Alpha 137 Gallery Abstract Prints

Valerie Jaudon Lincoln Center Information Center, 1986 Color silkscreen on wove paper Pencil signed, dated and numbered 45/72 on the front Published by the Lincoln Center print...

John "Crash" Matos The Concrete Jungle (Hand Signed by CRASH), 2018 Offset lithograph poster (hand signed by CRASH) 17 × 11 inches Boldly signed in gol...

Jim Dine Raven and Owls (Hand Signed), 2000 Offset Lithograph Poster; hand signed by Jim Dine 38 3/4 × 35 1/2 inches Hand signed by Jim Dine lower front Unframed This dramatic offset...

Francesco Clemente Francesco Clemente Watercolors (Hand Signed), 1992 Offset Lithograph exhibition announcement (Hand Signed) 23 × 18 inches Hand signed in...

Tony Jannetti Second Emergence, Perfect Pattern Of Life, 1971 Silkscreen on wove paper with deckled edges Pencil signed, titled, dated and numbered 22/35 on...

Kenneth Noland Limited Edition Canvas Tote, 1977 Mixed Media: Silkscreen on Canvas with handles and leather tag. Numbered with ink stamp 15 × 15 inches Edition 268/500 Plate signed and dated Kenneth Noland and stamp numbered from the edition of 500 Very good vintage condition with handling and creasing (see photos) This was not commercially marketed but was designed as a prototype with each one stamp numbered. Not too many are around, and very rarely found in such good condition. This work is sold unframed as shown in the first image, but for inspiration only, see a photograph of how one collector framed a different edition of this work - and it looks like a print or painting! (see last image) A true vintage collectors item.

Tracey Emin The Stain, 2007 Mini booklet; stitched binding; digitally printed, accompanied by pencil signed envelope 4 1/2 × 3 3/5 inches Edition of 100 (unnumbered) pencil signed by...

Melissa Meyer Love Me Tender, 2003 Color etching on wove paper Pencil signed and numbered from the edition of 30 on the front 27 inches × 25 inches Edit...

John Henry Shafts, 1974 Lithograph 23 × 16 inches Pencil signed, dated and numbered 11/50 on the front; with blind stamp Unframed 1970s lithograph by constructivist sculptor John Henry.

Claes Oldenburg Lipstick Ascending the Caterpillar Tracks (Print), plus Novum Organum No. 7, Yale University (broadside), 1969 Print is a Photo offset lithograph on two sided paper, plus separate broadside on offset lithograph Hand signed boldly in black marker and numbered 116 34 × 24 inches Published by Yale University, New Haven, CT Unframed Note: This print is THE original 1969 photolithograph - not to be confused with the poster or later editioned works created in the 1970s. See history below: This listing features 2 Elements: (1) A 2 sided photolithograph of the installation plans for Oldenburg's monumental lipstick sculpture...

After Andy Warhol Mao, 1977 Offset lithograph exhibition poster on rag paper 37 × 24 inches Unframed This uncommon lithographic poster depicting one of Wa...

Thomas Nozkowski Untitled #5, 2008 Color etching with aquatint on Hahnemühle paper Signed, dated and numbered 5/35 in graphite pencil on the back. Bears original Deutsche Bank collec...

Menashe Kadishman Clothes 2, 1973 Silkscreen on wove paper Signed and numbered 31/70 on the front 23 1/4 × 32 1/2 inches Edition 31/70 Chris Prater of Kelpra Studio, Kentish Town, En...

George Rodrigue Blue Dog (Christmas Print), 2000 Color silkscreen signed in silver ink and numbered from the edition of 150 A sweet, romantic holiday...

After Andy Warhol Camouflage Exhibition Gagosian Gallery Announcement Scarf/Bandana, 1998 Silkscreened letters on cotton cloth fabric 21 1/2 × 21 1/2 inches Unframed Collectible souvenir scarf/bandana issued as an invitation to attend the opening reception on November 7, 1998 of the ANDY WARHOL Camouflage Exhibition which ran through January 9, 1999 at Gagosian Gallery downtown on Wooster Street...

James Nares Fountain, 1987 Monotype on paper Hand signed and dated lower front Unique Frame included Measurements: Framed 41.5 by 34 inches Work 30.25 by 22.25 inches Dazzling Jame...

Roy Lichtenstein Moonscape Silkscreen from Banner, 1969 Silkscreen on fold out card. WIth additional (removable) sleeve with greeting and text from the Roy Lichtenstein Foundation 9 ...

Rudolf Stingel Art Production Fund Plate (Hand Signed), 2010 100% porcelain plate (uniquely hand signed by Rudolf Stingel) 10 1/2 in diameter Hand-sign...

Helen Frankenthaler Frankenthaler, Works on Paper 1949-1984 (Hand signed and inscribed to Dick Polich, Founder of Tallix Foundry), 1986 Softcover monograph (book), hand signed and da...

Mary Bauermeister Pittsburgh International Carnegie Museum, 1967 Offset Lithograph Poster 20 × 37 inches Edition of 500 Unframed This is the original, historic poster designed by Mary Bauermeister for the 1967 Carnegie International...

Rona Pondick NO NO, 1995 Printed letterpress on Somerset 6 × 6 inches Edition 81/100 Pencil signed and numbered verso. Also bears unique inventory number Unframed

Peter Halley Painting as Sociogram: The Kitakyushu Municipal Museum of Art, Japan (Hand Signed), 1997 Double-sided offset lithograph poster (hand signed by Peter Halley) 11 3/4 × 8 1...

Peter Halley Heterotopia 2 (Hand Signed by Peter Halley), 2019 Offset lithograph poster (Hand signed by Peter Halley) 23 × 16 1/2 inches. Signed in black marker on the front Published by Greene Naftali, New York Unframed Alpha 137 Gallery is honored to offer this historic offset lithograph of American artist Peter Halley's 2019 exhibition Heterotopia 2, at Greene Naftali Gallery in New York City which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective...

Peter Halley Museum of Folkwang, Essen, Germany (Hand Signed by Peter Halley), 1998 Offset lithograph poster (hand signed by Peter Halley) 33 × 24 inches Unframed Alpha 137 Gallery is honored to offer this historic offset lithograph of legendary American artist Peter Halley's 1998- exhibition at the Museum of Folkwang, Essen, Germany,which the artist hand signed in black marker. Shown here is a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective...

Peter Halley Peter Halley, Sonnabend Gallery, New York (Hand Signed by Peter Halley), 1989 Offset lithograph poster (hand signed by Peter Halley) 28 × 26 inches Unframed Alpha 137 Gallery is honored to offer this historic offset lithograph of American artist Peter Halley's 1989 exhibition at the legendary Sonnabend Gallery in New York which the artist hand signed in black marker. Scroll down for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective "Andy Warhol - from A to B and Back Again" at the Whitney. PETER HALLEY BIOGRAPHY Peter Halley, born 1953, New York City, is an American artist who came to prominence as a central figure of the Neo-Conceptualist movement of the 1980s. His paintings redeploy the language of geometric abstraction to explore the organization of social space in the digital era. Since the 1980s, Halley’s lexicon has included three elements: “prisons” and “cells,” connected by “conduits,” which are used in his paintings to explore the technologically determined space and pathways that regulate daily life. Using fluorescent color and Roll-a-Tex, a commercial paint additive that provides readymade texture, Halley embraces materials that are anti-naturalistic and commercially manufactured. In the mid 1990s Halley pioneered the use of wall-sized digital prints in his site-specific installations. He has executed installations at Museo Nivola, Orani, Sardinia (2021); Greene Naftali...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

David Hockney David Hockney at Castelli Graphics, 1981 Offset Lithograph poster 20 × 16 inches Unframed Rare 1981 poster published on the occasion of the r...

Andrea Belag Untitled, from the Lehman Brothers Art Collection, 2003 Watercolor monotype on paper Pencil signed and dated on the front Framed Gorgeous ...

Joe Tilson Mnemonic Device, 1975 Silkscreen with hand coloring on Thin Bamboo Wood Sheet 21 1/4 × 19 1/2 inches Edition 96/100 Hand signed and numbered from an edition of 100 on rect...

Agnes Martin Recent Paintings, 1977 Offset Lithograph invitation on Vellum 12 × 12 inches Edition of 2000 Unframed This early print is an exhibition invitation to the Pace Gallery's 1977 Agnes Martin show in New York. The image is a reproduction of a painting from the show, approved by Martin to be used on the invitation to the show. It is printed on a fragile, almost transparent vellum that captures the delicate power of the art. Less than 2000...

Giovanni Pintori Olivetti (Fully Automatic Printing Calculator), 1951 Offset lithograph Framed: held in original vintage metal frame Evocative mid ...

Chris Ofili R.I.P. Stephen Lawrence 1974 - 1993, 2013 Lithographic print in 4 colours with silkscreened glow-in-the-dark text 17 7/10 × 14 inches Edition of 100 Accompanied by a numb...

Nancy Spero Airborne, 1998 Mixed Media: Silkscreen with collage additions on Somerset velvet paper 30 × 22 inches Edition of 50 Signed, dated and numbered from the limited edition of only 50 on the front Unframed Very poignant imagery: an airborne angel grabs the hand of a nude female; underneath are figures that recall the four horsemen of the apocalypse...

Peter Halley Paintings (Hand Signed), 1995 Offset lithograph poster (hand signed by Peter Halley) 28 1/2 × 18 3/4 inches Hand signed in black marker on the front Unframed Alpha 137 G...

Andrea Belag Beauty for Sale, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Unframed Pencil signed, dated and titled on the front; bears publisher name and copyright on the back Exquisite monotype; both gestural and minimalist. The title speaks for itself and defines the work. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

Claes Oldenburg Chinati Foundation, Marfa Texas (Hand Signed), 2003 Offset Lithograph poster. Hand signed by Claes Oldenburg 23 1/2 × 13 1/2 inches Exceedingly rare when hand signed. This offset lithograph poster was created on the occasion of the Claes Oldenburg & Coosje van Bruggen...

JAMES NARES Artaud's Arms (Exhibited at Brooklyn Museum), 1988 Color Monotype on Gampi Torinoko Paper 36 × 27 inches Signed James Nares and dated '88 l...

Incised signature in aluminum, annotated "Artists Proof" and titled; ink on top smudged If you've ever visited the Guggenheim Bilbao, you should get ...