Manhattan - Abstract Prints

Set of four screenprints by Mel Bochner, Barry LeVa, Sol LeWitt, and Robert Mangold. Sol Lewitt's tight crosshatching over teal, Mel Bochner's tessellated blue houses, Barry Le Va's...

Ed Ruscha America Needs Hart (Hand Signed), 1983 Offset lithograph (Hand signed by Ed Ruscha) 36 inches (vertical) x 24 inches (horizontal) Boldly signed in marker by Ed Ruscha on th...

Artist Proof Print (9/11) 2018 Born in 1979, Denis Meyers is a Belgian urban artist. He studied at the National Superior School of Arts and Visuals of la Cambre, in Brussels, city where he currently lives and works. Denis Meyers is particularly known for his frescoes and stickers in form of faces, which he calls his “perso”, printed and cut out by hand and then spread in the urban space. The artist defines himself as a typographer, a vocation that he inherited from his grandfather, Lucien De Roeck (1915-2002) which created among others the ensemble of the World Expo poster...

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fas...

Christopher Wool Martin Kippenberger Self-Portraits Poster, 2005 Offset lithographic poster in colours on smooth wove paper. 36 × 24 inches Published by Luhring Augustine Unframed T...

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

David Humphrey Two Kitties, 2003 Monotype Hand signed and dated by the artist on the lower right front 20 × 31 1/2 inches Unframed Published by, and acquired from Tamarind Institute ...

Woodcut in colors Image size: H 33 x W 22 in. Sight size: H 33.5 x W 22 in. Numbered, titled, signed, and dated lower edge This work can be viewed at our New York City showroom by a...

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...

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 t...

Mark Grotjahn Backcountry, Gagosian Gallery London poster (hand signed by Mark Grotjahn), 2022 Offset lithograph poster (hand signed) Boldly signed in black marker on the front Unnum...

Rarely found on the market, this lithograph is annotated "Bon a Tirer" (B.A.T.)- which literally means "Good (i.e. Ready) to Print". It is a unique proof, and, as the very first sign...

ABOUT THIS ARTIST: Ioannis Lassithiotakis aims for an abstract universality: He uses the simplest visual materials because he wants to broach th...

Succulents, 2018 is part of the artist's "The Wholesalers" Series. This archival pigment print is printed on Epson Enhanced Matte paper. Image size is 26.66" x 20" on 30.66" x 22" ...

Keith Haring New York City 1989: RARE original 1989 Keith Haring designed Sound Factory Halloween invite featuring a dazzling array of Keith Haring Skeletons: “Keith Haring & Sound Factory Invite You to A Special Halloween Costume...

Alan Shields TV Re-Run B, 1978 Mixed Media Monotype: Color drypoint, mezzotint, linocut and colored embossing on perforated paper on Handmade Paper Mounted on Linen Board Signed, num...

Note: This is from the hand signed and numbered limited edition of only 50 - extremely scarce collectors item; not to be confused with the larger poster edition signed (but not numbe...

Jill Moser, Ariadne, 2021 Woodcut print on Khadi 100 % cotton paper Signed and numbered by the artist on recto Paper size: 8.25 x 8 in Edition of 18 Published by Eminence Grise Editions, New York Printed by Andrew Mockler...

Nicholas Krushenick New York State Council on the Arts Award poster, 1970 Silkscreen on wove paper - original 1970 poster, not a reprint Unsigned, unnumbered, unframed 35 × 25 inches...

BASF Luren on aluminum 37 5/8 x 37 5/8 in. Signed lower right The Kantra Series Edition 8 of 8 Publisherd by Editions Pyra AG, Zürich, Switzerland Vasarely Catalogue Raisonné No. 17...

Richard Serra East-West/West-East: A Permanent in the Brouq Nature Reserve, Qatar (Hand Signed by Richard Serra), ca. 2014 Superb provenance: donated by the artist to a major contemporary art organization Very rare offset lithograph (Hand Signed by Richard Serra) Boldly signed on the front in black marker by Richard Serra 24 × 36 inches Unframed Sscarce when hand signed by Richard Serra. This work depicts Serra's iconic permanent installation in the desert of Brouq Qatar: East-West/West-East, which has become a famous landmark in Qatar since its installation in 2014. According to the Jewish-born Richard Serra, he had been visiting Qatar for about 12 years, during which he was introduced to the Chairperson of the Qatari Museums Authority and the sister of the new Emir, Sheikha Mayassa, by the architect of the Museum of Islamic Art, IM Pei. It was Sheikh Mayassathat who urged Serra to build a sculpture in the desert. The artist once said it was the most important thing he had ever done. In 2020 the Serra sculpture was famously vandalized. This hand signed print has superb provenance as it was donated directly by the artist to a major charitable foundation and is accompanied by a documentation from a Foundation as well as a COA from the gallery. Richard Serra biography: Obsession is what it comes down to. It is difficult to think without obsession, and it is impossible to create something without a foundation that is rigorous, incontrovertible, and, in fact, to some degree repetitive. Repetition is the ritual of obsession. Repetition is a way to jumpstart the indecision of beginning. To persevere and to begin over and over again is to continue the obsession with work. Work comes out of work. In order to work you must already be working. —Richard Serra One of the most significant artists of his generation, he has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand. Born in 1938 in San Francisco, Richard Serra lives and works in New York and on the North Fork of Long Island. Serra attended the University of California, Berkeley before transferring to the University of California, Santa Barbara graduating with a BA in English literature; he then studied painting at Yale University, New Haven, Connecticut completing both a BFA and MFA. He began showing with Leo Castelli in 1968, and his first solo exhibition in New York was held at the Leo Castelli Warehouse the following year. His first solo museum exhibition was held at the Pasadena Art Museum, California, in 1970. Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007). He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Kunsthalle Tübingen, Germany (1978); Staatliche Kunsthalle Baden-Baden, Germany (1978); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1980, 2014, and 2017); Centre Pompidou, Paris (1983–84); Museum Haus Lange, Krefeld, Germany (1985); Louisiana Museum, Humlebæk, Denmark (1986); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany (1987); Städtische Galerie im Lenbachhaus, Munich (1987); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004). In 2005 The Matter of Time (1994–2005), a series of eight large-scale works, was installed permanently at the Guggenheim Museum Bilbao, Spain. For Monumenta 2008, the major site-specific installation Promenade was shown at the Grand Palais, Paris. Three years later the large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. A major traveling retrospective dedicated to Serra’s drawings was presented at the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, and the Menil Collection, Houston (the organizing venue), from 2011 to 2012. In 2014 the Qatar Museums Authority presented a two-venue retrospective survey of Serra’s work, and East-West/West-East (2014) was permanently installed in the Brouq Nature Reserve, Zekreet, Qatar. In 2017 the Museum Wiesbaden, Germany, presented Richard Serra: Props, Films, Early Works; an overview of Serra’s work in film and video was shown at the Kunstmuseum Basel; and recent drawings were featured at the Museum Boijmans Van Beuningen. Serra has participated in numerous major international exhibitions, including Documenta (1972, 1977, 1982, and 1987), and the Biennale di Venezia (1980, 1984, 2001, and 2013), and his work has been included in many Whitney Annuals and Biennials (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006). He is the recipient of the Leone d’Oro for lifetime achievement, Biennale di Venezia, Venice (2001); Orden Pour le Mérite...

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

Brice Marden Elevation print (Hand Signed by Brice Marden), 2019 Offset lithograph. Hand Signed by Brice Marden Boldly signed in black marker by Brice Marden on the front 24 × 34 3/4 inches Provenance: Acquired from Gagosian gallery Publisher: Gagosian Gallery, NY Unframed Produced in 2019 on the occasion of the exhibition "Brice Marden: It reminds me of something, and I don’t know what it is." at Gagosian. This signed example was acquired directly from Gagosian gallery before they sold out. About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...

Nam June Paik Do You Know...?, from the New York Collection for Stockholm portfolio, 1973 Silkscreen on paper, in original portfolio sleeve Signed and dated '73 and numbered 36/300 i...

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

This is a 6-color hybrid print by Gerhard Richter offered by CLAMP in New York City. 6-color hybrid print on 260g Rives Handmade paper (Edition of 500) Abstraktes Bild 1992/2023 A...

Saul Steinberg Nuits de La Fondation Maeght, 1970 Silkscreen Poster Published by Maeght and Arte Paris Signed on the plate with elegant gold stamp in the middle 35 × 23 in 88.9 × 58...

"It becomes particularly desperate when the peace symbol is inverted and is really plunging in despair. I grew a little weary of my own despair and my own g...

Tracey Emin Me + Paul We Are the Trolls, 1995 Monoprint on paper Signed, titled and dated in graphite pencil on the front Unique Frame included: bears original label from Jay Jopling, the founder of White Cube Gallery, Emin's longtime gallery Measurements: Framed (original vintage frame included) 15.5 inches vertical by 20.5 by .75 inches Work 11.5 inches vertical by 16.5 inches horizontal Provenance: The Collection of Douglas S. Cramer, USA Hubert S. Bush Collection USA (with label) Jay Jopling, London (with label) - Jay Jopling is the legendary founder of White Cube Gallery This early (1995) monoprint is part of Tracey Emin's "troll" series, depicting her younger self and her (now estranged) twin brother Paul as children with sometimes murderous thoughts. It was acquired from the collection of Douglas Cramer, (August 22, 1931 – June 4, 2021) a top American television producer who worked for Paramount Television and Spelling Television, producing series such as Mission: Impossible, The Brady Bunch, and Dynasty - who amassed one of the most distinguished collections of contemporary art in the United States. A 2011 Daily Mail article entitled "If you Think Tracey Emin is Wild, say Hello to her Terrible Twin" describes a different monotype, also from the troll series, that Tracey gave to her brother Paul, which he promptly and publicly sold on a TV show, much to her chagrin. The article reads: "Yet there is one person central to Tracey's life who has managed to stay largely shielded from the public eye: her twin brother Paul.. He leads a life that could hardly be more different to Tracey's. She is worth millions, is a household name, owns an estate in the South of France and has A-list friends such as Kate Moss, Orlando...

Donald Sultan Serious Fun! at Lincoln Center (Hand Signed, dated and inscribed by Donald Sultan), 1993 Lithographic Poster on heavy wove paper. (hand signed, dated & inscribed) 36 × 24 1/4 in 91.4 × 61.6 cm Signed, dated 2016 and inscribed on lower right front. Inscription reads as follows: For Kevin New York 2016 Published by Vera List Program, Lincoln Center This large, striking limited edition lithographic poster on heavy wove (lithographic) paper was printed in 1993 by the Vera List print program to raise funds for Lincoln Center. The edition is typically unsigned; however, this work is, exceptionally, boldly signed and inscribed in black marker by Donald Sultan in 2016 for the present owner. The inscription reads as follows: For Kevin New York 2016 Donald Sultan signed...

Leo Castelli Gallery Exhibition Announcement for Frank Stella Paintings, November 25 – December 23, 1967. With a later complimentary autograph Historic Silkscreen on card paper Issue...

Peter Saul Shicago Justus (Chicago Justice) from Conspiracy: The Artist as Witness, 1971 Lithograph on Arches paper Edition AP (Rare AP, aside from the regular edition of 150) Hand-s...

Gary Hume Falling Bear 1995 Silkscreen 32 3/4 x 26 inches; 83 x 66 cm Edition of 25 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available fro...

Sylvia Plimack Mangold Six Inches Four Ways 1976 Rubber stamp print on Kilmurray paper Stamp made by Unity Engraving Company, Inc. Printed by A. Colish Press Paper size: 8 x 8 inches...

Tracey Emin Museum of Contemporary Art Poster (Hand Signed) Offset Lithograph in Semi-Gloss Paper Signed boldly by Tracey Emin in white grease marker on the front 24 x 18 inches Unfr...

Untitled, 2020 by Chin Chih Yang is a signed limited edition print on archival paper: 28/75 - edition number, date of creation, and artist's signature on recto (front of work) - in m...

Carole Seborovski Circle / Accumulation, 1992 Etching 7 x 7 inches (image) 16 1/2 x 13 3/4 inches (sheet) 18 1/2 x 15 3/4 inches (frame) AP 2 of 4 Signed

KENNY SCHARF In the Beginning, 2019 6 color lithograph printed with Marinoni lithographic press, hand cut on 300 g. BFK Rives paper Hand signed and numbered from the edition of 99 on...

Marcel Duchamp and by Takiguchi Rrose Sélavy (Marcel Duchamp) in Wilson-Lincoln System (Schwarz, 344), 1967 Lenticular print on thin white board. Hand signed by Marcel Duchamp. Date, title and number on label verso. 12 7/10 × 10 1/10 inches Edition 8/60 Hand-signed by artist, Hand signed by Marcel Duchamp in blue ink recto. Sticker label verso bears printed title, edition number, year and description. Printed by Shuzo Takiguchi, published in Tokyo. Catalogue Raisonne Reference: "The Complete Works of Marcel Duchamp" by Arturo Schwarz, Plate 344 Provenance: This was part of the Deluxe Artist portfolio, "To and From Rrose Sélavy"; this will be the first time the work has been separated from the portfolio Please refer to the attached video to see this 3-D piece in person Eager to share Marcel Duchamp with Japanese audiences, Shuzo Takiguchi - a Japanese-born poet, critic, and artist with ties to Surrealist circles, assembled an international portfolio of graphic works by various artists with strong ties to Duchamp, to accompany the deluxe version of his monograph, "To and From Rrose Sélavy (aka Marcel Duchamp)." The present work - Takiguchi's own piece, a lenticular double portrait - combines Rrose Sélavy's signature with Man Ray's 1930 profile of Duchamp. Its subject, Marcel Duchamp, then signed this work in pencil. Its title, "Rrose Sélavy in the Wilson-Lincoln System", refers to Duchamp's Green Box note describing a two-way, changeable portrait of presidents Abraham Lincoln and Woodrow Wilson. Rrose Selavy is, famously, Marcel Duchamp's pseudonym and alter ego. Duchamp died before Takiguchi's book was completed, so this print is one of the very last graphic works that has been hand signed by Marcel Duchamp. It was published in Japan, and is a very elusive work stateside. Another edition of this work is in the permanent collection of the Museum of Modern Art. The National Portrait Gallery and other major institutional collections. This work is fully referenced in the catalogue raisonne "The Complete Works of Marcel Duchamp" by Arturo Schwarz, Plate 344, describing the work as follows: "Rrose Selavy in the Wilson Lincoln System (a double image plastic plate with, on the background, Man Ray's portrait of Duchamp, and superimposed,, Rrose Selavy's autograph signature repeated four times, signed lower right in blue ink: Marcel Duchamp, an original embossed print...." More about Marcel Duchamp: Henri-Robert-Marcel Duchamp was born July 28, 1887, near Blainville, France. In 1904, he joined his artist brothers, Jacques Villon and Raymond Duchamp-Villon, in Paris, where he studied painting at the Académie Julian until 1905. Duchamp’s early works were Post-Impressionist in style. He exhibited for the first time in 1909 at the Salon des Indépendants and the Salon d’Automne in Paris. His paintings of 1911 were directly related to Cubism but emphasized successive images of a single body in motion. In 1912, he painted the definitive version of Nude Descending a Staircase; this was shown at the Salon de la Section d’Or of that same year and subsequently created great controversy at the Armory Show in New York in 1913. Duchamp’s radical and iconoclastic ideas predated the founding of the Dada movement in Zurich in 1916. By 1913, he had abandoned traditional painting and drawing for various experimental forms, including mechanical drawings, studies, and notations that would be incorporated in a major work, The Bride Stripped Bare by Her Bachelors, Even (1915–23; also known as The Large Glass). In 1914, Duchamp introduced his readymades—common objects, sometimes altered, presented as works of art—which had a revolutionary impact upon many painters and sculptors. In 1915, Duchamp traveled to New York, where his circle included Katherine Dreier and Man Ray, with whom he founded the Société Anonyme in 1920, as well as Louise and Walter Arensberg, Francis Picabia, and other avant-garde figures. After playing chess avidly for nine months in Buenos Aires, Duchamp returned to France in the summer of 1919 and associated with the Dada group in Paris. In New York in 1920, he made his first motor-driven constructions and invented Rrose Sélavy, his feminine alter ego. Duchamp moved back to Paris in 1923 and seemed to have abandoned art...

Carl Andre Untitled (0813), 1976 Rubber stamp relief print Artist Stamp and Copy Right on the back. It is from a limited edition of 1000. Frame Included This is Minimalist master Car...

Daniel Buren Blue, from 1000 Placements, 1977 Rubber stamp print on Bristol paper Limited Edition of 250 This work - Blue, from 1,000 Placements, is one of four color schemes, each p...

Knox Martin Alice in Wonderland, ca. 1972 Etching with hand-coloring in watercolor on wove paper Hand signed and annotated "AP" on lower front (a unique variant) Frame included (held...

René Magritte Magritte at Galerie Alexandre Iolas, Milan, Italy, ca. 1980 Offset lithograph lettering and silkscreen poster on thin wove paper ...

Frank Stella Frank Stella The Circuit Prints (Hand Signed), 1988 Color offset lithograph poster (hand signed by Frank Stella) Signed and dated 88 in ink by Frank Stella directly unde...

Robert Petersen The Clocktower Exhibition (Hand signed and inscribed), 1979 Offset lithograph poster (hand signed and warmly inscribed) Warmly signed and inscribed "For Marilyn Love ...

Wrapper, 1971 34 x 39.75 in. / 86.5 x 101 cm Lithograph (Zinc) in 6 colours, 4 printing forms on white paper. Edition of 19, numbered and signed, each a unique print, 3 AP. Numbere...

Jack Bush Jack Bush at Andre Emmerich, 1966 Offset lithograph exhibition poster. Postmarked to McNay Art institute director 22 1/2 × 17 3/4 inches Unframed This special mid century modern exhibition...

This print features Johns's exuberant hatching in orange, white, bright green, and purple atop collaged newsprint. Printing on translucent parchment makes the image particularly vibr...

Kenneth Noland Ojai Festival print (Deluxe signed limited edition), 1986 Lithograph with offset lettering Hand signed and numbered 6/100 by Kenneth Noland on lower front Frame inclu...

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

KAWS Exposed, 1999 Early Illustrated softcover book with French folded flaps, published in Paris 8 4/5 × 6 1/5 inches Limited Edition of 2000 Published by Colette and printed by La P...

Each print is hand-embellished, signed and numbered by the artist. The image is a bold and dynamic reflection on unity, cultural identity, and the power of human connection. 'Love is...

Kenny Scharf Bad Girls, 1989 Lithograph done with 9 colors and 10 plates on Velin Arches Blanc paper Hand signed and numbered PP by Kenny Scharf on the front Unframed: the work was r...

This series of abstract black and white Roth prints is full of movement, wildly diverse mark making, visceral, three-dimensional shapes and dynamic sketched lines. The artist worked on the same stone, erasing and adding elements with each step of the process to create a new print. Working on a lithography stone allowed him to scratch away areas with precision, revealing tightly hatched white lines that complement swaths of smokey gray. A Muse reflects Roth’s interest in permutations, decay, and a mathematical approach to making images. Each week the artist created a new variant: the series was originally planned as a set of 52. Dieter Roth, A Muse 1971-1972 series of 12 prints (this set is an incomplete set of ten prints), lithographs from stone printed in black on white handmade paper image 18.9 × 14.6 in / 48 x 37 cm paper 30.7 × 20.9 in / 78 x 53 cm edition of 30 each, numbered and signed, 6 artists copies this series 1/30 printed by Karl Schulz, Braunschweig and published by Petersburg Press, London weekly variant printed from the same stone, began October 1971 (52 prints were planned, but only 12 were executed) Condition: excellent with some dimples and wear commensurate with age Catalogue Reference: Roth 185-196 Dieter Roth was a printmaker from childhood: his first etching at the age of 16 was scratched into a soda can, and despite the failure of the can to print anything but a shadow of ink, he continued his study and by 20 was a serious apprentice in lithography to a well-known commercial artist, Eugen Jordi. Later he would continue to print and publish much of his own work. From the 1960s onward, his collaborations with Petersburg Press brought him international recognition and produced some of his most celebrated work: Six Piccadillies (1970), and Containers (1972). Interested in chance and spontaneity, Roth was drawn to make prints using unorthodox means: according to mathematical principles, using equations, or by randomly rearranging blocks before they were run through the press. The artist often printed plates repeatedly in different colors, producing many variations from just a few images. He used the printing press and materials to interrogate the creative process rather than just as tools to achieve an edition of identical prints: for example, overprinting or under-inking, or running objects through the press (in 1968, a box of chocolates). Roth was not just interested in the chance of making pictures but the unpredictability of decay: allowing the grease from slices of meat to slowly contaminate paper, immersing a print in vegetable juice, clamping metal to paper to produce rust, and pouring chocolate over a finished work. Roth would make hundreds of print editions and books over his career and blurred the line between genres and mediums, embarking on prodigious collaborations and experimentation with music, poetry...

Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches 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...

David Hockney Hockney's Alphabet, 1991 26 color lithographs in Fine Art Cartridge paper bound in quarter vellum with handmade Fabriano Roma paper sides, housed in matching box; signed by David Hockney and most contributors in ink and numbered 178 in black ink on the justification page Numbered 178/250 Hand signed by 24 of the contributors, including David Hockney and Steven Spender 12 5/8 x 9 5/8 inches Bound in book and held in slipcase This portfolio features 26 color lithographs in Fine Art Cartridge paper with full margins, bound as issued, in quarter vellum with handmade Fabriano Roma paper sides, in original grey slipcase. It is signed by David Hockney (the artist) and most contributors in ink and numbered 178 in black ink on the justification page, from the edition of 250, with full text and title page, published by Faber & Faber, London, text edits by Stephen Spender, who also signed. It is illustrated by David Hockney, hand signed by David Hockney and Stephen Spender and also signed by the following contributors: Douglas Adams, Martin Amis, Julian Barnes, William Boyd, Margaret Drabble, Patrick Leigh Fermor, William Golding, Seamus Heaney...

Barry Le Va Installation Floor Plan for Any Space Surrounded by Four Walls Rubber stamp print on Doric paper Stamp made by Unity Engraving Company, Inc. Printed by Aaron Arnow Paper ...

Tracey Emin BBC 4 textile (HAND SIGNED and dated by Tracey Emin), 2002 Limited edition screenprint on linen (uniquely signed and dated 2017 in pencil) Pencil signed and dated 2017 on...

Grisha Bruskin Note D, 1991 Color silkscreen on Somerset paper 34 × 27 inches Edition 74/75 Boldly signed and numbered on front in graphite pencil. Published by Marlborough Graphics ...

Jill Moser, Luna, 2021 Woodcut print on Khadi 100 % cotton paper Signed and numbered by the artist on recto Paper size: 8.25 x 8 in Edition of 18 Published by Eminence Grise Editions, New York Printed by Andrew Mockler...