Manhattan - Abstract Prints

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minim...

SHEPARD FAIREY Global Warning - Global Warming (Andy Warhol Edition), 2009 Silkscreen on wove paper 24 × 18 inches Pencil signed and numbered 264/450 on the front Unframed Global War...

Alexander Calder The original Los Angeles County Museum of Art poster, 1965 Limited Edition vintage Offset Lithograph 32 × 24 3/4 inches 81.3 × 62.9 cm Edition of 300 This is the OR...

Agnes Martin Untitled #10, 1990 Lithograph on vellum transparency paper Unsigned Limited Edition of 2500 Publisher: Nemela & Lenzen GmbH, Monchengladback & Stedelijk Museum, Amsterda...

Roy Lichtenstein Art About Art Whitney Museum of American Art 1978 poster, 1978 Offset lithograph poster Frame included: held in the original vintage frame Provenance: from the colle...

Willem de Kooning de Kooning in East Hampton (Hand Signed), from Estate of Alan York, 1978 Offset lithograph poster (Hand signed by de Kooning) Boldly signed in green marker on the f...

Kerry James Marshall May 15, 2001, 2003 Four color silkscreen on Arches 88 paper Pencil signed, dated and numbered 39/60 on the front. Bears printer's blind stamp Vintage frame incl...

Andy Warhol To Earl and Camilla, Love Andy Warhol, 1979 Original Heart Drawing held in book with unique dedication to Earl and Camilla McGrath (Signed Twice by Andy Warhol) This uniq...

Marc Chagall Paris L' Opera Le Plafond, Romeo and Juliet at Place de la Concorde and Arc de Triomphe, 1965 Original poster on wove paper Unsigned Limited Edition of 5000 24 3/4 × 38 ...

Keith Haring Rare Hiroshima Peace Celebration poster (hand signed by Keith Haring), from the Patrick Eddington Collection, 1988 Framed Original offset lithograph (Hand signed by Keit...

From the rare, Deluxe, hand signed edition of only 100: David Hockney The Prisoner, for Amnesty International, 1977 Color Offset Lithograph Hand signed, numbered 17/100 and inscribed...

Colorful dots, lines and squares in bright blue, pink, green, lilac and yellow in wood grain form a totem against a lavender purple background. This jubilant take on Cubism features ...

Damien Hirst H12-4: Beautiful, Everlasting, Inexhaustibly Interesting, Self-Revelatory Gyration Painting, 2023 Mixed Media Giclée print on poly-cotton artist canvas mounted on a birc...

In the artist's abstract print series, Cosmos, 2023 by a.muse represents an imaginary cosmos - the universe as a place of longing, dreams, wonder, and ethereal beauty. A 13.75" x 11"...

Tracey Emin It - didnt stop - I didnt stop, 2019, from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional card (han...

Tracey Emin Every Bodies Been There (signed twice), 1998 Lithograph on paper Underneath that existing plate signature, Tracey Emin has, exceptionally hand signed and dated the work f...

Rarely found in such excellent condition! Others found on the market are often cut on the bottom with the yellow lined hem missing. This one is not! After Andy Warhol The Souper Dr...

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 when they're placed next to each other. I experiment with intensity of colours and the different sensations colours evoke. Why a Circle? When I explore my fascination with this shape I discover that the circle represents all that is familiar and comforting. It is the shape of the rising sun, of a mother's nipple, of the iris of the eye, and of a full moon. I use the latest digital technology as a medium to create my circles. ABOUT THIS ARTIST: Ruth Adler is a Canadian artist whose mediums include paintings, works on paper, animated films and textiles. She is inspired by the city of Tel Aviv, music (she plays the harmonica) and her personal memories. Jim Kempner Fine Art...

Frank Stella Sharpesville, from Multicolored Squares I (Axsom 79), 1972 Lithograph on J. Green mould-made paper Signed in graphite pencil, dated and numbered 31/100 (there were also ...

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...

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...

ABOUT THIS PIECE: "My photographs are a personal collection of moments that reveal my most genuine and beautiful depictions in the world around us. Preserving precious moments in ti...

Robert Rauschenberg Star In Motion, 1982 for the Los Angeles Summer 1984 Olympic Games (with COA from Olympic Committee) Offset Lithograph on Parson's Diploma paper Stamp signed (aut...

Sean Scully Munich 1996 (Hand Signed), 2001 Offset Lithograph print Hand signed and dated by Sean Scully in 2018 Boldly signed in black marker on the recto. Hand signed by Sean Scull...

Inviernosexoprimaveral 1995 17-color silkscreen with poured resin 40 x 30 inches (102 x 76 cm) Edition of 80 "Sexual Spring-like Winter" is a large painterly work, created with laye...

Tracey Emin Kiss Me Kiss Me Towel, 2014 with Official plate signed COA Brand new: unframed and comes folded (framed images for inspiration only) Limited Edition silkscreen on oversiz...

Damien Hirst Doldrums, H13-12, from Where the Land Meets the Sea, 2023 Laminated giclée print on aluminium composite panel 47 3/10 × 35 2/5 × 1/2 in 120.1 × 89.9 × 1.3 cm Hand-signe...

"Water in swimming pools changes its look more than any other form. If the water surface is almost still and there is a strong sun, then dancing lines with the color of the spectrum appear everywhere." - - David Hockney David Hockney Offset Lithograph poster (Deluxe Hand Signed Limited Edition) on Parsons Diploma Parchment Paper, accompanied by COA from the Publisher and Olympic Committee 36 × 24 inches Pencil signed and unnumbered from the Edition of 750 (there was a separate, larger unsigned edition) Unframed Also accompanied by gallery issued Certificate of Guarantee One of the most coveted, historic and popular David Hockney limited editions created - beloved by American and international collectors alike: The official edition of this work is 750, but the publisher famously destroyed unsold editions after the Olympic Games and only about 200-250 are said to remain. This hand signed limited edition iconic Hockney work was printed as one of the fifteen Official Fine Art Olympic Posters for the 1984 Olympic Games in Los Angeles. (the XXIII'rd Olympiad). It depicts an aerial view of a swimmer under rippling water broken up into 12 squares. A statement released by the 1984 Olympic committee explains the set as follows - "The posters commissioned for the 1984 Olympics contain an enlightened selection of the best American artists with special emphasis on those who work in Southern California...As the Games develop, transpire and pass into memory, these fifteen posters contain the images, forms and symbols that will represent the 1984 Olympics in the museums, galleries, homes and the minds of people all over the world.” This work is NOT to be confused with the ubiquitous plate signed poster of the same image, which was printed on different paper in an open edition.) In 1982, the Olympic Committee commissioned 15 artists to create posters for the 1984 Games in Los Angeles. Hockney designed this offset lithograph depicting Olympic swimming. It was printed on Parsons Diploma Parchment paper in 1982, in an edition of 750, hand signed in pencil by the artist. Even though this print was published in an edition of 750, after the first marketing blitz, the publisher destroyed the remaining portfolios of signed prints - literally discarding hundreds of them in the dumpster. The Olympic Committee commissioned these portfolios to celebrate and promote the 1984 Olympics, and nobody expected the individual prints to have such enduring value. As the executives running the short-term promotional campaign were neither prophets nor curators, they saw no reason to hold on to these huge prints...

Louise Bourgeois I Have Been to Hell and Back Handkerchief, 2007 Embroidery on 100% Cotton Handkerchief With the artist's silkscreened initiala Han...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of ...

“Light is not so much something that reveals, as it is itself the revelation.” - James Turrell James Turrell Key Lime, Rare LACMA Exhibition print, 2013 Scarce Offset lithograph pos...

Richard Diebenkorn 1984 Olympic Lithograph (Hand signed deluxe limited edition w/Olympic Committee COA), 1982 Lithograph with offset lettering on 100% cotton Parsons Diploma Parchment paper 24 × 36 inches Edition of 750 Hand signed by Richard Diebenkorn in graphite pencil on the front (unnumbered) Published by Knapp Communications Corporation for Los Angeles Olympic Organizing Committee Accompanied by a letter of authenticity from the publisher. This is one of only 750 hand signed lithographic posters, published in 1982 to celebrate the 1984 Los Angeles Olympics . However, the publisher is said to have destroyed many of the works that did not sell in the original marketing period, so only about 200-250 are said t remain. The Olympic Committee commissioned 15 nationally known artists, including West Coast artists like Sam Francis and Richard Diebenkorn, to create unique designs to promote the event. This was Diebenkorn's contribution to the portfolio. Hand signed Richard Diebenkorn prints (with the full signature) like this are extremely elusive and desirable. excellent provenance as it was acquired as part of the complete portfolio of limited edition hand signed Olympic prints, all held in the original box with colophon. All of the works in this rare portfolio, including this Diebenkorn lithograph...

This is a lifetime edition - hand signed and numbered by Jean-Michel Basquiat himself in Basquiat's lifetime. Many younger collectors don't appreciate the difference between the numerous posthumous estate authorized prints...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...

Jean-Michel Basquiat Gagosian Gallery 1986: Original 1980’s Basquiat exhibition poster, published on the occasion of: Jean-Michel Basquiat at Larry Gagosian Gallery, 510 North Robert...

RETNA Madre (Mother), 2023 Silkscreen and crystallina (diamond dust) on Coventry rag paper Hand signed and numbered by RETNA from the limited edition of only 75 on the front (41/75) ...

Monoprint with screenprint, collage, acrylic, stitching and embossing in colors on handmade paper, 1994, signed, dated, titled, and numbered 10/40 (each unique) in black and silver i...

For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject matter in favor of seemingly limitless variations in ...

Sean Scully Shadow, 1970, 2016 (hand signed) Offset lithograph card Boldly signed in black marker by Sean Scully Published by Cheim & Read on the occasion of the exhibition "Circa '...

Brice Marden Distant Muses 2000 Screenprint 23 1/2 x 19 1/8 inches; 60 x 49 cm Edition of 300 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks...

ABOUT THIS PIECE: Since 2008 fine art photographer Jonathan Chritchley has regularly been invited to attend the Classic Yacht Regattas on the legendary Cote d’Azur in France, working...

Roy Lichtenstein The Red Horsemen, aka The Equestrians (with COA from the 1984 Olympic Committee), 1982 Limited Edition Lithograph and offset Lithograph on Parsons Diploma Parchment...

Hero as a Riddle (1963) depicts a smiling head printed in gold, silver, and black. The shapes and lines composing the figure’s face are architectural and geometric: the eyes are comp...

ABOUT THIS ARTIST: Kimmie B is a designer and artist based in New York City. She creates bold and graphic shapes with organic lines and inspirational colors. Kimmie makes each form f...

SHEPARD FAIREY Bureau of Public Works (on Wood), 2004 Silkscreen on wood panel. Hand signed and annotated on both the recto and verso. In original handmade artist's frame. 24 × 18 in...

Helen Frankenthaler Untitled, from the estate of Stephen Poleskie (Berggruen 11, Clark 12, Harrison and Boorsch 11), 1967 Color silkscreen on wove paper Unframed A unique unsigned pr...

Yayoi Kusama Offset lithograph poster, 2017 Published by David Zwirner Unframed, with original folds as issued (see photo) Gorgeous Yayoi Kusama offset lithograph poster published b...

Shusaku Arakawa Blankless Tone, 1979 Color lithograph and silkscreen with embossing on Arches paper with deckled edges and folded collage upper left Hand-signed by artist, Titled "Bl...

Jasper Johns VIOLA (Viola Farber, Founding Member of Merce Cunningham Dance Company), Field 162, 1972 Color lithograph on Angoumois à la Main paper with full margins and deckled edge...

Frank Stella Large Limited Edition Hand Signed Whitney Museum Print, 1985 Offset Lithograph Hand signed, dated and numbered 93 from the edition of 100, lower left front 75 7/10 × 52 ...

Martin Puryear Los Angeles Olympic Games 1984, 1982 Offset Lithograph on Parsons Diploma Parchment Paper Hand signed on the front with COA, Edition of 750 (though only approximately 200-250 remain) 21 × 34 1/2 inches Unframed This limited edition, pencil signed offset lithograph was published in a limited edition of 750, and printed as one of the fifteen Official Fine Art Olympic Posters for the 1984 Olympic Games in Los Angeles. A statement released by the 1984 Olympic committee explains the set as follows - "The posters commissioned for the 1984 Olympics contain an enlightened selection of the best American artists with special emphasis on those who work in Southern California...As the Games develop, transpire and pass into memory, these fifteen posters contain the images, forms and symbols that will represent the 1984 Olympics in the museums, galleries, homes and the minds of people all over the world.” Printed and Published by Knapp Communications Corporation and includes Certificate of Authenticity from the publisher. This work is NOT to be confused with the ubiquitous plate signed poster of the same image, which was printed on different paper in an open edition.) In 1982, the Olympic Committee commissioned 15 artists to create posters for the 1984 Games in Los Angeles. Hockney designed this offset lithograph depicting Olympic swimming...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of pink, yellow, red, turquoise, silver, and gold. Printed with metallic ink that catches light differently from each angle, complementing the poster’s lime green and red text. The top of the poster reads “Let us move forward with a strong and active faith.” It was at this 1980 convention that Jimmy Carter was nominated for reelection. This large poster was printed by Petersburg Press in 1980, and features Frank Stella’s Polar...

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...

The limited edition was printed at Fine Creations Inc. and has the printer's blind stamp on the bottom right. It was published by Lincoln Center for the Performing Arts. The availab...

Keith Haring Tony Shafrazi 1982: set of 6 printed works: A set of six, individual, double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony Shafrazi ca...

Saul Steinberg Sam's Art, from The New York International Portfolio), 1966 Lithograph on wove paper with blind stamp Pencil signed and numbered 12/225 on the front Published by Tanglewood Press, Knickerbocker Machine and Foundry, Inc., New York Printed by Irwin Hollander with blind stamp Unframed This Steinberg lithograph is titled Sam's Art, which of course refers to Uncle Sam, the nickname for the United States government. It features his version of the motto seen on our dollar bills, "Annuit Coeptis", which is one of the mottoes found on the Great Seal of the United States. It is directly underneath the "Eye of Providence" and is translated by the US Treasury and State Department as "God (or Providence) favors our undertakings". American President Abraham Lincoln, sitting in front of an easel, is also depicted as an artist in this telling 1960s work. Commentary: "In Saul Steinberg’s lithograph ‘Sam’s Art’, Abraham Lincoln, in stove-pipe hat, poses as the artist in front of his canvas. While his attention looks fixed on rendering the slightly wobbly pyramid with an eye, the Masonic motif from the back of the one dollar bill, the line from his brush has floated off the canvas to become a cubist-futurist cloud in the sky. The American Eagle looks on, perched on a civil war cannon...

Otono Floral 1995 Hand-painted, 15-color silkscreen with poured resin 40 x 30 inches (102 x 76 cm) Edition of 80 "Sexual Spring-like Winter" is a large painterly work, created with ...

Andy Warhol Original vintage Christmas Card, ca. 1957 Offset lithograph card Plate signed on the front (see close up image) Unnumbered Frame included Offset lithograph card, ca. 1957...

Derek Boshier Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges Hand signed, numbered 38/50 and dated on lower front with printer's and publishe...

Jasper Johns The Drawings of Jasper Johns (hand signed and inscribed by Jasper Johns), 1991 Amazing provenance: Offset lithograph poster (hand signed and inscribed to Frank Martin, former conservator of the Whitney Museum) Hand signed and inscribed by Jasper Johns on the front Frame Included: matted in cream colored matting and held in original vintage frame Jasper Johns signed and inscribed this poster to Jack Martin, former Head Preparator at the Whitney Museum. This print was published by the Whitney Museum of American Art for the exhibition, " The Drawings of Jasper Johns Whitney...