Manhattan - Abstract Prints

Jeff Koons Conversations with Norman Rosenthal (Hand signed and inscribed by BOTH Jeff Koons and Norman Rosenthal), 2014 Hardback monograph (hand signed, dated and inscribed) Hand si...

ABOUT THIS PIECE: “Meadow” is an ongoing project— started in late 2012— where I use mylar to photograph the reflections of my subjects. I am mimicking the medium of oil painting thro...

ABOUT THIS PIECE: “Meadow” is an ongoing project— started in late 2012— where I use mylar to photograph the reflections of my subjects. I am mimicking the medium of oil painting thro...

This is a 33 color screen print titled, Small Abstract by Thomas Nozkowski (1944 - 2019). It was created in 2007 as a signed and numbered edition of 108. The edition was published by...

Philip Guston Monograph: Philip Guston (Hand signed and inscribed to major collector by Philip Guston), 1980 Softback monograph (hand signed, inscribed and dated by Philip Guston to Mary Keesling) Warmly signed and inscribed by Philip Guston to Mary Keesling on the title page 10 1/4 × 9 × 3/4 inches If you're reading this description, then we hardly need to tell you, dear collector and Guston enthusiast, that autographed books...

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...

This is a true collectible! The regular edition of only 100 is hand signed and numbered by Larry Rivers; but the present work is ALSO hand signed and inscribed by George McGovern- a ...

Damien Hirst From the Cradle to the Grave, 2005 Limited Edition hardback monograph (Hand signed and numbered) Hand signed and numbered 998/1500 by Damien Hirst on the title page 16 ×...

Mary Bauermeister Art Investment Report, 1983 Lithograph on Arches paper Hand-signed by artist, hand signed and dated, with annotated blind stamp 26 1/2 × 20 inches Edition AP/250 Un...

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- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x17, edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, br...

Karel Appel Miss World First Class Pretty (Deluxe hand signed edition of the 1 Cent Life Portfolio, from the estate of artist Robert Indiana), 1964 Lithograph splayed across two sheets on wove paper (Hand signed by Karel Appel) Pencil signed on the lower right front; numbered 85/100 on the portfolio colophon Frame included Floated and framed in a museum quality wood frame with UV plexiglass., bearing the colophon with the edition number page on the back Measurements: Frame: 20.25 x 27 x 1.25 inches Print: 16 x 23 inches This lithograph was part of the complete portfolio acquired from the estate of Pop Artist Robert Indiana, who also contributed a work to the portfolio. Documented prints from the hand signed edition of 100 rarely appear on the market. This is one of them. The work is pencil signed by Karel Appel on the front and all of the prints are unnumbered, as the complete portfolio is numbered on the colophon page - a copy of which is included for provenance. (There was also an unsigned edition of 2000) Chinese American artist and writer Walasse Ting, in collaboration with Sam Francis, assembled a group of the most significant Pop and Abstract Expressionist artists in America, including Andy Warhol, along with the European COBRA artists to create the definitive artistic portfolio of lithographs with accompanying text by Walasse Ting. The Deluxe edition, which features hand signed prints, was published in a limited edition of only 100. This is one of them. Of the 100, editions numbered 60-100, or 40 portfolios, were reserved exclusively for Artists & Collaborators. This hand signed Karel Appel lithograph...

ABOUT THIS PIECE- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x17, edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, br...

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...

Luke Gilliam has an unusual woodcut technique that he pairs with a complex object of his own creation. He uses technique to create a technical tour-de-force with the intriguing title...

Joseph Beuys Joseph Beuys, een konfrontatie, 137 Tekeningen 1945-1979, (Hand Signed), 1979 Silkscreen on velincarton (thin board) Catalogue raisonne reference: Weiss-Britsch 75 Boldl...

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

ABOUT THIS PIECE: Gary Andrew Clarke is a digital artist and painter. He lives in Manchester, England. The central preoccupation of his work is one of creating simple flirtatious enc...

ABOUT THIS PIECE: "This particular series is a an homage to photographs taken with film. They are the result of an aberration of light passing through a locked shutter and the camera...

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

ABOUT THIS PIECE: "This particular series is a an homage to photographs taken with film. They are the result of an aberration of light passing through a locked shutter and the camera...

Robert Indiana ART, poster for Colby College Museum exhibition (hand signed and inscribed by Robert Indiana), 1973 Offset lithograph poster Hand signed and inscribed by the artist on the front 35 × 23 inches This uniquely signed and inscribed poster was published on the occasion of an exhibition at Colby College Art Museum from September 16 - November 3, 1973, featuring new acquisitions...

Yankel Ginzburg (Kazakhstan/American b .1945) "Untitled" (Edition 150/275), Abstract Lithograph signed and numbered in pencil, 30 x 40, Late 20th Century Colors: White, Blue, Red, ...

Keith Haring Talk To Us! poster c. 1994 (The Aids Hotline): Designed & illustrated by Keith Haring one year after Haring's own diagnosis with the disease, this poster was issued by ...

Robert Indiana 4, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame included: Elegantly matted and fr...

Abstract, large scale earth toned red, black, taupe and grey scene with dynamic lines, shapes and hand painted brushstroke texture. This dramatic Howard Hodgkin work is ideal for dis...

Both the natural world and architectural grit have a place in Lisa Breslow's work, highlighting the pull of New York City that is created by these opposing forces side-by-side. She ...

Richard Lindner Adults-Only, 1979 Offset lithograph poster Plate signature with date, right front Limite Edition of 500 (unnumbered) Frame Included: held in vintage 1970s metal perio...

Lawrence Weiner Jonathan Richman Live on stage at The Kitchen, non-profit artist's space (Hand signed by Lawrence Weiner), 2017 Offset lithograph poster (hand signed by Lawrence Wein...

Covers 3 Ultramarine (Abstract print) Aquatint made with oil based Charbonnel Etching Ink, printed on 100% rag paper Copperplate Warm White. - Unframed. "Edition 4 of 20. This piece is part of a series titled ""Covers"", it pays homage to the graphic style of album covers, paperback book covers and media that permeated mid-century popular culture. Her use of singular color accentuates the interplay of ground, foreground relationships. Freeman tries to merge random gestures and idiosyncratic shapes with a controlled and reductive abstract language. Aquatint is an intaglio printmaking technique, a variant of etching, using copper...

Victor Vasarely Planetary Folklore (Hand signed by Victor Vasarely), 1973 Hardback monograph with dust jacket Hand signed by Victor Vasarely on the first front end page 9 1/2 × 9 7/...

John Baldessari Pillow Cases in Bespoke Presentation Box (one pillowcase hand signed by John Baldessari) for The Thing Quarterly Issue 22, 2014 Silkscreen on 100% cotton 320 thread count sateen pillowcases (Hand signed by John Baldessari) Boldly signed in ink by John Baldessari on one of the pillowcases (see photo) Unframed One of the pillowcases is hand signed in ink by John Baldessari: John Baldessari was one of the artists who were invited to contribute an object (or "thing") with text for a special project for "The Thing" publication (read on for more on "The Thing") ; the conceptual object therefore had to incorporate text. Baldessari's contribution in 2014 was a silkscreened pillowcase with text. A limited (unknown) number of these pillowcases were marketed and sold as a set of two in a bespoke box. However, exceptionally, Baldessari hand signed a very few of pillowcases in ink. This is one of the very special sets bearing one hand signed pillow case - purchased directly from "The Thing". (a copy of the 2014 receipt is shown here.) The rest of these boxed sets were not hand signed. The pillowcase is brand new, and will look gorgeous once pressed and framed by a professional framer. More about this boxed set: Issue 22 of THE THING Quarterly is by LA-based conceptual artist John Baldessari. It consists of two 100% cotton sateen pillowcases featuring an image of a woman clutching a pillow. The black and white image is taken from a Hollywood film still in Baldessari's collection and has been silkscreened on each pillowcase with environmentally-friendly, water-based ink. The pillowcases are standard-sized and envelope-style. For those who like their thread count high, the issue clocks in at a solid 320 thread count. Measurements: Box 10.5 inches by 13 inches by 2 inches Pillow 20 inches vertical by 26 inches What was The Thing Quarterly? THE THING was an experimental publication created in collaboration with Will Rogan as part of an artist residency. We saw it as a quarterly periodical in the form of an object. Each year, four artists, writers, musicians or filmmakers were invited to create an everyday object that somehow incorporates text. The object is reproduced and hand wrapped at wrapping parties and then mailed to the homes of the subscribers with the help of the United States Postal Service. It began as part of an artist residency in San Francisco’s Southern Exposure. Will and I had met in grad school at UC Berkeley and discovered our mutual affinity for quarterlies. He was a librarian at SFAI for five years and I had been a high school teacher for five years. WE were both interested pushing the boundaries of publication. Our plan was to create a 1 year publication with four artists, but from the very start the project generated so much interest and international excitement that we found ourselves running a publication complete with a brick and mortar storefront and a staff of four individuals. After 10 years, 34 issues, 59 projects and countless live events, we decided to end the publication in order to pursue our individual projects. We are still working together on a less ambitious new project, and hope to launch it at some point in 2021. CONTRIBUTORS: have included John Baldessari, Dave Eggers, Miranda July...

This abstract monochrome print portrays large, shiny dark purple bubbles that cascade over a scribbled, dense background. The sense of moveme...

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

One of America's great modernist innovators, Max Weber carved Figure, 1919-20, on the end piece of a wooden cigar box. This Cubist image is composed o...

Rainbow Light can manifest anywhere and anytime, representing ominscience and it can dissolve instantly, representing impermanence. It is without shadow and...

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...

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...

Eric Avery Bluebonnet: Texas State Flower, 1988 Lithograph on paper with full margins and deckled edges Hand signed, numbered and titled on the lower front ...

Ellen Key-Oberg (1905-1989), "Untitled: Modernist Abstract Figure/Creature", Abstract/ Modern Lithograph on Paper signed in Pencil, 21 x 17, Mid 20th Century Colors: Black and White...

Richard Serra Clara, Clara (Hand Signed by Richard Serra), 1983 Offset Lithograph Poster (Hand signed by Richard Serra) Boldly signed with black marker on the front Frame Included: held in original vintage 1980s frame This is the rare vintage offset lithograph poster of Richard Serra's 1983 work "Clara Clara", exhibited at the Pompidou Center in France in 1983-1984. Very collectible when hand signed by Richard Serra! Accompanied by gallery issued Certificate of Guarantee Measurements: Frame: 27.5 x 37.75 x 1 inch Print: 25.5 x 35.75 inches About Richard Serra: 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...

Sean Scully: Material World (Hand signed and dated by Sean Scully), 2022 Hardback monograph on Munken Lynx, 150 gsm paper (hand signed by Sean Scully) Boldly signed and dated by Sean Scully in black marker on the first front end page 11 1/2 × 9 3/4 × 3/4 inches Unframed This lavish hardback monograph [book] with no dust jacket, as issued, was published in conjunction with the exhibition "Sean Scully Material World" at the Thorvaldsens Museum, Copenhagen, from September 2, 2022 to March 5, 2023. It was, exceptionally, hand signed by Sean Scully for us at a special event at Rizzoli books in Manhattan, where he was in conversation with curator and book contributor Raphy Sarkissian...

Ray gun is one of Oldenburg’s most iconic motifs, and the artist’s tongue-in-cheek alter ego. Oldenburg took the name from a weapon used in the show “Buck Rogers in the 25th Century ...

Brightly colored shapes bounce and collide on a vibrant yellow background. This lithograph is an example of Murray's mature work. This image was used to feature Lincoln Center's cele...

Robert Indiana New York City Center of Music and Drama (Hand signed limited edition), 1968 Color Silkscreen 35 × 25 inches Edition 23/144 Hand signed and dated lower right recto; num...

Claes Oldenburg Lithograph printed in colors on Rives wove paper Signed in pencil Oldenberg (lower right); numbered 88/100 (lower left) 33 × 23 inches Unframed Executed in 1982, this...

Unknown/Unidentified Artist, "Untiltled", Abstract Figurative Etching (16/50), 21.75 x 15, Late 20th Century Colors: Purple

Peter Halley, Musée d'art moderne et contemporain - Saint-Étienne Métropole, France (Hand signed), 2014 Offset lithograph (Hand Signed by Peter Halley) 23 1/2 × 16 inches Boldly sign...

Mary Heilmann To Be Someone (hand signed and inscribed "Love from Mary Heilmann"), 2007 Hardback monograph with dust jacket (hand signed and inscribed by Mary Heilmann) Warmly signed...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Claes Oldenburg Lipstick Ascending the Caterpillar Tracks (Print), plus Novum Organum No. 7, Yale University (broadside), 1969 Print is a Photo offset lithograph on two sided paper, plus separate broadside on offset lithograph Hand signed boldly in black marker and numbered 116 34 × 24 inches Published by Yale University, New Haven, CT Unframed Note: This print is THE original 1969 photolithograph - not to be confused with the poster or later editioned works created in the 1970s. See history below: This listing features 2 Elements: (1) A 2 sided photolithograph of the installation plans for Oldenburg's monumental lipstick sculpture...

Alexander Calder’s 'Environment and Evolution' lithograph exemplifies his signature style of dynamic abstraction, translating the movement and balance of his famous mobiles into a tw...

Joan Miró lithographic cover: Derrière le miroir: Lithographic cover; 15 x 11 inches. Very good overall vintage condition. Unsigned from an edition of unknown. Portfolio: Derrière le miroir, c.1968. Looks superb matted & framed. Derrière le miroir: In October 1945 the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The publication was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations (mainly original color lithographs by the gallery artists) who were famous at the time. The lithographic publication covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them were, Pierre Alechinsky, Francis Bacon, Alexander Calder, Marc Chagall, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Henri Matisse, Joan Miró, Saul Steinberg and Antoni Tapies. Widely considered one of the leading Surrealists (though he was never officially part of the group), Joan Miró was also a pioneer of automatism: a method of spontaneous drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic manner, developing intricate compositions and a wandering linear style that combined abstract elements with recurring motifs such as birds, eyes, and the moon. During his lifetime, Miró received the Grand Prize for Graphic Work at the 1954 Venice Biennale, exhibited at the first Documenta exhibition in 1955, and enjoyed multiple high-profile retrospectives. Today, Miró’s work—which has sold for eight figures at auction—can be found in the permanent collections of the Art Institute of Chicago and the Museum of Modern Art, among other institutions. His public sculptures and murals are installed in cities around the world, including Milan, Paris, and Barcelona. Related Categories: Mid Century Modern. 1960s. Joan Miro prints...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Richard Smith Signature, 1997 Etching and Aquatint 22 3/4 × 18 inches Edition 17/25 Signed and numbered 17/25 in graphite on the lower front RICHARD SMITH BIOGRAPHY Charles Richard ...

Hisao Hanafusa (Japanese b. 1937) "Antiquity" Edition 11/15, Abstract Lithograph signed and numbered in pencil, 21 x 15, Mid-20th Century, 1959 Colors: Red, Black, Gray Early work ...

Artwork Measurements: 39 1/4 × 29 1/2 inches Larry Rivers Larry Rivers Hirshhorn Museum and Sculpture Gallery (Hand Signed), 1974 Silkscreen in colors on wove paper Hand Signed, anno...

Pierre Tal-Coat (French 1905-1985) "Derriere Le Mirroir (Transhumance), Framed Abstract Unsigned Lithograph, 14.50 x 28 (In Frame), Mid 20th Century, 1959 Colors: Black, White, Grey...

Stanley William Hayter Big Horse (Black & Moorhead 46), 1932 Engraving & Drypoint on antique white Canson Vidalon laid paper affixed to original matting Hand signed, numbered 8/30 an...

Jean Dubuffet Dubuffet: The Museum of Modern Art vintage poster, 1962 Offset lithograph poster 19 1/2 × 15 inches Unframed with original folds (it was de...