Minimalist Portrait Prints

Printer’s ink from rubber stamp on vélin Strathmore 3-ply paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Publ...

Alex Katz (b. 1927) has been dedicated to art-making since the 1950's - however, it wasn't until the 60's when he established his signature 'flat' figurative style. Over the succeedi...

Alex Katz (b. 1927) has been dedicated to art-making since the 1950's - however, it wasn't until the 60's when he established his signature 'flat' figurative style. Over the succeedi...

Michel Mathonnat (1944 - ) - Family, Medium: Etching, signed and numbered in pencil, Edition: 69/175, Image Size: 18 x 14.5 inches, Frame Size: 27.5 x 22 inches, Description: Mi...

Robert Morris (1931-2018) The Mind/Body Problem (Hand signed and dated), 1995 Offset lithograph 33 × 23 1/2 inches 83.8 × 59.7 cm Edition of 250 (this is a uniquely hand signed print, aside from the regular unsigned edition) Signed and dated '97 in black marker by Robert Morris; unnumbered Unframed Published by Deichtorhallen, Hamburg, Germany This work was acquired from the estate of artist and noted art collector Rick Collar. This limited edition hand signed offset lithograph, published on the occasion of a 1995 German museum exhibition, reprises Robert Morris' historic and controversial advertisement for his New York Castelli-Sonnabend exhibition from April 6-27, 1974. According to Wikiart, the original poster was part of Robert Morris' "continuing dialogue with the artist Lynda Benglis, with whom he had previously collaborated on film projects. In the ad, featured in Artforum magazine, Morris is seen from the waist up, flexing his muscles and outfitted only in S & M gear: a German Army helmet, aviator sunglasses, steel chains, and a spiked collar...

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...

He says, “Come with me, I gonna show you the future.” She replies, “I will be with you, wherever you go.” Love wins. "Parallel" is an Illustration work on relationship - "less is more" is the signature style of Kin Choi Lam...

Inspired by the 2016 Japanese animated romantic fantasy movie Your Name, Kin Choi uses a simple line to portray the iconic meaning of strong and intimate connection between a couple. I am right here for you wherever you go. "Your Name" is an Illustration work on relationship - "less is more" is the signature style of Kin Choi Lam...

Love is patience and love is kind. I will always be right here waiting for you. "Waiting" is an Illustration work on relationship - "less is more" is the signature style of Kin Choi Lam...

Life as a Merry-Go-Round. What goes around, comes around, with all life’s ups and downs, and we are always on a Journey of exciting discovery, most important thing is having you with me along the way. "Merry-go-round" is an Illustration work on relationship - "less is more" is the signature style of Kin Choi Lam...

Dan Flavin Untitled, 1973 Screenprint, on rag paper Signed, dated and numbered from the edition of 300 With the artist's copyright inkstamp verso From The New York Collection for St...

Dancing in harmony, same pace, same steps, same feelings. "Dancing" is an Illustration work on relationship - "less is more" is the signature style of Kin Choi Lam...