Manhattan - Abstract Prints

Frank Stella Frank Stella Prints 1980 - 2008 (Hand Signed), 2008 Offset Lithograph Hand signed and dated on the front, in innk with inscription that read...

Tadashi Kawamata Untitled for the Relocation Project, Serpentine Gallery, London, 1997 Screenprint on wove paper Pencil signed, dated '97 and numbered 169/180. 34 1/2 × 24 3/4 inches...

The New Cable British Modern Mid 20th Century Vorticist European Vorticism Woman Sybil Andrews CPE (British/Canadian, 1898-1992) "The New Cable," 1931 12 x 16 1/2 inches Color linocut Signed, titled, inscribed 'Second State', and numbered 13/60 in pencil Framed: 19 x 24 inches Literature: Coppel Sa17 Illustrated on page 10 of the catalog The proposed edition of the first state of the Giant Cable was 50, but only 30 impressions were pulled. Andrews removed the blue background for the second state, which was published under the title The New Cable in an edition of 60. BIO Sybil Andrews was a printmaker, painter, graphic artist and educator who was born in Bury St. Edmonds, Suffolk, England. She moved to London (England) in 1922. In 1947, she emigrated to Campbell River (Vancouver Island) British Columbia, Canada, where she worked, taught and lived for the rest of her life. She died at a hospital in Victoria (B.C.) Her mediums were the colour linocut (1) (most famous), etching, posters, pastels, ink, watercolour, monoprint and oil. Her subjects were human activity (at work, sports, travel, etc.), figures, animals, genre, allegory, architecture and landscape. Her style was Art Deco (see AskART styles), Futurism, Cubism and Vorticism (2). Her work is identified by a simple format, clean lines, distortion, vivid colours, drama and rhythm. Quote: "The colour linocut was just the medium for me, being interested in dynamics and ideas and patterns... It is impossible to be fussy with lines, you have to simplify, you are forced to simplify your idea to its fundamentals." Andrews produced 76 linocuts in her life, of which 43 were made from 1929 to 1939, which is considered to be her best period. John Hassall's art correspondence course (1918) was the beginning of her formal art education. She went from there to Heatherley's School of Fine Art (London/1922) where she studied under Henry Massey (see AskART) and met artistic partner Cyril Power (see AskART). At the same time, she studied independently with sculptor Henri Glicenstein (see AskART) who taught her drypoint etching and to draw from life. She also attended the Grosvenor School of Modern Art (1925). Iain McNab (1890-1967) was Principal and Claude Flight (3) (see AskART) an instructor who had a great influence on her choice of linocut as a primary medium. Some of his other students and her associates were Edith Lawrence (1890-1973), Lill Tschudi (1911-2001), Eileen Mayo (see AskART) and William Greengrass (1896-1970). After emigrating to Canada she taught art continuously until a month before her death. She was elected a member of the Canadian Painters - Etchers Society (after 1976 the Print and Drawing Council of Canada) in 1951. She began exhibiting her work in 1921.In 1929 she was included in "The First Exhibition of British Linocuts...

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...

Alan Shields Untitled mixed media geometric abstraction collage, ca. 1979 Etching and aquatint in colors with collage Pencil signed and numbered 15...

Andy Warhol My Hustler and Beauty No. 2 (Extremely rare movie flyer), 1966 Offset Lithograph flier, blue ink on pink paper. 11 × 8 1/2 inches Unframed Beauty No. 2 and My Hustler Scr...

Max Ernst "Untitled" 1965 Etching and aquatint in colors, on Arches paper. 7.8 x 5.39 inches Publisher: Georges Visat, Paris. Total edition: 100 copies +...

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

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...

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...

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...

Limited edition Basquiat Gold Griot Skateboard Deck c. 2019: Rare limited edition Basquiat skateboard deck published by The Broad Museum Los Angeles in conjunction with the estate of...

Andy Warhol (After) Warhol Unlimited, 2015 Silkscreen on thin linen canvas backing 63 × 47 inches Unframed This large, stunning silkscreen poster was published on the occasion of the...

Sam Francis Untitled Abstract Expressionist lithograph (Hand Signed from the Carnegie Museum Deluxe Edition), 1972 Catalogue Raisonné: 155, Lembark Hand signed and numbered 25/30 on...

Richard Paul Lohse Color silkscreen on wove paper (geometric abstraction), ca. 1974 Color silkscreen on heavy white wove paper Pencil signed and numbered 65/80 on the lower back 19 ...

Aaron Wexler received his B.F.A. in painting from Tyler School of Art - Philadelphia, PA. & M.F.A in painting from The School of The Art Institute of Chicago. He has exhibited his work nationally and internationally - including Josée Bienvenu Gallery, Pavel Zoubok Gallery, Morgan Lehman Gallery, The National Academy Museum, The Katonah Museum of Art, among many others. Works have been acquired by numerous collections such as The Saatchi Collection, The West Collection, Fidelity Investments Art...

Yayoi Kusama Infinity Umbrella, 2014 Silkscreen on 100% polyester umbrella with plastic handle 37 × 54 × 54 inches This limited edition silkscreened umbrella was created exclusively...

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

Screenprint in colors with glitter on heavy wove paper. Hand signed in pencil verso, numbered from the edition of 150 verso with artists copyright inkstamp. Published by Other Crite...

Jackie Ferrara Untitled, from the Atelier International Portfolio, 1986 Hand Colored Etching on paper with deckled edges. Publisher's and Printer's Blind Stamps. Hand Signed. Numbere...

Alexander Calder 'La Grenouille et Cie' Vintage original 1971 poster for the exhibition Pace Columbus (Ohio) featuring a printed Calder signature. Medium: Offset lithograph Dimensions: 25 x 32 inches An original 1st printing in very good vintage condition. Plate signed on the lower right from an edition of unknown. This is an original 1970s poster and not a recent reproduction of any kind. Related Categories Calder prints. Calder Mid Century Modern. 60s. Alexander Calder and Contemporary Art. Calder figurative. Vintage Calder.

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 differe...

Robert Petersen Eight of Hearts, 1989 Mixed media silkscreen with hand applied acrylic on paper with deckled edges Hand signed, numbered 6/21, dated, and inscribed on the front Uniqu...

Kenny Scharf Untitled from the environmental portfolio "Columbus: In Search of a New Tomorrow", 1992 Color silkscreen on Fabriano paper with blind stamp, held in the original portfol...

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: "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...

ABOUT THIS ARTIST: Jessica 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...

Robert Indiana Pax, Paix, Shalom (The Peace Print), 2004 Silkscreen in 4 colors on rives BFK paper Hand signed, dated, titled and numbered 35/50 in pencil by Robert Indiana on the f...

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: 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...

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 abstract painted composition, Ricard combines expressive poetry with vibrant color. A bright yellow forms the background for two rounded rectangles printed...

Accidents, Injuries and other Calamities poster Judy Chicago (Hand signed and inscribed), 1988 Offset lithograph on thin board (signed and inscribed by Judy Chicago) 26 × 20 1/4 inch...

KAWS KAWS at Yorkshire Sculpture Park (Hand Signed), 2016 Offset lithograph poster, uniquely signed and dated by KAWS 33 × 24 inches Signed and dated on the lower front Unframed Han...

Alan Shields Lonely Night, 1969 Screenprint and Pochoir with collage on perforated paper Pencil signed, numbered and dated from the limited edition of 100 Unframed Mixed media colla...

Lucas Samaras Samaras at Whitney Museum of American Art Exhibition Poster, 1973 Offset lithograph poster 32 × 24 inches Unframed This early vintage poster was published for the Samar...

Richard Anuszkiewicz Annual Edition, 1987-1988 Limited edition silkscreen on masonite Signed and dated by the artist lower right in pencil Frame Included (floated within a box frame)...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Robert N. Robathan was raised in Los Angeles. This lithograph has the blind stamp of the noted California printer, Lynton Kistler, at the lower left. An impression of this subject i...

ABOUT THIS PIECE: A 1 inch white border is included in the listed image size (W x H) as per the artist's request. Inspired by the warm light, open vistas, and saturated colors of he...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Johan Van Oeckel. In search for new compositions he always starts ...

Hugo Demarco Relation Couleur, 1973 Silkscreen on velincarton Hand signed and numbered 62/200 on lower front. Bears the publisher's blind stamp on the fro...

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: Maria Piessis is a multimedia artist based in NYC and Paris. She is always playing somewhere in the endless universe where photography, art and design meet. She ha...

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...

Dan Flavin Dan Flavin at Albright Knox Gallery (hand signed and inscribed to renowned curator) Offset Lithograph. Hand signed and inscribed by Dan Flavin 18 × 22 inches Provenance: Estate of artist and collector Rick Collar Unframed Uniquely inscribed and hand signed 1972 Dan Flavin exhibition poster from his Albright Knox exhibition. Dan Flavin hand signs and inscribes it to Paulus Hendrik Hefting, the curator of the Neue Nationalgalerie in Berlin. The inscription reads: "Best regards and best wishes to you especially in "diagrams and drawings". What Flavin is referring to is the important exhibition also in 1972, "Diagrams & Drawings" curated by Hefting, at the Rijksmuseum Kröller-Müller (Netherlands), which featured Carl Andre, Christo, Walter De Maria, Dan Flavin, Michael Heizer, Don Judd, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Richard Serra, Robert Smithson. An extremely rare signed poster with a unique inscription to a major European curator referencing an historic Minimalist exhibition in the early 1970s. We may not see the likes of something like this anytime soon! Dan Flavin Biography From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on the wall, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to establish and redefine space. Flavin’s first solo exhibitions were held at the Judson Gallery in 1961 and the Green Gallery in 1964, both in New York. His first European exhibition was in 1966 at Galerie Rudolf Zwirner in Cologne, Germany; and in 1969, the National Gallery of Canada, Ottawa, organized his first major museum retrospective. His work was included in a number of key early exhibitions of Minimal art in the 1960s, among them Black, White, and Gray (Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 1964); Primary Structures (The Jewish Museum, New York, 1966); and Minimal Art (Gemeentemuseum, The Hague, 1968). Flavin’s work would continue to be presented internationally over the course of the pursuant decades at venues including the St. Louis Art Museum, Missouri (1973); Kunsthalle Basel (1975); Museum Boymans-van Beuningen, Rotterdam (1975); Stedelijk Museum, Amsterdam (1986); and the Solomon R. Guggenheim Museum, New York (1992), among others. A major museum retrospective devoted to Flavin’s work was organized, in cooperation with the Estate of Dan Flavin, by the Dia Art Foundation in association with the National Gallery of Art, Washington, DC, where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris...

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...

Jim Dine Kenneth Koch Homage (Oh Scarf of Paradise, Blue Sky is Bread to the Scarf), 1966 Color lithograph on blue grey wove paper with deckled edges 37 × 24 1/2 inches Pencil signed...

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: 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 ...

Alexander Calder’s ‘Escargot’ lithograph showcases his playful yet sophisticated approach to abstraction, combining organic form with bold color and dynamic composition. The title, w...

Screenprint in colors with glitter on heavy wove paper. Hand signed in pencil verso, numbered from the edition of 150 verso with artists copyright inkstamp. Published by Other Crite...

Robert Strati is an American artist who creates multimedia artworks using broken plates. His recent series “Fragmented” started when he accidentally dropped and broke a porcelain pla...

Walasse Ting 丁雄泉 Untitled, (Limited Edition, hand signed Carnegie Museum Trustee Edition), 1972 Abstract Expressionist Lithograph. Hand signed and numbered. Hand signed and numbered...

Judy Pfaff Squash, 1985 Woodcut on wove paper Signed, numbered 78/85, dated and titled on the front with artist's and publisher's blind stamps. 21 3/4 × 29 3/4 inches Publisher Cente...

Stanley William Hayter Torero (de-accessioned from the Denver Art Museum), 1929-1933 Engraving on laid paper, third (final) state, on heavy BFK Rives...

Lithograph on butcher paper. Signed lower middle of plate in blue pen. One of 21 signed, unnumbered lithographs, this impression is in gray/blue ink. In ...

Christopher Wool (hand signed by Christopher Wool), 2006 Cloth hardback monograph (hand signed by Christopher Wool) Hand signed and dated 2017 by Christopher Wool on the half title p...

In celebration of Lincoln Center's ultimate New York festival, Summer for the City, the Brooklyn based artist Rico Gatson created a dynamic image of bold colors radiating positive energy. Gatson's concentric circle motif and projecting lines draw inspiration from the giant disco ball shining above Lincoln Center's iconic Revson Fountain, a welcoming beacon at the heart of Josie Robertson Plaza. This colorful, archival pigment print is printed on Hahnemühle paper and is signed, dated and numbered in pencil by the artist. It is in excellent condition and comes directly from Lincoln Center Editions...

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...