New York - Abstract Prints

This Pablo Picasso print portrays a nude woman who has fallen asleep. The figure reclines backward toward the viewer, resting on her back. The artist's use of flowing line and the br...

Chris Ofili R.I.P. Stephen Lawrence 1974 - 1993, 2013 Lithographic print in 4 colours with silkscreened glow-in-the-dark text 17 7/10 × 14 inches Edition of 100 Accompanied by a numb...

Artist: David Diao, Chinese-American (1943-) Title: Barnett Newman: The Paintings (Red) Year: 1992 Medium: Screenprint, signed and numbered in pencil Edition: 25/48 Image: 15 x 39 i...

René Magritte Magritte at Galerie Alexandre Iolas, Milan, Italy, ca. 1980 Offset lithograph lettering and silkscreen poster on thin wove paper ...

A colorful OP Art silkscreen by Poland-born American OP Artist, Julian Stanczak. Artist: Julian Stanczak, American (1928 - 2017) Title: Compounded Red Year: 1981 Medium: Screenpri...

Alfred Finsterer (1908-1996, German), "Mondhaubentanz - Male and Female Clowns Dancing", Abstract Figurative Etching numbered and signed in Pencil, 27 x 19.50, Late 20th Century Col...

Signed and numbered in pencil Color lithograph on wove paper Condition: In Excellent condition

Walter Darby Bannard Jacaranda, 1980 Screenprint on Rives BFK Paper Hand signed, numbered 74/100 and titled on lower front 24 3/4 × 38 inches Provenance Bert Gallery, Providence, Rho...

This serigraph poster by Allan D'Arcangelo was created in 1976 to commemorate the American Bicentennial, celebrating 200 years of the nation's in...

Unknown/ Unidentified Artist, "Untitled", Abstract Lithograph, 25.75 x 19.75, Late 20th Century Color: Green

Joseph Beuys Joseph Beuys, een konfrontatie, 137 Tekeningen 1945-1979, (Hand Signed), 1979 Silkscreen on velincarton (thin board) Catalogue raisonne reference: Weiss-Britsch 75 Boldl...

Joseph Beuys Blatt auf Karteikarte (from Columbus: In Search of a New Tomorrow), 1992 Color silkscreen on vellum parchment paper, held in original portfolio sleeve Signed by Eva Beuy...

ABOUT THIS PIECE: “Meadow” is an ongoing project— started in late 2012— where I use mylar to photograph the reflections of my subjects. I am mimicking the medium of oil painting thro...

Miro Sculptures. Illustrated by Miro, EXCLUDING 5 color lithographs, all printed by Mourlot (4 are double-page, including the cover). Includes an additional booklet with photographs ...

Shusaku Arakawa A Man Walking, 1968 Silkscreen on velincarton (thin board) 29 4/5 × 21 4/5 inches Edition of 100 Hand signed and numbered from the edition of 100 on the front Unframed Rarely found on the marketplace, another example of this work is in the permanent collection of the Walker Art Center (donated by legendary art dealer Virginia Dwan) Another rarely seen, richly colored mid century silkscreen...

Damien Hirst "I want to spend the rest of my life everywhere with everyone," 1997 Hardback monograph with hand signed ink inscription Fine provenance: Hand signed and inscribed to a...

Robert Indiana Love Is God, 2014 Silkscreen on 2 ply Rising Museum Board 32 × 32 inches Hand signed and numbered 33/50 in graphite pencil on ...

Fernand Léger, French (1881 -1955) - Sculptures Polychromes at Galerie Louis Carres, Year: 1953, Medium: Lithograph Poster, Size: 25.25 x 18.75 in. (64.14 x 47.63 cm), Printer: C...

The front cover of Derriere le Miroir (DLM) No. 183 features the work of the renowned Spanish Basque sculptor and artist Eduardo Chillida. This issue, published by the esteemed Frenc...

Robert Rauschenberg Human Rights Award, 1981 Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Pencil signed and numbered 73/100 on the front Silkscreen an...

Tony Delap Florian, Child of Air, 1977 Lithograph on Arches cover paper Pencil signed, titled, annotated and dated on the front Provenance: Collection of artist Natasha Nicholson Pub...

ABOUT THIS PIECE: “Liquid Mirrors” is an ongoing project— started in late 2012— where I use mylar to photograph the reflections of my subjects. I am mimicking the medium of oil paint...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Fulton by Tom Holland, American (1936 - ) Date: 1971 Lithograph, embossing and collage on Rives, signed, titled, numbered and dated in pencil Edition: 25/50 Image Size: 18 x 23 inche...

Stockton by Tom Holland, American (1936 - ) Date: 1971 Lithograph, embossing and collage on Rives, signed, titled, numbered and dated in pencil Edition: 25/50 Image Size: 17 x 23 inc...

Stockton by Tom Holland, American (1936 - ) Date: 1971 Lithograph, embossing and collage on Rives, signed, titled, numbered and dated in pencil Edition: 25/50 Image Size: 18 x 24 inc...

Cragmont by Tom Holland, American (1936 - ) Date: 1971 Lithograph, embossing and collage on Rives, signed, titled, numbered and dated in pencil Edition: 25/50 Image Size: 17 x 23 inc...

Diablo by Tom Holland, American (1936 - ) Date: 1971 Lithograph, embossing and collage on Rives, signed, titled, numbered and dated in pencil Edition: 25/50 Image Size: 18 x 24 inche...

Tracey Emin The Stain, 2007 Mini booklet; stitched binding; digitally printed, accompanied by pencil signed envelope 4 1/2 × 3 3/5 inches Edition of 100 (unnumbered) pencil signed by...

Artist: Elba Alvarez, Venezuelan (1944 - ) Title: Prima I Year: circa 1975 Medium: Triptych of Screenprints on Panel, Signed, Titled, and Numbered in pencil Edition: 10/25 Image Size...

Scarce framed European work by this renowned German conceptual artist - rarely found stateside Martin Kippenberger Wall Street, 1993 Color lithograph and offset lithograph on board Hand signed and dated lower right front Stamped on the back with the publisher's blind stamp, artist, title, year, edition 100/E.A. Stamped on the back with the publisher's blind stamp, artist, title, year, edition 100/E.A. (Note: this is designated as Epreuve D'Artiste (EA), an artist's proof aside from the regular edition of 100. It was based upon an original collage by the artist. However, it appears the only examples of this edition that have ever come to the public market are also Artist's Proofs (EA's). (The regular edition was said to be included in the European portfolio JFK.) Scarce! Published by the 'Politischer Club Colonia für Studien und Aktionen zum Frieden, e.V.', Cologne (for studies and peace activities) Provenance: The Chara Schreyer Collection (renowned philanthropist Cara Schreyer was considered on of the top art collectors in the world) Frame included: Elegantly floated and framed in a handmade wood museum frame under Optium plexiglass Measurements: Framed 24 inch vertical by 25.5 inches horizontal by 1.5 Artwork: 21.5 inches (vertical) by 23.5 inches (horizontal) Accompanied by gallery issued Certificate of Guarantee Kippenberger's Wall Street is full of biting social commentary about American society. In addition to the brazen text references (such as "I Love Peace and Money") and the title (Wall Street), it also depicts American artist Robert Gober's famous "Hanging Man/Sleeping Man: (in the permanent collection of the Hammer Museum). "Gober’s Hanging Man/Sleeping Man has become a touchstone of American art made during the political and social upheavals of the late 1980s and early 1990s, which included the AIDS epidemic, the culture wars, and the Los Angeles riots. The work features two images side by side, one of a sleeping white man in bed...

Pierre Tal-Coat Untitled, from the Swiss Society of Arts Portfolio, 1975 Lithograph on paper with deckled edges. Hand Signed. Numbered. Unframed Hand signed and numbered on the lower...

Frank Stella Frank Stella The Circuit Prints (Hand Signed), 1988 Color offset lithograph poster (hand signed by Frank Stella) Signed and dated 88 in ink by Frank Stella directly unde...

Anne Sager (American, 1930-2024), Striped Abstraction, Digital Composition, Chromogenic Print, oranges and greens, signed lower right, with artist's estate stamp to verso, in mat, un...

Rendered in the Cubist style practiced by Pablo Picasso, this portrayal of a painter with a palette of paint and several brushes showcases the artist's unique use of perspective and viewpoints. A lithograph from the Marina Picasso...

An early large-scale work by Chilean artist Roberto Matta. In this black-and-white surrealist piece, various figures can be seen in various acts. Signed and numbered in pencil. This edition is not from the Arabic numbered edition of 40. La Une a L’h Pile (Head to...

Robert Indiana Purim: The Four Facets of Esther (I) Sheehan, 36, 1966 Color silkscreen on off white wove paper Printed by Stephen Poleskie, Chiro...

Artist: Hugo Dietz, Swiss (1930 - 1973) Title: September Year: 1971 Medium: Serigraph, signed, verso and numbered in pencil Edition: 18/135 Paper Size: 17 x 17 inches / 43 x 43 cm Fr...

Sliced sausage, a fork and knife, a cutting board, and a cow mid-slurp comprise this elegant yet tongue-in-cheek black and white Dieter Roth etching. Diet...

Jack Levine Vintage 1970s Kennedy Galleries poster (Hand signed and warmly inscribed), 1972 Offset lithograph poster (Signed, dated and inscribed in black marker by Jack Levine) Sign...

Mark di Suvero Dreambook (hand signed by Mark di Suvero), 2008 Hardback monograph with no dust jacket as issued (hand signed by Mark di Suvero) Boldly signed by Mark di Suvero on the...

Robert Petersen The Clocktower Exhibition (Hand signed and inscribed), 1979 Offset lithograph poster (hand signed and warmly inscribed) Warmly signed and inscribed "For Marilyn Love ...

Paul Jenkins International Very Special Arts Festival poster, 1994 hand signed and dated by Paul Jenkins Measures: 37 inches (vertical) x 25 inches (horizontal) Ships rolled in a tub...

Kenneth Noland Themes and Variations 1958-2000 (hand signed by Kenneth Noland), 2002 Softback monograph with stiff wraps (hand signed and dated by Kenneth Noland) Official hand signe...

Ray gun is one of Oldenburg’s most iconic motifs, and the artist’s tongue-in-cheek alter ego. Oldenburg took the name from a weapon used in the show “Buck Rogers in the 25th Century ...

James Strombotne Love, 1965 Lithograph with Deckled Edges Hand signed, dated and annotated "Bon a Tirer" on the front; with publishers blind stamp (the regular edition was 20) 30 × 2...

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...

Jasper Johns, Prints, 1960-70 (Hand Signed by Jasper Johns), 1970 Offset lithograph poster (signed by Jasper Johns) Boldly signed in black marker on the front 35 × 23 1/2 inches Published by the Philadelphia Museum of Art The artwork depicted in the poster is Jasper Johns lithograph...

PAUL VON RINGELHEIM American Flag III, 1979 Silkscreen in Colors on wove paper Signed and numbered in graphite pencil on the lower margin front 31 × 23 inches Unframed Hand signed and numbered from the limited edition of 300. Born in Vienna Austria, but working in the US for many decades, Von Ringelheim, also known as a sculptor, brought his unique hard-edge minimalistic geometric abstraction outsider's take on the American Flag to this vintage 1970s limited edition, signed silkscreen. Unframed and in fine condition. Ringelheim was represented in the 1960s by the legendary Rose Fried Gallery...

Frank Stella Raft of the Medusa, Part IV (Casino Knokke poster, Hand signed by Frank Stella), 1991 Offset lithograph (hand signed in black marker by Frank Stella) Signed in black mar...

Moored below a bridge crossing the Seine, several rowboats of bright colors float before a view of the Notre Dame de Paris in the distance. Identifiable by its signature Rose Window,...

Artist: Robert Natkin, American (1930 - 2010) Title: Untitled - III Year: circa 1977 Medium: Lithograph, Signed in Pencil Size: 31 in. x 24 in. (78.74 cm x 60.96 cm)

A green and gray composition that features a more dimensional rendition of Albers’ famous “Homage to the Square” series. The exterior ring of dark green flanks a window of gray befor...

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: IV from La Magnanerie de la Ferrage Year: 1971 Medium: Linocut on Japon, signed in pencil Edition: Pour Leon Amiel Image Size: ...

Rita Simon (aka Atirnomis), American (1938 - ) - Garden of Eden, Year: 1979, Medium: Screenprint, signed and numbered in pencil, Edition: 300, Image Size: 32 x 23.5 inches, Size:...

Max Ernst, German (1891 - 1976) - Les Chiens Ont Soif VI, Portfolio: Les Chiens Ont Soif, Year: 1964, Medium: Lithograph, Edition: 165/320, Size: 17 x 24.5 in. (43.18 x 62.23 cm...

Max Ernst, German (1891 - 1976) - Les Chiens Ont Soif VIII, Portfolio: Les Chiens Ont Soif, Year: 1964, Medium: Lithograph, Edition: 165/320, Size: 17 x 24.5 in. (43.18 x 62.23 ...

Rita Simon (aka Atirnomis), American (1938 - ) - Untitled 7, Year: 1979, Medium: Screenprint, signed and numbered in pencil, Edition: 300, Size: 33.5 in. x 25.5 in. (85.09 cm x 6...

Rita Simon (aka Atirnomis), American (1938 - ) - Concerto, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: AP 30, 300, Image Size: 23 x 17.5 inches, Size...

Max Ernst, German (1891 - 1976) - Les Chiens Ont Soif XII, Portfolio: Les Chiens Ont Soif, Year: 1964, Medium: Lithograph, Edition: 165/320, Size: 17 x 24.5 in. (43.18 x 62.23 c...