled edges. Hand Signed. Dated. Annotated Hand signed, dated and annotated Artists Proof on the lower front 22 1/4 × 29 4/5 inches Published by Mourlot, Paris Provenance: Reese-Palley Gallery, Atlantic City, New Jersey Unframed Part of Joe Goode's five part 1960s series "Floating Cards". Rarely to market. The provenance of this print is from the Reese-Palley Gallery. The famous dealer and adventurer Reese Palley of Atlantic City New Jersey - was the second gallerist in the 1960s - after Paula Cooper - to set up shop in SOHO. Hand signed, dated, and annotated Artist's Proof aside from the regular edition. Pop art pioneer Joe Goode (born 1937) was born in Oklahoma City, Oklahoma, in 1937. In 1959 he moved to Los Angeles, California, where he attended the Chouinard Art Institute until 1961. First recognized for his Pop Art milk bottle paintings and cloud imagery, Goode's work was included along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Robert Dowd, Edward Ruscha, and Wayne Thiebaud, in the 1962 ground-breaking exhibit New Painting of Common Objects, curated by Walter Hopps...

Keith Sonnier Untitled sculptural image, 1981 Lithograph on wove paper Signed, numbered 156/200 and dated in graphite pencil on the front Published by Waterstreet Press with blind st...

Stephen Powers EVERYTHING IS SHIT Except You Love, 2014 Screenprint on 335 GSM Coventry Rag paper 24 × 24 inches Edition PP 3/3 Hand Signed and numbered in the artist's distinctive hand. One of only three rare Printer's Proofs Rare collectible! One of only three (3) printers proofs!! For offer here is an 11 Color lithograph on 335 GSM Coventry Rag paper featuring the incredibly popular message : "Everything is Shit Except you Love” by artist Stephen Powers, who recently exhibited at the Brooklyn Museum. The simple messaging with bold, playful lettering with purple background has resonated with so many, and the edition sold out almost immediately. This is one of only three rare Printers Proofs, aside from the regular edition, which is also long sold out. In excellent condition; never framed. Makes a terrific gift that says it all. Excellent provenance: Acquired directly from the printer. About Stephen Powers A Fulbright scholar who has been awarded many public commissions and exhibited in major institutions like the Brooklyn Museum.... Born and raised in Philadelphia’s Overbrook neighborhood, Stephen Powers (b. 1968, Philadelphia) moved to New York in 1994, where he gained attention as the publisher of On the Go magazine and the author of the graffiti history The Art of Getting Over. In 1997, Powers undertook an ambitious and far-reaching graffiti campaign of his own, using the official-sounding acronym ESPO (Exterior Surface Painting Outreach) to deflect attention from the illegality of his activities. By 1999, he had covered dozens of storefront grates with giant silver block lettering. Powers gave up street graffiti the following year to concentrate on studio-based projects. Powers’s work typically fuses word and image in paintings and graphics that evoke the bright look of a handmade bodega and fairground...

Stanley Boxer Finale, from Carnival of Animals (Tyler Graphics, 119:SB31), 1979 Etching, aquatint, engraving and drypoint on hand colored TGL handmade paper Edition 16/20 Pencil sign...

Malinda Beeman Steven's Carnage, from the Art Against AIDS Portfolio, 1988 Lithograph on paper with deckled edges. Hand signed. Numbered. Titled. Printer's and Publisher's Blind Stam...

Andy Warhol Flash portfolio colophon pages, JFK Assassination, 1968 2 Separate Silkscreens: (1) Silkscreen text on paper and teletype text; (2) colophon sheet in pencil and numbered XVII (from the edition of 26 (roman numerals) Hand-signed by artist, two silkscreen prints; the colophon sheet is hand signed by Andy Warhol; no signature on sheet with teletype 21 1/2 × 21 1/2 inches Unframed Note: measurements are for each sheet Catalogue Raisonne Reference: FS II.32-42 (not illustrated) Silkscreened colophon sheet of the edition XVII of the iconic "Flash" Portfolio; hand signed and uniquely numbered by Andy Warhol, plus silkscreened print with teletype text. These two prints from Warhol's iconic "Flash Portfolio" were selected for inclusion in the blockbuster Andy Warhol retrospective at the Whitney Museum in 2019. (see photos). The plaque on the Whitney exhibition (also see included photo) describes the portfolio as follows:" These screenprints reflect Warhol's ongoing interest in the Kennedy assassination, an obsession that intensified following the release of the Warren Commission report and the publication of stills from a short home movie of the event, published by bystander Abraham Zapruder. Flash - November 22, 1963 is an unbound Artists Book with text based upon the original Associated Press newswire bulletins. For his illustrations, Warhol appropriated the recurring image of Kennedy from a 1960 campaign poster, and sourced the remaining photographs, including pictures of Lee Harvey Oswald and an ad for the type of rifle used, from Life's [Magazine] sustained coverage of the assassination and its aftermath.." The present sheet begins with the following teletyped text: "THE TWO WOUNDED MEN WERE RUSHED TO EMERGENCY ROOMS, AND THE HOSPITAL'S PUBLIC ADDRESS SYSTEM RANG WITH CALLS FOR ALL STAFF DOCTORS. FLASH DALLAS - TWO PRIESTS SUMMONED TO KENNEDY X IN EMERGENCY ROOM BULLETIN 3RD ADD 2ND LEAD KENNEDY XX DOCTORS TWO PRIESTS ENTERED THE EMERGENCY ROOM WHERE THE PRESIDENT WAS BEING TREATED AT 12:49 P.M. (CST). THERE WAS STILL NO OFFICIAL WORD ON THE PRESIDENT'S CONDITION. ASSISTANT WHITE HOUSE PRESS SECRETARY MALCOLM XXX KILDUFF SAID "I JUST CAN'T SAY. I JUST CAN'T SAY." FLASH -- PRIESTS SAY KENNEDY DEAD. .""" (the text on the page continues; this is just a partial excerpt.) Racolin Press, Briarcliff Manor, New York Two Andy Warhol silkscreens on white wove paper comprising the signed colophon and text pages of his iconic 1968 "Flash" Portfolio, as well as Warhol's wraparound silkscreen of the distinctive teletype text. The colophon page silkscreen is hand signed by Andy Warhol and uniquely numbered XVII in pencil from the edition of 26, which, it expressly states, was not for sale. The second silkscreen sheet features teletype print describing events surrounding the assassination of President John F. Kennedy - the defining event of a generation as contemporaneously re-imagined by the most important Pop artist of the era. Warhol created the "Flash - November 22, 1963" portfolio of prints in 1968 to depict the continuing media spectacle surrounding JFK's assassination. He named the portfolio after the news flash Teletype texts that reported the assassination and its aftermath - the first major news event played out live on TV. The Flash portfolio includes a series of eleven silkscreens depicting President Kennedy smiling broadly, a presidential seal with bullet holes through it, and other symbolic representations of that tragedy. The portfolio's cover includes an image of the New York World-Telegram front page with the headline "President Shot Dead." Warhol used screen printed...

R.B. Kitaj POGANY, 1966 17 colour Screenprint and Photo-screenprint 24 × 36 inches Pencil signed and numbered from the Limited Edition of 70 Hand-signed by artist, Signed & numbered ...

Paula Scher China, 2013 Hand pulled silkscreen on deluxe Lanaquarelle paper 24 3/5 × 28 1/5 inches Edition of 95: Pencil signed and numbered on the front Unframed Accompanied by gall...

Nora Speyer Untitled, from the Long Point Gallery Portfolio, 1988 Lithograph on paper with deckled edges Hand signed, numbered 22/30 and dated on lower front 22 × 15 inches Unframed Hand signed, numbered 22/30 and dated on lower front Publisher: Long Point Gallery, Inc., Provincetown, Massachusetts; Printer: Bruce Porter from Trestle Editions Limited, New York Rarely to market, this stunning 1988 woodcut was created by Nora Speyer as part of a portfolio produced for sale by Long Point Gallery, an artist's cooperative in Provincetown, Massachusetts. Superb provenance as it is was acquired from the original Long Point Portfolio. This will be the first time the work will be removed from the portfolio. It is hand signed and numbered from a very small edition of only 30; it is in fine condition, unframed and never framed, and housed in the original portfolio box, with the original colophon page, which also included works by 11 other artists. For reference and provenance we have included an image of the colophon page from the complete portfolio. About Nora Speyer: The most exciting place to me is where I can communicate with the greatest number of artists. I can't live without some artists around. I'm not saying artists are likable. They can be very objectionable, but they are still my world. Nora Speyer Born in Pittsburgh, Speyer enrolled at Temple University's Tyler School of Art when she was sixteen. It was there she became roommates with Lillian Lent...

Tracey Emin Beirut, 2006 Offset Lithograph printed in black 16 × 23 inches Edition 99/100 Pencil signed, dated and numbered on the front. Accompanied by a special card from Tracey Em...

WILLIAM T. WILEY Deneb, 1996 Multi Color Lithograph on wove paper with one deckled edge 25 × 17 3/4 inches Edition of 265 Signed, dated & inscribed "Ed. 265" Published by: Print Club of Cleveland Printed by Shark's Ink, Published by Print Club of Cleveland Unframed Fantastic multi color 1996 lithograph, hand signed and numbered by the remarkable well listed California artist William T. Wiley. Some people include Wiley in the genre of California funk...

Stephen Powers Invest in Love, 2019 5 Color screenprint on 335 GSM Coventry rag paper Hand signed and numbered 9/50 by Stephen Powers with his distinctive hat logo on the front 14 × 8 1/2 inches Unframed "Invest in Love" was created by the renowned street artist Stephen Powers in 2020 to celebrate the artist's return to his hometown of Philadelphia in December 2019 to transform an empty building into a screen-printing pop-up shop to raise funds for a non-profit arts charity Mural Arts. The building at 1201 Spring Garden Street operated for many years as a bank. (see photograph of Powers' painted mural "Invest in Love"). Powers has exhibited in streets, galleries and museums all over the world. About Stephen Powers A Fulbright scholar who has been awarded many public commissions and exhibited in major institutions like the Brooklyn Museum.... Born and raised in Philadelphia’s Overbrook neighborhood, Stephen Powers (b. 1968, Philadelphia) moved to New York in 1994, where he gained attention as the publisher of On the Go magazine and the author of the graffiti history The Art of Getting Over. In 1997, Powers undertook an ambitious and far-reaching graffiti campaign of his own, using the official-sounding acronym ESPO (Exterior Surface Painting Outreach) to deflect attention from the illegality of his activities. By 1999, he had covered dozens of storefront grates with giant silver block lettering. Powers gave up street graffiti the following year to concentrate on studio-based projects. Powers’s work typically fuses word and image in paintings and graphics that evoke the bright look of a handmade bodega and fairground...

It features overlapping silhouettes in luminous pink and deep yellow, intertwined with gestural blue lines. The interplay of color and form suggests rhythmic movement, bodily transfo...

It depicts intertwined human forms in vibrant green, outlined with fluid, freehand strokes in red and violet. The layered imagery creates a sense of motion, tension, and harmony, evo...

V2, blends woodcut, graphite, and oil pastel on paper to create a striking composition of interlaced, abstracted figures. The work features bold green silhouettes layered with fluid,...

Is a unique work on paper combining woodcut, graphite, and oil pastel. Measuring 89.5 × 58.5 cm (35.23” × 23.03”), it presents a fragmented, overlapping human form in vibrant yellows...

Wonderful vintage lithograph titled "Memoria Erotica (2) "by Nicholas Pogany (American, 20th Century). Lithograph on paper. Some wear to over-mat. Signed lower left. Titled "Memoria ...

This square woodcut print on paper evokes the peacefulness of looking upwards through a forest canopy in a symmetrical pattern composed of the silhouettes of trees in dark navy blue ...

Alan Shields TV Re-Run B, 1978 Mixed Media Monotype: Color drypoint, mezzotint, linocut and colored embossing on perforated paper on Handmade Paper Mounted on Linen Board Signed, num...

Andy Goldsworthy Presentation print for Royal Mail Christmas Stamp Series, 2003 Color photogravure on handmade rag paper with deckled edges 15 × 20 1/4 inches hand signed lower right...

This square woodcut print on paper evokes the peacefulness of looking upwards through a forest canopy in a symmetrical pattern composed of the silhouettes of trees in dark violet blu...

Stephen Powers Turn to Me I See Eternity, 2016 Three color screenprint on 235g Coventry Rag Pencil with artist's trademark hat logo and numbered from the edition of 100 12 × 12 inche...

Keith Sonnier Untitled post Minimalist lithograph, 1981 Lithograph on watermarked paper with publishers blind stamp Pencil signed, numbered 96/200 and dated on the front Published by...

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Signed and numbered from the limited Edition of 150 pencil signed, numbered and dated on the front Unframed Published by the Paris Review, Printed by Steven Poleskie at Chiron Press, New York Allan D'Arcangelo created this work in 1964 as a benefit print for the eponymous Paris Review magazine which invited some of the most famous artists of the era to contribute. Over the next decade, D'Arcangelo would continue to receive significant recognition in the art world - exhibiting at Fischbach and then Marlborough Galleries in Manhattan. He was well known for his paintings of the iconic American highway, along with his depictions of desolate, industrial landscapes. In her essay "Ghost on the Highway: Allan D'arcangelo's Haunting Americana", Alice Bucknell writes, "A born-and-bred New Yorker, D’Arcangelo spent his due time trawling through the Bible Belt of the Deep South and the dizzying expanse of the Southwest desert as well as the more expected outposts of New York and L.A. Taking a particular favor to the way acrylic interacts with light — how it avoids the glistening sheen of oil, and how the flatness of the medium masks the presence of the artist’s hand — D’Arcangelo teases out complex ideas of the highway’s reality and representation, its rampant commercialization and maddening isolation, as well as escapism and entrapment as two split personalities of American infrastructure space through his signature flattening one-point perspective. “My most profound experiences of landscape were looking through the windshield,” D’Arcangelo explained to Marco Livingstone in the spring of 1988 while the two drove from New York City to the artist’s studio in upstate New York: an idiosyncratic interview included in the exhibition catalogue. “The sky, the tree line and the pavement all have the same quality, and it has to do with our separation from the natural world.” Far from the sugar...

Max Papart Oval Dove, 1982 Carborundum Etching on embossed paper Hand signed and numbered 26/135 by the artist on the front Vintage frame included Elegant carborundum etching on embo...

Max Bill Untitled Mid Century Modern Geometric Abstraction, 1970 Silkscreen on wove paper 27 1/2 × 19 1/2 inches Signed, dated and numbere...

Sol Lewitt Benefit Concert (Hand signed by Sol Lewitt, Philip Glass and Meredith Monk), 1978 Offset lithograph 19 1/2 × 21 1/2 inches Limited Edition of 75 (unnumbered) Hand signed b...

Ronald B. (R.B.) Kitaj Nancy and Jim Dine, or O'Neill accuses Faulkner of lack of loyalty and support (Kinsman 40), 1970 16 Color Silkscreen with collage and coating on different wove papers Hand signed and numbered in pencil 29/70 on the front. The back (which is framed) bears the Kelpra Studio blindstamp Frame included: held in the original vintage metal frame Very rare stateside. Other editions of this work are in the permanent collections of major institutions like the British museum, which has the following explanation: "The artist Jim Dine and his wife Nancy were close to Kitaj and his family, especially after the death of Elsi, Kitaj's first wife in 1969. They sometimes stayed with the Dines at their farm in Vermont during Kitaj's second teaching sojourn in the United States. Dine and Kitaj held a joint show at the Cincinnati Museum of Art in 1973. In the catalogue both artists contributed an insightful 'essay' on each other with Dine stressing Kitaj's obsession with all things American and baseball-related...' The alternate title, "O'Neill accuses Faulkner of lack of loyalty and support" can be seen on the artwork itself, and clearly is some kind of inside joke among friends. By the way -- do you see the way the colored dots are placed over the figures? Kitaj was doing this well before Baldessari who made it famous; that's how pioneering he was at the time. Referenced in the catalogue raisonne of Kitaj's prints, Kinsman, 40 Published and printed by Chris Prater of Kelpra Studio, Kentish Town, United Kingdom Ronald Brooks (RB) Kitaj Biography R.B. (Ronald Brooks) Kitaj was born in 1932 in Cleveland Ohio. One of the most prominent painters of his time, particularly in England where he spent some four decades spanning the late 1950s through the late 1990s, Kitaj is considered a key figure in European and American contemporary painting. While his work has been considered controversial, he is regarded as a master draughtsman with a commitment to figurative art. His highly personal paintings and drawings reflect his deep interest in history; cultural, social and political ideologies; and issues of identity. Part of an extraordinary cohort who emerged from the Royal College of Art circa 1960, which included Peter Blake, Patrick Caulfield, and David Hockney, Kitaj was immediately pegged as one of its leading figures. The London Times greeted his first solo show in 1963 as a long-awaited and galvanizing event: “Mr. R.B. Kitaj’s first exhibition, now that it has at last taken place, puts the whole ‘new wave’ of figurative painting in this country during the last two or three years into perspective.” In 1976, KItaj curated the exhibition The Human Clay, and in the essay he wrote for it he proposed the existence of a “School of London”—a label which stuck to a group of painters that includes Francis Bacon, Frank Auerbach, Lucian Freud, Leon Kossoff, Michael Andrews...

Highly detailed rendering of a kimono by Patricia A. Pearce (American, b. 1948). The ribbons in this piece have a metallic quality to them. Signed "Patricia A Pearce" in the bottom r...

Nancy Graves Original Graham Gallery poster (hand signed by Nancy Graves), 1968 Extremely rare vintage offset lithograph poster (hand signed by Nancy Graves) hand signed by Nancy Graves in pencil on the front Frame included: held in museum quality wood frame with UV plexiglass Publisher: Graham Gallery This late 1960s vintage Graham Gallery poster is hand signed by Nancy Graves on the front. It was published on the occasion of her "Camels" exhibition - a groundbreaking show in the artist's young life, as she died at age 54 of breast cancer. (People forget how brave she was, a sharp counterpoint to the style of the macho Minimalists of the era, like her ex husband Richard Serra.) The following year -- in 1969 - Nancy Graves became the first woman ever to have a solo show at the Whitney Museum. We've never seen another of these posters anywhere else in the world - let alone one hand signed by Nancy Graves. Elegantly framed in a museum quality wood frame with UV plexiglass Measurements: Frame: 17 x 17.5 x 1.5 inches Work: 10 x 10.75 inches About Nancy Graves: Nancy Graves (1940–1995) was born in Massachusetts. Her father worked as an accountant at the local Berkshire Museum, where art was displayed with natural history. He encouraged his daughter’s early interests in art, nature and anthropology — interests which endured for the rest of her life. After graduating from Vassar College with a degree in English Literature, Graves attended Yale University, where she earned both a B.A. and an M.A. in Art, studying alongside Chuck Close, Robert Mangold and Brice Marsden. Following Yale, she won a prestigious Fulbright Scholarship in 1964, and began studying painting in Paris — where she also married sculptor Richard Serra, whom she had met at Yale (and from whom she would divorce in 1970). Moving on to Florence soon after, she would live a somewhat nomadic life, spending time in countries that included Morocco, Kashmir, India, Egypt, Peru, Australia and Canada. 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...

Brice Marden's Studio Offset lithograph poster (hand signed by Brice Marden in 2015) This print was published on the occasion of Brice Marden's 1996 exhibition at the Matthew Marks Gallery in Chelsea, New York City. The image is based on Nan Goldin's 1995 photograph of Marden working in his studio. The print was signed by Brice Marden for the present owner. A collectors item when hand signed! Accompanied by Certificate of Guarantee issued by the present gallery About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...

Robert Motherwell Roots of Abstract Art in America, from the VIP hand signed limited edition, 1966 Lithograph and offset lithograph Pencil signed and numbered 46/100 on the front Fra...

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

Ed Ruscha and Kenny Scharf Fun Vacation (200, Engberg), 1990 Lithograph in five colors on white Rives BFK paper (hand signed by BOTH Ed Ruscha and Kenny Scharf) 36 × 27 inches Hand-s...

Art Print on heavy Paper Original from 1983

Raymond Parker (also known as Ray Parker) 1980s Art Dealers (Hand Signed by Raymond Parker), 1980 Rare Offset Lithograph Poster. Hand Signed in Pencil by Ray Parker Hand signed by Ray Parker on the front 25 × 38 inches Unframed This is a collectible hand signed vintage offset lithograph poster on blind stamped wove paper, published on the occasion of an exhibition of works by renowned Abstract Expressionist painter Ray Parker, hand signed as well as plate signed. This traveling exhibition was hosted by multiple galleries, all listed on the poster including Betty Cuningham, Susan Caldwell, The Grippi Gallery...

John Baldessari JBCRIAL1VY-98 (Unique Variant, Hand Signed), 1998 Ink jet print on paper. - Unique Variant Hand signed by John Baldessari on the front 1 of 96 similar works completed...

Jim Dine Untitled from the Castelli Sonnabend Collection, 1973 Screenprint on rag paper in original portfolio sleeve Hand signed and numbered 158/300 by Jim Dine on the front. Printe...

A very good impression of this scarce, early color lithograph with additions in pencil and crayon on Auvergne à la main (Richard de bas) ivory laid paper. Signed, dated and numbered 15/45 in pencil, lower margin. Printed by Robert Blackburn...

Joel Shapiro For the Archives, 2008 Epson inkjet print on cotton etching paper Hand-signed by artist, Hand signed and numbered 171/175 by Joel Shapiro on the front Bears label from T...

Shusaku Arakawa Untitled 3 from "No!" Says the Signified, 1973 Lithograph and Silkscreen on Arches Paper with Deckled Edges Hand signed and dated on the lower right front Artist's Pr...

Robert Indiana Stable Gallery 16 October 1962 (Hand Signed & Inscribed) Silkscreen on art paper Signed and Dedicated in pencil on the recto. The dedication and signature reads "For...

NOTE: Shown framed for inspiration only; this edition is unframed and in mint condition (never framed): Thelma Appel The Magician, 2018 18 Color Silkscreen on 320 gram Coventry Rag ...

Judith Rothschild Untitled, from the Long Point Gallery Portfolio, 1988 Woodcut on paper Hand signed, numbered 22/30 and dated on lower fr...

"Floating Panel" - Realistic Hand Painted Lithograph Lithograph with hand-painted ribbons by Patricia Pearce (American, b. 1948). In this composition, the pane with four bars is a l...

Henry Pearson FACE, from Portfolio 9, 1964 Color lithograph with deckled edges Signed, titled, and numbered 84/100 in graphite pencil on the front; with publishers' blind stamp 17 1/2 × 22 1/10 inches Publisher Irwin Hollander, with blindstamp Hand Signed and Numbered 84/100 with Irwin Hollander (printer) Blindstamp Unframed Henry Pearson's iconic Pop Art lithograph "Face" from the mid-Sixties is in the permanent Collection of the Museum of Modern Art as well as other public institutions. This Classic Sixties psychedelic designed Op Art lithograph was created as part of the legendary 'Portfolio 9' in 1967 - one of the most influential eras in 20th century art. It was housed in a gray cloth-colored box with maroon paper inner panels and a large maroon "9" designed by Richard Lindner on the cover. Portfolio 9 featured nine of the most important artists of the era, representative of the three major trends: Pop Art, Minimalism and Abstract Expressionism: Roy Lichtenstein, Saul Steinberg, Richard Lindner, Robert Motherwell, Henry Pearson, Louise Nevelson, Sam Francis, Willem de Kooning- and Ellsworth Kelly. The Introduction to the portfolio was written by Una E. Johnson, Curator of Prints & Drawings, The Brooklyn Museum. Johnson wrote in 1967 for the colophon page: "The artists were selected to demonstrate the great diversity and character of lithography in the United States today... the dialogue of diverse forms and many faceted idioms that compose this graphic journal mirror the eloquence and delight the strengths and caprices of a period. Furthermore, they reflect in fine measure the creative achievements of artists attuned to their time." The lithograph offered here has superb provenance: it comes directly from 'Portfolio 9', numbered 84/100. This is the very first time since 1967 that this hand signed & numbered print will be separated from the original portfolio presentation box. According to the description of this print in the catalogue raisonne, "Organized as a celebration of Irwin Hollander's collaboration with American artists working in the medium of lithography, the Portfolio 9 is a compendium of images by nine of Hollander's artist collaborators. Henry Pearson Biography: Henry Pearson was born in Kinston, North Carolina in 1914. He studied art at the University of North Carolina where he received his B. A. and later at Yale University where he received an M. F. A. Pearson spent over eleven years in the army during and after WWII. On one tour of duty in Japan he was assigned to interpret topographical maps due to his past training in Theatrical Set Design. He returned to Japan on another tour after the war in order to immerse himself more fully in the culture. Pearson returned to the United States in 1953 and enrolled at the Art Students League in New York where he studied with Reginald Marsh. The Op-Art Movement was beginning to gain popularity and Pearson...

Robert Indiana Love Is God, 2014 Silkscreen on 2 ply Rising Museum Board 32 × 32 inches Hand signed and numbered 33/50 in graphite pencil on ...

KEITH SONNIER Untitled, 1995 Letterpress on Sumerset Paper Edition 91/100 Signed and numbered in graphite from the edition of 100, recto Frame included Measurements: Sheet: 6 inches ...

Mark di Suvero Untitled Abstract Expressionist Print, ca. 2010 Digital photo lithograph Boldly signed and numbered in graphite pencil from the limited edition of only 58. 13 x 17 in...