New York - Abstract Prints

"Rolled Wrongly - Portfolio 1, Folder 18, Image 2 " from the portfolio “Formulation: Articulation” created by Josef Albers in 1972 and was previously titled "Falsch Gerickelt". This ...

This bright yellow modern lithographic poster was printed at the Atelier Mourlot in New York City in 1967. Certificate of Provenance: Each individual work of art carefully curated...

Tracey Emin Museum of Contemporary Art Poster (Hand Signed) Offset Lithograph in Semi-Gloss Paper Signed boldly by Tracey Emin in white grease marker on the front 24 x 18 inches Unfr...

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and annotated Printers Proof in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed This beautiful Larry Zox pochoir on Arches paper with deckled edges a unique Printers Proofs - signed by the artist in pencil on the lower front. We do not know the size of the regular edition, or whether there is a regular edition, but this is indeed a unique PP. LARRY ZOX BiIOGRAPHY A painter who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions, which question and violate symmetry. Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities.”[2] What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art.[3] Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”[4] In 1965, he began the Scissors Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Okaga - Abstract Composition, Year: 1998, Medium: Screenprint Monoprint, signed and dated in pencil, Size: 15.75 x 12 in. (40.01 x 30.48 cm)

Andy Warhol Deluxe Collectors' Edition of Exposures (Hand Signed and Numbered), 1979 Hardcover Monograph in leather with gilt edge and stamped in gilt. Hand signed by Andy Warhol on...

James Rosenquist Castelli Gallery poster (hand signed and inscribed by the artist to the art dealer Richard Feigen), 1980 Offset lithograph poster Signed, dated and inscribed by Jame...

Note: This is from the hand signed and numbered limited edition of only 50 - extremely scarce collectors item; not to be confused with the larger edition signed (but not numbered) wo...

A print from an original drawing by Denis Meyers - Artist proof from an edition. The print on paper features some of Denis Meyers "Word Patterns", printed ...

Alexander Calder Lithograph c. 1973 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition. Unsigned from an edition of unknown. From: De...

Richard Anuszkiewicz Soft Satellite Red, 1981 Silkscreen on wove paper Signed, dated and numbered 53 from the edition of 100 in pencil by the artist on the front. Bears label from Me...

2000, Iris print on paper, 17 3/4 x 13 1/4 inches (45.1 x 33.7 cm), edition of 100, signed and numbered by the artist Fred Tomaselli creates psychedelic works that explore human per...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed in the image -- on the plate, as ...

Set against the green background, the geometric figure in this Pablo Picasso print is comprised of numerous rectangular shapes that overlap one another in the typical Cubist fashion....

Marcel Duchamp Coeurs Volants (Fluttering Hearts) (Schwartz 446C), 1961 Silkscreen in colors Hand signed in ball-point pen by Marcel Duchamp and annotated with the dateline "Stockhol...

Shepard Fairey Screen-prints: collection of 60 works: 2009-2022: A rare assemblage of 60 hand-signed Shepard Fairey screen-prints; collected over a near 15 year period (2009-2022). Notable imagery includes: Bob Marley, Keith Haring, Ruth Bader Ginsburg, Kurt Cobain, as well as a series of vivid anti-war pieces defining the artist's practice (title list found further below). Each very well-preserved. Medium: Screen-prints on heavy paper. 2009-2022 (see below for a list of titles & years). Dimensions ranging from: 19.5 x 16 inches to 24x36 inches. Each work is hand-signed; works are either numbered from their respective main editions or notated 'AP' (see last listing image); a few or several works are signed, but not numbered. Excellent overall condition with the exception of perhaps some minor signs of handling on a few examples. Provenance: Private collection New York via Shepard Fairey. Listing images beginning with image 2 represent the actual works. These works will be shipped flat using protective materials. Please feel free to contact us with any additional questions. Titles & Years: OCEAN TODAY...

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...

James Nares Fountain, 1987 Monotype on paper Hand signed and dated lower front Unique Frame included Measurements: Framed 41.5 by 34 inches Work 30.25 by 22.25 inches Dazzling Jame...

This reproduction is from Richard Artschwager's 1985 exhibition at Leo Castelli Gallery, showcasing an abstract work on paper. The artwork features a yellow shape that appears to be ...

Wearing a green apron, the woman in this Pablo Picasso print is rendered entirely of angular shapes outlined in white and black lines. A lithograph from the Marina Picasso Estate Col...

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

An original Mid Century woodblock print titled "Long Hot Summer" by American artist Toma Yovanovich. Hand signed in pencil and numbered 2 ...

The abstract print "MURDER IS NOT THE CONSEQUENCE... 08152018 212am" is a digital artwork, created with the Brushes Redux iPhone app, and printed at 36x36" on museum-quality Canson Platine Fibre Rag 310gsm archival paper. As the title indicates, the artwork was created on August 15, 2018 at 2:12 am. While Justin Neely...

Temporal Perception 92 (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"...

Wearing a brightly-colored beret, the woman in this Pablo Picasso print is rendered in hues of blue and teal. Looking to the side, the woman is portrayed from a multitude of angles t...

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

Sam Francis, American (1923 - 1994) - Heland Thorden Wetterling Galleries, Year: circa 1985, Medium: Poster, Size: 39.5 x 27.75 in. (100.33 x 70.49 cm)

A bright yellow geometric abstract print by Japanese artist Takaaki Matsumoto. Yellow Takaaki Matsumoto, Japanese (1954) Date: 1991 Screenprint Edition of 89 Size: 24 x 24 in. (60....

Brice Marden Elevation print (Hand Signed by Brice Marden), 2019 Offset lithograph. Hand Signed by Brice Marden Boldly signed in black marker by Brice Marden on the front 24 × 34 3/4 inches Provenance: Acquired from Gagosian gallery Publisher: Gagosian Gallery, NY Unframed Produced in 2019 on the occasion of the exhibition "Brice Marden: It reminds me of something, and I don’t know what it is." at Gagosian. This signed example was acquired directly from Gagosian gallery before they sold out. About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...

ABOUT THIS PIECE: "This particular series is a an homage to photographs taken with film. They are the result of an aberration of light passing through a locked shutter and the camera...

Robert Indiana LOVE in Central Park, New York, 1971 Color lithograph on wove paper. Pencil signed, dated and numbered with LOVE drawing/flourish Hand-signed by artist, Pencil signed, dated and numbered 66/ 89. Also bears a drawing of the stacked letters LOVE in pencil. Bears Robert Indiana's copyright Published by Robert Indiana and printed by the American Poster Company to raise money for Central Park 39 × 30 inches Unframed This impressively large 1971 lithograph - pencil signed and numbered from the limited edition of only 89, with a stacked LOVE drawing on the front - depicts Robert Indiana's iconic LOVE sculpture (from the permanent collection of the Indianapolis Museum of Art) when it was exhibited at Central Park in New York City. This was the turn of the decade of the 1970s - during the height of the anti-Vietnam War protests of the Nixon Administration, when the presence of Indiana's monumental cor-ten steel LOVE in Central Park took on a much deeper significance in New York and indeed the country. This important print is pencil signed, dated and numbered by Robert Indiana from the very small edition of only 89. It also bears a drawing - a flourish - of the word LOVE written by the artist in pencil. Very few of the signed editions of this print remain -- so it is rarely seen on the market. Indeed, eighty nine (89) is a very small edition; however, this oversized print was used for promotional purposes in public places, so very few of the 89 signed and numbered works remain - let alone with the original stacked love drawing. . If you LOVE Robert Indiana...

Artist: after Ed Ruscha Title: America: Her Best Product (Made in USA) from the Kent Bicentennial Portfolio Year: 1975 Medium: Offset Lithograph (unsigned as is...

Temporal Perception 119 (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...

Artist: Hirst, Damien Title: Liberty Series: In a Spin Volume 1 Date: 2002 Medium: Etching on 350gsm Hahnmuhle paper Unframed Dimensions: 35.875" x 28" Framed Dimensions: 43....

JOHN CHAMBERLAIN Untitled Self-Portrait, 2006 Digital monoprint on canvas, mounted on wood. Unsigned. W 36” x H 90 1⁄2" Chamberlain began to explore photography in the late 1960s...

ABOUT THIS PIECE- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x18.8 edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, b...

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...

ABOUT THIS ARTIST: Rubeena Ratcliffe was born and raised in Edmonton, Canada and later educated as an architect in Canada, Holland, and the US. Ratcliffe became enthralled with paint...

Gary Hume Grey Leaves 2004 Screen print in 4 colours with one glaze, printed on 400gsm Somerset Tub Sheet: 28 x 23 inches; 71 x 59 cm Frame: 30 3/8 x 25 1/...

An original Mid Century woodblock print titled "Three Suns" by American artist Toma Yovanovich. Hand signed in pencil and numbered 9 out o...

ABOUT THIS PIECE: Inspired by the warm light, open vistas, and saturated colors of her birthplace (Southern California), Julianna Goodman’s collages often distill memories of nature...

Hugo Demarco Relation Couleur, 1973 Silkscreen on velincarton Hand signed and numbered 63/200 on lower front. Bears the publisher's blind stamp on the fro...

Twin Mirrors (C.102) is a screenprint on paper created for the Guggenheim Museum in 1970, 35 x 21 inches image size, signed and dated 'rf Lichtenstein '70' lower right and numbered 94/250 lower left (from the edition of 250 plus an unknown number of artist proofs). Framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.118, #102. About Lichtenstein’s Mirror...

Anthony Velonis (1911-1997) was an extremely innovative artist. He learned the technique of screen printing, also known as silkscreen, (for which he also coined the term serigraphy) while working with a wall paper manufacturer. Unusual for fine prints, the image is made by the artist in the same direction as it will print, as the colored inks are forced through fabric (silk) directly onto a paper surface. (He also invented a machine that could print onto column-shaped items such as cocktail glasses or make-up bottles and a rack system for drying sheets of paper with wet ink in which the sheets are just inches apart.) The technique allows extreme versatility on the part of the artist and the ink tends to sit on top of the paper rather than soak into the fibers. In 1934 Velonis used this new technique on Mayor LaGuardia's NYC Poster...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Robert Rauschenberg Museo D'Arte Moderna, Ca' Pesaro Venezia, 1975 Extremely rare vintage offset lithograph poster 39 4/5 × 27 3/5 inches Unframed Accompanied by Certificate of Guara...

Piero Dorazio Untitled Geometric Abstraction (deaccessioned from the Triton Museum, Santa Clara, CA), 1968 Lithograph on white BFK paper Hand signed, numbered (AP), dated on the fron...

Temporal Perception 114 (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...

Artist: Gabor Peterdi, Hungarian (1915 - 2001) Title: Hawaii Year: 1969 Medium: Color Etching on BFK Rives paper, signed and numbered in pencil Edition: 146/200 Image Size: 10 x 7 in...

Vincent Longo Klee Study, 1964 Monotype Pencil signed and dated 1964 lower right; pencil titled "Klee Study" lower left 15 1/2 × 5 1/2 inches Unique Unframed This is an exquisite and...

ABOUT THIS PIECE: A study of gesture in a digital context. Nicole Yates is inspired by the landscape and architecture in her everyday life. She deducts, simplifies, and abstracts the...

Artist: Gaston Petit, Canadian (1933 - ) Title: Millepertuis Corail Year: 1971 Medium: Woodcut, signed, numbered, and titled in pencil Edition: 3/37 Ima...

Arman Boom Boom (unique variation from New York International Portfolio), 1965 Screenprint with pencil additions. Pencil signed and numbered 12/225 on the front Published by Chiron ...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Serigraph on Museum Board, signed and numbered in pencil Edition: 150 Ima...

ABOUT THIS PIECE- Unframed Print FRAMING OPTIONS ALSO AVAILABLE: 23.5x18.8 edition of 25-This piece is available FRAMED with or without a mat in a white, black, natural, walnut, b...

Billy Al Bengston Cockatoo AAA Dracula, 1968 Lithograph , Zinc and Aluminum, in Silver-Violet, Yellow, Two Grays and Orange on uncalendered Rives paper Frame included signed faintly ...

Robert Savoie, Canadian (1939 - ) - Montezuma, Year: 1975, Medium: Etching on BFK Rives, signed, numbered, titled and dated in pencil, Edition: 43/60, Image Size: 17.5 x 17.75 inch...

ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Johan Van Oeckel. In search for new compositions he always starts ...