Alpha 137 Gallery Abstract Prints

Lyman Kipp Kipp, at Betty Parsons Gallery, 1968 Rare Minimalist silkscreen announcement poster 24 × 13 1/4 inches Unframed Extremely rare. If you're reading this listing, you know wh...

ARNALDO POMODORO Medaglia 25 Anni Tecno (Two Sided Bronze Medallion), 1979 Bronze (incised signature) 2 1/2 × 2 × 7/10 inches Edition 196/1600 Unframed This beautiful two sided limit...

Fletcher Benton Large hardback monograph (hand signed twice by Fletcher Benton), 1990 Hardback monograph with cloth boards and dust jacket (hand signed twice and inscribed to Ernie) ...

Nancy Graves Original Graham Gallery poster (hand signed by Nancy Graves), 1968 Extremely rare vintage offset lithograph poster (hand signed by Nancy Graves) hand signed by Nancy Graves in pencil on the front Frame included: held in museum quality wood frame with UV plexiglass Publisher: Graham Gallery This late 1960s vintage Graham Gallery poster is hand signed by Nancy Graves on the front. It was published on the occasion of her "Camels" exhibition - a groundbreaking show in the artist's young life, as she died at age 54 of breast cancer. (People forget how brave she was, a sharp counterpoint to the style of the macho Minimalists of the era, like her ex husband Richard Serra.) The following year -- in 1969 - Nancy Graves became the first woman ever to have a solo show at the Whitney Museum. We've never seen another of these posters anywhere else in the world - let alone one hand signed by Nancy Graves. Elegantly framed in a museum quality wood frame with UV plexiglass Measurements: Frame: 17 x 17.5 x 1.5 inches Work: 10 x 10.75 inches About Nancy Graves: Nancy Graves (1940–1995) was born in Massachusetts. Her father worked as an accountant at the local Berkshire Museum, where art was displayed with natural history. He encouraged his daughter’s early interests in art, nature and anthropology — interests which endured for the rest of her life. After graduating from Vassar College with a degree in English Literature, Graves attended Yale University, where she earned both a B.A. and an M.A. in Art, studying alongside Chuck Close, Robert Mangold and Brice Marsden. Following Yale, she won a prestigious Fulbright Scholarship in 1964, and began studying painting in Paris — where she also married sculptor Richard Serra, whom she had met at Yale (and from whom she would divorce in 1970). Moving on to Florence soon after, she would live a somewhat nomadic life, spending time in countries that included Morocco, Kashmir, India, Egypt, Peru, Australia and Canada. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps...

Makes a fantastic gift! Robert Indiana Monograph: Robert Indiana and the Star of Hope (hand signed by the artist as well as both writers), 2009 Hardback monograph with dust jacket (h...

Francis Bacon Francis Bacon (hand signed and warmly inscribed by Francis Bacon), 1975 Softcover catalogue with stiff wraps (hand signed and warmly inscribed by Francis Bacon) hand si...

KENNY SCHARF In the Beginning, 2019 6 color lithograph printed with Marinoni lithographic press, hand cut on 300 g. BFK Rives paper Hand signed and numbered from the edition of 99 on...

Ed Ruscha GOD, 2010 Digital Light Jet Print in Artist-Designed Frame Edition 48/50 Hand-signed by artist, Signed, numbered and dated 48/50 by Ed Ruscha in black marker on the back P...

Thomas Nozkowski Flare: Thomas Nozkowski Images (hand signed by Thomas Nozkowski), 2009 Limited Edition monograph on fine art paper (hand signed and dated by Thomas Nozkowski on the ...

Kenneth Noland Themes and Variations 1958-2000 (hand signed by Kenneth Noland), 2002 Softback monograph with stiff wraps (hand signed and dated by Kenneth Noland) Official hand signe...

FAILE Secret Seas, 2019 Acrylic, Silkscreen Ink on Lenox 100 Paper. (two sided) Hand Signed, titled, dated and numbered 6/250 (each unique) 25 × 19 inches Hand signed and annotated o...

KEITH SONNIER Untitled, 1995 Letterpress on Sumerset Paper Edition 91/100 Signed and numbered in graphite from the edition of 100, recto Frame included Measurements: Sheet: 6 inches ...

Anish Kapoor at Modern Art Oxford (hand signed by Anish Kapoor), 2021 Offset lithograph poster (Hand signed by Anish Kapoor) Boldly signed by Anish Kapoor 23 × 16 1/2 inches Unframed...

John Baldessari Flowers of Life for Central America/Flores de Vida por Centro America (Hand Signed), 1984 Rare Offset Lithograph (Hand signed by Baldessari) 24 3/5 × 18 inches Boldly signed in white sharpie by Baldessari lower front The separate regular, unsigned edition was only approx. 100, though the present work was, exceptionally, uniquely hand signed by the artist Extremely rare vintage political poster...

Claes Oldenburg (Hand signed by Claes Oldenburg), 1992 Softback catalogue with stiff wraps (hand signed by Claes Oldenburg hand signed by Claes Oldenburg on the half title page 11 3/...

Victor Vasarely Planetary Folklore (Hand signed by Victor Vasarely), 1973 Hardback monograph with dust jacket Hand signed by Victor Vasarely on the first front end page 9 1/2 × 9 7/...

Pat Steir (Hand signed and inscribed by Pat Steir), 2014 Limited Edition clothbound hardback monograph with no dust jacket as issued (hand signed and inscribed to Nadine) Hand signed...

Richard Anuszkiewicz ANUSZKIEWICZ by Karl Lunde (hand signed and inscribed by Richard Anuszkiewicz), 1977 Hardback monograph with dust jacket (hand signed and inscribed by Richard An...

Louise Bourgeois & Tracey Emin Do Not Abandon Me (Hand signed in green marker on the half title page by Tracey Emin), 2010 Cloth hardback monograph with no dust jacket as issued (Han...

David Salle HOW TO SEE Looking, Talking and Thinking about Art (hand signed, dated and inscribed), 2016 Hardback monograph with dust jacket (hand signed and inscribed to Kevin) Hand ...

Hans Haacke Mia San Mia (Hand signed by Hans Haacke), 2001 Hardback monograph (hand signed by Hans Haacke) Signed by Hans Haacke in black marker on the title page 10 × 8 × 1 inches Provenance Hand signed by Hans Haacke for the present owner at a special event held at 192 Books in Manhattan (owned by Paula Cooper) This exquisite European hardcover monograph with dust jacket was hand signed by Hans Haacke in black marker on the title page for the present owner at a special event held at 192 Books in Manhattan (owned by Paula Cooper). Highly collectible. Makes an excellent gift. Published by the Generali Foundation, Austria on the occasion of the eponymous exhibition. About the exhibition: Hans Haacke (born in 1936 in Cologne, GER, has lived in New York, USA, since 1965) focused on "a single problem area: how the country deals with its history and national identity. More than I care for, these questions stir up emotions both in Austria and Germany." Haacke had been originally concerned with physical and biological systems. Very early on, his artistic practice also included the analysis of and reflection on socio-political phenomena. Haacke's work deals with social and political themes. He considers the debates arising from his works - fierce at times - to be an integral part of them. "Mia san mia" (We Are Who We Are...

Jennifer Losch Bartlett Rhapsody (hand signed and inscribed), 1985 Hardback monograph with dust jacket (hand signed and inscribed to Nadine) Hand signed and inscribed in black marker "for Nadine" by Jennifer Bartlett on the half title page 12 × 12 × 1 inches Provenance signed for the present owner at Paula Cooper Gallery on January 21, 2016 This substantial, lavishly illustrated hardback monograph with dust jacket, was hand signed by Jennifer Bartlett for the present owner at Paula Cooper Gallery on January 21, 2016. Makes an excellent gift Book information: Publisher‏: ‎ Harry N Abrams (November 1, 1985) English; Hardcover; 108 pages with color illustrations Editorial Review: Rhapsody'' is Bartlett's multi-part, multi-theme epic, a statement of the coming of age of an artist. A portable mural extended over 987 one-foot steel plates requiring 153 running feet of wall space, it is an enormous and infrequently mastered challenge to install and exhibit. In 1985-86, however, it will be on view in Minneapolis, Kansas City, Brooklyn, La Jolla, and Pittsburgh, and well worth a trip. In book form it becomes more available, with Smith's guided tour through sections, with Bartlett's notes giving conceptual coherence, and the opportunity to move from close-up to long view by turning a page. Rhapsody'' and this book afford a glimpse of a mind and art in action, a discovering and ordering process, an exciting demonstration of ways of growing and expressing the self and the world. Highly recommended. About Jennifer Bartlett: By the mid-1970s, Jennifer Bartlett (1941-2022, b. Long Beach, California) had emerged as a leading American artist of her time—particularly following the landmark presentation at Paula Cooper Gallery of Rhapsody (1976), Bartlett’s magnum opus, now in the collection of the Museum of Modern Art, New York. Bartlett’s first survey exhibition was held in 1985 at the Walker Art Center, Minneapolis, and traveled to the Brooklyn Museum, New York, and the Carnegie Museum of Art, Philadelphia, among others. In 2006, the Addison Gallery of American Art surveyed Bartlett’s early enameled steel plate paintings in the period from 1968–76. In 2013-14, Klaus Ottmann curated her second traveling survey, which visited the Pennsylvania Academy of the Fine Arts and the Parrish Art Museum, New York. In 2014, the Cleveland Museum of Art united her three monumental plate...

Sean Scully Different Places (hand signed and inscribed by Sean Scully), 2015 Limited Edition hardback monograph (hand signed and inscribed to Nadine in felt tip pen on the title pag...

Christopher Wool 2004 CAMDEN ARTS CENTRE (Hand signed and dated by Christopher Wool), 2004 Softcover catalogue (Hand signed and dated by Christopher Wool) Hand signed and dated 2017 ...

Christopher Wool (hand signed by Christopher Wool), 2006 Cloth hardback monograph (hand signed by Christopher Wool) Hand signed and dated 2017 by Christopher Wool on the half title p...

Bridget Riley: Reconnaissance (hand signed and inscribed by Bridget Riley), 2001 Hardback monograph (book) with no dust jacket as issued (hand signed and...

Richard Serra Early Work (Hand signed and dated by Richard Serra), 2013 Hardback monograph with no dust jacket as issued (Hand signed and dated 2014 by Richard Serra) Hand signed and dated 2014 by Richard Serra on the title page 12 × 10 × 1 3/5 inches Provenance The artist signed the work for the present owner at a special 2014 event with Hal Foster...

ROBERT INDIANA Hirshhorn Museum & Sculpture Garden Opening Exhibition (Signed & Numbered Edition), 1974 Lithograph on wove paper 32 × 26 inches Signed and numbered 4/100 in pencil on...

SAM FRANCIS: Limited Signed Deluxe Edition (Hand signed and numbered by Sam Francis), 1982 Deluxe limited edition hardback monograph with cloth boards, held in special slipcase of ts...

KENNETH NOLAND (hand signed and warmly inscribed to artist Arthur Secunda), 1977 Hardback monograph (hand signed and warmly inscribed to renowned artist Art Secunda) Warmly signed, d...

Ernest Tino Trova TROVA (hand signed by Ernest Trova), 1978 Hardback monograph with dust jacket (hand signed by Ernest Trova) Hand signed by Ernest Trova on the half title page 11 × ...

Emily Mason The Fifth Element (Hand signed and inscribed by Emily Mason), 2009 Hardback monograph with dust jacket (Hand signed, dated and inscribed by Emily Mason) Hand signed in marker directly underneath the title; inscribed to Kevin and dated 2013 top right by Emily Mason 10 1/2 × 9 × 1 inches Provenance Signed for the present owner at the artist's opening at the David Findlay...

Mark di Suvero Dreambook (hand signed by Mark di Suvero), 2008 Hardback monograph with no dust jacket as issued (hand signed by Mark di Suvero) Boldly signed by Mark di Suvero on the...

Ursula Von Rydingsvard Working (Hand signed and inscribed twice by Ursula von Rydingsvard), 2011 Hardback monograph with no dust jacket as issued (Hand signed and inscribed twice by ...

Richard Nonas (hand signed by Richard Nonas), 2004 Softcover monograph (hand signed by Richard Nonas) Hand signed by Richard Nonas for the present owner ...

Hans Haacke Working Conditions (Hand signed by Hans Haacke), 2016 Hardback monograph with dust jacket (Hand signed by Hans Haacke) Hand signed by Hans Haacke on the half title page 9 1/2 × 8 × 1 inches Makes a superb gift! He didn't sign too many. This lavishly illustrated hardback monograph with dust jacket signed by Hans Haacke for the present owner at a special event at 192 Books in New York City. (owned by The Paula Cooper...

Robert Indiana HEAL, 2015 Silkscreen on 2ply Rising Museum Board Signed, dated and numbered 5/25 on the front This is one of the last works the artist personally signed before he pas...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Limited Edition edition of 3433 12 1/2 × 16 3.5 inches Unframed Accompanied by gallery issued Certificate of Guarantee Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Ed Ruscha Documenta 5 (Engberg 66), 1972 Color silkscreen on wove paper Pencil signed and numbered from the limited edition of 150 on the front; the artist's copyright ink stamp and ...

Robert Indiana Deluxe Limited Edition with Slipcase: Robert Indiana Early Sculpture 1960-1962 (Hand signed and inscribed with heart drawing by Robert Indiana ), 1991 Hardback monogra...

Anish Kapoor Anish Kapoor (Hand signed and inscribed to Nadine by Anish Kapoor), 1998 Hardback monograph (Hand signed and inscribed to Nadine by Anish Kapoor) Hand signed and inscri...

Mary Heilmann To Be Someone (hand signed and inscribed "Love from Mary Heilmann"), 2007 Hardback monograph with dust jacket (hand signed and inscribed by Mary Heilmann) Warmly signed...

Stuart Davis Eggbeater No. 1 Silk Scarf, ca. 1980 100% silks scarf 34 × 34 inches (the smaller measurements shown are after the scarf is folded, to minimize shipping costs, as it sh...

Peter Blake V is for Valentine (from the Alphabet Series), 1991 Silkscreen in colors on wove paper 40 2/5 × 30 3/5 inches Hand signed, titled and numbered 49/95 on the front Published by Waddington Graphics and Corianda Studios from the Alphabet Series Unframed An exquisite print with romantic imagery in a sweet, romantic pastel pink. 'V for Valentine' is from Blake's 1991 series of alphabet letters. This tender and sentimental piece comprises a collection of antique valentine...

Andrea Belag New Moon, 1990 Monotype on Wove Paper 42 × 30 inches Hand signed and dated on the front Published by Pelavin Editions, with blind stamp on the front Unique Unframed Love...

Richard Pettibone Andy Warhol Cow Wallpaper Silkscreen on paper 26 1/2 × 20 3/4 inches Hand Signed and dated in graphite on the front Unframed Accompanied b...

HOWARD HODGKIN Blue Skies, Nothing but Blue Skies, 2002 Screenprint in Colors, Scrunched Up and Presented in a Box 5 3/25 × 6 3/10 x 2 inches Edition of 500 (unnumbered) Momart is a British company specialising in the storage, transportation, and installation of works of art. Today, the company is best known for two things: its annual artist Christmas Card, and a 2004 warehouse fire that destroyed irreplaceable art works including Tracey Emin's famous "Everyone I Have Ever Slept With. Momart's clients include the Royal Academy of Arts, Victoria & Albert Museum, National Gallery, Tate Modern, Tate Britain and Buckingham Palace. The tradition of the MOMART "Christmas card" (which would later morph into actual artist-designed work) goes back to 1984 when the first object – a festive card – was designed for the company by Bruce McLean. Since then Momart collaborated on this project with many of the top British and international artists. The complete series of Momart Christmas cards is now part of the permanent collections of the Victoria and Albert Museum and the Tate. The present item is the vintage 2002 MOMART Christmas card, designed by Howard Hodgkin. It is a rich blue screenprint, scrunched up in a box - with the printed text MOMART CHRISTMAS CARD 2002 inside the box, the artist's name and work title, "Blue Skies, Nothing But Blue Skies" and a credit at the bottom "With thanks to Gagosian Gallery London and Peter B. Willberg." And that's the MOMART "gift". Very cool and collectible! Unnumbered, but known to have been issued in an edition of 500 About Howard Hodgkin For an artist, time can always be regained . . . because by an act of imagination you can always go back. —Howard Hodgkin One of England’s most celebrated contemporary painters, Howard Hodgkin (1932–2017) was deeply attuned to the interplay of gesture, color, and ground. His brushstrokes, set against wooden supports, often continue beyond the picture plane and onto the frame, breaking from traditional confines. Embracing time as a compositional element, his work is testament to his immersion in the intangibility of thoughts, feelings, and fleeting private moments. Hodgkin was born in London and grew up in Hammersmith Terrace. During World War II he was evacuated to Long Island, New York, for three years. In the Museum of Modern Art, New York, he saw works by School of Paris artists such as Henri Matisse, Édouard Vuillard, and Pierre Bonnard, which he could not easily have seen then in London or Paris. Back in England in 1943, Hodgkin ran away from Eton College and Bryanston School, convinced that education would impede his progress as an artist, though he encountered inspiring teachers at both schools. He then attended Camberwell School of Arts and Crafts (1949–50) and Bath Academy of Art, Corsham (1950–54). Hodgkin never belonged to a school or group. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth and Sons in London in 1962. Two years later he first visited India, following his interest in Indian miniatures, which began during his time at Eton. Collecting Indian art would remain a lifelong passion, which he initially supported by dealing in picture frames. In 1984 Hodgkin represented Britain at the Biennale di Venezia. His exhibition Forty Paintings reopened the Whitechapel Gallery, London, in 1985, and he won the Turner Prize the same year. In 1998 Hodgkin joined Gagosian, and the gallery presented his first show in the United States since his critically acclaimed 1995–96 exhibition at the Metropolitan Museum of Art, New York, which had traveled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and Hayward Gallery, London. His first full retrospective opened at the Irish Museum of Modern Art, Dublin, in 2006 and traveled to Tate Britain, London, and Museo Nacional Centro de Arte Reina Sofía, Madrid. In the autumn of 2016 Hodgkin visited India for what was to be the last time, completing six new paintings before his return to London. These works were shown at England’s Hepworth Wakefield in 2017, in Painting India, a show that focused on the artist’s long-standing relationship with the Indian subcontinent. Starting in the 1950s, Hodgkin maintained a parallel printmaking practice, translating his visual language into works on paper. Exploring the interactions of color and space on a grander scale, he produced theatrical set designs for Ballet Rambert, the Royal Ballet, and the Mark Morris Dance Group...

George Condo at Cycladic (hand signed by George Condo), 2018 Limited Edition monograph with slipcase (hand signed by George Condo) 11 × 8 1/2 inches Published in a stated limited edi...

Sam Francis McGovern '72 Poster (Hand signed by Sam Francis), 1972 Photo offset poster (hand signed by Sam Francis) Signed in blue ink on the front by Sam Francis with Sam Francis co...

Gerhard Richter Untitled Abstract Picture (one plate) - Artist Authorized, 2002 Limited Edition Artist Authorized Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition...

Gerhard Richter Abstract Painting (one plate) - artist authorized, 2002 Offset lithographic reproduction on GardaMatt Art 250 GSM paper with full margins. (Artist Authorized) Not signed, edition of 3433 12 1/2 × 16 1/2 inches Unframed This striking limited edition color plate, printed on GardaMatt Art 250 GSM paper with full margins, was published on the occasion of the major twin Richter exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting), and it depicts Richters 1999 Oil on Aluminum abstract picture, catalogue raisonne reference, 858-6. This print is unframed, unnumbered and in excellent condition. More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Robert Motherwell Pull Out All Flags (Engberg, Banach 263), 1980 Aquatint and etching in colors, on German Etching paper, with full margins Hand-signed by artist, Pencil signed and n...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithographic reproduction on GardaMatt Art 250 GSM paper with full margins (Artist Authorized) Not signed, edition of 3433 12 1...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper - Artist Authorized reproduction Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Ed Ruscha Chicago International Art Exposition (Hand Signed by Ed Ruscha), 1983 Offset Lithograph. Pencil Signed and dated. Unframed. Signed and dated by Ed Ruscha in graphite pencil...

Max Papart Oval Dove, 1982 Carborundum Etching on embossed paper Hand signed and numbered 26/135 by the artist on the front Vintage frame included Elegant carborundum etching on embo...

Man Ray Alphabet Pour Adultes (Alphabet For Adults), 1970 Silkscreen in colors and lithograph on paper mounted on wood veneer mounted on card stock. Hand Signed. Numbered. Dated. Ha...

Robert Smithson Movie Treatment for Spiral Jetty, Dwan Gallery Poster, 1970 Offset lithograph poster 38 × 22 inches Unframed Rare, historic poster feature...