New York - Abstract Prints

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Kenny Scharf Thou Shalt Have No Other Gods Before Me (The First Commandment), 1987 5-Color lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Hand signed, date...

Printer’s ink from rubber stamp on vélin Dalton natural bond paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. P...

Wayne Thiebaud Cake Slices, for the New SFMOMA (Hand signed by Wayne Thiebaud), 1996 Color Offset lithograph (hand signed by Wayne Thiebaud) B...

This print by Pablo Picasso is a prime example of the artist's manipulation of perspective and reduction of subjects into simple, flat forms rendered in a geometric and angular fashi...

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

Lithograph on vélin Chiffon de Mandeure paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres Illustres Or...

Lithograph on vélin Chiffon de Mandeure paper. Signed in the plate and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the album, Lithographies et Eaux...

“Light is not so much something that reveals, as it is itself the revelation.” - James Turrell James Turrell Key Lime, Rare LACMA Exhibition print, 2013 Scarce Offset lithograph pos...

Brice Marden Distant Muses 2000 Screenprint 23 1/2 x 19 1/8 inches; 60 x 49 cm Edition of 300 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks...

Eduardo Paolozzi, British (1924 - 2005) - Notes on Organisation of Paradise, Portfolio: General Dynamic F.U.N. Portfolio, Year: 1970, Medium: Photolithograph, stamp signed verso, Edi...

Robert Rauschenberg Star In Motion, 1982 for the Los Angeles Summer 1984 Olympic Games (with COA from Olympic Committee) Offset Lithograph on Parson's Diploma paper Stamp signed (aut...

Tracey Emin Kiss Me Kiss Me Towel, 2014 with Official plate signed COA Brand new: unframed and comes folded (framed images for inspiration only) Limited Edition silkscreen on oversiz...

"...Blue has no dimensions, it is beyond dimensions, whereas the other colours are not.... All colours arouse specific associative ideas, psychologically material or tangible, while ...

ABOUT THIS PIECE: Since 2008 fine art photographer Jonathan Chritchley has regularly been invited to attend the Classic Yacht Regattas on the legendary Cote d’Azur in France, working...

This is a lifetime edition - hand signed and numbered by Jean-Michel Basquiat himself in Basquiat's lifetime. Many younger collectors don't appreciate the difference between the numerous posthumous estate authorized prints...

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

Untitled print by Hans Hofmann. Framed in a light wood frame with a front profile of 1/2 inch and a side profile of 1 3/4 inch. The piece is seated behind a 3 1/2 inch mat. Shipping...

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...

Sam Gilliam Cuatro, 1994 Monoprint with screenprint, collage, acrylic, stitching and embossing in colors on handmade paper Hand signed, dated, titled and annotated P/P by Sam Gilliam...

Roy Lichtenstein The Red Horsemen, aka The Equestrians (with COA from the 1984 Olympic Committee), 1982 Limited Edition Lithograph and offset Lithograph on Parsons Diploma Parchment...

Keith Haring Tony Shafrazi 1982: set of 6 printed works: A set of six, individual, double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony Shafrazi ca...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Matisse, Henri, et a...

Incised signature in aluminum, annotated "Artists Proof" and titled; ink on top smudged If you've ever visited the Guggenheim Bilbao, you should get this stunning mixed media on alum...

SHEPARD FAIREY Bureau of Public Works (on Wood), 2004 Silkscreen on wood panel. Hand signed and annotated on both the recto and verso. In original handmade artist's frame. 24 × 18 in...

Lithograph, stencil on wove paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Douze Contemporains, 1959; published by Éditions d'Art du Lion, Paris;...

Héliogravure 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, De la couleur,...

Lithograph on Van Gelder Zonen Bütten paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Der Mensch ist kein Haustier, 1937. Published by...

Héliogravure on vélin paper. Paper size: 20.5 x 26.4 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Goeppert, Sebastian, et al. Pablo Picasso,...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...

The limited edition was printed at Fine Creations Inc. and has the printer's blind stamp on the bottom right. It was published by Lincoln Center for the Performing Arts. The availab...

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 N°4 (double) Janvier 195...

Note: This is a unique text variant which Albers titled in pencil "Blue Reminder" instead of "Blue Reminding". The authenticity of this work has been kindly confirmed by Brenda Danil...

Saul Steinberg Sam's Art, from The New York International Portfolio), 1966 Lithograph on wove paper with blind stamp Pencil signed and numbered 12/225 on the front Published by Tanglewood Press, Knickerbocker Machine and Foundry, Inc., New York Printed by Irwin Hollander with blind stamp Unframed This Steinberg lithograph is titled Sam's Art, which of course refers to Uncle Sam, the nickname for the United States government. It features his version of the motto seen on our dollar bills, "Annuit Coeptis", which is one of the mottoes found on the Great Seal of the United States. It is directly underneath the "Eye of Providence" and is translated by the US Treasury and State Department as "God (or Providence) favors our undertakings". American President Abraham Lincoln, sitting in front of an easel, is also depicted as an artist in this telling 1960s work. Commentary: "In Saul Steinberg’s lithograph ‘Sam’s Art’, Abraham Lincoln, in stove-pipe hat, poses as the artist in front of his canvas. While his attention looks fixed on rendering the slightly wobbly pyramid with an eye, the Masonic motif from the back of the one dollar bill, the line from his brush has floated off the canvas to become a cubist-futurist cloud in the sky. The American Eagle looks on, perched on a civil war cannon...

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 ...

Peter Beard The End of the Game (Hand Signed by Peter Beard), 1977 Offset Lithograph Poster (hand signed by Peter Beard and inscribed with a heart) Han...

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

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 118, 1960. Published by Aim...

Louise Bourgeois I Have Been to Hell and Back Handkerchief, 2007 Embroidery on 100% Cotton Handkerchief With the artist's silkscreened initiala Han...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

Jean Sariano, Algerian/American (1943 - ) - Working Proof, Year: 1979, Medium: Intaglio Etching and Aquatint, signed and numbered in pencil, Edition: 300, Image Size: 18.5 x 16.5 i...

Lithograph and original issue World Federation of United Nations Associations postage stamp on vélin paper. Inscription: Signed in the plate, as issued. Good condition. Notes: Publis...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, New Séries, XXIIIth year, N°17 - Christ...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Limited Edition edition of 3433 12 1/2 × 16 3.5 inches Unframed Accompanied by gallery issued Certificate of Guarantee Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Derek Boshier Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges Hand signed, numbered 38/50 and dated on lower front with printer's and publishe...

Frank Stella Large Limited Edition Hand Signed Whitney Museum Print, 1985 Offset Lithograph Hand signed, dated and numbered 93 from the edition of 100, lower left front 75 7/10 × 52 ...

Artist: Richard Anuszkiewicz, American (1930 - ) Title: Sun Keyed Year: 1972 Medium: Screenprint (unsigned) Edition: 3000 Image Size: 12 x 14 inches Size: 14 x 18 in. (35.56 x 45....

Silkscreen on handmade Hahnemühle paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, The Poems, 1960. Published and printed by Tiber Press, New York un...

RETNA Madre (Mother), 2023 Silkscreen and crystallina (diamond dust) on Coventry rag paper Hand signed and numbered by RETNA from the limited edition of only 75 on the front (41/75) ...

ABOUT THIS ARTIST: Jessica Nugent is a photographer from California known for her contemporary images of nature. She uses her graphic design background to create an emotional connection with the natural world through the use of color. Jessica’s art has recently been featured with Artsy, Domino Magazine, Pottery Barn Teen...

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...

Tracey Emin Love is What You Want, 2015 250 gsm silk finish paper. Hand signed on the front by Tracey Emin in white grease pen/sharpie 27 1/2 × 19 7/10 inches Edition of 500 (unnumbe...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Joan Miró, Cata...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

Methylamine 13c Damien Hirst, English (1965) Date: 2014 Screenprint with Diamond Dust, signed and numbered in pencil Edition of 12/100 Size: 33 x 27 in. (83.82 x 68.58 cm) Frame Size...

Victor Rosado (Puerto Rican/ American, 1938 - ), "Growing Wild " Edition 45/ 200, Abstract Screen Print Serigraph, 17.38 x 13, Late 20th Centu...

David Hockney Richard Strauss: Los Angeles Music Center Opera (Hand Signed and Inscribed), 1993 Offset Lithograph (hand signed and inscribed by David Hockney) 30 × 20 inches Signed a...

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