New York - Abstract Prints

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

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

Woodcut on vélin paper. Paper Size: 9.65 x 12.4 inches. Inscription: Signed in the block and unnumbered, as issued. Catalogue raisonné references: Kandinsky, Wassily, and Hans Konrad...

Roy Lichtenstein Art About Art Whitney Museum of American Art 1978 poster, 1978 Offset lithograph poster Frame included: held in the original vintage frame Provenance: from the colle...

Jack Youngerman Blue/Yellow from New York City Center of Music & Drama Portfolio, 1968 Silkscreen on wove paper Hand signed, dated and numbered 75/144, in graphite by Jack Youngerman...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

Héliogravure on vélin paper. Paper Size: 13.78 x 10.83 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Pierre Soulages, Peintres d'aujourd'...

This rare exhibition poster features László Moholy-Nagy's Konstruktion Z 1, part of the distinguished "Collection of European Masters" series published by Achenbach Editions for the ...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIe Année, N°12 Mal-Ju...

This exhibition poster for "Image after Image" at the Louisiana Museum of Modern Art, held from February 4 to May 29, 2005, was originally printed by Verlag der Buchhandlung Walter K...

Andy Warhol Original vintage Christmas Card, ca. 1957 Offset lithograph card Plate signed on the front (see close up image) Unnumbered Frame included Offset lithograph card, ca. 1957...

Andy Warhol To Earl and Camilla, Love Andy Warhol, 1979 Original Heart Drawing held in book with unique dedication to Earl and Camilla McGrath (Signed Twice by Andy Warhol) This uniq...

Kerry James Marshall May 15, 2001, 2003 Four color silkscreen on Arches 88 paper Pencil signed, dated and numbered 39/60 on the front. Bears printer's blind stamp Vintage frame incl...

Woodcut on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXIe Année, N° 13, Noël 19...

Colorful dots, lines and squares in bright blue, pink, green, lilac and yellow in wood grain form a totem against a lavender purple background. This jubilant take on Cubism features ...

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série N° 7...

Lithograph, stencil on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Queneau, Raymond. Joan Miró, Litho...

This fold-out card showcases Donald Judd's Series of Ten Woodcuts in Three Color States: Cadmium Red Light, Ultramarine Blue, and Ivory Black. Published by Brooke Alexander, the card...

Tracey Emin It - didnt stop - I didnt stop, 2019, from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional card (han...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, Poètes, peintres, sculpteurs, N° 11...

Lithograph, collage, relief on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Rev...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Derrière le miro...

Rarely found in such excellent condition! Others found on the market are often cut on the bottom with the yellow lined hem missing. This one is not! After Andy Warhol The Souper Dr...

Schmidt's 1923 poster for the Bauhaus Exhibition is celebrated for its innovative use of geometric forms and typographic elements, reflecting the school's avant-garde approach to des...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 201, 1973. Published by Aimé Mae...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 10.25 x 14 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, La Comédie Humaine, Suite d...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Livre du cœur d'Amour épris...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered. Notes: From the folio, Derrière le miroir, N° 151-152, 1965. Published by Aimé Maeght, Éd...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary...

Inviernosexoprimaveral 1995 17-color silkscreen with poured resin 40 x 30 inches (102 x 76 cm) Edition of 80 "Sexual Spring-like Winter" is a large painterly work, created with laye...

From the rare, Deluxe, hand signed edition of only 100: David Hockney The Prisoner, for Amnesty International, 1977 Color Offset Lithograph Hand signed, numbered 17/100 and inscribed...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 156, 1966. Published by Aimé Mae...

Linocut on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Musée d’art moderne de la ville de ...

Lithograph, stencil on vélin d’Arches paper. Paper Size: 15.75 x 11.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et ...

This is a rare, two-sided mass card from Andy Warhol's memorial mass, which was held on April 1, 1987 at St. Patrick's Cathedral in New York. The front of the card depicts Warhol's 1...

Helen Frankenthaler Untitled, from the estate of Stephen Poleskie (Berggruen 11, Clark 12, Harrison and Boorsch 11), 1967 Color silkscreen on wove paper Unframed A unique unsigned pr...

This screenprint was created by American artist David Roth. Roth's images are proportioned according to a strict mathematical formula - the pictures are composed according to horizon...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Sculptures (M. 950) Year: 1974 Medium: Lithograph, signed in the plate Image Size: 19 x 27 inches Size: 20.5 x 29 in. (52.07 x 73.66 ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 10.25 x 14 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, La Comédie Humaine, Suite d...

Two silkscreen prints by Steven Gagnon from 2011. Political commentary in pop art style imagery with a farcical tone. Unframed, hand signed in lower right corner. Artist: Steven Ga...

Lithograph on vélin d'Arches paper. Paper Size: 14 x 10.5 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Vallier, Dora, et al. Braque, the Co...

Silkscreen on Patapar printing parchment paper. Paper Size: 10.125 x 10.125 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Jasper Johns, Screenprints...

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...

This "Homage to the Square" print was created by Albers for the occasion of an exhibition at Grippi Gallery in Manhattan in 1973. It is in an excellent white contemporary frame. Art...

Robert Indiana, American (1928 - 2018) - Die Deutsche Liebe, 1968, Portfolio: The American Dream, Year: 1997, Medium: Screenprint on Wove Paper, Edition: 395, Image Size: 14 x 1...

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...

Woodcut on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Signed in the block and unnumbered, as issued. Catalogue raisonné references: Kandinsky, Wassily, and Hans Konrad...

This is an original poster designed by Jean Dubuffet for his 1968 exhibition Painted Sculptures at Pace Gallery, held from April 13th to May 18th. Created by the artist specifically ...

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...

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...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 201, 1973. Published by Aimé Mae...

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...

Lithograph on vélin d’Arches paper. Inscription: Signed in the plate, embossed with the official Braniff Flying Colors Collection seal, and unnumbered, as issued. Good condition. Not...

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...

The 2000 Roland Garros poster by Antoni Tàpies is a compelling fusion of sport and abstract art. Its textured, abstract composition and philosophi...

Jasper Johns The Drawings of Jasper Johns (hand signed and inscribed by Jasper Johns), 1991 Amazing provenance: Offset lithograph poster (hand signed and inscribed to Frank Martin, former conservator of the Whitney Museum) Hand signed and inscribed by Jasper Johns on the front Frame Included: matted in cream colored matting and held in original vintage frame Jasper Johns signed and inscribed this poster to Jack Martin, former Head Preparator at the Whitney Museum. This print was published by the Whitney Museum of American Art for the exhibition, " The Drawings of Jasper Johns Whitney...

Lithograph on vélin paper. Paper Size: 15 x 33 inches, with bifold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Miró, Joan, et al. Joan...

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 ...

Helen Frankenthaler Variation II on Mauve Corner (Harrison, 17), 1969 Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published by ULAE, West Islip, NY, with their blind stamp Frame included Accompanied by gallery issued Certificate of Guarantee Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published and printed by ULAE, West Islip, NY, with their blind stamp Literature: Frankenthaler, A Catalogue Raisonné: Prints 1961-1994, Harrison, no. 17, ppg. 106-109 Accompanied by gallery issued Certificate of Guarantee Elegantly floated and framed in a museum quality wood frame under UV plexiglass Measurements: Framed: 23.75 (vertical) x 28.75 (horizontal) x 2 inches Artwork: 20 inches (vertical) x 25 inches (horizontal) “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...

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...