Ceramic Interior Prints

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

This vibrant abstract orange and green print is part of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), These…Plants) by Howard Hodgkin. The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, green watercolor contrasts beautifully with marigold orange, crimson, and terra cotta red. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring in a yellow watercolor wash and green gouache on Stoneridge mould-made etching paper. Edition 100. Howard Hodgkin was introduced to the etching technique used in Artist and Model (in green and yellow) at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Catalogue reference: Elizabeth Knowles...

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

Hothead, 2016 Giclée print on 330gsm Somerset Velvet cotton rag paper with an embossed publisher stamp 82 x 78 cm - Framed 80 x 75 cm - Sheet Edition of 250 It comes with COA from t...

Louise Nevelson Bicentennial Dawn, 1976 Photolithograph, silkscreen and gold foil on white wove paper hand signed, dated and numbered 15/100 with incised signature on the front 35 × ...

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minimalist, contemporary and modern living spaces. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring on Stoneridge mould-made etching paper. This print is one of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), Those…Plants). The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, marigold orange contrasts beautifully with rich black ink. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Howard Hodgkin was introduced to the etching technique used in Artist and Model at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Catalogue reference: Elizabeth Knowles...

Artist: Alexander Calder Medium: Original lithograph Title: Damier Portfolio: Derriere le Miroir #156 Year: 1966 Edition: Unnumbered Framed Size: 21 1/4" x 17 1/4" Sheet Size: 15" x...

Barry Le Va Installation Floor Plan for Any Space Surrounded by Four Walls Rubber stamp print on Doric paper Stamp made by Unity Engraving Company, Inc. Printed by Aaron Arnow Paper ...

Bruce Nauman Bruce Nauman at Leo Castelli, 1978 Offset Lithograph Poster 18 1/4 × 36 inches Unframed This Bruce Nauman poster was created on the occasion of his exhibition at the Leo Castelli Gallery in New York from February 4 - 25, 1978. The poster has some minor overall creasing and natural folds but is otherwise in good vintage condition. Please note: This is the original 1978 Leo Castelli poster...

Harriet Hoult At-ha Limited Edition Giclee Print Edition of 50 Sheet Size: H 91cm x W 63cm x D 0.1cm Signed by the Artist This is a signed, Limited Edition Giclée print of the origi...

Dan Flavin Dan Flavin at Albright Knox Gallery (hand signed and inscribed to renowned curator) Offset Lithograph. Hand signed and inscribed by Dan Flavin 18 × 22 inches Provenance: Estate of artist and collector Rick Collar Unframed Uniquely inscribed and hand signed 1972 Dan Flavin exhibition poster from his Albright Knox exhibition. Dan Flavin hand signs and inscribes it to Paulus Hendrik Hefting, the curator of the Neue Nationalgalerie in Berlin. The inscription reads: "Best regards and best wishes to you especially in "diagrams and drawings". What Flavin is referring to is the important exhibition also in 1972, "Diagrams & Drawings" curated by Hefting, at the Rijksmuseum Kröller-Müller (Netherlands), which featured Carl Andre, Christo, Walter De Maria, Dan Flavin, Michael Heizer, Don Judd, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Richard Serra, Robert Smithson. An extremely rare signed poster with a unique inscription to a major European curator referencing an historic Minimalist exhibition in the early 1970s. We may not see the likes of something like this anytime soon! Dan Flavin Biography From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on the wall, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to establish and redefine space. Flavin’s first solo exhibitions were held at the Judson Gallery in 1961 and the Green Gallery in 1964, both in New York. His first European exhibition was in 1966 at Galerie Rudolf Zwirner in Cologne, Germany; and in 1969, the National Gallery of Canada, Ottawa, organized his first major museum retrospective. His work was included in a number of key early exhibitions of Minimal art in the 1960s, among them Black, White, and Gray (Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 1964); Primary Structures (The Jewish Museum, New York, 1966); and Minimal Art (Gemeentemuseum, The Hague, 1968). Flavin’s work would continue to be presented internationally over the course of the pursuant decades at venues including the St. Louis Art Museum, Missouri (1973); Kunsthalle Basel (1975); Museum Boymans-van Beuningen, Rotterdam (1975); Stedelijk Museum, Amsterdam (1986); and the Solomon R. Guggenheim Museum, New York (1992), among others. A major museum retrospective devoted to Flavin’s work was organized, in cooperation with the Estate of Dan Flavin, by the Dia Art Foundation in association with the National Gallery of Art, Washington, DC, where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris...