Manhattan - Abstract Prints

Tracey Emin The Stain, 2007 Mini booklet; stitched binding; digitally printed, accompanied by pencil signed envelope 4 1/2 × 3 3/5 inches Edition of 100 (unnumbered) pencil signed by...

Susan Gorelick ( American, 1924-2000) "Growth 1" A/P, Abstract Etching signed, titled and numbered in Pencil 15.25 x 11.50, Late 20th Century Colors: Gold, Black Shirley Gorelick (1924–2000) was an American artist who evolved a distinctive realist technique that allowed her to create penetrating psychological portraiture, often on a large scale. She described her early work as a contemporary reinterpretation of the figure “within the framework of a personal humanism” and her later work as “psychological portraiture.” She earned her B.A. at Brooklyn College (1944), where she studied under Serge Chermayeff, and her M.A. at Teachers College, Columbia University (1947). She briefly studied with Hans Hofmann in Provincetown and Betty Holliday in Port Washington. Her early work was influenced by Cubism, Surrealism, and Abstract Expressionism, but she became uncomfortable with the distortion of the human figure in modern art. Gorelick emerged as a strong figurative artist with her first solo show, held at the Angeleski Gallery in 1961, where she exhibited an array of truncated nudes in the prevailing abstract expressionist idiom. Several years later, using the visual language of twentieth-century realism, Gorelick reinterpreted Giorgione’s Concert Champêtre, Pablo Picasso’s Les Demoiselles d’Avignon, and the Three Graces. Most notably, Three Graces IV and Three Graces V feature the repeated forms of a nude, middle-aged African-American model. As Gorelick’s work evolved in the 1970s, the direct associations with her artistic forebears lessened, although she continued to be inspired by them. Blending the theme of the Three Graces and the Tahitian nudes of Paul Gauguin, Gorelick created Westchester Gauguin (Three Sisters), a series of paintings that portray suburban adolescents amid an overgrowth of pachysandra. She further recast the Three Graces in Willy, Billy Joe, and Leroy (1973), a compelling portrait of three African-American men in the artist’s studio. Inspired by Paul Cézanne’s Card Players, Gorelick also painted Chess Game (1972), in which she depicted a group of men playing chess...

"Untitled: 4 Figures"Edition 132/200, Abstract Figurative Lithograph on Paper, 28.13 x 20.75, Late 20th Century Colors: Red, Blue, Green, Yellow, Purple, P...

James Siena Untitled geometric abstraction (The Christmas Print), 2006 3-Color etching on paper with deckled edges Signed, dated and numbered 8/54 in graphite pencil on the front Fra...

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff & Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

ROBERT INDIANA Hope Wall, 2010 Silkscreen on wove paper 24 × 25 inches Edition IV/IV (aside from the regular edition of 33) Hand signed, numbered IV/IV and dated on lower front Unframed Robert Indiana created Hope Wall, or Wall of Hope in support of future president Barack Obama in 2008, and the print was published in 2010. This is an extremely rare Artist's Proof - one of only four in the world. It is pencil signed, dated and numbered IV of IV on the recto. The regular edition is only 33. Extremely scarce. This print has appeared on the market fewer than a handful of times over the past decade. “I’d like to cover the world with hope,” said Robert Indiana, the artist whose iconic “LOVE” series became a global symbol of unity during the turmoil of the 1960s. In 2008, Indiana felt the world was ready for a new message, and designed “HOPE” for Barack Obama’s presidential campaign. “I wanted to help name and empower the next generation and I felt that HOPE encompassed the needs of our time,” he said. With its forward-leaning O, “HOPE” symbolizes perseverance, and pushing ahead toward a brighter future. To coincide with the artist’s 86th birthday, the first annual “International Hope Day” launched on September 13, 2014 and included the public display of Indiana’s “HOPE” sculptures...

ABOUT THIS PIECE: This piece is part of the Candy Skies Collection. Utilizing digital collage and advanced editing techniques, Jessica configures the tones of her photographs to represent a true emotional experience. The candy colored palette was inspired by her Salt Water Taffy collection and further influenced her to name each image after a candy flavor to compliment its colorful hues. These images allow the viewer to see the everyday world from a playful new perspective. ABOUT THIS ARTIST: Jessica C. Nugent is a photographer from California known for her contemporary images of nature. She uses her graphic design background to create an emotional connection with the natural world through the use of color. Jessica’s art has recently been featured with Artsy, Domino Magazine, Pottery Barn Teen...

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...

Robert Cottingham Blues (The Original), 1989 Color aquatint on wove paper Edition 31/45 Pencil signed and numbered 31/45 by Robert Cottingham on the front Framed This is the original...

ABOUT THIS PIECE: A study of gesture in a digital context. Nicole Yates is inspired by the landscape and architecture in her everyday life. She deducts, simplifies, and abstracts the...

Touched by the influence of Andy Warhol, champion of a young Jean-Michel Basquiat, Rene Ricard served as enfant terrible of the 1980s New York art scene. In this bright yellow, red, ...

Billy Al Bengston Cockatoo AAA Dracula, 1968 Lithograph , Zinc and Aluminum, in Silver-Violet, Yellow, Two Grays and Orange on uncalendered Rives paper Frame included signed faintly ...

ABOUT THIS PIECE: With lively colors and jubilant forms, Alyson Fox's work is as playful as her approach to work and life. With a contagious energy, Fox's work brightens space as muc...

John Newman (b.1952) Color Double, 1990 Color Lithograph Signed, annotated, and dated in graphite pencil on the front. Edition of 2 (PP II, aside from the regular edition of 32) 27 × 19 3/4 inches Unframed Accompanied by gallery issued Certificate of Guarantee A rare signed Printers Proof, aside from the regular edition of only 32 John Newman received his Masters of Fine Arts degree from the Yale School of Art...

SAM FRANCIS: Limited Signed Deluxe Edition (Hand signed and numbered by Sam Francis), 1982 Deluxe limited edition hardback monograph with cloth boards, held in special slipcase of ts...

Robert Morris (1931-2018) Study for Copper Sculpture, 1980 Screenprint with Metallic Ink, signed and numbered in pencil Pencil signed, dated, and numbered PP1/7 by Robert Morris on t...

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 Engineer often brought him to the lab. The daily experimentations happening around him, both personal and scientific, would later inform his work. While his parents wanted him to follow more straightforward career paths, he was the first in his family to eschew their expectations and pursue art and music instead. Malghan went on to receive an MFA in Photography from Savannah College of Art and Design - Hong Kong. Here he experimented in a darkroom, bleaching film, adding watercolor to glass plates, thinly cross-sectioning fruits and vegetables until they formed abstractions, beginning his exploration into the repurposing of materials. In his twenties, Malghan was diagnosed with Leukemia, the treatment of which resulted in avascular necrosis, a bone disease that eventually required numerous surgeries and three hip replacements. His experience through illness and recovery not only led him to photography, but also informs his manipulation of raw, often overlooked materials in order to reorient our understanding of beauty, pleasure, and purpose. Malghan has been exhibited across the country and has lectured in Hong Kong, India, the University of Texas, the University of Notre Dame - Maryland, and UMLAUF Sculpture & Design Museum. He most recently has been commissioned by The Walters Art Museum, and his work is in the private collections of Johns Hopkins University, the University of Texas, and Georgetown University...

Jim Dine Olympian Gestures (Hand Signed by Jim Dine), 1984 Limited Edition lithograph and offset lithograph poster Hand signed on the front 38 1/5 × 25 inches The limited edition, h...

ABOUT THIS PIECE: White Wood Frame, Floated 28x20 inches “Liquid Mirrors” is an ongoing project— started in late 2012— where I use mylar to photograph t...

Red Grooms Nassau Red poster (hand signed in red marker by Red Grooms), 2005 Offset lithograph poster Hand signed by the artist with red marker on the front 32 × 22 inches Unframed T...

Ronald Brooks (R.B.) Kitaj BAGHDAD, 1972 Six Color Screenprint and Photoscreenprint 20 × 14 1/2 inches Pencil signed and numbered 1/125 Printed at Kelpra Studio, London Published by ...

Sharron Bliss, S Rhythm 2, Edition 17/195, Digital Pigment Print, 15 x 15 (20 x 17.5 Full), 2003 Colors: Orange, Green, Purple, Red

Maurice de Vlaminck (French 1876 - 1958), "Place de L'Eglise ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963 Colors: Black and White Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh...

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: Briggs Edward Solomon's artwork is known for its balance and juxtaposition. It is a collaboration of simplistic and contemporary colors. It is subtle, yet bold. It ...

Unknown/ Unidentified, " Untitled: Yellow, Orange, Green, Blue & Purple Abstract Print " (Edition 21/200), Abstract/ Abstract Geometric Serigraph...

ABOUT THIS ARTIST: Lesley Anderson (b. 1986) is a Canadian painter living on the west coast of Canada. She uses a variety of methods and materials to c...

ABOUT THIS PIECE: Color is the foundation of this Canadian artist's work. Her circles start as a mood or idea that eventually evolve into a colored circle. She is curious how different colors interact when they're placed next to each other. Within a digital medium she experiments with intensity of colors and the different sensations colors evoke. Why a circle? When she explores her fascination with this shape, she discovers 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. 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...

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...

Max Papart (French, 1911-1994), "Untitled", Edition 45/60, Abstract Lithograph signed in pencil, 28.50 x 20, Late 20th Century Colors: Brown, White, Black, Blue, Pink, Red, Green

Friedel Dzubas Night Star, 1984 Silkscreen on wove paper with deckled edges Pencil signed and numbered 24/90 on the front 32 3/10 × 19 1/10 inches Unframed Terrific silkscreen by ren...

Rammellzee Annina Nosei Gallery, New York, 1983 (Rammellzee Gothic Futurism, Rammellzee Ikonoklast Panzerism): RARE Rammellzee illustrated announcement card published by Annina Nosei...

Shelly (Sheldon) Fink (American, 1925-2002), "Hot Dog Man" Edition 67/150, Figurative/Landscape Lithograph signed on Paper, 17 x 14, Late 20th Century, 1968 Color: Black and White Sheldon Fink was born in 1925 in Brooklyn, NY. He attended the High School of Music and Art in Manhattan, and won Tiffany Foundation grants in 1957 and 1963. Shelly's work has appeared at the Albany Art Institute, the Berkshire Art...

Richard Serra Early Work (Hand Signed), 2013 Offset lithograph (Hand Signed by Richard Serra) Boldly signed by Richard Serra on the front 18 × 24 inches Unframed This print was published on the occasion of the eponymous exhibition at David Zwirner in 2013. It depicts Richard Serra in his studio in 1968. The print was hand signed by the artist on the occasion of his opening at Zwirner 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: Forty Years. Promenade, a major site-specific installation, was shown at the Grand Palais, Paris, for MONUMENTA 2008. In 2011, the artist’s large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. In 2014, the Qatar Museum Authority presented a two-venue retrospective survey of Serra’s work at the QMA Gallery and the Al Riwaq exhibition space, Doha, and East-West/West-East, 2014, was permanently installed in the Brouq Nature Reserve in the Zekreet Desert, Qatar. In June 2020, a new major sculpture by Serra was installed on the West Quad of Kenyon College, in Gambier, Ohio. In June 2022, the Glenstone Museum in Potomac, Maryland, will inaugurate a new building specially conceived to house a recent large-scale forged steel sculpture by Serra. Museum exhibitions that have focused on the artist’s drawings include Richard Serra: Tekeningen/Drawings 1971–1977, Stedelijk Museum, Amsterdam, The Netherlands, 1977; Richard Serra: Zeichnungen 1971–1977, Kunsthalle Tübingen, Germany, 1978; Richard Serra: Drawings, Louisiana Museum, Humlebaek, Denmark, 1986; Richard Serra: Tekeningen/Drawings, Bonnefantemuseum, Maastricht, The Netherlands, 1990; Richard Serra: Drawings, Serpentine Gallery, London, 1992; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka, Japan, 1994; Richard Serra: Rio Rounds, Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; and Richard Serra: Drawings: Work Comes Out of Work, Kunsthaus Bregenz, Austria, 2008. A major traveling retrospective dedicated to the artist’s drawings was presented at The Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and The Menil Collection, Houston (which was the organizing venue), in 2011–2012. The Courtauld Gallery, London, presented Richard Serra: Drawings for The Courtauld in 2013, and Richard Serra: desenhos na casa da Gávea was on view at Instituto Moreira Salles, Rio de Janeiro, in 2014. Richard Serra: Drawings 2015–2017, a significant overview of the artist’s recent works on paper, was on view at the Museum Boijmans Van Beuningen, Rotterdam, in 2017. Serra/Seurat. Drawings, an exhibition pairing a selection of Serra’s recent drawings alongside those by Georges Seurat, was presented at the Guggenheim Bilbao in 2022. Four Rounds: Equal Weight, Unequal Measure, Serra’s monumental sculpture which debuted at David Zwirner in 2017, is now on long-term view at Glenstone Museum, Potomac, Maryland, in a new building that was designed by Thomas Phifer in collaboration with the artist. Serra has been the recipient of many notable prizes and awards, including a J. Paul Getty Medal (2018) awarded in honor of extraordinary contributions to the practice, understanding, and support of the arts; the Chevalier de l’Ordre national de la Légion d’honneur, Republic of France (2015); Orden de las Artes y las Letras de España, Spain (2008); Orden pour le Mérite für Wissenschaften und Künste, Federal Republic of Germany (2002); Leone d’Oro for lifetime achievement, Venice Biennale, Italy (2001); Praemium Imperiale, Japan Art Association (1994); Carnegie Prize (1985); a National Endowment for the Arts Fellowship (1974); and a Fulbright Grant (1965). In 2013 in New York, David Zwirner presented Richard Serra: Early Work, a critically acclaimed exhibition that brought together significant works from 1966 to 1971. The accompanying catalogue extensively covers this period of the artist’s career with a compendium of archival texts and photographs and an essay by Hal Foster...

Edwin Ruda, Dean Fleming, Leo Valledor, David Von Schlegell, David Novros, Tony Magar, Bernard Kirschenbaum, Robert Grosvenor, Peter Forakis, Mark di Suv...

ABOUT THIS PIECE: “Liquid Mirrors” is an ongoing project— started in late 2012— where I use mylar to photograph the reflections of my subjects. I am mimi...

ABOUT THIS PIECE: The Endless Summer film poster has long been an inspiration to the artist, evoking the question, what if summer never had to end? In these images Jessica share's th...

Peter Saul Politics, 1985 Color lithograph on wove paper Hand signed, numbered X/X (apart from the regular edition of 25), and dated on the front Frame Included: matted and framed in...

Black, red and yellow abstract print with hand painting in gouache by Howard Hodgkin. Loose, painterly brushstrokes snake across the composition, bisected by a thick stroke of red. T...

Cris Gianakos, Robert Rauschenberg RAUSCHENBERG (Scarce and collectible early invitation), 1970 Offset Lithograph Invitation 8 7/10 × 11 9/10 inches Unframed Offset lithograph invitation created on the occasion of Robert Rauschenberg's exhibition at SVA's Visual Arts Gallery in 1970. The poster was designed by Cristos Gianakos, with Rauschenberg's approval, who was also a professor at SVA, and the show was curated by Felice Wender, the director of Dayon's Gallery 12 in Minneapolis. The invitation states that "after completing its New York debut, the show will open at the School of the Art Institute of Chicago in January 4...

Frank Stella The New York State Christopher Columbus Quincentenary Commission, 1991 Offset Lithograph Printed in Colors Signed and dated by the artist in ink on the lower right front in black ink (Edition of 100) Limited Edition of 100 (unnumbered) 39 1/2 × 23 1/2 inches Unframed Accompanied by gallery issued Certificate of Guarantee This vibrant, hand signed offset lithograph poster designed by Frank Stella commemorates The New York State Christopher Columbus Quincentenary Commission. The poster alone is uncommon, but it is extremely rare to find a hand signed edition as this one. Highly collectible and desirable! An uncommon Stella print...

Martha Reed was the daughter of the artist Doel Reed and as an adult she joined her parents in Taos, New Mexico. There she designed clothes with a south-we...

This whimsical screenprint by Eduardo Paolozzi pictures giant inkwells being carried on old style train cars. The composition looks like a printed image blown up to reveal the halfto...

Justin Pollmann "Change Your Mind, Change Your Experience" 2023 Inkjet Transfer Collage, Monotype 27.5"x24" inches The inkjet transfer images are made by collaging transfers of in...

Ernest Tino Trova Limited Edition of 2000 Silkscreen on heavy art paper Unframed This exclusive poster, created by renowned American artist Ernest Trova as an edition for Pace Columbus, is a testament to his profound influence in contemporary art and his longstanding association with Pace Gallery...

The simple geometries and bright colors that recur throughout FEMM’s, have an inherently contemporary and urban feel. It’s no wonder, then, that the metropolitan city is one of FEMM’s greatest sources of inspiration. Whether it’s the zestful energy, the colorful clothes...

Shelly (Sheldon) Fink (American, 1925-2002), "Young Musician" Artist Proof, Figurative/Portrait Lithograph signed on Paper, 17 x 14, Late 20th Century Color: Black and White Sheldon Fink was born in 1925 in Brooklyn, NY. He attended the High School of Music and Art in Manhattan, and won Tiffany Foundation grants in 1957 and 1963. Shelly's work has appeared at the Albany Art Institute, the Berkshire Art...

ABOUT THIS ARTIST: Clara Masiá lives in Barcelona and studied art and design at Massana School. As an illustrator, Clara considers herself a very observant and detailed person where ...

Maurice de Vlaminck (French 1876 - 1958), "Le Petit Pont" ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963 Colors: Black and White Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition...

ABOUT THIS ARTIST: Nicole Yates is a painter and digital designer from Portland, Oregon. She believes art enriches living spaces through an aesthetic drawn from the natural and digital worlds. At home and in the office, Nicole is inspired by the colors that surround us-the architecture, outdoors, travel, food and wine...

Alfred Rozelaar (British, 1917-2013), "Untitled" , Abstract Figurative Lithograph numbered 24/120 and signed in pencil, 25 x 18.50, Late 20th century Colors: Orange, Yellow, White, ...

In the artist's Art and Design original print series, Floating on Water by a.muse translates the peace humans feel in the "flow" state. An abstract monotype on rag paper, the work ...

Through the use of bright color a.muse creates harmony and balance for a one-of-a-kind monotype, Roses, 2020 is in the artist's Art and Design original print series, An abstract wor...

ABOUT THIS ARTIST: Rubeena Ratcliffe was born and raised in Edmonton, Canada and later educated as an architect in Canada, Holland, and the US. Ratcliffe became enthralled with paint...

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...

ABOUT THIS PIECE: "By means of staged photography, the human body and everyday space, Giuseppe's photographs are transformed into an atmosphere of humor and mystery, a theatrical eff...

ABOUT THIS PIECE: Alberto practices high speed photography. He has mastered the balance of pouring varnish into water and using his high speed photography knowledge to capture the mo...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

The simple geometries and bright colors that recur throughout FEMM’s, have an inherently contemporary and urban feel. It’s no wonder, then, that the metropolitan city is one of FEMM’s greatest sources of inspiration. Whether it’s the zestful energy, the colorful clothes...

Claudio Juarez (Peruvian, 1938 - 2001), "El Condor Pasa" 32/50, Abstract Etching with Aquatint signed and numbered in Pencil, 26.50 x 19.38 (Image: 19....