Manhattan - Prints and Multiples

This is an engraving by Reginald Marsh offered by CLAMP, New York. Star Burlesk 1933/1969 Engraving (Edition of 100) 15 x 13.5 inches

Jasper Johns Recent Still Life (Hand signed and dated by Jasper Johns), 1966 Collotype. Hand signed and dated by Jasper Johns Edition of 2100 (this work is, exceptionally, hand signed & dated by Johns; the regular edition is not) Signed and dated lower right front by Jasper Johns in graphite pencil August, 27, 2008 Provenance: Estate of artist and noted collector Rick Collar Framed This scarce early (1966) limited edition collotype was published on the occasion of the exhibition "Recent Still Life" at the Museum of Art, Rhode Island School of Design. The regular unsigned edition was 2100, and the official signed edition was 100; however, exceptionally, Jasper Johns signed...

Richard Serra Synagoge Stommeln (German Synagogue) The Drowned and the Saved (Hand signed twice by Richard Serra), 1992 Offset lithograph poster (hand signed twice by Richard Serra) ...

Aristide Maillol Seated Nude (version 1) from the portfolio Aristide Maillol: Sculpture and Lithography, 1925 Lithograph on watermarked paper 12 1/2 × 19 1/2 inches Edition AP Hand-s...

Patrick is a conceptual artist, curator, and theorist exploring how media shape our perception of reality as well as the borders between the digital and the material. He is best know...

LESLEY DILL SMALL POEM DRESS, 1993 lithograph on Hindi newsprint 10 x 3 x 2 in. 25.4 x 7.6 x 5.1 cm. edition of 10 image may be slightly different. Please request exact image if int...

JAMES MCNEILL WHISTLER (1834-1903) Limehouse, from Notes lithotint, on cream Japan paper mounted to plate paper (as issued), 1878, Spink, Stratis & Tedesch 7, second state (of three)...

Allison Gildersleeve Untitled, Green (2017) Etching on Rives BFK paper Image size: 12 x 12 inches Paper: 26 x 19 ½ inches Edition of 18 Published by Eminence Grise Editions Printed b...

ABOUT THIS PIECE: My artistic journey on Burano Island has been a captivating exploration of its vibrant character. While initially drawn to its clotheslines and colourful walls in search of inspiration for my next clothesline animal, I soon discovered that each whimsical house possessed its own unique personality. My work seeks to highlight and amplify these distinctive features, celebrating the island's charm beyond its iconic laundry, embracing the quirks and individuality of every little dwelling. ABOUT THIS ARTIST: Helga Stentzel...

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...

Renowned artists and designers April Greiman and Jayme Odgers 1984 Olympic Games Print (Hand Signed by both April Greiman and Jayme Odgers), 1982 Offset Lithograph Poster - art in sports - Signed in graphite pencil on the front. Accompanied by a letter of authenticity from the publisher Also accompanied by Certificate of Guarantee issued by Alpha 137 Gallery 36 x 24 inches Unframed Accompanied by a letter of authenticity from the publisher on Olympic letterhead. This is one of 750 hand signed lithographic posters (though fewer than 200 said to be extant), published in 1982 to celebrate the 1984 Los Angeles Olympics . April Greiman is an American designer widely recognized as one of the first designers to embrace computer technology as a design tool. Greiman is also credited, along with early collaborator, the late artist Jayme Odgers, with helping to import the European New Wave design style to the US during the late 70s and early 80s." The Olympic Committee commissioned 15 nationally known artists, including April Greiman and Jayme Odgers to create unique designs to promote the event. The complete list of artists is: Sam Francis, David Hockney, Richard Diebenkorn, Carlos Almaraz, Robert Rauschenberg, Jennifer Bartlett, Jonathon Borofsky, Roy LIchtenstein, April Gornik, Raymond Saunders, Martin Puryear, John Baldessari, Lynda Benglis, Billy Al Bengston and Garry Winogrand. This was Greiman and Odger's contribution to the portfolio. In 2017, the Olympic Museum in Lausanne Switzerland...

Reginald Marsh (1898-1954), Merry-Go-Round, etching and engraving, 1938, signed in pencil lower right and inscribed Forty Proofs lower left, [also signed in the plate lower left and inscribed SC]. Reference: Sasowsky 179, fourth state (of 4). In good condition, with margins (a paper loss upper right corner well outside of the platemark, stains from prior hinging, notations in pencil lower margin edge). 10 x 8, the sheet 11 1/2 x 9 1/8 inches. A very good impression, printed in black on a wove paper with a partial FRANCE watermark. Sasowsky notes that Marsh printed 15 impressions of this state (and only one or two of the prior states), and considered only 10 of the 15 valuable. His notation “Forty Proofs” is therefore surely an expression of a hoped-for edition size, as opposed to an actual edition size. We have found this quite often the case with Marsh prints – he indicates an edition size but the actual number of impressions printed is considerably smaller. There is an eerie, almost ominous note in this, as in several of Marsh’s merry-go-round prints...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

Julian Schnabel Large Lincoln Center 25 Years (Hand signed and inscribed), 1984 Offset lithograph. Signed and inscribed to Kevin by Julian Schnabel 60 × 40 inches Signed and inscribe...

Richard Prince It's a Free Concert (Hand Signed by Richard Prince), 2014 Offset Lithograph (hand signed by Richard Prince) Hand signed by the artist on the front Unnumbered 33 × 23 3...

Arnold Iger Lily (Readers Digest Association Art Collection), 1988 Intaglio (Hand Signed, Dated, Titled, Numbered & Framed) Signed in pencil lower right recto Numbered "77/350" on lo...

David Hockney Hand made Fine Bone China Jewelry/Trinket Box for The Rake's Progress Drop Curtain, 2019 Fine bone china finished with platinum gilding in presentation gift box David H...

Honore Daumier (1808-1879), Monsieur – Here’s Your Handkerchief, lithograph, 1842. Daumier Register 670, third state (of 3), sur blanc, plate 47 from the series Moeurs Conjugales, pu...

Honore Daumier (1808-1879), Oursikoff, lithograph, from Actualities, Plate number 72, published in Charivari, 1854. Reference: Daumier Register 2519, second state of two, a newsprint...

Peter Halley Peter Halley, Imago Galleries, Palm Desert, CA (Hand Signed), 2006 Offset lithograph poster (hand signed by Peter Halley) 25 1/2 × 18 1/4 inches Provenance; Acquired directly from the artist Unframed Alpha 137 Gallery is honored to offer this offset lithograph, published on the occasion of legendary American artist Peter Halley's 2006 one-man exhibition at Imago Galleries, Palm Desert, California 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 "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, New York (2019); Venice Biennale (2019); Lever House, New York (2018); Schirn Kunsthalle, Frankfurt (2016); Disjecta, Portland (2012); the Gallatin School, New York University, (2008, 2017); the Museum of Modern Art, New York (1997); and the Dallas Museum of Art (1995). In 2005, Halley was also commissioned to create a monumental painting for Terminal D at the Dallas/Fort Worth International Airport, Texas. Halley served as professor and director of the MFA painting program at the Yale School of Art from 2002 to 2011. From 1996 to 2005, Halley published INDEX Magazine, which featured interviews with figures working in a variety of creative fields. Halley is also known for his essays on art and culture, written in the 1980s and 1990s, in which he explores themes from French critical theory and the impact of burgeoning digital technology. His Selected Essays, 1981 – 2001, was published by Edgewise Press, New York, in 2013.Halley’s writings have been translated into Spanish, French, and Italian. A catalogue raisonné, PETER HALLEY: Paintings of the 1980s, was published in 2018 by JRP Ringier. Halley’s work can be found in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Broad Art Foundation, Los Angeles; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Boston Museum of Fine Arts; Dallas Museum of Art; Albright-Knox Art Gallery, Buffalo; Tate Modern, London; Stedelijk Museum, Amsterdam; Sammlung Marx, Berlin; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum of Contemporary Art, Tokyo; Seoul Museum of Art, among others. More about Peter Halley Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

A Buffalo, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is known for his Arts and Crafts period woodcuts and his later industrial sce...

Paul McCarthy Doll, Limited Edition Skate Deck, 2016 Silkscreen on 7-Ply Canadian Maplewood Skate Deck. Numbered from the edition of 250. Signed on the deck. (Printed). Numbered from...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered 8/25 lower left in pencil. Printed in inky black, Fjord features a close-up view of the water as it meets the shore. Yorkshire is famous for its rocky coastline, where fishing villages cling to cliffs, windswept abbeys peak above the skyline, and sand beaches attract families on vacation. Moore’s scene is dark and even sinister – the shore’s narrow inlets reaching into the water like gnarled fingers. Fjord displays Moore’s fascination with light and dark – what he called a “…bias towards the blackness and mysterious depths.” Moore was inspired by the prints of Rembrandt and the drawings of Seurat, and even drew on his memories of viewing the Altamira cave paintings, recalling how some of the images used the shadow of candlelight on the rough surface of the rock to model light. Shortly before starting work on this series of lithographs, Moore had fallen ill, leaving him aware of his own mortality. His mood pervaded these prints with a sense of danger and foreboding. Fjord is one of a group of lithographs...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden photographs one icon of American childhood- a Hot Wheels...

MASSIMO LISTRI Massimo Listri - Museo Archeologico Naples, Italy (Portrait of Interiors), 2018 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and number...

Since the age of 10, Jill Greenberg has staged photographs and created characters using the media of drawing, painting, sculpture, film, and photography. She is known worldwide for her uniquely human animal portraits which intentionally anthropomorphize her subjects, as well as her infamous series “End...

Emilio Sanchez (1921-1999) created this color lithograph entitled “SOL de MEDIODIA” in 1996-98. This unsigned impression came to us directly from the Sanchez estate. Estate stamped...

MASSIMO LISTRI Trinity College Library, Dublin, Ireland, 2012 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and ...

Kurt Schwitters 50 Collages by Schwitters, 1962 Lithograph and Silkscreen 22 × 17 inches Unframed Extremely rare and desirable lithographed exhibition poster published on the occasio...

A contemporary print by a Japanese artist Fumihiro Kato. The focal point of the composition is a stunning sunflower, rendered in various shades o...

Robert Indiana ERR (Sheehan 29), 1963 Photoengraving and Etching on off-white Rives BFK paper Hand signed, dated and annotated on lower front with artist's blind stamp from Coenties ...

Claes Oldenburg (after) Stars : A Farce for Objects (Cat. Raisonne Ref: 29, Axsom & Platzker, 1997), 1963 Letterpress poster in 1 colour over stock offset lithograph "rainbow roll" in 3 colours on paper, mounted on wood board Unsigned and unnumbered, as issued Published in an unknown edition size 28 × 22 inches x 1 inch Published by Washington Gallery of Modern Art; Printed by Globe Poster...

Andy Warhol, Robert Whitman, Robert Rauschenberg, Red Grooms, Marisol, Tom Gormley. ART CASH (signed by all six artists), 1971 Double sided offset lithograph on wove paper with full...

Nancy Graves Nancy Graves: A Survey 1969/1980 (Hand signed and inscribed to Dick Polich of Tallix), 1980 Offset lithograph poster (hand signed, dated and inscribed) signed, dated and...

Kitaj’s drawing on pink paper is of a man in profile, wearing a sou’wester: a fisherman’s collapsible rain hat. The image is a wry portrait, ostensibly of Albert Blake...

DONALD BAECHLER Birds, 1995 Lithograph on wove paper 11 63/100 × 7 47/50 inches Hand signed, dated and numbered 9/20 on the front; bears the publishers' distinctive blind stamp lower...

Frank Stella Raft of the Medusa, Part IV (Casino Knokke poster, Hand signed by Frank Stella), 1991 Offset lithograph (hand signed in black marker by Frank Stella) Signed in black mar...

ABOUT THIS ARTIST: Paolo Pettigiani is an Italian photographer and art director. He combines graphic design and photography in one single image, playing with colors, shapes and contr...

Vintage David Hockney poster for the XIV 1984 Olympic Games in Sarajevo published as part of the official 1984 Olympic Fine Art Posters Series. The Olympic Committee commissioned 15 ...

Jim Dine self portrait in which the artist has tulip flowers on either side. This is one of four states: for each successive print he worked int...

James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a large, elaborate shaded butterfly, lower right and inscribed imp (also signed with the butterfly in the plate), printed in dark-brown/black ink on laid paper, watermark ProPatria, an impression in Glasgow’s seventh (final) state, published by The Fine Art Society, probably printed in 1881, 8x 11 3/4 inches, sheet 12 1/8 x 16 1/8 inches. Reference: Kennedy 178; Glasgow 185. Provenance: Kraushaar Gallery, New York A fine impression, with wide margins. The Fine Art Societys relationship with Whistler began with the new etchings of the Thames he made in 1879, following a visit from Ernest Brown who had joined the staff of the gallery. The plate is on a large scale and shows the change in the artists approach to the Thames since the etchings he had made in Wapping and the docks in the summer of 1859. The central motif is the old bridge, by this stage somewhat dilapidated. It was shortly to be demolished and replaced by the new bridge of Cornish granite...

Christo Monuments and Projects, 1968 Rare Limited Edition Lithograph and offset lithograph Hand signed, dated and numbered 5/100 by Christo on the lower left front Published by the ICA, University of Pennsylvania, Philadelphia, PA 23.25 x 18.5 inches Unframed This hand signed and numbered offset lithograph is one of the more elusive and desirable early Christo exhibition invitations, published on the occasion of his groundbreaking exhibition at the ICA in Philadelphia, when Christo was only 33 - and hand signed and numbered by Christo on the front, making it a true collectors' item. "...By mid-September 1968, Christo's attention focused on Monuments and Projects, his one-man exhibition opening October 4 at the University of Pennsylvania's Institute of Contemporary Art. It included earlier work and four on-site projects: 1,240 Oil Barrels Mastaba, Two Tons of Wrapped Hay, Two Wrapped Trees, and Seven Wrapped Women. Suzanne Delehanty, the assistant of ICA director Stephen Prokopoff, remembered: "I had to round up fifteen hundred-plus oil barrels, the equivalent of five freight cars full. They were to construct a truncated pyramid in our large fifty-by-fifty-foot gallery. Getting them wasn't easy. It meant disrupting oil companies' operations, since drums are needed at every stage of the delivery cycle. The materials Christo chose engaged this invisible system. Negotiations for loaning barrels were made with various companies by Stephen and Nathaniel Lieb, an ICA board member. I remember that one company wouldn't lend, but insisted on selling their barrels to us; after we returned them, they would give a refund—it was their way of doing a loan receipt. I had to convince the university business office not to worry about the ten- or fifteen-thousand-dollar invoice. We borrowed oil barrels from several companies: some did a straight loan based on an exchange of letters; others used their own system of inventory control. It was fascinating." While the multicolored oil barrels were stacked to form a massive mastaba in the ICA ground-floor entry gallery, two other works, Two Wrapped Trees and Two Tons of Wrapped Hay, took shape on the level above. The installation crew, paid M.F.A. students, alternated between unloading barrels and making forays into the countryside to gather bales of hay. Suzanne Delehanty reflected, "The bales of hay were stacked, creating a bulky structure, covered with tarpaulin and tied with rope." Another ICA work lasted only a few hours. When dinner guests arrived, seven wrapped female nudes awaited them. Each had been placed on a pedestal. Harry Shunk...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Enginee...

ABOUT THE PIECE: The Colorsafe paintings are an exploration of the use of color and pattern. They are constructed from 'vintage' catalogs of the late 1960s / early 70s, a particularl...

Tom Wesselmann Shiny Nude (Stealingworth, 33), 1977 Silkscreen on glossy cast-coated Kromekote paper 8 × 8 inches Edition of 1000 Pencil numbered from the l...

This vibrant image is a stellar example of Denzil Forrester’s depictions of dub and reggae clubs – a subject that has been central to his practice since the late 1970's. "I’m interes...

Billy Name Viva, Susan Bottomly and Ultra Violet at the Factory, (exhibited at "Andy Warhol: A Factory", The Guggenheim Museum, NY and Bilbao, with exhibition labels), 1968 Gelatin silver print (printed in 1996) Hand signed by Billy Name on the front; bears the original exhibition labels from the Guggenheim Museum and Guggenheim Bilbao on the back. Frame included This very work was included in the exhibition: "Andy Warhol: A Factory" at the Guggenheim Museum in New York. October 19, 1999–January 16, 2000 and the Guggenheim Museum in Bilbao, Spain, Organized by the Solomon R. Guggenheim Museum, New York, and the Kunstmuseum Wolfsburg, Germany. It bears labels on the back from The Guggenheim Museum and Guggenheim Bilbao Literature: Reproduced in the catalogue Andy Warhol: a factory, by Germano Celant, published on the occasion of the exhibition Andy Warhol: A Factory, organized by the Solomon R. Guggenheim Museum in New York in collaboration with the Kunstmuseum Wolfsburg, at the Palais des Beaux-Arts de Bruxelles, June 1 - September 10, 1999, reproduced on page 329 Measurements: Framed: 15 inches vertical by 19 inches by 1.5 inches Photograph: 9.25 inches by 13.5 inches Provenance Originally lent by the artist for the exhibition Below is more information about the photographer, Billy name, and the three Warhol superstars featured in this silver gelatin print: Unnumbered (unknown edition) BILLY NAME (Photographer) William George Linich (February 22, 1940 – July 18, 2016), known professionally as Billy Name, was an American photographer, filmmaker, and lighting designer. He was the archivist of The Factory from 1964 to 1970. His brief romance and subsequent friendship with Andy Warhol led to substantial collaboration on Warhol's work, including his films, paintings, and sculptures. Linich became Billy Name among the clique known as the Warhol superstars. He was responsible for "silverizing" Warhol's New York studio, the Factory, where he lived until 1970. His photographs of the scene at the Factory and of Warhol are important documents of the pop art era VIVA Janet Susan Mary Hoffmann (born August 23, 1938), known professionally as Viva, is an American actress, writer and former Warhol superstar. She was given the name Viva by Andy Warhol before the release of her first film but later used her married last name (Auder). She appeared in several of Warhol's films and was a frequent guest at the Factory. Viva was on the phone with Andy Warhol when he was shot by Valerie Solanas in 1968 Susan Bottomly (aks International Velvet...

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...

Yayoi Kusama Yellow & Black Pumpkin (plush): An iconic, vibrantly colored pop art piece - this Kusama plush pumpkin features the universal polka dot patterns and bold colors for whic...

Andy Goldsworthy Presentation print for Royal Mail Christmas Stamp Series, 2003 Color photogravure on handmade rag paper with deckled edges 15 × 20 1/4 inches hand signed lower right...

Walasse Ting 丁雄泉 Abstract Expressionist Flower, 1969 Color lithograph with publisher's blindstamp Pencil signed, dated, and numbered IV/XV by Walasse Ting on the front 23 × 30 inche...

Jonas Wood 24 Tennis Court Drawings book (hand signed, inscribed to Kevin and dated by the artist) Hardback monograph (signed, inscribed and dated 2003) 13 1/2 × 9 1/4 × 2/5 inches M...

Max Bill Untitled Mid Century Modern Geometric Abstraction, 1970 Silkscreen on wove paper 27 1/2 × 19 1/2 inches Signed, dated and numbere...

Michael Dal Cerro's prints could be seen as imaginary architectural proposals. He takes satisfaction in taking something that is supposed to be exact...

George Stauch (American b. 1900), " Today I am A Horse" Edition 298/300, Abstract Color Lithograph signed in pencil, 24 x 20, Late 20th Century Colors: White, Red, Brown, ...

Providence, Rhode Island, native Herbert Fink is known for his prints, drawings and paintings of the figure. This particular image is in a labor-intensive stipple engraving techniqu...

Chloe Wise Esben in the Evening 2019 Signed and numbered, verso Screen print (Edition of 100) 10 x 8 inches

Suite of five prints including Gordon House "A Still Life at Millbank", R. B. Kitaj "Chris", John Piper "Eye and Camera, Red Blue and Yellow", Joe Tilson "Delphic Oracle", Gerd Winner...