ABS Prints and Multiples

Yves Klein La Conférence à la Sorbonne, 3 Juin, 1959, 1959-1963 Two 12-inch vinyl records held in gatefold sleeve with silkscreen cover jacket in IKB International Klein Blue...

Nason, Thomas. ON THE ISLAND. BPL 213. Wood engraving, 1937. Inscribed "Ed. 80" and signed and dated in pencil. 5 3/8 x 10 inches (image), 10 1/4 x 13 1/2 inches (sheet). In excellen...

Covarrubias, Miguel. LINDY HOP. Lithograph, 1936. AAG edition (usually about 200), with their label preserved and attached to the back of the mat. Unsigned a...

Artist: Quinn, Marc Title: At the Far Edges of the Universe III Series: At the Far Edges of the Universe Date: 2010 Medium: pigment graphic prints Unframed Dimensions: 27...

Jamie Nares When the Language was Young, 2010 Lithograph in red on polymer Pencil signed, dated and numbered 13/50 lower front Lithograph in red on acrylic...

Bernard BUFFET (1928-1999) Women's Games : Spring, 1970 Original lithograph Unsigned On vellum 75 x 55 cm (c. 30 x 22") References : Bernard Buffet - Lithographe / Mourlot, ref. #...

Keith Haring Pop Shop bag c.1987: Rare original 1980s Keith Haring Pop Shop collectible featuring Keith Haring’s Three Eyed Smiling Face on a double-sided vinyl pouch. A classic 1980s Keith Haring Pop Shop collectible that is well-suited for display. Medium & Dimensions: Screen-printed heavy-weight vinyl pouch with sliding zip top. Double-sided. Approximately 9x9 inches. Condition: Well-preserved and in very good overall vintage condition. Unsigned from an edition of unknown; scarce. Keith Haring Pop Shop: In 1986, New York artist Keith Haring opened...

Artist: Ellsworth Kelly (American, 1923-2015) Title: “Blue/Red-Orange” *Signed by Kelly in pencil lower right Year: 1972 Medium: Original Lithograph on Special Arjomari paper Limited...

Keith Haring Paris, 1987: Well-suited for framing, this vibrant oversized illustrated bag was designed by Keith Haring during his lifetime for the P...

Hockney, David. JOE MCDONALD. Scottish Arts Council 175. Gemini DH76-767. Lithograph in two blacks, 1976. Done in crayon on both a stone and an aluminum ...

Woodlands (New Hope, Pennsylvania) Lithograph, 1950 Signed by the artist in pencil lower right (see photo) Annotated: Ed/55 in pencil by the artist lower left (see photo) Edition: 55...

Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...