New York City - Abstract Prints

Artist: Robert Indiana, American (1928 - 2018) Title: New Glory Banner from the American Dream Portfolio Year: 1963 (1997) Medium: Serigraph Edition: 395 Image Size: 17 x 10 inches S...

Sean Scully Hand Signed print Geometric Abstraction Minimalist, 1989 Offset lithograph poster Boldly signed in black marker on the front by Sean Scully 29 3/4 x 20 inches Unframed Th...

This poster reproduction of Alexei Jawlensky’s Crown of Thorns captures the artist’s bold Expressionist style and spiritual depth. The subject’s mask-like face, rendered in thick bru...

This striking exhibition poster by Peter Nyborg showcases his mastery of color and form. Printed on heavy stock paper, it boasts vibrant, richly layered hues that radiate energy and ...

Hommage by Johnny Friedlaenderm German (1912–1992) Date: circa 1965 Aquatint, signed in pencil Edition of EA Size: 30 in. x 22 in. (76.2 cm x 55.88 cm) Frame Size: 36 x 28.5 inches

John Stritch was an American artist best known for his abstract and sculptural work. "Red Sky" features an abstracted and simplified red landscape. This screen...

LeWitt has been the subject of hundreds of solo exhibitions in museums and galleries worldwide since 1965. A leading figure of the Conceptual and Minimalist movements, his prolific ...

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...

ABOUT THIS PIECE: The Philosopher's Conquest is from the artists last show, An Artist, A Curator And A Rabbi Walk Into A Bar...,.The title of the exhib...

A frenzy of lines and color, this pair of Dieter Roth lithographs could have been produced in 2022. The contemporary popularity of semi-abstract imagery featuring color gradients, za...

Andrea Belag Untitled, from the Lehman Brothers Art Collection, 2003 Watercolor monotype on paper Pencil signed and dated on the front Framed Gorgeous ...

David Hockney David Hockney at Castelli Graphics, 1981 Offset Lithograph poster 20 × 16 inches Unframed Rare 1981 poster published on the occasion of the r...

Michael Challenger, British (1939 - ) - Heaven Forbid, Year: 1979, Medium: Screenprint, signed, titled, numbered and dated in pencil, Edition: AP, Image Size: 17 x 23 inches, Siz...

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 30 1/4 × 40 1/2 inches Unframed Commissioned by the Mr. and Mrs. Albert A. List Graphic Fund for The Jewish Museum, New York Signed, numbered and dated in graphite pencil on the front; bears publishers' blind stamp front left corner. Commissioned by the Mr. and Mrs. Albert A. List New Year's Graphic Fund for The Jewish Museum, New York. During the 1980s, various artists were commissioned to create a print celebrating the Jewish New Year. This is the silkscreen renowned sculptor Nancy Graves created to celebrate the year 5745 of the Jewish Calendar, beginning in September 1984 (Rosh Hashanah). This work was published in a limited edition of 90. The number 90 has special significance in Jewish gamatria (numerology) for several reasons, including the fact that it equals five times life - or Chai. The number for Chai, meaning "Life " s 18, and 18 x 5 = 90. This is a magical number in Judaism. All of the works were published in editions that were multiples of 18, or the Life. In her lifetime, Nancy Graves did not receive the renown or acknowledgement that her ex-husband and former Yale School of Art classmate Richard Serra did, but she is finally getting the recognition she richly deserves. Biography: Nancy Graves (1939 – 1995) is an American artist of international renown. A prolific cross-disciplinary artist, Graves developed a sustained body of sculptures, paintings, drawings, watercolors, and prints. She also produced five avant-garde films and created innovative set designs. Born in Pittsfield Massachusetts, Graves graduated from Vassar College in 1961. She then earned an MFA in painting at Yale University in 1964, where her classmates included Robert Mangold, Rackstraw Downes, Brice Marden, Chuck Close, as well as Richard Serra with whom she was married from 1964 to 1970. Five years after graduating, her career was launched in 1969 when she was the youngest artist — and only the fifth woman — to be selected for a solo presentation at the Whitney Museum of Art. Graves’ work was subsequently featured in hundreds of museum and gallery exhibitions worldwide, including several solo museum exhibitions. She was awarded commissions for large-scale site-specific sculptures and her work is in the permanent collections of major art museums. A frequent lecturer and guest artist, her work was widely documented during her lifetime. In 1991 she married veterinarian Dr. Avery Smith. Graves travelled extensively and was fully engaged with the cultural and intellectual issues of her times. Her brilliant career and life were cut short by her untimely death from cancer at age 54. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps, commingling scientific exactitude with abstraction. Resuming sculpture in the late 1970s, Graves was among the first contemporary artists to experiment with bronze casting. She re-invigorated the traditional lost wax technique by assembling cast found objects into unique improbably balanced sculptures, with bright polychrome surfaces and distinctive patinas. Throughout the 1980s Graves became widely recognized for her increasingly large and graceful open-form sculpture commissions. At the same time, she also expanded her drawing, painting, and printmaking practice and made large gestural watercolors. Then, in the late 1980s she created wall-mounted works that combined her explorations of sculpture, painting, form and color. In these large-scale pieces, she mounted high relief polychrome sculptural elements to the surfaces and edges of painted shaped canvases so that patterned shadows were cast onto the paintings and surrounding wall. By the 1990s Graves was casting in glass, resin, paper, aluminum, and bronze, combining these varied materials and colors into daring sculptures with moving parts. As she proceeded in all the media she mastered, Graves increasingly re interpreted and transmuted forms sourced from her own earlier artwork — rather than from outside research — creating elaborate compositions that form a layered a-temporal archaeology of her own visual production. Nancy Graves’ pioneering art...

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...

Brice Marden Nevis Letter 2009 Etching 30 x 22 1/2 inches; 76 x 57 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks...

Bodegon 29 Juan Manuel Gomez-Quiroz Chilean (1939–2021) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 300, AP 40 Image Size: 25.5 x 17 inches Size: 29 in. x...

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 ...

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...

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

Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...

Christo The MCA (Museum of Contemporary Art) Wrapped, Chicago, 1969, 2019 Limited Edition Four-color offset lithograph on 110 lb. Crane Lettra Cover stock, with an elegant gold foil...

Niki de Saint Phalle Niki de St Phalle Bespoke LOVE Shopping Bag, ca. 1982 Silkscreen on paper bag 9.5 x 8 inches Unframed The edition is unknown but we h...

Jasper Johns Target with Four Faces (ULAE 55), 1968 Silkscreen in colors on Rives BFK wove paper Signed and dated in red ink and numbered 53/100 (total edition includes ten artist's ...

Artist: Arthur Boden, American Title: T Series (Orange) Year: circa 1970 Medium: Screenprint, signed and numbered in pencil Edition: 100 Size: 29 in. x 23...

Derrière Le Miroir (DLM) issue no. 242, designed by Eduardo Chillida in 1980, is a visually captivating publication. This issue contains 5 full-page designs printed on vellum, along ...

Louise August (American) "Seated Figure", Abstract Figurative Lithograph signed and Titled in both Ink and Pencil, 20 x 25.50 (Image: 18 x 13.50), Mid-20...

Unknown/ Unidentified Artist, "Untitled", Abstract Lithograph, 25.75 x 19.75, Late 20th Century Color: Green

Joan Miro is known for his abstract, expressive, and child-like Modern style. Original lithograph published in Miro Lithographe V Catalogue Raisonne...

Georgi Daskaloff (Bulgarian b. 1923), "Untitled" 45/100, Abstract Lithograph numbered and signed in pencil, 30 x 22.25, Late 20th Century Colors: Blue, White, Black

This Eduardo Paolozzi screenprint is composed with primary colors and black and white photographic imagery “collaged” in. Stripes and curvilinear forms merge in a vibrant exemplar of...

ABOUT THIS ARTIST: Siobhan O’Dwyer is a creative artist splitting her time between New York City and Southern California. Working as a full-time pharmacist in the beginning of her cr...

Artist: Kyohei Inukai, American (1913 - 1985) Title: Egg 2 (Purple) Year: circa 1970 Medium: Silkscreen, signed and numbered in pencil Edition: 45 Image Size: 20 x 26 inches Size: 2...

This is a fourteen (14) color screen print on Reeves textured rag paper, hand signed and numbered in graphite from an edition of 118. There are an additional 18 Artist Proofs. The pr...

Christo The Wrapped Reichstag at Night (Hand Signed), 1993 Offset Lithograph Hand signed by Christo on lower right front 40 × 25 1/2 inches Unframed and affixed to matting (as it ha...

Intersections from Derriere Le Miroir by Alexander Calder, American (1898–1976) Date: 1968 Lithograph Size: 15 x 11 in. (38.1 x 27.94 cm) Printer: Maeght, Paris Publisher: Maeght Edi...

Susan Gorelick (American, 1924-2000), "Red Expulsion" A/P, Abstract Etching signed, titled and numbered in Pencil, 19.50 x 27.88 (Image: 17.25 x 23.50) Late 20th Century Colors: Ora...

Claire Seidl Description Without Place (Hand Signed), 1986 Lithograph and silkscreen. Hand signed, dated and numbered from the edition of 65 by the artist. 28 × 38 1/2 inches Unfram...

Shepard Fairey God Save the Queen, (UK) and Land of Liberty (US) 2012 Screenprint on cream speckle tone paper 24 × 18 inches A rare, pencil signed Artists Proof, aside from the regu...

Artist: Robert Motherwell, American (1915 - 1991) Title: No. 3 from Three Poems, collaboration with Octavio Paz Year: 1987 Medium: Lithograph on Japon with Chine Colle Edition: 750 I...

Artist: Helen Thomas Title: Transformation Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 150 Paper Size: 22 x 28 inches

Artist: Gene Davis Title: Ferris Wheel Year: 1980 Medium: Lithograph on Arches Paper, signed and numbered in pencil Edition: 250 Image Size: 18 x 25.5 in...

WALASSE TING Untitled (from Carnegie Museum of Art Portfolio), 1972 Original Limited Edition Vintage Lithograph 15 × 22 inches Limited Edition of 1000 Catalogue Raisonné: 155, Lembar...

Tom Wesselmann Shiny Nude (Stealingworth, 33), 1977 Silkscreen on glossy cast-coated Kromekote paper 8 × 8 inches Edition of 1000 (917/1000) Pencil numbered...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Energia I Year: 1969 Medium: Silkscreen, Signed and numbered in pencil Edition: 100, AP Image Size: 17 x 17 inches Size: 20 x 20 in...

Sitting in a chair and wearing a green dress, the woman in this Pablo Picasso print is reduced to a series of geometric shapes. Her figure is fragmented into triangles and quadrilate...

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

Angelo Ponce de Leon, Spanish (1925 - ) - Reverberations, Year: circa 1965, Medium: Hand colored Lithograph on BFK Rives, signed, titled and numbered in pencil, Edition: 9/20, Ima...

ABOUT THIS PIECE: I based Cloud 9 on the spectrum of colors found in nature at different times of the day and four seasons in Aspen, Colorado. Little Nell is a reflection of the cool...

Richard Hunt Paper piece V, Terracotta Voyage, 1978 Artwork made exclusively from colored paper pulps, formed, handmade Twinrocker paper made by hand utilizing stencils to apply the wet colored paper pulp to the wet backing layer of pulp for the main image, in order to keep it consistent. The colored washes of pulp vary slightly with each print - similar to ones that are hand colored with watercolor washes. Signed and numbered 12/50 in graphite front; bears Lakeside Studio blind stamp 18 31/50 × 23 1/2 × 1/5 inches Unframed Formed, handmade Twinrocker paper Signed and numbered 12/50 on the front Published and printed by Lakeside studio, Lakeside, Michigan with blind stamp Also accompanied by gallery issued Certificate of Guarantee Richard Howard Hunt...

Vasilios Janopoulos, Greek (1953 - ) - Untitled - Psychedelic Abstract, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 500, AP, Image Size: 20.5 x ...

Centre Noeuds (Centre Knots) Portfolio, 1974 Hand-Signed Etching, aquatint in colors/Arches paper, with title page, colophon and poem by Antonin Artaud. In-portfolio 14 x 10 1/2 in E...

George McNeil Untitled Figure, 1986 Lithograph on paper. Publisher's and Printer's Blind Stamps Hand-signed, numbered 78/84 and dated by the artist on the front with publisher's and...

This 30 color screen print was created at Brand X Editions to commemorate the terrorist attacks of September 11, 2001 in New York City. This print comes directly from the publisher, Lincoln Center Editions...

Jean-Michel Basquiat 1982: RARE original 1982 Jean-Michel Basquiat illustrated poster for “Ikonoklast Panzerism versus Tricnology” lecture with Rammellzee, Squat Theater, New York, ...

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

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 from small sketches based on fra...

Takashi Murakami Superflat Exhibition Poster 1999: Rare 1990s exhibit poster designed by Murakami and published by Marianne Boesky Gallery New York...

Pablo Picasso's Cubist rendering of a woman wearing her hair in a ponytail is a classic example of the artist's work. Rendered with high-contrast shading, the head of the woman appea...

1980s Milton Glaser Poster Art: San Diego Jazz Festival: Vintage original Milton Glaser poster c.1983. Designed by Milton Glaser on the occasion of the San Diego Jazz Festival, a Pacific Coast event depicted with a suit-and-sandal clad bear at dusk. Several favorite Glaserisms show up here: the swirling contours, the loose cross-hatching and the saxophone. Offset lithograph poster in colors. 24x36 inches. Very good overall vintage condition with the exception of perhaps some minor signs of handling. A suit-and-sandal bear heralds this Pacific Coast event with a serenade with a beautiful sunset. Several favorite Glaserisms show up here: the swirling contours, the loose cross-hatching and the sax. Literature: Milton Glaser Posters Legendary graphic designer, illustrator, and art director Milton Glaser created some of the most recognizable iconography in America today —including the iconic I ♥ N Y logo —and countless posters and ad campaigns. Glaser changed the face of commercial art in the 1960s and ’70s, breaking with the conventions of modernism and drawing inspiration from a wide variety of art-historical and pop-cultural sources, from Art Nouveau to comic illustration...