Paula Scher Abstract Prints

Robert RAUSCHENBERG Cardbirds, 1972 exhibition, rare original poster For the exhibition "Cardbirds" at the Sonnabend Gallery Signed in the plate framed in walnut. 21 x26.5" framed. ...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world of digital art. Drawing inspiration from the ethereal beauty of nature, Fontaine's artistic journey has taken her on an imaginative exploration of space, depth, and emotion through the medium of large digital prints. Her signature style is characterized by the use of vast, immersive gradients that seem to stretch infinitely across space. These gradients evoke a sense of enigmatic calmness, inviting viewers to lose themselves in the expanse of her visual landscapes. Her ability to create a feeling of boundless depth and space within her pieces, combined with subtle minimalist compositions, is a testament to her mastery of the digital medium. Fontaine’s pieces resonate with audiences seeking a connection to the sublime, offering a window into a world where colors blend seamlessly and boundaries dissolve. Her work can be found in several private collections throughout Europe and the United States. She currently lives and works between Barcelona and Lausanne. Details: Title: Dawn from an Airplane...

Artist: Larry Zox (1937-2006) Title: Three Square Composition Year: 1978 Edition: VII/LX; 200 Arabic Numeral, 60 Roman Numeral, plus proofs Medium: Silkscreen on Arches paper Size: 2...

Artist: Roy Lichtenstein (American, 1923-1997) Title: "Modern Print" *Numbered, signed, and dated by Lichtenstein in pencil lower right Year: 1971 Medium: Original Lithograph and Scr...

Artist: Robert Rauschenberg (1925-2008) Title: Human Rights 1981 Year: 1981 Medium: Silkscreen and lithograph on wove paper Edition: 41/100, plus proofs Size: 31 x 23 inches Conditio...

Hero as a Riddle (1963) depicts a smiling head printed in gold, silver, and black. The shapes and lines composing the figure’s face are architectural and geometric: the eyes are comp...

STEVE KAUFMAN – "ABRAHAM LINCOLN" ⚜ Serigraph on Canvas ⚜ Initialed Verso ⚜ Edition 48/50 AP ⚜ Black Float Frame VIBRANT POP ICONOGRAPHY OF AN AMERICAN LEGEND This bold 1990 serigra...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

Artist: Larry Zox (1937-2006) Title: Two Square Composition Year: 1970 Edition: 13/20, plus proofs Medium: Silkscreen on japon paper Size: 18 3/4 x 26 inches Condition: Good Inscript...

Artist: Robert Indiana (American, 1928-2018) Title: "Polygon: Square (Four)" Portfolio: The American Dream *Issued unsigned Year: 1997 Medium: Original Screenprint on Coventry paper...

Artist: Robert Indiana (American, 1928-2018) Title: "LOVE (Plate 4)" Portfolio: Book of Love *Signed and dated by Indiana in pencil lower right Year: 1996 Medium: Original Screenprint on A.N.W. Crestwood Museum Edition paper Limited edition: 75/200, (there were also 50 impressions in roman numerals) Printer: Freeman Burks of American Image Editions, New York, NY Publisher: Michael McKenzie of American Image Editions, New York, NY Framing: Framed in a contemporary silver moulding and silver filet with white cotton rag matting Framed size: 32.13" x 30.63" Sheet size: 24" x 20" Image size: 18.19" x 18" Condition: Minor cosmetic wear to frame. In excellent condition Notes: Provenance: private collection - Cincinnati, OH. Numbered by Indiana in pencil lower left. Comes from Indiana's 1996 "Book of Love" portfolio of twelve screenprints of the same image in various colors, originally issued in a black-lettered brown paper-covered folio with accompanying twelve poems. Besides the Arabic and Roman numeral editions, there were also 15 artist's proofs. Technical Director: Peter Engert; Plate Maker: James Harvey; Counsel: Gregory S. Smith, Esq.; Fabricator: Al Hirshson; and Die Maker: York Display. Printed in three colors: white, gray, and dark gray. The "Book of Love" project was conceived by the artist as a portfolio that would make a definitive statement on his masterpiece "LOVE", fulfilling his original vision as both a poet and a painter. The prints in the portfolio were created by Indiana as illustrations for his own love poems, written circa 1958-1973. The prints were produced in silkscreen using oil based paints on a newly created fine art paper that he found perfect for rendering "LOVE", which demands a precise line and radiant true color. The poems each have a highly raised embossment of "LOVE", trapped in colors, just below the title. Each print is hand pencil signed, and each poem hand pencil initialed by the artist. Biography: Robert Indiana was born on September 13, 1928 named Robert Clark in New Castle...

Serigraph on paper Page Size: 12 x 12 in. Gold Leaf Frame Size: 21 x 21 in. Hand Signed, bottom right in black marker Hand Numbered, bottom left in black marker "180/300" This strik...