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Item Ships From: New York
Thomas Maitland Cleland, Signed 1929 Lithograph by Rockwell Kent
By Rockwell Kent
Located in Long Island City, NY
Thomas Maitland Cleland by Rockwell Kent, American (1882–1971) Date: 1929 Lithograph, signed in pencil Image Size: 9.5 x 7 inches Size: 12 x 10 in. (30.48 x 25.4 cm)
Category

1920s American Modern New York - Prints and Multiples

Materials

Lithograph

The South West Prospect of London – English School 18th century
Located in Middletown, NY
A stunning 18th century optical view of London from the Thames. London: 1760. Copper plate engraving with hand coloring in watercolor on cream laid paper with a large circular wate...
Category

Mid-18th Century English School New York - Prints and Multiples

Materials

Watercolor, Handmade Paper, Engraving

Blue Ombre, Screenprint by Leonid
Located in Long Island City, NY
Blue Ombre Leonid Date: circa 1980 Screenprint, signed and numbered in pencil Edition of 100, AP Image Size: 23 x 23 inches Size: 29 x 29 in. (73.66 x 73.66...
Category

Late 20th Century Abstract Geometric New York - Prints and Multiples

Materials

Screen

Shadows in Mexico
By John Taylor Arms
Located in Middletown, NY
Etching on bluish-grey, antique laid paper, 5 x 3 5/8 inches (127 x 93 mm), signed, dated, and inscribed "III" in pencil, lower margin. A proof impression from the third state (of 3)...
Category

Mid-20th Century American Modern New York - Prints and Multiples

Materials

Laid Paper, Etching

Study of Turnstones.
By Frank Benson
Located in New York, NY
Frank Benson made this drypoint in 1928. The second state of two. A scarce print with no recorded printings of the second state - presumably, at least two were printed. The image size is 4 7/8 x 5 7/8" (12.4 x 14.9 cm). #282 in the Frank W. Benson catalogue raisonne by Adam Paff. Frank Weston Benson (1862-1951), well known for his American impressionist paintings, produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. While a teenager his fascination with drawing and birding developed simultaneously and continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...
Category

Early 20th Century American Realist New York - Prints and Multiples

Materials

Drypoint

AL 133, Abstract Art Giclee Print by Michael Knigin
By Michael Knigin
Located in Long Island City, NY
Michael Knigin, American (1942 - 2011) - AL 133, Year: 2006, Medium: Giclee print on paper signed, numbered and dated in pencil, Edition: AP, Image Size: 24 x 17 inches, Size: 2...
Category

Early 2000s Abstract New York - Prints and Multiples

Materials

Giclée

Enchanted Dream
By Max Papart
Located in New York, NY
Etching with carborundum, aquatint, and collage that is signed and numbered.
Category

1980s New York - Prints and Multiples

Materials

Etching, Aquatint

Enchanted Dream
$4,000 Sale Price
20% Off
POSE Limited Edition Spray Paint Can (POSE street artist)
By POSE
Located in NEW YORK, NY
POSE spray paint can 2021: Limited Edition POSE spray paint can published circa 2021. A unique street art / graffiti collectible that makes for a fantastic home display piece. Med...
Category

2010s Pop Art New York - Prints and Multiples

Materials

Metal

Children freeing a caged bird
By Eileen Soper
Located in Middletown, NY
Etching on cream wove paper, 4 1/2 x 7 inches (114 x 177 mm), wide margins, signed in pencil in the lower right. Laid down to non-archival board with the mat affixed, obscuring the verso and the sheet edges. The visible portion of the sheet is clean with minor toning around the mat window opening. The signature is unobscured and clear. Best known as the original illustrator of Enid Blyton...
Category

Early 20th Century American Realist New York - Prints and Multiples

Materials

Handmade Paper, Etching

Handwritten letter on American Indian Theme II card signed to CBS News cameraman
By Roy Lichtenstein
Located in New York, NY
Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...
Category

1980s Pop Art New York - Prints and Multiples

Materials

Ink, Postcard

ARTIST UNKNOWN 'Dimensions of Natural Objects in Miles' 1963- Lithograph
Located in Brooklyn, NY
Paper Size: 44.75 x 27.75 inches ( 113.665 x 70.485 cm ) Image Size: 41.25 x 24.75 inches ( 104.775 x 62.865 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age ...
Category

1960s New York - Prints and Multiples

Materials

Lithograph

Temporal Perception 361 (Diptych) (Abstract photography)
By Serge Hamad
Located in London, GB
Temporal Perception 361 (Diptych) (Abstract photography) Archival C-Print — Unframed. Edition: 1/12 Available in 2 weeks turnaround. Sold as a diptych. Each element size is: 45 x 30...
Category

2010s Abstract New York - Prints and Multiples

Materials

C Print

Waiting, Pop Art Framed Offset Print by Will Barnet
By Will Barnet
Located in Long Island City, NY
Waiting from the Kent Bicentennial Portfolio Will Barnet, American (1911–2012) Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 11.25 x 11 inches Size: 17 x 14 in. (43.1...
Category

1970s American Modern New York - Prints and Multiples

Materials

Offset

After Robert Motherwell-Juilliard School Dedication Vintage
By Robert Motherwell
Located in Brooklyn, NY
This original poster was published in 1969 by the Lincoln Center to announce the grand opening of the Juilliard School. According to the Lincoln Center Posters book (pages 16 & 17), ...
Category

20th Century Contemporary New York - Prints and Multiples

Materials

Lithograph

Keith Haring 'New York City Ballet: American Music Festival, 1988' Pop Art
By Keith Haring
Located in Brooklyn, NY
This captivating poster, titled New York City Ballet: American Music Festival, 1988, commemorates the prestigious event held by the New York City Ballet. Originally created to celebr...
Category

Early 2000s Pop Art New York - Prints and Multiples

Materials

Offset

Highway, Pop Art Screenprint by Clarence Holbrook Carter
By Clarence Holbrook Carter
Located in Long Island City, NY
Artist: Clarence Holbrook Carter, American (1904 - 2000) Title: Highway Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 200 Image Size: 30 x 22 inches Paper Si...
Category

1970s Op Art New York - Prints and Multiples

Materials

Screen

Bain-Froid Chevrier; Chevrier's Cold-Bath Establishment, "School Baths", Paris
By Charles Meryon
Located in Middletown, NY
Etching with engraving on cream laid Hudelist paper with a large indicative watermark, 5 1/8 x 5 5/8 inches (130 x 143 mm), full margins. From the edition of only 50 impressions prin...
Category

Mid-19th Century French School New York - Prints and Multiples

Materials

Laid Paper, Etching, Engraving

Stars - 8 Pointed
By Sol LeWitt
Located in New York, NY
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 ...
Category

1990s Abstract Geometric New York - Prints and Multiples

Materials

Handmade Paper, Monoprint

'Shifted Lattice' Limited Edition Print by James Siena (green and blue pattern)
By James Siena
Located in New York, NY
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...
Category

Early 2000s Abstract Geometric New York - Prints and Multiples

Materials

Screen

Spiro Flower, Floral Geometric Screenprint by Kyohei Inukai (aka Earle Goodenow)
By Kyohei Inukai
Located in Long Island City, NY
Artist: Kyohei Inukai Title: Spiro Flower Year: circa 1978 Medium: Serigraph, Signed and numbered in pencil Edition: 200 Paper Size: 30 x 22 inches
Category

1970s Abstract New York - Prints and Multiples

Materials

Screen

Classical Nude, Pink Mixed-Media Art and Design Original Work on Paper
By Roberta Fineberg
Located in New york, NY
Classical Nude, 2016 by Roberta Fineberg (RF) is a 13" x 10.75" photopolymer chine-colle monoprint on rag paper - signed, titled, and dated by the artist on verso (back of the work)....
Category

2010s Contemporary New York - Prints and Multiples

Materials

Ink, Rag Paper, Intaglio, Monoprint, Other Medium

Cabeza en Ocre, Surrealist Etching by Rufino Tamayo
By Rufino Tamayo
Located in Long Island City, NY
A Surrealist etching by Mexican artist Rufino Tamayo of a simple yellow figure with a bird beak against a white background, staring at the viewer with piercing white eyes. This piece...
Category

1980s New York - Prints and Multiples

Materials

Etching

Joan Miro 'Litografia Original IV'
By Joan Miró
Located in Brooklyn, NY
This original lithograph by Joan Miró, titled "Lithografia Original IV," is a first printing published in "Joan Miró Lithographs Volume II" in 1975 by Maeght Editeur in Paris. This p...
Category

20th Century Modern New York - Prints and Multiples

Materials

Lithograph

Plane #300
By Thomas Eigel
Located in New York, NY
ABOUT THIS PIECE: This series explores the color and composition of our most recognizable form of transportation. A photographer and art director, Thomas Eigel brings an inspired eye...
Category

2010s New York - Prints and Multiples

Materials

Photographic Paper

Warhol Unlimited, large silkscreen poster from the Musee d'Art Moderne in Paris
By Andy Warhol
Located in New York, NY
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...
Category

2010s Pop Art New York - Prints and Multiples

Materials

Canvas, Linen, Screen

Jeux de boules - Near the City Gate
By Herman van Swanevelt
Located in Middletown, NY
Etching on cream laid paper, 6 7/8 x 10 7/8 inches (175 x 275 mm), thin margins. Some minor surface soiling and paper tape residue in four areas along the top sheet edge, verso, othe...
Category

Mid-17th Century Old Masters New York - Prints and Multiples

Materials

Laid Paper, Etching

Jean Dubuffet 'Automobile a la route noire' 2016-Vintage-First Edition
By Jean Dubuffet
Located in Brooklyn, NY
Automobile à la Route Noire by Jean Dubuffet captures the raw, expressive energy of his signature Art Brut style. With bold, gestural lines and a dynamic composition, the artwork pre...
Category

2010s Contemporary New York - Prints and Multiples

Materials

Offset

Horizon II, American Realist Etching with Aquatint by John McNulty
By John McNulty
Located in Long Island City, NY
John McNulty, Irish/American (1949 - ) - Horizon II, Year: 1984, Medium: Etching with Aquatint, signed and titled in pencil, Edition: 200, Size: 19 in. x 22 in. (48.26 cm x 55.88...
Category

1980s American Realist New York - Prints and Multiples

Materials

Etching, Aquatint

Gerhard Richter 'Tisch' 1991- Poster
By Gerhard Richter
Located in Brooklyn, NY
Paper Size: 39 x 51 inches ( 99.06 x 129.54 cm ) Image Size: 39 x 51 inches ( 99.06 x 129.54 cm ) Framed: No Condition: A: Mint Additional Details: Mechanical Reproduction of Tisch,...
Category

1990s New York - Prints and Multiples

Materials

Offset

Miro-Dragonfly with Red-Tipped Wings in Pursuit of Serpent Spiraling
By Joan Miró
Located in Brooklyn, NY
This reproduction of Joan Miró's "Dragonfly with Red-Tipped Wings in Pursuit of Serpent Spiraling Towards a Comet" was published by Te Neues in 2010. The artwork is framed in a sleek...
Category

2010s Surrealist New York - Prints and Multiples

Materials

Offset

A Twig Snapped, American Western Art Lithograph by Noel Daggett
By Noel Daggett
Located in Long Island City, NY
Noel Daggett, American (1925 - 2005) - A Twig Snapped, Year: Circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 40, Image Size: 19 inches x 23 inches, Siz...
Category

1980s American Realist New York - Prints and Multiples

Materials

Lithograph

Salvador Dali 'Six Appearances Of Lenin On A Piano' 1975- Poster
By (after) Salvador Dali
Located in Brooklyn, NY
First printing.Framed in a shiny black metal with a 3/8 inch front profile and a 7/8 inch side profile. Overall dimensions are approximately 9.5 x 12 x 7/8 inches. Paper Size: 8.5 x...
Category

1970s New York - Prints and Multiples

Materials

Offset

T Series (Orange), Serigraph by Arthur Boden
By Arthur Boden
Located in Long Island City, NY
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...
Category

1970s Abstract Geometric New York - Prints and Multiples

Materials

Screen

Couronne d'Epines
By Alexej Jawlensky
Located in Brooklyn, NY
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...
Category

1980s Abstract New York - Prints and Multiples

Materials

Offset

Fire Stars, Signed Abstract Lithograph by Ronald Julius Christensen
By Ronald Julius Christensen
Located in Long Island City, NY
Fire Stars by Ronald Julius Christensen, American (1923–1999) Date: 1980 Lithograph, signed and numbered in pencil Edition of 295 Size: 27.25 x 38 in. (69.22 x 96.52 cm) Ronald Juli...
Category

1980s Abstract New York - Prints and Multiples

Materials

Lithograph

Homage to Frida Kahlo - Portrait with Scorpion (Hand Signed by Marina Abramović)
By Marina Abramovic
Located in New York, NY
Marina Abramovic Homage to Frida Kahlo - Portrait with Scorpion (Hand Signed by Marina Abramović), 2014 Silkscreen on 100% Silk (HAND SIGNED in indelible marker by Marina Abramovic) ...
Category

2010s Contemporary New York - Prints and Multiples

Materials

Silk, Screen

The Mime
By Peter Max
Located in Buffalo, NY
An original contemporary Pop Art lithograph by American Artist Peter Max titled, "The Mime," featuring the classic figural work Max is most known and loved for. This piece was create...
Category

1980s Pop Art New York - Prints and Multiples

Materials

Paper, Lithograph

The Mime
The Mime
$1,440 Sale Price
20% Off
Actor Portrait
By Utagawa Kunisada III
Located in New York, NY
Kunisada, Utagawa. [Actor portrait.] Japan, ca. 1855. Original woodblock print.
Category

Mid-19th Century New York - Prints and Multiples

Materials

Paper

Walter DuBois Richards, The Lobster Float
By Walter DuBois Richards
Located in New York, NY
Ohio-born Walter DuBois Richards (1907-2006) was educated at the Cleveland School of Art. He re-located to New York around 1933 where he had a successful career as a commercial artis...
Category

1930s American Modern New York - Prints and Multiples

Materials

Woodcut

1980 AfterJoan Miro 'Miro's Posters
By Joan Miró
Located in Brooklyn, NY
This is a hardcover cloth-bound book with a dust jacket titled "Aidez L'Espagne", authored by J. Corredor-Matheos and published by Chartwell Books, Inc. in 1980. The text is presented in English, translated by Anita Roberts, making it accessible to a broader international audience. The book offers an in-depth exploration of Joan Miró's iconic 1937 anti-fascist poster, Aidez L'Espagne ("Help Spain"), created during the Spanish Civil War. Miró’s poster, with its urgent, raw visual energy, became a powerful symbol of resistance, solidarity, and the struggle for freedom. This volume contextualizes the work within both Miró's artistic evolution and the broader political landscape of the time. The book is housed in its original dust jacket, which shows minor wear and a small tear, though the overall condition of the copy is described as very good. As a collectible item, this edition holds significance for those interested in Spanish Civil War art...
Category

1980s Modern New York - Prints and Multiples

Materials

Lithograph

Cobea (Pisum Sensuale), Surrealist Drypoint Etching by Salvador Dali
By Salvador Dalí­
Located in Long Island City, NY
This surreal botanical print by Salvador Dali is from a suite of 10 engravings called "Flora Dalinae". Growing from a vine are leaves shaped like lips an...
Category

1960s Surrealist New York - Prints and Multiples

Materials

Drypoint, Etching

Double Somersault by Dieter Roth (pair of prints) colorful abstract geometric
By Dieter Roth
Located in New York, NY
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...
Category

1970s Abstract New York - Prints and Multiples

Materials

Lithograph

Abstract Lithograph by Fernando De Szyszlo - 1970
By Fernando de Szyszlo
Located in Long Island City, NY
Artist: Fernando De Szyszlo, Peru (1925 - ) Title: Sin Titulo Year: 1970 Medium: Lithograph on Arches Paper, signed and dated in pencil Edition: 41/100 Size: 30 x 22 inches (76.2 x 5...
Category

1970s Abstract New York - Prints and Multiples

Materials

Lithograph

Vintage Hockney Tate Poster, Celia in Black Dress with white flowers and rainbow
By David Hockney
Located in New York, NY
The poster features David Hockney's 1972 drawing Celia in a Black Dress. Viewed through elegantly drooping tulip stems, Celia Birtwell stares dreamily ahead. With one hand paused in ...
Category

1980s Realist New York - Prints and Multiples

Materials

Lithograph

Ubu aux Baléares (M.786), Abstract Lithograph by Joan Miro
By Joan Miró
Located in Long Island City, NY
Joan Miro, Spanish (1893 - 1983) - Ubu aux Baleares (M.786), Year: 1971, Medium: Lithograph, signed in pencil, Edition: 120, Size: 21 x 25 in. (53.34 x 63.5 cm), Frame Size: 2...
Category

1970s Abstract New York - Prints and Multiples

Materials

Lithograph

Bistro Garden, Impressionist Screenprint by LeRoy Neiman
By LeRoy Neiman
Located in Long Island City, NY
A serigraph print by Leroy Neiman from 1987. A colorful impressionist view of a bustling garden dining area. Signed and framed in gold wooden frame. Artist: LeRoy Neiman, America...
Category

1980s Pop Art New York - Prints and Multiples

Materials

Screen

Poppy Rainbow
Located in New York, NY
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...
Category

2010s New York - Prints and Multiples

Materials

Photographic Paper

Karel Appel, Little Boy, color lithograph, hand signed and numbered COBRA artist
By Karel Appel
Located in New York, NY
"Little Boy" - charming 1960s silkscreen rarely seen on the market would look perfect in a child's room - or in any room in the house! Karel Appel Little ...
Category

1960s Modern New York - Prints and Multiples

Materials

Lithograph

Freedom From Want - The Four Freedoms
By Norman Rockwell
Located in New York, NY
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...
Category

1940s American Modern New York - Prints and Multiples

Materials

Paper

1983 After Robert Longo 'Leo Castelli Gallery & Metro Pictures'
By Robert Longo
Located in Brooklyn, NY
Paper Size: 33.5 x 35.25 inches ( 85.09 x 89.535 cm ) Image Size: 33.5 x 35.25 inches ( 85.09 x 89.535 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or...
Category

1980s Contemporary New York - Prints and Multiples

Materials

Lithograph

Wallflowers, Pop Art Screenprint by Donald Sultan
By Donald Sultan
Located in Long Island City, NY
A stunning blue screenprint of “Wallflowers” by Contemporary Master Donald Sultan, which can only be described as minimalist, with flair. Hand-signed and numbered from the edition of...
Category

1990s Contemporary New York - Prints and Multiples

Materials

Screen

Unique Polaroid of Roy Lichtenstein, Authenticated by the Andy Warhol Foundation
By Andy Warhol
Located in New York, NY
Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Also acc...
Category

1970s Pop Art New York - Prints and Multiples

Materials

Polaroid

'Cheshire Moon'- Serigraph- Signed
By Jim Buckels
Located in Brooklyn, NY
This limited edition print titled Cheshire Moon by Jim Buckels is a striking piece, hand signed and numbered 129 out of 140 by the artist in gold marker. Known for his distinctive st...
Category

Late 20th Century Contemporary New York - Prints and Multiples

Materials

Screen

ALEXANDER CALDER Galerie Maeght, 1976
By Alexander Calder
Located in Brooklyn, NY
Supplemental Condition Information: This billboard advertising poster, published by Galerie Maeght in 1976, was used around Paris to promote the works of renowned sculptor and painte...
Category

1970s Contemporary New York - Prints and Multiples

Materials

Lithograph

1985 'Tilted Arc Defense Fund'
By Richard Serra
Located in Brooklyn, NY
This first edition exhibition poster by Richard Serra was created for the Defense Fund, featuring a striking photograph by Anne Chauvet and a bold design by Smatt Florence Inc.. A po...
Category

1980s Contemporary New York - Prints and Multiples

Materials

Offset

Bearden - The Woodshed Vintage
By Romare Bearden
Located in Brooklyn, NY
This original exhibition poster for Romare Bearden's work titled The Woodshed refers to a piece he created in 1967. The Woodshed depicts a scene filled with rich, layered imagery tha...
Category

1980s Contemporary New York - Prints and Multiples

Materials

Offset

"Laughing Matters" Comedy Legends-Marx Bros, Laurel, Hardy, Burns, Allen, Twain
By Albert Al Hirschfeld
Located in New York, NY
"Laughing Matters" Comedy Legends-Marx Bros, Laurel, Hardy, Burns, Allen, Twain Al Hirschfeld (1903-2003) Laughing Matters Lithograph on heavy paper, 1987 Signed lower right, numbe...
Category

1980s Contemporary New York - Prints and Multiples

Materials

Paper, Lithograph

Gongora (Soneto Burlesco), Etching by Pablo Picasso
By Pablo Picasso
Located in Long Island City, NY
Pablo Picasso, Spanish (1881 - 1973) - Gongora (Soneto Burlesco), Year: Circa 1947, Medium: Etching, Size: 15 x 11.25 in. (38.1 x 28.58 cm), Reference: Bloch 476-516, Provenance: Fr...
Category

1940s Modern New York - Prints and Multiples

Materials

Etching

Femme dans un Fauteuil, Cubist Lithograph after Pablo Picasso
By Pablo Picasso
Located in Long Island City, NY
A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting “Femme dans un Fauteuil”, which recently sold at auction for $10 million USD. The original painting was completed in 1948. In the 1970’s after Picasso’s death, Marina Picasso, his granddaughter, authorized the creation of this lithograph by Laurent Marcel Salinas, who worked closely with Picasso during his lifetime. The limited edition print run was completed and published by Marina Picasso in conjunction with Jackie Fine Arts in 1982. The lithograph is printed on French Arches paper, ink-stamped by the Estate verso, and hand-signed by Marina Picasso on the recto. The embossed seal of the Estate is lower right and the printer’s chop, lower left. Femme dans un Fauteuil Pablo Picasso (After), Spanish (1881–1973) Portfolio: Marina Picasso Estate Lithograph Collection...
Category

Late 20th Century Cubist New York - Prints and Multiples

Materials

Lithograph

California Surfer
By Ludwig Favre
Located in New York, NY
ABOUT THIS PIECE: French photographer Ludwig Favre recently road tripped to California. His pictures of California's iconic architecture and beaches carry the same romantic feel of a...
Category

2010s New York - Prints and Multiples

Materials

Photographic Paper

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