New York - Prints and Multiples

Paper Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Image Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: C...

The Easy Dark poster for Julie Mehretu’s exhibition at the Louisiana Museum of Modern Art is a remarkable piece that embodies the energy and complexity of Mehretu’s work. Printed in ...

This limited edition print, created in 1955, is produced on thick, high-quality paper and is hand-numbered 32 out of 150 in pencil. It features a facsimile signature of the artist. T...

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

Paper Size: 4.25 x 6 inches ( 10.795 x 15.24 cm ) Image Size: 3.75 x 5.75 inches ( 9.525 x 14.605 cm ) Framed: Yes Frame Size: H: 17.25 x W: 13 x D: 1.25 in. Condition: A-: Near Mint, very light signs of handling Additional Details: This vintage blank...

Paper Size: 13 x 17 inches ( 33.02 x 43.18 cm ) Image Size: 13 x 17 inches ( 33.02 x 43.18 cm ) Framed: Yes Frame Size: H: 14 x W: 18 x D: .75 in. Condition: A: Mint Additiona...

David Hockney David Hockney - 60 Years of Work - Tate Britain original poster, 2017 Offset lithograph and digital print 24 × 16 1/2 inches Unframed, unsigned and unnumbered Provenanc...

La Lettera is a notable work by Fernando Botero, from 1976. This reproduction captures Botero's distinctive style, characterized by his use of exaggerated, rounded forms and his expl...

Paper Size: 13.75 x 17 inches ( 34.925 x 43.18 cm ) Image Size: 13.75 x 17 inches ( 34.925 x 43.18 cm ) Framed: Yes Frame Size: H: 14.75 x W: 18 x D: .75 in. Condition: A: Mint ...

Paper Size: 35.5 x 27.5 inches ( 90.17 x 69.85 cm ) Image Size: 24 x 22.5 inches ( 60.96 x 57.15 cm ) Framed: No Condition: A: Mint Additional Details: Rare exhibition poster from t...

Paper Size: 14.25 x 17.25 inches ( 36.195 x 43.815 cm ) Image Size: 14.25 x 17.25 inches ( 36.195 x 43.815 cm ) Framed: Yes Frame Size: H: 15.25 x W: 18.25 x D: .75 in. Condition...

Roy De Forest Untitled (Dog), 1981 Color lithograph with deckled edges. Floated and framed. Pencil signed and numbered from the edition of 125 Frame Included: held in original vintage white frame Wonderful whimsical rare 1981 lithograph by the incredibly popular and beloved Roy de Forest, famous for his paintings and prints of dogs...

This original museum poster titled Two Candles was created for the Fast Forward exhibition at the Dallas Art Museum in 1995. The artwork featur...

Alexander Calder Lithograph c. 1971 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition; well-preseved. Unsigned from an edition of un...

Ed Ruscha Hollywood Tantrum, 1979 (hand signed by Ed Ruscha), 2008 Offset lithograph postcard (Hand signed by Ed Ruscha) Offset lithograph postcard Boldly signed in black marker by E...

Roy Lichtenstein, American (1923 - 1997) - As I Opened Fire. Year: 1964 Year Printed: 1997, Medium: Three Offset Lithograph Posters, Image Size: 24 x 19.5 inches, Size: 25 x 20.5 in...

This exquisite lithograph and silkscreen with hand-rendered techniques after Pablo Picasso (1881–1973), from the rare 1970 folio Pablo Picasso, Le Gout du Bonheur (The Taste of Happi...

Louis Icart, After, French (1888 - 1950) - Coursing 3, Medium: Offset Lithograph on paper, signed in plate, Image Size: 14.5 x 23.75 inches, Size: 16 x 25 in. (40.64 x 63.5 cm), D...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue Art...

This vintage poster was produced for the 1984 Gary Bukovnik: Monotypes exhibition held at The Brooklyn Museum. It features Bukovnik’s striking floral artwork titled Tulips, rendered ...

Completed in 1973, this lithograph by Modern master Marc Chagall was printed by Mourlot in Paris for the publication "XXe Siecle". This publication came from San Lazzaro and was a se...

Paper Size: 25.25 x 15 inches ( 64.135 x 38.1 cm ) Image Size: 19.5 x 15.5 inches ( 49.53 x 39.37 cm ) Framed: No Condition: D: Heavy signs of wear, Torn, Damaged. SOLD AS IS. Pri...

This exquisite lithograph and silkscreen with hand-rendered techniques after Pablo Picasso (1881–1973), from the rare 1970 folio Pablo Picasso, Le Gout du Bonheur (The Taste of Happi...

Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, San Lazzaro et ses Amis, Hommage ...

This poster for the Nasher Sculpture Center in Dallas, published with the approval of the Artists Rights Society, is a unique and valuable piece. Though unsigned and not numbered, it...

Vintage offset lithograph postcard published by Art Unlimited Amsterdam. Printed in Holland. The postcard is framed in a black wood frame with a front profile of 1 inch and a side pr...

Original lithograph poster, printed by Mourlot and engraved by Charles Sorlier, published for the French Government Tourist Office, Paris. Referenced in Sorlier, Chagall’s Posters, n...

Paper Size: 22 x 28 inches ( 55.88 x 71.12 cm ) Image Size: 22 x 28 inches ( 55.88 x 71.12 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

This exquisite lithograph by Alexander Calder (1898–1976), titled Formulaire noir et rouge (Black and Red Form), originates from the historic 1973 folio Derriere le Miroir, No. 201. ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Madame M.P. (Mrs. M.P.), originates from the 1954 album Portraits par Henri Matisse (Portraits by Henri Matisse), pu...

Agnes Martin Untitled #10, 1990 Lithograph on vellum transparency paper Unsigned Limited Edition of 2500 Publisher: Nemela & Lenzen GmbH, Monchengladback & Stedelijk Museum, Amsterda...

Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...

Tamara de Lempicka, After, Polish (1898 - 1980) - Portrait of Ira Perrot, Medium: Poster, Image Size: 34.5 x 26.25 inches, Frame Size: 41.5 x 33.5 inches

Artist: Robert Indiana, American (1928 - 2018) Title: Die Deutsche Liebe (The German LOVE) from the American Dream Portfolio Year: 1968 (1997) Medium: Silkscreen on Wove Paper Editio...

ABOUT THIS PIECE: "My photographs are a personal collection of moments that reveal my most genuine and beautiful depictions in the world around us. Preserving precious moments in ti...

This poster features Andrew Wyeth's *Karl's Room*, an intimate and evocative work that captures the quiet, poignant atmosphere of a personal space. Presented in collaboration with th...

This original poster, designed by Roy Lichtenstein for his first solo exhibition at the Guggenheim Museum in New York (September 19–November 16, 1969), is a screen print on white glo...

This rare and collectible poster by David Hockney was part of a series of three billboards commissioned by the Metropolitan Opera in New York City in 1981. Designed specifically for ...

This exhibition poster, titled A Closer Grand Canyon, was created for the Louisiana Museum of Modern Art in Humlebæk, Denmark. Published and sold by the museum in 2021, this limited ...

ABOUT THIS PIECE: Briggs Edward Solomon's artwork is known for its balance and juxtaposition. It is a collaboration of simplistic and contemporar...

Tracey Emin Every Bodies Been There (signed twice), 1998 Lithograph on paper Underneath that existing plate signature, Tracey Emin has, exceptionally hand signed and dated the work f...

Florence, Italy is an exquisitely crafted 24-color silkscreen print by renowned American artist Gretchen Dow Simpson, celebrated for her architectural precision and serene, minimalis...

First edition printing of Roy Lichtenstein's poster titled "M...Maybe, 1965" printed in Tel Aviv, Israel. Serigraph measures 54 1/2 x 39 1/2 inches and it is unsigned and unnumbered....

Limited-edition poster published by the Israel Museum, Jerusalem, after Chagall’s beloved composition celebrating love and dreamlike flight over his native Vitebsk. Produced by the m...

Alvin Carl Hollingsworth, American (1928 - 2000) - Le Jazz Hot, Year: circa 1990, Medium: Hand painted Lithograph on paper, signed lower left in pencil, Size: 14 x 9.75 in. (35.56...

A nostalgic image of a bucolic farmyard and thatched cottage, hearkening to a bygone era. Etching with drypoint on laid watercolor paper, 9 7/8 x 11 3/4 inches, (251 x 229 mm), full...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

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...

This print was created by Albers for the occasion of an exhibition at Goethe House in Manhattan in 1973. It is in an excellent white contemporary frame. Artist: Josef Albers, German...

Mickalene Thomas Portrait de Priscilla Le Petit Chien, 2012 Pigment print on 100% cotton rag paper Edition 141/150 Frame included with official COA affixed to the back Hand numbered ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

This exquisite lithograph and silkscreen with hand-rendered techniques after Pablo Picasso (1881–1973), from the rare 1970 folio Pablo Picasso, Le Gout du Bonheur (The Taste of Happi...

After Giovanni Antonio Canal, called Canaletto Copper plate engraving with hand coloring on cream laid paper with the Arms of France watermark (a crown in shield topped by a fleur-de-lys and the letters GR), 22 3/4 x 15 3/4 inches (576 x 400 mm), wide to full margins. Multiple vertical and horizontal creases from folding and rolling; none appear to be particularly hard, there is however some associated cockeling. While there is some minor mat tone visible around the perimeter of the sheet, the extensive handcoloring remains extremely fresh and saturated in the intended areas. There are edge tears at each the right and left sheet edge (outside of the image area) due to an improper effort to mount the sheet to a mat. Otherwise in very good condition with all issues being consistent with age. The print is wrongly titled "The South East Prospect of Westminster Bridge...

Damien Hirst's "Emperor's Blossoms" exhibition at the Fondation Cartier pour l'art contemporain was a significant event in the contemporary art world, marking a new direction in Hirs...

Peter Halley Peter Halley, Imago Galleries, Palm Desert, CA (Hand Signed), 2006 Offset lithograph poster (hand signed by Peter Halley) 25 1/2 × 18 1/4 inches Provenance; Acquired directly from the artist Unframed Alpha 137 Gallery is honored to offer this offset lithograph, published on the occasion of legendary American artist Peter Halley's 2006 one-man exhibition at Imago Galleries, Palm Desert, California which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective "Andy Warhol - from A to B and Back Again" at the Whitney. PETER HALLEY BIOGRAPHY Peter Halley, born 1953, New York City, is an American artist who came to prominence as a central figure of the Neo-Conceptualist movement of the 1980s. His paintings redeploy the language of geometric abstraction to explore the organization of social space in the digital era. Since the 1980s, Halley’s lexicon has included three elements: “prisons” and “cells,” connected by “conduits,” which are used in his paintings to explore the technologically determined space and pathways that regulate daily life. Using fluorescent color and Roll-a-Tex, a commercial paint additive that provides readymade texture, Halley embraces materials that are anti-naturalistic and commercially manufactured. In the mid 1990s Halley pioneered the use of wall-sized digital prints in his site-specific installations. He has executed installations at Museo Nivola, Orani, Sardinia (2021); Greene Naftali, New York (2019); Venice Biennale (2019); Lever House, New York (2018); Schirn Kunsthalle, Frankfurt (2016); Disjecta, Portland (2012); the Gallatin School, New York University, (2008, 2017); the Museum of Modern Art, New York (1997); and the Dallas Museum of Art (1995). In 2005, Halley was also commissioned to create a monumental painting for Terminal D at the Dallas/Fort Worth International Airport, Texas. Halley served as professor and director of the MFA painting program at the Yale School of Art from 2002 to 2011. From 1996 to 2005, Halley published INDEX Magazine, which featured interviews with figures working in a variety of creative fields. Halley is also known for his essays on art and culture, written in the 1980s and 1990s, in which he explores themes from French critical theory and the impact of burgeoning digital technology. His Selected Essays, 1981 – 2001, was published by Edgewise Press, New York, in 2013.Halley’s writings have been translated into Spanish, French, and Italian. A catalogue raisonné, PETER HALLEY: Paintings of the 1980s, was published in 2018 by JRP Ringier. Halley’s work can be found in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Broad Art Foundation, Los Angeles; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Boston Museum of Fine Arts; Dallas Museum of Art; Albright-Knox Art Gallery, Buffalo; Tate Modern, London; Stedelijk Museum, Amsterdam; Sammlung Marx, Berlin; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum of Contemporary Art, Tokyo; Seoul Museum of Art, among others. More about Peter Halley Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

First edition lithograph published on the back cover of Derriere le Miroir (DLM) No. 157. Back Cover page only, with no additional pages.

London: Gebbie & Husson Co., 1879 Héliogravure and engraving on cream wove paper, 10 1/4 x 12 1/4 inches (258 x 310 mm), full margins. In good condition with some very minor margina...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

Etching and drypoint on tissue-thin cream laid paper, 6 5/8 x 8 1/8 inches (167 x 205 mm), full margins. Signed in pencil in the lower right margin, and inscribed "Ponte Trinità, Florence" in pencil the lower left margin. Non-archival paper tape tabs at the top right and left corners on the verso, with minor associated discoloration which presents on the recto. Minor, light mat tone, and some very small losses at the extreme corners, well outside of image area. The numerals "325" written in pencil in the lower right margin, in reference to the Rinder catalog number. A beautiful, silvery, early-state impression. Rinder 325 [Rinder 325 iii/vii]. The son of a clergyman, Sir David Young Cameron was born in Glasgow in 1865. After a brief and unhappy dalliance in the fields of business and law, Cameron began attending the prestigious Glasgow School of the Arts in 1881, and later the Edinburgh School of the Arts. At first associated with the Glasgow Boys (John Lavery, Joseph Crawhall...

Paper Size: 32.25 x 23.5 inches ( 81.915 x 59.69 cm ) Image Size: 24 x 19 inches ( 60.96 x 48.26 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addition...