Robert Arthur Goodnough Prints and Multiples

Fred Sandback was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints. He majored in philosophy at Yale Universit...

Frank Stella The Whale Watch Shawl (signed in indelible black marker), held in red silk presentation box; also with embossed COA hand signed by both Frank Stella and Kenneth Tyler, 1994 LARGE: (54 Sq inches) Silkscreen on 100% Italian Silk Shawl, hand signed by Frank Stella in indelible black marker, folded in Red Silk Box with Embossed Certificate of Authenticity (Brand New in Original Red Silk Box) - embossed COA is Hand Signed by Frank Stella and Kenneth Tyler Hand Signed and dated by Frank Stella on recto; signed by BOTH Stella & publisher Kenneth Tyler, and numbered on accompanying embossed COA 54 × 54 inches Unframed and held in original red Italian silk gift box Makes a terrific gift! Stunningly large -- 54 Square Inches. This work looks dazzling framed and hung on the wall -- but as it is a signed silkscreen on silk, but it can also be worn as a gorgeous and exclusive artistic fashion statement. Who else is wearing a Frank Stella scarf...

Artist: (after) Dan Flavin (American, 1933-1996) Title: "Dan Flavin: A Retrospective" Year: 2004 Medium: Original Offset-Lithograph, Exhibition Poster on heavy smooth wove paper Limi...

Carl Andre Untitled (0813), 1976 Rubber stamp relief print Artist Stamp and Copy Right on the back. It is from a limited edition of 1000. Frame Included This is Minimalist master Car...

Jim Dine: Five Themes (Hand Signed), 1985 Offset lithograph. Hand signed by Jim Dine Boldly signed by Jim Dine for the gallery in black marker on the front. 35 × 23 inches Unframed H...

JIM DINE This is How I Remember Now (Hand Signed), 2008 Offset Lithograph Poster for exhibition of photographs by Jim Dine 32 × 24 inches Signed boldly in white marker by Jim Dine on the front Unframed Published by: Det Kongelige Bibliotek, Denmark Provenance: Jim Dine personally signed it for the present owner in 2012 at a special poetry reading that the artist gave at the Dia Art Foundation. Extremely rare when hand signed! This poster was produced in conjunction with a 2008 German exhibition of Jim Dine's photographs. Jim Dine personally signed it for the present owner in 2012 at a poetry reading that the artist gave at the Dia Art Foundation, so provenance is direct and impeccable. The text on the poster reads "This Is How I Remember Now Portraits", with a portrait of the artist juxtaposed in the background - and is perhaps as a commentary on the elusiveness of memory in life, art and photography. The poster is accompanied by a copy of the flyer publicizing the event where Jim Dine signed...

Intersecting Lines - Plate 3 is an original artwork realized by François Morellet in 1975. Black and white screen print. Hand-signed by the artist on the back of the artwork. Numbe...

Peter Halley Jablonka Galerie, Köln (Hand Signed), 1990 Offset lithograph (Hand Signed by Peter Halley) 26 1/2 × 30 inches (ships rolled in a tube 37 x 6 x 6) Signed by Peter Halley ...

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! 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...

Brice Marden Attendants, Bears and Rocks (Hand Signed by Brice Marden), 2002 Offset Lithograph Poster Hand signed boldly in black marker by Brice Marden on the front 17 × 22 inches U...

Brice Marden Lana 2 1966 Screenprint on paper 20 x 24 inches; 51 x 61 cm Edition of 11 Signed, titled, and numbered in graphite (lower recto) This silkscreen was printed by Brice...

Variant IV (from Ten Variants) Screenprint in brilliant Colors on wove paper, 1972 From “Josef Albers: Son Oeuvre et Sa Contribution à Figuration Visuelle Au Cours Du XXe Siècle” Pri...