Manhattan - Art

Susan English Cascading Folds (with footer) No.67, 2025 tinted polymer on Yupo paper 32 x 26 in (eng278)

Helen Frankenthaler Frankenthaler: The Darker Palette (Hand signed twice and inscribed), 1998 Offset Lithograph print 42 × 35 in hand signed "Frankenthaler" lower left; inscribed and...

Samuel Chamberlain was a superb draftsman and his architectural images are often very complex. This image is, by contrast, quiet and understated: serene to the point of lonely. It's ...

Hunt Slonem "Indigo Finches" Blue Birds Multiple finch birds gestured in blue and black on a silver background in a vintage frame. Unframed: 24.5 x 15 inches Framed: 31.5 x 22 inche...

Red Grooms New York City Newsstand, "Extra, Extra Read All About It", 2003 Mixed Media 3-D Construction in Custom Fitted Lucite Box 20 × 26 1/2 × 10 1/2 inches Frame included Edition...

Jules Olitski Elegy, September 11, 2001, 2002 Silkscreen on wove paper Edition 103/108 Signed, titled and numbered in graphite pencil 103/108 on the front Framed Jules Olitski is hon...

Jim Dine Limited Edition Williams College Museum Poster, 1976 Offset lithograph poster on off white wove paper Limited edition of 300 Published by Pace Editions, with copyright LARG...

Basquiat, The Chi-Chi Show, Massimo Audiello Gallery, New York, March 1985: Original 1980s Basquiat announcement card published on the occasion of: 'The Chi Chi Show': Massimo Audi...

Richard Serra Torqued Spirals, Toruses and Spheres, 2001 Offset lithograph poster (Hand signed by Richard Serra) Boldly signed in black marker on the front 28 × 20 inches Unframed This poster was published on the occasion of Serra's October 2001 exhibition at the Gagosian Gallery - one month after 9/11; The posters were sold for the benefit of the Twin Towers Fund and a certain quantity were hand signed by the artist. Richard Serra Biography Richard Serra was born in 1938 in San Francisco and lives and works in New York and the North Fork of Long Island. His first significant solo exhibition was held at the Leo Castelli Warehouse, New York, in 1969. His first solo museum exhibition took place at the Pasadena Art Museum in 1970. Serra has since participated in numerous international exhibitions, including documenta (1972, 1977, 1982, and 1987) in Kassel, Germany; the Venice Biennales of 1980, 1984, 2001, and 2013; and the Whitney Museum of American Art’s Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006. Solo exhibitions of Serra’s sculptural work have been held at numerous public institutions worldwide, including, among others, the Museum Boijmans Van Beuningen, Rotterdam, 1980; Musée National d’Art Moderne, Paris, 1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986; Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, 1987; Städtische Galerie im Lenbachhaus, Munich, 1987; Stedelijk Van Abbemuseum, Eindhoven, 1988; Kunsthaus Zürich, 1990; CAPC Musée d’Art Contemporain, Bordeaux, 1990; Museo Nacional Centro de Arte Reina Sofía, Madrid, 1992; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; Trajan’s Market, Rome, 2000; Pulitzer Foundation for the Arts, St. Louis, 2003; and Museo Archeologico Nazionale di Napoli, Naples, 2004. In 2005, The Matter of Time, a series of eight large-scale works by Serra from 1994 to 2005, was installed permanently at the Guggenheim Museum Bilbao, and in 2007, The Museum of Modern Art, New York, presented the retrospective Richard Serra Sculpture...

This whimsical and sophisticated painting was realized by the esteemed contemporary painter, Hunt Slonem in 2013. It presents a stylized rabbit in profile, rendered with loose and ex...

This painting depicts an interior scene done in Paris. The fun details are what make this painting so attractive and desirable; there is a wine bottle and flowers on top of the table...

In this piece, the artist depicts his subject in an abstract and impressionistic way, capturing the Arc de Triomphe busy street scene from the 20th Century with much life. The artist...

Joan Lurie Untitled #6 White Glazed Porcelain 20" x 14" x 14" 2019 Artists Statement: My interest is in exploring ways of building structural forms in ceramics. Many ideas for the f...

Yayoi Kusama With All My Flowering Heart (Triptych), 2014 Set of Three (3) Separate Limited Edition numbered skate decks on 7-ply Canadian maple wood 31 × 8 × 2/5 inches (each) Hand ...

Sam Gilliam Untitled Abstract Expressionist mixed media painting, Ex-Museum of Modern Art Collection, 1968 Watercolor and Aluminum Paint on Fiberglass Paper. (Framed with Museum of Modern Art Collection Label Verso and Exhibition brochure from the American Embassy...

New York City, USA, 1954 is a 13" x 9" archival pigment print (baryta) in a limited edition of 5. Signed verso (back of photo) by Brigitte Freed (wife of the photographer), with Leon...

Through light and shadow, a gaze, a mindset, Bill Phelps fourth solo show at the Robin Rice Gallery VISITOR inspires the imagination. About life, about being, eye and heart his great...

Hebru Brantley (Hebru Brantley art toy), 2017. New in its original packaging. Medium: Painted cast vinyl. Dimensions: 9 x 8 x 4 inches (22.9 x 20.3 x 10.2 cm). New and sealed in i...

John Baldessari JBCRIAL1VY-98 (Unique Variant, Hand Signed), 1998 Ink jet print on paper. - Unique Variant Hand signed by John Baldessari on the front 1 of 96 similar works completed...

Hajime Sorayama Future Mickey Be@rbrick: Set of two (400% & 100%): Medium: Vinyl Figurine. Set of two figurines. Larger: 11 x 5 x inches. Condition: New in original packaging. Published by Medicom from a limited series of unknown. Accompanied by the original box. Printed signature verso of figurine & box. Rare. Hajime Sorayama (b. 1947) is a Japanese illustrator known for his precisely detailed, erotic portrayals of feminine robots, along with his design work on the original Sony AIBO. He describes his highly detailed style as "superrealism", which he says "deals with the technical issue of how close one can get to one's object. The Future Mickey Be@rbrick colorways mirror the colors of Sorayama’s original Future Mickey sculptures...

Jasper Johns Painting with Two Balls, Kunsthalle, Berlin, hand signed poster (Field 132), 1971 Offset lithograph (hand signed and inscribed by Jasper Johns) Signed and inscribed in m...

Artist: Murakami, Takashi Title: Cherry Blossoms and Pandas Date: 2020 Medium: Offset Lithograph Unframed Dimensions: 28" x 28" Framed Dimensions: 34" x 34" Signature: Signed...

[Bruce Sargeant (1898-1938)] Man with Red Fez n.d. Signed in red, u.r. Double-sided oil painting on panel 30 x 24 inches

With layers of bright oils and whisking brush strokes, the paint is able to shine and shimmer in a very unique pattern. The artist uses gold leaf with thick textured oils and glass t...

Samantha Haring "Static," 2024 Oil on paper on panel 20 x 20 in. (hari023)

NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural Ernest Fiene (1894-1965) Cityscape 36 x 30 inches Oil on canvas Signed and dated 1930. lower right Provenance Estate of the artist. ACA Galleries, New York Exhibited New York, Frank Rehn Gallery, Changing Old New York, 1931. New York, ACA Galleries, Ernest Fiene: Art of the City, 1925-1955, May 2-23, 1981, n.p., no. 5. BIO Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings...

ABOUT THIS PIECE: Blurring the lines between reality and abstraction Luca searches for rich textures, patiently waiting for the subtle moment when the soft lighting or harsh contrast...

Leonard Freed’s authenticated/stamped vintage (back of photo), 16" x 20", gelatin silver print, Kate #14, is from the Kate series, 2002. A photographer herself, model and yogini Kate remains complicit in striking dramatic poses for the Kate nude series by Freed. In this image Kate is supine, arms outstretched, body arched on the backside of a person in a downward dog yoga pose. On the edge of a cliff with the ebb and flow of the sea and waves many feet below, the duo remain in balance above swirling waters. Kate's trust in the universe, a face of abandon, reveals youthful fearlessness and love of freedom. Freed captures a self-possessed modern woman and partner in a dance of sorts that Kate shares on the edge of time...

Dorothy Dehner Untitled Mid Century Modern abstract sculptural drawing, 1955 Marker and graphite on paper Signed and dated by Dorothy Dehner in black felt tip pen on the front Frame ...

Yves Klein La Conférence à la Sorbonne, 3 Juin, 1959, 1959-1963 Two 12-inch vinyl records held in gatefold sleeve with silkscreen cover jacket in IKB International Klein Blue...

Robert Rauschenberg at Leo Castelli Gallery 1971: Vintage original Robert Rauschenberg exhibition opening invitation for, Robert Rauschenberg: Cardboards, October 16, 1971 at Leo Cas...

Patrick Caulfield's cheeky, Pop Art take on a seaside favorite, dressed lobster, abstracted in graphic black strokes atop a field of red decorated with tiny sprigs. Signed by the art...

Yayoi Kusama MoMa Skateboard Deck: This Kusama skateboard deck features Kusama's Dots Obsession imagery and makes for standout Kusama wall art that hangs with ease. Published by MoMa...

1994, color aquatint, 48 x 36 inches, edition of 40 Although best known for his portraits, Katz has depicted landscapes both inside the studio and out of doors since the beginning o...

Robert Petersen Detail Sketch from January 1986, 1991 Pure pigment collage, acrylic painting and drawing Hand-signed by artist, Hand signed, hand initialed, annotated, dated by hand and with date stamp and stamped by artist and inscribed to Dr. Joseph and Mary Bottino Provenance: Bottino family 16 1/2 × 21 inches Unframed Unique Robert Petersen is a longtime collaborator, friend and protege of Robert Rauschenberg. Detail Sketch from January 1986, dated by the artist April 20, 1991, as well as April 1, 1991 and April 19, 1991, hand signed, as well as stamped RP several times, inscribed, and bears instructions"can paint over pink and blues and whites", and initialed. More about Robert Petersen: Robert Petersen was born in 1945 in the small farm town of Le Mars, Iowa and was raised there until 1952 when he moved with his family to Whittier, California. His education as an artist began in 1963 at Fullerton Community College where his interest in architectural drafting led him to develop a passion for drawing, painting, and printmaking. In 1966, he pursued his love for printmaking further at California State University, Long Beach under the former Tamarind Lithography Workshop printer, Robert Evermon. In 1969, Petersen went on to work as an assistant printer at Gemini G.E.L. where he printed editions for Frank Stella, Roy Lichtenstein, and Robert Rauschenberg. Most notably, Petersen served as one of the head printers for Rauschenberg's Stoned Moon series, during which the two formed a close friendship. In late 1970, Rauschenberg invited Petersen to live and work with him on Captiva Island, Florida, which had recently become the artist's permanent residence and studio. In 1971, Rauschenberg and Petersen...

A wonderful composition of one of Slonem's most iconic subjects, Butterflies. This piece depicts delicate butterflies in ascension placed in a wonderful golden landscape. Slonem trac...

Alex Katz Ada (purple) 2022
 1 Color Woodcut on Somerset Satin White, 300 gsm fine art paper
 18 x 23.5 inches (60 x 46 cm)
 Signed and numbered edition of 75 Alex Katz is an Americ...

Helen Frankenthaler A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned & Unnumbered) Limited Edition - though exact number produced unknown 37 × 25 inches Unframed This was printed in the artists lifetime - making it more collectible - on the occasion of the exhibition, "Helen Frankenthaler: A Paintings Retrospective from February to April, 1990 at the Los Angeles County Museum of Art (LACMA) Print is published by Editions Limited Galleries, San Francisco for Los Angeles County Museum of Art (LACMA), LA, CA The work depicted is Helen Frankenthaler, The Bay, 1963, acrylic on canvas, Detroit Institute of Arts, Michigan (Incidentally, this beautiful work is featured on the cover of the book Water and Art' by David Clarke.) Accompanied by gallery issued Certificate of Guarantee “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Jeff Koons Balloon Dog Women's Shoulder Bag (Hand Signed by Jeff Koons), 2014 100% Leather Shoulder Bag with silkscreened image of yellow balloon dog. Hand signed and dated by Jeff ...

"The 2 buildings on either sides and the Manhattan Bridge framed the Empire State Building nicely, like a portal into NYC. Just like Ellis Island of the past, this is a portal into a...

Erin Vincent is a Toronto based-artist whose work draws on a variety of repetitive and labor intensive processes and materials. Things and common objects have always fascinated Vinc...

Shepard Fairey God Save the Queen, 2012 Screenprint on wood panel in artist's frame Hand-signed by artist, Signed twice: Pencil signed, dated and annotated AP on the front; also penc...

Hunt Slonem "Red Diamond Dust" Heart Bunny A single rabbit gestured in red on a light red background with Diamond Dust in a vintage frame. Unframed: 14 ...

Title: Globe Amaranth Medium: Oil on canvas Size: 18 x 22 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2000 Ci...

A beautiful oil on canvas painting by the French artist Andre Franchet. He was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His work is...

Keith Haring Nuclear Disarmament poster 1982: In 1982 Keith Haring created this poster for Nuclear Disarmament, which features his signature Radiant Baby in a mushroom cloud. This hi...

Hunt Slonem "Blue" Single Bunny A single bunny gestured in black on a blue background in a vintage frame Unframed: 8 x 6 inches Framed: 11 x 9 inches *Painting is framed - Please no...

Joyce Kozloff Pictures and Borders II, 1977 Color lithograph on wove paper Signed, dated, titled and numbered "Artist's Proof XVI" in graphite pencil on the back of the sheet Editions AP-XVI of 50 30 × 22 inches Pencil signed, titled and annotated Artist's Proof XVI on the back; one of XX Artists' Proofs, aside from the regular edition of 50 Published by Judith Solodkin, founder of SOLO Impression, Inc Provenance: Provenance: De-accessioned from the corporate collection of Stroock & Stroock & Lavan Unframed JOYCE KOZLOFF BIOGRAPHY Joyce Kozloff was born in Somerville, New Jersey in 1942. She received a BFA from Carnegie Institute of Technology, Pittsburgh, PA in 1964 and an MFA from Columbia University in 1967. Kozloff was a major figure in both the Pattern and Decoration and the Feminist art movements of the 1970s. In 1979, she began to focus on public art, increasing the scale of her installations and expanding the accessibility of her art to reach a wider audience. Kozloff has since executed a number of major commissions in public spaces, including Dreaming: The Passage of Time for the United States Consulate, Art in Embassies Program in Istanbul, Turkey; The Movies: Fantasies and Spectacles for the Los Angeles Metro’s Seventh and Flower Station, CA; Caribbean Festival Arts for P.S. 218, New York, NY; New England Decorative Arts for the Harvard Square Subway Station, Cambridge, MA; and Bay Area Victorian, Bay Area Deco, Bay Area Funk for the International Terminal, San Francisco Airport, CA. Since the early 1990s, Kozloff has utilized mapping as a device for consolidating her enduring interests in history, culture, and the decorative and popular arts. She initially concentrated on cities known to her, onto which patterns and images reflecting their colonial pasts were then overlaid. Subsequent series examined bodies of water and the inaccuracies of early maps from the so-called “Age of Discovery.” In 1999-2000, Kozloff was awarded the Jules Guerin Fellowship / Rome Prize from the American Academy in Rome, Italy. During her yearlong residency abroad Kozloff conceived and completed Targets, a nine-foot walk-in globe in twenty-four sections, each of which is painted with an aerial map of a place that has been bombed by the U.S. in the years since World War II. A 2001 residency at the Bogliasco Foundation in Liguria, Italy provided the genesis for Boy's Art, a series of twenty-four collaged drawings based on maps, diagrams, and illustrations of historic battles...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Andrei Petrov is an American artist of Russian origins. He is best known for his abstract oil paintings where calibrated stratifications of intense shades of colors are scraped to ex...

“I don’t have any Seine River like Monet, I’ve just got US 66 between Oklahoma and Los Angeles.” — Ed Ruscha True First Edition of Ruscha's most iconic book - hand signed with except...

1987 Vinyl Record Art by Keith Haring: Off-Set Lithograph on vinyl record jacket; engraved gold foil. 12 x 12 inches. Printed Haring signature on the mid lower left. Very good over...

Roy Lichtenstein Real Estate (Inscribed letterhead): A rare hand-signed Roy Lichtenstein Real Estate letterhead circa 1969. Offset print...

Hunt Slonem "Lories & Amazons" Multicolor Parrots on Metallic Background A family of seven birds on a gold and multicolor background in a vintage frame Unframed: 30 x 22 inches Fram...

John Baldessari The Sprinters, 1982 Limited Edition Offset Lithograph on Parson's Diploma paper Signed in graphite pencil on the front. Accompanied by letter of authenticity from the publisher 36 x 24 inches Unframed Provenance: Acquired as part of the complete SIGNED 1984 Olympic Lithographic Print Portfolio Exhibition History: Olympic Museum in Lausanne, Switzerland, 2017 (different edition) Accompanied by a letter of authenticity from the publisher on Olympic Committee letterhead. This is one of 750 hand signed lithographic posters, published in 1982 to celebrate the 1984 Los Angeles Olympics...

Super rare original signed The Gates proposal book for famous art critic: Christo: The Gates Project for Central Park New York City (Hand Signed and Inscribed to art critic Anthony ...

1989/2002, pigmented inkjet print, 14 1/8 x 11 inches (image size: 11 x 8/5/8 inches), edition of 12, signed by Jean Conner, the artist's widow, on verso; accompanied by a photo-certificate from the Conner Family Trust BOMBHEAD was originally conceived as a newspaper and photocopy collage by Bruce Conner in 1989. This edition of BOMBHEAD was scanned using the original negatives of a portrait of Bruce Conner by Edmund Shea and a photo of an atomic bomb explosion taken from the National Archives, Library of Congress. A separate large format edition with hand-coloring was produced the same year. The image was digitally edited by Conner and Donald Farnsworth...

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, female figure, greek urns, and an...