New York - Abstract Prints

Coin Noir by James Rosenquist, American (1933–2017) Date: 1977 10 Color Lithograph on Arches, signed, numbered and titled in pencil Edition of 75/100 Image S...

Richard Serra Synagoge Stommeln (German Synagogue) The Drowned and the Saved (Hand signed twice by Richard Serra), 1992 Offset lithograph poster (hand signed twice by Richard Serra) ...

Andy Warhol, Robert Whitman, Robert Rauschenberg, Red Grooms, Marisol, Tom Gormley. ART CASH (signed by all six artists), 1971 Double sided offset lithograph on wove paper with full...

Robert Indiana ERR (Sheehan 29), 1963 Photoengraving and Etching on off-white Rives BFK paper Hand signed, dated and annotated on lower front with artist's blind stamp from Coenties ...

Thomas Nozkowski Flare: Thomas Nozkowski Images (hand signed by Thomas Nozkowski), 2009 Limited Edition monograph on fine art paper (hand signed and dated by Thomas Nozkowski on the ...

Sam Francis, American (1923 - 1994) - Untitled (SF- 349), Portfolio: Papierski Portfolio, Year: 1992, Medium: Lithograph on BFK Rives, signed and numbered in pencil, Edition: 5...

Gary Hume Falling Bear 1995 Silkscreen 32 3/4 x 26 inches; 83 x 66 cm Edition of 25 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available fro...

JAMES NARES Artaud's Arms (Exhibited at Brooklyn Museum), 1988 Color Monotype on Gampi Torinoko Paper 36 × 27 inches Signed James Nares and dated '88 l...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...

This whimsical screenprint by Eduardo Paolozzi pictures giant inkwells being carried on old style train cars. The composition looks like a printed image blown up to reveal the halfto...

Untitled, 2020 by Chin Chih Yang is a signed limited edition print on archival paper: 28/75 - edition number, date of creation, and artist's signature on recto (front of work) - in m...

De Beyerd Breda by Menashe Kadishman, Israeli (1932–2015) Date: 1986 Poster, signed Size: 33 x 23.5 in. (83.82 x 59.69 cm)

Louise Bourgeois Homely Girl, A Life, Volumes I and II (Literary books with 10 original etchings) Hand signed by both artist Louise Bourgeois and Pulitzer winning playwright Arthur M...

Richard Serra Clara, Clara (Hand Signed by Richard Serra), 1983 Offset Lithograph Poster (Hand signed by Richard Serra) Boldly signed with black marker on the front Frame Included: held in original vintage 1980s frame This is the rare vintage offset lithograph poster of Richard Serra's 1983 work "Clara Clara", exhibited at the Pompidou Center in France in 1983-1984. Very collectible when hand signed by Richard Serra! Accompanied by gallery issued Certificate of Guarantee Measurements: Frame: 27.5 x 37.75 x 1 inch Print: 25.5 x 35.75 inches About Richard Serra: Obsession is what it comes down to. It is difficult to think without obsession, and it is impossible to create something without a foundation that is rigorous, incontrovertible, and, in fact, to some degree repetitive. Repetition is the ritual of obsession. Repetition is a way to jumpstart the indecision of beginning. To persevere and to begin over and over again is to continue the obsession with work. Work comes out of work. In order to work you must already be working. —Richard Serra One of the most significant artists of his generation, he has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand. Born in 1938 in San Francisco, Richard Serra lives and works in New York and on the North Fork of Long Island. Serra attended the University of California, Berkeley before transferring to the University of California, Santa Barbara graduating with a BA in English literature; he then studied painting at Yale University, New Haven, Connecticut completing both a BFA and MFA. He began showing with Leo Castelli in 1968, and his first solo exhibition in New York was held at the Leo Castelli Warehouse the following year. His first solo museum exhibition was held at the Pasadena Art Museum, California, in 1970. Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007). He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Kunsthalle Tübingen, Germany (1978); Staatliche Kunsthalle Baden-Baden, Germany (1978); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1980, 2014, and 2017); Centre Pompidou, Paris (1983–84); Museum Haus Lange, Krefeld, Germany (1985); Louisiana Museum, Humlebæk, Denmark (1986); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany (1987); Städtische Galerie im Lenbachhaus, Munich (1987); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004). In 2005 The Matter of Time (1994–2005), a series of eight large-scale works, was installed permanently at the Guggenheim Museum Bilbao, Spain. For Monumenta 2008, the major site-specific installation Promenade was shown at the Grand Palais, Paris. Three years later the large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. A major traveling retrospective dedicated to Serra’s drawings was presented at the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, and the Menil Collection, Houston (the organizing venue), from 2011 to 2012. In 2014 the Qatar Museums Authority presented a two-venue retrospective survey of Serra’s work, and East-West/West-East (2014) was permanently installed in the Brouq Nature Reserve, Zekreet, Qatar. In 2017 the Museum Wiesbaden, Germany, presented Richard Serra: Props, Films, Early Works; an overview of Serra’s work in film and video was shown at the Kunstmuseum Basel; and recent drawings were featured at the Museum Boijmans Van Beuningen. Serra has participated in numerous major international exhibitions, including Documenta (1972, 1977, 1982, and 1987), and the Biennale di Venezia (1980, 1984, 2001, and 2013), and his work has been included in many Whitney Annuals and Biennials (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006). He is the recipient of the Leone d’Oro for lifetime achievement, Biennale di Venezia, Venice (2001); Orden Pour le Mérite...

"Untitled: 4 Figures"Edition 132/200, Abstract Figurative Lithograph on Paper, 28.13 x 20.75, Late 20th Century Colors: Red, Blue, Green, Yellow, Purple, P...

Alan Davie Guli Wall, 1971 Lithograph on Rives BFK Paper with Deckled Edges Hand signed, numbered 26/200 and dated on the lower front 20 × 25 1/2 inches Unframed This whimsical mid-century modern hand signed, dated and numbered print by renowned Scottish-born British Pop artist Alan Davie published in 1971 was chosen to be included in the 1975 portfolio for the Swiss Society for Fine Arts (Grafikmappe des Schweizerischen Kunstvereins) as part of an international portfolio of 27 prints by world renowned artists including Jasper Johns, Christo, Valerio Adami, Shusaku Arakawa, Robert Cottingham, Richard Paul Lohse, Gerhard Richter, Dieter Roth, Pierre Tal Coat and many others.. Hand signed and numbered from the edition of 200. Unframed and in fine condition. This vintage European print...

This shimmering, metallic vintage poster with rainbow text and layers of texture must be seen in person to appreciate Frank Stella's masterful design. Original exhibition poster for Frank Stella’s Metal Reliefs exhibition at the Addison Gallery...

Sean Scully Walls of Aran (Hand signed and inscribed by BOTH Sean Scully and Colm Toibin), 2007 Hardback monograph with book jacket Hand signed and personally inscribed to Kevin by ...

Santoro, "Untitled: Lavender, Blue & Pink Serigraph (Edition 303/350)" Mid-Century Modern Serigraph/ Abstract Geometric Screenprint, Signed in Graphite lower right, marked as an Edit...

NOTE: Shown framed for inspiration only; this edition is unframed and in mint condition (never framed): Thelma Appel The Magician, 2018 18 Color Silkscreen on 320 gram Coventry Rag ...

John Henry Shafts, 1974 Lithograph 23 × 16 inches Pencil signed, dated and numbered 11/50 on the front; with blind stamp Unframed 1970s lithograph by constructivist sculptor John Henry.

Comprised of rounded shapes without significant sharp angles, this curving portrayal of a woman in a green dress is indicative of the Cubist sty...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

untitled lithograph drawn in 2022 and published in an edition of 43. Measuring 36 by 25 inches, the work is designated number 9 of 43 lower left and signed in pencil "R Hunt...

Shirai Akiko, Japanese (1935 - 2001) - Orange Clouds, Year: 1969, Medium: Screenprint, signed, numbered, titled and dated in pencil, Edition: EA, Image Size: 11.75 x 16.75 inches...

The simple geometries and bright colors that recur throughout FEMM’s, have an inherently contemporary and urban feel. It’s no wonder, then, that the metropolitan city is one of FEMM’s greatest sources of inspiration. Whether it’s the zestful energy, the colorful clothes...

Donald Baechler, Red + Blue Cup Cakes, 1999: A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Soft-ground etch...

ABOUT THIS PIECE: "By means of staged photography, the human body and everyday space, Giuseppe's photographs are transformed into an atmosphere of humor and mystery, a theatrical eff...

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...

Peter Saul Shicago Justus (Chicago Justice) from Conspiracy: The Artist as Witness, 1971 Lithograph on Arches paper Edition AP (Rare AP, aside from the regular edition of 150) Hand-s...

Artist: Kyohei Inukai, American (1913 - 1985) Title: Untitled - Target I Year: circa 1970 Medium: Silkscreen, signed and numbered in pencil Edition: 100 Image Size: 21.5 x 26 inches ...

Raffi Kaiser ( Israeli b. 1931 ) "Untitled" Edition 77/120, Abstract Lithograph signed and numbered in pencil, 25.50 x 19.50, Late 20th Century Colors: Blue, Red, Orange, White, Bro...

This is a true collectible! The regular edition of only 100 is hand signed and numbered by Larry Rivers; but the present work is ALSO hand signed and inscribed by George McGovern- a ...

Makes a fantastic gift! Robert Indiana Monograph: Robert Indiana and the Star of Hope (hand signed by the artist as well as both writers), 2009 Hardback monograph with dust jacket (h...

Mark di Suvero Untitled Abstract Expressionist Print, ca. 2010 Digital photo lithograph Boldly signed and numbered in graphite pencil from the limited edition of only 58. 13 x 17 in...

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...

Domenick Turturro, American (1936 - 2002) - Fire, Year: circa 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 40 AP, Image Size: 23 x 30 inches, Size: 26 x 3...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Enginee...

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...

This stunning lithograph, was realized by the celebrated Italian artist Marino Marini in 1969. Part of the series “From Color to Form” by Marino Marini (Italian, 1901-1980), this wor...

In this vibrant print, Pablo Picasso creates a likeness of his daughter Paloma as a young child. Fusing together, the sharp angles and varied perspectives in this piece merge with th...

Red Grooms "Expedition" (aka "EAT", aka "Stockholm Print"), 1973 Silkscreen on 100% rag paper Pencil signed, dated and numbered recto (front); Stamped in black on verso "© Copyright ...

Richard Serra Early Work (Hand signed and dated by Richard Serra), 2013 Hardback monograph with no dust jacket as issued (Hand signed and dated 2014 by Richard Serra) Hand signed and dated 2014 by Richard Serra on the title page 12 × 10 × 1 3/5 inches Provenance The artist signed the work for the present owner at a special 2014 event with Hal Foster...

Sarah Lucas Winter Song, 2020 Offset lithograph poster Limited Edition of 50 27 3/5 × 19 7/10 inches Unframed and unsigned Published by the Consortium Museum, Dijon France Limited E...

Aaron Wexler received his B.F.A. in painting from Tyler School of Art - Philadelphia, PA. & M.F.A in painting from The School of The Art Institute of Chicago. He has exhibited his work nationally and internationally - including Josée Bienvenu Gallery, Pavel Zoubok Gallery, Morgan Lehman Gallery, The National Academy Museum, The Katonah Museum of Art, among many others. Works have been acquired by numerous collections such as The Saatchi Collection, The West Collection, Fidelity Investments Art...

Myron Stout Untitled (from Rubber Stamp Portfolio), 1976 Rubber Stamp Print on Buckeye Paper 8 × 8 inches Limited Edition of 1000 Stamped with a...

Stephen Westfall Jig, 2005 Woodblock, on Hiromi Iwa Hara-shi Kasa Japanese paper Signed, dated 2005 and numbered 10/35 in graphite pencil on the front Frame included Elegantly floate...

Françoise Gilot Francoise Gilot Monograph 1940-2000 (hand signed and warmly inscribed to renowned actress), 2000 Hardback monograph in a slipcase, hand signed and inscribed by Franco...

Nancy Spero Thou Shalt Not Kill (The Sixth Commandment), 1987 from the 10 Commandments Portfolio 9 Color lithograph and letterpress on Dieu Donne handmade paper 24 × 18 inches Edition AP 2/15 Signed and numbered AP 2/15, aside from the regular edition of 84 Printed by Peter Kruty, Dan Stack and Judy Solodkin Unframed with deckled edges This nine color lithograph and letterpress on Dieu Donne handmade paper is a signed, dated and numbered Artist's Proof, numbered AP 2/15, aside from the regular edition of 84. It was created as part of the 1987 portfolio "The Ten Commandments", in which ten top Jewish American artists were each invited to choose an Old Testament commandment to interpret in contemporary lithographic form. The "Chosen" artists were, in order of Commandment: Kenny Scharf, Joseph Nechvatal, Gretchen Bender...

ABOUT THIS ARTIST: Clara Masiá lives in Barcelona and studied art and design at Massana School. As an illustrator, Clara considers herself a very observant and detailed person where ...

Susan Gorelick ( American, 1924-2000) "Growth 1" A/P, Abstract Etching signed, titled and numbered in Pencil 15.25 x 11.50, Late 20th Century Colors: Gold, Black Shirley Gorelick (...

Emily Mason Untitled (For Douglas), 1990 Carborundum etching and monotype on paper Pencil signed, dated and inscribed "For Douglas" Vintage wood frame included This work was created ...

Artist: Juan Garcia Ripolles, Spanish (1932 - ) Title: Kissing Couple Year: 1971 Medium: Lithograph, Signed in Pencil Edition: E.A. 20 Size: 29.5 in. x ...

For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject matter in favor of seemingly limitless variations in ...

Robert Indiana New York City Center of Music and Drama (Hand signed limited edition), 1968 Color Silkscreen 35 × 25 inches Edition 23/144 Hand signed and dated lower right recto; num...

Joan Miro, After, Spanish (1893 - 1983) - Sun Eater, Medium: Screenprint Poster, Image Size: 28.5 x 20 inches, Size: 35 x 23 in. (88.9 x 58.42 cm)

Joan Miro, After, Spanish (1893 - 1983) - Potato, Medium: Screenprint Poster, Image Size: 24.5 x 21.25 inches, Size: 35 x 23 in. (88.9 x 58.42 cm)

Joan Miro, After, Spanish (1893 - 1983) - A Ballet Dancer Listening to Organ in A Gothic Cathedral, Medium: Screenprint Poster, Image Size: 30.75 x 21 inches, Size: 35 x 23 in. (8...

Joan Miro, After, Spanish (1893 - 1983) - Person Throwing a Stone at a Bird, Medium: Screenprint Poster, Image Size: 21 x 30 inches, Size: 23 x 35 in. (58.42 x 88.9 cm)