Jacqueline Humphries "Untitled"

Untitled silkscreen by Dutch American abstract expressionist artist Willem de Kooning (1904-1997). Signed and numbered 42/75.

An etching and aquatint by Victor Pasmore from his portfolio titled "The Dance of Man in Modern Times". Victor Pasmore was one of the leading members of the English school of Abstract Expressionism. Please note this is one print from a larger portfolio. Other prints from this portfolio are available. A bit about Pasmore- Beginning in 1947, he developed a purely abstract style under the influence of Ben Nicholson and other artists associated with Circle, becoming a pioneering figure of the revival of interest in Constructivism in Britain following the War. [6] Pasmore's abstract work, often in collage and construction of reliefs, pioneered the use of new materials and was sometimes on a large architectural scale. Herbert Read described Pasmore's new style as "The most revolutionary event in post-war British art".[7] In 1950, he was commissioned to design an abstract mural for a bus depot in Kingston upon Thames[8] and the following year Pasmore contributed a mural to the Festival of Britain that promoted a number of the British Constructivists. Pasmore was a supporter of fellow artist Richard Hamilton, giving him a teaching job in Newcastle and contributing a constructivist structure to the exhibition "This Is Tomorrow" in collaboration with Erno Goldfinger and Helen Phillips...

Lithograph in colors composition by Egill Jacobsen (Danish. 1918-1998). Signed EJ, EA. Framed using acid free materials, UV protective plexiglass in 22-karat yellow gold leaf frames....

A72 color silkscreen on paper. Published by Pace Editions, Inc., New York 2017. Edition of 50. Signed, numbered and dated by the artist. Newly framed in a 23-karat yellow gold leaf f...

A 2016 silkscreen print made on the occasion of the Rio Olympics titled "Road To Rio" by Howard Hodgkin. Numbered 88/350 signed H.H. and dated 2016 in pen...

A pair of early prints by KAWS being sold together. Supermodel #1 1999 Supermodel #2, 1999 Screen prints signed in pencil, numbered and dated 99. The prints are matched numbered ...

Signed Print by Jacqueline Humphries, 2014

Untitled, 1981, unique embossed monotype print on handmade paper. Created at the Institute of Experimental Printmaking by lauded American artist, Sam Francis (1923-1994). The Sam Fra...

"Two 1992 chromogenic (c-prints) from Robert Flack’s series “Love Mind,” edition #1/3, feature ""fire circle"" and ""sword circles"". Robert Flack (1957-1993) was born in Guelph, Ontario and moved to Toronto to study at York University. After graduating in 1980 he began working at Art Metropole and as a layout artist on many General Idea-related projects including FILE Megazine. During the 80's he exhibited extensively in Canada at numerous artist-run centres and public galleries, the Cold City Gallery artist collective and the S.L. Simpson Gallery (a complete exhibition history is available on our web site). By 1990 he was exhibiting internationally, in Paris, Barcelona and Amsterdam, and was represented in New York at Feature Inc. and in Toronto at Garnet Press. His work was included in the touring group exhibition Corpus Part II curated by Bruce Grenville in 1993 for the Mendel Art Gallery in Saskatoon. A survey exhibition was curated by Nancy Campbell at the MacDonald Stewart Art Centre, with catalogue, in 1993. In 1997 Philip Monk included Flack's work in Rococco Tattoo: The Ornamental Impulse in Toronto Art at the Power Plant in 1997. In 1999 the National Gallery of Canada celebrated Flack's work to commemorate A Day Without Art, December 1999 - January 2000. ""From the beginning, Flack's work expressed an ""otherworldliness"" - a quality that focused sharply with his HIV sero-conversion in 1988. From that point forward, Flack's vision rocketed almost exclusively into the internalized realms of psychic energy, the chakras and the etheric body."" Andrew Zealley, Art Metropole, Halos: David Buchan and Robert Flack 2005. Amongst the work's many distinctions is Flack's use of pre-digital or analogue production techniques. Flack painted in enamel on clear acetate and overlaid his photographs with these painted layers before re-photographing the work, producing an ""iconic, sensual mapping of the body and dazzling use of colour and pattern"" (NGC web site). During this period he was sharing studio space in Toronto with Stephen Andrews...

Print Pigment inkjet on HotPress Natural, 300 gsm Measures: 20.00 x 25.00 in 50.8 x 63.5 cm Edition of 108 Signed and numbered by the artist. This work is part of the Vera List Anniversary Print Portfolio, created in recognition of the exceptional legacy of philanthropist Vera List. It was the generosity of Vera and her husband Albert that enabled the founding of the Vera List Art Project at Lincoln Center in 1962, MIT's List Arts Center in 1982, and the Vera List Center for Art and Politics at The New School in 1992, among others. These institutions joined forces with Artspace and six internationally renowned artists to produce this print portfolio. This print by Fred Wilson is comprised of a mashup of flags of Caribbean nations, presenting an idea about the relationships among the people of these cultures. Fred Wilson is a conceptual artist of African-American and Caribbean descent who's primarily known for rearranging art and artifacts in museum collections to reveal the inherent racism and gender politics that are often overlooked. First gaining notoriety in the early '90s with the exhibition Mining the Museum, in which he placed a whipping post from pre-Civil War America in a gallery and surrounded it with four ornate chairs...

Lithograph: sheet diameter, circa 45.5 cm Edition of 175, signed and numbered Published in January 1984 by The Arion Press, San Francisco From the portfolio "Self-portrait in a conve...

Edition of 175, signed and numbered Published in January 1984 by The Arion Press, San Francisco From the portfolio 'Self-portrait in a convex mirror' by John Ashbery. Immaculate cond...