New York City - More Prints

Sean Scully Munich 1996 (Hand Signed), 2001 Offset Lithograph print Hand signed and dated by Sean Scully in 2018 Boldly signed in black marker on the recto. Hand signed by Sean Scull...

Düsseldorf (German Cities), 1970 24 x 33.8 in. / 61 x 86 cm Screen print in one color on offset lithograph, black on white card. “for Paul” written in pencil lower middle. Signed and...

The Resurrection by Salvador Dali, Spanish (1904–1989) Date: 1979 Lithograph on Arches, signed and numbered in pencil Edition 186/250 Image Size: 23 x 16 inches Size: 29.5 x 21.5 in....

Sean Scully Roland Garros French Open tennis tournament, Paris, France (Hand signed by Sean Scully), 2001 Offset lithograph poster (hand signed by Sean Scully) 29 3/4 inches (vertica...

Hero as a Riddle (1963) depicts a smiling head printed in gold, silver, and black. The shapes and lines composing the figure’s face are architectural and geometric: the eyes are comp...

Original poster commemorating Rene Ricard's 1990 exhibition Mal de Fin: Paintings 1989-1990 at the Petersburg Press Gallery, New York. The image reproduces his painting, Mal de Fin, ...

Joan Mitchell Untitled Abstract Expressionist Print for the Carnegie Museum of Art, 1972 Lithograph on wove paper 15 × 22 inches Limited Edition of 1000 (unnumbered) Printer: Maeght...

Emilio Sanchez (1921-1999) created this color lithograph entitled “SOL de MEDIODIA” in 1996-98. This unsigned impression came to us directly from the Sanchez estate. Estate stamped...

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 rainbow print, Ricar...

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. This red and black lithograp...

Cleve Gray Untitled, 1970 Silkscreen Boldly signed and numbered 32/100 in graphite pencil by Cleve Gray on the front 30 × 22 1/2 inches Signed and numbered 32/100 by artist on the fr...

Frank Stella at Leo Castelli (Hand Signed and Dated), 1969 Offset Lithograph Invitation Boldly signed and dated 2014 in black marker; Stella signed this f...

This lithograph was printed in 1963 at the Atelier Mourlot in Paris. This print was executed for the annual exhibition "Les Peintres Temoins de Leur Temps" at the Galleria museum in ...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of pink, yellow, red, turquoise, silver, and gold. Printed with metallic ink that catches light differently from each angle, complementing the poster’s lime green and red text. The top of the poster reads “Let us move forward with a strong and active faith.” It was at this 1980 convention that Jimmy Carter was nominated for reelection. This large poster was printed by Petersburg Press in 1980, and features Frank Stella’s Polar...

This print has a deep blue background and brightly colored red and orange billiards balls. John Gibson has been painting delicate still-life arrangements of balls since the 1990s. T...

Adolph Gottlieb Guild Hall is for Everyone, 1970 Rare Abstract Expressionist Offset Lithograph poster Vintage metal Frame included Rare vintage, limited edition, offset lithograph ...

Helen Frankenthaler (after) A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned & Unnumbered) 37 × 25 inches Unframed This was printed in the artists lifetime - making it more collectible - on the occasion of the exhibition, "Helen Frankenthaler: A Paintings Retrospective from February to April, 1990 at the Los Angeles County Museum of Art (LACMA) Print is published by Editions Limited Galleries, San Francisco for Los Angeles County Museum of Art (LACMA), LA, CA The work depicted is Helen Frankenthaler, The Bay, 1963, acrylic on canvas, Detroit Institute of Arts, Michigan (Incidentally, this beautiful work is featured on the cover of the book Water and Art' by David Clarke.) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Tim Engelland (American, 1950-2012) A little freshly ground black pepper?, 1996 Linocut 11 x 7 in. Signed and dated lower right: T. Engelland 996 Signed and numbered lower left: 102/200 Edition of 200 printed by hand on an 1892 Poco Proof Press A lifelong artist, Engelland specialized in oil portraits and landscapes, and also worked extensively in woodcuts and linocuts. He was born on Jan. 5, 1950, in Ames, Iowa, the son of Charles Wilbur “Will” Engelland and Patricia Fairman Engelland.. Tim grew up in Terre Haute, IN, attending Fairbanks Elementary School and Indiana State University’s Laboratory School. He knew he wanted to be an artist from an early age, and was mentored by Lab School’s John Laska, graduating in 1968. He received a BFA from Temple University’s Tyler School of Art; was a Norfolk Fellow at Yale University; and received his MFA from Cornell University, teaching there for two years after graduation. He spent the majority of his career, from 1976-2004, at Deerfield Academy, a prestigious preparatory school in Deerfield, Mass. There he taught art and photography, coached basketball and lacrosse, and served as faculty resident. When the school began accepting female students, Tim designed The Deerfield Girl, a bronze statue to accompany The Deerfield Boy statue...

This poster was made to advertise American Pop artist Keith Haring’s exhibition at Tony Shafrazi Gallery in 1984. The composition features a nude figure in the center with their back...

LUDWIG SANDER Untitled geometric abstraction Artists Proof, aside from the regular edition of 90 Hand signed and annotated AP on the front Elegantly matted and framed in white wood m...

Copper-plate engraving, hand-colored, 1608 - c.1630 and published by Joannes Jansonius, Amsterdam. Image size 15.75 x 21.19 inches (40 x 53.9 cm). A classic example of a world ma...

Jules Olitski Elegy, September 11, 2001, 2002 Silkscreen on wove paper Edition 103/108 Signed, titled and numbered in graphite pencil 103/108 on the front Framed Jules Olitski is hon...

This geometric, minimalist print glows in rainbow shades. Vibrant raspberry pink, magenta, yellow, lime green, and sky-blue lines take on the organic quality of handmade paper, resul...

This poster was made to advertise American Pop artist Keith Haring’s exhibition at Tony Shafrazi Gallery in 1989. It features a series of colored “bubbles” with several illustrated a...

A blank coloring book designed and printed by American Pop artist Keith Haring. This copy is signed and dated in pen by the artist and features several illustrations in the artist’s ...

Helen Frankenthaler (after) Frankenthaler: The Darker Palette (autographed and inscribed), 1998 Offset Lithograph print 42 × 35 in hand signed "Frankenthaler" lower left; inscribed a...

Plaza by Eduardo Paolozzi is an exemplar of early pop art dynamism. Printed in black and white and packed with geometric forms, the composition contains references to maps, machinery...

Takashi Murakami Record Art 2018 (Takashi Murakami Kanye West Kid Cudi): This Takashi Murakami designed cover & record album is for Kids See Ghosts and is the only studio album by t...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of ...

Original poster commemorating Rene Ricard's 1990 exhibition Paintings 1989-1990 at the Petersburg Press Gallery, New York. The poster is folded as it was sent out for the original ex...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

Artist: Kim MacConnel, American (1946 - ) Title: Paris Review Medium: Silkscreen, signed and numbered in pencil Edition: 81/150 Size: 42 x 23 in. (106.68 x 58.42 cm)

This colorful lithograph after Pablo Picasso was printed by the Atelier Mourlot in Paris in 1964 and is unsigned*. This image is taken from a drawing in pencil and colored chalk enti...

Created by Thomas Ruff in 2019, Lotus Flower is a pigment ink print on paper. Hand-signed, dated, and numbered from the edition of 50, the artwork measures 19 x 13 in. (48.3 x 33 cm)...

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...

Robert Indiana, After, American (1928 - 2018) - Ahava, Portfolio: Master American Contemporaries II, Year: 1995, Medium: Offset Lithograph with Poetry, Image Size: 7 x 7 inches...

ROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful e...

NORMAN ROCKWELL (1894-1978) - The Freedom from want - [from the series THE FOUR FREEDOMS.] 1943. 40x28 1/4inches, 101 1/2x71 3/4 cm. World War II poster U.S. Government Printing Office...

This abstract black and white Roth print is full of movement, wildly diverse mark making, visceral, three-dimensional shapes and dynamic sketched lines. It is a single print from the...

The modern lithograph "Les Amoureux" by Jean Cocteau was printed at the Atelier Mourlot in 1957. Cocteau was a master at representing the languid forms of his subjects in sketches. H...

Color engraving, representing 99 maritime flags in 1756, bearing the inscription: Made in the Cartes de la Marne depot for the service of the Roy's vessels by Order of M. de Machault Keeper of the Seals of France, by Sr. Bellin Engineer of the Navy. 1756 Gravure en couleurs, représentant 99 pavillons maritimes en 1756, portant l'inscription : Fait au dépôt des Cartes de la Marne pour le service des vaisseaux du Roy par Ordre de M. de Machault garde des Sceaux de France, par Sr. Bellin Ingénieur de la Marine 1756 Includes early marine flag...

Takashi Murakami, Kanye West, Louis Vuitton; Los Angeles 2007 (Murakami Gala): Rare folding invitation published on the occasion of a 2007 reception honoring Takashi Murakami and fashion icon Marc Jacobs with a special performance by Kanye West; October 28th, 2007; MOCA Los Angeles; hosted by Louis Vuitton. Front side imagery features a reproduction of Murakami’s ‘Jellyfish...

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

Vibrant magenta, yellow, orange, brown, purple, lime green, jungle green, dark green, cerulean, and sky-blue lines take on the organic quality of handmade paper, resulting in this su...

This rare lithographic poster was printed in 1957 at the Atelier Mourlot in Paris. It was created to promote an exhibition of artworks by Kandinsky, on loan from the Guggenheim Museum to the National Museum of Modern in Paris. Certificate of Provenance: Each individual work of art carefully curated by Mourlot Editions comes with a Certificate of Provenance, signed, dated, stamped, and numbered by Eric Mourlot. This certificate guarantees the origin and authenticity of your personal lithograph. About the Artist: Kandinsky was a painter and art theorist, one of the first creators of pure abstraction in modern painting. After successful avant-garde exhibitions, he founded the influential Munich group Der Blaue...

Jasper Johns Jasper Johns at Leo Castelli (Hand signed and inscribed), 1976 Offset lithograph poster (hand signed and warmly inscribed by Jasper Johns) Signed and inscribed "for Cord...

Abstract yellow and black Rene Ricard print with hand painted poetry on handmade paper. Printed in black ink at the top of the sheet and framed with a thin line, the artist's loose h...

Berlin 2, 1970 24 x 33.8 in. / 61 x 86 cm Screen print in one color on offset lithograph, black on white card. Edition 100. “for Paul” written in pencil lower middle: this copy an ar...

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. Here, Ricard traverses visual art, text, and the pleasure of sculptural trompe-l’œil with this printed drawing of melancholy hand-written and typed love poetry, composed with natural earthen shades of antique white and brown. Monet Portrait of Jeanne Duval...

The Ninth Hour Clarence Holbrook Carter American (1904–2000) Date: 1978 Screenprint, signed and numbered in pencil Edition of 200, AP 30 Size: 40 in. x 26 in. (101.6 cm x 66.04 cm)

This original, vintage poster on poster stock features one of Jim Dine's most iconic motifs: the bathrobe. In 1964, Dine saw an ad in the New York Times: “The ad shows a robe with the man airbrushed out of it. There was nobody in the bathrobe, but when I saw it, it looked like me.” Standing in for the artist's own body and rife with personal meaning, it provides a framework for limitless formal and stylistic experimentation. Here, the garment is colored bright green and defined by variegated black lines. Numbers label each part of the robe as in an anatomical chart. Bold black lettering reads Jim Dine, Petersburg Press...

“THE SHADOW OF THE BROOKLYN BRIDGE” Emilio Sanchez (1921-1999) created this color lithograph entitled “Shadow of the Brooklyn Bridge” in 1988. The image size is 21.38 x 30.50 inche...

Dieter Roth Goodbye Sharpie, 1972 44.5 x 54.3 / 113 x 138 cm Planographic printing from zinc, white on dyed grey card Edition of 30, this copy marked "Artist's Copy" and annotated II/IV Dieter Roth was a printmaker from childhood: his first etching at the age of 16 was scratched into a soda can, and despite the failure of the can to print anything but a shadow of ink, he continued his study and by 20 was a serious apprentice in lithography to a well-known commercial artist, Eugen Jordi. Later he would continue to print and publish much of his own work. From the 1960s onward, his collaborations with Petersburg Press brought him international recognition and produced some of his most celebrated work: Six Piccadillies (1970), and Containers (1972). Interested in chance and spontaneity, Roth was drawn to make prints using unorthodox means: according to mathematical principles, using equations, or by randomly rearranging blocks before they were run through the press. The artist often printed plates repeatedly in different colors, producing many variations from just a few images. He used the printing press and materials to interrogate the creative process rather than just as tools to achieve an edition of identical prints: for example, overprinting or under-inking, or running objects through the press (in 1968, a box of chocolates). Roth was not just interested in the chance of making pictures but the unpredictability of decay: allowing the grease from slices of meat to slowly contaminate paper, immersing a print in vegetable juice, clamping metal to paper to produce rust, and pouring chocolate over a finished work. Roth would make hundreds of print editions and books over his career and blurred the line between genres and mediums, embarking on prodigious collaborations and experimentation with music, poetry...

Ball Park Ralph Fasanella American (1914–1997) Date: 1974 Screenprint, signed and numbered in pencil Edition of 122/250 Image Size: 25 x 37 inches Size: 31 in. x 43 in. (78.74 cm x...

This lithographic poster was designed after Henri de Toulouse-Lautrec for an exhibition at the Galerie R.G Michel, Paris in 1954. This poster, which is based on the original lithogra...

Digital C-print (Edition of 25) Signed, dated, and numbered, verso 28 x 24 inches, sheet 22 x 18 inches, image This artwork is offered by ClampArt, located in New York City. Edwar...

Screenprint in colors on Wove Paper. Reference Littmann, K, & Haring K. Keith Haring, Editions on Paper 1982-1990: The Complete Printed Works, Cantz, Stuttgart, 1997, p.97. Hand num...

Robert Longo (b. 1953) Gretchen and Eric, from Men in the Cities, 1985 Two lithographs on rag paper Each signed, dated and numbered in pencil to lower margin Edition 27 of 48 (matchi...

“LA CASA VIVENDA” Emilio Sanchez (1921-1999) created this color lithograph entitled “La Casa Vivenda” circa 1991. Image size 18.38 x 25 inches and the paper size 21.75 x 29.38 inches. Printed in an edition of 100 this impression is inscribed “70/100” - the 70th impression of 100. This impression is pencil signed in the lower right and inscribed in the lower left. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Rainbow shades shine in delicate clusters of vertical lines, in this abstract, geometric lithograph. Vibrant yellow, green, magenta pink, blue and brown take on the organic quality o...